shootist2600 Blog

Surviving Metro 2033

2013-05-14T01:00:00Z

Metro: Last Light is around the corner so I thought I'd finally post my initial impressions of the first game in this fledgling but promising series. Metro 2033 is a post-apocalyptic first person shooter set in Moscow amid a nuclear scarred surface and a metro underground besieged by mutants.

Given its reputation, I'd always wanted to try the game on Xbox 360; however, I was able to obtain a promo code for the PC version free, so happily struggled with the mechanics at the same time fighting mutants. The thing is, as I'd written about Microsoft Flight, PC gaming is a challenge as my computer is little more than a word processor.

That said, I somehow got it to install and run, so I was ecstatic. Granted, my bar is set pretty low, but the fact I could experience this anticipated game at all was reward in and of itself. And considering the enjoyment I derived from my limited playtime, I can only imagine how it would play on the proper equipment and settings.

The Moscow setting is compelling though in my limited playtime I didn't get to see much of the surface. Compared to wandering the wastes of many post-apocalyptic games, much of the action presumably takes place in the underground tunnels that, in and of themselves, are relatively unique and atmospheric.

So, how do I tell the nightmarish mutants from the ragtag miscreants I call comrade?

The Russian metro is an interesting environment, especially when converted into a makeshift habitat by survivors. The challenge for designer 4A Games is in making it stand out compared with traditional corridor shooters, such as Doom, that it is more reminiscent of.

An important distinction, in fact, is the characters that inhabit this subterranean shelter. Besides the cultural trappings in the form of keepsakes, posters, uniforms, etc., the Russian accents, dialog, personalities and issues help imbue the environment with a particular identity.

My PC operates on minimal effort -- a computer after my own heart!

The environment would be moot if I couldn't view or play the game properly, and at higher settings it chugged at a gruesome rate on my archaic system. However, adjusting to the lowest settings mostly allowed for an adequate presentation with only minor framerate issues and a measure of audio/visual fidelity resulting in an immersive experience.

Splendid idea! And next time, you sample the radioactive canned goods. Deal?

Speaking of gruesome, attempting to learn PC gaming controls is a frightening exercise for a lifelong console gamer. But as with Microsoft Flight before, I know it's not an impossible task. And although I can't compare the keyboard/mouse controls with other computer configurations, the learning curve was not too steep so I feel that they are somewhat intuitive.

Red is always such a warm, inviting color, especially in mutant infested quarters.

The atmosphere is well conceived and contributes to a sense of forboding especially when on missions. Early on, the game does not distinguish itself to any great degree, but the art design and presentation still are well done, helping immerse players in the underground world and promote exploration.

What's the letter for accessing a quick reference of key commands?

The basic movement and weapons controls, as suggested, are serviceable, but when adding other gameplay elements to the core keys it begins to overwhelm for someone unaccustomed to such configurations. In fact, the OCD in me demanded I create a keyboard diagram to map all the actions for a quick reference guide.

It seems some micromanagement might have been streamlined or removed for the sequel, which no doubt will help make the entire experience more fluid and less cumbersome. It remains to be seen whether such compromises will detract or contribute to one's immersion in the post-apocalyptic setting.

You'd be angry and aggressive if you looked like this, too.

Mutants, at least early on, come in two varieties; one being a kind of indistinct humanoid creature that scurries about the environment. Its attack is mostly a charge that typically occurs in packs. Although movement is dynamic, AI is not too challenging. Indeed, my challenge was in not panicking while I tried to type an attack.

In darkness apparently it's easy to mistake anything for a gas mask.

There is some loot to be gathered while exploring one's surroundings. While not an open world game, different areas afford an opportunity for limited exploration, and each setting effectively depicts the post-nuclear, hardscrabble life, with occasional corpses adding to the chilling scenery.

American Idol is creepy in any language.

Outside of dark corridors, visibility can be likewise obscured by nightfall or snow. This contributes to already tense situations when on patrol in inhospitable areas such as the surface. In this looming confrontation, our group was attacked by scores of mutants.

My instinct is to spray and pray when under assault, a reaction made more extreme when the framerate takes a dramatic dip on my low powered hardware. Imagine a stop-motion scene of otherwise frenetic combat made more ridiculous by my laggy control inputs. It actually was pretty funny to watch. Thank goodness I had backup!

Though I don't remember having an opportunity to engage them (and not just because of my framerate issues), airborne foes are another variety of mutant that make an early appearance. It's just as well, as I had my hands full with standard issue land-based enemies; that said, weapons controls prove capable, all things being equal.

Back inside the tunnels, survivors keep a few mementos from their former lives, or at least from the prewar world. Such artifacts contribute to the sense of longing and solemnity that permeate discussions and expressions everywhere you go underground. The sense of loss and despair is palpable, befitting such a scenario and somewhat rare among games.

Self-referential posters (above) are part of the decoration adorning subterranean walls. I think it's supposed to represent advertising for a film but still has the impact of breaking the fourth wall, a questionable practice not that uncommon in games.

Watching pavement crack is the new watching paint dry.

The atmosphere in Metro 2033 is oppressive though not prohibitively so. There's a fine line between making entertainment that is dire and alienating your audience, but this game manages to engross by virtue of interesting characters struggling against an overwhelming predicament.

The nightmare scenario depicted in the game is never more pronounced than when illustrated by the medical emergency survivors face on a daily basis. The doctor(s) and their patients, not to mention the limited medical facilities, bear witness to the indignities and tragedy of everyday life in the tunnels.

The entrance of this figure (above) reminds me of John Goodman's exterminator in Arachnophobia. He's an example of the variety of characters to be found on one's journey through the game world, so far one of the strongest impulses for forward progress in this title.

Canned beans again? And no windows anywhere ...

Along your journey you'll see survivors in mundane or sometimes interesting pursuits and overhear conversations or arguments. The dialog generally is well written and tells a compelling narrative of survival and desperation, and the voice acting effectively conveys such a story, at least as far as I can recall.

Many characters you'll have sympathy for, though others you'll want to throttle. Indeed, if the atmosphere nails the post-apocalyptic fantasy world in all its grim and forboding aspects, the characters are what animate it in such a convincing and engrossing way.

In my limited play with the PC version of Metro 2033, the gameplay is solid enough at least as it relates to basic action and shooting mechanics, but it's the art design and characters that make for a distinctive journey worth playing. On the basis of my experience thus far, I will consider picking up Metro: Last Light (release date 5/14/13).

The Peculiar Charms of a Dead Island

2013-05-02T15:00:00Z

Some video games are so fun to play that their technical glitches become less glaring or even part of the overall enjoyment. Techland's Dead Island series includes such games, and Riptide is no exception. Indeed, the otherwise impressive presentation and eminently enjoyable gameplay remind me of Reality Pump's Two Worlds 2.

Two Worlds 2 also benefitted from an entertaining sense of humor and amusing glitches whether bones suspended in the air, broken cliffsides or trailing ghost images. While Riptide could benefit from a more wry perspective, some glitches do make me laugh. Of course I'm biased, but so far the flaws detract less from the game than add a sometimes humorous element.

One feature that excited me was a cave (yes, I'm easy to please). I don't recall any caves or similar landmarks in the previous game, so the opportunity for some RPG-friendly, dungeon-like crawling thrilled me. This named cave required loading prior to entering, and did not disappoint, at least where enemies are concerned.

It goes without saying, but I'll say it anyway: This zombie apocalypse is one bloody game scenario. Luckily for me, my preorder bonus included a special weapon called the BBQ Blade. It proved effective at lopping off the arms of the powerful thug zombie before putting him out of commission (above, top).

My strategy is to draw zombies away from crowds to help even the odds, but sometimes I get more than I bargain for. That leads to some spamming of the attack button, though you have to watch your stamina meter and health bar (thankfully health packs aren't rare). I managed to survive by the skin of my trusted BBQ Blade (above, bottom).

As I pointed out in my previous blog, collision detection is one of the more common design flaws. If it wasn't, this six-armed monstrosity (above) would have been quite a sight to behold in action! However, as it is a problem, don't be surprised to see zombies disappear into walls, equipment or other parts of the environment.

The trend today seems to be homicidal island cults to judge by Riptide (above), Tomb Raider or Far Cry 3, at least. When I first came across this (and signs do appear elsewhere as well) it definitely felt familiar. What happened to just having nasty wild animals or fantastic beasts making caves their home? Still, this cave was well designed.

Riptide, like its predecessor, is one of those few games that sports some impressive detail in its environmental design. Yes, the detail up close can be inconsistent, but overall the islands in this archipelago are beautifully conceived. Like Banoi in the first game, Palanai is a believable tropical paradise with realistic topography, dwellings and offices.

I've read that the map can be a poor tool, but in this case (above) it demonstrates the perpetual open world that has become a hallmark of the series. Few areas, especially outdoors, require loading and one can travel to most areas on the map. I ended up traveling around the peninsula to explore this river canyon.

Dead Island games have a variety of characters to interact with and no two are alike. Though zombies are another matter, but they're just fodder for your arsenal so what does it matter? That said, it might be more compelling if each were different enough to sport names instead of labels.

Imagine if some of the materials you find allude to certain individuals or families and then you were to come across them as undead versions of themselves? Depending on the materials you found, would it make you hesitate to kill them (assuming you remember)? Just an idea ...

The inventory menu is the same as in the original game, showing each item and its attributes. Another hallmark of this franchise is the huge arsenal of existing and customizable weapons obtained through loot grinding and quest completion. It's so integral to the experience I nearly blew my top when I lost everything early, though it was by design.

I really do feel like a tourist when exploring Dead Island isles. The beauty of the art design and the realism of the habitats (natural and artificial) establish a convincing sense of place to anchor the action. Indeed the variety in each scene, the contextual materials, the color palette, etc. all combine to create a uniquely immersive world.

Allow me to geek out like in my past Riptide blog about the detailed textures. It can be inconsistent but often shows impressive craftsmanship as in the (above) tree bark, wood post or even rope. Characters are less defined, especially in cut scenes, but nonetheless can be compelling in their own right and, mostly, distinctive.

By far the most entertaining glitch thus far has been these wayward zombies (if that's not redundant). They wandered this small area without attacking, and even my comrades were oblivious to their threat. It offered a rare, if weird, example of what life would be like if we put aside our differences and chose to live in harmony.

What happened was that I had an objective behind my companions and sprinted past the undead horde that materialized in between. When I met my objective, it triggered a cut scene despite the enemies on screen. After the cut scene, I found these few stragglers not only bereft of their friends but seemingly of a will to live, er, die, um, whatever.

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The first video (above) shows how both zombies and humans ignore each other. Though I didn't get footage of them literally running circles around my comrades, they do lurch and lunge menacingly at them while their prey try to engage me in a discussion. It's ironic that one character is responsible for upgrading camp defenses. Slacker!

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The second video (above) shows my character tiring of the useless undead in our midst, whacking the passive zombies repeatedly until they're put out of their -- and our -- misery. Note the glitch within the glitch, where one downed zombie levitates off the ground and flips right side up in order to stand. That is one wicked move!

Finally, taking this show out on the road again, I was walking beneath a clear blue sky on a sunny day when in a split second the sky turned dark and a downpour dumped on me from on high (above). It was a surreal moment in a string of peculiar scenarios but ones that proved entertaining nonetheless.

Of course, like any other game, I'd rather not have to experience any glitches in a game, but at least to this point those I have encountered are of a more amusing kind than might otherwise happen. No doubt the fun I'm having with the game colors my impression of them. Good thing, then, that I'm enjoying my stay on Palanai.

If a Zombie Has Warts, Would You Notice?

2013-04-25T01:00:00Z

I'm a big fan of Dead Island, warts and all. The well-conceived zombie apocalypse, impressive open world, satisfying melee combat, diverse custom arsenal and effective drop-in/drop-out co-op gameplay overcame considerable technical glitches to secure its place among the most fun video games I've played.

Dead Island: Riptide looks to continue in its bloody footsteps for better and for worse. My initial impressions of the sequel, based on less than an hour of the campaign, confirms that it's an entertaining follow up still plagued by design flaws. For the record, I played the PS3 version in single-player just to get a feel for the game.

Wolverine is leading a new band of mutant misfits.

Despite having the opportunity to import my Sam B character from the first game, I decided to try out the new melee-based John Morgan character. An Aussie with claws (apparently), the resemblance to Hugh Jackman's Wolverine is unmistakeable, and too strong a temptation to resist when going up against undead hordes.

Few tropical paradises can boast of being a literal tourist trap.

The opening video not only summarizes the threadbare story of the previous game, but also events that transpire during the brief period in between the two titles. As before, the narrative provides just enough context for the setting and your actions without troubling gamers with drama or emotional investment.

Riptide has been criticized for lag during gameplay, and while I noticed some framerate drops just navigating the world, the worst lag at the beginning of the game occurred during the opening video. I can't remember the last time that any video regularly chugged along in such an ignominious fashion.

Why is there never a World Hard Combat Association member around when you need them?

John is given a backstory like any of the other characters, though his suggests a more direct involvement in the goings on than anyone else. Whether this plays out in the overall story is up for speculation, but it would certainly add an interesting twist and introduce an opportunity for character development.

The dialog is standard though John's incredulity at his predicament at times made me laugh, which got me thinking that the writers could improve the experience with more wisecracks and banter a la Battlefield: Bad Company's squad exchanges. It might undermine the suspense, though handled properly it could relieve tension at times.

That said, the voice acting as before is decent and spotlights how a more effective script could go a long way to making a compelling story.

"Plush accommodations" in the brochure must have referred to the pillows.

Ships are underutilized in survival horror games. Last gen's Cold Fear was one of the first to effectively employ the setting, so I was glad to see that gameplay begins in this environment. The camera mimics the to and fro swaying of a boat on the ocean, which helps immerse one in their surroundings but can likewise instill motion sickness.

Riptide has a Space Invaders minigame hidden in the menus.

Skill trees return to add a welcome role-playing element. Each character begins with 15 available upgrades that can be automatically assigned based on preset character types or can be customized by the player. I tend to favor survival skills given my overall lack of them in general, though combat and fury skills have a definite appeal.

I'm guessing instructions say to turn the thingamajigs to the watchamacallits.

Another criticism has been the graphics and there are instances, such as the knobs and dials above right, where textures are bland and edges jaggy. That said, there are many more examples of detailed textures that show variety and real depth, such as the pipe and valve control above left (this is in stark contrast to even AAA titles like BioShock Infinite).

The overall design of ship interiors not only feels authentic but demonstrates a commitment to a dynamic setting. The scene above, for example, not only benefits from camera sway, but an operational fan (above right) and turbine (left), not to mention the light cast by a door swinging back and forth (left).

Any other day, crew members would be more worried about OSHA inspectors.

Developer Techland did a superior job establishing a creepy atmosphere in Riptide's predecessor, and this game likewise invokes a palpable sense of dread with every dimly lit, debris-strewn, blood-soaked area. Within the cramped confines of a ship, such a treatment effectively ratchets up the suspense.

Impeccable sound design reminiscent of Dead Space contributes to the sometimes oppressive survival horror theme. Creaking walls, clanging pipes and ambiguous metallic or mechanical noises combine with wailing zombies to raise the hair on the back of your neck. Indeed, one pipe scared the heck out of me as it loudly clanged while I passed.

Here's hoping the weak crowbar is effective against the green blob enveloping me on my map.

Loot grinding is another role playing element that has become an essential component of the Dead Island formula. Mostly consisting of weapons or potential weapon components, loot at the beginning is fairly standard though providing a variety of options such as this crowbar (above), wrenches, pipes, hanbos, batons, knives, brass knuckles, etc.

Marco Polo is not as endearing when played with bloodthirsty zombies.

As with the first game, lighting plays an important role and is well implemented whether in partially lit scenes or dark corridors requiring a flashlight. Objects are convincingly illuminated and shadows are believably cast. It's all in service of the post apocalyptic scenario and happily adds an extra layer or discomfort.

The level of detail constantly impresses me. The flyers posted (above, top) not only show particulars that many games eschew, but even appear wrinkled and otherwise worn. Some machines or monitors (above, bottom) likewise display detailed numbers or diagrams. Admittedly, such treatment is inconsistent, but much better than many other titles.

I want to see a zombie apocalypse version of Tool Time with Tim Allen.

Workbenches return to allow players to repair, upgrade or create weapons for a cost, nevermind that paying for yourself to do so alone at a nonautomated bench seems arbitrary. However, as in the past game it should allow for the creation of some formidable weapons when combined with items like nails, batteries, etc.

See the Joker in the middle of the floor at the bottom of the above screenshot? No? Why so serious?

Technical glitches likewise make a return in Riptide. Up to this point the only thing I noticed regularly was collision detection issues where my crowbar would phase through objects like doors. But the above issue, where a substance like water appears to flow through this engineering deck, is a unique problem triggered only when standing in one spot.

The only good zombie is a dead zombie. Double-tap dead, that is.

Finally I'm able to engage the undead in some satisfying combat. At least this early in the game, it still plays much like the original game. In fact I kind of regret not using my initial upgrades to complete my Fury skill tree or mostly finish the Combat skill tree and thereby try out John's uppercut, run kick or area attacks.

In any event, the standard kick or weapon attacks prove as reliable as ever in combating the low level zombies players face in the beginning of the campaign. Context sensitive damage and rag doll physics once again make fighting intense, and still remind me of the exceptional melee combat in the Condemned series.

Do zombies dream of undead sheep?

This dead undead made me laugh by still looking around despite being permanently felled by my boot. Another more significant glitch involving zombies occurred when I stomped a foe who had fallen. Despite having practically full health, he fell through the floor and died immediately. I'll take the TKO.

Turns out, the undead are not so well armed.

I took off this zombie's arm (above) with a lucky kick. Depending on equipped weapons, there are myriad ways for the undead to be dispatched. As with the previous title, I assume some strategy will be involved, such as lopping off the powerful arms of thug zombies.

Air stenciling is a practiced art on long, lonely voyages.

Graphical glitches like the one described earlier or the one above involving a letter stenciled in the air are not uncommon. Unfortunately collision detection problems like that involving my crowbar or the felled zombie are more common. Others such as disappearing weapons are recurring as well; indeed one I picked up never appeared in my inventory.

You'll never hear anyone say to a zombie, "Don't lose your head!"

Injury is context sensitive so a blow to the head with a wrench can split open a zombie's noggin (above). What impressed me is that this wounded zombie lifted his arms and charged me nonetheless before falling for the last time. I'd seen such behavior in the first game but it still is a pleasant surprise.

Bob rises to the occasion, over and over and over again.

Another humorous glitch can involve floating zombies. Once felled for good, the one above bobbed up and down lower and lower until shooting up out of the water like a whale breaching the surface before repeating the process over and over. It's an odd display to be sure but amusing nonetheless.

The glitches, however, have not undermined the fun I've had playing Riptide. Frankly, I have not experienced much new that the game has to offer though I wouldn't expect to this early (unless I had maxed out the Fury or Combat skill trees). However, I enjoy the ship setting, which also includes multiple paths in some instances.

Indeed, art design and level design thus far have impressed me, and the gameplay maintains the same intuitive control as the first game. QTEs likewise return when overcome by a zombie, but they're simple exercises. If the beginning is any indication, gamers will love or hate this game depending on how they felt about its predecessor.

For my money, I can't wait to continue the campaign, especially online with friends (you reading this, mojomonkey12?).

Screenshots for Dummies (Like Me)

2013-04-09T15:00:00Z

I am a decent screenshotographer. I should know, I made up that ridiculous, pretentious label. But don't take my word for it, ask the voices in my head (seriously, voices, you're embarassing me!). Anyway, I've been asked about my screenshots over the years, though more often lately. So I've decided to pull back the curtain on this freak show.

I say freak show because you will see that the quality of my screenshots is in direct proportion to how obsessive/compulsive I can be and to what degree I am a perfectionist as opposed to my having any real skill or innate ability when it comes to the visual arts. So if you share these traits, congrats, you can be a screenshotographer too!

I suspect people ask about my screenshots so they can benefit from my considerable wisdom and do the exact opposite of what I describe. After all, if you're familiar with how I play video games, you've probably got a healthy mistrust of anything I can tell you that masquerades as advice. And in that regard, you've got something in common with my kids.

And just like with my kids, I am going to use a lot of fancy pants language to beguile and distract from the fact I have no idea what I'm talking about. I'll discuss things like composition, shutter speed ... well that's it, I don't know any other photography terminology. Well I know aperture, but have no idea what it is outside of a name in Portal.

Hardware

I'm most often asked what I use to take screenshots. Well I don't use video or screen capture hardware/software, though if you've seen my action shots, that fact is too painfully clear. The fact is, I need a relatively cheap and easy means of taking screenshots, because I'm nothing if not cheap and easy.

If I remember, pricing for video or screen capture hardware/software begins around $100 and can cost up to several hundred dollars depending on quality. It also operates with a PC, and my setup makes such a connection impractical. So my poison has always been cameraphones.

For the past several months, I've been using a Motorola Droid Razr smartphone (above). I'd argue that a smartphone is only as intelligent as its operator, but that's another discussion. For two years prior, I was using an HTC Droid Incredible (a decent phone, but hardly incredible), and previous to that I'd used an LG flip-phone.

One consideration for quality is how your camera settings are configured. I might be confusing my current phone with my previous model (confusion is my normal state), but I can't seem to find more detailed settings such as resolution; however, it is an HD phone and I believe the resolution is set high (as I'd set it on my prior phone).

An important element is keeping flash off, which goes without saying but can be problematic as my Razr's default is flash on (at least the Incredible remembered your custom setting). If adjustable, also consider changing the brightness and color settings to ensure the image closely resembles your TV/computer monitor and is also clear.

For what it's worth, I play on my Playstation 3 most often. I don't recall to what extent the visual settings are adjustable, though I suspect mine were left at the defaults. (Last but not least, remember to turn any lights off, or risk glare.)

I recently upgraded my TV monitor to an LG LED HDTV, model 42LM3400/3700 (above), which I've been using for the past few months. Prior to that, I had a Sony Bravia, model KDL-V32XBR2. In comparison, the former has a clearer picture due to the LED screen and/or better contrast in general (the latter is notorious for a too-dark picture).

The TV settings mostly were left at their default options though I might have tinkered with a few. For these it's always preferrable to try a variety of channels to ensure that the settings are the most effective regardless of the image. That said, you might not want to trust an old man with poor eyesight and even worse judgment.

Composition

When I talk about composition I mean how you stage the screenshot. That might not be the conventional definition but I'm decidedly unconventional -- or at least stubborn, so my definition stands for purposes of this exercise.

The first consideration is framing. When I play, I sit a few feet from the screen. That might not be optimal for any number of reasons, but with a 42-inch screen I like the perspective sitting at that distance. Also, when I need to charge my controller or wear my wired headset, that's as far away as I can sit. But let's pretend it's my choice.

It also happens to be the best distance for taking screenshots with a smartphone. I try to match my phone's viewscreen with the TV screen (I also have my cameraphone set to widescreen, which I believe is default but happens to also match my television). This cuts down on the need for cropping screenshots and also gives a better representation when sizing.

The next consideration is the image itself. In general, I try to take screenshots during lulls in onscreen action, as this allows time for staging the shot you want and ensures a more clear image. For this discussion, I'll break it up into two sections, still life and action.

Still Life

In between action, you have the opportunity to establish the shot that will best present visually whatever idea you're inspired to blog about. In other words, you can move your character to the optimum location, change stance or equip your character as appropriate, adjust the camera to the best perspective, etc.

For instance, if you want to capture the level design, you'll move to the spot that will provide the best overall view; conversely, if you want a character close-up, move to the nearest wall and swing the camera so it's facing your character (all the while keeping in mind how in-game lighting will impact your image).

There have been occasions where I'll need to adjust my cameraphone's settings while staging a screenshot, typically because the image in my viewscreen doesn't match the one on the TV monitor whether color, brightness, contrast, etc. Sometimes just focusing (pressing the touchscreen) in a given area will have the desired effect.

Regarding the focus feature, I usually have to press the touchscreen between screenshots to ensure the image is in focus, as the camera will often refocus on its own (resulting in shots taken mid-focus). And as suggested, focusing on different areas will alter the image (i.e. pressing on a dark area will lighten the image; pressing on a light area will darken it).

Action

I've gotten to the point where I typically try to avoid actions shots, though that hasn't stopped me on any number of occasions (did I mention how stubborn I am?). The problem is that when taking shots manually, as opposed to with video or screen capture hardware/software, images are necessarily blurry and suffer from ghosting (or trailing animations).

Part of the problem is a logistic one, as it involves resting the controller on my left thigh while holding the fingers on my left hand over two or three buttons necessary for executing certain actions including pausing the game, while simultaneously holding my smartphone in my right hand between middle finger and thumb and with my index finger on the shutter button.

The process is a little less involved when taking screenshots of cut scenes or scripted events (unless, of course, quick time events are included). These sequences typically involve alternating between pressing the touchscreen to focus and pressing the shutter button, often in a kind of QTE all its own to ensure that I capture an otherwise fleeting moment.

Despite my best intentions, all such screenshots are invariably of poor quality and require some heavy handed editing. In fact, I included two examples below to best demonstrate the impact of the editing process; though in retrospect the result is worse than can be achieved with still life images and, frankly, might undermine this whole endeavor. Oh well.

It's for these reasons that I'm more likely now to show the outcome of action instead. However, more games help pause the action, such as The Elder Scrolls V: Skyrim, Dragon's Dogma (which actually allows in-game screenshots) and Tomb Raider. Even this might be moot if next gen hardware in fact includes video/screen capture capabilities.

Upload/download

The next step is uploading/downloading one's smartphone pictures. This can be done locally via cable to one's PC or remotely via the phone's share feature to an image hosting website like Flickr (which I use for more flexibility and to save my screenshots online). On Flickr, shots are saved to a Photostream that can be easily accessed.

When I do upload to Flickr, I do so in quantities of eight at most. To do otherwise has resulted in some images failing to upload right away if at all. Likewise, I'll wait until all eight are uploaded before choosing another batch to send, as multiple concurrent uploads jeopardize the successful transmission of any one image.

Flickr allows users to save any size of an image to a destination such as one's desktop. I typically will save a 640 size copy as 610 is the maximum allowable size for posting to GIO. I also will save a 1024 size copy for use as a Hero Image given that the maximum is 910. In this regard, the higher your camera resolution is set the larger the images you can use.

Editing

Although my smartphone has photo editing features related to lighting, effects, color and cropping, I rarely use them as they tend to be simplified functions best for sharing with social media. Instead, I use photo editing software. Again, I go for cheap and easy so use software already installed on my computers or whatever came with respective office suites.

Now, the tricky part here (and it's ALL tricky IMO; after all, you can't teach an old dog new tricks) is that photo quality is going to change depending on the hardware or software used. From TV to console to phone to computer, each has its own settings that impact how your screenshots appear. Viewing them in a Web browser can vary their appearance further.

That said, you can't account for how other components portray an image, including how readers of your blog have customized the settings on their viewing devices. You have to adjust each component's settings independently and hope they all play nice together.

My default program of choice is Microsoft Office Picture Manager on my PC. To begin, I crop the sides of each respective screenshot, and virtually every image requires cropping. (I'll adjust the rotation first if necessary, but usually this step isn't required due to the time taken to carefully frame each shot prior to taking it.)

Once cropped so only the image shows, I resize it to fit the maximum allowable size on the site (a width of 610). This tool resizes the entire photo larger or smaller in preset increments; to be more precise so most photos are of a similar size, I sometimes use the cropping tool again to adjust specific sides.

Color can be altered based on three measurements: Amount, Hue and Saturation. I don't use Amount or Hue much, as the former I think ranges from grayscale to darker shades, whereas Hue is like tint and makes images more red or blue. Both just aren't very practical. I end up adjusting Saturation on most images that I use.

Saturation will impact how bright each color appears, which is especially helpful when images are washed out. An interesting side effect is how small adjustments into the positive range seem to help sharpen the image by subtly brightening colors; in fact, in lieu of a Sharpness or Definition option, I'll use Saturation to make most images more clear.

Brightness and Contrast likewise is a helpful setting. There are three measurements including Midtones. As with color, I don't often use two of the settings, Brightness and Contrast, though might make incremental changes. Midtones is the tool that I most often will adjust and sometimes dramatically.

The advantage of Midtones is that the changes are more subtle. Brightening into the positive range won't wash out the image, whereas darkening into the negative range won't obscure it. Interestingly, incremental changes in this tool (like in Saturation) has the effective of seemingly making the screenshot more clear.

The advantages of such software might not be readily clear in these comparison shots (above), but please don't judge the process based on how big a tool the screenshotographer is. Again, I think the difference is more obvious with an action shot even if the final result isn't a high quality image. On second thought, go ahead and consider the source. I would.

When using a Mac, I start off with Apple's iPhoto '09 (Version 8.1.2). This program has basic Edit features such as Straighten, Crop and Adjust. The only option that's missing is one to effectively resize the image, for which I use different Apple software that I'll mention below (there is an option in iPhoto, I believe, just not one that's practical).

Straighten allows the image to be rotated accordingly. As on the PC, this is not a tool I need to use often, however, the option in iPhoto or Microsoft Office Picture Manager is fairly intuitive and, as in the case above, allows me to make small adjustments that can account for the occasional crooked action shot.

Cropping an image is pretty straightforward though it's handled almost exclusively through manipulating the frame. There is no option to adjust each side based on measurement. To that extent, this tool is not as effective for sizing as it is for adjusting image borders.

The Adjust feature allows for customizing a variety of elements though I tend to use mostly Saturation, Definition, Shadows and Sharpness. Saturation impacts color, Shadows is similar to contrast, and Definition and Sharpness affect image clarity. The latter two are particularly useful tools that I wish were options in Microsoft's software.

As indicated earlier, there is an option in iPhoto for adjusting size. However, if I recall it offers predetermined choices for generic sizes without providing a corresponding measurement. I therefore use Apple's ColorSync Utility (Version 4.6.2) to resize images as it allows one to input custom figures, ensuring that screenshots can be size 610-by-X.

Hopefully, as in the earlier example, the difference between before and after screenshots not only is appreciable but improved as a result of my tinkering. At the same time, this exercise might serve as a cautionary tale about taking action shots with a smartphone, which in hands as adept as mine is less smart than smart aleck.

The last step is to use the insert image tool in Advanced Editor on GIO for adding each edited screenshot to my draft blog. I'm not advocating others follow this practice, as I understand that adding such media to the site potentially can slow it down. Indeed, links from image hosting sites like Photobucket can be used instead.

The reason I don't use links is because many times links to such sites (and I've used two or three, though my feeble mind can't recall the others) have failed me. Conversely, inserting the images themselves always meets with success. Though again I encourage others to do as I say not as I do because my example speaks for itself. (That's what I tell my kids, anyway.)

That said, I do try to post fewer screenshots. As opposed to the phlogs that used to include up to 40 images, I now routinely will post ones that display 20 or up to 30. The main impetus is to keep from weighing down the site (in lieu of using an image hosting site), but also it just takes way too much time to create longer phlogs.

By the numbers, my phlogs historically have run with 20 to 40 images, so let's say 30 on average. For every image, I've taken between one and, let's say, five shots in order to have one image that's useful for editing. On average, that's three shots per image. That means that, on average, I've taken 90 shots. That doesn't count images I reject, so let's round to 100.

Those 100 shots typically represent two hours of playtime. Now, the 30 images I actually use have to be edited prior to posting, and then I have to write my phlog based on my playtime and often reference the content in those images (including captions at times). I use Advanced Editor because I can save drafts, an important option for me as I write as time allows.

In my experience, it takes me at least four to six hours and as much as eight to 10 to create a phlog. That includes time spent playing, uploading/downloading photos, editing screenshots and writing copy, all over several nights during any given week. Perhaps now you recall how I mentioned I can be obsessive/compulsive and a perfectionist.

That said, the process is a labor of love for me. Yes, love for the medium but, more importantly, love for the community as well. Without the support and encouragement of the staff as well as friends I've made on Game Informer Online and even members I don't know, I would not be inspired to put as much time and effort into my phlogs.

So, thank you to everyone on GIO for welcoming me into this community and making me continue to feel welcome every day. It's an honor and a privilege.

Happy fishing!

Under the Columbia Big Top

2013-04-06T01:00:00Z

The circus has come to town if Irrational Games has anything to say about it. With a high wire act, balloons, magic, pyrotechnics and a freak show, Columbia resembles less an exemplary bastion of Americana than a cavalcade of weird -- albeit entertaining -- eccentricities. And befitting such a creative presentation, it's hard to keep away from BioShock Infinite.

My relatively short stay in Columbia has been spent mostly consumed by the details, and they lay bare not only the ambitious nature of Irrational's undertaking but also how such a grand design can sometimes gloss over particulars that taken together could help undermine an otherwise solid foundation.

A retiree's dream, where you never have to yell "Get off my lawn!" again.

The design of Columbia inspires with its platforming possibilities. The Sky-Line itself certainly is a welcome means of navigating the city, however, the opportunity to jump from one building to another a la Crackdown would have added a compelling element given the various platforms that make up the metropolis.

Of course when I tried to only jump down to an adjacent building (above), I apparently transgressed gameplay parameters and was gently put back from whence I came. In a way, I would have preferred a barrier instead of this enticing possibility. As is, I tried again, with predictable results. Fool me once, shame on you; fool me twice, shame on you again.

Who knew shining shoes pays for the same wardrobe as one's well heeled clients?

On at least a couple occasions I was able to stand on someone's head without so much as a peep from them (above). Perhaps they just ignored the visitor's backward ways or it's established custom. But if I was this customer, I would have demanded my money back as the brush was about two inches away from his shoe at all times.

A man of many hats, though you wouldn't know it to look at him.

A pet peeve of mine with Infinite is shared by other titles but seems especially egregious in this game. The developers, at least early in the game, appeared to have settled on only a small handful of character models. Not to mention that wardrobes are likewise limited to a few styles.

I'm hopeful that like the engineering feat necessary to keep Columbia afloat, scientists were ahead of their time where cloning is involved. Otherwise, I suppose the apparently small genetic pool and limited clothing options could be a consequence of Columbia's remote setting. Right?

Barbershop quartets in Columbia armpit-fart to the oldies.

These couples not only could pass for twins but wore the same clothes and even posed the same despite being in two locations only yards apart. I had to do a double take! Haha get it? Unfortunately the joke is on gamers when the creativity on display with Columbia architecture and interior design doesn't extend to character creation.

Different colors couldn't mask their shame at dressing alike.

In fact, there are so few character models at least in some areas that in crowds you'll inevitably see several of the same design. Of course it's not a deal breaker but it's so common as to be a constant distraction everywhere I go. It makes me want to punch somebody, but that's not an option. I tried.

I said "flour," not "flower."

It also would be nice to speak with anyone I meet though, as with other games, this is not an option. There are a few NPCs one can actually speak with, then there are a few others that will talk to you if not with you. At least most will have a few lines of dialog that they initially exchange with each other, which can be amusing.

Finally! Do you hear that, toaster?

Then there are those hawkers who actually have something meaningful to offer you. Vigors, like Rapture's Plasmids, instill abilities that open the gameplay in compelling fashion. I've only obtained Devil's Kiss, Possession and Murder of Crows so far, but they help thin swarms of foes.

When I snap my fingers, you will sing "Call Me Maybe."

Irrational deserves credit for creating an atmosphere that not only feels authentic to the setting's historical period, but at the same time is a convincing alternate reality that explores the road less travelled. Like Rapture before, Columbia is a testing ground for "what if" scenarios that play out like cautionary tales.

Such speculation would fall flat if not for the obvious research and care taken when recreating the period. Irrational games boast authentic architecture and interior design as well as wardrobes and accents such as furniture, paintings, etc. With that foundation, imaginative devices, materials and capabilities are made to seem more plausible and real.

Perhaps that's what makes certain technical issues all the more jarring (also, I don't recall such problems with the original BioShock). Besides mention in my previous blog of the door I could pass through and bland textures, I noticed many collision detection issues such as plants that poke through walls or bodies through furniture, and some mediocre particle effects.

I possess this wall in the name of noobs everywhere!

Animation for the Possession vigor is admittedly impressive, even when one inadvertently unleashes it on a nearby wall (above). Too bad it can't simply float to the nearest enemy, however, I can't fault the developers for not taking into account my occasional ineptitude.

Some have elevated camping to an art.

Taking possession of turrets has the same impact as the hacking minigame in the original game in this series -- and is likewise effective at clearing an area of enemies. I don't recall that the hacking effect wore off as possession does; nonetheless, it bought me time to approach this turret from behind (above).

Once so strategically situated, I proceeded to melee the turret into submission, or so I thought. How was I to know that its swivel base turned in a complete circle (especially when its patrolling radius is, at best, 180 degrees)? Cue running away, though if I stood my ground I might have taken less damage LOL.

Faustian bargains are a dime a dozen; pitchforks are extra.

As in Rapture, the illustrations of how vigors/plasmids work are entertaining vignettes made in a style befitting the historical period. A nice option is how vigors can be upgraded to vary their power in interesting and effective ways. Once again, the gameplay is proving to be an addictive and entertaining element.

I don't know what's worse, floating a capella stages or flying gunships.

The architecture and overall ambience of Columbia might set it squarely in a historical period, but its setting among the clouds is vintage science fiction as are its vessels such as the floating stage (above, top) or gunship (above, bottom). Note the two dimensional smoke that also animates awkwardly, a distraction in an otherwise compelling scene.

Today's Columbia forecast: Partly cloudy with a chance of Armageddon.

As suggested, the overall art design is a marvel even if some details are less than marvelous. The best science fiction has an aire of authenticity despite its subject, and with Rapture and now Columbia, Irrational has created iconic settings that not only faithfully recreate American history but twist it in ways that are awe inspiring.

Ominously, real estate in Columbia is an Open House, minus the buyers.

Interiors, too, have character and likewise inspire with their overall design as well as the complementary items they contain. From the initial church you pass through to the various stores and homes, each benefits from a distinct identity that nonetheless ties in with the general Columbia aesthetic.

Scrapbooks scream warm fuzzies, albeit muffled, underneath a gag.

Some details might have been overlooked by developers, but then there are fascinating ones like this photo left among items on a large table, which could easily be missed by passersby. Seemingly an image of someone shot while sitting in a chair (a harbinger of things to come), it tells its own story of Columbia.

Apparently it doesn't pay to be in business in Columbia, unless that business is stealing.

The honor system referenced in signs around Columbia (see the store above) apparently is not enforced even by shop owners a few feet away. While not entirely unusual in games, there are plenty with context sensitive AI that will react to such thievery. Too bad Infinite is not one of them.

The irony of salt associated with both vigor and heart disease is lost on Columbia residents.

Combat, at least early on, is not too challenging even on the default Normal setting given the glut of ammo and salts (for replenishing vigors). That said, there are moments, especially after Firemen or Crows are introduced, that you might wish you could maintain an inventory of found items for just such occasions.

Things are rarely black and white, unless told via silent film.

Recordings continue to be an effective means of providing a context for the action in Columbia (as it was in Rapture). In Infinite, Kinetoscope kiosks also provide some background information on the floating city. All such materials help inform the gamer's knowledge of Columbia for a fluid in-game narrative.

Irrational confronts racist attitudes in Columbia head-on with an unforgiving portrayal that should disgust. Such unflinching explorations respect grown audiences with mature subject matter and can contribute to more compelling narratives. Indeed, the story of Rapture is one of this medium's best, and Columbia starts out strong.

Rock-paper-scissors is not recommended with the Sky-Hook equipped.

In lieu of true platforming in a setting that practically demands it, the Sky-Hook tool enables quick and easy movement throughout the city via the Sky-Line. It also happens to be a pretty effective melee weapon in a pinch (above). Wielding in combat is simple, though getting the hang of the Sky-Line is more involved.

Visitors to Columbia survive by hook or by crook.

Freight hooks (above) are affixed to the facades of many Columbia buildings and offer an alternate means of traversing the city with one's Sky-Hook. The combination of these and the Sky-Line are, in fact, an effective and practical means of moving around this urban landscape (airscape?) but I still miss the simple pleasures of jumping and climbing.

Joey Lawrence takes to the Sky-Line.

The speed and winding nature of the Sky-Line can be disorienting for the uninitiated, nevermind the controls to consider when riding for the first few times. Though it functions as a kind of on-rails segment whenever you ride, its relatively unique design ensures a breathtaking journey every time.

A sunburst beside a large oil slick, what's the worst that could happen?

Among your options when on the Sky-Line are the abilities to shoot at enemies, strike those approaching in the opposite direction or launch yourself onto foes on the ground. Also, ubiquitous oil slicks are this game's explosive barrels when combined with the Devil's Kiss vigor. Good thing Columbians aren't that fastidious about their oil spills.

Booker quickly learns that "going for the jugular" is not just a metaphor.

When on the ground one of the Sky-Hook's brutal melee options is a finishing move once a foe is momentarily incapacitated. Yes, this tool is the Swiss Army Knife of Columbia. I haven't tried to open bottles with it, but it's pretty effective at opening veins.

Pistol whipped can be done at a distance, too.

Like its predecessors in the BioShock universe, Infinite sports a pretty solid FPS mechanic. Whether taking on foes in a close quarters firefight (above, top) or at range (above, bottom), targeting is fluid but precise and hits are context sensitive so headshots are immediate kills but others will injure and foes will react accordingly.

Of course, foes don't always behave accordingly. Often if you're on the edge of their awareness, they'll suddenly lean into an aggressive posture but only momentarily and you can walk away. Likewise, when they do attack they'll only chase you a relatively short distance before abandoning the pursuit. And yeah, I will run away to save my hide LOL.

Firemen in Columbia are poorly trained to say the least.

For the record, I will high tail it away from Firemen if they get the best of me. These foes create fires with their fireballs instead of putting them out, and a panicked spray and pray response is not recommended, trust me. Likewise for the nasty Crow gentleman later. How they even allowed Booker into the Pinkertons is beyond me!

My problem, among admittedly many others, is I need to spring more traps which I did aplenty in Rapture. An advantage in Rapture is that Big Daddies didn't pester you unless you crossed them, so there was time to scout the terrain and plan a defense. In Columbia, foes will react on sight; besides, traps are secondary options for vigors so play out differently.

Columbia hasn't seen this much carnage since The Rolling Stones.

Speaking of fire and other elemental effects like smoke or water, animations are not entirely convincing. That is to say that they can be adequate, but often appear two dimensional. In fact, I have seen better in several other titles. But again it serves its purpose and in the context of the game as a whole is not a big issue.

Firefights tucker everyone out.

In general, firefights are an entertaining affair given the variety of options at your disposal such as standard firearms and the offensive and defensive capabilities of vigors as well as environmental hazards you can use to your advantage (above, darn those oil spills!). And I'm only at the beginning of the adventure.

Heads, you lose. Period.

Between effective ragdoll physics, context sensitive injury, fiendish vigors and finishing moves, battles can be brutal affairs. Despite some shortcomings, enemy AI so far is competent and at times wages stubbornly decent resistance. Throw in various enemy types all at once and it's enough to keep this Pinkerton agent on his toes.

Booker's office has impressive restorative properties. Shots and shots of them.

In fact, I did die on a few occasions. Taking the criticisms of Rapture's Vita chambers to heart, a respawn likewise replenished some of the enemy's health, and costs the victim some of their hard earned (i.e stolen) cash. Interestingly, falling in an accident such as trying to leap across platforms doesn't count as a death, only as a very stupid move.

Elizabeth will follow your lead. Unless you call her Lizzie.

I encountered Elizabeth at the end of this portion of my journey and the gradual means by which you're introduced to her is a nice reveal. Likewise, her innocence and naivete is a welcome alternative to other games' know-it-alls or wannabe know-it-alls, and sets up an interesting dynamic with Booker.

All in all and despite being a relatively short distance through Booker's journey, I'm not surprised that the art design in general is compelling, the story so far interesting and the gameplay overall is entertaining. Some of the choices or lack of attention to detail are disappointing but thus far do not undermine Irrational's achievement.

Time will tell if Columbia can match Rapture's heights (a tall order for me as the latter is among my top games), but the ingredients are certainly in place for an immersive trek through an interesting, iconic world, one that I'm anxious to return to especially in light of my limited play time, and that is a very good sign.

The Silence Is Deafening

2013-03-28T00:00:00Z

There is a nascent movement in our industry led by a few brave women who have my admiration and respect. That is in stark contrast to their male counterparts who, for the most part, have remained conspicuously silent. I'm not talking about the rank and file, of whom more than a few have joined the rising chorus of discontent. My issue is with those men in positions of power in the video game industry. Where are their voices? Where is their outrage?

Women in the industry, whether game characters or professional contributors, long have been objectified by the patriarchal attitudes that seem to dominate corporate culture. Of course, institutionalized sexism is common in many industries but it has a higher profile in entertainment mediums that can perpetuate negative gender stereotypes. The problem is that until recently, the silent majority has allowed such attitudes to fester.

Former Game Informer staff member Meagan Marie, in her clarion call "What would you do if you weren't afraid?", is one of a few who of late have raised their voices against the perception of women as sexual objects whether in our games or in our industry. GIO member Theora Craft likewise issues a powerful statement in her blog "A Survivor's Take on Tomb Raider and the Controversy That Will Not Die." Thankfully, others here and elsewhere have taken up their protest.

These are strong, determined and selfless individuals who are leading the charge for change and we are all of us in their debt. We can only hope to live up to their enviable example. Thankfully the rest of us are not burdened with having to identify the problem, formulate an argument or otherwise take action in a vacuum as they have. The trail has been blazed in impressive fashion and we have only to take up their gauntlet and challenge the status quo.

And as indicated, some have. Regretably, too few. In fact, where are the like-minded, influential men among our industry's elite? Where are their public condemnations of such primitive attitudes and behavior? To read the variety of exposes that have surfaced and confirmation from all quarters of the industry suggests that such stereotyping not only is endemic but in fact epidemic. But to judge by the silence of men, it either doesn't exist or is not a problem.

Why? Their silence suggests that at best they are oblivious to the problem, which given these testamonials and public debates recently would be shockingly disturbing. Worse, they know it exists but they don't think it's a problem, which of course would be upsetting that such notions could still prevail in this day and age. But at worst, they are complicit in the very attitudes and behavior that their female counterparts are decrying so remain silent.

So, what are they waiting for? In the vacuum that is their silence, we can only surmise their motivation. Such speculation only can do more harm, especially when it will be fueled by these testimonials and stereotypes that persist in the industry's products. Of course, I have to believe that most men in the industry are decent, respectable human beings, and we do have plenty of examples of positive female characterizations.

But this does not diminish the rising chorus among women in the industry who are fed up with being treated like objects or portrayed similarly in too many games. Whether anecdotal evidence in the form of such public revelations or empirical when considering some of the fictional portrayals in the marketplace, the problem exists and on a scale that deserves not only the attention of our industry leaders but that demands their voice.

I don't care if the cold calculation of sales numbers gives them pause, or the perceived lack of consequence outside the looming public relations disaster fuels their ambivalence, or their ignorance has shielded their conscience from taking responsibility. I don't care what motivates their continued silence. They have a responsibility as industry leaders to take a stand against such inhumane treatment. More importantly, they have a moral obligation as men.

When confronted with such appalling behavior, we men cannot stand idley by. Nevermind the moral imperative for the greater good of society. We are born of women. We have grandmothers, aunts, sisters and female friends. We have daughters. I have daughters. And I'll be damned if I'm going to sit back and let this self-perpetuating abomination known as sexism continue to harm those I care deepest about or even those I have never met, after all, they are someone else's grandmother, aunt, sister, friend or daughter.

I've been gaming for over 30 years and have no doubt this problem has been festering since the first days. But now, with the testimonials of more and more of our female colleagues, none of us can afford to sit by any longer and allow such archaic and destructive elements continue to do harm. Join me in calling on all men, especially those who wield influence in our industry, to speak up now, lest our continued silence make us further complicit in the abuse of others.

A Glimpse of the Infinite in the New BioShock

2013-03-27T01:00:00Z

BioShock ranks among the top two or three games I've ever played, so my anticipation for Irrational Games' newest entry in the franchise was high. I therefore intend to document my journey through Columbia, the setting for BioShock Infinite, like a tourist visiting a favorite destination (and with more than one photo essay).

In the process, I will try to take screenshots that offer a new perspective on familiar settings for those fans who have taken advantage of the glut of media coverage, while likewise trying to avoid spoilers. Still, I do offer a spoiler alert for those images or descriptions that might offer too much detail than readers want.

Oh goody, now I can wash off all that water from the Atlantic storm I was just in!

The first setting is an iconic lighthouse like the one that opens the original game. I don't recall exactly how the presentation compares, however, I did take notice of blurry textures up close and some jagged edges. Also, water animation appeared more two dimensional than not.

The art design in general is solid, with details befitting the Maine coastal setting. And accents with a religious overtone or more threatening context can effectively make one feel like the proverbial fish out of water. I don't know what Ken Levine has against lighthouses, but in the BioShock universe they are effectively creepy gateways.

The Doors' Break On Through (To the Other Side) is stuck in my head, like this door.

One surprising glitch early on was being able to pass through the wood of a door to the lighthouse (above). Of course it doesn't impact gameplay and is a relatively minor quibble, but for a game so reliant on immersion and atmosphere, such a glaring collision detection issue was jarring.

Little known fact: Turn of the century nightlights used uranium, though not for long.

Among the gameplay options, I believe, is turning off item indicators and other in-game notifications. Given the blinding glare coming off this object (above), that might be an option I consider. It's interesting, though, how some of the same items (like silver coins) had a glint in some areas but not others, irrespective of lighting.

I wish I had faux money to keep in my faux drawers ...

Settings are well designed with the kinds of items one might expect from the early 1900s, though textures unfortunately can lack detail when viewed close up. Of course this is not atypical even for current gen games such as id Software's Rage (which the above reminds me of), but plenty of titles manage more meticulous composition.

He began to regret that his wife had to row to the mainland for the Band-Aids he forgot to pickup.

BioShock's Rapture was an iconic setting filled with beauty and horror, but in BioShock Infinite the developer doesn't wait till gamers progress to Columbia to add some shock value. Irrational Games has proven themselves adept at establishing atmosphere and this title continues that tradition.

Puzzles appear early and while this one was overly simplified it hopefully is a sign of more to come. (The symbols actually are recurrent and tie in with Columbia iconography.) Indeed, I earlier spent time studying a map and schedule in anticipation of possible puzzles later. I do hope there are some hacking games similar to those in the first title.

As in BioShock, the first glimpse of Columbia is an awe-inspiring image. One can only hope that Irrational has succeeded in creating a setting as well conceived and ultimately iconic as Rapture, which was arguably the strongest character in a game filled with memorable figures.

Behold, Comstock Candles! Follow the light to savings, at a store near you.

It's fitting that religious elements are so prominent in a setting among the clouds. Contrasting games, I find it interesting how one descends to Rapture where men rule, but ascends to Columbia (from practically the same lighthouse) where God figures more prominently. Of course, both are seemingly doomed by human frailties.

I don't think it's coincidental that on the way to Rapture (even in the lighthouse if I remember) one confronts at least one statue honoring chief architect Andrew Ryan, whereas on the way into Columbia images of reputed prophet Zachary Hale Comstock greet visitors, both influential men in their respective settings.

Someone forgot to turn off the baptismal font again.

The initial setting in Columbia is a kind of church and from the ubiquitous candles and stained glass to the pews, altars and statues, the design is effectively evocative. But what elevates the design is the layer of water underfoot (above, top) and the hymns that resound throughout the building.

While animation of the Atlantic ocean could seem two dimensional especially when splashing or surging against rocks, the water in the church ripples convincingly and has superior reflective qualities. The effect is sublime. And the choir adds a dimension of depth and contemplative mood wholly befitting the surroundings.

Ted hoped to one day overcome his misfortune as a Columbia care package teddy bear.

Like the buoys, fishing nets and lobster traps found in and around the Maine lighthouse, items in the temple convincingly depict their setting whether the church in particular or early 1900s Americana in general (above). These accents help inform the world of Columbia and can obscure the sometimes rough textures.

The water inside the church not only is a compelling aesthetic but of course has significant religious symbolism especially as a purifying agent. The fact that it also is reminiscent of the leaky underwater setting for Rapture is just icing on a richly designed cake.

A word of note: I think it's the dialog in this scene (above), delivered in the manner of a sermon, that not only reinforces the importance of religion in Columbia but hints at the stereotypes and xenophobia that reportedly permeate the city. It also suggests a possible cult of personality around Comstock.

Penny for your thoughts? And your soul! Mwwahahaha!

The fact that one has to be baptised in order to enter Columbia helps illustrate the degree to which religion is a part of Columbia life. That the scene above reminds me of the film Dark City either is the result of an overactive imagination or a conscious choice to instill a sense of dread in gamers.

"Please, oh please help us fix our Clapper."

The church is an interesting mix of inspired spiritual setting and at times oppressive environment, no doubt setting the stage for the reportedly complex and controversial issues that inform the narrative. This is not unfamiliar ground for Levin and company, who have demonstrated their acumen when weaving interesting, thoughtful stories.

This hummingbird considers poking awake the man in the distance. Never trust a BioShock bird.

At arm's length details do help establish a palpable sense of place. With creative design, impressive scale, a vibrant color palette and inspired locales, Irrational Games continues to solidify its legacy as a studio that raises the bar when it comes to creating vivid virtual worlds.

I've barely scratched the surface of Columbia, but despite minor superficial problems BioShock Infinite's compelling settings and overall imaginative art design beckon me to plunge further into Booker's (and Elizabeth's) story. And if it's anything like Rapture, the overall package including story and gameplay should create a memorable experience.

Charting Lara's Past, Present & Future

2013-03-21T15:00:00Z

The more I play Tomb Raider, the more I notice two things: Where it can be perfected, and how it's a nearly perfect homage to the original game. Admittedly still early in my play through, at a little over 15% complete, I think it's a pretty safe bet to predict that the inevitable sequel could very well be the best game in the series.

Too early? Consider that developer Crystal Dynamics not only has improved upon the license in key areas, but Lara Croft can now hit the ground running in the next installment having presumably dispelled with the origin story. Think of the first sequel in nearly any superhero series, though let's hope she doesn't lose her newfound vulnerability and relatability.

Here I'll continue using my screenshots and analysis to demonstrate how this version can provide a bridge between its predecessors and its successors, and in the meantime how it appears to be an excellent addition to the action adventure genre. (Spoiler alert, though I reveal little plot and not much more that hasn't been reported extensively already.)

Lara's transformative moment, when she first kills an assailant, is a powerful sequence that demonstrates the extent to which she was pushed to do the unimaginable. Her travails till now have shown the toll taken on this young explorer, culminating in this scene of great person trial.

It typifies this new vulnerable, real Lara, effectively separating her from the iconic legend she had become. The scene also is indicative of the new approach adopted by Crystal Dynamics, focusing more on character development and story than on action set pieces alone. And it successfully invests each player in Lara's journey.

The challenge is in maintaining this more fragile personae going forward and, indeed, others have pointed out a certain disconnect at times with the more lethal Lara that exists beyond this point. However, that path is not impossible to judge by series like Uncharted, wherein Nathan Drake never ceases to be a flawed common man doing uncommon things.

A dedicated guard, he'd never let the cliff out of his sight.

As lethal as Lara becomes, the gameplay can sometimes hold her back. In one sequence (above), Lara crouches behind one of the only sources of nearby cover before attempting to silently take out her foes. The problem, as exists sometimes in shooter games, is that an invisible barrier surrounds the object.

Instead of quickly taking out her oblivious quarry, the arrows hit air and fall to the ground. This arouses the guards' suspicion, and they soon notice the threat and nearly kill Lara. It's not an uncommon fault with games, but it still takes one out of the game and can result in a cheap death. Thankfully, most encounters thus far are fun and problem free.

Adding insult to injury, Lara behaved like he wasn't even there.

The aftermath of this assault (above) also demonstrates some poor collision detection issues with corpses in general. When Lara isn't kicking them around while walking a la Gears of War, she passes right through them. Again, it's not uncommon to the medium, but more care would improve immersion. Happily, it's less an issue with objects or the environment.

Such technical snafus are joined by a peculiar graphics glitch seen now and then, particularly in plants that disappear once you've salvaged them but sometimes in inanimate objects (such as the stone surface above, center). There is a kind of lattice patchwork, or pixelated veneer, that flashes across some textures.

In my limited play through so far, these still are relatively minor issues with the possible exception of the one gameplay problem related to invisible barriers. A little more polish certainly would have benefitted the game but its absence does not detract from the overall impression of a well conceived and executed action adventure title.

Guns eventually do appear as available weapons and in fact encompass a standard range of firearm options. That said, these are not your grandma Lara's handguns. Forget default pistols with infinite ammo; these weapons are upgradeable and reliant on found bullets, another feature that can help make Ms. Croft more fragile -- and human.

Salvaging is a form of loot grinding that adds a welcome role playing element to character development. So Lara is not only more relatable as a figure with real emotion, mental struggles and physical limitations, but players become more invested in her the more time they spend customizing her character according to their gameplay preferences.

All this helps make Lara more accessible than before. To that end, I don't know if one can max out her character's attributes by game's end, but if not than it would be nice to carryover one's unique character to subsequent releases as with Mass Effect's Commander Shepherd.

Indeed, impactful choices also would help craft a personally meaningful character. I have not heard of or experienced opportunities in the game for electing one dialog or gameplay path over another, but in my experience such divergent alternatives can only enrich the journey.

My memory of the original game involved the joy of discovery. Finding long-forgotten subterranean or otherwise hidden and expansive ruins scratched that adventure itch. The old and sometimes ancient towns or ruins among this island's landscape can be awe-inspiring, but early on, at least, they can have a lived in and sometimes derivative feel.

The wolves are real QTEs.

Wild animals were an ever present danger in the original Tomb Raider games and this reboot is no exception. Though I haven't encountered any ubiquitous bears or tigers yet (let alone dinosaurs!), wolves are a nettlesome predator. Fighting them is a panicked thrill that can lead to a gruesome end if not adept enough.

Indeed my reaction falls into one of two camps: A spray and pray arrow barrage or calm and collected target selection. The latter was in reaction to the failure of the former but, regretably, often results in the same ignominious death. I then settled on a third approach: Run away, fire from a distance, dodge, run, fire, dodge, repeat.

Must be a Motel 6 (they DID leave the light on).

Ziplines provide one means of movement and, frankly, a welcome one when traversing areas with multiple elevations. Despite the familiarity of some settings, they all benefit not only from a creative art design but also from crafty level design that demands deft platforming skills to explore.

If Lara had to hear how he threw the winning touchdown one more time ...

Lara is not the only three dimensional character as some others also benefit from depth, and their interactions together as depicted in cutscenes, found notes and radio communications have an air of authenticity. Believable dialog and voice acting help, establishing a hopeful trend for future installments.

Just like climbing the health club rock wall.

The game gradually builds upon Lara's navigation skills as she periodically takes advantage of new abilities or tools. The climbing axe, for instance, opens up previously inaccessible areas whether at higher elevations or behind closed doors. Of course such tools have the ability to open up gameplay considerably and therefore are much appreciated.

A wise archeologist, Lara still couldn't discern stalagmites from stalactites.

Lara discovers Wayne's World.

Exploring tombs has been the bread and butter of the series, especially in earlier titles of the franchise. They therefore were often expansive, elaborate settings with clever and compelling design. While exploration has slowly moved outdoors, tombs are still a linchpin common to every entry.

In this reboot, I have encountered maybe three tombs after more than 15% completion. Each is enjoyable in their own right, however, I assume such areas will increase in size and complexity the further I explore the island. For now, they are fairly linear and short, more reminiscent of the kinds of ruins in Far Cry 3 than traditional Tomb Raider sites.

What is likewise noteworthy is how each location has been taken over by the island's inhabitants, either with construction or other signs of their presence. This fact might be a reasonable expectation, however, it can detract from the joy of discovering a previously unknown, long-abandoned location.

In a contemplative mood, Lara reconsiders her chosen profession.

The exterior settings themselves are an admittedly impressive mix of small and large areas, exteriors and interiors, and various elevations. They are well balanced areas that take full advantage of Lara's platforming skills and, at least in the beginning, provide a quality alternative to traditional tomb exploration.

Who doesn't know the magic word? Lara wondered.

Heads, I win.

There's no shortage of combat though Crystal Dynamics does a good job balancing the game's pacing between exploration and action. Likewise, melee or ranged options are fairly well balanced, especially when the former employs the climbing axe, for fights that can be taut and entertaining. Dodges and shoves prove worthwhile defensive moves.

Along those lines, it's gratifying to see a variety of foes, even this early in the game, that use a variety of tactics, whether relying on ranged attacks or charging for brutal melee assaults. I'd also recently encountered a heavier class foe, who uses a shield. In general the AI is pretty standard, moving between cover and using grenades to flush Lara out.

Speaking of Lara, her character can take cover, emerging briefly to fire at foes. Targeting is precise and all weapons to this point handle well. It's also easy to switch weapons on the fly by using the directional keypad (on the PS3). The bow and arrow proves reliable in ranged attacks that can silently take out numerous foes; the axe is its brutal close quarters counterpart.

All this of course represents a marked improvement over Lara's past cartwheeling ways. Gone are her acrobatic skillset and infinite ammo pistols in place of more realistic options when confronting the various threats on the island. Though she benefits from now-standard health regeneration, her actions are rooted more in real world considerations than fantasy.

Even the best explorers forget where they left their keys.

Movement in the game is fluid, alternating between player controlled action and scripted sequences whether experiencing dramatic moments or passing obstacles in Lara's path. Also, navigation through the environment gradually deepens as new options for exploration are periodically introduced.

Though she knew better, Lara hoped a taco truck would soon appear.

Environments not only impress from a design perspective, even if sometimes reminiscent of settings in other games, but inspire with their array of platforming opportunities. Indeed, level design practically begged for the ability to shoot rope across otherwise impassable areas, and eventually Lara attains this ability.

Such gameplay offers a welcome and too rare feature, expanding upon Lara's growing platforming skillset. Considering the depth of her moves, whether exploring or engaged in combat, and the ability to upgrade them as seen fit, Crystal Dynamics has wisely made Lara more three dimensional and placed a degree of her development in the hands of gamers.

Why waste a good climbing axe when a fist sends the same message?

Necessity is the mother of invention and Lara no doubt is compelled to become a formidable warrior, though her newfound ability to cut a swath through scores of hardened foes does stretch credulity as others have suggested. Still, the narrative does provide a context for such an evolution and her victories can be hard fought.

To this point, Lara could only shove foes away. The addition of the climbing axe made melee combat a viable option. However, dodge is still an important feature as foes can interrupt Lara's attacks and strike back. But successive blows will stun enemies long enough for a finishing move. More options such as parry will help deepen this alternative.

I'm hopeful later tombs will be more elaborate in layout and design, carrying on the series' considerable legacy in this regard. Up till now they have been creative and well detailed if short and linear. The simple Hall of Ascension puzzle (above) even gave me fits with its exacting timing, though I know more challenging ones follow.

They weren't kidding about leaving the mattress tag on.

How nice of them to leave the welcome mat out.

I knew from trailers and other media that some interesting elements would be incorporated into the game, but still was gratified at their appearance and implementation to this point. Indeed, the surreal settings and fantasy motifs cleverly pay homage to the original game(s), which likewise invoked the potential for otherworldly consequences linked to lost artifacts.

That said, the suggested context for these elements is a well worn concept and can come across as merely derivative if mishandled. However, the backstory as revealed in found documents is well written and narrated, and the story in general is a compelling treatment that succeeds in fostering and so far maintaining interest.

Nevermind that exploring these elements in the game world is an entertaining journey in its own right and suggestive of the survival horror genre. Indeed, I decided to throw caution to the wind and follow a foe instead of continue in the opposite direction (second image in the series above). Lara was predictably squished.

I didn't say, "Simon says ...!"

Even when exploring, Lara is not immune to attack. Foes inhabit most areas, so vigilance is necessary. And as in the case with heavier enemies like shielded foes, lighter enemies remain part of the mix so adjusting one's strategy on the fly is important. Likewise, one should stay alert for quick time events that can occur in virtually any cut scene.

The bottom line is that this is an action adventure game that emphasizes both facets of that label. Combat and exploration both demand careful observation and quick reflexes and take advantage of myriad moves and upgradeable skillsets. In fact, movement is key to Crystal Dynamics' reboot.

I think I smell Starbucks.

The one thing I wish so far in my playthrough was that more moves were available from the very start of the game. However, they do emerge in a reasonable progression as one plays the game, and fast travel allows for returning to earlier levels that might have had previously inaccessible areas.

It's a credit to what Crystal Dynamics has accomplished that I want to have had more time to access all Lara's moves. But they deserve kudos for also reinventing the main character, creating someone we care about and want to spend more time with. The challenge going forward (in my play through and likely future installments) is keeping Lara grounded.

The natural impulse would be to up the ante by creating more elaborate stories and action to take full advantage of all her abilities, but in so doing there is a risk in approaching the iconic legend that this reboot so successfully avoids to this point. That said, Tomb Raider finds the right balance of homage and reinvention and is better for it.

Mojomonkey12 Is Pod People & Other Tales From the Alien Invasion

2013-03-16T01:00:00Z

A funny thing happened on the way to the alien invasion. This strategy game neophyte ended up enjoying my extraterrestrial visitation in the form of Firaxis Games' XCOM: Enemy Unknown. Whether playing the solo campaign or online in competitive multiplayer, the game has proven accessible without sacrificing depth.

There is only one other strategy game that I've had fun playing, and that was Sid Meier's Civilization Revolution. So it should come as no surprise that it shares the same developer and publisher (2K Games) as XCOM. Firaxis is developing a reputation for making strategic gameplay feel like a walk in the park, albeit one with enemies behind every tree.

Squads of the Extraterrestrial Combat Unit never argue about asking directions.

This is no small feat, as I typically prefer real time combat to turn-based battles that tend to be too slow, methodical and, frankly, complicated. The height of attack strategy for me is deciding whether to equip fireballs in one hand or a shield. Plasmids or Biotics are a happy stretch but that's where I draw the line.

Firaxis typically finds a happy medium. In XCOM, gamers have myriad choices both on and off the battlefield, but they don't overwhelm and tutorial elements ease you into each facet of the game. For instance, combat basics are introduced early on, such as point to point movement (above). Simple controls and visual cues help in every choice.

Even more perplexing, he had a hankering for a nice spaghetti with marinara sauce.

The next manual would warn against approaching armed comrades with glowing blue heads.

While the deep gameplay provides the raison d'etre for XCOM, elaborate cut scenes frame the action set pieces with a compelling story of alien invasion. It's not The Day the Earth Stood Still, but the overall narrative, tension and quality production values make for a solid context to the elaborate action.

And whether due to the scope of the action or the premise for it, the choice of a more stylized presentation fits well with the atmosphere of the game. It's neither the pulp treatment of the amusing Destroy All Humans or the more realistic portrayal of countless shooters, and that's to its benefit. Still, the design is top notch whether cut scenes or in-game action.

From the colorful palette to the detailed animation and particle effects, from the thoughtful level design to the intricate environments, and from quality dialog to decent voice acting, many elements are here for an engrossing playthrough. Even the helpful heads up display is unobtrusive despite the level of detail. My one real caveat is a sometimes odd camera angle.

Boy will that alien be sorry if he shoots these explosive drums beside me!

There are a lot of options when it comes to the gameplay, though squad members are typically limited to one move per turn. I don't recall the names for all options, but they can include repositioning, shooting, fragging, reloading, etc. It plays like a less precise, though effective, alternative to Fallout 3's VATS (Vault-Tec Assisted Targeting System).

As a lifelong shooter fan, I enjoy the third person shooting mechanic despite the indirect squad control as opposed to direct first or third person control common to the shooter genre. Like VATS, it displays probabilities for regular and critical hits. If chosen, a brief cinematic will show the outcome of your decision.

Kojima is anxious to prove he doesn't always shy away from combat.

Grenades or rocket launchers are among other potent weapons in one's arsenal. But tactics such as Overwatch or Hunker Down, if I remember, are equally viable. Maintaining a keen situational awareness when in the theater of operations, and exercising careful tactics, is imperative if hoping to have one's squad return victorious -- and intact.

Overhead is high so XCOM will have to bide its time before walls can be erected.

She's actually playing Galaga on her tablet, and doesn't appear to be faring any better than her comrades.

In between deployments, a central hub serves as a portal to management tasks that involve research, engineering, etc. Research, for instance, will require allocating resources for the study and development of materials that could aid in the war effort. How you choose to direct those efforts is up to you, as is the case with other management tasks.

Veterans of the video game Defender are among the top recruits. Though how one can lose a giant the size of New England is beyond me.

Deployment to hot zones is one of the more challenging choices one has to make. Panic will be reduced or at least contained in the zone you choose, but it's at the expense of greater panic in the zone you neglect. Plus you'll have to weigh which zone's resources are more valuable to your effort.

Sequestration results in Nerf armor for squaddies, who don't last long in the field. Sorry Brian!

Barracks are also available from the central hub, and here one can customize squads. The character creation tool is relatively limited, but at least allows some differentiation among squad members. Also selectable are character class (mostly standard choices), loadout and abilities (I believe these can use alien tech for more welcome variation).

All in all, it's a fairly broad suite of choices that further help budding Sun Tzus weigh the options that best reflect their gameplay style as well as mission objectives and each unfolding scenario as it develops. It should be noted that navigating the various menus in this game is a fairly intuitive and user friendly process.

To hell with camouflage when your hair can look this good on the front lines!

My Fantastic Four out of the gate (above). L-R Brian Seavey, Rich Dickinson, Emily Wargo and Jeremy Brown. The only difference is they don't need gamma rays to kick alien behinds. I frankly can't remember if they've been on a mission together yet, but their mere presence might be enough to convince the alien menace to turn tail.

In fact, to this point in the game I'd only played through to where the demo ended. If you haven't sampled the game or demo yet, I highly recommend you try the latter as it seems to provide a good introduction to what XCOM has to offer. Indeed it was on the strength of the demo, and word of mouth, that I bought the game.

Eric Hernandez was a grade school classmate. Now he's laser cannon fodder. That's, like, totally awesome!

I also managed to play a couple multiplayer rounds with Jeremy (mojomonkey12/jmb78). I use "play" loosely, as both he and I were pretty rusty having not played the campaign in awhile. And I use "rusty" loosely, as our gameplay can more accurately be described as corrosive.

The rules of war are obsolete, as my impatient squad members demonstrate.

While the game is relatively accessible, there is a learning curve given the breadth and depth of options available. Cycling between squad members and options related to the overhead isometric view (related to actions like move, attack, reload, overwatch and hunker down) and the behind the back view (related to attacks like firing or fragging) can be disorienting.

I initially confronted macro issues like selecting the proper squad member or positioning the camera to a practical viewpoint, while Jeremy faced micro issues such as selecting and implementing the proper action. Our initial battle in particular was more with learning the control scheme than with each other, though this was less a factor of design than unfamiliarity.

I like that boom boom pow.

The match itself was fairly well set up, with an open map that afforded various paths and cover along the way. We both had squads of six, I believe, and could choose from several character classes. I can't speak for Jeremy's alien horde, but human classes were fairly standard though augmented by some other worldly tech I think. Much like in the campaign.

Indeed for the most part I think it played out like the solo story mode. At least in my limited playthrough I didn't notice any appreciable differences between offline and online gameplay. That said, the parameters of custom matches can be tweaked to one's liking. In that regard, I'd chosen 120 seconds per turn, which didn't afford much time for strategizing.

For instance, I had a few different character classes, but only had enough time to figure out what basic actions I wanted each of the six squad members to take irrespective of their class. However, it did keep the match moving at a decent pace. So finding that comfortable balance between strategy and action might take some further finessing.

This might sting a little.

The first match proved more of a tutorial as we familiarized ourselves with the control setup. That led to a few face to face meetings (above) while we figured out how to dispatch each other. At least in this scenario, we were obliged to kill each other, unlike in our co-op games where teamkills are the order of the day.

Thank goodness we secured the bar for our posterity. A toast!

One caveat to the complex but generally well designed online matches is that in both the maps we played, we were unceremoniously kicked out of our game when selecting "continue" and back to the main multiplayer page if I recall. It was annoying to have to set up a custom match and send out an invite for each map we played.

Sometimes, a property being turnkey has its disadvantages.

As mentioned, the camera is a mixed bag. Generally, it provides helpful perspectives for combat, though sometimes it can obscure the action especially during an opponent's turn. The initial isometric view allows you to see your squad without giving away enemy movements until they enter your line of sight. Breakaway facades help with that process.

However, if trying to follow the action as a spectator, the results are less precise. sometimes the camera will focus on one squad member and in a direction that hides activity. When trying to correct, it is a challenge to easily control. Of course with practice its manipulation can only improve but at least initially it can frustrate at times.

Aliens quickly found that feeding pigeons can wait till a more opportune time.

I think Overwatch is the move I used that most bedeviled Jeremy. When chosen, the respective squad member will observe the battlefield for signs of alien activity. As soon as a foe comes into view, the squad member will fire. This means that during your opponent's turn, their squad can still take damage. This proved to be a very useful tool.

We got the beat that bounce. We got the beat that pow.

Why night vision goggles are not recommended when exposed to alien pyrotechnics.

In the interest of full disclosure, Jeremy did take out some of my squad members (above), especially when we settled into using the game's controls. I just wasn't fast enough with my screenshots to recognize the imminent demise of my troops. Indeed despite our best efforts to prove otherwise, I think the squads are fairly evenly matched.

Floater 3, still upset over his ignominious title, didn't put up much of a fight and was flushed from his position.

We didn't take advantage of the more unusual abilities afforded some squad members, but on one occasion I did attempt to control one of the alien drones. To his credit, Jeremy spotted this tactic and during his subsequent turn first took out his mind controlled squadmate. But such abilities should make for a much more dynamic competition.

If aliens learned anything from us, it's how to take a dive.

Toward the end of our second match, Jeremy put up a pretty good fight when faced with superior numbers, I think taking out a couple of my squad members before succumbing to injuries. All in all, I look forward to playing XCOM's competitive multiplayer more. With practice, it should provide a nice alternative to other multiplayer options on the market.

Likewise, the single player campaign promises to be a strong mode in and of itself. Take it from an avowed non-strategy gamer, Firaxis knows how to make accessible, entertaining strategy titles whether XCOM or Civilization Revolution. But don't just take my word for it, read others' blogs on the former (like Noobtubin8er's), which are plentiful.

In closing, read about the game, play the demo, and decide for yourself. In the meantime, I hope to spend more time battling the pod people and, if you already are playing (on PS3), look me up and we can mix it up intergalactic style.

Reimagining Lara Croft

2013-03-08T16:00:00Z

Lara Croft is a beloved icon in the world of entertainment, though more for what she represents to the medium than any other element of her legacy. But the sense of exploration and adventure that her exploits redefined have since been eclipsed, leaving this trailblazing franchise struggling to regain its footing.

What changed? In general, her audience and, by extension, the industry. We've matured and while that growth was recognized by some, Tomb Raider seemed by comparison to be stuck in the past. Granted, the grid based action of early titles in the series had been replaced, controls became more precise and camera angles improved.

However, challengers such as Naughty Dog's Uncharted have introduced mature, complex characters and compelling storylines to go along with modern, fluid platforming and combat within elaborate set pieces and dynamic scripted events. Crystal Dynamics' new reboot looks to pick up the gauntlet.

My own challenge will be in trying to convey the extent to which the developer has succeeded in that regard based on my own early impressions, and in a manner that will differentiate it from the glut of commentary since release of the game's early gameplay at least as far back as last year's E3.

I'm hopeful my typical phlog will provide some good examples of elements that stood out to me this early in the game and might be harbingers of things to come. To begin, the opening scene (above) of Lara's ill-fated ocean voyage is illustrated with quality production values and direction.

As with later cut scenes, the graphics are detailed, action is well choreographed and accented by dynamic camera angles and edits, and sound is rich and complex. The scene is as thrilling as any action film but, more importantly, establishes a dramatic, perilous storyline.

As you no doubt are aware, this reboot charts Lara's emergence as an artifact hunter, and in the process promises to place her development back on track with a mature character befitting her longtime fans' growth and expectations. Indeed, her character's survival in-game is a metaphor for whether this icon can survive in a genre that has outgrown her.

Crystal Dynamics has gone to great lengths to depict her painstaking maturation as a character in a well documented path to self-confidence and self-sufficiency. Part of her path involves confronting the evils on the island she's washed ashore on, which are creatively and graphically depicted (above).

But the plot is mere vehicle to her personal growth. After all, without such dire circumstances to challenge her physically, spiritually and emotionally, Lara can't convincingly evolve into the heroine we have known from Day 1. Therefore, her bloody, breathless journey is carefully crafted every painful step of the way.

Environments have always been integral to the Tomb Raider experience and in this regard the level design impeccably establishes a palpable sense of place. In the context of such an immersive setting, Lara's development has greater resonance. Her surroundings are impressively detailed, including convincing water and fire animation (above).

Level design in general continues one of the franchise's strong suits. Exploration is the basis for gameplay, and while early on, at least, the path is strictly linear, it nonetheless is supported by creative features, often highly detailed textures, believable scripted sequences and basic environmental puzzles.

Playing on the normal difficulty setting (on PS3), there is more than a little hand holding early on in the form of contextual button icons that appear onscreen and other in-game cues, however, I assume such assists will disappear once the tutorial segment is over. Otherwise, exploration and puzzle solving could be undermined.

In some cases, contextual button icons are a necessary element such as when playing through interactive scripted sequences that involve quick time events. It's true that QTEs are part of Tomb Raider's gameplay but, if early action is any indication, they are a more common feature than I would have guessed.

On more than one occasion early on, Lara has to fight off a pursuer (above). I took too long while establishing a screenshot and was unceremoniously crushed by a boulder in the collapsing tunnel. When successful, your pursuer faces a similar fate. Either way, the game -- to its credit -- doesn't shy away from the consequences.

Thankfully, even when one flubs the timed button presses that accompany such notorious sequences, frustration is kept to a minimum as there are generous checkpoints and load screens are relatively brief. On the other hand, Tomb Raider's QTEs utilize seemingly every button so a keen eye and deft coordination are necessary.

Part of such scripted sequences are dynamic camera angles and animation designed to heighten the tension and add dramatic flair (above). Frankly, the developer does a good job not only of achieving this goal but of having such moments be seamless and unobtrusive. They are at least on par with similar moments in other top tier games.

As with the game's cut scenes, the action in QTEs is well choregraphed for suspenseful sequences that alternate between tense footage and frantic button presses. Though numerous, such interactive moments are well spaced so as not to overwhelm but do demand that you stay engrossed in the action (as if any such encouragement was needed).

The presentation is indeed top notch whether detailed textures, smooth animation, a deep color palette, various ambient noises, quality lighting, score, dialog or voice acting. In general, I could not find much to fault in any area to this point in my playthrough.

Minor issues do appear from time to time, such as water that splashes or sometimes flows in peculiar ways or how Lara's ponytail blows stiffly in the wind (see some images here for examples). More playtime might reveal more egregious issues but thus far they are insignificant.

Effective platforming is necessary for the franchise to remain competitive and thankfully the controls in this regard have been streamlined over time to culminate in the fluid actions of Lara's character in this reboot. Navigating the environment often is intuitive, with relatively seamless transitions from one action to another.

It's interesting to me that seeing the challenge presented by this suspended plane (above) reminded me first of the Uncharted series. While others have implemented such platforming puzzles, Naughty Dog's franchise has done it so well and memorably that Nathan Drake's adventures are top of mind.

That said, this sequence is well implemented and serves to help familiarize gamers with the controls necessary to navigate such an environmental obstacle. The fact that it compares favorably with Uncharted in this regard speaks to how well Crystal Dynamics has learned from the competition.

Simply climbing up a wall is a more dynamic exercise than merely jumping to its top edge, as the game prompts you to press the action button a second time when in the midst of the climb in order to propel your character the rest of the way up taller obstacles (above). Like a double jump, this act adds layers to exploration.

The segment of the game (above) where Lara is searching for shelter from the elements highlights some environmental features that help establish a great sense of place. Once the wind kicks up, trees and branches move independently. Water drops convincingly on Lara, and steam escapes her lips with each exhale. It's all a study in quality animation.

That attention to detail reminds me of other games that shared such meticulous devotion, especially with regard to how foliage is depicted. In Two Worlds 2, when walking through tall grass or other plants, they would move or flatten in relation to your steps. Likewise in Dragon's Dogma, trees all swayed convincingly. Tomb Raider keeps good company in this regard.

The character models, whether in-game (above, top) or in cut scenes (above, bottom), are well conceived and expressive, especially in Lara's case, conveying all the emotion such a traumatic event as her shipwreck can have on someone left to fend for themselves in an inhospitable -- and sometimes hostile -- environment.

Likewise, animation and voice acting thus far faithfully depict the trauma of her experience as she limps, otherwise struggles, or shivers along her journey, and her voice quakes with fear, uncertainty, self doubt and desperation, though even now faint signs of determination and inner strength show through at times.

Hunting (above) helps vary the gameplay from the platforming and basic navigation that appear initially. It also suggests a possible option for the inevitable combat you'll encounter. Thankfully, using a bow and arrow is intuitive and easy to pull off in quick succession as your stalwart prey can require.

This reboot features role playing features such as upgradeable skills. For someone like me who appreciated the opportunity to shape my character and her abilities according to my own gameplay preferences, this element is a welcome addition. However, I wish some skills like retrieving spent arrows (above) were available by default as in other titles.

That's as far as I've gotten in the game to date. Although what I've played has been covered elsewhere, the opportunity to finally play it myself and see the final retail build leaves me encouraged by the direction Crystal Dynamics has taken. A reboot was necessary in retrospect, as Lara had to be reinvented to appeal to the more mature sensibilities of longtime fans.

To that end, her character is unquestionably more realistic and is given an opportunity to grow on us and develop into a more lifelike and relatable individual compared to the legendary fantasy that this icon became. It's a bold move but one that early gameplay suggests was the right one; however, is the gameplay true to the franchise?

Some complain that this reboot borrows too liberally from more successful competitors as far as gameplay is concerned. However, if one considers that the developers are simply incorporating mostly proven mechanics to the gameplay mix, the move makes sense. I'm hoping the rest of the game likewise proves that the endeavor was indeed worthwhile.

For those who didn't preorder Amazon's Tomb Raider: The Final Hours Edition, I thought I'd include screenshots of some of the concept art published in the accompanying art book. Given the standard retail price, I appreciated the addition of this product, which reminded me of the Destroyed Beauty artbook that came with the Gears of War collectors/special edition.

The hardcover book is slightly longer than the PS3 game case, and features several pages of colorful artwork that contributed to the game's design. As I've only just begun the game, many of the illustrations offer a peek at potential future locales, such as the Petra-like edifice (above, left) or the giant figure reminiscent of the Buddhas of Bamiyan (above, right).

More modern environments and hazards mix with more ancient settings to seemingly vary gameplay during the reported 10 to 12 hours of the campaign. Provided Crystal Dynamics can achieve the right balance between old and new, this could help make the experience deeper and richer than otherwise.

The shipwreck graveyard on the stormy coast is one of the first settings of note and helps establish the character of the island to an extent as well as the game's foreboding atmosphere. This illustration (above) no doubt helped developers capture these elements for the game (see earlier screenshots).

Some artwork can't help but remind gamers of similar settings such as the somewhat common Himalayan/Tibetan motif, though filtered through the distinct imagination of the respective artists.

Lara sets her sights not only on Nathan Drake, but on Katniss Everdeen as well.

Character models are lavishly illustrated in these photorealistic illustrations. The characters shown are a refreshingly diverse mix of men and women. In the beginning, they appear in brief cut scenes, but it will be interesting to see how their characters are integrated later on, and how their models animate when, presumably, featured more prominently.

All in all, a nice package and a game that I am very much looking forward to playing more. As a longtime fan, this is a compelling, and necessary, reboot that hopefully manages to properly reinvent Lara Croft while staying true to the franchise's deft combination of exploration, platforming and combat.

A Cat-and-Mouse Alternative to Run-and-Gun

2013-02-27T16:00:00Z

When trying to convince a friend to play Sniper Elite V2, he worried that the game would be too slow. Ironically I consider that its greatest strength. The tactical gameplay rewards a more cautious approach than is common to many first person shooters, especially when playing against real opponents online.

Of course my friend's sentiment is shared by many fans of the genre who prefer the run and gun gameplay common to FPS competitive multiplayer. Indeed, I'd ranked up in Call of Duty: World at War and Modern Warfare 2, Battlefield: Bad Company and Killzone 2. But I've tired of the formula with each new sequel.

It's no exaggeration to say that Rebellion's reboot of its last gen Sniper Elite game goes a long way to restoring my faith in FPS multiplayer gameplay. The campaign itself was entertaining, especially when played cooperatively; but playing Deathmatch feels like a revelation in the multiplayer arena.

Rebellion has the sniping mechanic down pat. This is no small feat as many have tried but few have implemented as deep or rewarding a feature considering the variety of factors the developer has included that can impact this gameplay element alone. (See links above for more details.)

As in the campaign, there are a few difficulty settings that relate to sniping as well as other aspects of gameplay. I prefer the Marksman setting, which uses bullet drop and breathing as factors when shooting. Other settings include game mode, map, time and score limits, damage, weapons and private or public slots.

I've been playing with our own Jeremy Brown/mojomonkey12, my regular co-op buddy and all around super nice guy. That said, I won't hesitate to pull the trigger when he's in my crosshairs! Especially given his tendency to teamkill me or draw me into an ill-advised firefight. (You knew that was coming, Jeremy!)

We've sampled all the maps (Quarry, Graves, Opernplatz, Church, Kreuzberg and Beach?), and each one is exceptionally designed and one reason multiplayer is a joy to play. For the record, we played on the PS3, where multiplayer is free DLC.

The map shown above is a more open design than others, however, there is a lot of cover in the form of partially collapsed homes in this village setting, with a few multistory buildings spread out for better vantage points. With two players, the maps are expansive, covering a lot of ground.

At one point, I saw Jeremy in the room below the bell tower, but he stayed on the move, forcing me to abandon my position in search for him. Contrary to the concerns expressed by my friend at the outset of this blog, the game is not too slow and does not necessarily reward camping.

Yes, it is relatively slower than many of its genre counterparts but, as in the campaign, sniping in one spot indefinitely will lead to your demise. Once you've given your position away and have forced your opponent(s) from their location, the best strategy is to move on.

That said, when you do find a good vantage point from which to observe the large maps, it's wise to deploy defensive measures such as land mines (above) or trip wires. On the occasion when your foe decides to hunt you down, they can prove invaluable.

A word of caution, though. Deploy them carefully as your supply is limited, if I recall, to one of each, as well as one or two hand grenades. At the start of a match, you can customize your loadout. However, choices in this regard are limited, as opposed to weapons choice, which is more varied.

Thankfully you have several sniper rifles to choose from, with each sacrificing one strength in favor of another, so weighing one's options is important. And if you choose to play with more than a sniper rifle, choices also involve the kind of assault rifle and sidearm you wield.

A carryover from the campaign seems to be flawed targeting and hit detection when using any weapon besides your sniper rifle. On at least a few occasions I quickly ran out of ammo for my assault rifle when in a firefight with Jeremy, and we seem to absorb more than a little punishment.

The above scorecard is less a reflection of our aptitude than my initial camping and preoccupation with taking screenshots. Though we figure Jeremy must have run right past my position beside the stone wall next to the church, as he circled the map in search of me. In his defense, I am a wallflower, so ...

The above map not only presented quite a challenge in the campaign but also in Deathmatch as it is wide and line of sight is obstructed by many structures including buildings and equipment. The cover of darkness also adds a welcome challenge.

Despite having the drop on Jeremy (above), I misjudged the distance and bullet drop, allowing him to escape. An interesting sidenote, from my vantage point most of my shots appeared to miss, sending up puffs of dirt; but Jeremy insisted I hit him a few times.

Jeremy took advantage of my miscalculation to score I think the longest kill of our gaming session. In a nice touch, the person who scores a kill often gets a killcam, however brief, showing the hit. It's an abbreviated variation on the slo-mo bullet cam from the campaign, but a nice element.

I found myself too often on the business end of Jeremy's sniper rifle in this match (above), but he took advantage of the copious cover to move often and quickly. Indeed, I spotted him on several occasions but he usually was on the run from cover to cover.

Another element besides the killcam that makes a welcome reappearance from the campaign is the arcade type scoring, in particular as it relates to longest shots. The scorecard is nowhere near as deep in terms of stats tracking, but at least matches recognize this one stat, which of course is integral to a sniping game.

Besides distance, the match will note -- in game -- such stats as longest shot, scoring leader, etc. It's a nice element for those who keep score, in particular for bragging rights, and contributes to the competitive nature of online matches, particularly when such scoring factors more heavily in the outcome.

This is true of game modes Distance King and Team Distance King (which join Deathmatch and Team Deathmatch to round out the game's suite of multiplayer options). Distance King scores matches based on cumulative distance of kill shots, and as such is a nice tweak to DM/TDM.

If there's any shortcoming of Sniper Elite V2's multiplayer offering, it's that the game modes are not as varied or deep as the modes offered by its competitors. However, as free DLC it's a high quality addition, and as suggested can be considered a welcome and needed supplement to the genre's standard online fare.

(Above) Now you see him, now you don't. Here today, gone tomorrow. Easy come, easy go. Heeheehee. Sorry, Jeremy, I couldn't resist. Consider us even.

(Above) Hey, I said we were even! In a surreal scene, I respawned in the same room as I was killed, and was forced to see my own corpse. Does this qualify as an out of body experience? Speaking of respawning, it appears implemented in an arbitrary fashion.

On the previous map, I respawned in the same area, which didn't help me avoid Jeremy's keen eye. But usually one seems to respawn in the same general vicinity but far enough to avoid spawn camping. And once or twice, I think I respawned in the same building as Jeremy.

There are few moments that will quicken your pulse as much as surveying the battlefield only to find your opponent has you in their sights! This happened on several occasions and resulted in the most funny, panicked scenarios of who could pull the trigger first -- and accurately!

That said, in a similar moment as this I was able to kill Jeremy though he was incredulous, complaining that he couldn't even see me behind cover in order to get a clean shot off. This isn't rare for online shooters but of course can be frustrating in a game as precise as Sniper Elite, though in our session I think it happened once.

Our matches were fairly evenly matched and typically resulted in three kills for either or both in the span of 15 minutes. This might indeed be a pace too slow for many fans of the genre, however, I'd argue that there is no less tension, suspense or excitement from a well played game of cat and mouse.

The maps provide so much cover in the form of collapsed buildings or intact structures and are so spread out that mobility is not only necessary to cover ground and find your adversary but is well balanced so as not to be frustrating or too easy in relation to the sniping mechanic.

The variety of cover and myriad elevations make for dynamic maps that require careful exploration whether on foot or stationary. The gameplay is simple enough to jump into but requires careful strategy when deciding whether and where to camp or to move. Jeremy and I did both in equal measure, making for some fun matches.

Besides map design, production values are top quality. Attention to detail in the campaign really helped immerse gamers in the setting, and competitive multiplayer is no exception. Landscape and interior details are excellent, with complex textures and great draw distance. Plus animation is well implemented, which is integral to effective sniping.

The animation was in full effect when Jeremy ran away from this encounter (see his back to the right of the crosshairs, above). In truth he wasn't aware of my position, and in true form was wisely keeping on the move.

Unfortunately for Jeremy, his quick reflexes lost to mine in this particular encounter. However, Sniper Elite V2's competitive multiplayer is well balanced in general. Our gaming session was fairly even as Jeremy and I split our matches whether in DM or Distance King.

I have not played TDM or TDK, but even to judge only by DM and DK, Rebellion has crafted a thoroughly rewarding competitive multiplayer component. My only regret is that I didn't know this free DLC was available from Day One but Jeremy and I are catching up.

It should be noted that more than playing Jeremy and I use our online sessions to catch up and shoot the breeze in general. So server stability and mic support is very important, and in that regard SEV2 does not disappoint! Despite inconsistent mics in the lobby, matches offer clear communication and zero lag.

For anyone who wants an entertaining and quality alternative to the standard run and gun arcade action of most FPS multiplayer game modes, Sniper Elite V2 will let you scratch an itch you might not have known you had. It's hands down a rewarding option for fans of the genre.

Will Playstation 4 Kill the Single Player Experience?

2013-02-21T16:00:00Z

"The report of my death was an exaggeration," Mark Twain once famously quipped. If single-player games could speak, one would expect a similar remark. The long-prophesied demise of this once dominant gaming mode most often has been attributed to the growth in popularity of multiplayer gaming. However, Sony's Playstation 4 announcement yesterday could put the nails in the proverbial coffin.

The console manufacturer emphasized the social features of its newest gaming device. The most compelling development from this perspective is the inclusion of a share button on the new DualShock 4 controller. This broadcasts one's gaming session to your online friends, so they can spectate from their own console in much the same way that multiplayer gamers can observe such competitions.

But there are important differences. In the first place, spectators can watch you play a game's single-player campaign. Of course this is a passive exercise, unless your audience decides to comment while they watch. As suggested, they can encourage you, warn you, trash talk, etc. while you're in-game. I believe some devices like Xbox 360 allow online gamers to chat regardless of games being played, but this enables real time comments specific to your current play session.

Frankly, I think this is terrific news. If there's a game I'm curious about, I can watch a friend play it, or I can share or spectate just to spend time with my online buddies. But this also has the impact of suspending a gamer's immersion. Imagine playing a survival horror game like Silent Hill or Condemned only to have a friend interrupt by saying, "Dude, I hope I never have to rely on your survival skills in the coming zombie apocalypse."

Yes, of course gamers don't have to enable the share function on their controller and can go merrily upon their solitary way. But the fact it's an option sets a precedent and the compulsion to use it will be strong. While this function in and of itself is fairly benign in its consequence, the more dramatic feature is the reported ability of spectators to go from passive observation to active participation.

This news, besides the 8GB GDDR5 system memory, is the most interesting and, indeed, exciting revelation. The example provided trumpeted the opportunity to allow a friend to assume control of your character to help you overcome a difficult segment of the game. Game manuals or online FAQs or walkthroughs could become a thing of the past if you're like me and invariably get stuck between a puzzle rock and a boss hard place.

That said, its application is more wide ranging as you can allow friends to sample the gameplay, for instance. Taken a step further, gamers can pass the controller for a kind of cooperative approach to single player campaigns, effectively making every such title a co-op one. Even I am excited by this prospect. However, what is the impact of such participation on a game that is otherwise designed for a single-player experience whether it's narrative or gameplay?

A compelling single-player narrative has a personal impact on the gamer playing it, and it effects everyone differently in the same way that art is in the eye of the beholder. Survival horror is an extreme example but titles in other genres likewise will affect gamers differently if played with friends watching or even participating. How would BioShock, Mass Effect or Skyrim influence you when it's a shared experience?

This leads back to the option for not sharing your gaming sessions. Yes, it's a choice. But the fact that gamers now have an alternative to solitary single player progression, and that sharing it with friends will be a tempting proposition, changes what has long been a standard mode for video games. Nevermind that such an option could have an impact on how designers develop the narratives and gameplay of titles moving forward. Might the share function be incorporated in some other clever fashion?

I forgot the suggested option for spectators to further involve themselves in one's game by placing items in the virtual environment such as med kits or weapons for your character to use. Again, observers become participants, but this time changing the game instead of merely experiencing it. For me, this is in fact fascinating and a development I'm eager to see implemented. But on the other hand, as a longtime dedicated single-player gamer, it is a mixed blessing.

I do wonder about what controls will be implemented to keep out anyone who isn't on your friends list, not only from spectating and potentially trolling but from actively taking control of your progress. However, such concerns take a back seat to contemplating how the move to more social elements in gaming consoles in general will impact the single player experience. Even integrating the PS4 with social media like Facebook changes the game, pun intended.

My smartphone, for instance, automatically includes Facebook friends into my phonebook. For the most part, I keep my various online personaes separate, whether gaming, Facebook, LinkedIn, etc. But technology today seems to be about integrating information by default regardless of consumer intent. So now I have to contend with text messengers seeing a gaming avatar of yours truly in balaclava before the American flag. I can only imagine what nongamers think.

This might seem somewhat afield of my subject, however, it's all part of the movement toward more social networks and, to an extent, more social gaming. Think, too, of Gaikai's cloud gaming architecture vis a vis the PS4. Not only can you sample virtually any game prior to making a purchase decision (an option that, if I'm not mistaken, is similar to some subscription based services like Netflix or especially GameFly), but you can also play games streaming off the cloud.

I assume this is in service of a subscription option and is another example of the move toward persistent online gaming. How might this impact single-player campaigns? In the same way that the share function takes advantage of an online connection, a more persistent online presence can only present more opportunities for integrating social aspects into every gaming experience regardless of whether playing solo, in co-op or multiplayer.

In many ways this is a logical progression to a digital medium and more integrated online functionality. And of course there are still compelling single player narratives such as The Last of Us, BioShock Infinite, Mass Effect 3, Assassin's Creed III, etc. Indeed, the death knell of single player games has been sounded many times before. But despite the allure of Playstation 4's reputed share feature, for me it can't help but further dilute that experience.

I had long gamed exclusively offline in single player campaigns, and loved titles such as Silent Hill, Resident Evil 2, Cold Winter, Killzone, Shadow of the Colossus, The Getaway, BioShock, The Darkness, Enslaved, Mass Effect, Uncharted 2, etc. I'm confident developers will still create great narratives. But what will it mean when we can share those experiences in real time? I wonder to what extent it will influence our perspective, and change our impressions? One thing's for sure. We'll soon find out.

Metal Gear Rising: Revengeance AKA Raiden's Resplendiferousness

2013-02-13T02:00:00Z

Imagine a David Lynch anime film of a Tom Clancy script based on a Philip K. Dick adaptation of Wagner's Gotterdammerung and you begin to understand the Metal Gear franchise. I know, I had you at Lynch. In the case of Metal Gear Rising: Revengeance, the action gameplay rises to meet the over the top narrative in ways that entertain and inspire.

Of course, judging a game based on an early build demo is akin to clairvoyance, especially when a title has had as troubled a production as Revengeance. But Platinum Games does appear to have capably reworked Kojima Productions' stealth gameplay, a mainstay of Metal Gear Solid titles, into a suitably raucous sword swinging bar fight of a video game.

(Note that the following might include demo gameplay spoilers, though I don't go too deep into the plot, probably because I can't -- it is MGS after all.)

Ex-mail carrier Raiden dreams of boxes; bad, bad boxes

The series' VR training mode makes it's return and this time helps acquaint gamers with the new swordplay. Blade Mode allows directional slashes to be setup, however, subtle adjustments to the analog sticks means they are infrequently carried out. Hopefully this is a case of practice makes perfect but, truth be told, I didn't once use this during the demo.

The reason I never accessed Blade Mode during combat was that regular face button attacks proved reliable for dispatching foes (also, the tutorial prompts never introduced this option during the demo). That said, I understand it functions as a kind of meter-influenced bullet time that allows for strategic hits on opponents and no doubt would be integral to one's melee options.

There is no help for a poor fashion sense

Blade Mode did enable me to dispatch this cardboard foe (above), though all other hostages did not emerge unscathed. I can say that the various objects throughout the VR levels, including indistinct cars, columns, crates and boxes, provided a fun sandbox for practicing one's swordplay as all could be sliced and diced at will, and is a worthy harbinger of gameplay to follow.

Behold! I am resplendent! Kiss my feet for, alas, I cannot.

The cyborg ninja Raiden at the heart of Revengeance's story is a warrior employed by a private military company that is at odds with other such entities a few years after the events of Metal Gear Solid 4: Guns of the Patriots. The demo does not develop his character, though he should be familiar to fans of the series and certainly sports an amusing edgy attitude.

His design is well conceived and befitting of such a character though reminiscent of other similar figures such as Major Motoko Kusanagi of Ghost in the Shell: Stand Alone Complex and without her trademark acrobatic mobility. But as an established character in the Metal Gear universe no doubt Raiden will appeal to gamers who have followed his exploits.

When the online ad said spacious beaches, this is not what Raiden had in mind

The first area is a coastal setting that seemingly serves as a transitional location with little to do. But in a game as interactive as Revengeance, looks can be deceiving. In fact, even this otherwise benign environment serves as a playground for your devastating swordplay, and kept me entertained for much longer than it had any right to.

Ever since hitting his head on pavement, concrete was Raiden's mortal enemy

Structures that resemble the concrete foundation for piers might as well have been butter when sliced through by Raiden's formidable blade. The most fun can be had leaping and repeatedly hacking away in mid-air at the stone columns and, yes, I did say fun. The devastation you can wreak with every swing is an awesome sight and sound.

Can you hear me now?

That said, this early build is not flawless in its execution as debris can obscure your character, collision detection is inconsistent and at times Raiden appears to fall through objects that I had sliced but still appear intact. For me, it's a small quibble as such glitches can be excused in a demo and did not detract from the joy of causing extreme mayhem.

Indeed, undermining the columns holding up walkways or ceilings will collapse that area of the structure. This will prove helpful later on as there is similar architecture found elsewhere, including during firefights where such strategic targeting can eliminate foes underneath. Just be sure to get out of the way before bringing the world down upon the heads of your enemies.

Turns out tree trimming is a great cover for cyborg ninjas

My biggest pet peeve about the swordplay has to do with the aftermath of your carnage. In a practice not uncommon to action games, debris left behind will disappear, though in Revengeance it seems to stick around for even less time than most similar titles. In that sense, I guess it keeps the action moving as you can't loiter and admire the fruits of your labor.

Note to self: Ask for a non-smoking room

This is what was left of the beach after all was said and done. Compare with the previous screenshot from the same vantage point, and you'll appreciate how much of the environment is interactive. The first time through, in fact, I was having so much fun I realized only afterward that I'd destroyed the one means I had of progressing to street level LOL.

Regarding the presentation, Platinum Games has crafted a unique, detailed setting that is a joy to explore. Level design is creative, textures in general are fairly well detailed, the color palette is somewhat muted overall but still provides a nice range, and particle effects are impressive and colorful and actually stand out against the more muted backgrounds.

Animations are generally fluid and help to show off character movements and combat. Sounds are appropriate, the score unobtrusive, and dialog and voice acting is appropriately quirky, humorous and even campy at times. Cutscenes show off the same narrative flair the series is known for, and with production values that are top quality.

Unplugging a cyborg before sticking a blade in them is probably a good idea

Combat is fluid and kinetic, with typically several foes engaged at once and melee combo strings available to help dispatch them. One face button controls wide attacks and another wields strong attacks. A parry option also is available, though I rarely if ever used it. I did, however, jump often either to strike when airborne or avoid attacks.

Truth be told, I played on easy difficulty (which should come as no surprise). That sufficed for me as I still took a beating but was never frustrated, as I've read can happen against later, stronger foes, I assume playing on the default normal difficulty. But for purposes of the demo/tutorial, chaining high and low, wide and strong attacks can rule the day.

Interior design is as evocative as exteriors and provides wonderful context and atmosphere for the action that transpires in the game. Oddly, not all similar objects are interactive. Some columns will collapse but not all. Certain crates will crumble but not others. That kind of inconsistency can prove frustrating, especially during combat, but is a relatively minor gripe.

Stealth still plays a role in Revengeance's gameplay, though it takes a backseat to the emphasis on action. But you can still sneak up on opponents and dispatch them with a vicious stealth kill. If you're seen, however, the usual alerts will play out and you'll either have to wait till they time out or commit to an offensive approach.

Raiden won't give up till he finds Tron

Augment mode is accessed via the up button on the directional keypad and allows Raiden to highlight the position of foes. This will enable one to choose a strategy for taking out adversaries on a given level. I'm sure it will come in handy, but for purposes of the demo, I only used it the one time I was prompted.

Items such as grenades can be found in certain containers located in various spots around a level. Slashing the container will open it, and automatically deposit it in your inventory. I believe the inventory can be accessed via the left or right buttons on the directional keypad, and will house both weapons and other items.

Raiden knows escort missions aren't worth the effort

There does appear to be a variety of weapons at one's disposal for purposes of dispatching foes. Grenades, for instance, can be tossed with a guide to help aim one's throw. However, there's no need to use such munitions on lower level enemies. Wide and strong attacks are adept at taking out such opposition, at least early on.

Kicking the mech where it hurts, if only mechs could feel

I missed. The moral? Always have a Plan B.

Mechs, similar to those that appear in Guns of the Patriots, make their return and are no slouches. There will be options for eliminating their threat, such as using rocket launchers (finding them is a pretty good sign mechs are nearby!). But I mostly relied on aerial attacks to wear down their armor before finishing them off.

Thank goodness for nano-repair paste, the cybernetic bandaid of the future. As with other items, it can be found in certain crates and can restore health when one's clumsy tactics lower the health bar to 6.2% (above). When I'm not trying to take screenshots of the action, I actually perform a little better. But only a little.

Martha Graham tryouts in the future

I didn't even know high kicks were an option but I'm glad no attack is wasted. I guess that's one of the advantages of chaining melee combos between wide and strong attacks, though I suspect a roundhouse kick is less effective than slicing enemies with his concrete eating sword. But on balance this probably looks more graceful and, after all, image is everything.

Besides being prompted for stealth kills, gamers will see prompts for finishing moves when certain foes are debilitated. An effective move will cut to a kill cam to enjoy the achievement. Likewise, other prompts command gamers to shake the analog stick in order to escape a foe's advantage over you. Thankfully, I had not seen any actual quick time events.

Raiden wants his Rock the Cut motto back

Did I say image is everything? Despite technical glitches mentioned before, this early build generally was a solid spectacle that helped immerse one in the zany goings on. For Metal Gear fans, it's a familiar universe that at least shares the overall context as well as visual continuity with its predecessors. Whether the action will win over stealth fans is another issue.

It's this or Pet Sematary

Boss fights, if this one (above) is any indication, likewise will feature the kind of eccentric, memorable foes that are common to the series. A seemingly devious union of Transformer and HAL 9000, this nightmare of man's best friend leads to one of the more entertaining exchanges in the demo, as well as a fun battle.

The climactic fight is a kitchen sink affair, with everything experienced thus far thrown into the combat mix. The chainsaw-tailed adversary takes breathers every so often to allow his minions in the forms of foot soldiers and mechs to alternately take center stage during the prolonged battle. It's an enjoyable, if somewhat repetitive, affair that keeps gamers on their toes.

Hey, it's a passing grade!

In the end, Raiden proves victorious to no one's surprise. But the journey is a truly rewarding one. Indeed, there are few demos that have a high entertainment value for me, and that convince me to consider buying a game I heretofore had little interest in. LEGO Star Wars and Just Cause 2 are ones that come to mind. Add Revengeance to that short list.

Honestly, the beach went a long way to selling me on this title. Something as simple as the way you can slice and dice objects in the environment, and feel like a superhero when doing it, is a fulfilling experience in and of itself. Place that gameplay in the Metal Gear universe, with its outlandish narrative, colorful adversaries and evocative setting and you have a winning combo.

In fact, that the demo can be so enjoyable despite glaring technical issues or regrettable design choices is testament to the ability of Platinum Games to deliver a fun exercise in action gameplay. That this is only an early build demo is encouraging and engenders hope that the studio has time to polish Metal Gear Rising: Revengeance into a real pearl.

Scratching That BioShock Itch While On The Go

2013-01-29T02:00:00Z

BioShock Infinite is around the corner, but if you need a familiar dystopian fantasy in the meantime, visit the doomed underwater setting of Eden in G5 Entertainment's Abyss: The Wraiths of Eden. At your peril! Mmmwwwhahahaha ... ha ... ha .... Alright, fine. It's about as perilous as smudging your smartphone playing this game, but it's an addicting journey into another failed utopia.

Released this month for iOS, Android, tablet (iPad, Kindle Fire, Nook) and PC, the game is a HOPA or IHOG style adventure. Now, if you read IHOP instead, you and I are in the same boat. I'm not really familiar with Hidden Object Puzzle Adventures or Interactive Hidden Object Games, but I'm learning and, if Abyss is any indication, they appear to offer an entertaining means of immersing oneself in a compelling virtual world.

First, a couple caveats. The app might appear to offer a full game, but it turns out to be a trial version, with the full game unlockable for a small fee. I played the Android trial version and, despite the challenge of scanning a small screen for tiny objects and then selecting or moving them with my monster fingers, the interface otherwise works well, is intuitive and takes advantage of a detailed, prerendered setting enhanced with moving objects.

Speaking of the setting, G5 could do worse than to borrow, quite liberally it would seem, from Irrational Games' seminal BioShock game. Abyss begins with the main character (you) going in search of her missing diver fiance. Her desperate quest begins underwater, exploring the seabed for signs of her spouse. The ocean setting is well realized, with detailed textures, vibrant colors and smooth animation.

Integral to the hidden object gameplay is interactive scenes where you're tasked with collecting certain objects. To G5's credit, they're not always easy to detect and, in fact, might sometimes require a degree of effort such as using tools found in the environment to remove obstacles. Finding all objects will unlock some item; alternately, a minigame on the same screen appears to offer the same benefit.

I don't recall all the minigame options but at least one is dominoes. Using them to reach all icons on the board will unlock said item. However, if you wish to do it the old-fashioned way, various challenges await such as figuring out what parts of the environment might be movable and how, or determining what object names might have double meanings. All in all, this gameplay is well implemented and entertaining.

All scenes require careful inspection even if not one of the hidden object challenges. Thankfully the interior environments are as compelling as exterior settings if not more so, especially when the deteriorating art deco scenes establish a powerful if now familiar atmosphere. Consider the submersible transport (above) that passes for Eden's own bathysphere. The similarities to BioShock's Rapture only begin here.

Without giving too much away, you discover early on that Eden was an underwater utopia built to provide a just and enlightened society, but clearly something went horribly wrong and this paradise is now in disrepair. Your search is informed by fliers, folders, etc., as well as at least one survivor and threatening beings. There's no question where G5 drew inspiration from, but the gameplay and settings are varied enough to prove worthwhile and entertaining for fans of BioShock.

Besides puzzles of the hidden object variety, there are numerous other minigames that unlock areas or objects. They usually require you to find missing pieces and then reassemble them, or they might involve connecting wires correctly or other items based on color and/or shapes. Of course these, too, are reminiscent of BioShock but they add welcome variety to the gameplay. One caveat is a skip option, which to my chagrin actually solved the puzzle instead of letting me back out gracefully LOL.

A word about difficulty. There are three options: Easy, Advanced and Expert (if I remember). The differences can be subtle but involve how obvious some things are, such as objects that glow or challenges identified with bubbles. It also determines how quickly your hint meter refills, or to what degree you're penalized for too many searches of the environment. But at least in the trial version, hints aren't needed too often and the search penalty is just momentary disorientation.

Despite the familiarity of the underwater setting in general, specific scenes are well conceived and include their share of surprises and disturbing images. The degree of detail and interactivity is impressive, which is key to a successful hidden objects game. Such quality production values are supplemented by solid ambient noises like water effects; well animated objects like water, fish and aquatic plant life; and well-integrated, quality CG cutscenes.

The only caveats are a story that is as yet fairly threadbare and dialog and voice acting this can be grating at times. The main character does not exhibit much range, instead raising her voice for dramatic effect rather than emoting effectively, and the script lacks subtlety in favor of conveying the obvious. Nevermind throaty enemies that snarl ominously. That said, for a budget portable title, in general it makes good use of its resources.

From grand, heroic statues to extravagant art deco flourishes, Eden wears its aspirations on its sleeve. Despite an unoriginal concept and a design that can't help but fall short by comparison, it nonetheless pulls off an interesting take on a popular setting due in no small measure to how the hidden object gameplay is woven into practically every scene. Indeed many are puzzles in and of themselves, creating dynamic scenarios throughout.

More IHOG than HOPA game, I was pleasantly surprised to discover that most environmental puzzles are not solved on the same screen. For example, one puzzle might require you to obtain an object elsewhere; that object might be accessible only with a tool found in another location; once you find that tool and free that object, then you can power a device; and said device might grant access to another area. The need to carefully explore every inch therefore becomes paramount.

Some scenes benefit from more than one puzzle in their proximity. A hidden object puzzle might be found in one area of a room, a kind of jigsaw puzzle in another, and a mechanical puzzle nearby. If you enjoy exploration, this is the kind of game that rewards careful investigation with a variety of items or challenges to be discovered. As mentioned, the more complex puzzle will involve searching different areas.

As with some other settings, Eden share this foliage thick environment with Rapture's Arcadia. Here, as elsewhere, however, the area conceals objects necessary to further the main character's progression in Abyss. In fact, rather than detract from the experience of playing G5's game, it's similarities to Irrational Games' unique world are an incentive for me to explore its sometimes derivative environments.

Tweaking its designs enough to feel fresh, and creatively integrating the hidden object gameplay into its settings, G5 takes a known commodity and retools it in a way that exploits the fascination for this theme without wearing out its welcome. Granted, I still have to unlock the rest of this game (I'm considering doing so on a tablet for better interactivity), but the meaty trial version, with several areas to explore and puzzles/challenges to solve, is a promising -- and rewarding -- diversion till BioShock Infinite arrives.

Hitman: Absolution Is On Target, Even If I'm Not

2013-01-09T14:00:00Z

I'm likely the last person you'd expect to write about Hitman: Absolution as I'm an abysmal assassin. My idea of stealth is to restrain my instinct to blast anything that moves. But for that reason I've always been a fan of this series, which is renowned for its open gameplay structure that allows multiple approaches to mission objectives.

It's a testament to the quality design that an assassin as woefully inept as myself can still feel like a notorious contract killer. Sure, the emphasis is on creeping around and avoiding detection, but when your footsteps are as heavy as a pachyderm's and your strategy as evolved as a possum, having myriad options is a blessing.

In that regard, IO Interactive's latest entry in the series plays a lot like predecessors Silent Assassin 2, Contracts and Blood Money. The improved presentation adds to its value, though shortcomings in design do detract from the overall experience. Still, if the first few missions are any indication, Absolution maintains the series' renowned reputation.

The opening CG establishes a compelling if somewhat formulaic premise, though I'll try to not divulge any plot spoilers in favor of spoiling the gameplay! How's that? Honestly, however, I'll probably do you a service as is typical of the impressions I provide given how well I can muck things up.

At least I didn't die in the above sequence while admiring the game's impressive production values, which is not unheard of, like when I was shot through the head by a sniper in Rage while staring at ground textures. Brilliant.

Gratefully, the beginning of Absolution serves as a gameplay tutorial. I should point out that there is a generous serving of five difficulties; I chose the default Normal second setting despite suspicions that Easy would much better suit my crude and clumsy tendencies.

Nevertheless, I did excel at following helpful hints and screen prompts. Most of the time. There's nothing quite so nerve-wracking as sneaking up on a guard and preparing to strangle them with your garrote (fiber wire), only to fumble with the controls until the guard realizes there's a dimwit behind them!

Apparently assassins are so good at what they do that they can fit into anyone's clothes, even a contract killer as physically intimidating as the tall, muscular Agent 47. Of course it's one of the amusements of this series that it takes foes so long to recognize the towering bald man behind the disguise.

Hiding out on a ledge is not a bad idea for someone like me, but Agent 47 does not exactly blend in no matter the background. At least it's a means to an end as traversing them is a common gameplay element either to get around obstacles or obtain important info or items.

The mechanic for doing so controls well and is context sensitive, i.e. allowing for moving past windows or around obstacles. And like in other stealth series such as Splinter Cell, if I remember, you can help foes in windows better appreciate the view by giving them a friendly heave ho (bottom picture).

If Agent 47 ever met Miss Manners it would play out more like a match made online than in Heaven. After all, he doesn't believe in personal boundaries, privacy or knocking, and he always has to get the last word. Think less Fred MacMurray than Freddy Krueger. At least sociopaths are more entertaining. (And so what if I'm dating myself? LOL)

The cinematics, like the game's production values in general, are well polished and a prime example of this console generation's capabilities. Detailed textures, fluid animations and dramatic camera angles combine with a somber, suitably dark storyline for an interesting, if somewhat familiar, narrative.

Stealth is given its proper due in the tutorial segments, whereas gunslinging is practically reduced to using "Instinct" to instinctively deliver a headshot to all the goons in a room (i.e. Point Shooting). Funny, because my instinct when confronted with superior numbers would be to spray and pray. At least the former helps conserve ammo, and my life.

The Hitman franchise is controversial enough without notorious imagery like the nuns trailer for Absolution. And this game's cinematics are no less provocative. But any shock value is a means to an end. The dark narrative is promising, the score is sweeping and ominous, and the dialog and voice acting dramatic.

Indeed, the first few missions are promising in that regard and remind me of Man on Fire. Video games can do worse than that comparison. Regardless, there is no denying the cinematic feel of the CG cutscenes, which do bridge gameplay segments well.

Absolution has a deep stat tracking feature that scores and tallies your moves post-mission. You also can unlock skills as well as disguises, weapons, items, etc. The scoring provides incentive to improve and perhaps even bragging rights, though I'm less sure how unlockables apply, unless as options for the Contracts mission creation mode.

Early missions, at least, are pretty standard but do show off the series' open gameplay structure. Told who your target is, where they are and the general context, how you fulfill your assignment is up to you. As far as this mission (above photo), I did what I always do, turn failure into good fortune.

I began by exploring the busy market (SPOILER ALERT). There are lots of cops near the center, if I remember, so I spent time trying to find someone I could subdue for their wardrobe. Along the way, I found my target's meal, but couldn't do anything with it (I assume I needed to obtain poison first).

Continued wandering eventually led me to his car. It was guarded by a lone officer, who I subdued and obtained a disguise from. I don't recall the exact timeline after, but inspected the car and was prompted with its car alarm. I assumed this prompt was to turn it off. It wasn't.

As the alarm blared, I desperately button mashed to turn it off. No such luck. I tried walking away -- if I could nonchalantly whistle, I would have -- but felt too conspicuous so just lurked in shadows. Fortuitously, the owner appeared, so I killed him. I think it was only later that I found a detonator nearby the car! (END SPOILER.)

Chinatown exemplifies the quality production values that IO has generously applied to this game. The degree of detail is impressive, not only in the depth of textures but in level design. Colors are vibrant and the spectrum is broad. Ambient sounds are complex, especially in the market. Animations are fluid, NPCs are varied and AI appears intuitive.

As indicated, CG cutscenes bridge gameplay well and likewise demonstrate the quality design of Absolution. If nothing else, Agent 47 is a well-realized, threatening presence, whether his imposing figure, stern countenance, concise dialog or deep, forceful voice. It's ironic that in my hands he plays more like an inept court jester.

Thank goodness there's a reward for hiding in plain sight, since that's something I do by default. Note how I was spotted once. In fact it's rare that I can emerge from a Hitman level unscathed, as the next mission will demonstrate.

Although you play as a contract killer, the game's atmosphere is reminiscent of a hard-boiled detective novel. More precisely, it has the audio/visual elements common to film noir: A dark, brooding city; colorful characters of ill repute; overall violent milieu; and ominous score. Indeed the setting is an impressive character in and of itself.

Instinct, characterized by the circular yellow bar visible in the bottom right of some screenshots, is a key new element that figures prominently in gameplay. It's primary function is to view all nearby characters (including paths) or important items, though it also can be used to help avoid detection of similarly dressed NPCs or to slow time for targeting foes.

This feature controls well, which is important considering how much you might rely on it. However, it's no simple crutch as it depletes with use and is only replenished upon completion of missions (as I understand it). This adds a welcome element of strategy as I found myself using it for seconds at a time, though longer for avoiding or Point Shooting.

A word about this mission (above image). Your target is on an upper floor and you have to find your way there (SPOILER ALERT). It's an expansive area inside and out and I explored rooms, ledges and hallways in general. Eventually I used an elevator but drew a lot of attention.

This is where, once again, it got messy. I made a bee line to the elevator but was spoken to by a few people along the way, some who wondered aloud about my identity. At the elevator and surrounded by two or three people, I desperately mashed buttons trying to call it, only to suspiciously alternate between picking up and dropping weapons LOL.

Thankfully I escaped before the ruse was up. (END SPOILER.) It was a tense moment made comical by my ineptitude but also raises the issue of AI. Overall I think it is intuitive but there are times when lapses occur. The following is an example of the latter.

Cowboys don't sneak. So it's appropriate that my Agent 47 was dressed as one when I got caught and had to dish out some frontier justice. As happened, these goons didn't do themselves any favors, though admittedly it took me I think three tries before I got it right. (SPOILER ALERT.)

Having reached the same floor as my target, I unfortunately got caught trying to sneak up on foes and then flubbed the melee combat quick time events. Yes, melee combat is reduced to a series of QTEs; not impossible but can be nettlesome for the uncoordinated (or just plain old haha).

Cue firefight. I retreated to a room with a low barrier and resorted to my Instinct for Point Shooting. Some of my ducks were in a row so went down in short order but others sought cover or were shielded by columns. On occasion I was flanked, but at other times foes shot at one of the doorways even though I wasn't there.

With some thus distracted, I was able to take out a few more. So based on this exchange, the AI was decidedly mixed. Some took cover and flanked, others stood in the open or shot at air. I've only played a few missions, but so far I think the overall impression is of good AI with a few regretable lapses. (END SPOILER.)

This mission's stats highlight my bull in a china shop approach to stealth games. Relatively lots of collateral damage. Good thing my direct approach was rewarded with an upgrade to my technique!

Besides post-mission stats, Absolution tallies all manner of data on one's overall progression. This detailed info is available anytime, if I recall, and can provide interesting insight into one's gameplay during the campaign.

Damage Taken (above) reminds me of my Bullet Sponge achievement for Clive Barker's Jericho. At least my Hit Ratio was decent, thanks in large part to copious use of Point Shooting in Instinct mode. Not that it matters much if I'm dead.

With the caveat that math is not a strong suit, I believe I have a 56% failure rate when comparing Disguises Picked Up with Disguises Blown. Likewise, I have a 195% failure rate when considering Successful Blend Ins versus Caught Trespassing. Yes, apparently that IS possible, courtesy of yours truly.

My headshot is ratio is decent, again due to Point Shooting. More than anything else, however, my Kills stats highlight my FPS experience. After all, you can take stealth out of the shooter, but you can't take the shooter out of stealth, or something.

I'm not sure that this screenshot (above) provides you with much insight into my gameplay, except that I walk 99% of the time compared with running, which pretty much mirrors real life. Too bad there is no measure for a sedentary strategy, as I would kill with that number.

As mentioned previously, the characters I've encountered so far are all colorful and entertaining. They add real depth to the storyline and are interesting counterweights to Agent 47.

Containers are not only helpful for stowing bodies but can provide a hiding place as well. This proves crucial in areas with multiple foes patroling various patterns. Though the Peek option doesn't seem like it would be as safe as it suggests given how wide you open the container. Good thing the city's finest are not always so fine.

The moody atmosphere is accentuated by images such as this (above). As a kind of crime drama set in a dark and foreboding urban landscape, with a strong and threatening central character, you can't help but be reminded of similar material. In this case, the design evoked Batman: Arkham City.

Several sequences early on involve a helicopter and up the ante when it comes to suspense. The added searchlight and weaponry meant extra caution was necessary to escape alive. Or just extra lives. Can you guess which scenario I opted for?

A funny thing happened on the way to my freedom (SPOILER ALERT). I had to find my way through a building filled with hippies and cops (and BTW there are great touches like one tenant who madly collects marijuana plants to flush down a toilet). In the process, I decide I need a new disguise as mine is blown.

I tried to subdue the plant flushing hippie but his wardrobe of T-shirt and boxer shorts wasn't available as a disguise. So I wandered into the open, where these hippies ignored me despite their open disdain for the cops hovering outside in a helicopter. Skeptical of any reaction, I subdued their friend at the next window. Bad move.

The hippies DID notice that and freaked out, attracting the cops and leading to my demise. Searching for options, I again tried to sneak up to cops but was discovered and flubbed the melee QTEs. Eventually I pretended to surrender but then grabbed a nearby cop for cover (don't ask me how) and cleared a room before running away (END SPOILER).

Some missions are multistage affairs that can really pad your stats and rewards. In this case, I had some very helpful upgrades. Granted, I was caught several times, died a few times and had to restart, but thankfully checkpoints at least on Normal difficulty were well spaced so I never felt punished for screwing up.

I would be remiss for not pointing out an important gameplay mechanic exemplified by this latest mission. I won't go into any great detail, except to say that the stealth action involves a kind of puzzle for escaping a multiplatform train station. It was interesting and fun.

In fact, if history is any indication, the entire game should play out like a puzzle, allowing gamers to figure out what combination of gameplay, items or weapons will help them achieve their objectives. And of course the genius of at least the first few missions of Absolution -- and of the series as a whole -- is level design that allows for multiple choice.

After about two hours of gameplay and a few missions I can say that despite shortcomings such as sometimes inconsistent AI (which frankly might be remedied by higher difficulties), I was pleasantly surprised to see that the successful gameplay has been retained and even improved with elements like Instinct.

Bottom line, so far I've found Hitman: Absolution to be an entertaining, well-balanced and overall well made addition to a venerable series renowned for its open gameplay structure and emphasis on player choice. With a promising story and high production values, I can't wait to play more, or to explore the added Contracts mode of customized missions.