Quantcast Justin Carter | Vagary.TV

About Author: Justin Carter

Posts by Justin Carter

0

Death Comes to Us All

Spoiler Warning for Call of Duty, Halo, God of War, Resistance, and Crysis 2. You’ve been warned.

At the end of Resistance 2, Nathan Hale and Joseph Capelli escape the Chimeran fleet and crash in New Mexico. Hale has progressed 99% into becoming a full Chimera at this point, and to save his commanding officer from a fate worse than death, Capelli shoots him in the head. Gamers waited until the end of the credits to see if there was an extra scene where the crater in Hale’s head would magically regenerate, but nothing came. And there were three words to sum up everyone’s feelings: “WHAT…the f*ck?!” It comes out of nowhere in shocking and well portrayed way, but there’s a problem: you don’t really know or care about Hale enough to feel any emotion other than bewilderment.

It goes without saying that many video game characters are very beloved. Characters such as Mordin from Mass Effect and GLaDos from Portal have reached high acclaim from fans and critics who praise their development and writing. Killing that character is the gaming equivalent to an ex showing up to gloat about their successful life. If you go to Youtube and type in a character who died, alongside the videos that showcase said character’s death, you will find at
least five ‘in memoriam’ videos on the first page. Look no further than the thousands of videos for those who died in Mass Effect 2. Like love at first
sight, a character can touch a gamer’s heart just like that.

If you kill a character, you have to make sure it is done in a fitting way that doesn’t make them look like a chump, aka the “Call of Duty death” strategy. In
the Call of Duty series, death means you think you’ve completed the objective and out of nowhere, you get a round in your skull and set on fire as a “reward”,
as was the case in Modern Warfare 2. You cannot have a seemingly random moment where you get impaled by some big spiky thing longer than a giraffe’s neck, a la Crysis 2. In addition to having a gruesome fatality, you have to make sure the death has an impact on the story and the character as a whole that makes it stick.

The best deaths in video games are often ones that let you participate in your final moments, like in Halo Reach. The game’s opening pretty much gave the ending away with a flashforward to your destroyed helmet, but seeing and participating in the final fight makes it memorable. You have a personal stake as opposed to watching yourself die in a two minute cutscene. Similar feelings can emerge from being forced to kill yourself at the end of God of War III, or watching your Shepard hopelessly attempt to seal their suit in Mass Effect 2. As much as the former’s ending irked me for coming out of left field, it sticks with me because, with few exceptions, no other games have button prompts that result in your suicide. The same can be said of the famous nuke sequence in Call of Duty 4, where you struggle to escape and suddenly are gone. You don’t even realize your character died until the next mission.

As gaming matures, so do the stories that come with it. Treating a character’s death properly is a good step in getting to that point, but developers have to
remember that it’s a game. The gameplay is ultimately what matters, but that does and should not excuse poor handling of events in the story.

0

Mass Effect: The Movie

At San Diego Comic-Con this past weekend, Mass Effect fans thought they would be treated with information regarding the upcoming movie set in the game universe. In actuality, there was no real news, so much as there were promises that it would not suffer the same fate as several other video game films of late. For a moment, I was on board with what they were saying, but then they mentioned that the film would be an adaptation of the first game, and my hopes were dashed.

The Mass Effect universe is one that spans countless civilizations, characters, planets, and organizations. You could, in theory, tell the story of Commander Shepard, while also telling a secondary tale of the unlikely team up of a Quarian and a “true” Geth. But the first game’s story, as good as it was, does not need to be told again in movie form. The reason is the giant, pink elephant in the room: how do you translate a 20+ hour game with moral choices and an expanded universe into a 90 minute film? Shepard acquiring his team, fighting a battle on Eden Prime, and completing the main missions on Therum and Noveria could take a significant amount of time to cover by themselves. Add in the requisite backstory for Shepard himself and the universe at whole, and something will have to get cut, no matter how hard Casey Hudson tries. Properly retelling the Mass Effect tale in a time the same length as a feature film is an impossible task.

Rather than rehash the game’s plot, the film should be the perfect chance to offer some backstory on the Mass Effect universe. The First Contact War, in which humanity discovered the aliens and went to war with them, could be a compelling film all on its own. On the surface, it could be just another war movie, but it could also be an anthology film like Halo Legends. From that concept, tales of the exiled Quarians, or the perspectives of Turian and Human soldiers during the First Contact War could do a great job on shedding light on the Mass Effect universe without stepping on the toes of the games and books. There are myriad possibilities.

Something positive may come out of this, as video games with actual stories are being made into films. As opposed to games like Mortal Kombat, Street Fighter, and Mario, which had films with stories far grander than those in the actual games, we’re seeing an attempt to make a movie based on a game with a much more epic tale. But at the moment, this looks to be a small victory, since it is simply an adaptation. With regards to video games, we should view a video game universe as a palate to paint an entirely new picture on, not some word-for-word retelling like Harry Potter.

0

The Call of Duty: Elite Beta Is Live

If you love Call of Duty enough and got excited over the announcement of Call of Duty Elite a few months ago, this will get you excited. Game Informer reports that the beta is now up and running for Xbox 360 users who have already received invites.

Currently, users have the ability to use the social, analytical, and stat tracking aspects of the service. More features will be rolled out in the coming weeks, and Playstation 3 people who got invited will be able to join soon.

The final version of Elite will launch alongside Call of Duty: Modern Warfare 3 on November 8, 2011.

0

Review: Infamous 2

As in the first Infamous, superheroes will always resonate with me; as a kid, I ran around with a towel on my shoulders like I was Batman even still I have a bedroom full of comic book paraphenlia that I could never get rid of willingly. When I played the original Infamous in 2009, it gave me a taste as to what being a superhero could be, much more than an X-Men Legends or Marvel Ultimate Alliance, it delivered that satisfying feeling of power that you only see in comic book movies. I did not think it could get any better, until I played through the sequel.

 

The improvements in Infamous 2 begin by avoiding a common symptom of sequel-itis, which is removing all your powers from the prior game and making you feel like a chump. Granted, you will not be calling down lightning storms or redirecting rockets right off the bat, but you also will not be relying soley on a standard bolt during the first hours of the game. Rather than the first game’s method of 10-13 powers with karmic variations, the powers are divided into bolt, blast, grenade, and other power types. all the powers pack the punch needed to take down enemies. Switching between the different power variations is as simple as can be, and experimenting is its own reward and tied into the game’s story. Halfway through the game, you’re given the option to add fire or ice powers to the mix, both of which are awesome. Fire powers are more about taking down enemies gathered together, while ice powers have larger areas of effect and get more destructive. With the exception of the utterly useless car jump power, they are all fun to use for traversal and combat.

 

The other main selling point of Infamous 2 is the morality system, which has been greatly improved. In Infamous 1, choices were pretty simple. You were either a good guy, or a bad guy, with little deviations or tricks to make you feel otherwise. This time around, the karmic choices are much more frequent in the story, and the city in general. For example, you can do the right thing and free cops to help you storm a base, or you can risk the lives of others and rig a trolley to explode and lead it to the front door. Choices like that pop up pretty much everywhere, allowing you to be more consistent, even if the people of New Marais probably get threatened at gunpoint more often than people in Gotham City. And without spoiling anything, the two endings are fantastic and offer different directions for the franchise.

At the end of Infamous 1, players were given a horrible vision of future events. A mysterious enemy known as the Beast had destroyed the world, and a future version of Cole helped the events in the first game transpire as a test of Cole’s will. With the final exam over, it comes as no surprise that you face the Beast at the beginning of Infamous 2. The battle is believably epic, with the player watching the city they worked so hard to save (or ruin) get re-ruined as the Beast rampages through the city in a fiery haze. Unfortunately, it isn’t enough. Cole gets beat down badly and is forced to high-tail it to New Orleans–er, New Marais. Fortunately, New Marais is home to a scientist with extensive knowledge on Conduits (Infamous’s term for superpowered people), lies the key to defeating the Beast. Unfortunately, New Marais is also home to a denizen of swamp monsters and a gang of racists who’ve taken it upon themselves to defend the city from anything abnormal (aka, anything you-shaped). And, of course, there is still the Beast, which is rampaging down the coast looking for you. The fact that the game constantly reminds you of your inevitable second round with the Beast through the pause menu and news reports is a great move by Sucker Punch, and adds a sense of urgency to the story.

What is compelling about the Infamous franchise is the dynamic mix between realistic characters and the comic book elements. Cole and the rest of the cast hold the story together well, with sharp writing and good voice acting. Cole’s voice better fits him as a person, and everyone else comes alive thanks to the improved facial animations used during cutscenes. The two leading ladies in your karmic decisions, Kuo and Kix, have interesting motivations and interactions with Cole throughout the game, and do great jobs in acting as the angel and devil on Cole’s shoulder. As much as I am loving Infamous 2–and believe me, I am loving the electrical hell out of this game– it is not perfect. The platforming controls feel more awkward than in the first game. I swear that mashing the X button has made my thumb twitch like half my hand is suffering a seizure. There are times where I was trying to leap somewhere and I had to wrestle the controls to land where I need to, and it gets terrible with power lines where you use your induction grind power. Also, those swamp monsters I mentioned earlier? Yeah, the ones with the giant flipper arms are not so bad, since they go down easily with your Amp weapon, but the larger ones have this annoying habit of launching these giant green balls of gunk that seem to have a bead on your bald, electric self 3 out of 5 times. The same frustration will go to later enemies who possess ice powers, such as those that run up and shotgun you like a Gears of War match, or a larger foe that launches ice shards at you (last I checked, ice shards that stand still don’t explode).

And what of the user-generated content? Sucker Punch put in a handful of their missions to give a glimpse of what it can be down the line, and there are a ton of missions out at this time. You can filter your search down to what you are in the mood for, which is an easy task. Using the tools, on the other hand, will take some work. You are going to have to fiddle around a lot if you want to make something great with none of the templates. In fact, speaking as somone who did not use a template and is stuck with something clunky, using a template would be much better and less time-consuming.

Infamous 2 is the ultimate superhero fantasy–a game that grants you the feeling of being a true superhero without making you so godlike that the tasks feel beneath you. Whether it is grinding around the city on rails and shooting people in the face, or calling down a lightning storm, there is a lot of fun to be had with Cole and friends again.

5 out of 5

1

Review: Bulletstorm

As a pack of ravenous cyberpunk psychos run up to me, I plan my options. I kick the most eager one in the face, leaving him suspended in midair long enough for me to fire an explosive flail at the rest of his friends, causing them to explode into delectable chunks. The heavy gunner with them lumbers towards me, and I kick his bouncer volleys back at him. Once he’s stunned, I literally kick his ass, shoot his butthole, then leash him long enough for my thumper to activate, earning me boatloads of points. All of this is done with a smile on my face, the sort of smile a serial killer must get when he sees his next victim.

Bulletstorm is surprising to me in many ways. I knew I would enjoy it, but I did not think it would be this enjoyable. Whereas most shooters have you fighting the same gaggle of enemies using the same strategy of shoot, grenade, take cover, repeat, Bulletstorm encourages you to do more. The Skillshot system asks you to go out of your comfort zone and stand out in the middle of an open battlefield so you can leash, slide, and kick your way to more Skillpoints. Using the leash at just the right moment opens up some great combos, especially when combined with the thumper move accessed not far after you pick up the leash.

The weapons in Bulletstorm are probably some of the best in the shooter staple to date, including a shotgun that does incredible damage at close range, a gun that shoots metal bolts, and a sniper rifle that you can steer in slo-mo to deliver some Skillshots without having to get too much in someone’s face. Each weapon is upgradeable with a charge shot that adds a little more boom when players want to rack up more points, and in turn, buy better upgrades or increase your ammo slot. An amazing auto-aim function and the ability to perform limb-specific damage goes a long way into killing your enemies in horrifically violent, yet hilarious ways. As the Secret 1st Amendment states, “All men have a right to bear arms, and to have those arms shot off with a shotgun.”

Much like the leash, the Skillshots make up the majority of the game. Each Skillshot is rewarded once you complete a specific kill, depending on variables such as whether you kick or leash someone, how many you kill at once, or what weapon you use to deliver a heap of pain. You can check the Skillshots you have and have not completed at any time, though the list will sometimes unlock new ones after you have already pulled them off at random. That should be a downer, but having all the descriptions laid out for you would remove some of the fun of randomly pulling those Skillshots off. Most of them are easy to pull off, and give you a lot of points for thinking outside the box. More than anything, there is something amusing about watching a man-eating plant chow down on some unfortunate soul and blowing up his friends and the plant.

The game also succeeds in throwing several blockbuster moments on screen. Imagine all the titanic scenarios that other games only allow you to watch–Bulletstorm lets you actively take part in them so you never feel like you are on the sidelines. From taking control of a robot dinosaur as if it is an RC car to smashing dinosaur eggs to get out of a cave, you will be surprised at what the game throws at you. There is one point, near the end, where the game pretty much throws most of the enemy types you have encountered throughout the campaign for you to slaughter, and it is just fantastic to play through. It is not particularly hard (strangely, I found myself able to beat that section without dying at all, even when backed into a corner three times), but it is a hoot, thanks to the gaggle of armaments you’re able to pick up from the enemies you’ve already killed.

Even more surprising is the game’s story, which is good for an Epic game. Given the fact that its writer, Rick Remender of current Venom and Uncanny X-Force fame has decided to add every possible swear word in there, and even some new ones, the story should not be as good as it is. You play as Grayson Hunt, an ex black-ops soldier who wants revenge on the man who used him and his crew as his personal assassins, and end up stranding yourself and said General on a casino planet filled with the usual cyberpunk bandits, cannibals, and strange scientific experiments gone wrong. What makes the story, other than the colorful language, is that no one in the game is innocent of anything. Everyone is an ass in some one way or another and are not afraid to call each other out on it. In fact, others do call Grayson out on his mindless bid for revenge, and the fact that he acknowledges these mistakes, is a welcome turn of events through the story.

It also helps that the game is probably one of the funniest and well-written I’ve played so far. The script is gold, and the voice actors know how to sell it with the best timing. Kudos to Steve Blum and Jennifer Hale, who most will recognize as Grunt and female Shepard from Mass Effect 2. Gray and Trishka have great banter together, but the real praise goes to Ishi and General Sarano. Ishi’s dry delivery makes his occasional jokes funny, and Sarano is too foul-mouthed and insane to not be likeable. If you like humor in your games, and depending on how much profanity you can stand, this will be your type of game.

From reading these last few paragraphs, it may sound like I’m 100% in love with Bulletstorm. While it is true that the 6-10 hour ride is one filled with twists, turns, and is an altogether great time, the game occasionally makes some stumbles. For starters, after what is basically a solid ride, the game ends on a whimper and takes the easy way out. Without getting into spoiler territory, you end up trying make it back onto the ship you destroyed at the game’s beginning, which you ended up being jettisoned from after making a last-ditch attempt to get back on after you tried so hard to escape. It makes no sense, and feels very Halo 1 in its design. The ending is weak, and ends the way it does only to set up the sequel that could have been hinted at in a much better way.

Also, while the game doesn’t really care how you get through an enemy encounter, there are a few moments where it wants you to play a specific way. Specifically, there are two moments where you are fighting snipers and the game demands that you use the sniper rifle to take them out in a specific way. While steering a bullet into an enemy’s face in slow motion can be fun, the snipers take your health down extremely quickly. Controlling the bullets is sometimes difficult, as the enemies will dodge out of the way at the just the right time, and the bullet will only go to that specific target, so you can’t shoot at the explosive barrels nearby.

On a final note, the multiplayer in this game is currently lacking. The two modes that they have to offer are, put bluntly, pathetic, and should be considered to play only if you want to kill time. Echoes mode has you play parts of the campaign to beat your friends on the leaderboards, in the same vein as Halo 3’s campaign scoring feature. It is fine, but all it asks you to do is the same thing that you do in the main story mode; killing people in various ways for different points.

The second mode is Anarchy, which pits four players against a horde of enemies to kill. The draw, if one could call it that, is that you have to restrain yourself from hogging all the kills and being a team player while simultaneously contributing enough to survive the waves. There are co-op specific combos that you can pull off with other players, but at the moment, a limited player base thanks to the Gears 3 beta and some connection issues don’t do much to make this mode a must play. In fact, given that this is an Epic game, it is surprising that there is not a campaign co-op, or at least some interesting multiplayer modes. You have an AI teammate with you at every moment, enough for two people to pull off some combos.

Complaints aside, I enjoyed my time with Bulletstorm. The environments are beautiful and varied, the characters are funny, and the overall concept is solid. It provides a lot of freedom while also making sure you go down a path, and this ultimately works in its favor. There is no telling what will happen with this game since the Gears 3 beta has ended, so for the moment, it will be in your interest to pick it up and play it.

I mean, c’mon, you get to shoot people in the nads. Who wouldn’t want to get points for that?

4 out of 5

 

0

Flashback Review: [PROTOTYPE]

I will be honest with you; I have no idea why I decided to pick up Prototype again. I did not enjoy my first three or so hours I had with it for a free rental when it first hit shelves. Perhaps deep down, I wanted to play it just for hate’s sake, a reminder to myself that this game was terrible. Maybe I wanted to get the thoughts of this out of my head, since its sequel has sparked some interest for me. Whatever the reason, I must reiterate that this a broken game, a game that feels less like an Xbox 360 or Playstation 3 game, and more like something for the Xbox or PS2, if I wish to be extremely nice to it.

And yet, despite that, it is kind of fun. Whenever I entered its virtual world, I had a bit of a smile on my face as I watched Alex Mercer run around the Big Apple, carving enemies in two. Jumping around New York hunting for orbs or running up a skyscraper never fails to lose that feeling of excitement. This must be how Tony Stark felt when he flew in the suit for the first time as Iron Man.

And if it is not the way you get around, it has to be the powers that make this game so fun. Slicing, decapitating, and bludgeoning the military never stopped being fun. Even as they brought out their big guns, a little strategy began to form in my mind as to how to accumulate a boatload of experience to spend on two or three powers and become even more powerful. If there is one thing Prototype nails, it is the powers and bestowing the thought into your mind that you are a one-man killing machine that can handle anything that comes your way.

The story, for what it’s worth, does start out strong. It begins with Alex recapping the events that led to a New York devastated by a nasty virus, and the events that unfold are very cool, in a comic book conspiracy way. The seizure-like Web of Intrigue that gradually unfolds with each target you consume adds layers to an already intriguing plot.

Like a bowl of ice cream accidentally left out in the sun for too long, what starts out a strong game ends up devolving into a melted puddle of what it could have been, as if  the developers simply said “what the heck” and shipped it off.

Combat begins to slowly lose its luster, mostly due to the fact that enemies are extremely vicious on the normal difficulty. The military will just fire a seemingly endless supply of missiles at you, while the Infected do nothing but rush you seemingly right out of nowhere. They can break your combos while simultaneously getting you into this endless loop of attacks. You are left with watching Alex clawed to death like a cat ripping on the curtains.

Using your powers ends up being more trouble than it is worth because the power wheel is clunky and only slows down for the briefest of seconds before throwing you right back into the action; shame to whoever thought that was a bright idea. Surprisingly, things get worse because of the massive amount of powers the game has to offer you. Trying to remember each combo is only slightly less confusing than trying to solve a Rubik’s Cube in two hours.

It also does not help that this game is beyond ugly. I am talking worse than Saints Row 2 here; the facial animations have the uncanny valley effect turned up to the max. NPCs are recycled, environments look shamelessly copy pasted, and it looks all around terrible. Alex in particular has a particular freaky air about him; in normal cut scenes, he is bad. In one of the prerendered cut scenes when he is done with a flashback, he has this stare and smile that makes him look like he’s about two seconds from jumping out of the screen and ripping your face off.

At the end of it all, Prototype is the game equivalent of a Zack Snyder film. A cool concept with some muddy execution, but the highlights eventually shines their way through the muck. Also like a Snyder film, it is a game that will either make you wonder why not every sandbox game can be this fun, or question some higher power and make you wonder what you did to deserve this.

Then again, the game is called Prototype for a reason.

3 out of 5


2

Look, Up in The Sky! A Look Back at Smallville

As some of my earlier posts have hinted at, I am a bit of a comic book fan. A good portion of my childhood was spent reading what I thought were current issues of Batman from the city library and watching animated series such as Paul Dini’s Batman and the Spider-Man series. Since then, they have been replaced by shows such as The Spectacular Spider-Man and Young Justice, but my love of comics remains the same. DC, Marvel, or whoever, it does not matter to me so much as it maintains a great pedigree that devoted fans expect.

The only thing better than reading comic books is watching them. There is nothing better than being a six-year-old boy and watching superheroes fight bad guys and save the day. Joel Schumacher’s Batman run, as embarrassed as I am to admit, got me hooked, but movies like Spider-Man kept me coming back.

As I got older and prices for movies increased, I began to wonder why there weren’t live action versions of heroes to watch from the comfort of my home. When Smallville first came on the air, it was very different from what I was expecting. Rather than Superman kicking butt and looking like a roided out gentleman, I saw a boy scout who complained about his powers rather than using them like a hero should. From that point on, I skipped the television run of each Smallville season up until the reportedly famous Justice League episode. That episode made me interested in Smallville again; I braced myself for the eighth season, wondering if it would leave a bad taste in my mouth. It was not entirely without its faults, but it was damn good start to showing Clark’s real evolution into the Man of Steel. Even Sam Witwer as Doomsday was something I enjoyed, though the ultimate reveal of Jimmy Olsen was basically a slap to the face to everyone who watched him since his first appearance on the show. Season nine set a pretty high bar, with a great storyline featuring Zod and an even greater two-hour special with the Justice Society that was nothing short of awesome.


Now here we are at season 10, the Final Season. The show has a few episodes left before it hits the big two-hour finale, and then it is gone for good. Honestly, I am not sure what to feel. Is it supposed to be pride, since it is presumably the longest running live action portrayal of a superhero to date? Anticipation, since recent events hint at a certain Kryptonian clone’s possible solo series? Anger at how the show spent nearly seven seasons worth of piddling about before they realized that the whole goal of a Superman story is have Kal-El become Superman?


Smallville may not be the most evenly paced superhero show, or the most consistent in terms of quality, but it is a great one nonetheless. The impact that it has made will not go unnoticed even after its impending end. DC and Marvel both have properties they can make in the same formula, and they both undoubtedly will, but nothing will beat the original Red-Blue Blur.

0

Review: Dead Space 2

The first Dead Space was an unexpected surprise that delivered genuine terror through limited ammo, shocking horrors lurking around every corner, and a sense of immersion that never took you out of the game.  With the sequel, EA and the team of Visceral Games have to rely on delivering a better experience that feels fresh while at the same time giving players more of what they liked from the original and the Wii game, Extraction.  Thankfully, Dead Space 2 offers more of the same while giving something that feels fresh and new.

Three years after the original Dead Space, Isaac Clarke is in a bad place.  The events at the USG Ishimura have left him in a mental hospital on a massive space station that quickly becomes the newest stomping grounds for a Necromorph invasion.  The sole thing keeping Isaac alive is his guilt over the death of his girlfriend Nicole, who makes frequent appearances via hallucinations.

As the game starts out, Isaac is little better off than the poor souls getting horrifically murdered. The Marker from the first game messed him up terribly to the point where he, and you the player, will not know whether you are fighting monsters of the Marker or his own scarred mind.  It is a story of hope and redemption, one that is made better by the fact that Isaac speaks and shows his face frequently.  Additionally, the story is solid and entertaining throughout, never losing steam.


Dead Space 2’s improvements start with the combat.  Once again, you are armed with four weapons, a stasis ability that lets you slow down time, and a telekinesis power that lets you move items with a wave of your hand. Combat feels more satisfying and responsive than the first game thanks to better controls.  Switching between weapons never feels like a hassle with the controller.

Additionally, combining your powers with your weapons will save your life continuously throughout the 15-chapter story mode.  During that time, the store is your best friend;  it is constantly updated with new weapons, like the javelin gun, and cool looking armor sets that have their own inventory and health upgrades when you purchase them.

The newest location for the alien invasion is the Sprawl, and it is massive.  Each location that you go to, be it a church, a school, or outside into space, looks more different and interesting than the dingy corridors of the Ishimura.  Some of the best moments, such as a harrowing battle with an enormous Necromorph, take place in some amazing looking locations. Moments in zero gravity are probably the only moments that do not entirely live up to the expectations due to how disorienting it can be after being knocked around from seeker drones that come in droves.

The same compliment goes to the enemies; while some enemies from the first game return (like the wall-crawling Lurker), there are plenty of new enemies to dismember.  The best, and by far, most annoying, has to be the Pack.  This onslaught of screaming children will often find you using every weapon and med pack in your inventory while you run to get some down time.

The Pack will not be the only thing to try your patience. After the sixth chapter, the game starts to make you feel increasingly like a chump with enemies that ceaselessly spawn in front of you, to the side, in the vents above you–basically anywhere you can think of. Some of the enemies, such as the Puker and a black-sludge covered Necromorph that appears late in the game, have incredible reach and will eat up several clips of ammo if you want to see them dead.  On more than one occasion, I had to turn down the difficulty to Casual to avoid frustration and just calling it quits. The only reason that anyone would strive to complete the game on higher difficulties would be if they were either someone who loves being punished for every error, or if they never tired of watching Isaac die in horrifically violent ways.


Another issue I have with the single player campaign is that as much as Isaac grows as far as character development, he never seems too concerned with taking his life by the horns. Too often, there’s some voice telling him to go activate something or go to a specific location, like an unpaid errand boy. I would much rather have him tell someone to screw off and do it themselves while he does something that actually matters.

In addition to the single player, there is also multiplayer portion where eight players take turns in four-on-four objective based matches as Engineers and Necromorphs. As the Engineers, you are tasked with various objectives, while the Necromorphs are tasked with stopping the Engineers any way possible. While the Necromorphs re-spawn faster and have four classes to choose from, the Engineers have two weapons and the Stasis ability, so it is not surprising that the Engineers will win the round more often than not.  Aside from the seemingly obvious choice that a Horde mode would work in the Dead Space universe, the multiplayer ultimately feels like something meant to match up with the far superior Left 4 Dead franchise.  It does have potential, but at the moment, it is something that only the most diehard multiplayer lover will enjoy.

If the first Dead Space was about scaring players, Dead Space 2 is about taking them along for an entertaining, high-octane thrill ride.  Punishing enemies and Isaac’s lack of a real backbone are only minor crusts in a very solid single player core.  The multiplayer, while nothing special right now, could eventually become something worthwhile. All the same, Dead Space 2 is the game to buy.  Your mom may hate it, but you will love it.

5 out of 5

0

A Week Late: Young Justice Review (Independence Day)

The dawn of the superhero has come and gone, and while it seems like some of us are done watching famous actors play our childhood heroes with campy dialogue and hit-or-miss CG work, television doesn’t have the same problem. Depending on the comic, they have thousands upon thousands of characters, universes, and story arcs to play with and no publisher knows this better than DC. Justice League set the bar, but other shows such as The Batman and Teen Titans have failed to meet up to expectations. Enter Young Justice, a new animated DC cartoon based on the comic of the same name. Its premise of sidekicks who want to step into the spotlight is intriguing and luckily, for the show and fans of the comic, these sidekicks deserve to be called heroes.

 

At a time where superheroes are fairly new to the world, the Justice League are active and constantly in the spotlight, to the excitement of the populace. Their sidekicks, on the other hand, are becoming more and more irritated with the lack of responsibility given, and its here where Young Justice starts. Robin, Aqualad, Speedy, and Kid Flash– the apprentices of Batman, Aquaman, Green Arrow, and The Flash, respectively– think they’re finally getting to be a part of the League after years of hand holding and training. When they get quite the opposite, they decide enough’s enough; Speedy leaves Green Arrow’s side permanently, and the other sidekicks go out on their own to investigate a fire at Project Cadmus. To spoil the rest would ruin all the fun, but I will say that Young Justice definitely taps into the troubles of its young protagonists. Though some more time is needed to prove their claims of ridiculous hand holding, they do come off as human relatively well with smart dialogue and voice acting (Robin’s voice, done by Jesse McCartney, may be incredibly off-putting to some).

 

If you were upset by the anime-inspired look of the Teen Titans series, you should be more than happy with Young Justice’s animation style. Characters look and move realistic and the fight scenes look real and convincing; when Superboy punches Aqualad, it looks like it has impact to it. The show doesn’t forget that the main characters all have senses of humor as well; Kid Flash’s inability to properly stop himself after speeding and Robin’s questions about why anyone isn’t ever “whelmed” are solid attempts at humor.

There’s a small line near the end of the premiere where Superboy tells some members of the Justice League, “It’s simple. Get on board, or get out-of-the-way.” And that’s kind of how Young Justice is getting it’s point across; either you like it or you don’t. With that said, its hard to imagine this show stumbling after putting out such an impressive premiere.

Score: 5 out of 5

This review was originally published following the one hour premiere of Young Justice in November 2010. The series will air new episodes starting this Friday, January 21.

0

TV Review: The Cape

Hoping to continue the “success” that came with Heroes back in 2006, NBC has launched The Cape, a new superhero show set in the same vein as Batman and Daredevil, ordinary men doing extraordinary things.  The series kicked off with a two-hour premiere this past Sunday, January 9. While it may be too early to say for certain, this show seems like it will be dead within a month.

The Cape starts off with Palm City detective/family man Vince Faraday stumbling onto a massive conspiracy involving a villain named Chess and a mysterious substance called L9.  After discovering that Chess is also funding the city’s new police force and responsible for L9, Vince is framed and left for dead. Following that, Vince gets rescued by a group of traveling circus freaks led by Keith David (and one seriously pissed off midget) that have special abilities and go around robbing banks, in their off time.   Vince, who we are supposed to believe is a straight cop no matter what, lets the circus people use his ID card to commit crimes and expects something in return.  Of course, the blame cannot be set entirely on his shoulders; not when the guy who framed Vince and sent some guards to shoot and kill him did not think about deleting his name from the mainframe. After that, Keith David and the carnies decided to teach Vince some of their special abilities so he can take vengeance and save the city as THE CAPE–FIGHTING FOR TRUTH, JUSTICE, AND THE AMERICAN WAY.  HE WILL SHOW THAT ONE MAN CAN MAKE A DIFFERENCE!

The description above covers the first half hour of episode one. Following that we see Vince in fight with Scales, who is essentially a toned down version of Batman villain, Killer Croc, as played by Vinnie Jones. After the fight Vince crosses paths with Orwell a mysterious blogger who is trying to show the citizens of Palm City the corrupt cops (Orwell is played by Summer Glau, in a terribly underused and underdeveloped role).  Orwell and Vince develop an alliance in what amounts to about 20 seconds of airtime.  The episode ends after a scene where Vince tries out dressing up and talks with his son about the saving Keith from thugs.

If there is one positive thing I can say about The Cape, it’s that it definitely has the potential to be something cool. Think the origin of Robin mixed with a little bit of Daredevil and Iron Man, but it is tarnished thanks to some cheesy dialogue and overacting from the most prominent character.  David Lyons apparently didn’t get the memo that this show is intended to be cheesy in an early comic book TV show sort of way, so he tries to find a balance between Spider-Man one-liners and gruff Batman toughness that makes him seem more like a guy who is trying to emulate a superhero rather than a real one.

The rest of the cast seems to try and outdo each other in terms of hamming it up and full-level parody archetypes. However, they all lose to Keith David, who seems to realize how screwed the show is going to end up. The villains do all seem like they would fit in some comic book universe. The aforementioned Chess in particular would fit well with Marvel’s Ultimate Universe.   The last thing that I will touch on is how incredibly invincible most of these characters seem. I am not a real stickler for realism, but some of the stuff these guys pushes all the laws of the universe. Last I checked, no one learned how to catch knives with their hands or a freaking cape.  Nor did they learn how to jump out of what appeared to be at least a 20-story building, land on a car, and still come back looking like they only suffered a minor cough.

To be frank, there is literally nothing about The Cape to draw you in.  A show that sounded cool on paper ended up being crap wiped up with the paper.  After recent cartoons like Avengers: Earth’s Mightiest Heroes and Young Justice, comic and TV fans know what to expect out of superhero shows, and this is not it.  Overall, it feels like something that should have been made back when Joel Schumacher did the Batman films; the only thing that is missing on The Cape are the perky nipples.

Score: 1 out of 5