Tag: iPad

Starhawk
For: Playstation 3
From: LightBox Interactive/SCE Santa Monica/Sony
ESRB Rating: Teen (blood, language, violence)
Price: $60

Taking the entirety of 2007’s “Warhawk” and launching it into space probably would have been enough to make “Starhawk” a perfectly fun sequel. But why settle for one new frontier if you can handle a handful?

For starters, “Starhawk” brings the series — known then and now for its ambitious 32-player online battles — into the single-player campaign space. And diametrically unlike “Battlefield 3’s” dreadful attempt to do the same last year, it doesn’t betray its own gameplay sensibilities to tell a story.

That point becomes quickly apparent, too. Following a brief cinematic introduction, “Starhawk” sets you loose in a wide-open frontier that’s half deep space and half wild west. Within 15 or so minutes, you’ll experience samplings of the on-foot action (loose run-and-gun third-person shooting), the vehicular controls and the impressive scope of the missions and maps.

You’ll also get a small taste of the game’s most pleasantly surprising new addition.

Along with the action on the ground and (eventually) in the air, “Starhawk” offers a modest but satisfying layer of real-time strategy via base-building. Provided you have the resources, you can construct everything from turrets and blockades to buildings that produce additional weapons, allied soldiers and vehicles.

“Starhawk” builds this layer in exactly the right way, too. What you build and where you place it is no trivial matter, but actually doing so is as quick and easy as tapping a few buttons and returning to the action (which continues unabated while you build). The structures form almost instantly, literally dropping from the sky and assembling in seconds.

(The surprisingly fun story — itself, like its surroundings, a mix of dark sci-fi and hokey western — explains why stuff drops in this way, but even if you don’t care, the process is visually awesome.)

Seamlessness combines with scale to produce “Starhawk’s” most admirable calling card, and its large, multi-layered environments accommodate it beautifully. Anytime you want to fight in close quarters on the ground, you can. Anytime you want to hop into a massive mech and stomp on those suddenly-tiny same enemies, you can. And if you want to soar into space and dogfight enemy aircraft circling above, a single button press turns that mech into a hawk, and off you go. All the while, whether you’re airborne or grounded, the base-building features stand at the ready.

(If you played “Warhawk” and are wondering, “Starhawk’s” flight controls are considerably more traditional and, consequently, much easier to grasp.)

Though the campaign never unfairly exploits it, its inevitable shortcoming is obvious: If you want something done — in the air, on the ground and as it relates to base construction — you have to do it yourself. Your A.I. allies are only so useful, so be prepared to frequently be in three places at once.

That’s less of a problem in the game’s four-player splitscreen/online survival mode, where you share responsibilities with friends while withstanding as many waves of enemies as you can stave off.

But it’s no problem whatsoever in “Starhawk’s” 16-on-16 competitive multiplayer, which remains the series’ jewel.

Everything mentioned previously about scope, seamlessness and freedom applies to “Starhawk’s” multiplayer matches, and you’re similarly free to engage in all facets of the battle as you please.

But having 15 teammates at your back affords you the freedom to avoid the roles you don’t enjoy and even dive into a specialty. If you’re weak on the ground, you can patrol the skies exclusively, and if you’d rather avoid combat entirely, you can contribute (and accrue experience points) just as effectively by keeping your team’s base fortified. Human opposition and intelligence makes “Starhawk’s” multiplayer arena far more imposing than its campaign, but there’s no more gratifying facet of the game than 16 players coordinating their talents in the service of a dominant victory.

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Prototype 2
For: Playstation 3 and Xbox 360
From: Radical Entertainment/Activision
ESRB Rating: Mature (blood and gore, drug reference, intense violence, sexual themes, strong language)
Price: $60

From its core out to the fringes, “Prototype 2” has a lot — arguably too much — in common with “Prototype.”

But the one significant change — outside of a new main character, and more on that in a bit — is a good one. This time, all that’s good and fun about “Prototype 2” isn’t completely torn down by the horrifying A.I. and difficulty balancing meltdowns that made its predecessor one of 2009’s most obnoxious games.

Conceptually, it’s business as usual. As James Heller, you’re still taking on both military and mutant forces. And despite filling a new set of shoes, you’re still a superpowered one-man army who can jump 50 feet per bound, sprint up the side of a New York City skyscraper, throw a car like a baseball and fully consume other people to shapeshift into them and acquire their memories and abilities.

This time, you actually get to enjoy these and other abilities. Raising the ire of a single mutant or soldier won’t result in insane waves of reinforcements instantly appearing in such thick numbers that your only recourse is to react and eventually just flee. Enemies still attack in packs, but they’re manageable enough that you can creatively take on a wave or two without a dozen other enemies constantly running interference at the slightest hint of player proactivity.

If anything, “Prototype 2” is too polite. Countering and evading enemy attacks is extremely easy even when outnumbered, and you’ll quickly gain access to some money moves that let you formulate devastating attacks from safe distances without fear of penalty if you miss. Recovering significant chunks of health on cue is as easy as dodging and countering, and if you take on some side missions and tack on the strength and well-being upgrades they pay out upon completion, you can inhale a battalion’s worth of military firepower without even paying that health bar any mind.

The kid gloves hold on for dear life during “Prototype 2’s” stealth segments, which task you with consuming enemies and posing as them to infiltrate restricted areas and shapeshift all the way up the food chain.

In the annals of stealth game enemies, none may be more gullible than this lot. Slowly clearing out a room by literally swallowing people who are standing two feet behind other people raises no alarm. Running up the side of a building and performing other superhuman feats may raise an eyebrow, but as long as you walk away casually, they’ll just shrug and dismiss it. In the rare instance you attempt to swallow a live person in his allies’ unbelievably dim line of sight, the game flashes an alert letting you know as much, and the action is canceled. And the guy whom you just grabbed and nearly swallowed before swiftly recanting the move? He thinks nothing of it. Carry on.

Still, if the difficulty balancing had to lean in one direction, this is preferable by far. Heller’s repertoire is fun to unleash, and “Prototype 2” lets you do exactly that in a big world that’s packed nicely with elective missions to complement the main storyline.

The only real step backward is Heller himself. “Prototype 2’s” storyline is one centered around revenge, and as Heller, you’re actually hunting the first game’s protagonist, whose actions in the first game indirectly resulted in the death of your wife and child.

But noble cause or not, Heller is just wretchedly unlikable — an f-bombing meathead whose character development is about as nuanced as the game’s stealth detection systems. That goes as well for writing in general: It isn’t so bad that you want to skip the cutscenes entirely, but it’s grating enough to turn on subtitles, mute the sound and play some music for a much more tolerable atmosphere.

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Junk Jack
For: iPhone/iPod Touch/iPad (universal app)
From: Pixbits
iTunes Store Rating: 9+ (infrequent/mild cartoon or fantasy violence)
Price: $3

If the vast, empty, open-world canvases of “Minecraft” are imposing enough to drown out the appeal of building anything you want, some good news: Another happy medium has arrived. “Junk Jack’s” conceit comes straight out of “Minecraft’s” playbook: As the titular character, the game world is your oyster, and you can mine its every resource — trees, rocks, the ground itself and dangerous wildlife, among other elements — and turn them into a new world in which to survive and eventually prosper. Instead of a terrifying 3D world that goes on forever, though, “Jack” bakes this conceit into a 2D sidescroller with a vibrant (and friendly) pixelated graphical presentation. And instead of shoddy documentation, the game arranges a wealth of beginner tips (and even a few crafting recipes) inside a terrific help interface that’s always handy but never in the way. Just don’t let the friendly face fool you. “Jack” is accessible, but its building tree — wherein resources become tools and tools become platforms for creating everything from gardens to machinery and more — runs surprisingly deep. And though its world is smaller than “Minecraft’s” endless frontier, it’s plenty big (and dangerous) enough to accommodate whatever ambition you bring to it.

Kingdoms of Amalur: Reckoning
Reviewed for: Playstation 3 and Xbox 360
Also available for: Windows PC
From: Big Huge Games/38 Studios/EA
ESRB Rating: Mature (blood and gore, intense violence, suggestive themes)
Price: $60

Role-playing games aren’t expected to play as crisply as pure action games do, and action games need not run as deep in the storytelling and character-building departments as role-playing games do. These are the compromises we’ve come to accept and expect.

So when something like “Kingdoms of Amalur: Reckoning” comes along and shoots for the moon in both areas, it’s hard not to pay attention.

And when it hits the moon flush, it’s impossible.

It doesn’t hurt that, while doing this, “Reckoning” also inspires hope that it’s capable of putting a similar charge in the stagnant art of fantasy storytelling.

Whether it actually succeeds may come down to how you play. “Reckoning’s” massive world easily holds more than 100 hours’ worth of main and side quests awaiting completion, and each has a story to tell or character/land/race/legend to introduce. But as often happens with a story that sprawling, tales have a tendency to get weighed down and spread thin amid a gargantuan list of names to remember and quest objectives that, at least structurally, are more formulaic than not.

At the same time, there’s plenty to love about the colorful world in which “Reckoning’s” legend unfolds, and your role in it — as a mortal human who returns from death to shatter an immortal race’s sacred (and comforting) belief that everyone’s fate is set in stone and documented in full — is a terrific catalyst around which to assemble it. That storyline can’t help but occasionally disperse in the sea of characters, quests and everything else “Reckoning” offers outside the main road, but if you tend to it regularly and stay abreast of the mythology, the story makes good on the possibilities.

For its part, “Reckoning’s” interfaces make it pretty painless to manage not only your quest log, but the usual host of traditional role-playing elements. Though combat is as real-time here as it is in a game like “God of War,” classic role-playing underpinnings — hit points, experience points, dropped spoils from defeated enemies — still apply.

Most of what “Reckoning” does is borrowed, but it’s borrowed from the best. Dialogue trees and moral barometers are Bioware game staples. The chance to find (and craft) rare armor and weapons is heavily reminiscent of “Diablo,” right down to the color-coded system for increasingly rare tiers of loot. Lockpicking, extracting plants for potions, joining factions, committing crimes and warping to locations you’ve previously discovered are “Elder Scrolls” hallmarks. And while the system for leveling up your character is smartly designed around your fateless blank slate, it’s assembled using timeless role-playing pieces.

Where “Reckoning” surprises is with how it puts those pieces into play. The aforementioned “God of War” comparison wasn’t an oversell, because “Reckoning’s” polished action plays markedly in that vein — fast, violent, and with equal importance placed on your skills as a player and the choices you make for your character’s abilities and arsenal.

Initially, when your skills are limited and your inventory light, it’s fun but simple. But as you level up, unlock new abilities and tap into the surprisingly wide array of weapon classes, the doors blow off the barn. Streamlined controls make it possible to transition between melee, ranged, and magic attacks without pausing the combo, much less the game, and as tougher enemies appear, “Reckoning” places a premium on blocking, evasion and (to a wholly optional degree) stealth tactics as well.

Before long, “Reckoning’s” combat is dishing out a kitchen sink’s worth of ways to play, and doing so at the same fast pace at which it began. It’s always been fun to find a rare, absurdly powerful weapon in a role-playing game, but being able to wield it with abandon — as “Reckoning” gleefully allows — takes that fun to a whole different plane.

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SoulCalibur V
For: Playstation 3 and Xbox 360
From: Namco Bandai
ESRB Rating: Teen (mild language, suggestive themes, violence)
Price: $60

Call it a shame, call it wonderful or call it inevitable and/or overdue. But if you’ve traditionally counted on “SoulCalibur” to give you a comprehensive single-player fighting game experience that’s accessible to all, your calls to “SoulCalibur V” may go unanswered.

It’s a sign of the times. Since “Street Fighter IV” revitalized the genre, fighting games have become kings of the mountain with regard to attracting high-level players and packing ballroom arenas and online lobbies with those bent on challenging or even simply watching them play. It’s a serious business, and “SCV” feels like Namco’s attempt to reposition the series as one to be coveted rather than mocked by that crowd.

Whether “SCV” succeeds at that is a question only that crowd can definitely answer in time. But the strides it makes toward that end at least give it a chance, even if they feel like me-too mechanics instead of innovations.

To wit, the most plate-shifting change to the fighting system, the Critical Edge, is “SCV’s” answer to “SFIV’s” Ultra Combo: You fill up a Critical Gauge meter, pull off nearly the same stick/button combo, and unleash an attack that’s visually spectacular and devastating to your opponent’s health. (Also customary: If you’re bad at these games, executing a Critical Edge is, let’s say, trying.)

Fortunately, the Critical Gauge feeds into other, easier maneuvers as well, including Brave Edge attacks (slightly more powerful versions of regular moves) and parrying. The inability to parry at will without cost means you’ll have to time your blocks and pick your spots to fight defensively — no curling into a ball allowed.

Along with the need to manage the Critical Gauge for maximum effectiveness, “SCV” places a premium on fighting smart instead of mashing buttons. That’s a pillar of any respectable fighting game. But if you’re accustomed to playing “SoulCalibur” with your button-wailing hat on, take heed: Unless you’re playing against like-minded friends or the A.I. on its easiest setting, you will be punished.

(Disappointingly, while “SCV” offers a training mode in which to practice at will, there’s no in-game tutorial that effectively lays it all out. If you need lessons, look to Youtube.)

As should be expected with the shifting mindset, “SCV” is plenty capable with regard to competitive play. The lag that tarnished “SoulCalibur IV’s” online component isn’t present here, and the new offerings — spectator mode, the ability to watch other players’ replays — are obvious concessions to those who want to study how others play.

Most fun is the Global Colosseo mode, which turns the online lobby into a 100-person virtual meeting place where players can chat, size each other up and set up matches as if in an arcade. With the Fighter Creator mode back and considerably more robust than before, there’s no telling whom you’ll end up fighting against once you dip into these waters.

If, however, you flock to “SoulCalibur” precisely to get away from the competitive scene to which “SCV” caters, you might be dismayed to discover just how costly that groveling was to its single-player offerings.

In particular, the abundance of match variants and challenge missions that made the series a must-play even when its only multiplayer offering was two players on the same couch? Nowhere to be found in “SCV,” which includes a standard arcade mode, an even more standard quick battle mode and a completely substandard story mode (roughly two hours long, no branches, one ending and most between-fight “cutscenes” comprised of little more than static storyboards and spoken dialogue) as its prime single-player offerings. Unless you’re willing to bite the bullet, make like Namco and join the competitive fray, that’s not a lot of return on your $60 investment.

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Niko
For: iPhone/iPod Touch/iPad (universal app)
From: Sulake Corporation Oy
iTunes Store Rating: 4+
Price: Free for first six levels/$2 to unlock full game

There’s a big gap between the kind of platformers you can play with a fully-stocked controller and the stuff we typically get on buttonless mobile devices, and “Niko’s” attempt to close that gap just a bit is most welcome. Instead of automatically running forward, Niko (a cute little creature of unknown classification) waits for you to control him directly with standard virtual left and right arrow buttons. And instead of tapping the screen to make him jump and hoping you timed it right, an “Angry Birds”-style slingshot mechanic allows you to control the distance and angle of the jump to almost foolproof effect. (Fortunately, if you miscalculate or need to change tactics, you can adjust Niko’s trajectory while he’s airborne.) Control touches like that are, of course, nothing new in the land of buttons and joysticks. But they’re an order of magnitude more sophisticated than what is typically found in mobile games, and “Niko” makes all the right moves — precise controls, a clean interface and elaborate, wide-open levels that exploration as well as survival — to make them work in this space. Like any good platformer these days, it’s also as easy or tough as you want it to be. A generous checkpoint system means anyone can feasibly reach a level’s finish line, but if you want to do it right — a three-star performance, no lives lost, all collectibles found and an enviable high score on the online leaderboards — your work is cut out for you.

Run Roo Run
For: iPhone/iPod Touch, iPad (separate versions)
From: 5th Cell
iTunes Store Rating: 4+
Price: $1 (iPhone/iPod Touch), $2 (iPad)

iOS gamers, are you tired yet of running games? You must be. While the genre — wherein your onscreen character runs automatically and you handle jumping and other forms of evasion by tapping the screen — is a perfect fit for a device with no tactile buttons, it’s grown so saturated as to become an indictment of the platform’s limitations.

With that said, can you maybe handle one more? It’s charming and very well made, and even if you’re sick of the same old thing, it adds a couple wrinkles that very effectively set it apart.

In “Run Roo Run,” you star as an adorable but vengeful cartoon kangaroo who treks across Australia to rescue her offspring. As you might guess, your job is to keep Roo hopping safely over obstacles while she automatically handles all the forward motion. Not exactly a trailblazing idea.

But “Roo” breaks away by presenting itself as a series of levels instead of one endless run where the only goal is to stay alive and accumulate as high a score as your skills allow. Each level is short, too — really short, in fact, with the entire thing fitting on a single screen. The earliest stages present maybe two obstacles to leap over, and you can clear most of the opening levels in three seconds or fewer.

Fortunately, there are 420 stages to complete, and with each 21-level chapter you unlock, “Roo” sprinkles in a new wrinkle beyond simple hopping. In chapter two, for instance, Roo acquires a limited-use double jump, while chapter four introduces fans that blow her upward. Later chapters bring forth tire swings, moving platforms, oil slicks, cannons, level-altering switches and more.

Once an ability or apparatus makes its entrance, “Roo” doesn’t isolate it to the chapter that introduces it. After Roo learns to double-jump and long jump off a bouncy tire, those abilities can come into play in later levels while she gets acclimated with another new ability. Gradually, those insultingly simple early levels blossom into intricate cause-and-effect obstacle courses that put multiple tricks to use in rapid fashion. Everything still takes place within the constraints of a single screen, but Roo might have to trek to the end of the screen and back before reaching the goal becomes a possibility.

The task grows increasingly devious in “Roo’s” later chapters, and it’s downright frightening in each chapter’s optional six-pack of Extreme levels, which rival “Super Meat Boy’s” harder levels in terms of testing players’ ability to navigate a small, trap-laden space with Jedi-like quickness.

And yet — and in a nod to another page from “Super Meat Boy’s” playbook — “Roo” never aggravates even at its most dastardly. Whenever you fail a level, there’s no reset screen to wait though: Roo immediately returns to the start of the level, which marks the spots where you jumped in your most recent unsuccessful attempt. Fail again, and it instantly resets again, and you’re free to keep trying — without even a slight interruption — until you get it right. You’ll get gold medal scores for clearing levels quickly and in one attempt, but you can experience “Roo’s” every level regardless of how much time you need to do so.

Good thing, too, because in another nice twist, 5th Cell plans to release free weekly 10-packs of new levels to complement the 420 that come included straight away. There’s no telling how many weeks they plan to do this or whether these packs will introduce new gimmicks beyond those already in the game, but with a price tag like that, it’s hard to go wrong.

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Rayman Origins
Reviewed for: Playstation 3 and Xbox 360
Also available for: Wii
From: Ubisoft
ESRB Rating: Everyone 10+ (comic mischief, mild cartoon violence, suggestive themes)
Price: Varies

Every post-holiday afterglow, when the gaming industry briefly but emphatically hibernates in advance of livelier spring release schedules, there inevitably emerges a game that demands another look after getting unjustly buried in the sea of sequels and blockbusters that released all around it in November.

In a year as stacked as 2011, there is no shortage of candidates. But even on those grounds, “Rayman Origins” belongs at the top of the list, and it really isn’t even close.

Though not framed as an origins story — or concerned with storytelling in general, really — “Origins” earns its name by taking Rayman back to his two-dimensional roots. Like the 1995 original, “Origins” eschews three dimensions in favor of 2D platforming in the classic “Super Mario Bros.” vein.

But to leave it at that, even with the stipulation that “Origins” does its roots extremely proud, would be to spectacularly undersell how far games have come during Rayman’s 16-year lifetime — a point made apparent the instant “Origins” drops you into the first leg of its first level.

In contrast to the colorful but kinetically-limited sprites of yesteryear, everything that animates in “Origins” does so with the visual fidelity of a Disney cartoon — ridiculously detailed, silkily animated and very overtly expressive. It doesn’t matter if you’re talking about Rayman, his friends, his enemies or random objects with no inherent pulse: If it’s capable of being manipulated, “Origins” illustrates that manipulation in beautiful, incredible detail.

Presentationally, “Origins” is the total package, bringing all that line art to life in front of immaculate hand-painted backdrops and setting everything to a diverse soundtrack that’s in tune with the action and unabashedly cheerful without ever approaching grating. Treat it to good speakers and a high-definition display, and it’s a rare case where hyperbole applies. Two-dimensional gaming has never spoiled the eyes and ears quite like this.

With all that said, though, the real shock with “Origins” may be with the way its gameplay evolutions gratify every bit as much as — maybe even more than — its audiovisual advancements.

Partially, it’s a case of one feeding the other. All that pretty animation works in the service of “Origins'” controls, which feel as good as the animation looks. Rayman has an occasional tendency to over-animate and take a perilous step too far, but mostly, his movements are spot on. Even the underwater levels, typically the bane of any platforming game’s existence, are a treat: If you ever played “Ecco the Dolphin” and know how fun it is to dynamically change direction in that game, you’ll be pleased to know “Origins” does it even better.

“Origins” also provides an ample playground in which to put all this beauty to good use. The occasional special stage aside, every level has one goal in plain sight and two more hiding off the main road. Additional secrets abound, and while simply clearing a level isn’t extremely difficult, perfecting one — finding every goal and performing the acrobatics necessary to uncover other secrets — very well can be. The truly accomplished can even replay cleared levels with a speed run option, which requires you to beat the level in one go and under the posted par time to collect a reward.

Tallied up, and fortified with four-player offline co-op that lets friends jump into and out of your game as they please, “Origins” is a surprisingly lengthy game on its first playthrough and a wondrously fun time sink for those bent on replaying and acing it. Perceptions about 2D games aside, it was as deserving of its original $60 tag as nearly any other $60 game. With rapid price drops now in effect, what was easy to recommend before is now a task of cakewalkian proportions.

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Wooords
For: iPhone/iPod Touch/iPad (universal app)
From: Stray Robot Games
iTunes Store Rating: 4+
Price: $2

If you spent part of your childhood forming words from those colorful letter magnets that are ubiquitous in every preschool and kindergarten, get ready to put those magnet-moving skills to good use. “Wooords” drops a handful of letters and tasks you with forming as many words from them as you can, and the interface is a transparent ode to those little plastic magnets. Dragging letters into other letters causes them to stick, and whenever you form a word that (a) contains at least four letters and (b) includes the circled letter that has to be used, it automatically registers and scores the word. Not having to register words manually leaves you free to add and remove letters rapidly to form new words, and as result, “Wooords” is simultaneously relaxing and frantic — relaxing because there’s no overlying time limit to worry about, but frantic because forming strings of words rapidly is worth more points than taking your time. “Wooords” includes a 60-level Classic mode in which the goal is to reach a score threshold to advance, and an arcade-style Word Jam adds a timer that you must keep at bay by hitting score thresholds. But the best mode — especially if your Game Center friends play as well — is the Daily Words challenge, which gives players 24 hours to compile the highest score from the same nine letters everyone else gets. The global leaderboard likely is tainted by cheaters, but the presence of friends-only leaderboards — in this as well as the other modes — makes that less an issue if you pull friends in to challenge you.