Review: Dead Space

2009.04.16

For years now, EA games hasn’t been a publisher gamers look towards for original, quality IPs. The company seems interested in changing this image, however, and Dead Space is an excellent step in the right direction. It’s not that we haven’t seen these mechanics and concepts before - but rarely are they so flawlessly executed. Dead Space combines a finely tuned shooter experience with survival horror elements, complete with a compelling story and an incredibly oppressive atmosphere. All considered, this is one of the most impressively terrifying videogames ever created.

Oh shit.

Oh shit.


Dead Space is set thousands of years in the future, in an age where interstellar travel is standard. Humanity now relies on giant space stations known as Planet Crackers for survival. These ships literally crack open entire planets and extract nutrients and resources contained therein. At the game’s outset, silent protagonist Isaac Clarke (kudos to those who catch the references in his name) is with a rescue team responding to a distress call from the U.S.G Ishimura - the largest planet cracker in her class. Of course, upon arriving, it’s quickly realized that things are a horrible mess. The crew has been slaughtered, and the ship is crawling with terrifying alien creatures known as Necromorphs. Isaac, with the help of a few friends who can only communicate with him remotely, must now fight his way through the dark halls of the Ishimura in a desperate attempt to find a way out - and to uncover the secret behind this nightmare.

Dead Space doesn’t lay on the narrative layers very thickly, but what’s there is engaging enough to keep the game moving. After a few hours, the player will likely be determined to find out what, exactly is going on here, and how our hero is going to overcome his seemingly hopeless situation. The presentation is done will, with practically no non-interactive cutscenes to be found. Dead Space takes a page from BioShock in this sense; all plot development is done through video transmissions from your allies, as well as numerous text, audio, and video logs found throughout the ship that chronicle the crew’s struggle before they were all killed. Never do cutscenes break the action - video transmissions hover in front of Isaac as they play, allowing the game to continue uninterrupted.

Don't bother looking now...

Don't bother looking now...


The gameplay is extremely fine-tuned, and extremely terrifying. Dead Space is perhaps best described as a “limited-ammo shooter,” and it pulls off this concept extremely well. The player will constantly find himself being assaulted by a wide variety of enemies, often many at a time. Unlike the vast majority of shooters that encourage the player to aim at the head, to effectively defeat the Necromorphs, the player is forced to aim for the limbs. A headshot will often merely aggravate them. A reserve of Stasis Energy allows Isaac to temporarily freeze enemies in place, but this must be used sparingly. There’s never too little ammo or resources for the game to become frustrating, but at the same time, there’s rarely enough for the player to feel overpowered against the threats that lurk onboard the Ishimura. While mission structure in Dead Space can often be repetetive, the game’s combat is always a very intense experience, and should keep players entertained from beginning to end.

Outside of combat, Dead Space does feature some light puzzle-solving elements, and these are usually quite well-done. They’re never particularly challenging, but they’re not insultingly simple either. Many of them take place in the game’s “Zero Gravity” segments, which are essentially what they sound like - certain portions of the Ishimura are devoid of gravity, allowing for some mind-bendingly fun sequences. However, some of these sequences are also devoid of oxygen, which couples the puzzle with a time constraint.

The sound design in Dead Space is practically without peer, and without question, is the most frightening component of the game’s design. The sounds of aliens screaming and skittering back and forth through the Ishimura’s airvents is ever-present, accounting for a consistent feeling of unease - it’s impossible to know when an attack will come. Demented members of the crew who miraculously survived can be heard singing disturbed songs over the intercoms, or simply whimpering in fear. Aside from that, the voice acting is extremely well-done across the board - especially given the extreme situations the characters are in, it’s remarkable how realistically the voicework comes across.

The graphics in Dead Space are just as beautiful and frightening as the rest of the game is. The metallic halls of the Ishimura are often shrouded in darkness, or even worse, adorned with lights that flicker on and off. Bloody corpses litter the halls, complete with gruesome detail. The Necromorphs are extremely well-designed, and move with terrifying realism. Dead Space is one of the best-looking games available.

Dead Space is a terrifying experience on every conceivable level. Wandering the empty halls in fear is every bit as intense and frightening as battling off a drove of flesh-eating Necromorphs. But there’s more here than scares; the game also packs an engaging plot and some highly refined and entertaining gunplay. The only notable complaint is the game’s repetetive mission structure, but the intense combat and atmosphere more than compensate for that. Survival-horror fans shouldn’t miss this one, and neither should fans of action-adventures/shooters who can handle the scares.


Editorial: BioShock Me

2009.04.11

2K’s critically acclaimed action-adventure, BioShock, happens to be one of my all-time favorite videogames. The gameplay is varied, fast-paced, and fun. The story is fantastic both in content and execution. The atmosphere generated by the ruined paradise of Rapture is unrivalled by any other videogame ever created. Obviously that’s a very brief overview of what makes the game great, but going into detail would result in an editorial thousands of words long. If anyone has yet to play this modern classic, they should stop right now and go remedy this fact.

Along with its critical acclaim came commercial success, so of course, a sequel is in development. Over the last month or so, 2K Marin has seen fit to release the first tidbits of information concerning our impending return to Rapture. A number of juicy details have been unveiled, but not enough yet to answer this basic question:

Will a direct sequel to BioShock work?

Hugs!

Strangely touching.


It could be said that the “main character” of the original BioShock was the city itself: Rapture. The chilling story behind this failed attempt to create paradise on earth was the main draw to the story, and the primary component of the game’s unbelievably heavy atmosphere. But despite the many secrets it held, by the time the end of the game was upon me, I felt that I had seen all there was to see. This was hardly a bad thing - the feeling of completion was very rewarding. So, to be frank, my gut reaction when I heard that BioShock 2 would once again be set in Rapture was a tad skeptical. I thought to myself, “is there really much more to see?” And even more importantly, will Rapture be able to generate the same emotional response from me a second time around? Or will I constantly be aware of the fact that I’ve seen it before?

I’m remaining optimistic, of course. I found the recent article in Game Informer quite assuring, actually. “Keeping the rapture setting fresh is a driving motive here,” says Jordan Thomas, BioShock 2’s Creative Director. “There are still surprises to come.”

Touching briefly on the original BioShock’s emphasis on philosophical principles in its storytelling, Thomas also said “We’re using what players understand of BioShock 1 and what they understand about Rapture to spring into other ideas. It wouldn’t really be BioShock if you don’t end up thinking about it and the ideas behind the environment you’re standing in.”

I certainly hope he remains true to his word. BioShock isn’t about flashy plasmid powers, guns, or how cool the Big Daddies look. Thomas seems to understand this, but when I hear rumblings of a possible multiplayer mode, I’m forced to wonder. To be sure, though, to take source material as rich as the original BioShock and find a way to screw it up would have to be difficult.

…or would it?


Review: Shin Megami Tensei: Persona 4

2009.04.04

In 2007, Atlus stunned RPG fans with Shin Megami Tensei: Persona 3, an ambitious take on the genre that had never quite been seen before. Part dungeon crawl, part relationship simulator, all awesome, Persona 3 and its subsequent re-release, Persona 3: FES won the hearts of many with its outstanding dialogue, addicting Social Links, and solid turn-based combat. A little over a year later, Persona 4 aims to do the same thing - exactly the same thing, in fact. Those familiar with Persona 3 will find almost nothing new here. However, they will find yet another incredibly unique, addictive, and well-polished JRPG experience, complete with some minor changes here and there that keep the game from feeling like a port of its predecessor.

Meet yourself.

Meet yourself.


Persona 4 again puts the player in the shoes of a silent protagonist. This time around he’s a city boy forced to spend a year with his uncle and young cousin in a (fictional) rural area of Japan called Inaba. Things don’t stay quiet in the small town for long, as a series of bizarre murders break out. With the help of his fellow friends and party members, the protagonist determines that the murders are somehow linked to a mystical world found… inside a television set. Persona 4 plays out like a first-rate murder mystery, with twists, turns, and shocks aplenty. The darker atmosphere of Persona 3 is gone, replaced by a trippier, Tim Burton-esque feel. And, like Persona 3, it’s occasionally rather disturbing. It’s really quite good, and in fact, the main plot represents quite an improvement over Persona 3. The pacing is much better, largely devoid of the long, awkward pauses that plagued Persona 3’s narrative.

The most impressive aspect of the story, however, is the characters. Like its predecessor, the cast of Persona 4 is a very likeable, realistic, well-developed group of individuals. Tired Japanese archetypes are carefully avoided, and the result is a group of people who actually talk and act like… well, real people. They’re not just likeable, they have substance.

Unsurprisingly, the game plays almost identically to Persona 3. Time is split between the everyday functions of a high school student and delving into the mysterious TV world. The structure of the dungeon crawling is a bit different this time around. In Persona 3 there was no goal in mind other than to advance higher and higher in Tartarus, and the player could do so practically at their own leisure. In Persona 4 the player must visit multiple dungeons within the TV world, with a specific goal in mind every time. This goal always involves rescuing someone who is trapped inside, and if the dungeon isn’t completed within a certain timeframe, the victim will die and the game will end. That said, more than enough time is given; the dungeons can often be completed in less than a week (by the game’s internal calendar), leaving plenty of time for other activities.

Once inside these dungeons, players will be back on familiar ground. There’s a lot more diversity this time around, although they are still randomly generated. The excellent combat from Persona 3 returns with a few minor changes. Enemies appear onscreen, and coming in contact with one triggers a battle. Combat is turn-based, with party members summoning their respective Personas to fight for them. The key to battles is exploiting the weaknesses of enemies in order to knock them off-balance. If an entire group of enemies is floored, the player can unleash an “all-out attack,” which will inflict massive damage. Unlike in Persona 3, enemies will no longer lose a turn when knocked down - when their turn comes, they will simply get up and take action normally. The same holds true for the party members, however. This change may seem minor, but in practice, it removes an entire dimension from combat - now, it’s really only worthwhile to exploit enemy weaknesses if it’s possible to knock them all off-balance, and subsequently, pull off an all-out attack. In Persona 3, even if it wasn’t possible to floor them all, it was a worthwhile strategy to floor whatever enemies possible, and in doing so make them lose a turn.

Persona 4 features one of the best turn-based combat systems to be found.

Persona 4 features one of the best turn-based combat systems to be found.


One major improvement that has been made, however, is the implementation of manual control for fellow party members. No longer is the player forced to sit and watch helplessly as party members burn through SP needlessly, refuse to heal status effects, or simply refuse to take any action at all. Because of this, an already spectacular combat system has been made even better; more complex and effective battle strategies can be formed, and the frustrating feeling of helplessness present in Persona 3 is gone. However, Boss battles tend to be more annoying this time around, because the majority of them have no elemental weaknesses. What this means in practice is that most boss battles boil down to pounding away with your most powerful attacks and healing every round. They often present very little in the way of challenge, but to make up for this, Atlus made sure to give each of them astronomically high HP totals. In short, most of the boss battles in Persona 4 just plain suck.

Outside of the game’s labyrinthine dungeons, the player will spend time living the life of a high school student. This includes going to school, studying, working part-time jobs, and of course, spending time with friends - AKA, Social Links. The system is largely the same as it was in Persona 3, with each social link corresponding to a particular Persona type. (Arcana). Developing and raising these links allows for the fusion of more powerful Personas of those particular Arcana. And be assured, it’s quite necessary to fuse Personas - you can aquire them in the game’s dungeons, but they are extremely weak compared to what can be achieved through fusion.

A welcome change this time around is the ability to develop social links with each and every party member. Better still, developing links with party members grants them benefits in battle; i.e. the ability to take a fatal blow for the protagonist, or to pull off a powerful “follow-up” attack when an enemy has been knocked down. However, Social Links aren’t good simply for utilitarian functions - they’re really quite fun to witness. The scripting is excellent, often quite funny and always entertaining. Also, Social Links with party members contain a lot of character developments that aren’t present in the game’s main storyline.

Shoji Meguro has outdone himself with the game’s soundtrack, which is once again one of the more unique audio experiences to be found in a JRPG. The music has a J-pop feel to it, rather than the hip-hop style present in Persona 3. The orchestral compositions are excellent as well. Voice acting is a bit of a mixed bag, and perhaps not quite as solid as it was in Persona 3. That’s not to say it’s bad; the voice actors for Kanji and Teddy (Troy Baker and Dave Wittenberg) stand out for their excellence. On the other hand, though, Yukiko (Amanda Winn Lee) consistently manages to induce cringing, and while Yosuke (Yuri Lowenthal) generally sounds excellent, he has a tendency to devolve into anime-esque overacting. In all likelihood, the quality of the voice acting will depend on the personal taste of the player.

Persona 4 is a long game, clocking in at around the 80 hour mark, but it’s well worth the time investment. With a truly engaging storyline, an extremely well-written (and extremely robust) script, a spectacular cast, and highly addictive gameplay, this is an easy recommendation to any fan of JRPGs.


Editorial: On OnLive

2009.03.28

The internet is taking over the world.

By now you’ve likely heard of OnLive. Ethan briefly mentioned it in his GDC roundup yesterday, and among the news that emerged from the show, OnLive’s announcement has made the biggest media splash. For those of you who aren’t quite familiar with how it works, allow me to break it down for you: OnLive is essentially a videogame on demand service. Y’know, kinda like Comcast on-demand, but with videogames instead of TV episodes. Somewhere far away, hundreds and hundreds of games are stored on an OnLive server. The hardware to run the game is within these servers, and all you need is an internet connection to stream the video output to your screen. A speed of 1.5 mbps (Megabits Per Second) is required for standard-definition (480p) video, and 5mbps for HD (720p) video. Games can be streamed onto your computer through the use of a small (reportedly ~1MB) browser plugin, or they can be streamed onto your television screen through the use of a small device called the OnLive MicroConsole. This “console” will have HDMI, USB, Ethernet, and power inputs/outputs. Mouse/Keyboard controls as well as existing gamepads are supported; your button presses would be transmitted back to the OnLive servers via your internet connection. In theory, this business model could render the current model obsolete - OnLive provides the hardware for you. No longer would gamers be required to spend fortunes on game consoles. No longer would you need a superhuman PC to play something like Crysis. You simply pay for the service and the games you want.

Many big-name publishers have already thrown their support behind the service, including Atari, Eidos, Codemasters, Electronic Arts, Epic, Take-Two, THQ, Ubisoft and Warner Bros. Interactive Entertainment. And in a move that surprises absolutely no one, notorious game developer Dennis Dyack has already publicly gushed about how awesome OnLive is going to be. “This model is attractive because it eliminates piracy 100 percent, since the consumer does not have anything to copy and needs only to log into the Cloud to interact,” writes Dyack on
VentureBeat. “Technology is commoditizing the value of hardware to zero and a unified platform will be the likely result. Following this logic to its end, the implication is that hardware could be removed altogether”

Dyack has always been a supporter of the “universal console” concept, as well as a notorious whiner about piracy and the used game market. You can bet he’s happy, because OnLive essentially eliminates all three of those things. And to be sure, OnLive is far more potent that any ridiculous musings over a singular game platform. This is evidenced by the fact that, uh, OnLive is actually a real thing. Or rather, it will be.

Here’s my bottom line: I want to own games, not stream them. I want nice little boxes with pretty artwork on them and shiny game discs inside. I want sleek, attractive hardware of my own, not a server located miles away. And above all, I don’t want my favorite pastime tied to something as sparse and unstable as the internet. Plain and simple, that’s my gut reaction.

Cute.

Cute.


Moving past gut reactions, there are some serious, serious problems with this model. Let’s start with the most obvious: the internet. While the entertainment industry likes to ignore this fact, not everyone has an internet connection, and not everyone has an internet connection fast enough to handle something as robust as OnLive. People living in Podunk TN (as I did for many years) like to play videogames too, after all. OnLive instantly alienates countries with rural, sparsely populated areas… such as the United States. And once you step outside of the States, things become even more grim.

But OnLive not only requires an internet connection, it requires a very fast internet connection in order to view HD content. Further alienation for hardcore gamers who won’t stand to game in anything less than HD, such as myself. Additionally, the highest resolution OnLive can provide is 720p - which, as we all know, is not full HD. Providing 1080 video streams is, quite simply, impossible in this day and age, and likely will be for some time to come.

Technicalities aside, I cannot stress enough how unattractive a business model tied entirely to the internet sounds to me. I don’t know about my fine readers and fellow staff members, but my internet tends to, ah, crash from time to time. Imagine such a tragedy occurring while, say, you’re locked in mortal combat with Persona 4’s final boss. Or, perhaps if your internet doesn’t fail, OnLive’s servers do. Complete reliance on services and providers outside of my control frightens me to no end. Give me an Xbox 360 any day - if it breaks down, at least it’s within my power to get it repaired, or just go pick up a new one.

Obviously, your selection will be limited to whatever OnLive has on their servers. What happens to games 5 years or so after release? Do they vanish into the netherworld, never to be seen or played again? What about the used game market? Will we all be forced to pay full price for games until publishers are nice enough to knock a few bucks off? Hell, I could probably fill up another editorial next week with nothing but more and more complaints about OnLive, because the more you think about it, the more problems come to mind.

I think I’m safe in saying that the vast majority of the gaming community shares my views here. When OnLive launches (which won’t be for some time, I’m sure) it will merely emerge as a competitor to the current console generation, not a serious threat. And here’s a prediction for ya: it ain’t gonna work.


Editorial: Rank Up!

2009.03.21

For the past three months, I have been playing Shin Megami Tensei: Persona 4. This isn’t a rant about games that are too long - you can just look at Ethan’s latest post for that, and it doesn’t apply here anyway. Rather, it’s a short, casual impression of my thoughts on the game that will serve as a precursor to my upcoming review.

I doubt I need to tell anyone this, but Persona 4 plays almost identically to 2007’s Persona 3. This isn’t a bad thing though, and a few tweaks have been made here and there to ensure the game doesn’t feel like a beefed-up port. One of the first things you’ll notice is that the storytelling aspects have been improved, which is a very welcome thing indeed. Persona 3’s biggest flaw was the pacing of the main storyline, which occasionally would sit still for months without a worthwhile development. Persona 4 has its slow spots as well but they aren’t nearly as offensive as they were in its predecessor.

Thank god Atlus wised up and implemented manual control for party members in P4. The stupidity displayed by the A.I in P3 was astonishing, often causing me to scream at my television set in rage. They would burn through SP like it was infinite, attack when they should heal, and refuse to ever, EVER cure status ailments. This meant that, during many of the tougher boss battles, the protagonist become nothing more than a healer/ailment-remover himself, simply because he was the only one we could trust to do it consistently.

you don't date that one

You don’t date that one

And how about those social links, eh? Few other games allow you to build and maintain such a compelling social life. The social links in Persona 4 are possibly the most enjoyable aspects of the game. It’s amusing to consider what it would be like if real-life relationships worked the way they do in the Persona series. No, seriously; think about that for a moment. Wouldn’t it be nice if random schoolmates regularly walked up and introduced themselves with a smile, deciding right then and there that they wanted to be your friend? Wouldn’t it be nicer still if these same people would literally line the hallways, just waiting for their chance to ask you to hang out with them? It gets better still: each and every one of them just so happens to have some complex emotional problem that they deal with on a daily basis. And who is there to help them deal with and eventually overcome these problems? You, of course. This infallibly makes you a friend for life. And in the case of the female social links, (or most of them anyway) well, let’s just say you’re in like flynn. And I’ve always hated that phrase, but it seems the most appropriate.

Speaking of said female social links, Persona 4 once again allows you to acquire and keep multiple girlfriends at a time. In fact, it seems even easier this time around - I just got my fourth, and I’ve never pissed off a single one in the process. Amusingly, P4 lets you choose to either stay friends or “become intimate,” which begs the question of why, exactly anyone would choose the former. It’s not like you’re rewarded with an R-rated sex scene or anything like that, it’s just because… y’know… you can. And isn’t the point of gaming to do stuff you can’t in real life?

That’s how I look at it, in any case. How about you guys? Anyone out there who became intimate with one and only one female during the course of the game? Anyone else find themselves wishing relationships were as comically simplistic as they are here? Anyone else think Persona 4’s greatest fault is the lack of a certain Mitsuru Kirijo?


Review: Watchmen: The End is Nigh

2009.03.14

Many may view an action game wearing the Watchmen name with skepticism, and this is certainly understandable. Alan Moore’s original 12-issue series, published by DC comics in the late 1980s, hardly conformed to norms of the superhero genre. To a slightly lesser extent, this holds true for Zack Snyder’s recently released film adaptation as well, upon which the game is based. Watchmen has been described as a deconstruction of the superhero genre, and to place characters and backdrop of such a franchise into a brutal beat-em-up is certainly deserving of skepticism. But upon actually playing Watchmen: The End is Nigh, fans may find themselves surprised: the franchise’s essence is surprisingly well-preserved here. In addition, the game features solid mechanics and some slick production values.

Watchmen: The End is Nigh is set over 10 years before events of the comic/film, back when Rorschach and Night Owl were partners, battling gang-related crime in the streets of New York. Fans of the comic may recall a scene in which the two briefly reminisced over a battle against a villain named Underboss, and that’s what the story here is about. During a prison riot, Underboss manages to escape and it’s up to Rorschach and Night Owl to track him down again. It’s a very simple story, made enjoyable by a surprisingly well-written script that was penned by none other than Len Wein, a name likely familiar to comic book aficionados. Wein has been writing comics for some time, and his more notable credits include the creation of the New X-Men, a run on The Amazing Spider-Man, and Swamp Thing. Aside from the dialogue in the cutscenes, Rorschach and Night Owl frequently exchange words during the course of levels, and it’s often quite good - so good it’s too bad there isn’t more of it. The dialogue is enhanced by a top-notch presentation, with cutscenes done in a style that emulates the art style seen in the original comic series, and voicework provided by Patrick Wilson and Jackie Earle Haley, the actors who played Night Owl and Rorschach, respectively, in the film adaptation. The feeling of authenticity here is impressive - it feels like a legitimate side-story to Watchmen rather than a lame excuse to throw together an action game.

The gameplay is simple, straightforward, and enjoyable. In their quest to track down Underboss, Rorschach and Night Owl travel through New York’s alleyways, amusement parks, and sewers, taking down never-ending hoards of thugs. The mechanics are fairly standard beat-em-up fare: the player has fast attacks, heavy attacks, throws, and plenty of finger-twisting combination attacks at their disposal. In addition, there is a heavy dependence on counter-moves, which gives the combat some parallels to Assassin’s Creed. Surprisingly, the game manages to avoid devolving into a button-mashing frenzy. Enemies tend to block normal attacks, and combination attacks require slower, timed button presses to pull off. Enemies with weapons will dish out massive damage, so counter-moves are necessary in order to disarm them, and also to simply stay alive when faced with dozens of enemies at a time.

Baseball bats = awesome

Baseball bats = awesome

The two playable characters handle fairly differently: Rorschach employs the down-and-dirty fighting style that Watchmen fans would imagine, with fast, brutal attacks and the ability to take down multiple foes at a time. He also has the ability to steal and use his foes’ weapons, which include crude objects such as wrenches, baseball bats, and jackknives. It’s worth noting that plowing into a group of thugs with a baseball bat, taking each of them down with a single hit, is incredibly satisfying. His finishing moves, which can occasionally be performed after an enemy has taken enough damage, are shockingly brutal and gory: Rorschach breaks arms, cuts throats, and crushes the skulls of his foes. On the other hand, Night Owl’s fighting style is more finessed, with slower, stronger attacks and a heavier focus on one-on-one combat. He doesn’t have the ability to steal and use weapons, and his finishing moves aren’t nearly as brutal either, although they still look great.

The combat is fast, brutal, and manages not to become overly repetitive. It would have been nice to see more variety in the gameplay, however, because the combat is practically all the game has to offer. Occasionally the player will have to pull a lever or two, but that’s about it. It’s also worth noting that the enemy A.I is terrible, which manages to cheapen the challenge from time to time. The game only lasts a paltry four to five hours, but in truth this may be a good thing. A shame, because with some more varied mission design and a few more boss battles, The End is Nigh could have been a truly impressive beat-em-up. As it stands, it’s solid and fun, but nothing spectacular.

Graphically, The End is Nigh is possibly the most impressive-looking downloadable title ever released. Character models for Rorschach and Night Owl look spectacular; impressive detail and rich textures go hand-in-hand with some smooth animations in combat, bringing the characters to life. The environments look great as well, with some truly impressive detail to be found if the time is taken to look. The heavy rain that constantly falls on New York City looks great, and light and shadow effects are done brilliantly. A minor complaint is that most of the environments are a little too dark, occasionally to the point where the action onscreen is almost entirely blacked out. There’s an in-game brightness adjustor, and the player will likely find it necessary to turn it up a notch. The graphics truly manage to capture the gritty Watchmen aesthetic that was originally set down by the comic series, and that in itself is an accomplishment.

Sound is worth mentioning as well: the voicework for Rorschach and Night Owl, as previously mentioned, is excellent. The music is nothing special but manages to compliment the gameplay well. Additionally, the sound effects are really quite impressive, particularly in combat. The sound of bones crunching and knives tearing flesh really enhance the visceral nature of the fights.

The question is this: is Watchmen: The End is Nigh worth a $20 purchase? The gameplay is surprisingly fun, but it’s over in a mere four to five hours. The dialogue and plotline is sure to be enjoyable for Watchmen fans, but it’s nothing to write home about. In this reviewer’s opinion, serious fans of the comic and/or film would do well to give The End is Nigh a shot. Just prepare to be tortured by thoughts of what could have been.


Oliver “Riddles” Motok

2009.03.08

Hello, hello, hello. Guess who it is?

That’s right, it’s Oliver Motok, otherwise known as Riddles, otherwise known as Montok. Whatever suits you, I suppose; I’ll admit I’m partial to my actual name, but this doesn’t seem the case for most.
You may already know me, as quite a bit of my work resides over at RPGamer, where I served as Currents Columnist and Q&A Host. I also acted as Head of Interaction after Lusi left. In addition, you can hear my voice on quite a few episodes of RPGcast, where my primary function was to act as the butt of my fellow panel members’ cruel jokes and insults.

As was the case over at RPGamer, I’m the youngest among my cohorts here, being aged 19. You can expect to hear this fact brought up and exaggerated many times on our weekly podcast, so I’m just setting the record straight here. I’m going to school for Journalism, in hopes of one day writing about video games and getting paid for it. In the meantime, I’ll just have to settle for writing about them and… not getting paid for it. (Hence my presence here, you see.) I love videogames and the videogame industry more than just about anything, and I currently own every current-generation console and handheld on the market. I spend most of my gaming time on the 360 and PS3, and while I love my PSP and DS I find myself having little use for handheld gaming these days. My Wii is little more than means for me to play Super Smash Bros Brawl, I’m afraid… something you’ll likely hear me rant about in detail at a later date.

Lists are fun. Let’s make a list or two:

A SAMPLING OF SOME OF MY FAVORITE GAMES (in no particular order):

The Legend of Zelda: Ocarina of Time
Final Fantasy VII
BioShock
Shin Megami Tensei: Persona 3
Shadow of the Colossus
Prince of Persia: The Sands of Time
Metroid Prime
Fire Emblem: Radiant Dawn
Final Fantasy XII
The Legend of Zelda: The Wind Waker

One list is enough. Look for my sagacity and wit on Saturdays.