Jade Empire - April 27, 2005
The Daily Cardinal
By Jason Ducat
BioWare has never shied away from success. For a long time they have developed the best role-playing games on the market, including the "Baldur's Gate" and "Neverwinter Nights" series along with 2003's smash hit "Star Wars: Knights of the Old Republic." With a pedigree like that, their most recent game, "Jade Empire," was sure to be a hit.
For the most part everything is spot-on. "Jade Empire" has stayed true to its rich RPG heritage while forging brave new paths. The classic story arc has new, refreshing twists. This is almost entirely due to the protagonist not being some large-eyed orphan in a post-apocalyptic future where a money-hungry corporation runs everything, such as just about every "Final Fantasy" game.
Instead, the game focuses on a youthful man under the tutelage of an old master in ancient East Asia. The story does an excellent job exploring Asian mythology and legend, making exploration that much more enjoyable. "Jade Empire's" unique storyline sets it apart from many games.
Perhaps the biggest departure from standard RPG fare is the combat system. BioWare decided to scrap the turn-based system this time in favor of a real-time fighting structure. RPGs historically focus more on storytelling and less on twitch gameplay, allowing gamers an experience based more on brainpower than dexterity.
The switch to a live-action fighting system is smooth and easy to grasp. Those gamers out there who fear their reaction time may be too slow to fully appreciate the dynamics of combat need not worry, and shooter fans finally have a bridge to ease them into the complex realm of RPGs.
The combat and combo systems are as deep as the player wants, and satisfying to master. Even watching another person play the game is like watching a classic kung-fu film come together before your eyes, complete with fantastic creatures, dazzling special effects, and physics that keep the entire game enjoyable but not so ridiculous that it cannot be taken seriously.
The game is so fun to play, in fact, that it is disheartening to discover just how short it is. By the time "Jade Empire's" spell has fully taken command of you, the game ends. Some games suck you in and feel short because of how involved you are while playing them, but "Jade Empire" literally drops the ball when it comes to length. Side quests extend the play if you should choose to participate, and messing around with good or evil alignment and fighting styles encourages multiple play-throughs, but it is a shame of the utmost severity considering how good the game is while it lasts.
Despite its length, "Jade Empire" shines in almost every other aspect. The voice acting is top-notch and the visuals are breathtaking, almost surreal at times. There are some frame rate and loading time issues but not so much to distract from the overall quality of the game.
These relatively small setbacks do not take away from "Jade Empire's" must-play qualities. Its simple, yet challenging gameplay is amazing for RPG players and can even pull in gamers from other genres.
THUG 2 Remix - April 19, 2005
Just in case you missed "Tony Hawk Underground 2's" release on every major console last fall, the good people at Activision have ported it over for the PSP, and "THUG 2 Remix" is nearly identical in every way to its TV-tethered counterpart.
Many titles enjoy simultaneous releases on GameCube, Xbox, PS2, and Gameboy Advance. The games on the home console are virtually identical to each other, but the GBA edition of the same game, while sharing the title and similar themes, often differs slightly in gameplay and vastly in the graphics department. "Remix" breaks this handheld trend.
While technically impressive, this feat is really a double-edged sword. First of all the game is an absolute joy to look at, featuring dynamic lighting, texture mapping, and all the bells and whistles you'd find at home. Skaters are fluidly animated and nicely detailed. The true 3D environments are astonishing to behold on a handheld device.
The sound department is more than up to snuff as well. Fifty-plus songs, fair environmental effects and voice-acting are all CD quality. However, you won't be able to enjoy the sound as much without headphones.
This is the same game many played to death in October. The challenges, cutscenes, story (if you can call it that), levels and skaters are nearly identical. Anybody that is familiar with "THUG 2" will not gain much from "Remix," and some things do suffer in translation.
The biggest problem is the different type of controls. The lack of a true analog stick becomes annoying during some challenges. The "nub" works well enough, but despite your preference you will be using the D-pad. The complete absence of a second type of right hand control means that the camera is entirely out of your control. While this isn't a problem most of the time, there are some excruciatingly frustrating bits that will have you throwing your PSP against a wall. Even though "Remix" is graphically superior to every other handheld game out there (except some other PSP titles) the imagery is not PS2 quality; close, but not quite.
Other than that, "Remix" has the same hits and misses of the console version. It's terribly juvenile. Mature gamers may question the bits about vandalizing property by one method or another and their purpose in a skateboarding game. And the Jackass/Viva la Bam/other MTV shows that are still popular for some reason may put you off. But this is the skateboarding culture the game makers wish to perpetuate and we buy it. The bottom line is that this is a fully featured Tony Hawk game in your pocket. Take it or leave it, just don't expect anything new.
God of War - April 13, 2005
The Daily Cardinal
By Jason Ducat
In an industry notorious for rehashing old ideas, making almost everything with the slightest success into a sequel and producing many licensed products, it is refreshing to see the beginning of a new franchise. When the franchise gets started with a game as good as "God of War," there is cause to get extra excited.
From the start, "God of War" shows off its unique gameplay. Few games grab you and suck you in as quickly as this game does. You'll feel more sense of accomplishment after 20 minutes of play than some titles offer as a whole.
In some games the tedium of having to dispense foe after foe wears the player down after a while. This is not the case in "God of War." The excellent fighting system makes doing battle a joy rather than a chore. Control is tight and responsive, and the combo system was actually designed by some of the minds behind the great "Street Fighter" series.
"God of War" features many impressive enemies. Each is perfectly animated and detailed to near perfection, and imaginative opponents constantly pop up on the journey to Hades and back.
The environments contain the type of detail and polish few titles have. In each area it is apparent the developers put a considerable amount of thought into where the platforms and traps exist. When opponents flood the area, it feels as though you're watching one of the most amazing fight scenes ever, only to remember that you're actually in control. When it's all said and done the next area offers even more spectacular action.
For the gamer that needs some motivation for dispensing mythological demons, fear not. The protagonist, Kratos, is very much an anti-hero, but he is also endearing in a macho tough-guy way. Revealing too much would spoil some of the twists and turns "God of War" throws into the mix, but the excellent story is on par with some of the best Hollywood screenplays dealing with Greek mythology and politics.
The reasons for Kratos's quest are explained in flashback form but are never so frequent and long to distract from the action. Despite the narrative, "God of War" remains an action title with a few challenging, but not impossible, puzzles along the way for variety.
Finding something wrong with God of War was not easy, but one thing did stand out. Though no flaw is ever welcome, a problem with a game's length has to be the best complaint a game can receive. Although it is disappointingly short, "God of War" is so rich in things to do that playing through multiple times will be worthwhile.
"God of War" combines the best elements of the best games from the past few years. The game makes use of "Prince of Persia's" platforming, a more user-friendly "Ninja Gaiden" style of combat and "Zelda"-esque puzzles. The graphics and load times actually rival the best that even the Xbox has to offer. It also rounds out as another early contender for 2005 game of the year.
Splinter Cell: Chaos Theory - April 6, 2005
The Daily Cardinal
By Jason Ducat
Many were disappointed by the absence of a new "Splinter Cell" game during the 2004 holiday season. To avoid going up against other video game heavyweights, like "Halo 2" and "Grand Theft Auto: San Andreas," producer UbiSoft held off releasing their spy franchise until spring. The wait was well worth it, and once again protagonist Sam Fisher delivers a peerless gaming experience.
The single-player campaign has remained relatively unchanged. Each new chapter adds a few new options and refines some aspects of the game, but any significant changes remain unnecessary.
As such, "Splinter Cell" veterans will be instantly familiar with the single-player controls. For everyone else, the first few missions or so will acclimate novice fingers to the semi-complicated game layout, eventually making it second nature.
Graphically, "Splinter Cell" has always been a beast. Gameplay relies heavily on photorealistic locations and stealth-providing shadows. "Chaos Theory" meets, and often surpasses, these demands by beautifully rendering the game's environments. Continuing in the tradition set by the second Splinter Cell, "Chaos Theory" varies nicely the time spent inside and outside.
"Chaos Theory" features pumped-up enemy artificial intelligence-opponents are no longer the mindless drones of old. These new enemies will create their own light to find you hiding in the shadows, their patrol paths are no longer static and predictable, and they are more apt to suspect foul play when lights are mysteriously shut off. "Chaos Theory" is even more of a thinking man's game than the previous editions.
And it is this aspect that separates "Splinter Cell" from other series. Moral dilemmas abound in "Chaos Theory," and Sam Fisher is as deeply developed as any movie character. The game is not a mindless run-and-gun affair like so many others; choices have consequences. While these consequences may not always manifest in the game world, the superb voice acting and scripting will play with players' emotions when you trigger certain events.
Michael Ironside, the voice of Fisher, creates a deadpan personality, while maintaining an interesting and genuine tone throughout the game. This makes Fisher an emotionally convincing character, while still preserving his tough-guy image.
The single-player game is reason enough to own this title. The icing on the cake is the returning multiplayer modes. New maps and improved controls even out the sides as two spies take on two mercenaries in this uniquely addictive online arena. Words cannot describe the thrill found online when playing alongside and against human controlled characters.
If the online multiplayer is the icing on the cake, the online co-op is another cake entirely. This mode offers a completely different experience from single-player. The stakes are raised in every way, and teamwork is the only way to survive. You and your fellow spy can reach higher places together, distract and take out enemies, and complete multiple objectives at the same time. Though shorter than the single player mode, co-op is still a spectacular experience.
Everything about "Splinter Cell" has been improved in "Chaos Theory." There is something for every sort of gamer out there. "Chaos Theory" really amounts to three games for the price of one. The unique levels and improvements make "Chaos Theory" a great buy for "Splinter Cell" veterans and might even make some new fans.
Gran Turismo 4 - March 14, 2005
The Daily Cardinal
By Jason Ducat
Since its inception on the original PlayStation, the Gran Turismo series has consistently been regarded as the premier console racer in terms of visuals, sound, and game play. Nearly four years after "GT3" and approaching the end of the PS2 lifecycle, "GT4" has arrived, and it is a mixed bag.
Not much has changed since "GT3," which is both good and bad. For starters, the graphics look amazing, but it is only a slight upgrade from the previous game. The developers were able to cram a few more polygons in there and keep the whole thing running at a smooth frame rate, but the "gee-whiz" factor that "GT3" was over "GT2" is not the same for this edition.
The sound mixing, however, is amongst the very best any game has to offer. This title supports Dolby 5.1 surround sound, but if you lack a multi-speaker rig you will still want to try to do better than your television speakers. Quality speakers of any variety are needed to hear the subtleties the game offers, such as the wind whipping by, the tires gripping the tarmac while cornering, and even the different engine sounds, which are distinguishable even to untrained ears.
The cornerstone to any great game is, unquestionably, the game play. "GT4" doesn't disappoint. It relies heavily on its physics engine to recreate the most realistic car handling ever seen. The subtitle "The Real Driving Simulator" could not be more precise. Cars handle and are governed by the same forces as their real-life counterparts. Powerful rear-wheel drive cars handle differently than the Civics and PT Cruisers you start the game with. Throttling a Dodge Viper too much coming out of a turn, braking at inappropriate times, or using the wrong gear will all put you off the track or have some other adverse affect on your performance.
The game is huge. Over 500 cars, nearly 60 tracks, about 80 license tests, dozens of event types, and enough events to keep you occupied for well over 100 hours of gameplay. "GT4" sounds like the perfect game, and it would be if it were not plagued by a few minor glitches and some of the same issues prior entries in the series have had.
The makers of "GT4" have once again failed to implement any sort of damage modeling for the cars. Slamming into a barricade at 120 mph will not put so much as a scratch on your car. The robotic AI makes racing a bit of a disappointment, as well. Competition will adhere to certain race lines no matter what and run identical laps constantly. This really turns competitions into glorified time trials. There is a steep learning curve, too. Series veterans will be able to jump right in, but mastering the nuances of cornering, braking, and steering could be a little overwhelming for new-comers.
The most frustrating thing about "GT4" is the sense of hollowness. The game feels impersonal-in many ways "GT4" is an interactive automobile encyclopedia, or a "GT3" director's cut. Gear-heads and hardcore race fans will love this, but casual gamers may want to wait for a price drop-or just pick up "GT3."
The Legend of Zelda: The Minish Cap - January 21, 2005
The Daily Cardinal
By Jason Ducat
The Zelda series has been a Nintendo staple since the mid-1980s. So, it comes as a bit of a surprise that it took four years for Nintendo to make a new Zelda game for its über-popular Game Boy Advance system. The wait was worth it, though, as Nintendo once again delivers a fun and satisfying adventure.
The Minish Cap captures everything that was great about the last half-dozen Zelda games and condenses it into a handy, travel-sized edition. The classic top-down perspective returns, and players will initially notice the similarities between this game and the Super Nintendo Zelda. Character and background animations are fluid and vibrantly colored, making the game a joy to see. The cel-shading style from the Game Cube Zelda returns along with classic characters from the Nintendo 64 edition.
Like most other games in this series, the protagonist, Link, must go on a quest through Hyrule to rescue the Princess Zelda. Along the way, our hero meets a mysterious hat with the power to shrink both itself and Link to miniscule sizes. This is Cap's main gimmick and divides the game's world in two; regular size areas and "minish" areas. The game designers exploit this idea to its fullest, and you as a player have to constantly transform sizes to solve the multitude of puzzles thrown at you.
New items are in order too, such as the gust jar and mole mitts. Although these items aren't earth-shattering in terms of changing the tried-and-true Zelda formula, they do add some variety that keeps this game feeling different than other games in the series.
If there is anything bad that can be said about The Minish Cap, it is the length. It is shorter than most games in the series, especially if plowing straight through the main dungeons. For the most part, the pacing is superb, but once in a while it will slow down to a crawl as you attempt to accomplish seemingly meaningless tasks. And figuring out these tasks can be a bit confusing sometimes with the unclear objective goals to start the game.
Another problem arises because the world is just too small. Apparently the handheld nature of the game dramatically shrunk the size of Hyrule.
But every cloud has a silver lining. Each area of the map is packed with things to do which will keep you coming back, especially if you take the time to do the excellent side quests that have you traipsing about the world in search of puzzle pieces called kinstones. It seems that everybody in Hyrule has half of one and if you find the other half new areas and items will open up throughout the course of the game.
Sometimes searching for these pieces are necessary and other times it becomes bothersome, but it's nothing that drags the game down to anything less than excellent.
Considering the pedigree Zelda games have, expecting greatness from this title is not unrealistic. Classic gameplay with new twists combined with always-fun dungeons, challenging boss fights and a storyline that departs from regular Zelda conventions, makes this game a must-play for casual and hard-core gamers alike.
Star Fox - February 23, 2005
The Daily Cardinal
"Star Fox" for the Super Nintendo was a revolution of video game design. Back then a 16-bit machine pushing polygons like that had never been seen.
The Nintendo 64 version of the game was essentially a polished version of the original. The game was fun, fast-paced, and even offered a functional multiplayer mode.
The concepts inherent to "Star Fox" did not change-they were just fine tuned.
Nintendo has finally released a new "Star Fox" that stays true to the original, and therein lies the problem. "Star Fox: Assault" is not much different from any other game in the series.
From its onset the game feels dated, and it begins with the graphics. The cartoon-like visuals are well rendered and lines are clean and smooth, but recent releases like "Resident Evil 4" and "Metroid Prime: Echoes" prove that the GameCube is capable of so much more than "Star Fox."
If you can get past the visuals you have to deal with the same team of flying animals from previous games, and not much has changed with them either. They still launch amusing comments during battle and a new female fox named Krystal was added for variety.
However, they still do not do little in the way of being wingmen. If you were expecting them to handle their share of the enemies during epic aerial dogfights, think again. Not only are they useless, but they will need you to save them from a rogue enemy on their tail every once in a while, which is more bothersome than fun.
If this does not act as a deterrent, be prepared to face the same level design and story type from the previous games.
Fox McCloud has been commissioned to save something from aliens of some sort. Not that it matters, because most of the game is spent flying through levels with a predetermined course shooting everything that moves.
Some forks in the road give the illusion of options, but this is not anything other than a simple on-rails shooter.
Some areas allow for exploration and battles taking place on all sides, but with games today giving players free-roaming areas and a lot of choices as to how they wish to complete objectives "Assault" feels even more limited. Not that there is not a place for games like this, but it is definitely a genre past its prime.
It would be wrong to assume everything is wrong with this game, though. This is one of the few Nintendo franchises to use voice acting-good voice acting, in fact. Another new mechanic is the ability to leave your vehicle and enter another in some levels. This idea isn't exploited to its fullest, but it's a good try to add a little bit of variety to an otherwise dull game. The multiplayer returns, too, and functions in about the same way. It's passable, but it's no "Halo."
At its heart "Assault" is a functional game. It is fun to an extent, but there isn't any new ground broken-it's probably best suited for a younger audience. "Assault" might warrant a rental to fans of the franchise, but definitely not a purchase. The single player story is short enough to complete in a weekend, and the multiplayer will quickly tire.
Perhaps next time Fox and the crew come around, they'll have some new tricks up their sleeves and will deliver a truly great and original game, like the first one. Until then updated versions of the original will have to suffice.
