Showing posts with label Xbox. Show all posts
Showing posts with label Xbox. Show all posts

Saturday, January 3, 2009

Call of Duty: World at War (Xbox 360, 2008)

Having never played much Call of Duty 4, I am likely exactly the kind of reviewer that Treyarch wants for their latest foray into WW2 shooters, Call of Duty: World at War. Someone who is fresh to the experience and won't see everything through Modern Warfare-tinted lenses is a rather unique thing, as the previous game from Infinity Ward was tremendously popular, and likely lead to a lot of the interest in World at War. In a rather amusing twist, World at War is so good that it's made me want to play Modern Warfare next.

I have never been much of a console shooter player. I was a semi-competitive Quake player back in the day, and played in Cal leagues for Counterstrike in my post-high school years. Firmly entrenched in my PC roots, I saw no reason to move to inferior control schemes, bad multiplayer matchmaking, and an insurmountable lack of mods for the likes of Halo. Call of Duty: World at War is the first real console FPS that I've enjoyed in a very, very long time.

The singleplayer campaign isn't fantastic, but it does have it's moments. Slinging lead in the Pacific theater as Private Miller, you'll be treated to Japanese Banzai attacks, hopelessly doomed beach assaults, and the iconic voice of Kiefer Sutherland as Corporal Roebuck guiding you through it all. The Soviet missions have you taking on the role of Private Dimitri Petrenko, whose superpower is apparently immortality coupled with an amazing ability to never get promoted despite accomplishing feats of warfare that would make the great generals of history weep. The Soviet missions tend to be a bit more urban-oriented, and I challenge you to recognize Gary Oldman as the voice of your snipin' Sergeant Reznov.

If you feel yourself swaying more towards the "buy it" side of the fence, allow me to give you a short exercise that will increase your survivability a thousandfold in World at War. Pick up a 360 controller and hold it as you would while playing any FPS game. Now, hit the right bumper button. A lot. Keep going. Yep, keep going. Do this for a few solid minutes, until your finger is about ready to rebel and attack your soft, fleshy parts with a vicious mutiny of nail-scratching fury. The cause of all this bodily strain? Grenades. Call of Duty: World at War requires that you can hit the RB within milliseconds of an on-screen indicator showing up in order to stay alive. It's a great idea in theory; you can throw grenades back at your enemy and stay alive in the meantime. However, the system relies on a grenade detection warning flashing up on your screen that simply does not always work. Equally annoying are the number of times in the singleplayer campaigns where you turn a corner into a grenade that the seemingly clairvoyant AI threw at you just long enough ago to make it explode the moment you try to pick it up.

World at War is an extremely unforgiving singleplayer experience on it's harder difficulty settings. Priding myself on my background with shooters, I decided to at least jump in at the Harder (though not quite Veteran) level. Though easy enough at first, some levels had me throwing the controller around the room and pulling out what little is left of my hair in frustration. I wasn't dying because I was playing badly, I was dying because there simply was no chance to live amongst the torrential hail of grenades the enemy kept throwing my way. If I knew now what I knew then, I would simply skip the singleplayer campaign and go right to the excellent multiplayer offering, but I was lured in by the fact that almost all of the achievements are for singleplayer. Yes, you read that right. Call of Duty: World at War has very few multiplayer achievements of any kind. There are a few co-op ones and a couple of multiplayer ones scattered about, but the bulk of the achievements are for the singleplayer campaign, and a rather large portion of THOSE are for playing on Veteran difficulty. Not my cup of tea, thanks, but it does speak to how highly Treyarch thinks of their own singleplayer experience, I suppose.

The bulk of my time with World at War has been spent in the multiplayer. I haven't had this much fun (or frustration) with a multiplayer console shooter since the original Gears of War, and certainly not with any other FPS. Perhaps it's because this is the first time I've been introduced to the enthralling levelling/class/perk system, which allows the player to gain experience points by killing enemies or completing challenges in multiplayer matches in order to customize their loadouts and abilities. Perhaps it's because I love World War 2 weapons and using them on the virtual battlefield. Perhaps it's because every time I hear the cheesy ass announcer screech "VICTORY FOR GERMANYYYY" when my team steamrolls some Cossaks I get a chill up my spine. (Side note - do the Japanese really always have to talk about shame and dishonor? Come on guys, you can do better than that.) Perhaps it's a combination of all of those things and more, but the point is that World at War does console multiplayer right.

There are some nicks on the surface, though. At the start, you're going to feel dramatically underpowered compared to everyone else. They all have better weapons than you, better perks than you, and they're going to be running circles around you on the maps that you don't know yet. It can be a little intimidating, but a few games in and you'll be hooked, trying to unlock the damned STG 44 that's killed you a dozen times in the past three minutes. The maps, while fantastic setpieces for a firefight, have some problems. Since they have multiple pathways which allow for deep flanking maneuvers, you're either going to be giddy as a schoolboy to sneak up on your enemy snipers unawares, or about to burst at the seams with rage because you just spawned right on top of three flanking enemy soldiers and didn't even have a chance to fire your weapon before they blew you away. Just when you think it can't get any worse, you'll respawn just close enough for their movement to catch you a second time, or for their grenade to land right at your feet as you come to life, eager for revenge. This happens a little too often for my tastes, and means that sometimes you're going to lose, and you're going to lose hard. The attack dogs that you or your opponent can call in after a seven-kill streak seem to be capable of Matrix-style bullet dodging, and your connection most definitely will affect how well you will play more than I like in any game that doesn't let me pick my own damned server.

No matter the problems, though, World at War accomplishes something that I, the great game cynic, never thought possible. It sucked me into a really fun console shooter with multiplayer, and impressed the living hell out of me. In spite of my gripes and preconceived notions about console shooters, I've played it almost every day for the past couple of weeks, and I have no intention of stopping any time soon. Treyarch have produced the pinnacle of modern (ha!) WW2 shooters here, and it's not to be missed.

Verdict: Win [8.5/10] (Seriously, fuck the STG)

Monday, October 20, 2008

Phantom Dust (2004)


The world is unfair: good guys never win, birds congregate above your car and Soulja Boy has a career. Keeping pace with these mockeries of justice is the fact that Phantom Dust for the original Xbox is not a million-selling household name.

Describing Phantom Dust to the uninitiated can be a daunting task, and the most curious aspect of the title is the original style of gameplay: what if Magic: The Gathering, arena-style deathmatches and action RPGs were all featured on a single episode of Will it Blend? The answer to the show's titular question is a "yes" as definite as it seems unlikely, and quite well at that. The meat of the game is matches between 2 to 4 participants in a number of post-apocalyptic urban arenas. Your only weapons are "Skills", cards essentially, drawn from your Arsenal (deck) in static spawn points placed around the levels. Phantom Dust's range of 300+ skills is ocean wide and deep, spanning everything from the expected simple fireball to reflective shields to skills that change the the dynamics of the rules themselves. The variety and well-balanced nature of the Skill sets demand that your Arsenal's strategic design and application are the highest priority; only death awaits the reckless. This is I suppose a blessing and a curse, the fact that everyone is playing Halo 3 on Xbox Live instead of this is a fucking tragedy.

The graphics are fantastic for an Xbox game and hold up well even today as 2008 wanes. The character design is not for everyone but is certainly unique, the environments are universally well-realized and gloriously destructible, bringing further tactical possibilities to the table. Cinematics are well-done and the (admittedly rare) voice acting is no worse than average.

But in spite of Phantom Dust's general excellence in gameplay and design, it is the story that burns the game into this mind. You are one of two men, found and raised from slumber in iron coffins by strangers in a strange land. The protagonist and his counterpart, a man called Edgar, awake after your recovery in a makeshift medical bay in an underground sanctuary, the only collection of life anyone knows of. You are greeted by a man you don't remember, but you realize you don't even remember who you are.

The world is over, the surface irrevocably blanketed by a mysterious dust for which the game is named. The dust steals the memories from anyone exposed to it for longer than fifteen minutes or so, and the only refuge from infinite amnesia lies underground. To some, this anti-mnemonic miasma grants a gift in return for what it takes away: the ability to physically manifest their will. This is the source of Skills, psychic evocations explained as being contained within the spheres of dust to be found around the surface, and the player and Edgar are of course two of the... "lucky" ones, if such a thing exists in such a bleak world. The only thing that anyone really remembers are the thing everyone remembers: the vision of some unknown ruins haunting every survivor for as far back as their memories reach. No one knows anything about them but the survivors have made it their mission to find these ruins, compelled to find some meaning on a derelict earth. The story continues on from there on to an ending that must be experienced firsthand.

The music is worthy of special note; rarely is a score, video game or otherwise, so piercingly apropos. The violin, dischordant and alone but for a faint echo serves as metaphor for existence for Phantom Dust's sparse populace, a desperate wavering warmth in a tundra of solitude. Even the upbeat, static-filtered combat themes rarely involve more than a couple of instruments, again a metaphor for loneliness: the bitterness of combat is aggrandized by the knowledge that your brief respite from isolation ends only with your victory or death, and all that awaits the survivor is the familiar oppressive loneliness intensified.

The absolute saddest thing of all is that all but no one has played this game. Debuting at only $19.99 retail, this game should have been in every house with an Xbox, but Phantom Dust rewards thoughtful analysis instead of headshots so nobody gave it the chance it deserved. Considering this, the game's lonely atmosphere becomes dramatically ironic.

Verdict: Epic Win

http://www.phantom-dust.com/