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Minggu, 24 Juni 2012

Superbrothers: Sword & Sworcery EP Review


The Good

  • Creates a lively and captivating world  
  • Beautiful, offbeat, frequently funny writing  
  • Fantastic soundtrack  
  • Your quest feels personal and moving.

The Bad

  • Easy to stumble on the solutions to puzzles.
Something in our minds and hearts has always yearned for heroes. From King Arthur to Luke Skywalker, humanity has created and celebrated characters who fulfill great destinies, albeit ones tinged with sorrow. Superbrothers: Sword & Sworcery EP is a game that simultaneously recalls the tradition of epic heroes that stretches back through time, and creates a new kind of heroic quest that could only exist in the modern era. It's a magical adventure with a cohesive sense of style that uses its visuals, music, and dialogue to create a wondrous experience that's unlike any game you've played before.

Playing Sword & Sworcery, you get the feeling that maybe--just maybe--a time of miracles is at hand.
It involves you personally in a way that few games do. Sword & Sworcery doesn't so much break the fourth wall as never build it in the first place. Your guide is the archetype, a dapper fellow with a cigar and a cane and one hell of a chair. He addresses you, the player, directly. His welcoming words set an intriguingly offbeat tone for the adventure to come, as he thanks you for choosing "to participate in this experimental treatment for acute soul-sickness." Before long, you're thrust headlong into your quest.
You play as the Scythian, a warrior monk far from her homeland on a woeful errand whose details aren't immediately made clear. The game's early moments allow you to come to terms with its intuitive point-and-click controls, and to interact with the world. This pixelated land quickly reveals a liveliness that makes it beautiful. The green dots that make up bushes shift colors ever so slightly, suggesting the gentle rustling of the wind. Your reflection in a pristine lake catches your eye, and tapping the water causes splashes to occur. Rabbits and other woodland creatures scamper into the brush as you draw near. All these details and many more pull you into this world and make it feel alive.
Though your errand is woeful, your quest is filled with humor, which results from the consistently delightful fusion of typically lofty fantasy language with contemporary casual lingo. You quickly meet three residents of this realm; a girl known as Girl, a woodcutter known as Logfella, and their dog, known as Dogfella. Clicking on Logfella early in your adventure reveals, "Logfella knew all about our woeful errand & he agreed to lead us up the old road. Still we definitely got the feeling that he wasn't super jazzed about this."
The Scythian's use of a first-person plural suggests she is speaking not only for herself, but perhaps for both you and her, and along with the archetype's periodic interludes, this helps make the whole experience feel more personal, like a journey of discovery not just for the Scythian, but for you as well. The statements of other characters aren't always humorous; they can also be ominous or observational or melancholy. Their quotable nature makes them apt for sharing, and S&S facilitates this by making it easy for you to quickly tweet any line without leaving the game.

Sword & Sworcery's gameplay is straightforward. Your errand involves acquiring the triangular triumvirate of magical objects known as trigons, a clear nod to the most iconic magical object in game history. To do so, you explore the world, looking for the telltale signs of the presence of slumbering sylvan sprites who must be awakened and sent skyward. The puzzles you must solve to awaken these sprites encourage careful observation of your surroundings, as you must usually tap objects that stand out for whatever reason. You might notice that a bush that appears to be reflected in a lake doesn't exist on the shore, or that a mother duck seems worried about her distant ducklings.
These puzzles are generally quite easy, and in most cases, if you choose, you can solve them just by clicking all over the place until you hit upon the environmental objects that respond. But the puzzles aren't designed to be brainteasers, so much as they're yet another way the game draws you into its captivating world. It's a world of wonder and miracles, and your actions when solving puzzles sometimes end up changing the landscape in dramatic and surprising ways. At times, real-world moon phases have an impact on the Scythian's quest, further cementing a feeling of connection between you and the hero.
Your adventure is punctuated by occasional battles. In combat, you can click a sword icon to swing and a shield icon to block. Despite their simplicity, these fights are involving and satisfying, thanks to their rhythmic quality and a sense, generated by the music and sounds, that these are epic battles of great heroism and importance.
In fact, the music is an essential component of the entire Sword & Sworcery experience. Musician Jim Guthrie's varied tunes perfectly support the sense of magic and wonder that the game's story and writing create. Awaken a sylvan sprite, and the ethereal tones it emits as you send it skyward may send shivers down your spine. Find yourself facing a monster in combat, and the primal beats that sound as it bashes its shield with its club will get your pulse racing.

Some of the game's most memorable moments occur as you take time to just exist in the world without advancing the story forward. You might savor the sights and sounds of standing under a pristine night sky, for instance, or you might meet Jim Guthrie himself in a grove and share a dreamy jam session as you make the trees resonate while Jim lays down a beat. It's a magical moment in a game full of a kind of rare beauty that you seldom encounter in games, or anywhere, for that matter. You get Guthrie's score for the game free with your purchase, which is a fantastic bonus.
Sword & Sworcery is only a few hours long, though if you play it the way the game encourages you to play it, those few hours may be spread over a number of weeks. But despite its brevity, the game doesn't feel too short. It's a satisfying experience that leaves you feeling like you've seen an important and heroic task through to completion, and gives you memories to keep. Sword & Sworcery casts such a captivating spell, you may recall your time in this wondrous and mythical realm each time you see the moon shining in the night sky.

UEFA Euro 2012 Review


The Good

  • New tournament-focused commentary is excellent  
  • Captures the Euro 2012 atmosphere thanks to sharp presentation  
  • Still plays a great game of football.

The Bad

  • Expedition mode is dull and unrewarding  
  • Adds little to the core FIFA experience.
UK REVIEW--UEFA Euro 2012 marks the first time EA has released a FIFA tournament tie-in as downloadable content. Finally, there's no need to get gouged on another full-priced boxed product just so you can see England actually win something for once. It's just as well, too, since Euro 2012's content is rather thin on the ground. The usual array of licensed stadiums, kits, and new commentary certainly capture the atmosphere of the tournament, but there's little else to do outside of chasing silverware or playing the mind-numbingly dull Expedition mode.
Watch the video
The centrepiece of Euro 2012 is, of course, the tournament itself. You pick one of the officially licensed teams, get drawn into a group, and then jump straight into a game. All the setup options in FIFA 12 are present, so you can manage your lineup, formation, and tactics with ease before each match. An assortment of nicely detailed new stadiums decked out in UEFA purple along with excellent new commentary from FIFA stalwarts Clive Tyldesley and Andy Townsend also lend an atmospheric touch to the action.
The feel of that action remains identical, so there are no new tweaks to get to grips with. The great strategic play of the tactical defending system, the smooth animation from the physics-powered Player Impact Engine, and the subtleties of precision dribbling from FIFA 12 keep each match fast-paced and full of drama--it's a satisfying and fun game to play. It's disappointing, then, that after making your way through to the finals and taking your chosen team to glory that the trophy celebrations are somewhat anticlimactic. Sure, there are fireworks and a bit of trophy kissing, but it's all rather brief. You can't help but feel that after all your hard work, you and your team deserve a little bit more before being thrown back to the main menu.
Aside from the main tournament, Euro 2012 features a brand-new mode called Expedition: a cross between football, Risk, and a card collecting game, if each of those things suddenly became incredibly boring and unrewarding. You start off by picking a star player from a country of your choice, with the rest of your squad made up of random reserve players. That squad then sets off on a journey across Europe, hoping to beat numerous home nations along the way. But you can't just challenge anybody you like. To challenge teams, you must build roads, which are awarded only after beating your first team.

Also awarded to you is a player from the opposing team, whom you can use to replace one of your own players or reject entirely. Beat that team again, and you're awarded a player ranked slightly higher. Beat them yet again, and you're awarded a star player. It's a repetitive way to build up your squad--and it's also the only way, given that your players don't improve over time. Your final reward for beating a team is a piece of mosaic. Beat all 53 nations three times each and, joy of joys, you have a completed picture. It's hardly the best incentive for playing through so many matches, and it doesn't take long before your brain has turned to mush due to the banality of it all.
More compelling are the online modes, which come in the form of challenges and an online tournament. Challenges work just as they do in FIFA 12, where different match types and rivalries are fed through to a central hub for you to play through, albeit with a Euro twist. The hub is sparsely populated at the moment, but expect a lot more content to filter through once the tournament gets started in the real world. There's also standard online play, which lets you take the Euro tournament online or play friendly exhibition matches. They add little to the standard online modes of FIFA 12, but they are enjoyable nonetheless.

And really, that's all the Euro 2012 DLC is: a fun, well-presented FIFA skin that adds little to the core experience. If this were a full-priced retail release, there'd be hell to pay for EA, but as it stands, this isn't a bad way to spend your cash (1800 Microsoft Points on Xbox Live or £15.99 on PlayStation Network), particularly if you're eager to take your team to glory in Europe. Just, for the love of God, don't try to do so in Expedition mode.

Awesomenauts Review



The Good

  • Ridiculous Saturday-morning cartoon characters and presentation  
  • Deep customization options for individuals and teams  
  • Easy, accessible controls.

The Bad

  • Occasional online connection and balance issues.
Multiplayer online battle arena, or MOBA, is a genre of games that are well known for their intimidating learning curve and dense knowledge-base requirements on the PC. They're about as friendly to novices as an algebra problem is to a first grader. That's not the case with Awesomenauts, a console-based 2D MOBA that serves as an excellent introduction to the genre for the uninitiated and is a fun spin on familiar tropes for MOBA veterans. It's also got a French chameleon with a robo-laser sword for an arm, which ranks pretty high on the awesome scale.

You play as one of six Awesomenauts on a mission to mine solar, a galactic fuel source and currency. Unfortunately, another group of Awesomenauts wants the solar too, and so you must fight to control the precious resource. The premise and plot are as absurd as a monkey with a jetpack, but Awesomenauts isn't about telling a story; it's about battle. You pick your hero, join two others (or AI-controlled bots), and slug it out against another team of three on one of a few symmetrical maps. Your goal isn't to kill other players, but to reach and destroy their solar core. While killing opposing heroes helps, this is not a game of 2D team deathmatch, and playing it as a straight team deathmatch game is a recipe for frustration. Success in Awesomenauts requires teamwork, strategy, and smart upgrade decisions.
You need your teammates to get to the solar core, which is housed behind layers of heavy-duty turrets. To aid you in your efforts, your solar base cranks out a never-ending stream of droids. They whittle away at the turrets, providing you cover to stand behind so you can blast them with your more powerful weapons. You battle back and forth, in a constant struggle to press forward into the opposing base.
It might sound like a plodding war of attrition, but the setting and crazy characters turn every match into a frenetic clash of strategies. It feels like you're always just one button--one quick decision--away from death or domination. The maps have multiple levels filled with jump pads, a couple of environmental hazards, and some local creatures you can kill for health. There's plenty of space to duke it out while your droids bop along on their paths of destruction. It's a dead-simple concept made more complex by the three player-controlled hero characters on each team.

There's a lot of room for customization in Awesomenauts, both as an individual and as a team. The heroes blur the lines between traditional battle roles, like tank, healer, ranged, and damage dealer, thanks to a diverse set of upgrade options. As you fight, you earn solar, which you can use to buy upgrades and abilities. There are more than a dozen upgrades per hero, some passive and others active. Seeing them all listed before you can be overwhelming early on--this isn't a simple loadout choice like in a team-based shooter.
The upgrade path you follow can have a huge impact on a match. For example, you could go full-tilt tank with Clunk the robot and upgrade his bite ability so that it steals health and lengthens his health bar with each successful bite. Or you could be a bit of a glass cannon and dump points into his missile launcher and self-destruct ability. The former build makes him last longer, while the latter does more damage but could lead to more deaths, which costs you precious solar. Awesomenauts gives you wiggle room to shape characters to your style of play. Like with a good fighting game, in time, your favorite character will feel uniquely yours.
Unfortunately, not all of the characters are available up front, which means you need to level up your account through matches with characters you might not like in the meantime. You can level up in offline practice modes (the only single-player option because there is no campaign mode), but playing against the not-so-smart AI doesn't come close to playing against real people with real strategies. Awesomenauts isn't as intimidating as its PC counterparts, but it's still a MOBA game, which means you need to invest in some tinker time to find the right build. There's a short tutorial in the beginning of the game, but it focuses more on the basic mechanics than it does on how to build a character and a team. It would have been nice to see some character-specific scenarios that offered tips on upgrade selections.

Minecraft: Xbox 360 Edition Review

The Good

  • Core gameplay is still as addictive as ever  
  • Updated crafting system rocks  
  • Excellent multiplayer options.

The Bad

  • Missing a lot from the PC version  
  • No Creative mode  
  • Worlds are smaller and constrained.
It's immediately apparent after digging into Minecraft on the Xbox 360 that the platform is well suited for Mojang's first-person sandbox-style building adventure. From comfortable controls and the effortlessness of jumping into multiplayer co-op over Xbox Live, to detailed in-game tutorials and a more user-friendly crafting system, this updated yet scaled-down port of the indie hit is deliciously accessible. Total newcomers to the game will no doubt find themselves blissfully swept away by the many opportunities for open-ended creativity found throughout the Xbox 360 edition. While coming to this version after spending lots of time playing Minecraft on PC is a jarring and disappointing experience, the joy of free-form exploring, building, and adventuring in randomly generated blocky worlds is nicely reproduced here.

The good news is that the essence of what makes Minecraft so absorbing is left untouched. From the second you spawn into your first 3D world, you're punching trees to harvest wood, digging deep into the underground to mine resources, forging handy tools, battling creepers, and building fortresses to year heart's content--or not, depending on personal preferences. You're free to do as you please, unfettered by preconceived objectives, and the slow pace of exploration is balanced by the fun that comes from gradually figuring out the style of play that comes naturally to you.
New built-in tutorial menus and in-game help pop-ups also do an excellent job of explaining the core mechanics early on, which means you won't have to fire up a Web browser and consult a wiki to figure out basic elements. This makes it much easier to get a feel for the game quickly, while also keeping the deeper elements hidden for you to uncover on your own during your travels.
Trading in the mouse and keyboard for the Xbox 360 controller is a comfortable transition. While you can't sprint in this edition, a minor problem that sometimes turns long-distance travel into a plodding trek, navigating the world and tackling the many tasks available is an otherwise fluid affair. One of the biggest improvements is the redesigned crafting system that streamlines the item-creation process and makes managing your inventory a lot more digestible. Instead of dropping individual resources into various formulas on the crafting grid to see what you get, all you have to do is open up the crafting menu and select the item you want to build. Hitting the craft button pulls all the necessary materials from your inventory automatically and creates the item. Any materials you're lacking are highlighted in red, which is helpful for tracking them down. It's great to not have to memorize item recipes, and you can forge the gear you need a lot faster using this well-designed system.

Minecraft can be a real blast when played solo, but it's often a lot more fun when you've got friends messing around in the world alongside you. Setting up a proper co-op game on PC is a patience-draining nightmare that requires extra software downloads, server configuring, and far more irritating hoop-jumping than the average person has patience for. Multiplayer is a whole new deal now, thanks to the ease of access and functionality of Xbox Live, which allows for seamless drop-in co-op and party chat. You can invite friends to join your worlds-in-progress or leave them open for others to hop into while you're playing.
Either way it's a good time, and the lack of heinous setup mumbo jumbo is a welcome change of pace. Going one step further, the 360 edition also features split-screen co-op for up to four players. If you've got a large enough screen, a big comfy couch, some tasty beverages, and good grub, then this is the way to go for party play.
Unfortunately, a few excellent updates aren't a good trade-off for all of the content from the PC version that's missing. The 360 edition is a port of an older pre-Adventure Update Beta version of the game, which means the features, items, and updates that didn't make the cut this time around are pretty significant, and it shows. The variety of unique biome environments is limited, certain craftable items and resources aren't available, and some of the more exciting creatures are absent. There's no hunger or experience system, no alchemy or weapon buffing, and no Ender Dragon to hunt down and defeat. The free-form Creative mode is MIA too, leaving Survival mode as your only play option.

Equally disappointing is that maps are no longer infinite. Wander too far in any direction, and you bump into an invisible wall. There's still plenty of room to explore and build, but the world now feels more like a caged-in biodome instead of a sprawling realm to map out. At least you can still build a portal to travel to the hell-like Nether dimension, yet even that region is constrained too. All of this will be less of an issue for new players who've yet to taste the PC extras, and some may even welcome the simplicity. But that same simplicity is enough to spur longtime Minecraft vets to stick with the PC version--at least until downloadable content either fills in the gaps or offers enticing exclusive updates.
While plenty of concessions were made to bring Minecraft to the Xbox 360, it's good to see that the overall depth and flexibility that made the original so engaging aren't completely sacrificed. However, despite the nice multiplayer options, the improved accessibility, and the refined crafting system, the missing elements are a sizable backslide from the PC version. But is the core foundation still a lot of fun? Absolutely--if you temper your expectations.

Game of Thrones Review


The Good

  • Strong story with interesting twists  
  • Both the heroes and the villains are nicely fleshed out  
  • Moral choices give flexibility in how you progress  
  • Clever side missions.

The Bad

  • Middling visual design  
  • Easy-to-exploit combat.
The appeal of a novel is readily apparent. Fascinating characters and intricate plots suck you into elaborate worlds, and you furiously flip pages to find out what happens next. But video games are more complex than that. Stories are just one aspect of the total package, and the balance of the various elements determines how effective the adventure is at getting you invested. In Game of Thrones, the story deftly carries the mantle of the book (or the show, for that matter) it's based on, and the addition of moral choices gives impressive flexibility in how events play out. However, the other aspects struggle to keep up their end of the bargain. Confined exploration and entertaining bouts of shallow combat are adequate enough, but are hardly a draw on their own. Thankfully, Game of Thrones pushes its story to the forefront, creating a flawed though memorable addition to the Song of Ice and Fire universe.

Mors was never warned about the dangers of running with a sword.
Game of Thrones doesn't retell the story of the novel. Rather, the game's story travels a parallel path to the cataclysmic events that rocked a kingdom. You view Westeros through the eyes of two separate characters created just for this adventure, Alester Sarwyck and Mors Westford. Alester returns to his home of Riverspring after spending the last 15 years in self-imposed exile. Merely walking through the gate should, by rights, make him the ruler given that his lord father recently passed, but his conniving bastard brother, Valaar, stands between him and his rightful seat of power. Internal conflicts flare up in Alester as he tries to wrestle power away from Valaar without succumbing to the dirty influences whispering in his ears.
Way up in the north, Mors calls the Wall home and the Night's Watch his family. Trapped in his own exile after he disobeyed orders during the war that placed Robert Baratheon on the Iron Throne, Mors mercilessly slays wildlings and deserters to stay true to the sacred oath he swore. When a letter arrives from the Hand of the King commanding him to protect a mysterious woman, he travels to southern lands to keep her safe.

Both Mors and Alester are strong figures that have a clear idea of the difference between right and wrong. Alester puts his family and townsfolk above all else. He would rather be humiliated at the feet of Queen Cersei than suffer the wrath of her displeasure. The greater good is a burning flame in the back of his mind, always reminding him that things are better for everyone if he doesn't let his pride get in the way. Mors couldn't be more different. He acts with his rigid view of morality in mind at all times. To kneel at the feet of evil is to align yourself with wickedness, so he takes the punishment for his choices without wavering in the slightest.
Dialogue choices determine how others react to your characters. If you approach a prostitute in Mole's Town with insults on your lips and violence in your heart, she may run away instead of offering you the valuable information you require. But if you appear to be a pushover, a clever villager might talk himself out of punishment for a murder he committed. There's no morality judge to keep you in line. You respond in conversations with whatever you most want to say and bear the consequences of your actions. Regardless of what card you play, the world changes slightly as you get deeper into the story. Alliances are frequently forged and destroyed, so choose carefully. There are five different endings based on what you do in the last chapter, but the bigger changes occur throughout the adventure as characters are either present or absent based on how you treated them earlier.

For the most part, Game of Thrones stays true to the world George R. R. Martin created. A web of intrigue stretches from the crown in the Red Keep all the way north to the Wall. Black Brothers fight wildlings, Gold Cloaks keep peace based on the Lannisters' whims, and everyone mutters quietly of the Others who reside where snow flourishes. Occasional missteps feel out of place for those intimately familiar with the source material, but aren't egregious enough to take you out of the experience. For instance, as in most role-playing games, you have a healthy assortment of armor to clothe your characters in. However, draping a Lannister cloak over Alester's shoulders is just strange, and there's no reason Strong Belwas' gauntlets should be in a Westeros dungeon. Plus, why are street vendors selling wild fire? But such discrepancies are nitpicky considering how true to the books most of this game is.
The only time the story stumbles is in the dialogue. Certain characters are dangerously close to being gruff caricatures rather than fully realized people, existing only as easy straw men to tear down. And though the main cast is well acted, supporting characters are woefully inconsistent. Thankfully, the dialogue is good most of the time. And the villains are just as fleshed out as the heroes. Valaar is particularly well crafted. A bastard who was spat on for most of his life, Valaar has a thirst for power that's so overwhelming that he performs any act, no matter how insidious, to curry favor with the queen. Violence bubbles under the surface of every conversation with him, making you yearn for the moment when you can thrust your sword through his throat.

Mario Tennis Open Review

The Good

  • Fun with a few friends.

The Bad

  • The tennis never hits its stride  
  • Far too easy until an 11th-hour difficulty spike  
  • Convoluted control schemes.
The Mario Sports games are known for being larger than life and filled with color, bombast, and hyper-unrealistic movesets. Mario Tennis Open eschews much of this, following in the footsteps of some of Nintendo's earlier tennis games in an attempt to become a purer, more focused tennis experience. It doesn't quite hit the mark, falling somewhere between the two styles. Despite being largely stripped back, it manages to be convoluted thanks to a variety of jarring control schemes. Above all, while it's competent, it's also mundane, with little incentive for you to stick at it beyond the occasional bout of multiplayer with friends.

The setup is simple. Mario and friends are playing tennis. There's no usual Mushroom Kingdom plot and no backstory--it's simply all about 13 characters competing in tennis tournaments. Progressing through the three-match tournaments is a matter of playing them one after another. When you win the fourth tournament, you're given the option to promote your character to "star" status, meaning he or she can compete in the second set.
During matches, there are six shot types on offer: simple, topspin, flat, slice, lob, and drop shot. These shots can be performed with the face buttons, or by tapping the relevant icon on the touch screen. On the touch screen, the layout makes sense. The first four shots are laid out in a diamond, with topspin at the top, slice at the bottom, and simple and flat on either side. For some reason, however, the button layout doesn't mirror this, with topspin mapped to A on the right-hand side. Why the button layout doesn't match the touch screen layout is a mystery. It's especially odd given that the touch screen controls are largely hopeless, requiring you to look down at the bottom screen first, thus having to take your eye off the ball.
Then there's the option to use either gyro controls or circle pad controls. The latter sees you directing your player from a bird's-eye perspective, whereas the gyro controls angle the camera over your shoulder and have you directing your shots by tilting the 3DS around. This is another convoluted aspect of Mario Tennis. If you opt to turn gyro controls on, the game takes control of your player, directing him or her to where the ball is going to land. You can move around with the pad too, but with your player moving independently, it often feels like you're wrestling against the game. You also have to keep the 3DS vertical, as tilting it downwards will snap you out of that control method. Occasionally this happens mid-match, disorienting you.

Playing with gyro controls also disables the 3D, and this takes effect automatically, saving you the disorienting moment when you realize how incompatible gyro and 3D are. The 3D effects themselves aren't very impressive, with barely any depth even on the highest setting. Turning the gyro controls off gives you full control of your character via the circle pad and is the preferable option, not least because with gyro controls on, it's almost impossible to concede more than a couple of points within an entire tournament. Controlling your player with the circle pad also offers a bit more of a challenge, albeit only towards the end of the eight tournaments, thanks to a large difficulty spike in an otherwise incredibly easy game.
Spicing up the tennis somewhat is the "chance shot" mechanic. During rallies, glowing circles appear on the court, corresponding to one of five shot types. Performing a shot on the colored circle causes you to perform a smash shot that can stagger your opponents, curve around them, or lob over their heads. It's not too over the top--the focus is on largely sensible tennis mechanics after all--but it's enough to give you an edge in rallies. During earlier tournaments, these chance shots basically function as win buttons, and you almost always score a point if you hit one. This is particularly exaggerated if using the gyro controls, as the game will direct your character right into the chance shot spot. As if that weren't easy enough, while you can press the correct shot button (yellow for lob, red for topspin, and so on), chance shots can also be activated by performing a simple shot, which leads the game to perform the correctly colored shot without your having to worry about complicated things like pressing the right button.

Sonic the Hedgehog 4: Episode II Review

The Good

  • Entertaining cooperative gameplay with Tails  
  • Fun "3D" bonus levels.

The Bad

  • Tails isn't a distinct character  
  • Boss battles are boring  
  • Many levels lack a sense of speed.
On the surface, Sonic the Hedgehog 4: Episode II gives you pretty much everything you'd want in a followup, and a lot more than you've probably come to expect. New modes, a new character, cooperative play, revamped graphics, and plenty of new levels to run through build on the original game. What they don't do, though, is fix the core issues that made Sonic the Hedgehog 4: Episode I a rather lackluster experience. Gameplay is still slow-paced, level design is still too linear, and boss battles are just plain boring. To be sure, most of the time that you're playing Episode II you'll enjoy yourself--the game is thoroughly amusing, even if it isn't very exciting--but those folks hoping Episode II will transform Sonic 4 into the wild-ride action of yesteryear's Sonic games will be disappointed.

Case in point: the addition of Sonic’'s buddy/annoying hanger-on Tails. Having two characters means you can play co-operatively (both locally and online), and even when you play by yourself, the AI that controls Tails is good enough to make him a useful ally. But much of the time, Tails' role is relegated to combining with Sonic to form a super-powerful rolling ball (useful for breaking through large objects) or rescuing Sonic from a fall with his whirling appendages. He has no real part to play on his own, and aside from a few obvious puzzles here or there, no levels feature or even require his skills. Indeed, due to linear, unimaginative level design, even Sonic himself fails to feel Sonic-y. Levels lack boosters, loops, alternate pathways, and other series trademarks, which makes the game feel more like a traditional, unassuming platformer an honest-to-goodness Sonic game.
Nevertheless, jumping around, bounding off bumpers and walls, is a fun way to kill a few minutes. In addition to the redone graphics, which bear a much closer resemblance to early Sonic games than Episode I's did, Sonic's air slam ability (allowing him to dash at a target in midair, damaging and ricocheting off of it) returns in Episode II. The air slam allows for some nifty air combos and provides one of the game's two real chances to feel some momentum. The other comes in Episode II's "3D" stages, where Sonic and Tails run continuously along chutes and loops, collecting rings and dodging (or killing) bad guys. These bonus stages are far too few in Episode II, but when they do come around, they're a huge pleasure to dash through, especially if you've got a buddy along for the ride.
What isn't much of a pleasure, though, are Episode II's boss fights, which continue their predecessor's predilection for simplicity and repetition. Now, however, because there are two of you, and because rings (which double as Sonic's life meter) are so plentiful, it's almost impossible to die. This makes such encounters (especially the ones with Sonic's evil doppelganger, Metal Sonic) little more than time-wasting chores. It also allows clever players to cheese up their extra lives by collecting tons of rings and just not fighting the bosses at all. While some might chalk this up to meta-gaming, you quickly find yourself yawning and hoping against hope that after whatever boss fight you're engaged in is another segment.

Even though the console versions and the PC version are largely identical, you might have a great deal of difficulty finding partners to game with on PC, simply because no one seems to be playing Episode II. The best medicine for this is just to have a buddy come over and play locally, but it's disappointing--although not really the fault of the game itself--that PC gamers can't find anyone to jump in and out of games with at random. Other than that, though, the games play and look (and sound) identical across platforms. And while the look is now considerably easier on the eyes than it was in Episode I (ugly, prerendered backgrounds have been replaced with layered, moving ones, for example), the sound is still subpar. Sure, the trademark sound effects you've come to know and love are here, but the music is mostly forgettable and at times (like Dr. Robotnik's boss battles) is incredibly repetitive and annoying.
A good follow-up doesn't just add new content--it improves on the original. In that critical sense, Sonic the Hedgehog 4: Episode 2 disappoints. While the addition of cooperative play is a big step in the right direction, the core elements that made Episode 1 a tepid experience persist here: mediocre level design, slow pacing, and erratic levels of fun. Like its predecessor, this is a functional "time waster" of a game, but should you spend too long in its world, Episode 2 reveals its feet of clay.

Resident Evil: Operation Raccoon City Review


The Good

  • You see key Resident Evil events from a new perspective  
  • Competitive play offers brief thrills.

The Bad

  • PC-specific interface and technical flaws  
  • Fundamentally problematic cover system  
  • Scarcity of ammo at odds with bullet-sponge enemies  
  • Stupid AI  
  • Sloppy details constantly get in the way of the fun.
PC owners deserve better. Resident Evil: Raccoon City was hardly a quality game on consoles, but you'd hope that developer Slant Six Games might have given the PC platform at least a little respect. Alas, all the signs of a sloppy port are apparent from the moment you boot up the game. Ridiculous menus that only half-support the mouse and quick-time events that indicate to wiggle the C key like it's an analog stick are just a couple of these indicators. Capcom, the game's publisher, earned a reputation for careless PC ports years ago with games like Onimusha 3 and Resident Evil 4. It now carries on that dubious tradition with Raccoon City--only this time, the game it's debasing is one that was never worth your time in the first place.

Resident Evil: Raccoon City is infectious. Like a disease.
These problems are a shame, considering the possibilities. The game puts an intriguing spin on events you might have already witnessed in previous Resident Evil games. You're a member of Umbrella Security Services' special Wolfpack team in the infamous Raccoon City, where the T-virus has turned the population into voracious zombies, and mutant dogs lurk in shadows, ready to ravage the defenseless. From this new perspective, you face a glowering Nicholai Zinoviev and watch Ada Wong wilt in Leon Kennedy's arms. You infiltrate storied locations like the Raccoon City police department, and fight off zombies in front of the Kendo Gun Shop. Some of these regions are legitimately atmospheric: city streets are awash in a neon red glow, and ominous-looking equipment hints at the atrocities that occurred within Umbrella's underground laboratory.
You might miss some of the more subtle touches, however, given how dark Raccoon City is. This is a Resident Evil game, so you expect to push through pervasive gloom. But environments are poorly lit, everything cloaked in a dim cloud that obscures your vision without ramping up tension. (Compare this visual design to the infinitely superior Left 4 Dead 2, which provided proper visual contrast and still elicited your innate survival instincts.) The problems don't end here, though: Resident Evil: Operation Raccoon City drowns in its own faults, many of them so basic it's a wonder they appeared in a final product.
These faults infest the gameplay from the very beginning, and remain to the very end. Consider a battle versus the infected William Birkin, which takes place in the very first mission. At first, you can't turn and run; all you can do is slowly back away and shoot. If you brought a shotgun to this unexpected battle, sorry: you really should have brought an assault rifle if you wanted to be effective here, assuming you have enough ammo in the first place. Eventually, you're allowed to flee, but the game doesn't tell you that, and so you back into the streams of flame bursting from the corridor's walls. Want to run past the beast? There's an invisible barrier on either side. You'd suppose that AI-controlled teammates might help, but they're not even in view, apparently filing their nails in the corner while you get caught in an inescapable series of knockdown attacks.

That entire scene is absurdly bad, as if the game is actively working to make you hate it. But the problems aren't just specific to individual encounters; some invade the entire game. One such problem is the cover system, a core component of third-person shooters like Raccoon City. Here, you don't need to press a key to take refuge behind a wall or curb. Instead, you lumber up to it and automatically stick--a fine idea in a world where games are able to read your mind. Raccoon City, sadly, does not exist in such a world, and so you slip into cover when you rub against a shelf, or fail to stick to a wall that, for some unknown reason, won't let you take cover at all. You may seek to pop out and take potshots, but instead slide around the corner, as if volunteering to become a targeting practice dummy.
The shooting model is functional, at least, each weapon handling more or less as you expect it to. There's little joy to the shooting, however, because the weapons don't feel particularly powerful. Normal zombies twitch and lurch based on the impact of your bullets, but enemy forces and larger monsters like hunters don't always react to your shots, so you don't get that sense of power you expect from a shooter. It doesn't help that enemies are bullet sponges. It takes seemingly forever for certain foes to die, so you and your teammates pump out clip after clip, hoping that it's enough to take down that nasty T-103. Well, you might expect a tyrant to take such a beating, but when it's a bunch of lickers absorbing all this damage, the action stops being fun and becomes a slog. How perplexing, then, that the game would be so stingy with ammunition, considering how much you have to waste on these foes. You find yourself without ammo frequently, and scavenging environments for bullets so you can shoot your guns is far less entertaining than actually shooting them.

There's a reason that co-op shooters like Syndicate and Left 4 Dead have comprehensible rules regarding the placement of ammo stashes; the resulting ebb and flow allows you to focus on the shooting and gives teams a moment to refresh and regroup. Raccoon City has no such rules in place; you are never sure whether there is ammo nearby, or where it might be found. Of course, we should want our games to rethink traditional mechanics in interesting ways, but developer Slant Six's deviations come at the cost of fun. One such example: you can't tumble out of the way of a charging hunter, but you can sprint forward and belly flop--always a treat when you wanted to run toward a health-giving herb, but then leap on top of it rather than consume it. Another example: for some reason, you have to shoot the locks off of special weapon containers before you can collect the gun within. Perhaps this was meant to deliver some tension, but it just feels like a waste of time and ammo.

Battleship Review


The Good

  • Interesting blend of strategy and FPS shooting.

The Bad

  • Clumsy shooting mechanics  
  • Boring sea battles  
  • Missions lack variety  
  • Nondescript environments.
Battleship has the unique distinction of being a video game based on a movie based on a board game, but that's probably the most interesting thing the game has going for it. Developed by Double Helix Games, the studio perhaps best known for Silent Hill: Homecoming and (more relevantly) for turning Square's beloved Front Mission strategy franchise into a shooter, Battleship is a disappointing first-person shooter/strategy hybrid destined for a watery grave.

You play as EOD 1st Class Cole Mathis, and your job as the game opens is to dispose of explosives. That role evolves in the very first level when a strange object falls from the sky and interrupts a training exercise. In an instant, the Hawaiian archipelago finds itself cut off from the outside world and facing off against aliens who are launching an invasion from the sea. Your new task is to run around on land, shooting humanoid aliens and periodically ducking behind cover to give coordinates to ships that would be lost without your guidance.
Despite the mostly welcome and entirely appropriate presence of some strategy sequences, much of Battleship is devoted to clunky segments that play out on land. An onscreen indicator points you in the general direction you're supposed to move and lets you know how many yards you are away from that destination. You are left to fumble through dull landscapes that do a horrible job of making Hawaii look like a place worth saving. Generally, you head to one military compound or another, disable an alien barrier that is scrambling radio signals, and then repeat the process in the next level.
Besides being thoroughly uninventive (unless you count crates stacked in grassy fields and along ravines as creative), the game's environments are also designed inconsistently. Sometimes you can drop from ledges and scavenge for ammo along grassy slopes, but other times you smack into an invisible barrier that prevents you from descending toward shelter as gunmen pelt you with shots. There's a main path you need to follow through each stage, and you shouldn't stray from it…except when you are actually supposed to wander to find one of four useless peg collectibles hidden in each stage.
One of the game's more persistent issues is its awkward combat. While the controls feel like they were lifted directly from the Call of Duty series, something went wrong with the copy-paste job. Your weapons rarely hit their apparent target unless you get up close and personal, which is difficult when your enemies are so good at moving around and firing at you from unlikely vantage points. When you fire automatic weapons, your target reticle starts with a wide spread that only grows narrow enough to be helpful about the time you finally run out of bullets. Then you have to wait through some ridiculously long reload animations and hope that no enemies decide to rush you while you're defenseless (switching to a secondary weapon doesn't work nearly fast enough to be helpful in such cases, unfortunately).

Besides the issues that you encounter on land, you often must worry about unknown disasters waiting at sea--and this is where the overhead strategy sections come into play. Whenever you like, you can press a bumper button on the controller to pause the action and ever so slowly call up a grid that represents the current landmass, as well as the surrounding ocean water where your ships are positioned. As a stage progresses, alien seacraft advance and come within radar view. Your ships fire automatically at any targets that move within range, but you have to babysit your fleet's movements: the extraterrestrial boats are good at sneaking around your stronger ships and then picking off your weaker ones in rapid succession if you are distracted for too long by the FPS segments. By the time you get an explicit alert that things have gone south, they might have become bad enough that there's no hope of recovery.
You might suppose that a winning technique would be to simply focus on the naval scenes first, especially since there are a finite number of enemy ships, but the game's strategy and FPS modes are linked in such a manner as to prevent that particular tactic from working. In later stages, your fleet is doomed unless you supply it with a fairly steady stream of power-ups that you can obtain only by killing enemies on land. There's no getting around the constant back and forth.
While the unique combination of land-based segments and strategic sea battles could have proven interesting with careful implementation, Battleship's execution is flawed almost across the board. The strategic segments--though frequent--are much too brief, and you don't even get to watch confrontations unfold in an interesting manner. Unless you take direct control of a vessel by using a power-up (which only lets you press shoulder buttons for up to 20 seconds to fire a bunch of missiles and torpedoes), or you happen to be in a good position on land to look out over the waves where the important stuff is happening, the most you see from water battles are tiny silhouettes on a digital screen that turn gray when the ships they represent sink.

As disappointing as the maritime presentation is, the game's biggest problem is that the much more prevalent land segments are either tedious or annoying. In several instances, you have to defend points from alien swarms over the course of a few minutes (often while fighting poor visibility), and then you are almost always rushed by a group of brutes just as your bullet clip empties. If that leads to a failed mission objective, you have to wait 20 or 30 seconds before you can return to the previous checkpoint. Then you will likely need to reposition all of your ships on the grid and gun down a number of weak foes before you can return to the point where you previously died while trying to defend a structure or armaments. There simply aren't enough checkpoints placed throughout the stages, not when being forced to replay even small segments of the game is so thoroughly annoying.
In the event that you are immune to the game's primary flaws, Battleship still stands to disappoint you because there are only seven redundant missions and no alternate modes available to keep you busy when you're done with the campaign. The next time you're in the mood to sink ships, try the board game instead.

Dragon's Dogma Review


The Good

  • Fantastic combat encounters against awesome monsters  
  • One of the best boss fights in any role-playing game, ever  
  • There is always a surprise around the corner  
  • Atmospheric touches that make the world feel authentic  
  • A series of striking choices leads to an unforgettable ending.

The Bad

  • Tedious backtracking through familiar territory  
  • Annoying pawn behavior  
  • Bizarre quest-related and story events.
You might have heard Dragon's Dogma compared to Shadow of the Colossus, the The Elder Scrolls series, the Monster Hunter games, or even Dark Souls. But while this open-world role-playing adventure has some superficial similarities to these games and others, it can't really be described through such comparisons. Dragon's Dogma is stubborn and defiant, wonderful and infuriating in the way it does its own thing without regard for whether or not it was the right thing to do. That defiant attitude will have you cursing the game and rolling your eyes at the frustrations, yet you will be enchanted. When a game plays by a set of rules this unique, there is always a surprise lurking around the bend, or ready to strike from above.

How can so many creatures be squished together like that?
And so you may love Dragon's Dogma. Prepare for a passionate relationship but a dysfunctional one, in which your lover refuses to give an inch, and yet you return for more. And like many relationships, this one begins with a bright spark--in this case, a prologue that gives you a taste of the legendary battles to come. And if that scenario doesn't draw you in, then an early cutscene certainly will: a dragon tears open your puny chest with a gigantic single claw, pierces your heart with that same claw, and swallows the vital organ in a gulp.
How could you possibly survive such an attack? After all: you have no heart! Answers come--well, some, anyway--but not before you ask countless more questions. You discover that you are the Arisen, but what does this title truly mean? How are you connected to this giant wyrm? How is it you can understand its guttural, unknown language? But before you find resolution, you must come to grips with yet another discovery. As the Arisen, you can command humanoids known as pawns that hail from another dimension. These pawns exist to serve; they wander the roads, ready to enlist as your companion, and aimlessly stroll in a murky otherworld called the Rift, where you can call them to your cause.
Up to three pawns can join you on your journey. One of them is a permanent fixture; you choose his (or her) looks, his name, and his class, and as he levels, you can equip skills and upgrades for him just as you can for yourself. Your other pawns are hirelings and can be taken on and dismissed as you see fit. These poor lost sheep aren't necessarily products of the game's creators, however; they may also be other players' main pawns who have stolen away to your own world, serfs to be bought by the land's rising star. Provided you have enough of the rift points needed to purchase them, you can bring on pawns of any level--even one much higher than yourself.

Traveling with pawns is like having the company of curious, forgetful children who are constantly delighted by the world around them. And like children, they never shut up about things, interrupting each other with abandon. "What a large tree," one enthuses, each time you pass the same oak. "It's weak to fire!" your mage exclaims, as if it isn't the hundredth time he's seen a goblin. There are ways to adjust your pawns' social behavior, but the repeated lines can get tiresome. How is it possible they're so surprised that the path is near the beach, when they've noted the information countless times already? The chatter is meant to make pawns seem aware of the world around them, but with so much repetition, the illusion is shattered.
Yet despite their short-term memory loss, there's a charm to the dignified acting and affected Ye Olde English dialogue of your pawns. Your minions are just so happy to serve you, so happy to remind you that you need to shoot at a cyclops's single eye that you can only shake your head in wonder of their dedication. If only their other transgressions were so modest. "Heal thyself" you will cry aloud to your mage, who possesses any number of healing items, yet ignores them in favor of throwing another few fireballs. You can set general behaviors and give general commands, but a system for micromanaging the AI in the way of Final Fantasy XII or Dragon Age: Origins would have been a godsend.
Nevertheless, your pawns--bless their childlike souls--have a way of earning your affection, both by announcing their desire to serve, and by summoning meteor showers and spikes of ice when you most need them. Dragon's Dogma's closing moments use this attachment to enormous effect. Don't worry that this is a spoiler: nothing could prepare you for the bizarre and memorable turn of events to come. Well, nothing, perhaps, but the few hours of incredible gameplay leading up to it, beginning with an amazing and heroic boss battle that just keeps going and going, yet never drags because it keeps introducing new ideas and finding new ways to build tension.

It certainly doesn't hurt that the same boss creature is many, many times your size--as are a number of the other monsters you face. Griffons, chimeras, and golems are among the beasts you slay, and the ensuing battles are the game's primary draw. Imagine this scenario: You exit the city of Gran Soren, and a massive shrieking griffon flies above, circling in the air before landing just a few feet from you. As a warrior, you lash away at its talons while your companions set its wings ablaze, though this is by no means a certain victory. The griffon may simply fly away if you don't occupy its attention long enough. It might pick you up, fly upward, and drop you to your death. But you might gain the upper hand by leaping upon it, grabbing its feathers, and flailing away as it soars through the skies.
Such moments are the culmination of Dragon's Dogma's outstanding combat scenarios. These are some of the best-animated creatures in any game to date. You've never seen chimeras like this: part lion, part goat, part snake, and all fearsome. The lion's head roars and bucks, while the goat atop it yowls its displeasure at the flames you have rained upon it. When you lop off the serpentine tail and the beast falls, it kicks its legs wildly as it tries to get back on its feet. With substantial creatures, you can grab an appendage and climb your way to any body part accessible, provided you've got the stamina. These may be beasts of legend, but they behave in believable ways. Gravity affects them in ways that make sense, and armor falls from their bodies as you smash into it.

Gran Turismo 6 Mulai Dikembangkan?



Jika kita membicarakan game balap simulasi terbaik di industri game, maka nama Gran Turismo memang pantas meraih mahkota sebagai salah satu yang terbaik. Seri terakhirnya – Gran Turismo 5 yang dirilis secara eksklusif untuk Playstation 3 di tahun 2010 silam juga mendapatkan respon yang baik berkat visualisasi dan keakuratan sang developer – Polyphony Digital mengembangkan semua elemen yang ada. Walaupun memakan waktu yang cukup lama, namun Gran Turismo 5 berhasil memuaskan sebagian besar gamer yang begitu mengantisipasinya. Lantas kapan Anda akan dapat menikmati seri keenamnya? Polyphony Digital kabarnya sudah mulai mengerjakan seri tersebut.
Walaupun Polyphony belum memberikan konfirmasi apapun tentang kehadiran Gran Turismo 6, namun informasi dari lapangan memberikan sedikit titik terang tentang kehadiran seri terbaru ini. Mereka kabarnya kini mulai melakukan scanning pada track-track ternama di seluruh dunia, salah satunya adalah Mount Panorama Circuit, yang juga dikenal sebagai Bathurst di Australia. Konfirmasi ini juga datang dari salah satu video yang merekam pembicaraan salah satu kru yang dengan jelas menyatakan bahwa mereka sedang melakukan pemetaan untuk Gran Turismo 6!
Truk scanner yang dipercaya datang dari Polyphony Digital "tertangkap" sedang melakukan capture track Bathurst untuk Gran Turismo 6
Dengan rumor seperti ini, para penggemar seri Gran Turismo tentu akan sangat mengantisipasi berita resmi yang dapat mengkonfirmasikan kehadiran seri terbaru ini. Namun untuk dapat menikmatinya secara langsung? Seperti kebiasaan yang dikenal Polyphony Digital, Anda akan harus menunggu dalam waktu yang lama. Tahun 2012 untuk pemotretan track pertama? Anda mungkin baru dapat merasakan Gran Turismo 6 ini pada tahun 2017-2020 mendatang untuk Playstation 4. Hal ini yang tampaknya akan menjadi skenario dengan probabilitas paling besar untuk terjadi.

Game Apa yang Paling Banyak Dibajak di Tahun 2011?



Pembajakan sudah bukan hal baru di industri hiburan. Tindakan yang seringkali disamakan dengan tindak kejahatan “pencurian” ini memang menimbulkan kerugian yang tidak sedikit untuk para pelaku di industri ini. Musik, film, hingga video game merasakan dampak negatif dari pembajakan yang kian marak belakangan ini. Namun di sisi lain, sebagai seorang gamer, pembajakan menjadi “alternatif jalan” terbaik untuk menikmati video game dengan harga yang lebih terjangkau. Situasi kompleks seperti inilah yang membuat gamer, khususnya di negara berkembang seperti Indonesia, sulit untuk memilih dan menentukan posisi sikap yang paling tepat.
Jika di masa lalu, pembajakan muncul sebagai sebuah produk yang ada secara fisik, maka di masa modern ini, ia tumbuh subur di dunia maya. Kemudahan lalu lintas dunia dan koneksi internet yang kian cepat, serta source download yang kian menjamur menjadi alasan yang paling utama. Dari begitu banyak game yang dirilis di tahun 2011 ini, game manakah yang paling banyak dibajak? Data yang dikemukakan oleh TorrentFreak memberikan sedikit gambaran kepada kita. Ia merilis lima game yang paling banyak dibajak selama tahun 2011 dari tiga platform utama: PC, XBOX 360, dan Nintendo Wii.

PC

1. Crysis 2 (3,920,000) (March 2011)
2. Call of Duty: Modern Warfare 3 (3,650,000) (Nov. 2011)
3. Battlefield 3 (3,510,000) (Oct. 2011)
4. FIFA 12 (3,390,000) (Sept. 2011)
5. Portal 2 (3,240,000) (April 2011)

Nintendo Wii

1.Super Mario Galaxy 2 (1,280,000) (May 2010)
2. Mario Sports Mix (1,090,000) (Feb. 2011)
3. Xenoblade Chronicles (950,000) (Aug. 2011 EU)
4. Lego Pirates of the Caribbean (870,000) (May 2011)
5. FIFA 12 (860,000) (Sept. 2011)

XBOX 360

1. Gears of War 3 (890,000) (Sept. 2011)
2. Call of Duty: Modern Warfare 3 (830,000) (Nov. 2011)
3. Battlefield 3 (760,000) (Oct. 2011)
4. Forza Motorsport 4 (720,000) (Oct. 2011)
5. Kinect Sports: Season Two (690,000) (Oct. 2011)

Mengapa game Playstation 3 tidak termasuk di dalam list ini? Sony boleh dikatakan berhasil menekan pembajakan terhadap konsol hitam kebanggaan mereka ini lewat fungsi firmware yang ditawarkan.Gamer tidak lagi tertarik untuk membajak game karena syarat firmware tertentu yang akan langsung menutup akses pada game terbaru. Lagipula, size file game yang terlalu besar membuat gamer seringkali malas untuk mengunduh game Playstation 3 dari internet.
Angka yang tercatat memang cukup mencenangkan. Bayangkan saja. Untuk sebuah game sekelas Modern Warfare 3 dan Battlefield 3, game yang dibajak mencapai angka lebih dari 4,5 juta kopi lintas platform. Ini mencapai 30% dari keseluruhan seri original yang mampu dijual oleh sebuah perusahaan publisher. Bayangkan, keuntungan yang bisa didapatkan jika semua angka ini berasal dari sebuah game original. Wow! Bagaimana dengan Anda sendiri? Apakah Anda termasuk gamer yang menikmati sebagian besar game di atas lewat versi bajakannya?

Call of Duty: Black Ops 2 Untuk Tahun 2012?



Jika kita membicarakan franchise game yang paling mampu memberikan keuntungan maksimal bagi para publisher saat ini, maka nama besar Call of Duty memang menjadi yang paling pantas untuk menduduki posisi pertama. Setelah kelahiran seri Modern Warfare yang fenomenal, franchise ini terus  mendulang kesuksesan yang luar biasa. Ia selalu menghasilkan pundi uang yang masif bagi Activision. Dua seri sebelumnya – Modern Warfare 3 dan Black Ops bahkan sempat mencatatkan penjualan hingga menembus angka USD 1 Milliar di seluruh dunia, sebuah rekor dunia yang akan sulit untuk ditundukkan oleh game manapun. Memasuki tahun 2012, fenomena ini tampaknya akan terulang kembali.
Seperti tahun-tahun sebelumnya, Activision tampaknya tetap bertahan dengan kebijakan untuk menghadirkan setidaknya satu game Call of Duty setiap tahunnya. Dari tiga timeline utama yang diusung oleh franchise ini, Activision dikabarkan berencana untuk melanjutkan plot yang diusung dari seri Black Ops. Rumor ini berkembang cepat di dunia maya setelah salah satu situs game Perancis – Gamingblog tidak sengaja menemukan sebuah brosur iklan yang terpasang di situs belanja – Amazon. Di iklan ini tertulis jelas tulisan Call of Duty: Black Ops 2 dengan logo yang sama. Kecurigaan pun semakin menguat ketika situs ini kabarnya diboikot oleh Activision untuk alasan yang tidak jelas.
I'll be back..
Selain Call of Duty: Black Ops 2 yang kemungkinan besar akan diluncurkan pada akhir tahun nanti, Activision juga sudah mengkonfirmasikan sebuah judul baru Call of Duty yang akan dirilis secara eksklusif untuk handheld teranyar milik Sony – Playstation Vita. Belum ada kejelasan timeline apa yang akan diusung, namun game ini sendiri dipastikan akan dirilis pada musim gugur tahun ini. Dua buah game Call of Duty di tahun ini? Activision tampaknya semakin gencar mengeksploitasi franchise yang satu ini.
Bagaimana dengan Anda sendiri? Masih terus mengantisipasi seri-seri Call of Duty terbaru ini? Atau mulai muak dengannya? Semoga saja mereka menawarkan banyak hal baru yang signifikan di luar sisi plot yang tampaknya selalu menjadi fokus pada beberapa tahun terakhir ini.

Yakuza 5 Akan Gunakan Engine Baru


Hampir semua gamer yang pernah memiliki Playstation 2 atau Playstation 3 tentu saja familiar dengan seri game action – Yakuza dari SEGA. Menghadirkan kehidupana malam Jepang yang gemerlap dalam konsep sandbox yang unik, game yang menceritakan petualangan yakuza legendaris -  Kazuma Kiryu ini memang selalu datang dalam kualitas yang patut diacungi jempol. Walaupun dirilis secara frekuentif dan eksklusif untuk konsol milik Sony, Yakuza tetap berhasil memosisikan dirinya sebagai sebuah franchise jempolan tanpa saingan. SEGA bahkan sudah siap untuk menghadirkan seri terbarunya – Yakuza 5 yang dijanjikan akan lebih “segar”.
Dengan berbagai perubahan yang akan dihadirkan di dalamnya, SEGA bahkan berani mengklaim bahwa Yakuza 5 ini akan tampil sebagai “The New Yakuza”. Menggunakan engine baru yang lebih baik, visualisasi Yakuza akan dirombak untuk lebih merepresentasikan standar visualisasi Playstation 3 itu sendiri. Perombakan yang lain? Setting empat region Nagoya, Osaka, Fukuoka, dan Hokkaido yang kini lebih luas, kesan pertarungan yang lebih didramatisir, dan tentu saja cameo selebriti dan para hostess yang baru. Tidak hanya itu saja, SEGA juga akan menghadirkan lima karakter protagonis di dalam seri terbaru ini.
Get yourself ready, Playstation 3's gamer!
Yakuza “5” ini sendiri rencananya akan dirilis pada bulan Desember untuk pasar Jepang, tanpa kejelasan apakah akan melewati proses translasi di luar region atau tidak. Bagi Anda pemilik Playstation 3 yang sudah familiar dengan franchise ini, Yakuza 5 tentu menjadi game yang pantas untuk ditunggu.

Bukti-Bukti Bahwa Video Game Berikan Manfaat Positif!



Para gamer tentu seringkali merasa terganggu akan berbagai prasangka yang menyatakan bahwa video game hanya akan menghasilkan efek-efek negatif. Berapa banyak dari kita yang seringkali dicela dan disudutkan karena hal ini? Video game seolah menjadi simbol dan sumber beragam masalah sosial, dari hilangnya produktivitas kerja, obesitas, agresivitas, hingga kriminalitas. Sementara bagi kita yang mengalami sendiri? Video game harus diakui menghadirkan banyak manfaat positif yang seringkali tidak dipahami oleh orang awam. Oleh karena itu, bukti-bukti harus dihadirkan untuk memberikan pemahaman yang lebih berimbang. Hal inilah yang dilakukan oleh Frugaldad.
Infogram terbaru yang dirilis oleh Frugaldad meramu semua efek positif yang mampu dihasilkan oleh video game dan penerapannya secara praktis di lapangan. Dari semua aspek kehidupan yang berputar di sekitar kehidupan manusia, video game tidak hanya menjadi sebuah media hiburan digital, tetapi juga sebuah teknologi dengan beragam tujuan. Bukti-bukti faktual menunjukkan bahwa video game nyatanya memang memberikan lebih banyak efek positif bagi para gamer. Apa saja buktinya?
Agree?
  • Ada banyak video game yang didesain sebagai media terapi, sebagai solusi penyembuhan untuk orang-orang dengan kebutuhan khusus. Contohnya? Game berjudul SnowWorld dihadirkan untuk membantu para penderita luka bakar untuk melupakan rasa sakit mereka, SpiderWorld untuk mengatasi arachnophobia, dan Chez Fortune untuk melawan adiksi pada judi.
  • Konsep bahwa gamer adalah anti-sosial terbukti salah. 65 persen gamer bermain dengan kehadiran temannya secara fisik di sekitar mereka. World of Warcraft sendiri bahkan memiliki 12 juta pemain di seluruh dunia yang memungkinkan Anda untuk berinteraksi.
  • Gaming menghancurkan pernikahan? Penelitian membuktikan bahwa 76% dari  pasangan sudah menikah yang bermain MMORPG bersama akan terlibat dalam pernikahan yang lebih positif.
  • Video game dapat membuat anak-anak berusia 4 dan 5 tahun untuk belajar pengenalan huruf dan pemahaman cerita lebih baik.
  • Lebih dari 100 perusahaan terbesar dan terkaya di dunia menggunakan video game sebagai bagian dari pelatihan karyawan mereka.
  • Dengan bantuan game seperti Galaxy Zoo, para astronot berhasil menemukan lebih dari 50 juta galaksi baru di semesta selama 1 tahun pertama.
  • Para peneliti belajar banyak tentang genetika lewat game seperti Eterna dan Foldit.
  • Pemain Call of Duty dan Halo memiliki kemampuan memperhatikan detail dan mempelajari runtutan kejadian 30-50% lebih baik dibandingkan mereka yang tidak memainkan game ini.
  • Anak-anak yang memainkan Tetris selama 30 menit setiap hari selama tiga bulan akan memiliki koordinasi dan kemampuan mengolah informasi visual dengan lebih sempurna.
  • Game-game action beritme cepat dapat membantu meningkatkan kemampuan mata dan menyembuhkan “mata malas”
  • Para ahli bedah yang sering memainkan game dapat melakukan operasi bedah 27% lebih cepat dengan tingkat kelalaian 37% lebih rendah.
  • Efek-efek positif ini hanya bisa didapatkan jika gamer tidak memainkan game lebih dari 21 jam per minggu.
Di luar dari fakta-fakta di atas, sebagian besar gamer, termasuk Anda dan saya tentu merasakan beragam efek positif yang tidak berada di dalam list. Salah satu yang saya rasakan secara langsung? Peningkatan kemampuan berbahasa Inggris yang signifikan dan respon mata yang lebih sigap. Bagaimana dengan Anda sendiri? Efek positif apa yang pernah Anda dapatkan dari bermain game selain kesenangan?