G Harold

Monday, September 28, 2009

Wii | Need for Speed: Nitro Updated Hands-On

The Need for Speed series gets a refresh on this purpose-built Wii version, and we've got a hands-on look.

You don't need to hang out with the producers of the upcoming Need for Speed: Nitro for long before they'll tell you that this is the first Need for Speed game built specifically for the Wii. Good thing too, because the previous iterations for the Nintendo console have ranged in quality from pretty good to, well...not so good. With Nitro, the developers at EA Montreal are infusing the game with a style all its own, evident from the game's look all the way down to its controls. We've seen Nitro a couple of times before, and recently EA came by the GameSpot offices to give us some updated hands-on time with the game.

The central component of Nitro's single-player game will be its Career mode, which will have you traipsing all over the world as you race in locales as varied as Rio de Janeiro, Singapore, Madrid, Cairo, and, eventually, Dubai. Producers told us that all of these locations have real-world underground racing scenes--a fascinating (if seemingly unlikely) prospect in a strict law-abiding society like Singapore--all of which were researched for this game. A good chunk of that real-world research has been tossed out the window (or, at least, used merely as inspiration) when creating the breakneck racing that is at the heart of Nitro's gameplay.

One cool aspect of Nitro's Career mode is its cooperative aspect--you can play with up to three friends in any Career mode race. Completing races and finishing in the top positions will earn you stars that you can use to unlock new content. When you're playing cooperatively, all of the stars collected by all human players will go to a central pool that can be used by the lead profile to unlock new areas.

Controls in the game are flexible and easy to learn. You can play with a Wii Remote and Nunchuk, or with the Remote by itself. The A button is gas, the B button is your hand brake (which you can tap to drift in corners), and you steer the car by twisting the Wii Remote. Drifting through corners will earn all-important turbo boost, which you can engage by flicking the Wii Remote. While you can't total your car in a race, damage will affect how much boost you can build up--if you incur too much damage, you'll lose your nitro boost altogether. To fix your car, you drive over repair wrenches that you can then use by pressing down on the D pad.

There are lots of different race events available in the game--traditional circuit races and elimination races (where the car in last place will be eliminated after a certain amount of time), as well as time trial and speed challenge events. Speed challenge races will measure your speed through a number of speed traps located at certain points on a circuit; the goal is to finish with a minimum total speed, added up at the end of a race. Unlike the other race types, speed challenge events won't let you repair your car mid-race, so if you bang your way around the turns, there's a good chance you'll lose your nitro boost altogether and won't have a chance of hitting your speed totals. There are also drag racing events, which put more focus on shifting at the right time (you shift by flicking the Wii Remote). As in our previous look at the game, drag events are tough because you have next to no time to react and get out of the way of oncoming traffic--in fact, just like last time, we weren't able to finish a single drag racing event before crashing. Here's hoping they significantly tune things before release.

Nitro's multiplayer races will be fast-paced affairs. (They won't be quite as quick as the single-player races, though, which are running at 60fps. Multiplayer races run at 30fps). Perhaps the biggest strategic advantage you'll have, besides simply taking the corners well and using boost judiciously, is the heat meter and shield pickups. Nitro races will have cops along for the ride, and as your heat level rises in a race, so too will the cops' harassment. To lower your heat level, you drive over shield boosts found on the circuit--activating a shield boost will lower your heat level and automatically put the heat on a nearby driver.

Whether you're tagging the world with customized graffiti when leading a race, or putting skulls and flowers on your Day-Glo orange van, Nitro will give you plenty of options for customization. You'll be able to change the paint scheme of your car, quickly add stickers and other designs to your car, and create custom logos that will pop up in the world.

Nitro might be built for the Wii, but it's coming to the Nintendo DS as well. The DS game is being developed by the folks at Firebrand Games who previously developed the TrackMania DS game. TrackMania's nutty influence is evidenced by the track design in Nitro for the DS--the last time we played the game, we drove one section of a race on a roller-coaster track, and the most recent time we played it, we were drifting through corners and taking sweet jumps on the moon, which pretty much answers anything you need to know about this version of the game.

Need for Speed: Nitro is due for release on the Wii and DS on November 17.

Read and Post Comments | Get the full article at GameSpot


"Wii | Need for Speed: Nitro Updated Hands-On" was posted by Brian Ekberg on Tue, 15 Sep 2009 12:35:59 -0700

Sunday, September 27, 2009

PlayStation 3 | Assassin's Creed II Updated Hands-On

We leapt across Venetian rooftops, killed plenty of guards, and even found time for a spot of shopping in the Tokyo Game Show build of Assassin's Creed II.

The last time we saw Ezio, the lead character of Assassin's Creed II, he was just starting his adventure in Florence. However, in our recent Tokyo Game Show demo, we got to take control of him back in Venice. The session started with Ezio dropping into a Venetian street incognito and in need of some new threads and weapons. Thankfully, we were able to find a shop that provided a solution to these problems, allowing Ezio to get some new, slightly heavier armour and a mace to go with his hidden blades and sword. There were other options, though, including a scimitar and a warhammer. The Venetian section in question was about halfway through the game's purported 27-hour main storyline, so while you won't get to play with all the new toys from the beginning, it's likely that you'll have a wide variety of weapons to choose from for much of the game.

[ Watch Video ]

Having kitted up, we headed to a tailor's shop, where Ezio could buy packs of dye that would change the primary colour of his clothing. The colour of his outfit didn't seem to have an effect on gameplay, but it does seem to add another layer of customisation to his look, making ACII a much more personal experience than its predecessor. Walking from shop to shop, we saw the new crowd-blending techniques in action; if you keep pace with any group of pedestrians in Venice's crowded streets, you'll blend into them, being invisible to guards if they're on the lookout for you. Mingling with people is, of course, an ideal opportunity for a spot of petty larceny, but as in real life, this comes with its risks; if your mark spots you and starts a ruckus, the spell is broken and those pesky guards will be onto you.

With clothing and weapons sorted, it was time to see the main part of the mission--an assassination. This mission, one of 130 or so in the full game, starts with Ezio being instructed to take out five archers placed on rooftops around your target's house to make the initial approach possible. This was accomplished with few problems--the new high-speed scrambling made ascents up to the rooftops easy enough since the city wasn't yet aware of Ezio's presence, shown by the notoriety meter that sits next to his health indicator.

Dispatching the archers was a simple affair; the fact that they were often perched on the edge of rooftops made eliminating them relatively easy, though working out the best path to avoid taking cover required a little more time. The range of weapons allowed for some fairly brutal kills, and the layout of the level made simple, stylish, and quiet kills just as much fun.

Once the archers had been dealt with, there was the meat of the assassination: breaking into the target's compound and taking him out before he realises what's going on. Approaching at street level, all the entrances were blocked by packs of four guards, one of whom was heavily armored and was wielding a halberd. A quick scout of the surrounding area revealed a group of courtesans in a nearby square. For a fee you can hire them, which provides you with mobile cover as the four of them walk around you, providing a crowd for you to blend into, and they can then be sent off to flirt with guards, allowing you to slip past unnoticed.

This distraction allowed Ezio to take on the other set of guards on the perimeter. This task seemed fairly daunting--especially given the presence of another brutish fellow complete with halberd--but fortunately the game's director was on hand to demonstrate the most effective way of dealing with the group. First, he disarmed the brute, and then he swept his legs out from under him, before delivering a precise fatal blow with the stolen halberd as he hit the floor. This was enough for the lesser guards, it seemed; while the reach on the weapon meant that getting one more down was possible, the others fled in terror back out into the city.

Having breached the compound, it was time to track down the target. We scrambled up the outside of the building in which he was ensconced and tried to find the most effective stealthy route to him, taking out guards silently where necessary. This was tricky but was helped out by a few tricks that Ezio has up his sleeve that Altair lacked. The first of these is the ability to leap from ledges onto unsuspecting enemies and swiftly dispatch them in flight using the hidden blades; if you have two foes sufficiently close to each other, it's possible to take them both out at once. After dispatching a few guards perched on the top of the building to make sure there was no one watching above our mark's head, it was easy enough to scramble around the building and take out two of his three personal guards before he was even aware anything was afoot. This was followed by a short chase around his palazzio as he attempted to flee as we dealt with the last guard, but this was thankfully short-lived, and a cutscene ensued, ending the demo.

Assassin's Creed II is looking like an excellent follow-up to the massive-selling original, and the team behind it is working hard to address gamers' and critics' comments regarding the first game's flaws. They seem to be managing this with a certain degree of success; the game does look to be a lot more varied, though all the fundamental building blocks from the original remain. We'll bring you more on Assassin's Creed II as it nears release, so keep it tuned to GameSpot.

Read and Post Comments | Get the full article at GameSpot


"PlayStation 3 | Assassin's Creed II Updated Hands-On" was posted by Alex Sassoon Coby on Thu, 24 Sep 2009 05:14:20 -0700

Saturday, September 26, 2009

PlayStation 3 | Ratchet Clank Future: A Crack in Time Updated Hands-On

We go hands-on with Insomniac's latest entry in the Ratchet & Clank series.

The last time we checked in on Insomniac's Ratchet & Clank, things had gone all Empire Strikes Back for the heroic duo. Clank had been nabbed and taken to parts unknown by a mysterious alien race known as the Zoni, leaving Ratchet to mount a rescue. The upcoming Ratchet & Clank Future: A Crack in Time aims to tie up the loose ends left by Ratchet & Clank Future: Tools of Destruction and Ratchet & Clank Future: Quest for Booty. We got our hands on a work-in-progress preview version of the game, which let us play a decent chunk of the first few levels. Although the game isn't quite done, there was already a lot to like, and it definitely left us wanting more.

[ Watch Video ]

The first thing to call out about the game is its sense of humor, which, while always a staple of the series, is in fine form. The game starts out with some good laughs courtesy of everyone's favorite galactic loser, Captain Qwark. A short video interview with the blowhard runs while the game installs files to your PlayStation 3 and offers a quick run through current events for new players. Once that finishes, a cinematic shows how Clank is faring under the "care" of Dr. Nefarious, who, surprise, hasn't gotten any saner or quieter. True to form, Nefarious double-crosses the Zoni, and Clank makes a hasty escape, which is where you'll get control of the tiny bot. For the most part, Clank handles as he always has: you'll punch to attack enemies and be able to do hovering jumps that you can chain three times now for added distance and altitude. Clank's escape is aided by a robot named Sigmund, who appears via holographic projectors throughout the space station, a massive clockwork installation we've seen before, on his path to freedom. During the escape, there are moments of time weirdness that are obvious signs that things aren't quite right. Unfortunately, the escape run isn't a success, and Clank is caught.

The game then shifts focus to Ratchet, who is tearing through space with Captain Qwark to Clank's location. A mysterious energy surge rocks Ratchet's ship, Aphelion, and Qwark and Ratchet crash-land but survive thanks to a weird time anomaly. The level has you guiding Ratchet, with Qwark following along, as they explore the planet and meet the locals, who are called Fungoids. Along the way the two stomp on some wildlife, and Ratchet shops for some weapons. When the pair does find the locals, they're a needy lot with children to be saved and escorted to the main village. To be fair, their payback is good, and they set Ratchet up with a Zoni container, which is key to harvesting the mysterious creatures that not only repair Aphelion but yield some upgrades. Unfortunately, Nefarious' forces attack and nab Qwark along with some locals--making you wonder if hanging with Ratchet isn't just a really bad idea--and this sends Ratchet on a mini rescue mission into space.

Ratchet & Clank Future: A Crack in Time looks like one of the best additions to the series. Unlike the space sections in the last game, A Crack in Time's space segments mix up space shooting with planet and moon exploration--with smooth transitions. It looks like each section of space will have a variety of different places to explore, each with something to collect, in addition to waves of fighters to take out. For this first section of space fighting, going after and infiltrating the enemy ship where Qwark is being held is central to the action. After dispatching enemy fighters to clear a path to the ship, the goal is to find Qwark and the natives, which entails exploring the ship's interior and solving puzzles. In addition, we were able to collect the first piece of the holo plan for the R.Y.N.O. V and pick up some additional weapons for Ratchet’s personal arsenal: the newly minted sonic eruptor and Mr. Zurkon, the surly killbot. The rescue is successful and leads to a boss battle against a high-ranking Nefarious henchman named Lord Vorselon. Once all the work was done, the next destination was the Breegus system, which shifted gameplay back to Clank on the space station and introduced us to his time powers.

The early levels teased quite a bit about the story, which is actually pretty intriguing. The talk about Clank's creator Orvis, the time anomalies, Alister Azimuth, the new mystery Lombax, and the impression given that elements from the previous games are all coming together in A Crack in Time's story definitely keeps things interesting. The dialogue between characters and all the snippets of overheard material give the story a bigger scope.

As far as the visuals go, Ratchet & Clank Future: A Crack in Time outshines its predecessor thanks to an impressive array of subtle improvements that really make the visuals pop. The game's brighter color palette and new environmental effects really bring the alien worlds we've seen so far to life. Subtle touches, such as character and environmental animation, show an impressive attention to detail that makes the game as fun to watch as it is to play. We also have to call out the sense of scale in the environments, which gives the game an epic, expansive feel that suits the story well. The only blemish we've seen so far is the occasionally quirky camera, which can hitch in certain places, but given the camera work in the previous games, we expect it to be tightened up before release.

The visuals are complemented by the typically strong audio we've come to expect from the serious that's anchored by top-notch voice acting. Ratchet, Clank, Qwark, Nefarious, and newcomer Alister Azimuth all have voices that are easily on par with anything you'll hear in animated or CG movies. The effects for explosions and the various weapons are satisfying as always and suit the onscreen action well. The game's score is also very strong and helps frame the action and story nicely.

Based on what we've played, Ratchet & Clank Future: A Crack in Time finds the series in the zone on the PlayStation 3. The core gameplay the series is known for is being tightened up in all the right places, and the new additions to the action have a good feel to them. However, equally important, the game's story and humor are nailing it in these early levels. It's great to see Qwark back and to see that, despite the genuinely funny stuff, there's some character development for both Ratchet and Clank. Ratchet & Clank Future: A Crack in Time is slated to ship in late October for the PlayStation 3. Look for more on the game in the coming months.

Read and Post Comments | Get the full article at GameSpot


"PlayStation 3 | Ratchet & Clank Future: A Crack in Time Updated Hands-On" was posted by Ricardo Torres on Fri, 11 Sep 2009 22:21:35 -0700

Friday, September 25, 2009

Xbox 360 | The Misadventures of P.B. Winterbottom QA

Creative director Matt Korba explains his ideas and thought processes during the creation of this upcoming puzzle platformer.

The Misadventures of P.B. Winterbottom captured our attention last year at the 2008 Electronic Entertainment Expo where it was tucked away in the indie section but still managed to shine brightly enough to snag a spot as one of our 10 finalists for Game of Show. A puzzle platformer with a unique visual style, The Misadventures of P.B. Winterbottom uses an interesting recording mechanic so that you can manipulate clones of yourself to collect delicious pies. We had an opportunity to meet creative director and lead designer Matt Korba a few weeks ago to play the game and get an idea of how the game works on the Xbox 360 (more details here). Now, we check in with Korba once again to get more juicy details about the mischievous pie-loving gentleman and show an exclusive trailer.

[ Watch Video ]

GameSpot: How did the idea of P.B. Winterbottom originate? What's this guy's story?

Matt Korba: At USC, many of my past projects explored themes of replay, alternate timelines, and looping. I also was spinning around an idea about a game that would capture the essence and the charm of an early silent film. I have my B.A. in film and still love watching early films. These two ideas along with Back to the Future Part II, Edward Gorey, and delicious treats merged sometime around my first year in grad school.

Winterbottom is a mischievous villain with a heart of gold and a nose for delectable sweets. We wanted to create a simple character with a simple motivation, much like Scrat in the Ice Age shorts or any character in a Pixar short. Pie came about as the motivation simply because it was 4 a.m., Paul Bellezza (cofounder and producer) and I were on about 10 Red Bulls apiece, we had to make a presentation in a few hours, and we decided that there are two types of people in the world: lovers of pie and fascists. We sure knew which side we were on; pie was delicious and we wanted to tell the world about it.

GS: How would you have approached the project differently if it wasn't for your thesis?

MK: I don't know that I would have. The process was natural and dynamic enough that we try to incorporate it into our company's pipelines.

GS: The mechanics and gameplay have been compared to Braid. Did that game change or influence how you approached P.B. Winterbottom?

MK: Braid is a wonderful game. The time mechanics in Braid did not influence Winterbottom so much because our concepts were already far along when we saw it. However, the structure of Braid's world helped us to organize Winterbottom's world and ideas. Jon served as an advisor on the project and helped us with how we wanted the player to feel and advised us to minimize all lose cases for what we were going for.

GS: How do you keep the time/recording mechanic fresh?

MK: Because the recording system is so open, we were able to put a lot of variance on the mechanic. We have a huge puzzle document of different spins on the mechanic. We probably have hit one-sixteenth of these ideas in the first game. Some ideas that are covered in the game include: What if your clones were evil? What if you only had a limited amount of time or clones to use? What if there were pies only clones could collect? These ideas, while keeping the same basic actions, allow for keeping the mechanic fresh and puzzles intriguing.

GS: What was your process when it came to designing the puzzles?

MK: It took awhile to figure out how to design challenging puzzles that allowed players to solve them however they wanted and did not have a set scripted solution. The way we did it was to think of a Winterbottom chain reaction or machine we wanted to see and work backward, placing the pieces in the scene for the player to perform with. Then we would observe how people actually tried to solve the puzzles and tweak and adjust until their way was possible. Other times, we saw a way we thought was too cheesy to allow and would tweak the other way. The goal was to be able to go on YouTube and see a solution that the designers never thought possible. Fortunately, we have experienced this already at the different shows Winterbottom has been at. It's a crazy feeling seeing a 10-year-old-kid show you up in your own game.

GS: Tell us about the art style of the game. Why did you decide to go with the black-and-white silent film look?

MK: Winterbottom was to be a silent film game for a couple of reasons. First, I love silent film and feel that for the most part the humor and charm still hold up. Second, silent film's told their story through funny title cards and action; both tools readily available to a student game maker. I didn't want to tell a story with over-the-top cutscenes and cheesy voice-overs. On top of that, I wanted to make a silent film that functioned more like a creepy children's book. Edward Gorey meets silent film is pretty much the atmosphere we wanted to go for, and the look supports that. While many big companies are trying to tell epic Lord of the Ring-style tales, I feel like we as an industry haven't learned to tell a simple children's book story yet through the medium. So let's start there.

GS: Could you comment on the music and how it fits within the game?

MK: The music is composed by David Stanton whom I met at school. It was one of those moments that just kind of clicked. He looked at the concept art and submitted what is basically the opening track as his audition piece. He was only given one note, "creepy/ quirky silent film," and he went to town. I personally feel that the music is one of the biggest factors that helps sell the world, and we are lucky to be working David.

GS: Did the game turn out the way you'd expect it to?

MK: Yes and no. I mean originally it was a game about time-traveling dinosaurs. The game today is very much what we imagined as students, and it's been pretty magical to see it take shape. Whenever new art or music comes in, it always turns out better then we expected it to be, so that's always a nice surprise. Of course with any production schedule, things had to be cut, but we try to make our limitations our strengths. And perhaps it's for the better that the game doesn't end with an epic moon battle where Winterbottom fights off a horde of evil martians hell-bent on destroying planet earth.

GS: That would have been something. Thanks for your time!

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"Xbox 360 | The Misadventures of P.B. Winterbottom Q&A" was posted by Staff on Wed, 16 Sep 2009 09:43:11 -0700

Thursday, September 24, 2009

Xbox 360 | Lost Planet 2 Updated Hands-On

Our team of wasteland pirates heads to the desert in a new pair of levels from this four-player shooter.

We’ve known for a while that Lost Planet 2 is going to be a pretty big departure from its predecessor thanks to the inclusion of four-player co-op, an ambitious feature that Capcom has built into the entire story campaign of this sci-fi shooter. But here on the first day of Tokyo Game Show 2009, we’ve been able to play a new demo from Lost Planet 2, and it looks like the number of players isn’t the only thing differentiating Lost Planet 2 from the original.

Fans of the first game will recall that the entire campaign took place on a frozen, snowy wasteland, give or take a few jaunts into some dark caves. Though the environment was well done, it was something that remained pretty much the same from start to finish. Lost Planet 2 won’t be quite as predictable. Since this year’s E3, Capcom has been showing off a demo that pits players in a lush, rainy jungle environment against a giant salamander boss, a creature belonging to the Akrid family of massive enemies. The demo Capcom is showing here at TGS 09, on the other hand, takes place in an arid desert, and introduces a few new Akrid to go alongside a very interesting train sequence.

The demo is taken from Stage 3-2, which is the third chapter out of six in the entire game. Each of these tells the story of various wasteland pirate factions, and the ones in our demo were on a quest to steal a train from a rival group. It began with four characters conversing in a futuristic helicopter before running into an enemy chopper and getting into a mid-air tussle that ultimately sent them crashing down to the sandy earth below. The group came to on the outskirts of a desert village with sand houses and violent, sweeping wind blowing dirt and debris all over the place.

Turns out, the village was filled with pirates eager to take out our group of four survivors. The level design in this village allowed for a wide variety of tactics, whether it be charging at them as a full squad, everyone sneaking off to the side to flank them, or just grabbing any scattered rifles and blasting them from afar. Our personal favorite strategy was getting hold of the cross-battle suit, a lighter and more nimble take on the mech-like VS suits that serve as one of the series’ trademark elements, and pretending to be a futuristic desert wasteland Robocop. The battle suit is great in the way it allows you to continue doing all the same jumps, rolls, and grapples that you would normally do, but with a powerful suit of armor saving your skin. What made us feel like even more of a force of nature was the fact that the brittle sand structures in this village were all destructible, so we went to town throwing plasma grenades into hovels to smoke out enemies and wasting them with the one-shot kill VS rifle when they’d flee in terror.

This village level was capped off with a boss battle against a pair of Akrid that looked like a cross between a four-legged dinosaur and Jar Jar Binks. But trust us, they were a lot more intimidating than that description might suggest. Holding down on the directional-pad locks you into the cinematic camera, which gives you the ability to see them rising ominously out of the sand. The two Akrid are blind, but they’re very sensitive to sound, so they’ll charge at you when you unload your weapons on them. The moments in between those charges were very tense, though, as we tried to stand still so that they wouldn’t charge at us, giving us enough time to line up a shot on their glowing orange weak spots with a sniper rifle.

In the end, killing these Akrid bosses produces not only thermal energy, but also boxes that house special items that you can use to customize the look of your character. (Each time you play a chapter, you’ll play as the story character, but returning to those chapters after you’ve beaten them allows you to play as characters you’ve customized in appearance to be as tough or as ridiculous as you want them to be.)

After taking over the village, our group was able to steal the train and get on the road. So naturally, the next stage took place entirely on a speeding train. Well, two speeding trains to be specific. You and your three teammates start on the back of the train as you seek to make your way to the front and take over the powerful cannon gun and defeat an worm-like Akrid following you. The cool part is that these two trains run on tracks parallel to each other, so not only can you move forward on one, you can grapple onto the one next to it for an alternate path. The trick, though, is to not fall onto the ground in between, which will kill you and send your body rolling back into the abyss.

There were a number of enemy pirates standing in our way, and though the design of the level was the very definition of linear (i.e. get from the back of the train to the front of the train), there were a number of ways we could forge our own path. There was climbing on top of the train cars, walking through them, jumping into a walking VS that could leap from car to car, or--and this was our personal favorite--hopping into a flying VS that let us hover above the action and shoot down any enemies from above and pave a safer path for our teammates. The flying VS even has room for two extra gunners if they wanted to tag along with us.

The climax of this train level came once we got to the giant cannon at the front. Here is when the worm Akrid appeared from beneath the sand and started picking a fight with us. To kill this thing, we had to have one teammate jump into the cannon operator’s seat, and have the others run around picking up the giant munitions shells and loading them into the equally giant chamber. There was also a crane that one of the teammates could jump into to pick up more powerful shells, and an energizing station that let you pump each shell with thermal energy before chambering it for added effectiveness. But the means of dealing damage to the Akrid was pure Lost Planet: look for the glowing orange weak spots, shoot the glowing orange weak spots, and celebrate victory. It wasn’t quite that easy, of course, but you get the idea.

All in all, we had a terrific time with Lost Planet 2. It’s hard to understate just how much fun the four-player co-op adds to the experience. There’s still a lot to take in just as there was with the original, with a control scheme that can easily be described as daunting and a heads-up display packed to the brim with points, stats, and gauges, but if you’re willing to put the time in to learn how it all works--including all the various new weapons and equipment the team has added into the game--there’s a very fun and frantic action experience waiting to be enjoyed underneath it all. You can expect to see Lost Planet 2 arrive this winter.

Read and Post Comments | Get the full article at GameSpot


"Xbox 360 | Lost Planet 2 Updated Hands-On" was posted by Shaun McInnis on Wed, 23 Sep 2009 20:42:43 -0700

Wednesday, September 23, 2009

PlayStation 3 | Brutal Legend Updated Hands-On Impressions

We liberate headbangers, stage an all-out battle, and witness a Tenacious D reunion.

We're only a few weeks off from Brutal Legend's October 13 release, which is a good thing, because every time we've seen this heavy-metal-themed action game, we've walked away more eager than before to get our hands on the finished product. Our most recent look has continued that trend, giving us the opportunity to go hands-on with a few missions we've previously seen only glimpses of and explore the game's open-world setting to see what sort of trouble protagonist Eddie Riggs can get into outside of the main story.

The first mission we played had Eddie liberating an army of headbangers from a dungeon called The Crushing Pit, where they've been toiling away by slamming their heads against rock walls. This mission serves as a tutorial to the basics of squad commands, as Eddie (voiced by Jack Black) gains the ability to play a guitar solo that lets him recruit any nearby headbangers into his army. With these metal-head underlings in tow, you can use the directional pad to order them to follow you, wait and defend where you're standing, or charge toward and attack a distant point on the screen. While Brutal Legend is definitely an action game that's heavy on button combo melee attacks, this system lends a nice bit of strategy to the gameplay.

After using Eddie's heavy metal headbangers to defeat a gang of rival hair metal headbangers--think of them as mirror images of your troops, but with pink tiger-stripe pants and white cowboy hats--we made our way down to the bottom of the mines to take on the boss of this place. He belongs to an enemy class called the bouncers, who are giant brutes with tiny heads and fists the size of their entire body. He's the one brainwashing the headbangers into toiling their lives away by sending commands over his radio headset. We started by taking on a bunch of his minions using combo attacks like the powerslide, which lets Eddie sprint and slide (while on fire) into a bunch of enemies like a powerful bowling ball, and the roman candle, which levitates an enemy in the air on a stream of fireworks. The combo system is simple but deep, with quite a few gruesome yet humorous attacks available to you.

After we handled the bouncer boss's minions with ease, he approached us and exclaimed that we'd yet to take on his two most powerful allies: his fists, which bore the names Fear and Pain, misspelled in typically mangled metal fashion. To defeat him, we had to trade in Eddie's usual array of button combo attacks and use the environment to our advantage. Basically, we had to lure the boss underneath buckets of rubble passing overhead and attack at just the right moment so that the rubble would fall on him, sending him tumbling into the lava pits below. Thankfully, his radio headset was salvaged, and we used that to help rescue the rest of the headbangers from their toiling existence and recruit them into Eddie's army, which he'd set up to take on the villainous General Lionwhyte, leader of the hair metal brigade.

The next mission took the basics of squad commands and propelled them to the next level with a full-scale stage battle. If you read our impressions of Brutal Legend's multiplayer, then you're already familiar with how stage battles work. In short, they play like a light real-time strategy game: you control Eddie, and you spawn various troops into your army and then lead them into battle while keeping hold of resource points that let you spawn further troops. What we played was the portion of the game that explains how these high-concept battles figure into a game that, up until this point, is more about small one-on-one encounters.

When it becomes clear that General Lionwhyte is going to be sending a huge army of enemies Eddie's way, Eddie conjures up the idea to stage "possibly the greatest rock show of all time." His logic is simple: If he can take on a handful of enemies with just his guitar, then surely an entire rock concert will let him and his friends take on an entire army. These stage battles provide a nice balance to the usual hack-and-slash style of gameplay by expanding the scope a bit by allowing you to capture resource points and use those to spawn more troops into your army. The only part we had a problem with was being able to tell where new waves of enemies were approaching from, as there isn't any sort of map on the game's very minimalist heads-up display.

After that, we had a chance to explore the game's open world--a wild landscape that looks like a collage of metal album covers--to see what sorts of opportunities lie in wait outside of the main story. The game has at least 50 secondary missions that can be triggered by just exploring the world and finding random people looking for help. The first one we found was a lonely and remarkably unintimidating bouncer stationed on a cannon who'd been tasked with keeping Lionwhyte's troops from making it over a mountain pass. Not only is the guy the most docile-looking bouncer in the game (he's modeled after and voiced by Kyle Gass, Jack Black's bandmate in Tenacious D), but he's downright bad at his job. So Eddie agrees to help him out and ease the poor guy's neuroses by going around and targeting enemy troops to be taken out with the cannon.

In another side mission, we encountered a character voiced by comedian Brian Posehn (Mr. Show, The Sarah Silverman Program), a diehard metal-head who went to high school with the game's creative director, Tim Schafer. This character wanted us to break his record for hunting the most urchins, the porcupine-like critters that roam freely around the gameworld. The reward for beating this mission, and any secondary mission in the game, is fire tributes, which is a currency you can use to upgrade your hot rod and unlock new combat abilities. Who's the merchant you buy these upgrades from? Ozzy Osbourne, of course. You can expect to see him and a host of other metal icons when the final game is released on October 13.

Read and Post Comments | Get the full article at GameSpot


"PlayStation 3 | Brutal Legend Updated Hands-On Impressions" was posted by Shaun McInnis on Fri, 18 Sep 2009 09:35:44 -0700

Tuesday, September 22, 2009

PC | The Saboteur QA

We talk to Pandemic art director Chris Hunt about the sights and sounds of 1940s Paris.

Later this year, Pandemic Studios will look to show that there's still room for creativity in the World War II genre when it releases The Saboteur, an open-world action game set in Nazi-occupied Paris. Perhaps no feature is more unique than the game's overall look, which begins in black and white and then slowly fills in with color as you restore civilian morale throughout Paris and a few other European locales. We recently spoke with art director Chris Hunt to get a few creative insights into the development and settings, as well as look at protagonist Sean Devlin's hideout, the Belle de Nuit.

[ Watch Video ]

GameSpot: How did you arrive at the decision to set The Saboteur in Paris? Did you look at any other European cities early on in the creative stage?

Chris Hunt: France was always a central location in The Saboteur because of the inspirational foundation of our story and hero. Our real-life inspiration, William Grover-Williams of French-British heritage lived in France when he conducted espionage against the Nazis for Britain. We considered using other metropolitan centers in France in addition to Paris. Ultimately, we realized that we were going to spread ourselves too thin creating too many cities, and Paris by itself [was] very daunting to build on its own. It's such a vibrant and interesting city that we knew [it] would make a great and exciting open world for a game. Therefore, we concentrated our efforts on Paris [and] a few other key locations that worked more closely with the storyline. Aside from Paris, there is lots of French countryside, the coastal town of LeHavre to the north, and Saarbrucken on the German side of the border to the east.

GS: What were the various advantages and disadvantages you faced early on in using a city where so few other games have been set?

CH: The main advantage is that we could break new ground building a city that gamers were not familiar with. Paris offered lots of potential [and] gave us wide latitude for creative freedom. However, nothing has been done previously to compare our goals with other than the real city. We couldn't say "This other game created Paris with less geometry, so we will add two to three times as much in ours." One unique situation we had to overcome is that Paris is not laid out like most American cities with a grid system. It has a large river snaking through it along with five to eight-way intersections! This was a challenge, but we developed several innovative solutions to deal with issues like these, and now, when you drive or climb through the city, it really gives you an amazing feeling while playing the game.

GS: Can you describe the processes you went through early on in researching the overall look and feel of both Paris and the game's other various locales?

CH: Early development for The Saboteur was a combination [of ] painstaking research, concept development, and eventually a trip to France. It was important for us to re-create as much of the breathtaking architecture, countryside towns, and landmarks as possible. Our most challenging aspect for developing the visual style for the game was the black-and-white versus color look for the "Will to Fight." This required a great deal [of] art conceptualization, 2D/3D prototypes, camera work, and graphics support from engineering to achieve the visual fidelity we set out to accomplish.

GS: As an art director, how much does your job change working on an open-world game like The Saboteur compared to a game with a linear series of levels? How is the creative process impacted knowing the player can go anywhere on the map?

CH: Working on an open world is all about allocating your resources wisely! It's like having a "budget" of money you can spend on the weekend. If you spend too much money on Friday night, you won't have enough left Saturday and Sunday. You have to constantly balance the visual quality with what you show onscreen so the game will run optimally and not slow down performance. You consistently have to make calculated decisions on how to balance geometry, texture memory, collision, physics, special effects, and animation data. It's quite a task to make sure the player can enjoy a great amount of detail in the things that surround him immediately and at the same time be able to climb on a rooftop and see all the way across the city and see the countryside. Our proprietary Odin engine uses a special occlusion system, which manages how objects are rendered based on distance. So when the player is standing in front of a building, it only renders what's viewable but not the buildings behind those in front. This saves a lot of memory and allowed us to get more detail into the world.

GS: One location in the game where the player is going to spend a lot of time is Sean Devlin's hideout, the Belle de Nuit. Can you describe what sort of establishment this is and why you decided to use it as a safe house rather than an isolated apartment like a lot of sandbox action games?

CH: The Belle De Nuit is one of those essential concepts and locations of that era since Paris was really the Las Vegas of Europe during that time. The idea for the Belle actually evolved from several locations. The art team wanted a sexy cabaret, a place to showcase burlesque acts and dancers. The designers wanted a seedy dive bar where the French Resistance could meet and scheme. And, there also had to be a place where the Nazis and French could be on neutral ground under the same roof at the same time without sparking confrontations. As the story and design became more solidified, these elements merged into a single location that could serve all of these functions simultaneously.

GS: What sort of inspirations did you use in designing the look of the Belle? How much of those were real-life locations and how much were movies and books?

CH: We began looking at traditional places in Paris for inspiration, such as the Moulin Rouge and Le Lido de Paris. Another strong influence was "Rick's Cafe Americain" from the classic film Casablanca. However, given the multiple roles the establishment would serve, we decided we needed to put our own touch on the building. We knew we wanted the Belle to have seen better days; it had to be old but still functional. The architecture had to be filled with 1920s art nouveau decor inside and out. The space also had to be large enough for show performances, for patrons to sit or walk around, and to house private areas that could be kept hidden from the Nazis. From here, the art team got started with preliminary design work.

GS: How did you go about trying to capture the sights and sounds of 1940s Paris nightlife? How important was it to reflect the tense atmosphere of Parisians trying to have fun under strict Nazi control?

CH: Historically, Paris had a legendary nightlife, so there was an infinite amount of information to draw from. Ironically, showing this aspect of Parisian life during the 1940s is crucial to enhancing the sharp contrast of the Nazi occupation of the city; what we call "Low Will to Fight." The nightlife is on the other side of the coin of the Nazi control in The Saboteur. Players will definitely notice the effort that was put [in] re-creating Parisian nightlife once they play the game on December 8.

Read and Post Comments | Get the full article at GameSpot


"PC | The Saboteur Q&A " was posted by Staff on Thu, 17 Sep 2009 11:40:15 -0700

Monday, September 21, 2009

Xbox 360 | The Saboteur QA

We talk to Pandemic art director Chris Hunt about the sights and sounds of 1940s Paris.

Later this year, Pandemic Studios will look to show that there's still room for creativity in the World War II genre when it releases The Saboteur, an open-world action game set in Nazi-occupied Paris. Perhaps no feature is more unique than the game's overall look, which begins in black and white and then slowly fills in with color as you restore civilian morale throughout Paris and a few other European locales. We recently spoke with art director Chris Hunt to get a few creative insights into the development and settings, as well as look at protagonist Sean Devlin's hideout, the Belle de Nuit.

[ Watch Video ]

GameSpot: How did you arrive at the decision to set The Saboteur in Paris? Did you look at any other European cities early on in the creative stage?

Chris Hunt: France was always a central location in The Saboteur because of the inspirational foundation of our story and hero. Our real-life inspiration, William Grover-Williams of French-British heritage lived in France when he conducted espionage against the Nazis for Britain. We considered using other metropolitan centers in France in addition to Paris. Ultimately, we realized that we were going to spread ourselves too thin creating too many cities, and Paris by itself [was] very daunting to build on its own. It's such a vibrant and interesting city that we knew [it] would make a great and exciting open world for a game. Therefore, we concentrated our efforts on Paris [and] a few other key locations that worked more closely with the storyline. Aside from Paris, there is lots of French countryside, the coastal town of LeHavre to the north, and Saarbrucken on the German side of the border to the east.

GS: What were the various advantages and disadvantages you faced early on in using a city where so few other games have been set?

CH: The main advantage is that we could break new ground building a city that gamers were not familiar with. Paris offered lots of potential [and] gave us wide latitude for creative freedom. However, nothing has been done previously to compare our goals with other than the real city. We couldn't say "This other game created Paris with less geometry, so we will add two to three times as much in ours." One unique situation we had to overcome is that Paris is not laid out like most American cities with a grid system. It has a large river snaking through it along with five to eight-way intersections! This was a challenge, but we developed several innovative solutions to deal with issues like these, and now, when you drive or climb through the city, it really gives you an amazing feeling while playing the game.

GS: Can you describe the processes you went through early on in researching the overall look and feel of both Paris and the game's other various locales?

CH: Early development for The Saboteur was a combination [of ] painstaking research, concept development, and eventually a trip to France. It was important for us to re-create as much of the breathtaking architecture, countryside towns, and landmarks as possible. Our most challenging aspect for developing the visual style for the game was the black-and-white versus color look for the "Will to Fight." This required a great deal [of] art conceptualization, 2D/3D prototypes, camera work, and graphics support from engineering to achieve the visual fidelity we set out to accomplish.

GS: As an art director, how much does your job change working on an open-world game like The Saboteur compared to a game with a linear series of levels? How is the creative process impacted knowing the player can go anywhere on the map?

CH: Working on an open world is all about allocating your resources wisely! It's like having a "budget" of money you can spend on the weekend. If you spend too much money on Friday night, you won't have enough left Saturday and Sunday. You have to constantly balance the visual quality with what you show onscreen so the game will run optimally and not slow down performance. You consistently have to make calculated decisions on how to balance geometry, texture memory, collision, physics, special effects, and animation data. It's quite a task to make sure the player can enjoy a great amount of detail in the things that surround him immediately and at the same time be able to climb on a rooftop and see all the way across the city and see the countryside. Our proprietary Odin engine uses a special occlusion system, which manages how objects are rendered based on distance. So when the player is standing in front of a building, it only renders what's viewable but not the buildings behind those in front. This saves a lot of memory and allowed us to get more detail into the world.

GS: One location in the game where the player is going to spend a lot of time is Sean Devlin's hideout, the Belle de Nuit. Can you describe what sort of establishment this is and why you decided to use it as a safe house rather than an isolated apartment like a lot of sandbox action games?

CH: The Belle De Nuit is one of those essential concepts and locations of that era since Paris was really the Las Vegas of Europe during that time. The idea for the Belle actually evolved from several locations. The art team wanted a sexy cabaret, a place to showcase burlesque acts and dancers. The designers wanted a seedy dive bar where the French Resistance could meet and scheme. And, there also had to be a place where the Nazis and French could be on neutral ground under the same roof at the same time without sparking confrontations. As the story and design became more solidified, these elements merged into a single location that could serve all of these functions simultaneously.

GS: What sort of inspirations did you use in designing the look of the Belle? How much of those were real-life locations and how much were movies and books?

CH: We began looking at traditional places in Paris for inspiration, such as the Moulin Rouge and Le Lido de Paris. Another strong influence was "Rick's Cafe Americain" from the classic film Casablanca. However, given the multiple roles the establishment would serve, we decided we needed to put our own touch on the building. We knew we wanted the Belle to have seen better days; it had to be old but still functional. The architecture had to be filled with 1920s art nouveau decor inside and out. The space also had to be large enough for show performances, for patrons to sit or walk around, and to house private areas that could be kept hidden from the Nazis. From here, the art team got started with preliminary design work.

GS: How did you go about trying to capture the sights and sounds of 1940s Paris nightlife? How important was it to reflect the tense atmosphere of Parisians trying to have fun under strict Nazi control?

CH: Historically, Paris had a legendary nightlife, so there was an infinite amount of information to draw from. Ironically, showing this aspect of Parisian life during the 1940s is crucial to enhancing the sharp contrast of the Nazi occupation of the city; what we call "Low Will to Fight." The nightlife is on the other side of the coin of the Nazi control in The Saboteur. Players will definitely notice the effort that was put [in] re-creating Parisian nightlife once they play the game on December 8.

Read and Post Comments | Get the full article at GameSpot


"Xbox 360 | The Saboteur Q&A " was posted by Staff on Thu, 17 Sep 2009 11:40:15 -0700

Sunday, September 20, 2009

Xbox 360 | GTAIV: The Ballad of Gay Tony Hands-On Impressions

We parachute into Rockstar's second installment in the Episodes From Liberty City series of downloadable content.

Grand Theft Auto IV was one of the most critically and commercially successful games of 2008, and it continues to live on well into this year thanks to Rockstar’s Episodes From Liberty City series of downloadable content. The first installment came this past February when Rockstar released The Lost and Damned, which was a grim story about an underground biker gang that introduced a new storyline and protagonist, as well as new vehicles and weapons. In October, Rockstar will release the second entry in the Episodes series with The Ballad of Gay Tony. Like The Lost and Damned before it, The Ballad of Gay Tony will also add a significant amount of new content to go alongside a new collection of characters and missions. Rockstar recently guided us through a hands-on demo to see how the second DLC will differ from the first.

If there’s one major change from The Lost and Damned to The Ballad of Gay Tony, it’s the overall tone. TLAD told a dark story about a biker caught up in a power struggle amidst a cast of seedy characters, but The Ballad of Gay Tony will take on a much more lighthearted and over-the-top feel. The star this time around is Luis Lopez, a Dominican immigrant looking to make a life for himself in America much like the original game’s hero Niko Bellic. Luis works for Tony Prince (aka Gay Tony), a successful businessman who carries the distinction of owning the most popular straight and gay dance clubs in all of Liberty City. Problem is, Gay Tony has hit a rough patch and the shady investors he’s made deals with in the past are now coming for him in full force. As Luis, it’s your job to help out Gay Tony and make sure that the clubs--which you’ve worked your way up to part-ownership in--remain in his hands.

Throughout the course of the story, you’ll find yourself working for a number of bizarre characters, such as the wealthy eccentric Yusuf Amir. Thanks to the connections of these partners in crime, Luis has access to far more exotic weaponry than the sawed-off shotguns and pipe bombs that made up your arsenal in The Lost and Damned. Among the new weapons at your disposal are an assault rifle designed after the P90, a light machine gun that very much resembles an M249 SAW, and sticky bombs that you can attach to anything and detonate remotely. There’s also a golden UZI, a new sniper rifle, and a powerful new handgun. But the real gem of Luis’ arsenal is the AA-12 auto-shotgun that fires explosive rounds. With just one shot from this gun, we were able to make a police car look like it had just been struck by a meteor.

The first mission we saw quickly introduced us to the new parachute feature. Luis has agreed to help out members of the Russian mafia, who are trying to buy the Liberty City Rampage hockey team from the team’s reluctant owner. Negotiations have failed, so naturally Luis has been sent in to deal with the owner by force. To do so, Luis has to parachute onto the top of the building and make his way down staircases filled with guards before arriving in the team offices and blasting the owner out of the window of this skyscraper. Problem solved...sort of. With all the heat after him, Luis has to BASE jump from the window of the tower and land on a moving flatbed truck down on the streets below.

The parachuting system found in missions like these is actually pretty simple. You leap from a ledge (or helicopter) and use the analog stick to contort your body to adjust how much of an angle you fall at and how quickly you plummet. When you hit the A button, you’ll release your chute. With the chute open, you can lean left or right to steer, hit either trigger to do a more severe twisting motion, use an analog stick to raise your legs and fall at more of a forward angle, and pull both triggers at once to fall straight down. The DLC will also introduce new side missions that allow you to jump from skyscrapers and land on either stationary or moving targets to gather cash. Besides just hitting the target, you’ll also get more cash for free-falling for a longer period of time before releasing your chute.

After that first mission, Rockstar handed us the controller and let us try a few missions of our own. The next one had a thoroughly ridiculous premise: Yusuf wants to steal a Liberty City subway car and ship it off to the Middle East to build a theme park modeled after the city. To do that, you need to leap from a freeway overpass in Broker (all boroughs are unlocked from the start) and land on a train passing below. Then, you have to slowly make your way to the front of the train while defending yourself from angry police helicopters--we used our trusty auto-shotgun--while also making sure to quickly go prone went the train passes under a low overhang, such as a bridge. We really enjoyed this mission and the thrill of navigating the roof of a speeding train while shooting down choppers and police standing at any of the stations we sped past. At the end of the mission, a cargo helicopter came by and snatched the lead train car off the tracks and whisked it off to its new home. This was definitely a marked departure from the sense of gritty realism that made up the missions in The Lost and Damned, but it was a fun one nonetheless.

The next pair of missions --one played by us, one by Rockstar--showed off a few more new features. In the one we played, we had to take a van due to be raided by a SWAT team and set up a trap. We drove the van into a dimly lit parking garage and then hopped out to plant a series of sticky bombs on the van, as well as every single surrounding car within a good 20-foot radius. Then we took to the shadows and hid behind a car, waiting until the SWAT team arrived to approach the van. You can probably guess what happened next: a massive explosion; a lot of angry cops; and one big, messy firefight.

The other mission required Luis to hop on a boat and sneak his way onto a yacht out at sea. The yacht is owned by illegal arms dealers, and the real prize of the auction taking place is the attack chopper parked neatly on the helipad. Luis has to sneak up to it, take off with the thing, and destroy the yacht, as well as the surrounding guard boats from on high. It’s a tough job because the illegal arms dealers you just stole from are, well, arms dealers and, thus, armed to the teeth. (With rocket launchers!) Thankfully, the stolen chopper is equipped with a minigun and unlimited rockets, so it's much easier to take care of these guys with the chopper than it would be if you were piloting a run-of-the-mill police helicopter.

From the new attack helicopter and parachuting missions to Luis’ cache of high-powered weaponry, The Ballad of Gay Tony looks like it should offer a much more exaggerated style of action than its predecessor. Other gameplay additions include what Rockstar call ’procedurally generated missions’ that you’ll be offered when hanging out in the new dance clubs. These may include dealing with a drunk patron or delivering a package for someone, as well as the aforementioned parachute side missions. You can also replay any completed mission, which is a feature that's been borrowed from Grand Theft Auto: Chinatown Wars. Naturally, multiplayer makes a return as well, complete with the new weapons, vehicles, and parachutes.

The Ballad of Gay Tony will be available on October 29 for $20 on Xbox Live. Another purchase option exists in the form of the Episodes From Liberty City retail disc, which bundles The Ballad of Gay Tony and The Lost and Damned on one $40 disc, and you don’t need to own the original GTAIV to play it. Stay tuned for more coverage in the near future.

Read and Post Comments | Get the full article at GameSpot


"Xbox 360 | GTAIV: The Ballad of Gay Tony Hands-On Impressions" was posted by Shaun McInnis on Wed, 16 Sep 2009 09:30:14 -0700

Saturday, September 19, 2009

PlayStation 3 | Dragon Age Updated Preview - Rage of Mages

You say you want to cast magic missile? You're attacking the darkness? Fine, fine, there's an elf in front of you, and he's going to explain how magic works in Dragon Age.

Dragon Age: Origins is the upcoming fantasy-themed game from our friends at BioWare, a wholly owned subsidiary of Electronic Arts and the Canadian studio responsible for such role-playing games as Baldur's Gate, Neverwinter Nights, and Mass Effect. It's also a game we haven't had a chance to cover very often here on GameSpot, so we're happy to finally have a chance to post a new preview story covering the use of wizardry in the game. In Dragon Age, you can choose to play as a mage class, which starts off with the mage tower origin story that we've covered previously and then leads to a tale of sorcery-powered high adventure and zapping bad guys with nasty zappy spells.

While Dragon Age's list of skills is universal for characters of all professions (including such abilities as conversational coercion, potion-brewing herbalism, thievery, and combat training), the game has a unique set of "talents" for mages. Mage characters have a single line of mage-specific skills that include a basic attack spell, an arcane bolt, an improved ability to zap people using a magic staff, personal shielding magic, and an overall boost to wizardly power. This basic line of skills never seems like a bad choice to spend talent points in as you gain experience levels, except that there are four other talent lines (or "schools of magic," if you prefer) with plenty of other interesting and useful spell abilities that are worth exploring.

The four additional talent trees for mages are primal (elemental damage spells); creation (healing and protective magics); spirit (which focuses on countermagics and controlling enchantments); and entropy (which focuses on hindering magics). Primal, for instance, includes four different talent lines for fire, ice, lightning, and earth, each of which has four levels of abilities, including the classic fireball, lightning bolt, and cone-of-cold spells you may remember from BioWare's previous Dungeons & Dragons-based games. However, the primal talent group also includes certain spell abilities with combinatorial effects. For instance, the most powerful talent in the earth line, petrify, briefly turns an enemy to stone and makes that enemy vulnerable to instant death by shattering if attacked with a concussive spell, such as the earth line's stonefist spell. As it turns out, certain spells from the ice talent line can also freeze enemies solid, rendering them similarly vulnerable to being shattered. The primal line also contains two different weapon enhancements for all characters in your party; the fire line causes weapons to deal fire-based damage; and the ice line causes weapons to deal cold-based damage. The remaining spells in the primal talent lines are generally powerful damage-dealers with large radii that can also damage your teammates if they get in the line of fire. Careful micromanagement (or combinatorial strategies, discussed later) is crucial in using these talents, lest you blast your own party to smithereens.

The creation line of talents is a straightforward set of healing and protection (or "buffing") spell abilities, including on-the-spot healing and over-time regeneration, and full-party regeneration, as well as offensive and defensive team boosts and the Dragon Age version of "haste"--which makes you and your team attack more quickly but drains away your character's energy. The creation line also includes a set of "glyph" spells that affect a small chunk of territory with various magical properties, including defensive skills like canceling magic or increasing your teammates' defenses, and offensive glyphs that can repel or paralyze enemies that stumble into the radius. Finally, the creation talents also include a miscellaneous line of spell abilities that enhance endurance regeneration and include a precious few attack spells, including an "insect swarm" spell that continuously damages its target, and a "grease" spell, which, just like in Baldur's Gate and Neverwinter Nights, causes an area of ground to be covered with a slippery grease that hinders movement. However, in Dragon Age, an area affected by the grease spell can also be set alight by fire spells, burning up any enemies or friendlies in the area.

The spirit line of spells also contains four sets of talents, each with four abilities. The spirit line is focused more on canceling magic and draining "mana" (magic energy) from your foes, though it also has some powerful attack spells. Among others, spirit includes a line of talents to protect against or dispel hostile magic; a line of talents that interferes with your enemies' mana and limits their ability to cast spells of their own; and a line of talents that deals with death by magic and replenishes spent energy from corpses, animates fallen enemy corpses as allies, and includes a "walking bomb" effect that causes an enemy under effects of the spell to explode if killed, damaging everyone in the radius. The spirit line also has a psionics-based set of talents that lets casters enhance their parties' weapons, psychically blast a single foe, encase a single target in a protective bubble (similar to Baldur's Gate II's Otiluke's Resilient Sphere), and contain an enemy in a cage of crushing force that will also shatter any frozen or petrified foes. The spirit line seems to be the most subtle of all the mage's talent trees, and from what we've played of the early game, it won't necessarily be needed to dispatch the enemies you encounter at first.

Finally, the entropy line of talents includes a series of debilitating spell abilities, including a set of talents that weaken or paralyze foes; a set of "hexes" that curse any enemies in range with a specific affliction; and a set of nightmare-based abilities that can freeze enemies in their tracks and that includes powerful analogues to Baldur's Gate II's sleep, horror, and chaos spells, which immobilize enemies in slumber, cripple them with fear, and completely confuse them into performing random acts, respectively. As it happens, sleeping enemies who are then targeted by a horror spell suffer maddening nightmares that deal severe damage to them, instantly killing most weaker foes. The entropy talent line also has a set of death-magic-based spell abilities that drain an enemy's health or summon a damaging noxious cloud to hang over an area, not unlike the classic cloudkill and acid fog spells of Baldur's Gate II.

Each of these talent groups has powerful, useful abilities, but it seems that BioWare didn't intend for players to fully specialize in any individual one, and in some cases, except possibly creation (which will set you up as a solid combat healer with good protection spells, a minor hindrance spell, and a single damaging spell), you'll actually limit your mage's overall ability if you focus on only one school. Considering that you won't be able to take every single spell talent in the entire game in a single play-through, you'll most likely want to do some experimenting and then think about focusing in a certain direction. In addition, since several spell abilities have combinatorial effects with other spells or other professions' talents, it pays to start thinking and get strategic.

For instance, properly specialized mages are excellent at controlling individual enemies as well as crowds, using such talents as the spirit line's force field or primal's petrify to remove a single enemy from play, while using other talents such as entropy's sleep, horror, and paralysis spells or creation's glyphs of repulsions and paralysis to render groups of enemies helpless. This kind of strategy seems useful not only to stop an enemy charge, but also to divide and conquer--when facing a paralyzed battalion of enemies, you and your troops can pick off and eliminate choice targets one by one. In addition, fighters who are specialized in two-handed weapons can learn the "indomitable" warrior talent, which makes them immune to talents and spell abilities that would otherwise knock them off their feet, so concussive spell talents like earthquake and glyph of repulsion are a great setup for a party packing two-handed weapons, since the fighters can rush right into the area of effect, immune to the magic, and begin hacking away at the monsters lying on their backs.

Alternately, proper talent selection can make your mage a strong support character that softens up tough bosses for your fighters. Abilities such as the entropy line's hex spells and creation's glyphs can reduce these formidable foes' resistances to damage; the spirit line's talents can eliminate any boss character's protective magics or drain them away; and both primal and spirit have weapon-enhancing spells that can help you deal additional damage. The spirit line's walking bomb talent (and its upgraded version, virulent walking bomb, which spreads the effect of making foes explode when they die to any nearby foes) works especially well against large groups or bosses with smaller minion critters. And of course, when fighting powerful bosses, it's important to keep your team up and running with the creation line's various healing and buff spells.

Another very viable way to specialize a mage in Dragon Age is to focus on controlling territory on the battlefield by first entrapping enemies and then bombarding them. (If you've used the web spell followed by area-damage spells such as cloudkill in Baldur's Gate II, you'll know what we're talking about.) Several of the mage's different talent lines have large-radius abilities that can incapacitate your enemies--the creation line's grease spell and glyphs of repulsion and paralysis, and the entropy line's mass paralysis and sleep spells--and nearly all of the primal line's ice spells can make sure a group of enemies in a certain area either get stuck or are forced to move extremely slowly. From here, you can have your party's archers either feather your enemies with arrows or start bombarding them with magic. Dragon Age has several high-end bombardment spell abilities, such as the primal line's high-end fire-based inferno or cold-based blizzard and the entropy line's high-end death cloud.

But be advised that snag-and-slag isn't as easy as it was in previous BioWare games, since many incapacitating spells can affect only enemies within a certain distance from where you're casting them, though you can at least lay down the glyph spells off in the distance and then lure your foes into them. Also, be advised that even though magic is extremely powerful in Dragon Age and casting spells really does get results, it isn't the rapid-fire experience it was in BioWare's previous fantasy games. As we've mentioned in our previous coverage, the way Dragon Age's spell abilities work is much closer to how magic spells work in a massively multiplayer game such as World of Warcraft. Your mage has a set amount of mana in a bar that gets expended with each cast of a spell, and several spell abilities are modal--that is, they are toggled on or off and provide a persistent effect, such as enhancing your party's weapons--at the cost of constantly draining mana. Also, every time a spell is cast, it has a cooldown time that completely restricts you from spitting it out again, and the most powerful, high-end spell abilities in the game generally have the longest cooldown times. Finally, all of the most powerful combat damage spells (inferno, blizzard, and so on) deal "friendly fire" damage to nearby teammates, so you have to take great care to line up spells carefully without zapping your teammates, and this can be a lot more challenging than it might seem, since most enemies, if not incapacitated, will make every effort to sprint out of range.

That's our in-depth look at the different talent trees available for the mages and at some of the higher-end strategies you can use in Dragon Age: Origins. Stay tuned to GameSpot for any additional updates--considering how little we've covered of this game so far, there may indeed be lots more to come.

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"PlayStation 3 | Dragon Age Updated Preview - Rage of Mages" was posted by Andrew Park on Thu, 17 Sep 2009 18:52:07 -0700

Friday, September 18, 2009

Xbox 360 | Halo 3: ODST Preview - The Weapons of Halo 3: ODST

Get caught up with Halo 3: ODST's arsenal in our latest report.

Throughout the Halo series, we have been introduced to some of the most distinctive weapons of the first-person shooter genre. Whether it was the potent pistol of the original Halo, the energy sword of Halo 2, or the spartan laser of Halo 3, each game has featured a variety of ways in which to battle the Covenant. And now with the next chapter in the series, Halo 3: ODST, set to launch in the near future, we wanted to take a moment to explore the game's many weapons, some of which are new, others of which are returning from previous games. We'll provide not only an overview of each one, but tips on how to properly wield them as well.

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New and Returning Weapons for Halo 3: ODST

Auto-Mag
Many longtime fans of the Halo series have fond memories of the pistol in the original Halo. It was loud, powerful, and deadly accurate. Some might even say too deadly. As such, Bungie significantly de-powered it in the sequel, reducing its firepower and most importantly, removing the scope, much to the chagrin of the fans. They attempted to rectify this in Halo 3 with the Magnum, but even that wasn't enough.

Thankfully, it's practically back in ODST in the form of the Auto-Mag. But don't let the moniker fool you--this is the true successor to the original pistol. It's powerful, accurate, and retains the scope that made it famous in the first place. As such, it is now a formidable weapon for both close and long-range combat, enabling you to pull off headshots with ease. Also, it's now equipped with a silencer, making it ideal for stealth kills when exploring the quiet streets of New Mombasa.

Silenced Submachine Gun (SMG)
Although functionally similar to the SMG in Halo 3, the new silenced SMG is now equipped with a suppressor--like the Auto-Mag--making it ideal for battles in New Mombasa without giving away your location.

Though capable of rapid-fire, the weapon has a noticeable amount of recoil, resulting in a significant loss of accuracy the longer the trigger is held. Its firepower also isn't particularly strong, but this is mostly mitigated by its large clip, which lets you fire continuously for quite a while before reloading. And since the weapon also reloads quickly, this high-capacity gun makes for an ideal backup weapon.

Brute Plasma Rifle
The brute plasma rifle returns after its absence from Halo 3. It's functionally identical to the standard plasma rifle, only significantly more powerful, allowing it to rip through enemy shields like a hot knife through butter. There is one drawback--the weapon heats up quickly, so make sure to let up on the trigger periodically to let the weapon cool before it overheats--otherwise, it'll be out of commission for several seconds.

Returning Campaign Weapons

Assault Rifle
This high-capacity automatic rifle can fire up to 32 rounds per magazine before having to reload, but each round only inflicts a small amount of damage. And if you attempt to fire for too long you'll also lose a lot of accuracy. As such, you should fire in short, small bursts, enabling you to hit enemies a good distance away. But on higher difficulty levels, you'll probably want something that does more damage. On heroic difficulty or above, you can use the assault rifle to take out enemy grunts, particularly when they're fleeing, and drones, who have pretty low health. But mostly, we suggest only retaining this weapon until you can find one more useful.

Sniper Rifle
The sniper rifle is a powerful single-shot weapon that's designed to quickly eliminate foes from a distance, although it can be used at closer ranges. Each clip holds four bullets, and you can hold up to 24 bullets in total. The rate of fire isn't great, but again, this should be a one-shot kill on most enemies. Headshots are important for most weapons, but with the sniper rifle, you really want to learn how to nab them, especially at long range. On heroic difficulty, anything up to and including a jackal should be a one-hit kill, even if you hit them in the body, but brutes and hunters are a bit more resistant. Low-level brutes (the blue ones) will still perish in from a headshot, but the upper-level brutes will probably require at least one headshot to knock off their helmets before you can kill them.

Shotgun
The shotgun won't be found very often in the game, and even when you do encounter it, you probably won't want to use it very often on heroic or higher difficulties. While it inflicts plenty of damage at close range, its effectiveness is reduced exponentially the farther away an enemy is. The shotgun particularly effective when used against unshielded enemies and can be useful for pounding the rear sides of hunters when they turn around. Apart from that, you probably won't want to keep it in your inventory very often.

Rocket Launcher
The rocket launcher is a dependable weapon for dishing out the pain--especially to enemy vehicles--but because the rockets themselves are fairly slow, it's not a weapon you'd use for any situation. Still, they pack quite a punch, and is sure to be a highly desired weapon in multiplayer maps, so learn where they spawn and get used to checking the location every once in a while. The launcher can hold only two rounds of ammo at a time, so missing your target can feel like a painful mistake, since the weapon takes a while to reload after firing. Get your shots on target and make sure they stay there by firing at medium-to-close ranges, at least when going after vehicles.

In multiplayer, you can open fire on stationary vehicles without too many problems, or simply use the rocket launcher as an antipersonnel weapon. Its splash damage is wide-reaching enough to kill almost anyone nearby. Just like in the classic id Software game Quake, you'll get the best results by aiming at your enemies' feet, not at their bodies. That'll increase the likelihood that you'll get them with splash damage, even if you happen to miss them. Don't even bother trying to hit someone unless you can see their feet--no shooting at people on ridges above you. If they move away from you, you'll usually end up missing and wasting one of your precious rockets.

Spartan Laser
One of the major weapons returning from Halo 3 is the spartan laser, a powerful beam weapon that can toast just about anything in the game in one blow. It's arguably the most powerful hand-held weapon in the game, but requires a lot of skill to use properly--even more than the sniper rifles.

One of the most distinctive features of this weapon is its significant firing delay--it must first charge for five seconds before firing. The arrow on the aiming reticule moves upward the more it's charged--when it reaches the top, a wide and very powerful laser will fire, toasting anything in its path. This'll be a one-shot kill on any moving target, and will also destroy most vehicles except Wraiths or other heavily-armored targets. Thankfully, those move so slowly that following up with a second shot shouldn't be an issue.

So basically, the Spartan laser is a super-powered beam rifle that requires five seconds to charge. The catch is that your target has to be in your view at the end of that countdown. If someone seems you aiming at them, they'll probably duck under cover, which will waste your shot. You can always just let go of the button to stop the countdown, but that will cause the arrow to revert back to its starting position, meaning that you'll have to charge it all the way up before you can fire again. The countdown makes this weapon basically worthless for close-quarters combat in multiplayer, unless you can completely get the drop on an opponent; any decent opponent will close in on you when they see the laser in your hands, and will be able to stick you with a grenade or otherwise kill you before you can fire. (In these situations, though, you can always try to use a melee swing; like most big weapons, the Spartan deals a heavy punch in melee combat.) Nevertheless, in maps with lots of open space, if you can find a laser (it's pretty rare, as you might expect), you can wreak havoc with it. Try firing it on high-priority targets like the slow-moving flag carrier or a Warthog that's loaded up with your enemies. Since your range is virtually limitless, it's also great for taking out opposing Wraiths or Scorpions that are sitting back and shelling you from afar.

Plasma Pistol
The plasma pistol is the most basic weapon in the Covenant armory. Each individual bolt inflicts a light amount of damage, making this default firing method useful only against weak enemies like grunts. However, if you press and hold the trigger, you can charge the plasma pistol and fire a supercharged burst of energy. This can be used to instantly drop the shields on a target, allowing you to finish them off by switching to a more powerful weapon, like the Auto-Mag. A charged shot also has light homing capabilities, so it will usually hit an enemy unless they actually try to dodge it. You can keep the trigger depressed as long as you like, but the longer you hold it down, the more energy you'll drain from the battery reserves. This doesn't result in a super-charged weapon; it just means that you lose ammo. Each charged shot automatically drains 10 ammo from the weapon anyway, so if you can't fire these charged shots quickly, you'll probably only manage to get a couple of them off before running out of ammo.

Carbine
As far as light weapons go, the carbine is a decent tool for taking down lightly armored enemies from a distance. There isn't much to say about it. The weapon is quite accurate at practically any range, and you can fire it while scoped. Unfortunately, the carbine inflicts relatively little damage, so you'll need to score a lot of hits to take down anything hardier than a grunt. The rate of fire is also somewhat limited, so if you have the choice, you'll probably want to use a battle rifle instead of the carbine during multiplayer matches. If you need to lay down some fire at a distance, and nothing better is available, the carbine makes for a good addition to your arsenal.

Plasma Rifle
Another iconic Halo weapon, the plasma rifle will be a trusty weapon in the hands of any soldier. It rapidly fires plasma bolts at your targets, causing their shields to fall just as rapidly. It won't deal as much damage against flesh as a bullet-based weapon would, but it'll still finish them off quickly, especially if you can find a pair of them to dual-wield in multiplayer. Just keep in mind that firing them for too long will cause them to overheat, and you'll have to wait a few seconds for them to cool down before you can fire again, leaving you quite vulnerable.

Brute Spiker
The spiker is a baby version of the brute shot, at least in appearance; it has the same curved blade on the underside. However, it fires in a much different manner. Instead of firing grenades, it fires spikes which pierce your foes and deal damage. The spiker has a high rate of fire, and can be dual-wielded in multiplayer, making it the Covenant counterpart to the USNC submachine gun, and it has enough rounds in a clip (40) to fire continuously for five to six seconds without needing a reload. It's a decent weapon, but requires you to be pretty close to your targets to hit them, due to the spread of gunfire.

Needler
The needler is back in Halo ODST and as powerful as ever, at least in the campaign mode. The needler fires small, explosive spikes that will home in on a target if fired in their general direction. These spikes do a bit of damage on impact, but then explode a few seconds later, causing a great deal more damage to the target and anyone nearby. One of the prime benefits of this method of firing is that you can unload an entire clip of needles pretty rapidly, letting you fire on a brute before ducking back under cover. This weapon's rate of fire and reload rate are both very fast, meaning that you can unload a lot of damage pretty quickly with it, but you'll also run out of ammo equally fast.

The needler is a bit more useful in single-player than in multiplayer, since your enemies are more likely to remain stationary and be easy targets. In multiplayer, you will probably only want to use this in close-range combat against enemies that have nowhere to hide, which is a situation that won't occur very often. Note also that the needles will burn themselves out after a hundred feet or so, making this weapon useless at long ranges.

Brute Shot
The favored weapons of the brutes, the brute shot is a portable grenade launcher that can deal explosive damage over a small area of effect when fired. Unfortunately, the area of effect is very small, so you can't expect to take out multiple enemies with this weapon unless you're firing into a group of grunts. Against larger enemies, brute shot grenades can be useful to blast the armor off of brutes, but it can be difficult to hit enemies at any decent range due to the slowness of the grenades in the air.

If you must use the brute shot, try to aim down at enemies below you to ensure that they have a better chance of taking splash damage from it. Note that although the grenades appear to fly in a straight line, they actually dip into a slight arc if fired at extremely distant targets. The brute shot also possesses a mighty blade attachment that will let you kill almost any enemy in one melee blow (except brutes themselves). If you find yourself in a melee situation, this isn't a bad weapon to have handy, but keep in mind that firing grenades at short range will damage you as well, since you'll be in the area of effect.

Gravity Hammer
The gravity hammer is a rare weapon, and is only dropped by powerful brute chieftains. But if you manage to pick one up, you can swing it into the ground by tapping the right trigger, which will deal damage to all nearby foes. If you manage to hit an opponent with a swing, you'll usually instantly kill them, although of course high-level brutes and hunters will be the exception to this. You can also use this weapon to increase the height of your jump by jumping normally, then immediately swinging the hammer into the ground to give yourself a boost.

Beam Rifle
The Covenant version of the sniper rifle is the beam rifle. Unlike the sniper rifle, it doesn't use ammo, so it requires no reloading, but it does have a finite number of shots in it (20 if you find a fully-charged weapon). It also can't be fired very quickly, and if you don't take it easy, the beam rifle will overheat and require a few seconds to cool down before it can be fired again. Apart from that, it's a fine weapon for taking out your enemies from a distance.

Mauler
The mauler is a simple, single-handed shotgun that can be dual-wielded. However, its firing range has an enormous amount of spread, which means it's impossible to hit anything that's not right in front of you. It also doesn't seem to pack the same punch as other weapons. If you're fighting in extremely tight corridors, the mauler can be useful to finish off a foe after you drop his shields, but apart from that, you probably won't want to bother with it.

Fuel Rod Gun
The heaviest weapon in the Covenant arsenal is the fuel rod gun, which acts as a slightly weaker version of the rocket launcher. When fired, the fuel rods quickly accelerate, but they're still somewhat slow and when they're still in flight, they can be dodged. What's more, they're easy to see coming, since the projectiles are large and green. Most enemies will have little trouble dodging them if you use this against them at medium distances or longer. That, and the fact that the FRG can hold five rounds of ammo in a clip, makes it best used as an up-close anti-personnel weapon. The splash damage is extensive, but not as high as the rocket launchers, making it less likely you'll damage yourself with it. You can fire the rounds fairly rapidly to finish off wounded foes without a problem. However, the slow speed of the projectiles makes it difficult to take out moving vehicles unless you're at close range or approaching from behind.

Machinegun Turret / Plasma Turret
When you spot a turret in the game world, you're able to use it, sure, but that's for plebeians. Real men rip the damn things right off their moorings, then shove them down their enemies' throats, cleaving their bodies in two. Well, sort of. You can, in fact, rip a turret off of its base by pressing the right bumper to use it, then tapping the B button. Some turrets will also be found on the ground, or in the hands of brute chieftains. Using a turret in your hands will let you dish out a lot of firepower, but it will greatly decrease your ability to move, so you'll be easier to hit while you wield one. You also won't be able to make a melee attack or throw a grenade until you drop the weapon.

Missile Pod
The missile pod is intended to be your anti-vehicle weapon. When you pick it up and aim at a vehicle, it'll instantly lock on, so that you can rapidly fire homing missiles at your target. Missile pod shots are quick enough to take down banshees, but they excel when used against ground vehicles.

Multiplayer-Only Weapons

Battle Rifle
Shot to the dome! The battle rifle returns and is as desirable a weapon as ever during multiplayer matches. The USNC counterpart to the carbine, this little guy will let you bust out three shots in a tight grouping with great accuracy at long distances, making it perfect for nabbing headshots.

Magnum
The magnum is similar to the pistol, except that it lacks a scope, making it near-useless for only long-range encounters. You can still nab headshots with the magnum, but you probably won't want to use it if you have any better weapons available.

Energy Sword
The energy sword, long a favorite in close-quarters multiplayer matches, can only be found in ODST's multiplayer mode. When you have this weapon equipped, you can kill pretty much anything in one blow, whether you use it with a melee attack (B button) or attempt to use the charge maneuver that's bound to the right trigger. The charge is most helpful, especially on smaller maps, since it'll let you close in on a target before he sees what's coming. But since this weapon is so powerful, and since it has such short range, wielding this bad boy will make you a priority target in multiplayer. Don't be surprised if it suddenly makes you the center of attention.

Flamethrower
The flamethrower launches flammable gel a few meters from your position, causing instant and extreme damage to most foes that you manage to hit with it. Unfortunately, since it slows you down so much, it's difficult to use well on mobile enemies. The flames stick around for a few seconds after hitting an enemy or the ground, so you also need to be wary of using it if you think you might be walking through the flames; they'll burn you just as well as your foes.

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"Xbox 360 | Halo 3: ODST Preview - The Weapons of Halo 3: ODST" was posted by Matthew Rorie and Andre Segers on Thu, 17 Sep 2009 16:44:08 -0700