Wow! Who knew the Spring time could be so jam packed full of gaming goodness. We've got the most reviews ever in an issue of Beyond Co-Op, stack in at eight high with the likes of God of War 3, Final Fantasy XIII and many, many more.
SMT: Strange Journey....................................................................... Page 2
Greed Corp...............................................................................................Page 3
God of War 3 .........................................................................................Page 4
Deadly Premonition................................................................................Page 5
Beat Hazard ............................................................................................Page 6
Section 8 .................................................................................................Page 7
Metro 2033 ..............................................................................................Page 8
Final Fantasy XIII ....................................................................................Page 9
Amazon.com Widgets
Explanation of Scores:
- Golden Billy - This is a must buy title. Truly excellent in almost everyway.
- Silver Billy - A solid title with a few flaws.
- Bronze Billy - This one is probably a rental if it interests you.
Publisher: Atlus
Developer: Atlus
MSRP: 34.99
by: Jason Love
The Shin Megami Tensei (SMT) series of games is one that seems to run the entire gamut of RPG genre types, from action-oriented to the more traditional. The latest title, Strange Journey, takes its gameplay cue from the classic PC dungeon-crawler, Wizardry, and is perhaps one of the best examples of that particular genre that I’ve ever played.
The premise behind Strange Journey follows the fairly rote sci-fi idea of some mysterious anomaly suddenly appearing that threatens the whole Earth and you’ve been chosen to go into the anomaly to determine what’s causing it and how to stop it. While there are a few interesting story moments, including the feature to see one of three different endings depending on your character’s alignment (chaotic, neutral, or lawful), where Strange Journey shines is in its gameplay.
Strange Journey’s combat at first seems to be straightforward and just follows the basic tenants of “Fight, Magic, Item, Run,” but as the game progresses, there is a great deal of strategy and tactic involved. For the majority of the game, your main party consists of your character and three demons of your choosing that are recruited either through negotiation when you encounter a demon in the field, or fusion (fuse two or more demons to get a new one). As every demon has its own set of strengths and weaknesses, there’s a lot of variety available to you in terms of the type of party you put together. You could create a party that’s completely immune to physical attacks and unleashes devastating spells upon the enemies, or a mix of physical/magic based demons with varying alignments and immunities. It’s really these two elements, the ability to literally create your own party members and the varying strengths/weaknesses of each demon, that makes Strange Journey so much fun to play. Additionally, in a rather fun coincidence, using an attack against which an enemy is weak results in a “Demon Co-Op” attack, wherein all members of your party with the same alignment deal some immediate damage to the foe. Even demons recognize the joys of working together.
If you own a DS and are at all a fan of RPGs, you owe it to yourself to pick up Strange Journey. Not only is it a satisfying game with a lot to explore and do, but it also brings back the one feature that’s been missing from RPGs all too often lately: New Game+. Just when you think you’re all done and have tackled the final demon, a new challenge is waiting for you.
Score:
Publisher: Valcon Games
Developer: W!Games
MSRP: $10 / 800
by: Marc Allie
Greed Corp is a very unusual XBLA release. Upon first glance, it appears to be a video game adaptation of a board game, similar to Carcassonne or Settlers of Catan, in that it is a turn-based strategy game with hex tiles. But Greed Corp is a unique intellectual property of its own. Another quality that sets Greed Corp apart from the pack is the content level, including a single player campaign about 10 hours long, and extensive multiplayer replay value. Greed Corp might not appeal to all gamers, but for those who can overcome the steep difficulty, there is a very deep experience to be had.
Greed Corp is set in a marvelously detailed world where large corporations have grossly over-mined resources. So much damage has been done that the world itself is literally crumbling under the weight of the machines harvesting it. This is represented in the game by individual hexes falling lower and lower over time, until they finally topple entirely, taking down any units with them. When a hex falls, it looks stunning; it is here that the advantage of a video game over a board game becomes apparent. Into this dangerous, and yet rewarding environment, the various mega-corporations send workers and soldiers, fighting other factions while trying to stay alive themselves. While there are only a handful of unit types, including Harvesters, Walkers, and stationary Cannons, the ever changing environment itself keeps the game interesting and the interactions complex.
This high level of complexity is a two-edged sword. There is so much going on at any given time, even in a two-player game, that it can be extremely hard to keep track of it all. I found myself feeling as if all my plans could topple beneath me at any instant, which of course, ties nicely into the overall theme. The tutorial is very plain, almost inadequate, teaching you only the bare bones necessary to play the game; there is little to no insight provided into effective strategy and tactics whatsoever. This can turn casual players away very early. On the other hand, if you can wrap your head around all these complex factors, the experience can be quite rewarding. When you set up your opponent to attack a particular hex, and then use a Cannon to sink it, causing a massive chain reaction that devastates your enemy's forces... well, there's nothing quite like it, really. It is immensely satisfying, especially since it probably happened to you yourself while learning the ropes.
Greed Corp is a great value, and has far more content than the typical 800 point XBLA release. The single player campaign is quite lengthy and involved. Local and online multiplayer are both included, and add significantly to the game's staying power. It may not be for everyone, which is true of most games of the genre, but if you can get past the steep learning curve, Greed Corp may just become one of your favorite XBLA purchases.
Score:
Publisher: Sony
Developer: Sony Santa Monica Studios
MSRP: $59.99 (on sale for $47)
by: Sam Tyler
When the first God of War graced the Playstation 2 in 2005, I was enamoured with the game. The mix of well balanced gameplay, fantastic graphics and epic scale made it an instant classic. There was almost as much time and effort spent on the puzzles as the fighting element, making it more intelligent than its gruff exterior would have you believe. However, I did have misgivings with the game; the graphic violence was perhaps darker than any other game that had gone before.
It has been five years since the first game and God of War 3 is the franchise debut on the Playstation 3. In terms of visual splendour it is magnificent and proves once more that if a game is designed solely for the Playstation 3 architecture it can blow the 360 out of the water. The sense of scale is also larger than in the previous two games as the PS3’s grunt is used to show Kratos’ epic climb up Mount Olympus in his attempt to kill the Gods themselves. The use of camera angles to highlight moments of action are brilliant, only bettered by Uncharted 2. The voice acting and music was also of the very highest order as they are pitched perfectly to evoke a world of dark Greek Mythology.
In terms of gameplay God of War 3 shows once more that the franchise is one of the leaders in the hack ‘n’ slash genre. For pure visceral entertainment it is probably the best action game out there. However, since the series inception other games have come and stolen some of the former genre leader’s glory. The combat in God of War 3 is entertaining, but it lacks the subtlety or nuance that games like Bayonetta or Ninja Gaiden 2 possess. Against these later action titles, the combat can feel a little clunky.
The same also has to be said of the puzzle elements of the game. Assassin’s Creed 2 showed what an open world can bring to puzzles and platforming. God of War 3 feels like Sony has tried to recreate the magic of the first two games but in high definition. There is no open feel to the world and at times you are well aware that you are being forced down an extremely linear path. More work was needed on the level structure and puzzle content for the game to feel like a 2010 title in anything other than graphics.
Perhaps the biggest bugbear I have with the game is a reflection of my own tastes, and dare I say maturity (at last). I have played games for over two decades and have spilled more gallons of virtual blood than could fill ten swimming pools. However, even I felt uneasy with the levels of violence in God of War 3. In part, this is due to the excellent graphics which show hideous acts in crystal clarity, but it is also down to developer choice. I have no problem slicing a Hydra in two, but stamping on a man’s head repetitively only for the camera to shift to the point of view of the victim? For me this scene, and several others like it, was taking violence one step too far, and this is coming from a fan of horror films. Heavy Rain is a mature game that deals with adult themes in an intelligent manner. God of War 3 use the old fashioned term for ‘mature’ games, of the content being for over 18s, but seemingly aimed at 14 year olds.
Overall, God of War 3 is still an excellent game. Only Uncharted 2 can boast better graphics on consoles so far this generation, and no other game has quite captured the epic feel of this title. In terms of graphics, sound and camera work; the vast amounts of money that Sony spent on the game are clear to see. However, beneath the beautiful façade lies a franchise that is starting to feel its age. In terms of level design and combat intensity it lacks the intelligence and subtlety that more modern games have brought to the genre. Throw in my misgivings over the levels of violence and I feel that the God of War franchise is still a good series, just no longer excellent.
Score:
Publisher: Ignition
Developer: Access Games
MSRP: $19.99
by: Mike Katsufrakis
You know, it's strange that one of the best games I've played all year is a budget title from Ignition Entertainment, but here we are. Deadly Premonition is equal parts Grand Theft Auto, Resident Evil (of PS1 vintage, mind you) and Twin Peaks. Playing as Special Agent Francis York Morgan (call him York, that's what everyone does) of the FBI, you're tasked with solving a gruesome series of murders in the small town of Greenvale.
The controls are absolutely horrendous- remember the tank controls from the original Resident Evil? They're back! It can take up to three button presses to fire a gun (both shoulder buttons and the A button to shoot, naturally), and learning to hit your targets despite there being a lock-on function becomes an exercise in frustration. Once you're driving in the open world, it doesn't get better- of the two cars you can drive, one steers like a hyperactive squirrel and the other can barely make turns. You can, however, use your turn signals and windshield wipers.
What you will never expect is for the game to be as consistently hilarious as it is. York has an imaginary friend named Zach (who is... you!) that he regularly converses with. Conversations regularly feature York's love for 70s and 80s films, Tom & Jerry's co-dependent relationship, DVD special features, and off-hand comments about the townspeople.
He also has a wonderful habit of picking the absolute worst moments to speak of former cases he investigated. Having a heartwarming discussion with your new coworkers? Talk about a murderer whose victims' skulls were used to both drink from and relieve ones' self in!
The game practically revels in the absurd, and almost completely makes up for any gameplay shortfalls you run into along the way. The music is... well... there's a piece that pops up a lot with lazy guitar strumming, whistling, and a kazoo solo. It sounds like a B-side off of the Super Mario 64 soundtrack.
It controls terribly, looks worse, but it has a lot of fun being crazy, and you can tell the developers really did know their game was this damn silly. What's more interesting is that the "horror" bits, amateurish as they look/sound can actually be quite effective, and York is just a fun character to experience. This has to be one of the best budget titles I've ever played, and I can't recommend playing it enough. Bring a friend, you'll have a ton of laughs.
Score:
Publisher: Cold Beam Games
Developer: Cold Beam Games
MSRP: $10
by: Nicholas Puleo
Everyone's favorite music visualizer game, AudioSurf, has a new challenger, and its name is Beat Hazard. Like AudioSurf the game will take your music MP3s and create a playable game by decoding the beats, rhythyms, and bass of the game. The game however is quite different.
Beat Hazard uses a formula that's one of the oldest in terms of gaming, a twin stick shooter. Ever since the halls of Robotron 2084 we've been moving with our left and shooting with our right analog stick. Beat Hazard continues this by and also throws in some incredibly slick visuals. So how is the music tied to the gameplay? Your ships attack power is tied directly to the music volume, with the ability to pick up "volume" and "power" powerups that actually increase the volume of the track and your ships power. But if you hit a quiet section in a song, be ready to pew pew instead boom boom pow.
The rest of the song; the beats, melody, and bass, cause waves of asteroids and ships to be sent your way. Consecutively kill the bad guys to pick up multipliers and increase your score, and maximize how well you do on a level. The enemies the game spawns are few, with around six or seven different styles of ships - including two bosses. These boss ships are huge, and sometimes come in pairs, though predictably they seem to be launched after a lull in any of your music. Killing any of these ships results in some gorgeous explosions, full of color and particles. Every game has an epileptic warning before it in regards to seizures, this is one game I can see it being a real problem with.
Beat Hazard ships with a handful of tracks to complete, as well as leaderboards and a survival mode to extend the gameplay. Obviously the meat of the product is the custom tracks, and as long as you have a few dance or trance albums on hand you're in for a real treat. Things do tend to go a bit stale, but as an alternative way to listen to some music, you can't go wrong with Beat Hazard.
Score:
Publisher: Southpeak (360,PC) TimeGate (PS3)
Developer: Timegate Studios
MSRP: $49.99 (360/PC), $29.99 (PS3)
by: Katrina Pawlowski
What do you get if you mix Halo and Starcraft? Well, nothing - you can't really mix those things, but Section 8 comes pretty darn close. Section 8 is the closest thing to a first person shooter strategy game to date, blending the first person shooter fast action with strategic weapons, supplies, turrets, and tanks to be purchased and placed on the battlefield. Your unit is a soldier wearing some of the sweetest armor to date, with all of the speed, finesse, and tactical advantages expected of a futuristic warrior.
Your mission in the game is to infiltrate a variety of enemy settlements as a soldier named Alex Corde and his team. There are three other units to your team, each working together to complete missions such as supply rendezvous, search and rescue, and destroying enemy strongholds to liberate your home of New Madrid. If I have one complaint, it's that I can't experience this phenomenal shooter with my friends (co-op, duh).
Section 8's shooter elements are even varied depending on your play style. Pick an engineer if you like to focus on healing, fixing, and supporting other units. Or, infantry if you want to run in guns blazing to the fray. There are other classes, and other abilities to customize your characters weapons and fighting style to match the way you've always wanted to play shooters.
When you die, which does happen quite a lot, you are able to respawn immediately. You can either change your class on the respawn screen, or wait until you find a supply point. If you don't like to die, you can also wait for your shields to recharge - I just happen to be the most wreckless shooter-player on the planet (making that respawn especially important).
Another awesome element for Section 8 is your jet packs, and running boost. Hold down the run button for a few seconds and you get a sudden burst of energy that will allow you to cover a lot of ground, and use your jetpack to enter, escape, and explore the lush environments. Speaking of environments, the game will change as the story progresses, taking you through a vast desert, detailed forests, and beyond.
Beyond the single player campaign of the game, which has a fairly solid story, there is also an immense multiplayer mode. Those that really dig team-based versus modes should definitely check out the up-to 16-vs-16 teams online. The pace will be awesome, the strategy will rock - but this isn't exactly my cup-o-tea, so I can't tell you much more on that aspect.
Section 8 is a truly top-notch shooter with all of the elements I've wanted in a shooter for my entire experience playing them - well, except co-op. Still, the game is phenomenal, and the added strategy elements and variety really give this game a lot of class. The recent PSN release has taken the full-Xbox 360 title and made it more affordable, and truly utilized the PS3's potential for the game.
Score:
Publisher: THQ
Developer: 4A Games
MSRP: $49.99
by: Sam Tyler
Russia has the reputation of being a bit bleak at the best of times, so forcing the people of Moscow underground after a nuclear war seems a little excessive. This is the premise that greats the player as they begin Metro 2033. You play as Artyom, a man who was raised in the Metro system of this once great city. People are forced to remain in pockets of humanity within safe Metro Stations as the surface and tunnels contain mutated creatures, warring factions and deadly gas. Despite these horrors, Artyom must travel the system to help save his home from a new and darker threat.
On the face of it Metro 2033 is a typical First Person Shooter (FPS), as you travel around shooting the various humans and monsters that get in your way. However, describing this game in such a manner is doing developers 4A Games an injustice, as there is far more depth on offer than in your usual run and gun game. Metro 2033 is instead a mix of a psychological horror such as Silent Hill, and quality intelligent shooter such as Bioshock. However, the game is not able to hit the highs of either of these series’ peaks.
There are plenty of elements that make Metro 2033 stand out over many of its FPS contemporaries. The story is far stronger than in most games in the genre, as it is based on Russian author Dmitry Glukhovsky science fiction book of the same name. 4A Games have taken the essence of the Metro 2033 book and successfully put it in a game. In terms of atmosphere, not since Rapture or The Ishimura have I felt so claustrophobic and alone. Graphically, the game also impresses; the world is shades of brown, but you can not deny that 4A’s own engine makes the deterioration of a once noble city look great.
It is in other areas that the game falls just shy of being a classic. For a game that has strong shooting roots, the gunplay feels a little off. There are plenty of innovative ideas in the game, such as having to constantly recharge your torch battery or pneumatic weaponry, but when the basic act of shooting someone fails to have the impact you wanted, the game can fall flat. It can take several well aimed rounds for an enemy to go down, and in a game where ammo is rare and is also used as currency this can be a real problem. The flaky nature of the shooting meant that I sometimes found myself running around in a panic and, although this increased the tension, I felt that 4A Games had cheated by giving me weaponry that was close to useless.
The other area of misgiving I have is with the pacing. At times the game rattles along with a series of fantastic set pieces that has you glued to your joypad, but on other occasions you are forced to sit through minutes of slow explanation. This is designed to build the tension and further the story, but for me there was far too much down time. Levels that have you fighting alongside an AI ally stood out as you felt safer in their company, if they were to leave, or die, you suddenly felt very much alone. Overall, the pacing in the game felt like being in a car with a learner driver; you stop, and then jerk forwards. Although the sensation of being thrust forwards is an exciting one, it is also a bit confusing and unsettling after you have been still for so long.
There are many new ideas and interesting gameplay elements in Metro 2033 to make it worth playing. When the tension is heightened and you are all alone, the game has some great moments. The issues start when 4A Games try to force the world upon you. The atmosphere in the level design is strong enough on its own that long talky sections are not needed. This in turn affects the pacing of the game so I was bored one minute, exhilarated the next. Very close to a must buy, but not quite.
Score:
Publisher: Square-Enix
Developer: Square-Enix
MSRP: $59.99 (on sale for $43.99)
by: Mike Katsufrakis
Final Fantasy XIII, the latest entry in the long-running series, marks a very large departure from the games that came before it, but at least the story is familiar: a disparate group of plucky and/or taciturn adventurers have to accept the hand fate has dealt them and team up to save the world (or at least their friends and family). Stop me if you've heard this before.
In an effort to bring new players into the fold, mechanics are introduced painfully slowly, and it's not until several hours into the game that you are allowed to even begin assigning Crystarium (read: experience) points to level your characters jobs. For the first 25 hours or so, the story follows a completely linear path, and so do the areas you explore. Though most of the previous titles in the series are just as linear, FFXIII doesn't even attempt to mask this fact. The graphics are astounding, and it really feels like the developers thought that the pretty scenery would distract players from noticing they're being funneled down a hallway.
Fortunately, the combat system is the star of the game, and where I derived maximum enjoyment from my experience. Rather than bringing back the turn-based Active-Time Battle systems of yore, FFXIII instead puts you in control of a single character in quasi-real time. Your abilities and your partners' behaviors are dictated by what job you currently have selected for them, and the flow of combat revolves around taking combinations of classes called Paradigms and using them at the right times. Got an enemy on its heels? Switch everyone over to an offensive Paradigm? Need healing? Swap to a Paradigm with a Sentinel (tank), Medic (healer) and Synergist (support/buffs). It's a great system, and easily the best the series has seen in a long while.
However, it is unfortunate that the bulk of the combat system is locked away or teased through the first half of the game. Though eventually all characters gain access to all job classes, you are initially locked to a select few. The game doles out new features as if it thinks players won't "get" it, so the initial stretch plays as an extended tutorial, and it's immensely frustrating, especially once you reach Chapter 11, where the entire system opens up and you're given a large, open world to explore at your leisure.
Despite all of the above, I personally enjoyed the hell out of FFXIII. Is my love for this game a result of genuine enjoyment or Stockholm Syndrome? It's hard to say, but all I know is that I cannot possibly recommend it for everyone. If you're willing to put 25+ hours into the game before everything becomes awesome, there's a wonderful experience to be had.
Score: