Consolation Prize

Although I’ve been back from my travels for a few weeks now (for those that weren’t aware I’ve been to Whistler, Canada, to try and improve my limited Snowboarding skills) I have still not had the urge to boot up the Xbox 360, PS3, or DS, and immerse myself in our electronic pastime.

Unfortunately, a direct consequence of my general listlessness and disillusionment towards videogames is that the blog writing suffers. There’s no point in denying it, I don’t have vast repertoire of articles parked ready for publishing to tide me over, nor a great deal to write about once my muse has been unceremoniously dumped in the binary wasteland. And thus the blog has been barren ever since - a fact that I feel I need to apologise for.

However, not everything lasts forever, and fortunately the desire to play a game is starting to manifest itself. Instead of just deciding to pick up whatever “hot” game is generating the most discussion, pick up the latest release, or play through numerous demo’s that are of no interest, I thought it would be worth examining my back catalog to decide what game to play next. The hope is to avoid the need to rush through a game as fast as possible to voice my thoughts, and instead take my time, savour the experience, and learn to love games again.

With this in mind I’ve drawn up a shortlist of games that have piqued my interest, but due to various circumstances never had the time to play them.

Okami (Wii)

This respected swansong from Clover Studios is at some point or other always at the forefront of my back-catalogue. It is perhaps the only game I’ve actually purchased twice. Once when it first appeared on the PS2, and then again when it was ported to the Wii by Ready at Dawn.

I find myself looking wondrously at the watercolour inspired graphical style whenever I see images of this game, and the various references I read with regards to its Zelda-esque game design only cause to enhance its appeal. I’m curious to see how well “Celestial Brush”, a unique design feature of Okami to draw images on the screen canvas for use in combat and puzzle solving, translates to the “Wii-mote”. It should in theory be a perfect match, although I’ve heard comments to the contrary.

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I thought it would be prudent after the quite impressive Chronicles of Riddick demo to take Wheelman, the game designed to tie in with the movie of the same name starring Vin Diesel, for a test drive.

To be honest I was feeling a little bit apprehensive about this demo. After all, movie related games aren’t exactly renowned for there quality and generally give the impression of being thrown together just to ride upon the coat-tails of celluloid success . My expectations, therefore, weren’t high.

The demo kicks off with an impressive opening cinematic as the camera sweeps majestically over Barcelona harbour before finally speeding into the city itself where it centres upon a stationary car. Within, sits our protagonist, Milo Burik. He waits patiently, glancing in his mirrors, and doesn’t seem phased when a local police car slowly drives past. A few heartbeats later the camera pans to a building as we witness an unidentified woman exiting possibly what is a bank. She steadily walks towards the parked car, but seconds later an alarm sounds. It’s your job to get her to safety.

I must admit that at this point in the demo my impressions were entirely positive. The opening sequence had been enticing; the in-game graphics looked great, and I thought to myself that if Wheelman continues this level of quality and polish then maybe, just maybe, we would have a rarity on our hands: a decent movie-game tie-in.

Alas, it wasn’t to be, and the more I played Wheelman the more my enthusiasm diminished.

The initial chase through the city, evading the police and then a local gang, is quite entertaining as you streak through the streets trading paint with your pursuers and causing spectacular crashes which are played out in slow motion. In some respects it feels as if Burnout has had a small part to play in influencing Wheelman during this early chase sequence, but in fact the further you progress into the demo the more obvious it becomes that Wheelman is a concoction of borrowed styles all aspiring to make this more than just a racing game.

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Game demos seem to come in two flavours - those that ease you in gently and those that throw straight into the action without any explanation. In some respects the latter approach is perhaps the best way to experience a demo; the raw nature of being plunged into the deep end quickly highlights any flaws and it allows the formulation of an opinion based upon the time it takes to go from bewilderment to enlightenment. The faster this can be achieved, the more intuitive the game is to play.

Riddick: Assault on Dark Athena successfully takes the latter approach, and anyone who is remotely familiar with first person shooters shouldn’t have too much trouble learning the nuances of controlling the anti-hero Riddick and dropping straight into the game.

This demo doesn’t really give too much of the plot away. All that can be surmised is that Riddick has escaped, is working in cooperation with another mercenary, and is about to free all the captured prisoners aboard the Dark Athena. This story fragment is really of little consequence until we get to see the bigger picture in the released game, but it does at least give us a brief (very) insight into the characterision - especially that of Riddick, whom thanks to active participation of Vin Diesel looks and sounds like he should.

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Tom Clancy seems like he’s associating his name with a variety of games these days, and not just tactical shooters, albeit all of them having a military theme of some sort. The latest offering, HAWX, hopes to take to the skies with the aim of shooting down its nearest rival: Ace Combat 6: Fires of Liberation.

I must admit that I’ve always had a bit of a soft spot for air combat games. It’s probably because I had delusions of becoming a pilot whilst growing up and spent many pleasant hours flying around stark battlefields in games such as F-15 Strike Eagle
[1], and Gunship 2000
[2] – basically I would play anything from Microprose back in the day. I am always keen to see how any air combat game fairs; perhaps with the hope of rekindling a long lost passion.

With HAWX we’re thrust into the world of the PMC (Private Military Contractor) as an ex-USAF pilot now working for Artemis, whom have recently secured a defence contract with Brazil in the year 2021. In this demo you get to play through a couple of missions, although the first of which is really nothing more than an elaborate tutorial to familiarise oneself with the controls whilst practicing some rudimentary air combat against some remote drones. It does however demonstrate the difference between “assistance on” and “assistance off”. The latter apparently gives you more manoeuvrability but forces you to adopt a distant view of your aircraft, rather than a chase or cockpit camera angle - which to be honest you’re either going to love or hate. Personally, this view isn’t for me, and I found it incredibly disorientating. I want to feel like I’m flying a multi-million pound military fighter, not controlling a remote controlled plane I just purchased from Toys R Us. At least it’s an option – so everyone should be happy.

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I had an inkling that the Prince and Elika wouldn’t end up walking hand-in-hand into a clichéd sunset as the credits rolled at the end of Prince of Persia, but the actual ending did leave me with mixed emotions.

[Spoilers Ahead]

During the game it’s revealed that Elika had previously died and has been subsequently resurrected. Her current existence, and thus the corruption that is spreading throughout the land, is a direct result of a bargain struck by her father to free Ahriman in return for his daughter’s life. In the final climatic battle with Ahriman, Elika has to choose her fate, and in an act of self sacrifice uses her own life force to restore the Tree of Life and imprison the dark god.

It’s directly after this event where the game takes an interesting course of action. After the Prince has rushed over to the princess, gathering her lifeless body up in his arms, the controls suddenly and unexpectedly return back to the player. You’re expecting an end cinematic so it comes as a bit of surprise to learn that the game isn’t quite over just yet. This is just a pseudo ending, a prelude designed to tug at the heart strings as the Prince walks out of the temple whilst some credits roll with some suitably melancholic music playing in the background.

Upon exiting the temple the true cyclic nature of the story is revealed, and we have in fact come full circle when the Prince, lying Elika upon the temple alter, decides to destroy the Tree of Life, freeing Ahriman, but importantly restoring Elika to life. The first word uttered from her lips after her resurrection is “Why”?

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Prince of Persia is a glorious game to behold – a visual feast for the eyes. From the outset as I witnessed the prince wandering aimlessly amidst a sandstorm, his shouts for his lost donkey “Farah” muffled by the roaring wind; to the first encounter with Elika as she tries to evade her pursuers, I was impressed by the visual splendor. There’s little doubt in my mind that as an opening sequence Prince of Persia successfully seduces the player.

And believe me I was seduced – for most of the time.

Beyond the cell shaded graphics there is a charm to the game that I find appealing. The interaction between the Prince and Elika, which starts out as a necessary companionship born out of the circumstances, develops as the adventure progresses. The early flirtatious sarcasm and teasing matures to become a more heartfelt relationship, and I actually believe that there is some genuine affection between the two - or maybe that’s all just wishful thinking in my head.

However, juxtaposed with the good there are some aspects within Prince of Persia that aren’t quite to my liking. The four magical abilities gained by Elika at the temple of the Tree of Life, which are awarded upon gathering a set amount of light seeds are really just variants of the same theme. The Step of Ormazd shoots you directly from one magical pad to the next like a cannon ball, The Hand of Ormazd shoots you from one pad to another but in a less direct route; and upon gaining the Wings of Ormazd, Elika flies the Prince all over the map, but with only limited control to move up-down-left-right to avoid objects. We really should just view these abilities for what they are; a method to control the players exploration and provide some linearity, but some more interesting and diverse abilities certainly wouldn’t have gone amiss.

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The skateboarding crown once held by the Tony Hawk franchise was put in dire peril in 2007 when a new kid on the block, namely Skate, made its appearance. Developed by EA Black Box Skate generated quite a lot of praise for its innovative controls and environments upon release, and now 16 months later we’re getting a sequel. To wet your appetite a demo of Skate 2 was recently released on Xbox Live Marketplace and is scheduled to arrive on Playstation Network imminently.

The career demo lets you sample the initial first moments of the game, enabling you to comprehensively design your avatar’s look and then jump into some simple challenges. The vast customisation options not only extend to tinkering with your facial features and clothes, but also your skateboard deck, truck and wheel selection - albeit only as far as your limited $300 budget will stretch. You can appreciate that in the full game you’ll certainly be able to completely style the look of your skater as more funds become available and additional items are unlocked.

Once you’re happy with your skater then it’s straight into the tutorial as you head off to Slappy’s Skatepark, learning the odd trick or two along the way. What’s initially quite impressive is the use controller to perform tricks; from simple ollies and nollies to kick flips and rotations, they’re all handled by flicking or rotating the right analogue stick. It does take a little bit of time to get used to, and undoubtedly you will fall off your board at some point, but it does feel like a more natural control method than just simply pressing a sequence of face buttons. Once at Slappy’s you’re met with the usual assortment of ramps, and rails to perfect your jumps and grinds, but there are also a few challenges to complete as your sick tricks can be photographed for Skateboard Mag.

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Over the years we’ve learnt many things courtesy of the film industry; chief among them is the fact that space is certainly not a safe place for humanity to explore. And we’ve also learnt that when contact, be it with a colony, vessel, or even a town has suddenly and inexplicably been lost it’s not because of something simple like a communications malfunction, or due to static interference, it’s usually because the crew/colonists/residents have all been horribly slaughtered.

Alarm bells should be ringing loudly in the ears of whichever bright spark has decided to lead an expeditionary mission to determine the cause of the silence, but instead they will wander unconcerned (mostly) into danger like the proverbial lamb to the slaughter. This blasé attitude, although not good for promoting a long and prosperous life, does however provide the perfect setup for horror films, or alternatively in our case a Sci-Fi survival horror game.

The reason I’m making such a tenuous link to the film industry is that in some respects Dead Space feels like it’s borrowing aspects from some of the great Sci-Fi flicks of the last 30 years. However, instead of just being a carbon copy of something like Aliens, Event Horizon, or even Solaris there’s enough originality here, and delivered with such panache and polish that makes it a game that is worthy of your attention.

Playing as Isaac Clarke, an engineer aboard the USG Kellion, you and your crewmates are dispatched to the USG Ishimura – a “planet cracker” class mining vessel that rips planets apart in search of valuable minerals and ores. As you may have surmised contact with the Ishimura has been lost after an initial distress signal was received, and on rendezvousing with the stricken vessel above the planet Aegis 7 a decision is made to dock with the ship and provide any help required. It is however, only a matter of time before things go completely pear shaped leaving you to repair various systems on the Ishimura so that you can escape the nightmare.

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