Showing posts with label First Person Shoter. Show all posts
Showing posts with label First Person Shoter. Show all posts

Wednesday, November 4, 2009

Darkest of Days - SKIDROW






























Download:

http://rapidshare.com/files/277473158/Darkest.of.Days-SKIDROW.r00

http://rapidshare.com/files/277469656/Darkest.of.Days-SKIDROW.r01

http://rapidshare.com/files/277471485/Darkest.of.Days-SKIDROW.r02

http://rapidshare.com/files/277471307/Darkest.of.Days-SKIDROW.r03

http://rapidshare.com/files/277472146/Darkest.of.Days-SKIDROW.r04

http://rapidshare.com/files/277469647/Darkest.of.Days-SKIDROW.r05

http://rapidshare.com/files/277471534/Darkest.of.Days-SKIDROW.r06

http://rapidshare.com/files/277471308/Darkest.of.Days-SKIDROW.r07

http://rapidshare.com/files/277472186/Darkest.of.Days-SKIDROW.r08

http://rapidshare.com/files/277472494/Darkest.of.Days-SKIDROW.r09

http://rapidshare.com/files/277472978/Darkest.of.Days-SKIDROW.r10

http://rapidshare.com/files/277472310/Darkest.of.Days-SKIDROW.r11

http://rapidshare.com/files/277472913/Darkest.of.Days-SKIDROW.r12

http://rapidshare.com/files/277470793/Darkest.of.Days-SKIDROW.r13

http://rapidshare.com/files/277472215/Darkest.of.Days-SKIDROW.r14

http://rapidshare.com/files/277471495/Darkest.of.Days-SKIDROW.r15

http://rapidshare.com/files/277472411/Darkest.of.Days-SKIDROW.r16

http://rapidshare.com/files/277472096/Darkest.of.Days-SKIDROW.r17

http://rapidshare.com/files/277473079/Darkest.of.Days-SKIDROW.r18

http://rapidshare.com/files/277471652/Darkest.of.Days-SKIDROW.r19

http://rapidshare.com/files/277469678/Darkest.of.Days-SKIDROW.r20

http://rapidshare.com/files/277472304/Darkest.of.Days-SKIDROW.r21

http://rapidshare.com/files/277471453/Darkest.of.Days-SKIDROW.r22

http://rapidshare.com/files/277472598/Darkest.of.Days-SKIDROW.rar

http://rapidshare.com/files/277471236/Darkest.of.Days-SKIDROW.sfv


Saturday, March 8, 2008

Kreed

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The great war has started... The futuristic world of Kreed is an alternative scenario for the human race's future in the coming 30th century. By that time, human civilization is waging a war against one of the most powerful nations known in Galaxy – Tiglaary. Tiglaary forces once had almost conquered the Earth and established their power in most of earth colonies. After successful riot that took place in XXIII century, Legion has been formed and managed to push Tiglaary back from Solar system. As nearly the whole Galaxy had become the battlefield, a space anomaly was found, where a lot of spaceships had been lost. Outposts were built around that area named Kreed in order to prevent ships from getting inside. One of the three Legion's Great Masters, Teofrast Rumi, supervised the researches of the anomaly. Suddenly, Rumi fled without any reason, taking all the researchers and troops loyal to him. The secret investigation initiated by the other two Great Masters revealed the facts that he could have been a follower of a religious sect worshipping the Kreed. Afterwards, the evident proofs of his fleeing to Kreed were found. The Great Masters have secretly sent a mission inside the Kreed to locate and punish the betrayer. A spaceship 'Aspero', pretending to be a supply ship for the Allied patrolling forces, should get into the 'Red sector' near the anomaly and then infiltrate the barrier.

Size: 280 Mb

Download:

http://rapidshare.com/files/26935590/KReeD.rar
http://rapidshare.com/files/26930728/KReeD.r00
http://rapidshare.com/files/26932670/KReeD.r01


Pass:
eXtreme

Time Shift

TimeShift

If you need more out of a game's story than "shoot guys until the credits roll because an angry soldier and a computer voice say so," you're in trouble here. If you piece together the fragmented cutscenes, scour the manual, and read the back of the box, you'll learn that a certain Dr. Krone has stolen a special suit that lets its user travel through time. This has created an alternate reality, which is a bad thing--you'll have to trust the game on that, because it's tough to figure out just what has happened that's so bad, other than a big robot spider that shoots lasers terrorizing the city. (OK, maybe that is bad.) It's up to you to take the other, experimental beta suit (ohhhh, dangerous!), travel through time, and stop Dr. Krone from doing something sinister--which he has already done, so you want to undo whatever it is he's done...or something.

Even though the story is an incoherent mess, it's still possible to enjoy TimeShift. Why? Because you can time-shift. Your suit has the ability to pause, slow down, or even reverse time--kind of like a TiVo you can wear. This lets you pause the action, run up to a guy, and shoot him to bits. Or if you're feeling like humiliating him before you kill him, you can steal his weapon, restart time, and watch as he wonders where the heck it went, and then make him dead with a barrage of bullets. It's even possible to regenerate health by seeking cover and pausing time. You can't rewind time and prevent your own death, but if you're quick you can reverse it and unstick a grenade from yourself. You only have a limited amount of time you can manipulate before the suit's energy runs out, but it regenerates quickly. The game promises all sorts of other "exciting" uses for altering the flow of time, but it never really capitalizes on the potential of the mechanic. Rather than challenging you with complex puzzles that require you to think outside the box or use the game's quality physics engine, you're mostly limited to slowing down time so you can press two buttons in quick succession or pausing time so that you can get through a door before it closes. Thank goodness for technology.

Other than the time-shifting stuff, the rest of TimeShift plays like a linear, run-of-the mill first-person shooter--and a dated one at that. Most of the level objectives are routine tasks like finding a button that opens a door or, sometimes, locating a lever that opens a door. Heck, sometimes you have to do both! There are a few scenarios where you ride around on an ATV and some others where you man a turret on an airship, but most of the time you'll be moving from checkpoint to checkpoint on foot, taking out wave after wave of unintelligent foes. It's good, then, that the gunplay is entertaining. This is mostly due to the game's powerful weapons that are so much fun to shoot. It might not be exactly challenging, but it's fun to pause time and take the crossbow that shoots an arrow that sticks in the target and then blows up, and then unpause time and watch your foe explode into a charred, bloody mess. There are other cool weapons too, like the automatic gun that looks like it shoots bullets, but these bullets cause the target to burst into flames when they hit, and then the dude screams like a little girl as he fries. Even the basic machine gun is powerful and useful all the way through the game. There's always plenty of ammo to be found, so you never have to be conservative with your bullets.


Download:
http://lnx.allmazall.com/t/ts.part1.rar
http://lnx.allmazall.com/t/ts.part2.rar
http://lnx.allmazall.com/t/ts.part3.rar
http://lnx.allmazall.com/t/ts.part4.rar
http://lnx.allmazall.com/t/ts.part5.rar
http://lnx.allmazall.com/t/ts.part6.rar
http://lnx.allmazall.com/t/ts.part7.rar
http://lnx.allmazall.com/t/ts.part8.rar

The Orange Box

The Orange Box


It's hard to talk about what Valve's The Orange Box offers without immediately falling into an impression of some sort of late-night pitchman for fantasy knives and alternative cleaning products. That's partially because the name "The Orange Box" sounds more like some kind of citrus-scented bathroom cleanser than a video game, and partially because this five-games-in-one package is the kind of crazy deal that almost forces you to shout "Now how much would you pay?" With three amazing new games and two classics all in one package, it's impossible to go wrong with The Orange Box.

With all that Half-Life, you'd think that the other two parts of this package would be minor additions thrown in to make the deal sound more attractive. But Portal is probably the greatest thing about The Orange Box. It's a clever mix that combines first-person action with very focused puzzle-solving. It's also completely hilarious. The premise is simple. You're a woman who wakes up in a tiny box inside some lab facility run by a mysterious company called Aperture Science. You're presented with a portal that lets you walk out of the room and into another. From there, the game gradually introduces you to portals and eventually gives you a gun that you can use to fire portals onto walls, ceilings, and floors. Your primary and alternate fire buttons are used to create blue and orange portals, respectively, and walking, jumping, or falling into one portal sends you out of the other one. You can also pick up objects, such as large boxes, which often must be placed on large buttons to open doors so you can proceed through a variety of test chambers.

Along the way, a computerized female voice guides you...and misguides you. The dialogue from the computer supervising your test gets more and more overtly funny as you play and leads to a very satisfying conclusion, including what might be the best end-credit song ever written. Later puzzles force you to pull off some tricky portal maneuvers and require you to consider how much momentum you have when you enter a portal, given that the same momentum is carried with you when you come out the other side. So if you jump down into a floor portal and have the exit portal set on a side wall, you'll rocket out of that portal with the velocity you had when falling into the hole on the floor.


Download:
http://rapidshare.com/files/65685528/orangeb.part01.rar
http://rapidshare.com/files/65688288/orangeb.part02.rar
http://rapidshare.com/files/65691107/orangeb.part03.rar
http://rapidshare.com/files/65693692/orangeb.part04.rar
http://rapidshare.com/files/65696146/orangeb.part05.rar
http://rapidshare.com/files/65698419/orangeb.part06.rar
http://rapidshare.com/files/65700980/orangeb.part07.rar
http://rapidshare.com/files/65703547/orangeb.part08.rar
http://rapidshare.com/files/65706123/orangeb.part09.rar
http://rapidshare.com/files/65709038/orangeb.part10.rar
http://rapidshare.com/files/65712092/orangeb.part11.rar
http://rapidshare.com/files/65715522/orangeb.part12.rar
http://rapidshare.com/files/65719346/orangeb.part13.rar
http://rapidshare.com/files/65723711/orangeb.part14.rar
http://rapidshare.com/files/65727822/orangeb.part15.rar
http://rapidshare.com/files/65732058/orangeb.part16.rar
http://rapidshare.com/files/65739845/orangeb.part16.rar
http://rapidshare.com/files/65745032/orangeb.part17.rar
http://rapidshare.com/files/65749776/orangeb.part18.rar
http://rapidshare.com/files/65755095/orangeb.part19.rar
http://rapidshare.com/files/65760528/orangeb.part20.rar
http://rapidshare.com/files/65766176/orangeb.part21.rar
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http://rapidshare.com/files/65788779/orangeb.part23.rar
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http://rapidshare.com/files/65808576/orangeb.part26.rar
http://rapidshare.com/files/65813624/orangeb.part27.rar
http://rapidshare.com/files/65818835/orangeb.part28.rar
http://rapidshare.com/files/65824171/orangeb.part29.rar
http://rapidshare.com/files/65829241/orangeb.part30.rar
http://rapidshare.com/files/65834366/orangeb.part31.rar
http://rapidshare.com/files/65839654/orangeb.part32.rar
http://rapidshare.com/files/65847391/orangeb.part33.rar
http://rapidshare.com/files/65852991/orangeb.part34.rar
http://rapidshare.com/files/65858323/orangeb.part35.rar
http://rapidshare.com/files/65863372/orangeb.part36.rar
http://rapidshare.com/files/65869461/orangeb.part37.rar
http://rapidshare.com/files/65874819/orangeb.part38.rar
http://rapidshare.com/files/65879886/orangeb.part39.rar
http://rapidshare.com/files/65884496/orangeb.part40.rar
http://rapidshare.com/files/65889150/orangeb.part41.rar
http://rapidshare.com/files/65893441/orangeb.part42.rar
http://rapidshare.com/files/65897240/orangeb.part43.rar
http://rapidshare.com/files/65901054/orangeb.part44.rar
http://rapidshare.com/files/65904647/orangeb.part45.rar
http://rapidshare.com/files/65907976/orangeb.part46.rar
http://rapidshare.com/files/65911095/orangeb.part47.rar
http://rapidshare.com/files/65914258/orangeb.part48.rar
http://rapidshare.com/files/65917137/orangeb.part49.rar
http://rapidshare.com/files/65920291/orangeb.part50.rar
http://rapidshare.com/files/65922897/orangeb.part51.rar
http://rapidshare.com/files/65924735/orangeb.part52.rar

Call of Duty 2

Call of Duty 2


You won't be participating in these forays alone; far from it. In every setting you'll be surrounded by what seems like dozens of soldiers, both friends and foes, who move and act in a realistic fashion. Lots of your artificially intelligent mates will die by your side, along with the dozens of enemy soldiers you kill, but more will come in from the rear echelons to take their place. The designers often do a good job of reminding you that the war isn't just the infantry skirmish in which you're fighting. From time to time you'll see planes engaged in dogfights flying overhead, or when you complete an objective of capturing a German harbor, you'll call in a naval strike and see enemy merchant ships being sunk at the docks.

One aspect of gameplay that has changed since the first Call of Duty is that you no longer have a health bar. As you get shot, you'll see the screen growing more and more red along the borders and your character will start to grunt and pant. If you continue to take damage in a short span of time, you die. So as you get shot that first or second time, you need to get yourself back to cover and hide for a couple of seconds to recover. Once your vision clears, you're good to go again. Some people may be put off by this Halo-like gameplay conceit, but it actually works very well here, and it really is no more contrived than hunting down and hoarding health packs. In the context of Call of Duty 2, we'd go so far as to say that it's an improvement over the traditional health system, as you never find yourself at a tough checkpoint (the game autosaves quite a lot) without enough health or medikits. Ammo's never an issue either, as there's never a shortage of dead bodies to loot for guns, bullets, and grenades. The focus stays squarely on the fight.

Speaking of grenades, the other major new gameplay conceit is the use of smoke grenades. You can pop these in front of machine-gun nests or to obscure the view of enemy snipers, making infantry charges a more viable option. The smoke effect looks outstanding and comes in handy in both the single- and multiplayer aspects to neutralize the effectiveness of fixed machine-gun nests and snipers. There's also nothing quite as exciting as running through a dense smoke cloud and finding yourself face-to-face with the enemy (the view from the opposite side is pretty cool as well).

Serial:
6A6H-A73P-WWHW-6JUJ-E15C


Download:
http://rapidshare.com/files/48854663/C-.-.o-.-.-.D-.-.2_PL_up_by_Maykel.part01.rar
http://rapidshare.com/files/48860924/C-.-.o-.-.-.D-.-.2_PL_up_by_Maykel.part02.rar
http://rapidshare.com/files/48867960/C-.-.o-.-.-.D-.-.2_PL_up_by_Maykel.part03.rar
http://rapidshare.com/files/49027078/C-.-.o-.-.-.D-.-.2_PL_up_by_Maykel.part04.rar
http://rapidshare.com/files/49037179/C-.-.o-.-.-.D-.-.2_PL_up_by_Maykel.part05.rar
http://rapidshare.com/files/49045053/C-.-.o-.-.-.D-.-.2_PL_up_by_Maykel.part06.rar
http://rapidshare.com/files/49052412/C-.-.o-.-.-.D-.-.2_PL_up_by_Maykel.part07.rar
http://rapidshare.com/files/49430143/C-.-.o-.-.-.D-.-.2_PL_up_by_Maykel.part08.rar
http://rapidshare.com/files/49441544/C-.-.o-.-.-.D-.-.2_PL_up_by_Maykel.part09.rar
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http://rapidshare.com/files/49645692/C-.-.o-.-.-.D-.-.2_PL_up_by_Maykel.part15.rar
http://rapidshare.com/files/49655079/C-.-.o-.-.-.D-.-.2_PL_up_by_Maykel.part16.rar
http://rapidshare.com/files/49663058/C-.-.o-.-.-.D-.-.2_PL_up_by_Maykel.part17.rar
http://rapidshare.com/files/49670807/C-.-.o-.-.-.D-.-.2_PL_up_by_Maykel.part18.rar
http://rapidshare.com/files/49678425/C-.-.o-.-.-.D-.-.2_PL_up_by_Maykel.part19.rar
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http://rapidshare.com/files/49885730/C-.-.o-.-.-.D-.-.2_PL_up_by_Maykel.part30.rar
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http://rapidshare.com/files/51724437/C-.-.o-.-.-.D-.-.2_PL_up_by_Maykel.part38.rar

Password:
Maykel

Thursday, March 6, 2008

Painkiller: Gold Edition

Painkiller: Gold Edition

Painkiller: Gold Edition includes both the original Painkiller and its expansion, Battle out of Hell. This first-person shooter series pits you against the...

Painkiller is a game that in my opinion took the First Person Shooter genre back to its roots. Action and violence are really the two main ingredients that started the FPS genre. You controlled a character that ran around and blew things up. Whether it was space aliens, demons or nazis you blew up in the game it was almost a given that it was violence for the sake of violence. But just as in every other genre there has to be room for improvement and growth. Soon it just wasn’t enough to blow things up and run around shoot demons anymore. There had to be puzzles, dialogue and limitless multiplayer options included in a FPS before anyone would take notice.


Painkiller is a combination of old with a heavy mixture of action & violence along with a whisking of new by including some incredible technology features in the game. As the saying goes “Everything old is new again” is rather fitting for Painkiller. The action of the old style FPS is evident but the technology of the physics engine and graphics thrust the game into the new school. If you’ve become jaded with the amount of FPS games being released that seem to require a master’s degree in puzzle solving then Painkiller is your game. However if you want a game that has some amazing graphics and technology behind it then Painkiller is still the game for you.

With the release of the gold edition of Painkiller gamers are treated to a nice package of everything that is Painkiller. The original game, along with the expansion pack Battle Out of Hell, are both included in the gold edition. Several exclusive videos are included such as the making of the game, the Painkiller music video, making of video and the trailer to the upcoming Xbox version of the game. For anyone that has been waiting to get Painkiller then you can wait no longer. The gold edition includes everything you will need to get hooked into the Painkiller experience.

The expansion pack Battle Out of Hell keeps the excitement going with even more levels and creatures. I felt the design of the levels in the expansion pack were much better than the levels in the original game. The first level in the expansion pack, an orphanage, had me creeping out. During the making of video for the game there was comment made about how no one should get offended or disgusted by the levels and designs since there are touches of humor in the game. Maybe they haven’t even played their own game or I’m becoming soft as I get older. With the original game and the expansion pack the gold edition offers over 30 different levels.


The biggest attention grabber of Painkiller has to be the graphics and the physics engine. The graphics are just unbelievable with wave after wave of enemies attacking you, incredibly detailed locations and bosses that fill almost the entire stage. But add to the graphics the incredible capabilities of the physics engine, Havok 2.0, and you get a game in which the stages seem to come alive. The Havok physics engine allows for creatures to fly across the room after being hit. Pieces of jars, barrels and other objects react almost naturally to weapon fire or damage generated by other objects. For those that have seen and played games using the Havok engine can appreciate it more than words can describe it. If you’ve never played a game that uses the Havok physics engine before then Painkiller is a great introduction to the spectacle created during the game. Even with the incredible graphics and physics engine there is a price to pay when it comes to performance. The game isn’t a graphically taxing as say Doom III might be but Painkiller still might be too much for their current graphics card. I had to turn down or off almost all of the built in graphical features in order to get the game to run smoothly on my machine. My fellow reviewer Tha Wiz couldn’t even get the expansion pack to run at a decent frame rate on his computer even after upgrading to a slightly more powerful graphics card.
The game itself is all about action and nothing else but action. It’s an almost endless wave of monsters that will come after you in the game. There are no puzzles to solve in the levels and the story line is only mentioned during cutscenes between the stages. This isn’t a thinking man’s FPS. This is a game that will wear your trigger finger out by forcing you to fire repeatedly. The game rarely gives you a moment to catch your breath which is simplicity of the game makes it shine. If you want another Half-Life or Deus Ex then stay far away. If you want a game that has roots to the original Doom then this is the game for you.

Painkiller Gold Edition is a great collection for gamers who’ve been waiting to take the plunge with Painkiller. Both the original game and the expansion pack are included along with some nice bonus material. If you already own the original game plus the expansion pack then there really isn’t much of a need to purchase the gold edition. For gamers that didn’t give Painkiller a glancing look when it was released before should definitely give the Gold Edition a once over and purchase. Remember my motto GameZone readers “Games are supposed to be fun.” Painkiller is a blast to play and sure was a lot of fun.


Download:
http://rapidshare.com/files/64987131/Painkiller_Gold_Edition.part01.rar
http://rapidshare.com/files/64988777/Painkiller_Gold_Edition.part02.rar
http://rapidshare.com/files/64990445/Painkiller_Gold_Edition.part03.rar
http://rapidshare.com/files/64992047/Painkiller_Gold_Edition.part04.rar
http://rapidshare.com/files/64993757/Painkiller_Gold_Edition.part05.rar
http://rapidshare.com/files/64995279/Painkiller_Gold_Edition.part06.rar
http://rapidshare.com/files/64996981/Painkiller_Gold_Edition.part07.rar
http://rapidshare.com/files/64998621/Painkiller_Gold_Edition.part08.rar
http://rapidshare.com/files/65000134/Painkiller_Gold_Edition.part09.rar
http://rapidshare.com/files/65001833/Painkiller_Gold_Edition.part10.rar
http://rapidshare.com/files/65003443/Painkiller_Gold_Edition.part11.rar
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http://rapidshare.com/files/65027491/Painkiller_Gold_Edition.part24.rar
http://rapidshare.com/files/65029493/Painkiller_Gold_Edition.part25.rar
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Unreal II: The Awakening

Unreal II: The Awakening

While it takes place in the same futuristic universe, Unreal II doesn't share any plot points or characters with its predecessor. You play as Dalton, a space marshal patrolling the "ass end of the universe" with a crew of two former space marines and one malapropism-spouting alien pilot. Once you're in a given mission, the game does a good job of laying out a clear set of goals and then walking you through them, usually in the form of a character (often your first officer) relaying information to you via a headset. Between each of the missions, however, there's usually a largely pointless intermission level in which you walk around your ship and talk to your crew. Presumably, this is supposed get you more involved in the plot, but the dialogue is bad enough that it'll just make you anxious for the game to get on with itself. Every conversation in the Unreal universe is an exchange of the worst type of sarcastic, tiny-cigar-chomping action-movie one-liners ("Go to hell, Dalton!" "I'm already there, toots!"). That is, until it comes time for each character to reveal his or her dark secret. Worse, even the cutscenes have cutscenes--almost every one of these long and pointless interactive intermissions ends with a 20-second load into a pointless noninteractive scene that usually shows nothing more interesting than your landing craft speeding toward a planet.

Back in the plot, one thing leads to another, and Dalton and crew end up embarking on 12 missions in pursuit of seven mysterious alien artifacts. Apart from the tedious preliminaries, these 12 missions are well designed. To its credit, Unreal II sets up many situations in which you must defend a position rather than simply assault one. One level, for instance, requires you to fight your way up to the top of a tower, use a sniper rifle to protect a marine while he repairs some equipment, make your way to a forward base, and then defend it with the help of some friendly troops until a rescue ship arrives. In some of these defensive sections, you can give simple orders to a handful of troops under your command by "using" them and then choosing an order from an onscreen menu. You can really only direct them to cover a certain area of whatever it is you're defending, and even though everyone appears to be equipped with a radio headset, you can communicate with them only when they're standing right next to you. You'll also occasionally get stationary turrets and protective force fields that you can place to help set up a defensive perimeter. Although other shooters have included a few defensive levels here and there, Unreal II has the most complete implementation of this mission style to date.

The missions take place in a variety of surroundings--there's a desert planet, a snowy planet, various research and military facilities, and the inevitable H.R. Giger-inspired biomechanical alien hive. Without a doubt, Unreal II's most impressive feature is the technology powering its visuals. Every couple of months there's a new winner in the competition to present the best flame effects, and this month we're proud to give the prize to Unreal II. Milking the pyrotechnics for all they're worth, the designers made it so a full third of the game's 12 weapons ignite opponents on contact. The lighting, particle, and smoke effects are also well done. For instance, one enemy emits green gas when dying. After the gas collects around the body for a few seconds, the corpse explodes, realistically blowing the cloud in all directions and clearing the air. Some of the interiors--especially an early level in a lab called "Hell"--look better than the prerendered cutscenes of just a year or two ago. The engine is also capable of creating large outdoor areas, and many levels take advantage of this by requiring you to first approach from a distance whatever building you're attempting to infiltrate.


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Wednesday, March 5, 2008

Quake 4

Quake 4


While Doom was the game that would make id Software a gaming-household name in the early '90s, over the years, the company shifted its focus away from the Doom games. As PC hardware and 3D acceleration became better and better, id became much more focused on engine development. Those engines were the underlying technology that powered the games in the Quake series, which began in 1996. Quake was among the first PC first-person shooters to let you take your multiplayer matches onto the Internet, and over the years, the series has become synonymous with great technology and exciting multiplayer. Now, in 2005, the roles of id's games have reversed a bit. The company's most recent engine is the one built for Doom 3, and Quake 4 runs on this same engine. Furthermore, Quake 4 wasn't even developed by id internally; it instead outsourced game development to the capable minds at Raven Software, who have turned in a fantastic-looking game with a great single-player campaign. The multiplayer, however, is underwhelming.

The three previous Quake games have all had very little to do with one another. The first game's story almost felt more like a retelling of Doom, dealing with inappropriately opened portals that spew out all sorts of horrific demons. Quake II ditched that storyline in favor of an Earth-versus-alien conflict that had you crash-landing on the alien homeworld in search of revenge. Quake III Arena was multiplayer focused, with no true single-player storyline other than that a wide collection of warriors--some taken from the Doom and Quake games--had been pulled out of their own timelines and into this futuristic battle arena. Quake 4 doubles back and picks up where Quake II left off. That nameless space marine from Quake II has apparently killed the Makron, the leader of the Strogg forces, and now it's up to you to get in there and try to finish the job. But, of course, things aren't quite what they seem.

In Quake 4, you play as a space marine named Matthew Kane, who has recently been assigned to Rhino Squad. In keeping with first-person shooter storyline tradition, Kane doesn't speak, but the marines around you will more than make up for the lack of chatter coming out of Kane's lips. You're the new guy, and some of the squad's even betting that you won't even survive for one day. With the Makron assumed dead, your squad is taking part in an operation to take advantage of the disarray and mop up the rest of the enemy forces on the Strogg planet. But your drop ship gets hit and comes down hard, killing a large chunk of your squadmates at the opening of the game. From there, you'll pull yourself up out of the muck and get down to business.

Eventually, your squad will get extracted back to a capital ship for reassignment. Here, you'll get to explore the ship, similar to how you could explore Voyager in Raven's Elite Force games. Then you're back out on a new mission designed to disrupt the Strogg communication network. And the story continues from there. While the story itself isn't particularly gripping, it's designed well enough to keep you interested in what's happening. There's also a potentially interesting plot twist in the game that, unfortunately, was revealed by id Software almost immediately, when the company first started talking about and showing off the game. We won't repeat it here, in case you've managed to stay away, because we have to imagine that the twist would have been a lot more interesting if you didn't see it coming. Just know that a few interesting things happen in the game, but they don't totally change the way the game is played or anything like that.

For the most part, Quake 4 is a standard, straightforward shooter in its single-player mode. While the minute-to-minute objectives might not be the most interesting thing in the world, the game's combat is generally pretty satisfying. It's almost as if Raven set out to prove that the Doom 3 engine could do more than just constantly try to surprise you, one enemy at a time. That's not to say that Quake 4's hallways are littered with angry enemies, but Quake 4 is definitely a much more hectic game than Doom 3 ever was. While you'll still deal with a lot of shadowy areas, this is less about making you jump out of your seat and more about running and gunning. When matched with the game's amazing graphical design, the single-player becomes an exciting thrill ride that, on the default difficulty setting, should take you somewhere around 10 to 15 hours to complete.


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Doom 3

Doom 3


While not as remarkable as the technology that fuels it, the game itself is put together well enough to make Doom 3 legitimately great, all things considered.

Extremely impressive from a technical standpoint yet behind the times from a first-person-shooter design standpoint: This is the dichotomy that is Doom 3, the long-awaited sequel from well-known Texas-based developer id Software. Doom 3 is quite possibly the best-looking game ever, thanks to the brand-new 3D graphics engine used to generate its convincingly lifelike, densely atmospheric, and surprisingly expansive environments. At the same time, when you look past the spectacular appearance, you'll find a conventional, derivative shooter. In fact, if you played the original Doom or its sequel back in the mid '90s (or any popular '90s-era shooter, for that matter), you may be shocked by how similarly Doom 3 plays to those games. The legions of id Software's true believers will celebrate this straightforwardness as being deliberately "old school," especially since Doom 3 is packed with direct references to its classic predecessors. However, the truth of the matter is that Doom 3's gameplay structure and level design are behind the times and very much at odds with the game's cutting-edge, ultrarealistic looks. Yet the quality of the presentation truly is remarkable--enough so that it overwhelms Doom 3's occasional problems.

Doom 3 is essentially a remake of the original Doom, though series fans will find reimagined versions of almost every monster from both Doom and Doom II in the new sequel. You play as a nameless, voiceless 22nd-century space marine called by the Union Aerospace Corporation to its Mars research facility beset with mysterious problems--the forces of hell, to be exact. You'll end up single-handedly fighting back legions of hellspawn using weapons like shotguns, machine guns, and rocket launchers. As in the classic Doom games, your foes here are liable to strike at any time--often just as you round a corner, grab a much-needed power-up, or set foot into a new area. So, while your enemies will materialize without notice, and may occasionally startle you as they leap out of the darkness, Doom 3 cannot easily be described as scary or suspenseful. On the contrary, it's very predictable, and more or less it just goes through the same types of paces that you've probably gone through before in any number of other similar games.

Over the course of the game, you'll fight your way through a series of linear levels filled with locked doors, and you'll gradually find new weapons and occasionally meet new types of monsters. Early on, your apparent goal is to meet up with your squad, but as you might expect, you'll never actually get to fight alongside any human forces (no thanks to the omission of a co-op mode for multiple players, which was a signature element of past Doom games). Despite the game's cinematic trappings, it follows a formula that generally lacks drama or tension. Occasionally, the game presents to you a shocking or surprising scene--a hallucination or some hellish, otherworldly image. These moments are effective, but are too few and far between in the context of a single-player shooter that's of above-average length (somewhere between 15 to 20 hours). Fortunately, the campaign definitely picks up during the last several hours, once you finally reach (and keep going past) the point when you confront the enemy on its own turf. Getting to that point may be your primary motivation for trudging through some of the repetitive middle portions of the game, though.

Part of the issue is that Doom 3's storyline and narrative technique are ineffectual. Since the main character has no identity whatsoever (for whatever reason), the game tries to get you interested in everyone else on the base. You'll frequently find voice recordings and e-mail from various characters, but not only is a lot of this stuff bone dry, having to stop and read or stand around and listen to a rambling monologue jarringly disrupts the flow of the action. Unfortunately, if you choose to focus on the action by ignoring the seemingly extraneous story elements, you'll find that some of them aren't optional--you'll need to sift through those e-mails and listen to some of those voice recordings to get passcodes for locked doors and storage chests.

For what it's worth, the game's premise seems very fleshed out, and the game gives an amazing first impression. As you explore the UAC base, eavesdropping on various conversations and observing great, little details here and there, you'll get the impression that Doom 3 takes place in a fully realized world. Of course, all hell quickly breaks loose, and from that point onward you'll encounter scarce few creatures that you won't want to instantly shoot. The premise of the game will continue to unfold through occasional cutscenes and the aforementioned e-mails and recordings.


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Unreal Tournament 3

Unreal Tournament 3


The UT games have never been about single-player action, but like in the previous games, there is a campaign mode in UT3. It's a series of matches against bots wrapped around a basic but uneventful storyline. The big switch this time around is that Unreal Tournament is no longer a sport. Now it's war, and you play as a character on the hunt for revenge against an evil Necris woman who led an assault against unarmed civilians on your colony. You and the survivors of the attack join up with a corporation, fight to gain territory held by other corporations, and so on. It's little more than a five- to seven-hour training mode to help you get up to speed on the maps and the modes so you can go into multiplayer with a fighting chance. One cool addition is that you can play the campaign mode online with up to three other players. Although joining other humans to combat the artificial-intelligence-controlled bots isn't exactly the most fun you can have in this game, it's more compelling (and easier) when you're playing with other people. You can set the skill level of the bots, too. At the lowest setting, they're complete idiots that won't even bother to turn around and fight you if you start shooting them from behind. The highest setting, godlike, is appropriately stiff, though not entirely impossible. It's just tough to fight against opponents who rarely miss.

The maps you'll see in the single-player campaign are the same maps you'll see online, at least until the mod-making scene shifts into high gear. You'll get into matches using a typical PC-style server browser, but the game tries to keep you away from a full list of every server running by moving you through some console-game-style menus to filter down to the gametype you want to see. UT3 comes with six different modes of play. Deathmatch is the standard free-for-all battle. Team deathmatch, as you'd expect, breaks you up into two teams. Duel is a one-on-one mode where two players go at it while other players spectate. All three of these modes are played on the same set of deathmatch-friendly maps. UT3 also has a standard capture-the-flag mode, complete with the translocator, the teleporter gun that has made UT's take on CTF stand apart from most others. There's a new vehicle CTF mode, which takes the standard CTF concept and places it onto larger battlefields. As the name suggests, you have a number of vehicles that you can use toward your goal of grabbing the opposing team's flag and getting it back to your base. The largest mode is called warfare, and like onslaught mode before it, it's played on even bigger maps, with more vehicles.

Warfare is a node-based mode where each team has a base with a power core that needs to be damaged and destroyed for a victor to be declared. The power core is linked to other nodes at various spots in the map. You must push forward, capture nodes, and link them together until you've got your team's nodes linked to the opposing team's base. At that point, you can damage the enemy core and, ideally, blow up it for a victory. There's a ton of pushing and shoving back and forth across the map when two great teams square off, and it's also the most strategic mode. It differs from onslaught mode by offering secondary objectives, like unlinked nodes that can be captured to give a team forward spawn points and access to more vehicles and a countdown node that will occasionally drain energy from the enemy core if you control it. Each of the objective-based team modes comes with its own set of maps.

Overall, the map quality is high, with plenty of symmetrical, interesting level layouts for the objective-based modes. One deathmatch map, called Gateway, has multiple areas that look really different, all of which are linked together with portals. You'll also get a new remake of the classic Unreal map Deck. Furthermore, the Unreal mod community has always been pretty rabid, so you know it's just a matter of time before someone makes one of those "giant world" levels where you can hide in a sink drain and snipe people with an instagib shock rifle while they float down into the bottom of a bathtub. Yes, that's right, the instagib mode is also back in the game, along with a handful of other basic mutators you can use to make quick changes to any of the modes.

The weapons in Unreal Tournament 3 should be old hat to anyone familiar with the series. The shield gun has been ditched in favor of the impact hammer, and your default weapon is the slow-firing enforcer pistol, but beyond that, the weapon differences feel limited to minor balance changes. The bio rifle's gooey projectiles seem to do more damage, which makes it somewhat more useful. The secondary fire on the flak cannon seems as if it flies out at a slightly higher, slower arc, which forces you to make a few changes to how you aim. But again, the changes are minor. The rocket launcher can still lock on, the sniper rifle is still great fun for headshots, and the redeemer is still a huge missile that you can guide into targets to cause a nice, big blast that's handy in some of the larger vehicle CTF games. But when isn't a large explosion handy?

The other gameplay changes also feel relatively minor. Recent UT games have employed an adrenaline counter, which built up as you killed enemies or collected large pills around each level. When the meter was full, you could activate a special ability, such as invisibility or regeneration. This system isn't present in UT3. Also, the rules for double-jumping after a dodge move seem to have been altered a bit. Again, these are minor differences that don't really get in the way or drastically change the overall feel of the game, but they're noteworthy just the same. A more dramatic difference is the hoverboard, which is in vehicle CTF and warfare. The hoverboard lets you pick up a little more speed, which is useful on the larger battlefields. The catch is that getting hit while on your board knocks you over, which gives enemies more than enough time to finish you off as your character slowly arises from the ground. You can even do tricks while on the board, which isn't useful for gameplay purposes but is still totally rad.

Unreal Tournament 3 uses Unreal Engine 3, the same basic set of tools that powered Gears of War. As such, this is a really great-looking game on high-end machines. But even if your PC isn't top of the line, the game scales better than most, giving you a playable experience on midrange machines as well. But, of course, the game is at its best when you're exceeding the game's minimum requirements, in situations where you can run at a high resolution and still get a great frame rate. It supports widescreen resolutions, but playing in widescreen actually gives you a smaller view of the overall action, given that the game appears to cut off the top and bottom of the 4:3 view to fit it onto a wider monitor. UT3 certainly isn't the first PC game to have this problem, but given its highly competitive nature, cutting off parts of the screen seems to be a pretty bad solution.


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Tuesday, March 4, 2008

The History Channel: Civil War - A Nation Divided



This is a historical first-person shooter video game developed by Cauldron. The story line for A Nation Divided is relatively short, spanning twelve levels based on some of the most well known battles of the American Civil War. One can play as either the Confederacy or the Union. The player plays as a different soldier during each battle. During the game, you will play through a total of twelve different battles from the Civil War. The battles are divided into two campaigns: North and South. Each campaign contains six historic battles. You must play through each battle to unlock the next one.



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Call of Duty 4: Modern Warfare

Call of Duty 4: Modern Warfare


The single-player campaign is over in a flash, but the high quality of that campaign and its terrific multiplayer options make Call of Duty 4 a fantastic package.

It took awhile, but Infinity Ward finally got the message that World War II is played out. With modern times and international affairs becoming more and more, shall we say, interesting in recent years, the 1940s just don't carry as much weight as they used to. Perhaps that's why Call of Duty 4 has a new subtitle, Modern Warfare. By bringing things into a fictionalized story that still seems fairly plausible, the developer has made a much heavier game. But COD 4 is more than just an updated setting. It's also an amazing multiplayer first-person shooter and a great but brief single-player campaign with the visual chops to make it a standout shooter in an era filled with seemingly dozens of standout shooters.

The only real catch is that the single-player is almost shockingly short. If you've been keeping up with this style of game, you'll probably shoot your way to the credits in under five hours. While you can raise the difficulty to give yourself more of a challenge, the main thing this does is make the enemies frustratingly deadly, which sort of detracts from the fun.

While it may have a lack of single-player quantity, it makes up for most of it with its quality. The game tells its story from multiple perspectives, and you'll play as a new British SAS operative as well as a US Marine. The campaign takes you from a rainy night out at sea on a boat that's in the process of sinking to a missile silo where it's on you to save millions from an unsavory nuclear-powered death. Along the way, there are plenty of jaw-dropping moments where you'll look around the room for someone to whom you can say, "I can't believe that just happened." In a world filled with war games in which the good guys come out unscathed and the world is left at total peace, Call of Duty 4 will wake you up like a face full of ice water.

The action in the campaign is usually very straightforward. You have a compass at the bottom of your screen, and the direction of your current objective is very plainly marked. But getting from point A to point B is never as simple as running in a straight line, as you'll be conducting full-scale assaults in Middle Eastern countries by moving from house to house, taking out what seems like a never-ending stream of enemy troops along the way. You'll also get an opportunity to raid Russian farmhouses in search of terrorist leaders, disguise yourself as the enemy, and, in one sequence, don a brushlike ghillie suit and crawl through the brush as enemy troops and tanks roll right past you. It's a breathtaking moment in a campaign filled with breathtaking moments. Unfortunately, it's about half as long as the average shooter, and there are plenty of sequences where you wish there were just one or two more hills to take.

Of course, if you're looking for longevity, that's where the multiplayer comes in. Up to 18 players can get online and get into a match on one of 16 different maps. Many of the levels are taken from portions of the single-player and they offer a healthy mix of wide-open, sniper-friendly areas and tight, almost cramped spaces where grenades and shotguns are the order of the day. There are six game modes to choose from. The old standby is team deathmatch, though you can also play in a free-for-all deathmatch, which isn't as much fun as the team modes. The other modes are more objective-oriented, and a couple of those have you lugging bombs across the map to blow up enemy equipment, or preventing the enemy from blowing up your base. Others have you capturing control points. Lastly, you can change up the game rules a bit with a hardcore setting that makes weapons more realistically damaging or an old-school mode that puts weapons on the ground as pickups and generally moves away from the simulation side of things.


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Enter the Matrix

Enter the Matrix

Enter the Matrix focuses on two side characters named Niobe and Ghost. You'll see both characters sparingly throughout the film, but they rarely get any meaningful screen time. However, it's assumed that the duo is off doing something important when they aren't hanging out with Neo, Trinity, and the rest of the film's principal characters. The game proves that assumption correct, as you'll pick up the story just after the conclusion of one of the short stories that make up The Animatrix and make your way from mission to mission until you reach the game's conclusion, which takes place around the same time as the end of the film. The game's story is very fast and loose, and it assumes that you're already familiar with the film. Even the game's FMV ending is little more than a "Whew, that was close" sequence with a trailer for the film thrown in for good measure. There is a smattering of FMV used throughout the game, but most of the noninteractive sequences are rendered with the game's engine.

Enter the Matrix's engine delivers a pretty standard third-person action game. You're able to fire weapons and engage in hand-to-hand combat against a collection of foes. Most of the fighting puts you up against security guards, cops, and SWAT forces, but you'll also face the Matrix's own brand of vampires, as well as a couple of well-placed run-ins with life-threatening agents. The game is objective-driven. It opens with your character in a post office, trying to get to a specific PO box to retrieve some information. As you make your way through the game, you'll chase after airplanes in an SUV, rescue captured rebels, navigate a sewer system, destroy a nuclear power plant, and fight off a sentinel attack from on board your ship, the Logos. None of the objectives are fleshed out terribly well, and it's difficult to really get a feel for what, exactly, your team is doing and how, exactly, it ties into the plot of the film. Sections also stop and start very, very abruptly, as the game pauses to load up new sequences or give you the opportunity to save quite often.

The Matrix may have been credited with bringing the slow-motion "bullet time" effect to the big screen, but games like Max Payne have already brought the effect--which slows time down to give you cleaner shots and more control of your character--to video games. Enter the Matrix, of course, uses this effect, and it's governed by a "focus" meter. You can use focus at the touch of a button, and it does things like let you run up walls, jump farther, and cartwheel out of the way of oncoming bullets. The ironic thing is that you really don't need to use the effect all that often, as the enemy AI is easily dispatched by hitting the action button to disarm them and then finishing up with some quick punches and kicks. You'll pick up an array of guns along the way, and it's quite easy to just pump enemies full of lead rather than bother with your kung fu skills. The AI in the game is also a bit of a mess, so you can expect to see things like enemy cops running into a wall and staying there, enemies clipping through walls and doors instead of running around to get to you, and so on. The game is rarely difficult, and like in Activision's recent movie game, X2: Wolverine's Revenge, you can simply stand still for a minute or so and regain all your health, which takes away almost all the tension. Short chapters and frequent saves combine to prevent you from ever having to replay lengthy sequences, should you actually die.

Enter the Matrix's most heinous flaw is that it draws from a highly stylized universe but fails to capitalize on any of those strengths. Even though your characters will occasionally make some pretty daring escapes, you never actually get to do those things yourself. The game lets you run right up to the ledge, for example, but an in-engine cutscene always kicks in just as you're about to jump off. Also, some of the effects just look hokey. The game's subpar animation prevents most of your acrobatics from looking particularly good, and little touches, like the way the agents become a blur when they move to dodge bullets in the film, are totally missing here--which is especially silly, because it makes the agents look like they're trying to dance whenever shots are fired in their direction. Even the game's final sequence, which has you either piloting or covering the Logos as it runs from a ton of sentinels, seems ill-conceived. Perhaps it's fitting that a game with so much full-motion video has an end sequence that plays like it was taken directly from a Sega CD game--namely, Sewer Shark.


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Monday, March 3, 2008

Medal of Honor: Airborne


Medal of Honor: Airborne


The single-player campaign doesn't get cooking until the last two levels, but those two levels combined with solid multiplayer make it worth enlisting in Airborne.

It seems you can't read a preview or review of a World War II-based FPS without hearing about how many games there are in the genre. With good reason, too--it's a crowded one. But just because there are a lot of them doesn't mean there can't be some good ones. Medal of Honor: Airborne is one such game. It starts off really slow, and the whole parachuting hook is little more than a gimmick; but later on the game realizes its potential and gets good.

There's not much of a story to Airborne. It's WWII; Nazis need killing and the world needs saving. You're in the Airborne division, so you'll be jumping out of planes and doing your part to swing the war in the Allies' favor. Before each mission you're given a brief rundown on what's going on and list of objectives to accomplish. Rather than spawning on the battlefield you'll arrive in style by parachuting out of a plane. As you fall to the ground you'll want to maneuver toward green smoke, which indicates a safe landing zone. In theory, parachuting into the level is supposed to open up a whole new style of play. You're free to land wherever you want, but invisible walls prevent you from getting too clever, and nine times out of 10, when you do land somewhere other than the safe zone you'll end up dead in a matter of seconds. There are some special landing zones to discover and sometimes these areas will provide you with an advantageous starting point, but because you find most of these locations when you're already on the ground, they're of little use.

Once on the ground you'll take on waves of Axis soldiers over the course of the game's six levels. Six levels might not sound like a lot, but each generally takes an hour or more to complete, so it'll probably take most people around eight hours to finish the game. Your objectives are shown on your radar and you're free to tackle them in whatever order you choose. Between choosing your starting location and being able to pick what to take on first it might sound like there's a lot of freedom here, but there's really not--you can't start from many different places, and you have to do the same tasks regardless of the order you start them. Mission objectives range from blowing up AA guns to clearing buildings of enemy soldiers, taking out tanks, and detonating lots of explosives. On their own these tasks aren't anything unique, but because the levels are so long and feature so many objectives you often feel as though you're performing monumental feats rather than routine tasks.

The first three levels aren't very interesting. They're fairly linear, take place in unexciting settings, and don't play to the game's strengths. Starting with the fourth level the game picks up since you're given more freedom as to how you want to tackle the levels. You might decide to climb towers to take out snipers (their position is given away by a reflection off their scope), clear the area of ground troops, and then make your way into a building, while a different player might head to the building first, clear the ground troups second, and hide from the snipers rather than kill them. The game's artificial intelligence isn't very good, but at least it's aggressive. You can pick off guys as they peek around corners, but they won't just take it lying down. They'll spray bullets in your direction without looking, and they're rather fond of blindly tossing grenades over their backs. If you get too close or they get some reinforcements, enemy soldiers will charge right at you and inflict serious damage until you can fend them off with your weak melee attacks.


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Half-Life 2

Half-Life 2

Half-Life 2 is a very impressive and engaging shooter, and a faithful follow-up to one of the greatest PC games of all time.

It's hard to believe that, prior to Half-Life 2, Valve had really made only one game. Of course, it was a masterpiece. Half-Life single-handedly reinvented the first-person shooter, putting the emphasis on cinematic pacing and complete immersion in the experience. As a result, it paved the way for many of the outstanding first-person shooters that have followed. And while there was little question that there would eventually be a sequel, no one could have imagined the long and torturous development process that led to Half-Life 2. Well, it's time to forget about that, because Half-Life 2 has arrived. And, in many ways, this big-budget sequel does what it sets out to do: Half-Life 2 is a technically amazing, sharply honed first-person shooter that pulls all the tricks that made Half-Life such a beloved experience. With that said, many of those tricks feel more than a bit familiar now, and the game itself is saddled with a disappointing story. Still, that doesn't stop Half-Life 2 from being a very impressive and engaging shooter, and a faithful follow-up to one of the greatest PC games of all time.

In Half-Life 2, you once again assume the role of Gordon Freeman, the theoretical physicist and dimension-hopping commando who saved the world from an alien invasion at the end of Half-Life. Or did he? Half-Life 2 starts you off facing the infamous G-Man, the mysterious blue-suited character from the first game. At the end of Half-Life, the G-Man offered you a choice: work for him or die. Since there would be no sequel if you chose the latter, Half-Life 2 assumes you chose the former, and you start the game in a train entering City 17 for your introduction into this new world.

City 17 is a run-down urban center that's the equivalent of the Warsaw ghettos during World War II, but instead of Jews being rounded up to live in City 17, it's all the remnants of a defeated humanity. Half-Life 2 takes place an untold number of years after the Black Mesa incident, but it's clear that much has changed. A mysterious enemy known as the Combine has conquered the planet and installed a human puppet government to carry out its rule. Black-clad security forces patrol the streets, while propaganda blares endlessly from omnipresent video screens. If there's one thing that Valve does extremely well, it's capture a sense of atmosphere--this vision of a dystopian police state is chillingly effective. But you won't spend a lot of time soaking in the scene before you're thrust into the struggle to defeat the Combine and free humanity.

As soon as the shooting begins you'll join an essentially nonstop battle that will last the remainder of the game. Like the original Half-Life, Half-Life 2 is presented as a nearly seamless experience--you play entirely from Gordon Freeman's perspective, there are no cutscenes or perspective changes to take you out of the moment, and are there no narrative jumps that skip ahead in time. (At least, there are none from your perspective.) There also aren't very many long loading times to interrupt the flow of the game, as all the levels are discreetly broken into sections, and when you transition from one section to another, there's only a slight pause for the new section to load (at least, on a high-end PC). Put it all together and the game's single-player campaign, which will probably take you between 15 and 20 hours to complete, comes off as a very long day in the extraordinary life of Gordon Freeman.


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Marine Sharpshooter 3

Marine Sharpshooter 3

Still, at least the game is topical. Marine Sharpshooter 3 kicks off with a Mahmoud Ahmadinejad soundalike at a press conference where he claims that Iran is no threat to the world and that "using nuclear weapons is against the rules of Islam." Uh-huh. It's a good thing that the US doesn't believe that nonsense because it turns out that the Iranians are both messing around with nukes and arming terrorists in nearby Iraq. So what starts as a recon mission where you're ordered not to engage the enemy unless absolutely necessary soon turns into a search-and-destroy crusade where you gun down everybody you see. "Absolutely necessary" actually comes into play right after receiving the above directive because you have to kill a half-dozen Iranian soldiers within a minute of starting the game. So much for the sanctions.

The levels resemble movie sets more than war zones. Virtually all of the terrain and architecture could have been excerpted from any of a dozen clichéd World War II shooters based on the Unreal engine. Nothing here is particularly awful, it's all just really uninspired. For example, perishing enemies display ridiculous rag-doll contortions that would put Cirque de Soleil to shame, and baddies never seem to say anything other than "Take cover!" or "Send for reinforcements!" during battle. It's amazing how so many Arab and Iranian terrorists speak such good English.

There is little to no enemy artificial intelligence in this shooting gallery either, so these acrobatic bad guys materialize from around corners, pop up from behind boxes, and appear in the back of trucks like rabbits out of hats. The jihadist thugs just stand in place shooting at you, ignoring cover inches away or running headlong at your position. Smarts are only on display during close-up firefights with pistols or machine guns, which is when you will occasionally get flanked. But most of the time, it's more like these terrorists are mindlessly running around rather than trying to save their skins or trying to kill you.

The friendly AI is even dumber than your enemies. You can swap between the titular sniper and a machine gun-armed spotter on demand, although both are brain-dead when running on autopilot. For starters, your so-called ally doesn't even bother to fire back at enemies blasting away at you much of the time. Movement and attack commands given through the simple order screen never seem to be obeyed. If you tell your pal to act aggressively, he'll just freeze in place until you tell him to follow you. Even when your teammate does actually do something like shoot back, he can't hit the broad side of a mosque. The only thing he can do is block your way in narrow corridors or on stairwells because the AI isn't even swift enough to get the hell out of the road when you're pushing to get past.

It's best to forget about having a teammate and solo through missions as the sniper until you run out of ammo, then switch to the spotter to blast through the final stages. Solo missions in the campaign (there is no multiplayer) are so formulaic that this approach works perfectly. You run forward, stop and crouch when you start taking enemy fire, then go to the scope to kill all of the swarthy terrorist types in sight. Lather, rinse, repeat. Objectives typically involve straight assassinations, or recon missions that play like straight assassinations, because you can't wrap anything without stacking up quite a few bodies.


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Call of Duty 2

Call of Duty 2

If you liked the original Call of Duty, then you're sure to enjoy the sequel, which stays true to the strengths of its predecessor.

Each of the game's 10 missions is broken up into a few different stages. If you play the game on regular difficulty, you could blow through it in about 10 hours. Ratcheting up the difficulty a notch makes the game much harder and more tactical (this is probably the experience the designers intended). Since you'll be creeping and peeking more carefully through all the encounters, you'll lengthen the campaign significantly, and enjoy it more.

Breaking up the campaign into several different narrative vignettes arguably weakens the impact of the plot as a whole, although that was never the strength of Call of Duty in the first place. What this does is allow the designers to put you in a lot of different, interesting situations. One memorable moment in the Russian campaign has you crawling through a raised pipeline to sneak behind German lines and into a fortified factory building. As you make your way through the pipeline, you'll spot and snipe small pockets of German infantry through holes in the pipe. When they fire back up at you, you'll notice bullets tearing through the rusted pipe, ripping open holes for shafts of light to poke through. It's a thrilling effect. You'll also get quite a rush from both participating in and defending against all-out infantry charges across open city squares in Stalingrad. But just as the novelty of these wears off, you're shunted over to the British campaign in North Africa, where you'll do things like participate in night raids of small Tunisian towns, climb up to the top of spires to call in artillery on enemy tanks, and even drive a tank yourself. The American campaign has its own memorable moments, like scaling the cliffs of Pointe du Hoc, or sniping at German mortar crews from the top of a grain silo. The game paces itself so that you're always on your toes, and you'll find yourself switching back and forth almost constantly from an offensive position to making a defensive stand against counterattacks on the objective you've just captured. Yes, at the end of the day you're still just shooting a lot of Nazis, but the constantly varying contexts of how and why you're doing it keep the game compelling from start to finish.

In each confrontation, you'll find yourself setting up at logical stopping points to exchange fire with German resistance. You can snipe dozens of enemies out of the windows and from the trenches in front of a house, for example, but reinforcements replace them. It never feels as though the game is cheaply spawning in more fodder for you; it just does a great job of making you feel like there are a realistic number of soldiers holed up in a building. You need to get a feel for the flow of each pitched battle, and this can be done by advancing your line when the enemy ranks look thin enough, and then breaking into the house or bunker. Your allies will follow you in and help you clear out the objective. Of course, if you're too meek at attacking and pressing your advantage, the enemy AI is wily and aggressive enough to take charge. They're not afraid to pour fire on your position and toss tons of grenades at you. Thankfully, a handy grenade danger indicator lets you know when and where you have to scurry away from an impending blast. When you do die, the game reloads very quickly, and you're even treated to a quote about war from various historical figures. One that sticks out in our minds is an ironic one from Solomon Short: "The only winner in the War of 1812 was Tchaikovsky."


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