Red Faction

Red Faction: Armageddon review

The very first objective you get in Red Faction: Armageddon captures what it’s all about: “Destroy the wall.”

Gripping the shaft of my mighty, gyroscopically enhanced hammer, I swing at the barrier. CRACK! The force of impact with steel-reinforced concrete reverberates through my character’s body. THUD! Chunks of rebar-entangled concrete fill the air as a 50-foot-long, three-foot-thick barrier dynamically collapses, with chunks sailing into the rear supports of a guard tower behind it. The dust settles to the dull moan of stressed metal as I approach the tower, knowing what’s about to happen. A sound like rolling boulders fills the air, and 10 tons of concrete and twisted metal lands at my feet. Total destruction. Absolute power.

RFA has a destruction engine like you wouldn’t believe (unless you’ve played Red Faction: Guerilla). Anything that’s not terrain—barracks, bridges, people—is all fair game to be bludgeoned, blasted, or concussed into rubble. In an engagement with a band of crazed cultists in the opening battle, a rocket trail reveals two hostiles firing from cover. I’ve got several options available: open fire directly with my assault rifle, collapse a tower on their heads, or flank them by bashing in the side wall of their firing position with my hammer. I’m a sucker for that hammer, and in seconds tenderized cultist meat spatters the remaining walls and ceiling. The open environment provides innumerable creative combat opportunities—it’s an empowering sensation that too few games offer.

The punishment for your halitosis is death.

RFA’s biggest limitation is that, 30 minutes in, its forgettable sci-fi story moves most of the action into a network of tunnels. The machine that terraformed Mars’ atmosphere has been destroyed by a cult leader, driving the populous underground—where they’re attacked by a swarm of Martian bugs. At least it’s reasonably well voice-acted and never really descends into schlock in its search for reasons for the bald hero, Darius Mason, to break many, many things.

Except for a few instances (such as a firefight with aliens on a three-story underground scaffold), that creative combat of the opening level is lost, and gives way to a feeling of playing as the unstoppable boulder chasing Indiana Jones down the tunnel in Raiders of the Lost Ark. For the rest of the game, you’re moving forward from chamber to chamber, connected by dark, narrow tunnels, and fighting aliens that jump from ceiling to floor to wall faster than a pack of third graders on Pixy Stix. The change of venue isn’t necessarily less fun, but the combat becomes something less thoughtful.

There’s simply less to destroy in these tunnels than there is on the surface. The awesome explosive weapons I pick up on my journey, such as the Singularity Gun and Plasma Cannon, just aren’t very effective against enemies that don’t stand still. Don’t get me wrong—disintegrating aliens with a Nano Rifle is always a good time, but the particular combat situations that RFA’s tunnels and bugs create are so perfectly tuned for one particular weapon that it rarely makes sense to use anything else.

The real star of RFA is the Magnet Gun. Much like Half-Life 2’s Gravity Gun, the Mag Gun is inventive and kinetic in a way that you won’t want to use any other weapon. Its first shot fires an orange magnet tag on any destructible surface (or enemy), and the second affixes a blue magnet tag on any other. Once both are placed, the blue tag rips whatever it’s attached to (say, a 20-foot-tall explosive canister) off of its moorings and tries to unite it with whatever the orange tag is on, such as the alien across the room. Because you’re often in a corridor, enemies can only come from so many directions, making it easy to nab baddies one by one and splat them into stalactites at the other end of the corridor. It has unlimited ammo, and it’s so powerful that I found myself going entire levels, sometimes more than an hour, without equipping another weapon.

The Mag Gun is basically a futuristic flyswatter.

Unlike the Gravity Gun, though, this weapon isn’t presented with a lot of interesting challenges. You never have to think differently about how it works—it’s always either launch the enemy into something or smack things into the enemy. RFA’s physics and destruction are by far its strongest features, but its potential feels wasted on the simple level design.

With all the destruction, inevitably a staircase or catwalk that you didn’t mean to destroy will explode. That’s where the Nano Forge kicks in—it can instantly repair virtually anything man-made with the push of a button. It’s a magic undo button that makes no sense, but it’s a clever way of preventing players from breaking the levels permanently, and handy for reconstructing cover in battle. Collecting salvage from broken objects allows you to upgrade the Forge, buffing your health or weapons, as well as unlocking new abilities.

There’re also vehicle sections to vary the pace. The four mechs Mason can pilot come in varying degrees of fantastic, but my favorite has got to be the Mantis—it’s a spider-legged robot that spits plasma rockets and a great super-heating laser that burns its targets as you sweep it over the battlefield, followed by a spectacular linear explosion of everything the laser touched. The delay between pulling the trigger and watching your target explode is just long enough to make you feel like a sun god, so large and far away that it takes a few seconds for the ants beneath you to suffer your wrath.

What could be better than a pink explosion?

Just like the on-foot sections, however, vehicle sections funnel you through tight corridors. At one point I tromped through a subterranean studio apartment complex in a one-ton exoskeleton, and the only means of maneuverability was smashing through walls and ceilings. Yeah, that’s fun, but in a simple sort of way. I’m not playing cat-and-mouse with another mech, or even trying too hard to avoid damage.

If the campaign is an over-seasoned meat sauce, then the co-op multiplayer is a deep-fried buffalo—and man, it’s one tasty buffalo. The survival-style multiplayer has you and up to three friends battling waves of aliens and/or defending an objective. You’re still mostly fighting in confined spaces, often with the magnet gun, but now there are four of you. Boulders, columns, and baddies are flying all over the place, and your Nano Forge’s long-distance repair ability makes it easy to protect your objective as long as you’re still standing. It’s social mayhem that feels great, and it leads to all kinds of experimentation like Mag-Gunning one object in multiple directions.

There’s also the single-player Ruin Mode, a highly satisfying free-form destruction playground time trial that pits your arsenal against a ton of buildings. A leaderboard keeps you from feeling lonesome, and the grandeur of taking down sky-scraping structures in some of the outdoor maps is something sorely missed in the subterranean campaign.

It’s not really the lack of open spaces that holds Red Faction: Armageddon back, though. It’s a lack of player engagement. Eventually, even with a godlike weapon, combat feels empty—a bag of pyrotechnic fun without much creative spark. Still, demolishing Mars leaves me filled with an incredible sense of dominion over my environment, and I can’t help but wonder: why doesn’t every game use this technology?

The Sims 3

The Sims 3: Generations Review

The Sims 3: Generations bucks Sims expansion conventions. Previous Sims 3 expansions have offered meaty updates that enhance the classic life-simulation experience with new gameplay features and a glut of new items, like world exploration, hands-on professions, and even a vampire nightlife. The changes and nuances are more subtle in The Sims 3: Generations. I still got a kick out of giving my Sims über-hairy man chests, making "Woo-Hoo" in the shower, lighting bags of dog feces on fire, and creating home videos of my various shenanigans. But the value proposition falls a little short.

The Sims 3: Generations focuses on fleshing out and expanding the depth of the different stages of your Sims' lives instead of drastic changes to the core game. Unfortunately, it's hard to pinpoint the bulk of the new content unless you really dive back into the flow of Sim life and experiment. Even then, much of it is easy to miss. New options are woven into each of the main phases of Sim-life, from stumbling around as a toddler to growing old. Most of the updates don't jump readily out at you, though it's the teen and adult stretches that see the most interesting and exciting changes. Some of the more forgettable new features are strange additions, like optional body hair for male characters or the Sim mid-life crisis. But at least a few updates in The Sims 3: Generations have a meaningful impact on the gameplay.

Younger Sims in Generations will find extra content themed around imagination, creativity and playfulness. Babies come with a doll that can turn into an imaginary friend that only they can see. Fiddling around with chemistry can make their invisible pal a permanent addition to the household, which is a cool touch. This introduces a subtle extra level of task-oriented gameplay that made it more fun to manage my Sim kids. Hardcore Sims enthusiasts will eat up the new kid-centric items like playground structures, tree houses, and hop scotch pads, but I got more mileage out the updated toy boxes that let me encourage my virtual tykes to dress up in silly costumes and act out fantasy roles. Watching them parade around the house in a pink T-Rex suit or brandishing a magic wand as a wizardly prince is at least worth a few laughs, even if it's not a huge addition.

Things really ramp up for teen Sims. They can throw parties and attend special social events, and pubescent Sims also have raging hormones to contend with. They'll undergo wild mood swings at random – usually to comic effect. When this happens, they're prone to acts of rebellion, which is where Generations' new prank feature shines. Rebellious Sims can rig faucets to explode, plant whoopee cushions, and stick hair dye in the shower, and pranks get crazier when pulled on neighbors. It's easily my favorite fresh element in the game, as it injects some extra randomness and added comic relief into the daily grind.

At one point my angst-ridden teen followed me to the abode of a potential love interest to cause trouble. He hurled eggs at her porch and flung them at my prospective date when she came outside to yell at him. This continued until the cops came to haul him to jail for the night. Good times.

Thankfully Generations also grants parents the ability to punish their brats, from simple grounding and chores to boarding school. The dynamic between pranks and punishments makes for some hilarious moments. It was also amusing to see my younger Sims take things into their own mischievous hands when left unsupervised.

Adults have new opportunities to cut loose too. Expanded party events let you throw elaborate wedding ceremonies and bachelor/bachelorette parties, but it's not a free-for-all. There's a new romantic relationship system that tracks any romantic activities you engage in throughout your travels, and other Sims take notice of your romances. You earn a reputation based on whether you're faithful or attempt to steal other people's spouses. While it's another opportunity to wreak havoc, it's a rather dull addition though.

Other notable features were also worth exploring. The new Daycare profession has neighborhood Sims dumping their kids on your doorstep each day, and it was surprisingly fun to juggle their occasional tantrums, emergencies, and happiness. Purchasing new video camera items lets your characters record short home movies that they can watch on their TV sets. The best part was sitting down and popping these in the TV to replay those wacky moments, and this is easily one of the most creative features added into Generations.

Closing Comments

The majority of the new features introduced in The Sims 3: Generations are enjoyable enough to fiddle with, but none of them are major game changers. Greater depth to the different life stages provides enough fresh material to make it worth revisiting your Sims’ worlds for another go around, particularly when it comes to pranking neighbors with flaming dog poo and other mischievous tricks. But Generations doesn’t usher in the same level of sweeping change found in the last few expansions. As a result, it comes across as a weak link in the chain.

Mortal Kombat

Review: Mortal Kombat

There was a time when Mortal Kombat was synonymous with all things evil in the video games industry. Grown men and women would beat on each other. Demonic-looking monks and ninjas were fighting with sorcerers and Bruce Lee knock-offs. Blood gushed from every blow and you even had the option of brutally executing your opponent as a reward for beating him. Children snuck around to shadowy cabals of Mortal Kombat when Street Fighter just wasn’t enough.

Like Eminem, Marilyn Manson, and so many other controversial things, people eventually moved on from Mortal Kombat. After all, there were games like Grand Theft Auto andBulletstorm to get up in arms about. With that decline in controversy, Mortal Kombat has felt its own decline in popularity. For years, we’ve longed for a game that captured the same feeling the original two games captured all those years ago. Enter the latest installment in the franchise, simply called Mortal Kombat.

I must confess, I haven’t played a Mortal Kombat game in years. I used to sneak over to my buddy Russell’s house back in grade school to play the original Mortal Kombat and thenMortal Kombat II when it came out. I didn’t have a current-gen gaming console (Super Nintendo or SEGA Genesis) and my mom wouldn’t have allowed me to play those games anyway. Nevertheless, I logged many hours with Scorpion, Sub-Zero, and their ilk. I may have played a random match or three on some of the subsequent games, enough to know who Cyrax is. That’s about it.

I was pleasantly surprised how much of the original games I remembered and how well they translated to this newest installment of Mortal Kombat. I was spearing and freezing enemies just like it was 1992. That’s not to say this isn’t a brand new experience. While the back-front punch-kick button layout, infamous block button, and the almighty uppercut return from the olden days of Mortal Kombat, the complex combo system of later games returns here with some brand new tricks as well.

One very new and very game-changing feature introduced is the tag system. While tagging isn’t new to fighting games, it is new to Mortal Kombat. Nearly all modes of the game can be played solo or as a tag team. Tagging opens up combo extension and special attacks that do damage as your tag partner comes in. You can even compete in a tag match with a human partner, where you and a friend compete against a tag-team of CPU opponents while working your way up the ladder. This is all done quite well, adding new depth to an already robust game.

Mortal Kombat also introduces an energy bar. This energy bar is charged both by landing blows and receiving them. This energy can be used for several things. One segment (of potentially three) can be used to boost a super move. Two segments can be used to break a combo. A full energy bar can be used to activate the all-new X-Ray combo. The X-Ray combo does massive damage during a slow-motion cutscene in which you actually watch bones splintering, spleens freezing, or other such internal injuries occurring. All three have a dramatic effect on gameplay tactics and can swing a match this way or that very quickly.

I was most impressed with the dynamic differences in martial arts styles from character to character. You can really tell the Mortal Kombat team spent a lot of time researching various forms of martial arts to give different fighters and factions of fighters their own styles. All the characters fighting identically except for their super moves plagued early games in the series. This is no longer the case, with fighting styles dictating strategy just as much as super moves this time around.

Mortal Kombat is brimming with modes and features. You can progress up the ladder to get each character’s endings. This can be done solo, tag, or tagging with a friend. There’s also a lengthy story mode, the Krypt for buying unlockables, the 300-level challenge tower, training modes, practice mode, and online play. The online play offers ranked and unranked one-on-one or tag team matches. The unranked mode also offers King of the Hill mode, in which fighters congregate in a lobby where they can actually watch the fight occurring in real time. The winner of the match is the “king” and must defend his/her crown against all comers. Lose, and the winner of that match becomes the new “king.” I found the matchmaking to take a very long time and suffered lag on a regular basis. While some may think this is more due to the recent PSN outage than anything else, the Xbox 360 version experiences similar issues on a regular basis.

While Mortal Kombat has a lot of things in the awesome column, it has its warts too. The single player combat is often horribly unbalanced. Several fights in the story mode are two-on-one or even, late in the story, three-on-one. High-level bosses like Goro, Kintaro, and particularly Shao Khan break the rules of kombat and are impossibly cheap. Khan rarely staggers when hit and can throw a hammer that cannot be blocked and stuns you. In higher-level matches, he will hit you once with that hammer and just keep throwing it, leaving you helpless while your health bar is annihilated.

The story mode I mentioned earlier is cheesy to say the least. It goes chapter by chapter, retelling the stories of the first three Mortal Kombat tournaments as Raiden tries to change the past so Shao Khan doesn’t win the whole shebang. The story plays out like a bad kung-fu B-movie, but it runs between 5-8 hours to complete. While this story won’t hold up against storytelling juggernauts like Mass Effect or Uncharted, it is far and away the most in-depth story of any fighting game EVER. Most fighting games resort to corny non-sequitor intro and outro movies with a string of fights linking them together and call it a story. Mortal Kombat has in-engine cutscenes between each fight, explaining them each in detail. That said, you can never skip these cutscenes and there is no chapter select, which is very annoying.

Mortal Kombat is a big graphical step forward for the series. While several of the characters were rendered in HD for Mortal Kombat vs. DC Universe, this is the first HD rendering for a full MK cast. Classic Mortal Kombat arenas return here as well, albeit with updates like actively moving backgrounds and much more detail than ever before. However, everything looks just a bit too shiny at all times. This is an odd contrast from the older games that used captures of real people. This new Mortal Kombat almost looks like plastic action figures fighting until they get beaten and start bleeding. That speaks to one great graphical addition to Mortal Kombat: progressive damage. As the fight progresses, characters show damage to their costumes and bodies that progressively worsens as they keep catching fists with their faces.

Mortal Kombat is a brutal game. That brutality is never more present than in the sound design for the game. Anybody who’s ever been punched knows how much it sounds like a car crash occurring in your head when it happens. The sound effects for Mortal Kombat are just that visceral, powerful, and persistent. Just as satisfying as the sounds of bones crunching are the sounds of the various weapons and abilities in action. Kitana’s fans, Sub-Zero’s freeze, and Jax’s metal-arm punches ring true every time.

As I said earlier, Mortal Kombat presents a plethora of modes for a single player or friends wanting to get their bloody beatdown on. The game also boasts nearly 30 playable characters, each with their own unique fatalities, fighting styles, stages, unlockables, and ladder endings. The PS3 version also features Kratos, though the addition of one character to an already healthy roster isn’t enough to affect the value score. The Krypt has hundreds of unlockables to choose from such as concept art, costumes, extra fatalities, and even alternate play modes. Any fighting game also boasts immense replay value and Mortal Kombat is no exception.

Mortal Kombat seems to be trying to do what Street Fighter IV did for the Street Fighter franchise: bring a classic 2D fighting franchise back into relevance in the 3D, HD generation. At that purpose, it succeeds, though not quite so well as Street Fighter did. Nevertheless, this is the Mortal Kombat experience that both newer and old-school fans have been awaiting for a long time.

MX vs. ATV

Review: MX vs. ATV: Alive

Third time's the charm, fourth is just less of the same.

Every couple years we've seen another addition to the MX vs ATV franchise, with Alive marking the fourth installment, and it really seems like Rainbow Studios hit their stride with Reflex back in 2009. In many ways, Alive seems like a watered down version of the previous game with very little new to offer. When Reflex rebuilt the game, it set the stage for some great new expansion potential for future games. It seems Rainbow has instead done the opposite, and stripped the game down. That being said, the game is still quite a bit of fun, especially if you don't own any of the previous MX vs ATV games.

Gone is supercross as well as trick events in freestyle play, which now offers only two small areas out of the box, with another available via DLC. There is also a serious void of atmosphere surrounding the events that are raced in the game. While there is usually no "story" in racing games, there isn't even any real environment to Alive's career mode, as each event is separate and there is no linear arrangement of the races. I found the unlock schedule for tracks and vehicles to be unbearably slow. Alive uses a new rider and vehicle XP system for unlocks and upgrades. Rider skills, such as quick recovery, more responsive clutching, or faster wreck avoidance, unlock as your rider levels up, and parts for your vehicle unlock as you level up different vehicles. This is a good system overall, but when it is applied to what tracks are available, it causes the game to get laborious fairly quickly. There are only 2 tracks open to race in career mode at the beginning of the game, and it takes a solid 4 to 5 hours to get to level 10 where 4 more tracks open up, and some serious grinding is in store to get to level 25, where the remaining 6 tracks become available. I would have liked to have seen a somewhat more gradual process, opening new tracks fewer at a time but somewhat more frequently over the course of the game. By the time I opened up the middle set of tracks, I had completely mastered the first two tracks on all but the most difficult AI setting.

The AI in career mode makes for some serious reality checks along the way. I found that I was lapping the competition on the Rookie setting right off the bat, and when I set the same track to Amateur, I became very comfortable in 6th to 8th place for quite a while. A similar jump in skill occurred from Pro to the All-Time difficulty. I was on the podium regularly on Pro, and couldn't break 10th place on All-Time. This contributes to Alive's extremely choppy, non-fluid game experience of the player working too hard to unlock too little.

Several of the great aspects of Reflex are back: most notably the rider reflex control scheme using one stick for the bike, and the other for the rider, which is really the only way that a 2-wheeled racer works with any kind of realism, and Alive makes for a very realistic experience that's still forgiving enough to be fun. The turn assist and jump assist are both very good "training wheels" which made the game very playable up to the point around level 10 when I turned them off, at which point it didn't ruin my racing. The "real dirt" in the form of real time terrain modification is still present from Reflex as well, and makes for a very lively race environment, particularly when you are way out front and the other 11 riders have changed the lay of the land from your last lap around the course. Different types of dirt behave differently in the game, varying the level of traction and making ruts in different ways. Snowy tundra-mud of the Japanese mountains behaved noticeably different from the dry desert sand of the west. This keeps the game interesting and adds another layer of things to learn before you have completely mastered the game.

New to Alive is a wreck recovery and "bar bang" system which allows riders to recover by leaning their rider in the indicated direction after a major altercation with other riders, which will happen more and

more frequently at the higher levels of the AI and certainly online. This also works if you mess up your landing on jumps. I found this system to be fairly simple most of the time, and never really added much to the gameplay, though not wiping out as much as in the past was an improvement.

There is absolutely no tutorial of any kind, so pay attention to the tips that come up in the loading screen. The control scheme is complex, but for a realistic off-road experience they need to be. Much of the challenge of MX vs ATV, like other off-road titles is knowing how to keep your speed up in the changing environment. Knowing how to not only find the right line through the corner, but not to over-accelerate on that line and spin out, or knowing what part of the hills and bumps to hit to keep your speed up through an otherwise straight stretch. As complex as the controls are, it doesn't take more than an hour or two to pick up all but the most advanced details of the gameplay. The controls are not mappable, but there are several pre set configurations to choose from, and all of them have right and left handed versions.

The twelve tracks in the main career mode are all very nicely rendered with good attention to detail, and many are breathtaking, carved into the sides of mountains and bamboo forests. The graphics are fine, and the animation is smooth the vast majority of the time. Any of the minor graphical hiccups that occurred never interfered with my enjoyment of the game. The soundtrack is what you would expect for a dirt racer, with lots of high energy rock and punk. Sound design is average, though surround is put to good use for knowing when other riders are coming up on your back. Outside of the tracks there are over 50 riders and even more gear to customize your rider, and a good assortment of parts and vehicles, but that's about it; there is very little in the way of atmosphere. The online is somewhat watered down from its predecessor, with far fewer options, especially in the lack of trick events.

THQ has announced support for the game online with one new freeride area, two new national tracks, and tons of gear, and several vehicles slated, but with so much of the previous title's content removed, it seems like too little too late. There is still much fun to be had in the game, but it is fairly straightforward compared to other titles in the series. In order to unlock all the game has to offer, it will likely take even fairly experienced racers upwards of 20 to 30 hours (more if you're like me and it takes a while to get the hang of the game); most players will find they get their money's worth out of Alive.

Alive is still one of the best off road MX racers out there, and is very playable and lots of fun. My frustration level was significantly lower than with many racing games, and while the game isn't all that engaging when it comes to variety of content, it is still worth a look, especially if you're new to the franchise.

DiRT 3 Review

Lens of Truth: DiRT 3 Head-2-Head

DiRT 3 recently hit store shelves to rave critical reviews. Our own Craig Snow gave it a 9.1, claiming, "This is, without a shadow of a doubt, Codemasters’ most packed racer ever." So you know you should get it if you're a racing game fan. The question still remains for those owning both Xbox 360 and PlayStation 3: which version do you buy.

As usual, Lens of Truth is up to the task of providing us with all the information we need to make an informed decision. First up are some shots from their recent screenshot Head-2-Head. As usual, the PlayStation 3 is on the left, Xbox 360 is on the right.

As you can see in the first picture, the PS3 version is showing significant screen tearing. Being Lens of Truth, one screenshot isn't enough, however. Here's the breakdown of the framerates and screen tearing between the two consoles.

Xbox 360:

• Clip 1 info:
• Length of clip: 6981 frames
• Average FPS of clip: 30.10
• Percent of torn frames: 0.00
• 
  
• Clip 2 info:
• Length of clip: 929 frames
• Average FPS of clip: 29.87
• Percent of torn frames: 0.00
• 
  
• Clip 3 info:
• Length of clip: 5342 frames
• Average FPS of clip: 30.00
• Percent of torn frames: 0.00
• 
  
• Global percent of torn frames: 0.00
• Global average FPS: 30.05

PlayStation 3

• Clip 1 info:
• Length of clip: 6981 frames
• Average FPS of clip: 30.03
• Percent of torn frames: 10.03
• 
  
• Clip 2 info:
• Length of clip: 929 frames
• Average FPS of clip: 29.87
• Percent of torn frames: 0.00
• 
  
• Clip 3 info:
• Length of clip: 5342 frames
• Average FPS of clip: 29.58
• Percent of torn frames: 11.01
• 
  
• Global percent of torn frames: 16.61
• Global average FPS: 29.84

As you can see, the PlayStation 3 version shows significant screen tearing in two of the three clips. As they say, the proof is in the pudding. So here's the pudding, video-style.

The Demon's Forge

Hunted: The Demon's Forge

Bethesda wants to "bring back the dungeon crawler". Not the World of Warcraft style of dungeon crawler, but the ultra violent, goblin-decapitating, boob-bouncing kind we haven't seen in videogames for many a year.

And Hunted is definitely not World of Warcraft; our first look dug up feelings of Gears of War, God of War and plenty more games with 'War' in the title, with a far more cinematic, action-orientated approach than what we're used to seeing in the dungeon crawler genre. There's even a cover system.

Gears of Goblin

In the very first scene we're introduced to two protagonists, the Conan-esque Caddoc and his scantily clad female companion, Elara, as they bump into a goblin that's literally ripping a man's heart from his chest. It's a bloody start to a game that's more brutal, visceral and action-orientated than anything else we've seen from the dungeon crawler genre this generation.

For all intents and purposes, Hunted is Gears of War with XP and goblins. With a drop-in, drop-out online system in full effect, the game lets you control either one of its two companions as they enter a murky underground goblin hive in search of magical crystals.

The slinky Elara is naturally the ranged expert, firing dangerous-looking (and sounding) arrows that rarely require a second shot to take down their target. Caddoc, meanwhile, is your typical bruiser, storming in sword-first to lop baddies' limbs off with great abandon.

Even at this early stage, Hunted is clearly a well-presented and great-looking game. Combat in particular is visceral and well animated; shields splinter, sword swipes send blood dynamically spraying in the correct direction and spell powers carry visible physical force. Without even picking up the pad, Hunted looks satisfying to play.

We're not used to seeing these qualities in a game of this style; while close cousins Diablo III and Neverwinter Nights go for scale, Hunted has clearly taken a far tighter approach which has allowed it to pull off beautiful environments, a cinematic narrative and combat with all the bells and whistles of an action game.

Our two heroes, with their full-on Eastenders accents, keep up the banter as they progress deeper into the dusty dungeon. Animation again is particularly noteworthy and the duo will brush cobwebs aside and squeeze their way through tight gaps.

We were also impressed by the mount of interactivity with the environment. In one scene Caddoc was able to push over a giant pillar, which kicked off a domino-like chain reaction as bricks and stone came showering down all around.

From what we can see developer inXile is concentrating heavily on building the foundations of a solid co-op action game. As mentioned, both characters have their own unique skills and players can swap them mid-game via checkpoints. inXile was also keen to emphasise how it's streamlined the co-op experience, with tweaks such as being able to revive a downed team mate from a distance.

The combination of melee brute and hotshot archer seems to result in some interesting gameplay too. In one scene Elara froze the hordes into place using ice arrows, while Caddoc swung in close to smash them to bits.

World of Gorecraft

The RPG elements are definitely present in Hunted, however. As you progress through dungeons your characters collect magic crystals from downed foes, which can then be used to improve spells and abilities via branching skill trees. One move, 'Levitate', can be used to raise enemies into the sky, leaving you free to pick them off with a well-placed arrow. Once levelled up this power can be used to pick up multiple foes (or everyone in the surrounding area) in a visually spectacular burst of power.

In another scene we saw Elara use her magic to "buff" Caddoc, who then ran in swinging his newly-flaming sword to annihilate anything in his path.

Hunted is an interesting take on the Diablo-alike. The initial emphasis on action with RPG systems subtly lying underneath worked wonders in games like Mass Effect 2, so there's definitely potential for Bethesda to repeat the same success in its game.

Our one concern is how much has been traded in scale in order to the get the meaty combat and environment interaction working, but clarification on exactly how "open world" the game is will arrive at a later date, we were promised.

inFamous 2

inFamous 2 Review

The Beast draws ever closer. The prophesied monster from the end of Infamous marches toward its inevitable confrontation with Cole McGrath. Toppling your colossal foe is the impetus for your latest adventure, but there is something far more sinister stalking you: an unshakable feeling of deja vu. The superpowered third-person action that was once novel and exciting has turned predictable. New problems arise as well. An overactive camera is a mild irritant, but the biggest issues stem from aimless pacing and suffocating enemy encounters. Infamous 2 is a disappointing sequel, but a solid foundation ensures there are still plenty of thrilling moments. There's no denying the inherent fun in sliding along an electrical wire while shooting bolts of lightning from your fingertips. And a few notable improvements, such as revamped visuals and a robust mission editor, add to the experience. Infamous 2 struggles to reach the lofty heights of its superb predecessor, but wanton destruction and carefree exploration provide good reasons to see how Cole's journey plays out.

He's actual size but he seems much bigger than me.

A little bit of power is never enough. Cole can absorb an unholy amount of punishment, scale buildings with a simian grace, and wield lightning like he's Zeus' son, but such parlor tricks aren't enough to vanquish the all-powerful Beast. So he travels to New Marais to find out just how much stronger he can get. Although the premise is decent enough, the story lacks a hook to invest you in Cole's affairs. New characters such as Nix and Kuo are one-dimensional caricatures who represent the two sides of the morality coin, and the slight growth exhibited by this bland duo does little to make you care about their well-being. Zeke resumes his role as the comedic best friend, though his banal dialogue fails to make a lasting impression. The cast of supporting characters is certainly lacking, but it's the star who drags this ho-hum tale down. Cole is the kind of guy who chuckles at the term "penal code," and his gruff voice acting is just grating.

Karmic decisions should invest you in the story, but the implementation of the morality system is woefully inept. During certain story sequences, you have the choice to complete the mission in either a good manner or a bad one. Unlike in Infamous, in which evil and pure were sometimes indistinguishable, your options here are entirely binary. Without a moral gray area, there is no reason to give these decisions serious thought, which makes the adventure seem slight. This issue is compounded by how the game grades your actions. You may set out on a mission to rescue a group of hostages from a gang of armed assailants. Ideally, you would kill the henchmen to free the captured citizens, but it's not important to exhibit such loving care. Instead, you can kill the whole lot of them with a devastating tornado attack and still ring up the good karma points. The system is flawed at a fundamental level and turns what should be interesting decisions into laughable situations. The bright spot is that there are unique missions depending on which branch you choose, which makes it worth replaying this lengthy adventure.

In another life, Cole is a super dancer.

Thankfully, showing off your heroic powers is a lot more entertaining than the bland story. The controls from the original game are virtually unchanged. Exploration is still a strong part of this adventure, and movement is forgiving enough to ensure that even those afflicted by acrophobia have fun. Stickiness is the defining feature of your jumping abilities. Cole gets sucked toward nearby objects, which makes it a cinch to jump onto thin electrical wires or leap across treacherous rooftops. The breezy nature of your movement makes bounding across the city a pleasure, though just like in the original game, problems do crop up when you need to be precise. Cole has a mind of his own, so if you want to shimmy up a specific drainpipe, he may grab hold of a balcony, guardrail, or ladder instead. When you're out for a joy run in the sprawling city, these tiny issues aren't too noticeable. But things take a turn for the worse when you're caught in life-or-death struggles. Cole latches on to ledges even when you're desperately trying to flee from a treacherous shoot-out, and those moments can lead to more than a few frustrating deaths.

It's a shame the movement controls haven't been refined at all from the previous game. Luckily, combat suffers from no such problems. Shooting enemies with your lightning blasts feels as great as ever, which makes it a snap to pull off a headshot or land a sticky grenade right on some poor sucker's back. Infamous 2 is at its best in large-scale fights across the expansive rooftops of New Marais. Mixing up your attacks between long-range sniper strikes, devastating rocket blasts, and rapid-fire electrical bursts gives diversity to your actions, and you can seamlessly unleash your destructive powers while gliding along a wire or hanging precariously off a drainpipe. Melee has also been vastly improved from the original game. You now wield a two pronged bludgeoning device called Amp that lets you beat down your foes in a few powerful smashes. This is an effective way to clear out a crowd, though the camera is too interested in delivering a cinematic view during these attacks. It moves with a disorienting style that makes it difficult to know what's going on around you and where your still-living threats stand.

It looks like you're playing a video game from 1943.

Your attackers take many forms in Infamous 2. Gun-wielding lowlifes, mutated warriors, and repulsive-looking monsters give combat a dose of variety the original game lacked. Each enemy has a different weakness to exploit, and figuring out which of your attacks is most effective gives a layer of strategic depth to the lightning-spewing action. Bosses rear their heads every few hours, and these foul monstrosities are as ugly as they are large. They fill the screen with their vile presence, forcing you to make smart use of your evasive abilities as you await an opening to unleash a few deadly attacks. When these terrible beasts first appear, they bring with them a feeling of awe that makes you shake in your boots. But these oversized monsters reappear as you get deeper into the game, and once the surprise of their hideous design fades away, you're left fighting predictable enemies with inflated life bars.

Tedious fights are a sour trend in Infamous 2. The combat is at its best in wide-open spaces, but all too often, the flexibility afforded by these locales is taken away from you. You may find yourself in a warehouse or surrounded by walls of ice, and with your movement abilities severely limited, fights turn into arduous wars that drag on for an interminably long time. Creatures that used to be bosses are tossed in alongside normal, low-level grunts, which turns ordinary missions into frustrating battles. To make matters worse, the health-regeneration system is as poorly balanced as the other combat elements. The screen turns to black and white when you take enough damage, and this makes it extremely difficult to properly see the environment. It's incredibly aggravating when you're near death and you can't tell if that's a deadly body of water you're running toward (Cole can't swim), or if you're able to climb the pipe in front of you. Furthermore, the black-and-white filter takes a long time to fade away, and often gets triggered again if you sustain only a couple of hits. This means you spend half of each fight desperately trying to see what's going on, which leads to more than a few untimely deaths.

Cole begins the adventure with a healthy number of abilities. You can glide along electrical wires, hover in the air, shoot lightning bolts, and toss grenades. As you progress through the adventure, you get new moves, including electrical blasts that mimic a rocket launcher or sniper rifle, and fancy-looking melee takedowns. The unlock system encourages you to be creative in fights. You have to meet certain requirements to gain access to some of your moves, which means you can't just rely on the same handful of attacks all the time. Although most of these moves either appeared in the original game or are quite similar, there are a few new offerings that make your repertoire more exciting. An area-of-effect attack lets you dispose of foes in style. Sweeping up a troop of lowly peons in a swirling tornado is one of the most satisfying ways to deal with enemies, and it doesn't get old no matter how often you do it. Movement hasn't been forgotten when it comes to new skills either. Toward the end of your adventure, you gain access to something that changes how you navigate the city. Using it is as exciting as anything else you can do, so it's surprising that you have to wait so long to acquire it. Considering that one of the most glaring problems with Infamous 2 is that it plays too much like the original, a lot of that familiarity could have been swept aside if this fantastic tool were handed to you early on.

Come for the Cajun cuisine, stay for the terrible monsters.

New Marais is roughly the same size as the first game's Empire City and is loaded with missions, side quests, and hidden collectibles. The mission variety is similar to what was offered in Infamous. Most sequences revolve around fights to the death, with a few twists thrown in to mix things up. Sadly, diversity isn't always welcome. For instance, during one mission, you man a spotlight as if you're in a turret sequence, but Infamous 2 doesn't have the creepy atmosphere to turn this battle against creatures of the dark into a heart-pounding endeavor. Most of the missions are fun, though, and the side quests do a good job of giving you different tasks to perform. Some of these test your agility, others your strength, and it's well worth completing these so you can upgrade your powers. When you don't feel like following the strict directions of the various missions, you can explore the city at your own pace. There are blast shards scattered in many out-of-the-way places, and hunting them down is a good way to show off the exhilarating freedom of movement without worrying about being precise.

However, the open-world structure in Infamous 2 ultimately leads to uneven pacing. In the original game, you followed a rhythm of killing enemies, jumping through sewers, and earning new powers, and there was a continual feeling of forward momentum. When you gave electricity to a blacked-out area, it meant something, since traveling through dark sections was a surefire way to die. Every action had a specific purpose, so instead of just doing missions because you had to, you felt as if you were making a tangible difference with every quest you completed. But that smooth pacing is absent in the sequel. The sewer segments have been scrapped in favor of sequences in which you must defend stationary objects, and though it's fun to fend off waves of attackers, these sections blend in with the other combat-heavy missions. The ramifications of this change spread throughout the entire game. It never feels as if you're making an imprint in this city. And earning new powers doesn't carry with it the same thrill because most of your abilities are so similar to those from the first game. Because of these issues, the pacing in Infamous 2 feels aimless, rarely pushing you to see what comes next.

Although Infamous 2 takes a step back in a few important areas, the visuals have been vastly improved. This is a great-looking game. Each neighborhood in New Marais has a unique feel, and seeing what secrets the city has to offer makes exploration rewarding. From the red-light district of downtown to the foggy wastelands of Flood City, there is personality in these different areas that makes it feel as if they are inhabited by real people. Flood City in particular is hard to ignore. It has more than a little in common with the 9th Ward of New Orleans. Help messages are spray-painted on top of shanties nearly drowned in the rising swamp water, and citizens are desperate for a helping hand. It's strange seeing a real-life tragedy portrayed in a video game, but it adds to the feeling that this city is lived in. The music is another strong point in this adventure. The game forgoes the bombastic tunes that normally accompany heroic exploits, and in their place is an ambient orchestral score. The most affecting song plays when you're near death. Dissonant chords highlight your distress, and the wailing melody does an excellent job of setting your mood.

Hurl cars at fine art!

Your first story play through will like take at least 20 hours, and you can extend your playtime significantly if you dive into the expansive mission-editing tools. There are so many options in this editor that it can be daunting at first, but if you stick with it, you can create a plethora of different quests that are on par with just about anything you find in the main game. The intricacies of mission design are at your fingertips. You can quickly set objects down and come up with a few goals, but things get a lot more complex for the eager designer. AI routines let you alter the behavior of every creature onscreen, and coming up with ridiculous scenarios is a large part of the fun. You can share your missions when you're finished, and it's easy for players to jump right in and rate what you've done. User-created missions appear on the map while you're playing through story mode. These are clearly marked in green, so you can avoid them if you just want to play through the story, or make a beeline toward them if you're curious what the community is up to. Whether you're an aspiring creator or you just want to play others' work, this is a great addition to the franchise.

If only the rest of Infamous 2 were as imaginative as the creation tools. In many ways, this follows the predictable formula for a sequel. Better visual design and more variety build on the original's foundation, and the core mechanics are still fun to mess around with. But bigger is not always better. Pacing issues sap away much of your motivation to see what happens next, and poorly balanced combat encounters turn explosive action sequences into frustrating drags. Although there are still plenty of enjoyable moments that conjure blissful memories of the original game, a number of small flaws make for an uneven experience. Infamous 2 proves just how difficult it is to capture lightning in a bottle.

Madness Returns

Alice: Madness Returns Review

In Alice: Madness Returns, the heroine of American McGee's Alice has not escaped the demons she worked so hard to banish. The Wonderland of her imagination has been mangled into a dark and demonic caricature, filled with even more torturous hallucinations than she last encountered. Alice's mind is a dark place indeed, and in this long-awaited sequel, we discover that the real world isn't any sunnier. Creative and creepy visuals give this action platformer a twisted and surreal vibe, drawing you into a land inhabited by fire-breathing doll babies and squirming leeches. The action doesn't display the same kind of creativity, unfortunately. The game recycles the same basic ideas over and again, and its failure to grow and challenge leads to occasional tedium. Nevertheless, leaping and floating through an eerie oversized dollhouse and a Japanese-inspired dreamland is a joy, and there are enough hidden secrets to make it worth inspecting Madness Returns' grotesque nooks. Alice: Madness Returns is a fun but thoroughly ordinary game that takes place in an extraordinary setting.

Alice gets high on mushrooms. Literally.

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In American McGee's Alice, the titular dreamer had seemingly overcome her insanity. A fire at her home had killed her parents and sister, leaving both her mind and her imagined Wonderland in shambles. She eventually triumphed over the Red Queen and her own madness, but it seems that this victory was a temporary one. Alice is still under medical care, struggling to remember the circumstances that led to her family's horrific end. Her psychiatrist urges her to forget her past, insisting that doing so is the only way to wellness. Yet forgetting proves a formidable task, and soon Alice finds herself once again lost in her imagination, where Wonderland lies in ruin. To save herself, she must save Wonderland, and vice versa. But this is not the curioser and curioser world author Lewis Carroll dreamed up when he wrote Alice's Adventures in Wonderland. Rather, it is a place of nightmares, where the card guards that once protected the Red Queen are now undead monstrosities, and hobbyhorses are not playthings, but deadly weapons.

Wonderland itself is Madness Returns' finest attribute. Each chapter explores a different visual theme, some of them impossible to describe in a few simple words. Rusted platforms float against a cloudy yellow backdrop, next to clock towers from which giant forks and teapots dangle. Gnarled vines twist into an off-kilter heart above a giant castle whose spires lean in all directions. Alice's clothing changes from chapter to chapter, and her flowery prints and blood-red fabrics subtly match the level art. Wonderland is not the only place you explore, however. At the start of each chapter, you wander about an increasingly morose London. This vision of that city is more grubby and industrial than even Carroll's contemporary Charles Dickens conjured, drained of color and inhabited by impossibly wrinkled old crones and filthy fishermen. This world is not flawlessly rendered, however. Textures pop in frequently (and sometimes back out, and then in again), and the game pauses at bizarre times to load data. Audio is an occasional issue as well: characters might talk over their own lines and are sometimes drowned out by the ambient music. At least that music is evocative, if not as excellent as the original Alice's score. The occasional tinkling of a toy piano and the buzz of low double basses provide fine contrast to the pounding drumbeats that accompany battle.

The surreal environments will make you want to see this adventure through.

Alice is generally a dream to control due to the effortless way you can string multiple jumps together and float gently downward. When you drift or perform midair leaps, flower petals blossom in your wake, emphasizing Alice's grace in a graceless land. The smoothness of motion makes bouncing from springy mushrooms and catching drafts of air a delight, and rarely is timing or landing a leap a struggle. For a few hours, you get caught up in freewheeling around this unusual place, scanning for secrets and admiring the view. You can shrink yourself to minute size and enter keyholes, where you might find lost memories, Madness Returns' equivalent of audio logs. You come across floating pig snouts and can shoot them full of pepper from your pepper grinder to uncover new pathways. Hidden treasures are scattered all over, and hearing the telltale snort from a nearby snout elicits a pleasant Pavlovian response: you hear the oink and immediately move into scouting mode.

Every so often, Madness Returns' level layouts displays a glimmer of creativity, such as when playing cards flip and slide into view, extending your path. However, reaching your destination is a usually predictable affair. You spend a lot of time jumping onto floating surfaces and into gusts of air so that you can flip a switch that creates another set of surfaces and gusts. Sometimes you need to drop bombs to weigh down pressure plates, shrink to miniscule size to bring invisible platforms into view, or run under a spiked ceiling threatening to slam down on you. But Alice: Madness Returns has a limited bag of tricks, and so you frequently perform the same actions in the same context. Monotony too often results, particularly when your objectives are simple fetch quests. (Some residents of Wonderland are unwilling to divulge information unless you do them petty favors.) Levels have no sense of momentum: were it not for the unique environments, you could replace one sequence with any other and not even notice, and navigation is barely more challenging in the penultimate chapter than it is in the first.

Luckily, combat freshens things up, due in part to the horrific enemies you face. Hideous monsters dripping with black ooze fling projectiles from above, and goblins wielding dinnerware threaten to stab you. Each enemy requires a slightly different technique to bring down, and Alice is fortunate enough to have the right tools for the job. First up is the returning vorpal blade, Madness Returns' version of a light attack. The hobbyhorse does strong attack duty, while the pepper grinder is your basic ranged assault weapon. Then there's the teapot, which you can think of as a grenade launcher, as well as your parasol, which you use to block incoming attacks. Once you get accustomed to the patterns and weaknesses, the vile fiends aren't difficult to fell. But while fights aren't often challenging, facing multiple enemy types at once is still fun, because you must use your entire arsenal in a single battle. Many battles are too easy to feel like anything but filler, and the sticky target lock can push the camera into awkward positions. But the sound of porcelain shattering when you slam your hobbyhorse into a wretched freak crusted with dolls' heads is worthwhile compensation.

The Cheshire Cat: still grinning after all these years.

Alice: Madness Returns occasionally tries to enhance the proceedings by wandering outside its comfort zone. You slide down ramps, solve some puzzles on a chessboard, jump about in a two-dimensional version of Wonderland, and so forth. The attempts to vary the pace are admirable, but in most cases, the execution is less than ideal. For instance, there are sequences in which you take control of a rolling doll's head and navigate in 2D and 3D alike. It's a neat idea, but the too-close camera and some awkward transitions in and out of third-person and side views frustrate. Running from a gigantic executioner should have led to pulse-pounding chases, but these sequences have you running toward the camera. It takes a special game to make it fun to run toward the unknown, and Alice is not such a game. An underwater shoot-em-up, a musical minigame--you might welcome the change of tempo at first, only to discover that these sections whistle a boring tune.

Fortunately, these are short detours, not core mechanics, and they are overshadowed by Alice: Madness Returns' better elements. It might take you nine or 10 hours to complete the game, and should you buy it new, you get a code to download American McGee's Alice. This port of the original PC game takes some getting used to: moving Alice doesn't cause her to face that direction. (Fans of the original will miss the ease of movement mouselook provided on the PC.) The action feels stiff by modern standards, but its dramatic art design and uneasy atmosphere are timeless. The Cheshire Cat fades into view, filling you in on the state of Wonderland while doing his best Alan Rickman impression. Instead of shooting pepper at the Red Queen's guards, you fling razor-sharp playing cards. And in at least one important way, the original still surpasses this late-in-coming sequel: it more effectively uses events and characters from the source material. And thus it is more likely to tap into your nostalgia either for Carroll's works or for their place in pop culture.

The Vorpal Blade went snicker-snack!

If you grab the game on the used market, you can still purchase American McGee's Alice separately, though you shouldn't assume that Madness Returns is a lesser value without the inclusion of the original. It's fun to move through Wonderland as if carried by a summer breeze, bringing a touch of beauty to its contorted imagery. It's a shame that the game never expands its fundamentals. Looking back on time spent with Alice: Madness Returns is like remembering a vacation from your childhood: you remember where you went, but not what you did. Yet Alice's broken psyche is so tortured, her waking nightmare so vivid, that you're tempted to push forward to see what deliciously morbid sights yet await.

Duke Nukem Forever

Shippin' Out June 12-18: Duke Nukem Forever

Duke Nukem can be called a lot of things, but vaporware is no longer one of them. Gearbox Software's much anticipated first-person action game Duke Nukem Forever finally arrives tomorrow for the Xbox 360, PlayStation 3, and PC, following an international market release last week.

Initially announced in 1997, Duke Nukem Forever was synonymous with vaporware for over a decade. While at original studio 3D Realms, it went through at least two engine changes, with its protracted development reportedly costing $20 million to $30 million.

Gamers can finally get their hands on Duke Nukem Forever tomorrow.

Duke Nukem Forever will be available in both a standard edition, as well as a Balls of Steel Collector's Edition for the Xbox 360, PlayStation 3, and PC. This top-tier bundle includes a bust of the titular hero, a set of playing cards, dice, and two casino chips. A comic and hardcover art book are also included in the collection, along with a numbered certificate of authenticity.

Out today for the Wii is Wii Play: Motion. From Nintendo, the new bundle sports a black Wii Remote Plus and an all-new compilation of 12 minigames. Among the minigames are an umbrella-based gliding game and a whack-a-mole-type garden-pest control title involving a virtual mallet.

Gamers looking to play an explicitly twisted riff of Lewis Carroll's classic Alice's Adventures in Wonderland can pick up Alice: Madness Returns this week. The game sees a grown-up version of the titular heroine grappling with insanity. Her journeys take her back to Wonderland, where players will find combat, platforming, and puzzle challenges.

Alice is back, wielding a knife.

Fans of famous Japanese designer Tetsuya Mizuguchi's Rez can pick up the man's latest project this week, Child of Eden. The game takes its cues in large part from Mizuguchi's previous rhythm shooter, and it features the same style of music-enhanced shooter gameplay with psychedelic visuals.

It also bears a storyline: Gamers will attempt to rescue the embattled Project Lumi, which is an effort to "reproduce a human personality inside Eden, the archive of all human memories." A virus has invaded the program, however, and players must defeat it, before all hope is lost.

Lastly, gamers looking to jump into the latest Transformers title can pick up Transformers: Dark of the Moon this week. The title is due tomorrow for the Xbox 360 and PlayStation 3. Additionally, versions of the game are also releasing for the DS, 3DS, and Wii.

Though it bears the same name as its cinematic inspiration, Transformers: Dark of the Moon is actually a prequel to the big-budget blockbuster, which arrives in theaters July 1. The game will introduce Shockwave to the Transformers movie games, as well as a new mechanic. In addition to their robot and vehicle modes, the Transformers in Dark of the Moon will have a hybrid "stealth force" mode combining firepower with mobility.

For further details on the week's games, visit GameSpot's New Releases page. The full list of downloadable games on the PlayStation Store, Xbox Live Marketplace, and Wii Shop Channel will be revealed later this week. Release dates are based on retailer listings and are subject to change.

MONDAY, JUNE 13
Wii Play: Motion--Wii--Nintendo

TUESDAY, JUNE 14
Alice: Madness Returns--X360, PS3, PC--Electronic Arts
Balloon Pop 2--3DS--UFO Interactive
Child of Eden--X360--Ubisoft
Duke Nukem Forever--X360, PC, PS3--2K Games
Transformers: Dark of the Moon--360, PS3--Activision
Transformers: Dark of the Moon - Autobots--DS--Activision
Transformers: Dark of the Moon - Decepticons--DS--Activision
Transformers: Dark of the Moon - Stealth Force Edition--Wii, 3DS--Activision
Wipeout: In the Zone--X360--Microsoft