Mass Effect 3 Review (PS3): Farewell Tour

For more times than I can remember, my heart was again pounding and my hands shaking. Would the people standing next to me survive this mission? Who would be next to make a sacrifice for the good of the galaxy? At times, the tension was too much to bear.

While I've never been the greatest advocate for the Mass Effect series, some of the characters who I've encountered, fought with and romanced over the last five years have come to mean something to me. So much so that I was nearly brought to tears during this, the last of instalments. In fact, if not for my newly-acquired puppy, Loki's conveniently-timed release of waste products, I'd have been reduced to a blubbering mess on roughly three occasions. Depending on your choices across up to three games, Mass Effect 3 is a moving reunion with old friends and a farewell tour without equal.

The story is about the only reason that anyone would need to play this game. All things considered, its value is questionable to anyone who hasn't played the second instalment at the very least. The high stakes tale is in no way self-contained, and while not overly complicated, would have little to no impact on a newcomer. The writing is sharp and the sense of camaraderie between Shepard and the crew of the Normandy -- both new and old -- is abundantly clear. The implications of choices made at all stages of the greater Mass Effect tale reverberate through a great many of the game's missions and downtime; meaning that the third instalment is nothing short of a fully-realised triumph for series veterans and what I imagine to be a bloated, incomprehensible bore for anyone yet to finish the first two games.

That being said, combat is another reason why Mass Effect 3 could be a hard sale to newbies and any vets without a Mass Effect 2 save. Troubles with importing your customized face aside; by importing a save from the last game, you'll have made quite a bit of progress towards a powerful character without encountering a single husk. I found that my BroShep was at level 28 upon commencing the game, and that in turn meant that he and his companions had access to some powerful tech and biotic powers from the get go. This is just as well, because combat gets hectic pretty quickly. Being able to call upon fully-developed versions of powers like Singularity and Concussion Shot in the early stages allowed for me to not tire of the fidgety cover shooting until much later than I otherwise would have.

Unless you build up a surplus of credits, the combat in Mass Effect 3 becomes painful, repetitive, and fails to compare to competitors like the Gears of War and Uncharted games. Even the biotic, tech and weapon powers get old after you've seen enemies get airborne for the fiftieth time. None of the standard issue weaponry really packs a punch, so you'll need to invest in the Spectre exclusive weaponry to feel anything akin to enjoyment while you're gunning down the indoctrinated masses. Heavy weapons have been removed from your inventory and are only now available in specific missions, meaning the best aspect of Mass Effect 2's combat only comes out on a handful of occasions to save players from bullet-riddled boredom. By the last boss-heavy firefight, I can understand why BioWare afforded players a "Story" mode that ditches combat in favour of a focus on the dialogue and choices that have the potential to haunt you for days.

There are also some unrelated (and somewhat minor) technical hitches that hold Mass Effect 3 back from greatness. The visuals may be grand in scale and wonderful to behold when the PlayStation 3 can handle it, but more often than not, the frame rate drops into slide show territory. The game also freezes frequently to load content (this issue is particularly apparent while traversing the Citadel). In terms of mission design, it's frustrating that the game has you heading back to the Citadel after just about every mission. Not only does this counter the apparent urgency of the galactic invasion, but each level of the station takes an eternity to load. Also, planet scanning is back and it's as monotonous as ever. These issues didn't impact too significantly on my experience, but they are noticeable in this release.

Mass Effect 3's multiplayer is a poor man's Horde from Gears of War 2 (it's nowhere near deep enough to get a mention against that featured in Gears of War 3). Wave-based survival is becoming increasingly popular, and the inclusion of the odd King of the Hill objective fails to differentiate BioWare's effort from the... well, erm, hordes of competitors. It is unbelievably popular: I haven't had any trouble finding a match and lag is limited only to a hiccup between waves. The different classes and races aren't being properly utilized though, so be prepared to see Concussive Shots ad nausea as most opt for the Human Soldier class. It's not unplayable, but it's nowhere near as enjoyable or fleshed-out as anything similar that's currently on offer.

 Such diversity is rare in practice

Forgettable endings, combat and multiplayer aside: Mass Effect 3 is the final chapter of an enjoyable and at times bloated story of unity, sacrifice and perseverance against odds of galactic proportions. It's a treat for returning players, and BioWare have shown a real ability to pull at the heartstrings when the grim nature of the three game saga is revealed. Not one character emerges from this tale unscathed, and it proves to be an essential experience for anyone who's invested a great amount of time on the Normandy. My only regret is that my first Xbox 360 (and therefore, my save from the first game) didn't survive the journey, so my PS3-branded Mass Effect 2 save complete with the comic recap of the first game is the best way that I could have hoped to experience the end. Avoid like the plague if you've never played a Mass Effect game before, and bring a box of tissues if you've been there since Eden Prime.

The Mass Effect 3 ending is terrible, but BioWare shouldn't change it (SPOILERS ABOUND)

Even if you have no interest in the Mass Effect series or have so far opted not to engage with the third instalment, you should have heard rumblings about the final chapter's ending. Some like it, some don't and have chosen to defend BioWare's artistic integrity anyway. There's also some that hate it so much that they've actively petitioned for the conclusion to be changed.

Don't get me wrong, I was powerfully underwhelmed by the final minutes of Mass Effect 3, but the final sequence should not be changed. It's not because anyone has made a compelling argument in its or BioWare's defence, mind you. Contrary to what the Penny Arcade team have argued, the entirety of Mass Effect 3 is not the ending. Ask someone how the original Star Wars trilogy ends and they will not say that Return of the Jedi is the conclusion. It is the final chapter, yes, but it is characterised by some fairly definitive events that occur in the final act of the film:

• The Rebel Alliance destroys the Death Star
• Luke Skywalker defeats Darth Vader and the Emperor
• The Rebel Alliance defeats the Galactic Empire

 Star Wars: The true ending

SPOILERS FROM THIS POINT - YOU'VE BEEN WARNED!!!
If someone asked you how did the trilogy end, you wouldn't say "Boba Fett gets eaten by the Sarlacc." You'd more than likely refer to one of the outcomes above to characterise the conclusion to the original series of films. Not that Boba Fett's demise isn't memorable, but it in no way represents the end. To even further discredit this argument, the scale of Mass Effect 3 is far greater than that of the original Star Wars trilogy or any film saga, for that matter. There are equal amounts of momentous and innocuous events that comprise the third instalment, however, you're only going to refer to the following events when discussing the game's ending(s):

Shepard successfully connects the Crucible to the Catalyst and kills the Illusive Man. He then ascends to the peak of the Citadel (Catalyst) and speaks to the Reapers (which present themselves as the child that has dogged his nightmares intermittently throughout the game) and...

• The Reapers are destroyed along with the Mass Relays and the crew of the Normandy somehow end up escaping to a tropical planet
• The Reapers withdraw from Earth, the Mass Relays are destroyed and the crew of the Normandy somehow end up escaping to a tropical planet
• Synthetic and organic lifeforms achieve synthesis, the Reapers withdraw from Earth, the Mass Relays are destroyed and the genetically-altered crew of the Normandy somehow end up escaping to a tropical planet
• Everything gets fucking toasted and the Normandy somehow ends up on a tropical planet

You wouldn't say Mass Effect 3 or the trilogy at large ended with Mordin's death. You wouldn't say it ends with player customised Shepard making love to their chosen mate. That is of course unless you stopped at one of these points. You could, I concede, argue that Mass Effect 3 ends however and whenever you choose; but that is an argument for another time.

 So we escaped the attack on Earth. Should we leave it here?

People haven't raised over thirty-three thousand dollars and trolled hundreds of editorials and forum posts because they put down the controller a third of the way through. No, they're angry because their choices throughout up to three separate instalments has little to no impact on the ending of Mass Effect 3. To counter Ben Kuchera of the Penny Arcade Report, your choices throughout the series -- and even in the third instalment specifically -- characterise your experience but they mean nothing in terms of the ending. Whether you survived the suicide mission with a skeleton crew or every available member in Mass Effect 2 has no bearing on the ending of Mass Effect 3. Completing every single quest in the final instalment with a full Paragon bar has the potential to present an ending that is only slightly different and equally as vague as the one where a player hasn't been half as merciful or invested the extra effort required to be as ready for the final conflict as quantifiably possible.

When I review Mass Effect 3 in the coming days, I'll share my story, where my choices made for many heartfelt moments with characters that I've come to love over the course of five years. It's a great game, with a story that is well worth experiencing if you've had any time with the series. Its ending, however, is terrible and there's no escaping it.

My main problem with it is that it is not consistent with the concept of choice in the Mass Effect series to date. Your decisions -- whether made in solitude or with crew in tow -- have obvious implications with little room for ambiguity. For example: you can choose to cure the Krogan Genophage and see a dying race reinvigorated. The outcomes of this merciful action are clear: the Krogans and Turians will assist you while the Salarians refuse to render assistance in your war against the Reapers. Alternatively, you can deceive the Krogan and enlist the help of all three races; but not without the guilt that comes with relegating friends and a species to eventual extinction. It is made clear to the player what these choices will mean for your quest. There's no grey area there, no hope that the aggressive, though loyal Krogans will survive without Shepard's and Mordin's sacrifice.

Even those interactions where the result isn't immediately obvious, have noticeable impact further down the line. Take sleeping with Jack in the earlier stages of Mass Effect 2 and the weight this choice had on Patrick Klepek's (of Giant Bomb) experience as an example. The player made a choice, and they eventually and very obviously paid for it.

The choice to control, destroy or synthesize has no obvious implications other than the fate of the Reapers. Even the worst possible ending cuts away from the Normandy's airlock before the player can determine whether the crew was DOA. In terms of BioWare's construction of choice in Mass Effect 3 and in the Mass Effect series at large, the conclusion of the final instalment is a failure.

The most articulate argument for the preservation of Mass Effect 3's current ending comes from Gamespot AU's Laura Parker, but I only agree with it in principle. In reality, I don't want to play through the game again so soon, not even the final missions. I want to believe that my conclusion, while vague and underwhelming, is definitive and can't be undone by the central character regaining consciousness thanks to the moaning of a million trolls.

Mass Effect 3's ending is terrible, but no one -- not disenchanted fans, nor BioWare -- has the right to change it. It's out in the wild and should be left to roam, confuse and annoy.

High Horse Audit 2011: Most Disappointing Game of the Year

There's an obvious nominee for this award, but it won't walk away with the prize. Yes, Duke Nukem Forever was horrible. It took more than a decade to see release, but it failed to "disappoint." No-one at Gearbox Software leapt forth to scream the virtues of the "return of the king." This game was spruiked solely on the novelty that the game would in fact be released. Despite my initial optimism, I wasn't overly confident of a strong showing.

 Disappointment came from the over-hyped, overrated games that simply failed to live up to their developers' promises (or abjectly failed to meet my expectations). L.A Noire falls into this category, as I often assume anything with a Rockstar logo is a guaranteed winner. It was an un-game, that refused to let me play. Sure, there were gamified elements, but they all fell flat. For example (SPOILER): in the fourth case, it's bleedingly obvious that there was a racial motivation for the crime; you just can't raise that point in questioning until the game wants you too (END SPOILER). Arbitrary driving and combat only added to the tedium. This was a horrible "game," but it was by no means the most disappointing release of the year.

The unjustifiably and universally acclaimed Dark Souls also failed to sell me on From Software's punitive brand of Action RPG hell. If it weren't so brutally difficult, it would have been written off as "ugly," "awkward," and accused of containing a shallow story. Force gamers to endure anxiety and frustration, and suddenly it's "memorable," "riveting," and "inviting" (Gamespot). By comparison, Lost Planet 2 was also excruciatingly difficult and likewise, had little in the way of checkpoints or most other standards of modern game design and it's "broken, tedious" and "downright frustrating" (Gamespot - for the record, I chose this outlet because it is one of the strongest advocates of Dark Souls while being a fierce critic of Lost Planet 2). Such a curious double standard in games journalism, wouldn't you agree? Still, we're not quite there.

Before I put you all out of your collective misery, I need to clarify something: disappointing doesn't mean bad. I broke my brother's heart last year when I said Mass Effect 2 was more underwhelming than any other game from 2010's extensive release list. I don't want to enrage anyone, but you must know that good games can fail to deliver on the promises of developers, game journalists, and your peers.

The most disappointing game of 2011 was Batman: Arkham City. 


Batman: Arkham Asylum was nothing short of a revelation. It may not have been the best game of 2009, but it was - and still is - the best superhero game released in recent memory. I expected a lot from a sequel, and the early reviews only served to feed the fires of hype; matter of fact, the game is now second only to Grand Theft Auto IV in terms of metascore on the PlayStation 3 (Metacritic).

While it was a solid (I may have even used the word, great) game, Arkham City failed to meet or exceed expectations.

First of all, some of my favourite villains were mishandled by the developer. Two Face was a generic gangster with none of the mystique he displayed in my favourite Bat Books. Penguin - voiced by the literal everyman, Nolan North - was equally forgettable and unlikeable. Even some of the heroes were misappropriated. Take the regrettably silent Nightwing for example. Upon reflection, with the exception of the rousing score, the sound design was pretty repetitive too. Being treated to the same thug diatribes as I glided around the city became somewhat grating, and felt like a poor replacement for the hustle and bustle of life found in the Assassin's Creed and Grand Theft Auto titles.

There was also the issue of control. More gadgets were added to an already expansive arsenal, and navigating with the d-pad was pretty unresponsive. This was particularly frustrating during sequences - such as the boss fight against Mr Freeze - where a little precision was required. You could also use some of the more offensive items in a "Quickfire" capacity during combat, but that turned a simple rhythmic dance into a button-mashing farce. Towards the end, I was flipping around thugs dropping explosive gel everywhere; no skill required. Worst of all, the tension-filled boss fights of Arkham Asylum were dumped in favour of visually-impressive - though deceptively-simple encounters - with villains that felt thrown-in to the already twisted narrative.

Should've packed more gel...

The optional nature of open world games also came into conflict with the Batman I know from comic books. The Caped Crusader wouldn't allow any evil to go unpunished in print, so why am I allowed to pick and choose who I bring to justice? This was a game that would have benefited from the reins being tightened.


Rocksteady tried to shoehorn too many characters into the adventure, and the resulting lack of focus made for a clumsy main story arc. When the credits started rolling after the anti-climactic, final boss fight, I was gutted. "What? What? This can't be it?" I wailed. All of the momentum that the narrative picked up was crudely killed off with an ending cinematic that was typical of fighting games during the late nineties.  

Arkham City went with the quantity over quality approach. There may have been more to do, but the game delivered fewer memorable moments, less responsive controls (when translated to the "open world" setting), and pretty, yet simple boss fights. Like I said in my review, the game is bigger, bolder, but not necessarily better than its predecessor.

Batman: Arkham City coverage:

• Arkham City is not a heroic take on the open world action game
• Batman: Arkham City Review (PS3): Heroes deserve a city, not a sandbox

The Bias Corner: Mass Effect

Welcome to the first of two super editions of the Bias Corner.

I would like to start by introducing myself to the uninitiated: I am Dutch’s brother, Victor. I have generally similar opinions to Dutch, but on some key titles we differ greatly. For example Mass Effect 2. When Dutch first mentioned Mass Effect 2 on this blog, it was listed as one of the biggest disappointments of 2010 along with Dead Rising 2. Now I’m not saying Dead Rising 2 was the best game of 2010, but it was enjoyable. I am however saying that Mass Effect 2 is the first game that I'd call "Game of the Year," for two years in a row (remember that the PS3 version was released this year).

I have completed Mass Effect and its sequel (now to be referred as ME & ME2) 36 times in total. I own this game on all possible systems – yes, even though I do not own a rig capable of playing PC games - I do own them on PC. The sheer amount of times I have completed these two titles is a testament to their greatness. ME captured audiences with a new space opera to rival already established IP’s like Star Wars and Star Trek. The game did not only create a character that you could mould with good, bad or neutral decisions, but gave you a cast of NPCs to care about. Paramount to this, it gave us a universe to learn about and shape with your decisions.

I’ve invested (this is an estimate) 900 hours in the ME universe. That’s 37 and a half days, 54,000 minutes, 3,240,000 seconds I've thrown into this game; hell, it nearly cost me my marriage. That doesn’t even include ME: Galaxy (the underrated iOS game), three novels and two comic book series that I have also played and read. And how could I forget my Bioware limited edition N7 commander Shepard hoodie? Do we see where I’m heading here?........Obsession!

I don’t want to write a review that rivals the script for both games in terms of length; I just want everyone to go out there and buy this game so that they can experience the rich lore and solid gameplay for themselves. You can pick up both titles for a combined price of $28 at EB (on the 360). I've decided to jump into this space because I believe that reviewers - including Dutch - won’t enjoy games how you enjoy games. As an example, Viking: Battle for Asgard: the game has a metarating of 68, but it is super enjoyable. Dutch gave Mass Effect 2 8.5/10. That figure does no justice to Bioware's masterpiece! No matter what is said about this franchise, I will continue to invest my time and money (here’s looking at you, Mass Effect 3 N7 Collector’s Edition for $129 each on both console platforms) into it; and I think as a service to yourselves, you should too.

Deus Ex: Human Revolution Review (PC) - Design of the Decade

Until late last year, I'd never played any of the previous instalments of the Deus Ex series. I picked up both of Human Revolution's predecessors during one of Steam's delirium-inducing digital fire-sales after tiring from the numerous, pretentious rants that I'd read discussing the importance and influence of the original. Ten years after its release, however, proved to be too late for me to discover its magic. What I saw was ugly and unapproachable. I didn't even think to load up the sequel, Invisible War after that eyesore. Instead - shallow man that I am - I waited for the latest iteration, with enticing art direction and most importantly, rendered with all of the grandeur and beauty that I've come to expect from modern hardware. Read on to find if a prettier Deus Ex is more approachable or, at the very least, playable. 

The Good

Crack gaming - Deus Ex: Human Revolution is straight-up addictive. There's no sugar coating or sidestepping the fact: this game will cause you to lose sleep. Whether it was agonising over my next augmentation, wondering if I played that last conversation the right way, or getting lost in futuristic Heng Sha: I found it genuinely difficult to put my controller down and walk away. Even now after having completed the game, I still find myself going back to sneak up a storm.

Illuminating tale - Core to the game's addictive quality is its brilliant story that pushes to you question whether self-controlled evolution is the future of mankind or a propellant toward its demise. The central characters are all voiced expertly and some - like Pritchard - have an enjoyable chemistry with Jensen that evolves throughout the adventure. You can approach the story at your own pace and - in what I see as a master stroke - you're not obliged to experience it all. Not that I can see why one wouldn't want to comb through each of Detroit's dangerous streets and alleyways, but it's great that the game gives you the choice all the same. To give you an idea how deep the rabbit hole can really go, I highly recommend this piece from Rock, Paper, Shotgun. I found myself nodding enthusiastically in agreement.

Summon the funicular - Human Revolution's environments are dripping with cyberpunk intrigue. There may be a bit of recycling at play, but locations like The Hive and Picus Station are memorable and demand to be explored. I'm now halfway through my second playthrough and it's amazing how many new locations and conversations that I've found thanks to a different approach and a compulsion to collect everything. The various mechs, vehicles and augmented humans that you encounter are also impeccably rendered and designed. While not the most technically impressive release of the year, I challenge anyone to think of a game with more pleasing art direction. 

Who's your daddy? - Human Revolution's many influences are obvious, however, they are all treated with respect and in some cases, carried out better than in the source material. Conversations in this game aren't as frequent as they are in Mass Effect, but their outcomes are more ambiguous. The logs and literature don't contribute to the pervading sense of dread and calamity as effectively as those found in Bioshock, but they do give you a greater idea of the geopolitical landscape of the future Earth that Adam Jensen inhabits. The stealth mechanics are more fluid and forgiving than those from Metal Gear Solid 4, and discovery isn't tantamount to what the Penny Arcade team once described as sliding down a "shit-greased chute" for inept players. Human Revolution is a smoothie comprised of my favourite games.

Go your own way - I tried to go through the game without taking a life, but there was a time that I felt as though my hand was forced towards lethal weaponry. Not that I had to engage my foes, rather I decided that I couldn't walk away from this particular situation. After fifteen hours of using stun guns and my fists, I had to unleash the beast; or beasts as it were. Shotguns, revolvers, lasers, retractable blades: never has abandoning my principles been so much fun. The varied arsenal and tactics available to players affords a freedom that is almost paralyzing and there's more than enough to find and trial across multiple playthroughs.

Budgeting - I lost hours agonising over how to spend praxis points. Should I upgrade my strength to be able to punch through walls (in hindsight, yes!) or invest in my reflexes so that I can takedown two thugs at once? These choices are once again, a reason to lose sleep. A reason to keep you coming back and slaving away for more experience points. There were several times when I'd bought an upgrade only to then find an obstacle seconds later that could only be tackled with an augmentation that I'd opted to leave for the time being. This game taunted me on many an occasion, yet I still want more!

The Bad 

Corn bread - Last year, I commented that the voice-acting in Just Cause 2 was so heavily set on stereotypes that it was almost offensive. Human Revolution also features some regrettable voice direction with some African-American characters sounding like throwbacks to Gone with the Wind. Some Asian characters who speak in English are scripted with intentional syntax errors. I'm not saying that every Chinese hooker is going to speak English as though it was their first language, but at times it sounds forced and unnecessary.

Who's the boss? - As I've detailed in a previous post, the boss fights in Human Revolution felt alien when compared to the rest of the experience. They were often unforgiving and - worst of all - almost incompatible with players who choose espionage-flavoured augmentations (this Penny Arcade comic sums my experience up perfectly). One of these encounters can be made drastically shorter - to the point of farce - if you invest in the typhoon augmentation. The final two boss encounters actually bordered on enjoyable thanks to some of the choices I had made earlier in the game. It's a mixed bag for sure.

The Ugly

A litany of minor errors - As polished as the core action is, you'll come across a great many slight inconsistencies that can serve to lessen the sense of immersion you'll feel throughout the game. As per my lastpost, NPCs are sometimes completely unaware of some pretty big indiscretions that you'll carry out in plain view. There are also some big questions that certain play mechanics raise over sustained play:

• How come I need to rest for as long as twenty seconds before I can punch another enemy (or civilian)?
• Why would I upgrade my battery's recharge ability if it has no effect on depleted cells?
• If I'm so advanced, how come I can only sprint for the in-game equivalent of five metres?
• How come I can't fall a painfully-short distance without dying?

These are all petty in the grand scheme of things, but you'll easily get twenty hours plus out of this game, and such illusion-shattering queries are unavoidable (I'd strongly recommend you check out Bitmob's Mike Minotti's illustrated take on some of the game's flaws). For example, once I'd saved a game when I was sitting on top of an awning that was suspended about two metres above a tiny landscaped garden. Trying to engineer a non-lethal drop to said garden cost me more lives than all but one of the boss fights combined. I couldn't then reconcile the following ten minutes of goon smashing because if I couldn't survive falling from a one storey building, how could I cop a few bullets to the chest and still live to tell the tale? Sometimes, it's the small things that really detract from an experience.

The Verdict

There are scores of minor flaws and wrinkles that one would find in any given play through of Deus Ex: Human Revolution, but after thirty hours of well written - though not always well-delivered - dialogue, slick stealth gameplay and varied locations, I'm still hooked. This game has sunk its augmented claws into my skin and I can't escape. Better yet, I don't want to escape. I'm happy to have a crack at every achievement, every weapon, every air duct and anyone that looks at me sideways.

The High Horse Audit 2011, Part 1: The Best 5 Games of 2011 (so far)

It's that time of the year again. Another financial year has come to an end, and gamers are left to ponder what has been a heavily-populated release calendar. For my part, I'm happy to advise you of what I believe to be the best five games I've played so far this year. As with last year's strenuous auditing, it's important that you're aware of the following limitations:

• I'm one man, so I can only play and afford so many games. That being said, I've spent a ridiculous amount of money and time on games so far this year; so there's a lot of titles up for consideration.
• Given the afformentioned time constraints, please be aware that I have not spent an adequate amount of time - if any at all - with the following big releases: L.A Noire, Red Faction: Armageddon, F.3.A.R (which I am absolutely loving despite its rough appearance), Mortal Kombat, The Legend of Zelda: Ocarina of Time 3D, Shadows of the Damned and Portal 2.
• I will only comment on games that I have completed, or come very close to completing.
• Only games released between 1 January 2011 and 30 June 2011 will be discussed

With those conditions in mind, allow me to reflect on the best that 2011 has had to offer.

5. Stacking (PSN/XBLA - Played on Playstation 3)
I still haven't been able to reconcile whether I liked Stacking solely on the basis of its whimsical design or if the non-existent purchase price - on account of being a Playstation Plus member - had something to with it. Regardless, Charlie Blackmore's quest to reunite his loveable family of chimney-sweeping Russian dolls was an absolute delight to play through. Navigating through each of the villainous Baron's domains - each dripping with silent movie era charm - players must possess larger characters and utilize their unique abilities to solve rarely-taxing puzzles. There's something about solving a conundrum with vomit that is not only memorable, but satisfying (in some twisted way) as well. There were puzzles that did not involve bodily functions as well, but most are resolved through simplistic, logical actions. The game may have been short and meticulously-directed, but as a result no part of the experience felt unnecessary. I'll remember Stacking most favourably for its high quality presentation. The visuals, a mix of art deco, almost steampunk design and a piano-centric, fanciful score. Short, expensive, but well worth a download.  

Stacking Coverage:

• In case you haven't played it: Stacking Review (PS3)

4. Crysis 2 (PS3/360/PC - Played on PS3)
Start spreading the news: Crysis 2 is well worth your time. The narrative may not have meant anything to anyone but series' veterans, but seriously, why would you care when you can cloak? Story doesn't really matter that much to me either when you jump around the ruins of New York City as a super-powered agent of forces you won't fully understand; at least not with the explanation the game gives you anyway. The absence of an engaging tale also failed to concern me when I could combat foes of impressive size and design. The different varieties of Ceph ensure that players will need to employ different tactics for each combat situation if they want to progress; you may be able to dispatch a group of grunts without acknowledging your surroundings, but good luck to the brave (read: stupid) man who engages a pinger in an open battlefield. Crysis 2 affords players the tools and ability to make the most of their surroundings. You can even use giant metallic donuts to combat your foes: everything is a weapon. The game also features several sequences of destruction that should be seen by any FPS enthusiast; landmarks torn asunder by an alien threat in consistently-spectacular fashion. Not to say that CELL operatives - your human opponents - can't offer up a spectacular explosion. What better way to end a fight against a helicopter gunship then to have it plunge into the building you're firing from? Crysis 2 also features the most memorable score in recent memory and a solid multiplayer offering that is a valid alternative for those tiring of the Call of Duty formula. A fantastic package to be sure!

Crysis 2 coverage:

• Crysis 2 Review (PS3) - Bubblegum action man trying to play the scientist (via Bitmob)

3. Mass Effect 2 (PS3)
Writing this list has been - to an extent - an exercise in eating my own words. Nowhere has this statement  been more true than with my second attempt at playing through Mass Effect 2. As some would be aware, I didn't exactly take to Bioware's space opera sequel the first time around on the Xbox 360. I even gave it the closest thing to a lambasting that I've seen anyone give Mass Effect 2; critics couldn't speak highly enough of Shepard's second adventure and I could not understand why. This time around however, everything seemed better; if not more bearable. I also employed a different class and approached the game's missions in a slightly different sequence to that from my first attempt. The first six hours still dragged and the vehicle segments were still more awkward than a lunch date with an ex, but persistence paid off. After a very slow, almost painstaking start to proceedings, players are treated to an expansive world full of rich, (usually) well-developed characters. The are some - *cough* Jack *cough* - that are still quite grating and Zaeed and Kasumi feel like superficial additions at best, but you'll care about the rest of the crew of the Normandy; that much I can guarantee. The combat can feel a little awkward, but some of the biotic powers are awesome to behold; particularly when they reach their full potential. Not many games feature firefights with enemies literally floating in mid air as you and your comrades pepper the surrounds with bullets and explosive fire. Further to that, few other titles offer the potential for so many central characters to die in the final act; without careful consideration, you can have a real bloodbath on your hands. There is a real sense of weight and consequence to the choices that you make in Mass Effect 2. The consequences of specific actions and dialogue options may seem a little obvious - even ham fisted - but the choices are still there to be made. If you haven't done so after releases on multiple platforms across two years, do yourself a favour and experience this brilliant sci-fi RPG.

 Throw in some spaceships and you've got Mass Effect 2 right here!

Mass Effect 2 coverage:

• When Hype Attacks
• Mission Complete? (You're doing it wrong)
• The High Horse Audit 2010, Part 2: Most Disappointing Game of the Year and Honourable Mentions
• Rushing the Snail
• In case you haven't played it: Mass Effect 2 Review (PS3)

2. inFamous 2 (PS3)
inFamous 2 may be the year so far's best game, but it comes in the second best package. The Hero Edition did include a cool messenger bag (which I actually use), a statue and a mini-comic - and let's not forget about the woefully-implemented exclusive DLC - but it didn't include a ticket to the beta trial of what will be one of the best competitive multiplayer experiences of the year. I know you get access to the Uncharted 3: Drake's Deception beta with purchase of this title, and it may surprise and offer an experience on par with Epic's powerhouse; but I doubt it will. I'll be in it for the campaign more than anything else, I suspect. Back to the issue at hand, inFamous 2 offers the most prolific boss fights in sandbox action game history whether they have you hanging from a helicopter, shooting from a trailer or on foot and up close and personal with your usually-monstorus opponets. The scale of some of the enemies you will encounter is unmatched: monsters that are taller than apartment complexes and office towers, their attacks fearsome without feeling cheap. On top of some brilliant "Man Vs Godzilla," moments, inFamous 2 also benefits from improved mission design, some new powers that make movement more fluid and -to be frank - joyous, and fan service for those who played the first game. There may have been some narrative missteps and some weak characterisation, but ultimately inFamous 2 is a game that you need to play.

 Second prize sure comes with some perks

inFamous 2 coverage:

• inFamous 2 Review (PS3) - Fight and Flight in the Big Easy (via Bitmob)

 1. Bulletstorm: Epic Edition (X360/PS3/PC - Played on Xbox 360)
Now before anyone starts quoting my review for inFamous 2 (what? it could happen), you need to consider what the Bulletstorm: Epic Edition package offered in its entirety. Not only did you get a quality, foul-mouthed first person shooter in Bulletstorm, you also got access to the Gears of War 3 Beta before anyone else (and for longer than anyone else I might add). On its own merits, Bulletstorm is an insanely-enjoyable game, with gunplay revolving around skillshots that ranged from the relatively-mundane "Headshot", all the way through to the ridiculous "Fireworks" which tasks players with hitting suspended enemies - thown into the air with a charged thumper -  with a charged flare gun shot.  On top of the skillshot metagame, there were also several memorable set pieces and boss fights for players to make their way through with the help of some creative weaponry, alternate fire modes and spins on genre staples: such as the sniper rifle which allowed players to plot the course of bullets and even detonate them if the shot was charged. All of this chaos was articulated in a single campaign of respectable length which was skillfully paced; never mind that the narrative never really went anywhere meaningful. While it didn't offer much in the way of replay value, Bulletstorm was easily one of the most enjoyable, funny and visually-impressive titles released in 2011.

Bulletstorm coverage:

• Weekend Update: Gimme Shelter (from the Bulletstorm)
• Potty Mouth
• In case you haven't played it: Bulletstorm Review (X360)

As for the Gears of War 3 Beta, it offered enough ammunition for multiple posts and more play time than most full releases that I've played this year. The promise of some cosmetic unlockables and a preview of the new combat mechanics had me hooked. Sure there may be some balance issues, but this substantial trial is sure to make the time between now and the intended release in September drag on for what will seem like forever and a day.

 Cosmetic unlockables: Is there anything more glorious?

Gears of War 3 Beta coverage:

• Not in the face - The Gears of War 3 Beta Protection Prayer
• How Soon is Now? - Gears of War 3 Beta Impressions
• This is how we do it (now, apparently)
• Wingman
• Shining Example (via Bitmob)
• In case you haven't played it: Gears of War 3 Beta Review (X360)

 Do you agree with any of my picks? What are your favourite 5 games of the year so far?

In case you haven't played it: inFamous 2 Review (PS3)

The original inFamous was an interesting beast. It started off strong: with an original aesthetic, solid third-person shooting and exploratory platforming but lost it's way into the second act. The painfully-frustrating side quests, inconsistent difficulty and almost complete lack of pacing caused me to lose interest (although I did return one year on to finally complete it). Cole McGrath was an interesting protagonist, he wasn't muscle-bound, foul-mouthed or overly arrogant: he seemed human. The supporting cast was nowhere near as strong however, with Zeke Dunbar ranking as one of the most irritating and disingenuous characters I've come across. Moya and Trish also failed to be overly endearing and their fates didn't mean a great deal to me while playing as a hero or villain. Funnily enough though, upon announcing the sequel, developers Sucker Punch opted to make changes to the protagonist's look in order for him to appeal to a broader audience. Thankfully, the fans (and trolls) protested, and Cole was again returned to a gritty, almost ugly state. After some time with the beta, I had feared that inFamous 2 would be a clumsy mess: the camera hugged the player too tightly, and New Marais was nowhere near as cold and desolate as Empire City. Thankfully, those fears were unqualified and the game proved to be a great sequel, and a brilliant sandbox superhero game in its own right. inFamous 2 continues to chronicle Cole's battle against "The Beast," which is tearing a destructive path down the East Coast of the United States. Read on for more thoughts on superpowers, inconsistent plot and pacing, deadly firearms and an expansive new environment.

The Good
Freedom of movement - Particularly towards the end of the game, no other sandbox titles make movement anywhere near as joyful as inFamous 2. Thankfully, Static Thrusters - which allow for players to slow their descent - are available from the beginning of their game; but their eventual upgrade coupled with the Lightning Tether - which is essentially a grappling hook - ensures that flying around New Marais is as fun as it is simple.

Time flies when you're hanging with Cole

Rewarding story - Sucker Punch should be applauded for creating a real sense of continuity with this sequel. Not only are you given an XP boost if you've completed the first game and other trophy-related milestones, but much like Mass Effect 2, choices made in the first instalment also carry over to the sequel, which is great to see. Furthermore, while I can only speak in terms of the Good side of the story, inFamous 2 has a definitive ending. It is so satisfying to complete a game and not be slapped in the face by a teaser for the next installment as a "reward," for all of my hard work. There are some missteps throughout the campaign, but on the whole I was very happy with the story and the various nods to the original. It's also worth noting that Zeke is far more bearable in the sequel, and his character is even redeemed somewhat towards the end.

Hell of a city - New Marais has three distinctly different areas that are a joy to explore. The city centre is heavily-populated with party-goers and tourists. The mass of neon signs and parkland draws parallels to Empire City, but New Marais does have a genuinely different feel to the cityscape of its predecessor. Flood Town is such a drastic change in terms of visuals and pace from the standard New Orleans-esque landscape of the city centre, with structures submerged in deadly - to Cole at least - water. The Gas Works is a large industrial space which is home to many silos, warehouses and towering structures. It's a little dull in this quarter of town, but the larger buildings allow for some experimentation in terms of travel. All things considered, the play area in inFamous 2 is sufficiently different to that found in the original game. It's also worth mentioning that the entire city looks amazing, with an expanded colour palette, impressive draw distance and lighting effects. Even with dozens of enemies and civilians on screen - including some of the larger monsters - the frame rate rarely staggered. inFamous 2 is easily one of the best looking sandbox action titles released on current generation hardware.

Like a Boss - inFamous 2 is all about the boss fights. So much so that it makes you experience each of them at least twice. Most of the imposing boss creatures are then woven into side missions, or can even be found wreaking havoc as you traverse New Marais. As each of them can be bested by remembering simple patterns and weak spots; they are usually enjoyable and rarely cheap. Even the helicopter - I know it's not a monster, but it's a boss encounter all the same - is a cake walk once you learn to time blasts to redirect rockets. You'd think that fighting some of these creatures twenty-something times would lessen their effect or impact on your psyche, but a Devourer is always daunting, and always dangerous. Some the fights towards the end are even more awesome in terms of scale. Godzilla-sized beasts and some creative set pieces lead to some unforgettable battles that simply need to be experienced.

Believe it or not: that's not the biggest boss creature that you'll come across. 

On the side - The quality of the side missions found in inFamous 2 are far greater than those in the original game. Gone are unbelievably-frustrating surveillance missions and satellite uplink races. The uplink races have been replaced by overcharge challenges, which task players to reach a certain point without touching anything other than grind rails (you can touch surfaces, but only for a short amount of time). The time limit has been removed and I found it less frustrating and much more enjoyable than the alternative presented in the first installment. Even Dead Drops are better this time around: with the recorded messages being carried by pigeons that make a delightful sound upon hitting the ground. What were distractions in the original turn into worthwhile experiences in the sequel.

Impact - Camera problems aside, the new melee combat system looks like it hurts your victims. There's a real sense of impact to every hit you land on an opponent, while finishing moves and ultras look nothing short of devastating. Despite my fears from the beta, the close camera actually works pretty well and rarely got in the way of a good fight.

Radar - In sandbox action games I get distracted; easily. For this reason, I'm very thankful that Sucker Punch included the ability to sense nearby Blast Shards so that I can discern whether or not I'm wasting my time. The map also does a great job of displaying periphery tasks - depending on your moral persuasion - which allow you to act like the hero (or villain) that you want to be.

Authentic score - I loved inFamous 2's score, a mix of Creole jazz and lofty superhero movie music. Towards the end you hear more of the latter, but the scratchy street music and melancholic string arrangements made for a truly compelling aural experience. It's also a vastly different sound to that found in your average sandbox action game for that matter: no licensed tunes, just original brilliance.

Forgive - In spite of inFamous 2's shortcomings as far as combat is concerned, the checkpoint system is reasonably forgiving and - in most cases - manages to counter the frustration you'll suffer upon being killed hundreds of times by standard grunts equipped with rocket launchers. Suicidal grunts with rocket launchers I might add; where in most games, enemies equipped with explosive ordinance would switch to something safer for close range encounters, inFamous 2's militia members maintain fire with a frustrating rate of success.

The Bad
Forget - In some of the more hectic combat situations which feature multiple objectives, you'll find yourself dying a lot; and with death of course comes confusion. The best example can be found in the raid on Fort Philippe, where players are tasked with destroying varying forms of gun emplacements. First comes machine gun turrets. I died after dispatching the first of three, then spawned atop a tower with two left to destroy. After finally demolishing the other two turrets, I then had to take care of three mortar positions. It took several attempts until finally I managed to destroy two in quick succession. I died on my way to the third and respawned where that part of the mission had first started. It took a few minutes to realise that in spite of the spawn point, I was still near completing this particular mission. Most games would force you to battle through the entire sequence again, but inFamous 2 conspicuously allows you to pick up where you left off. I would think it's on account of the powerfully-frustrating damage model which becomes all the more ambiguous in the sequel. Like in its predecessor, the colour on-screen drains upon Cole taking damage. Difference being this time is that it happens much faster, so it's hard to tell how far gone you really are.

Fort Phillipe: Where confusion reigns supreme!

Drowning Pool - I can't even think to remember how many times Cole McGrath met his end in a puddle. In the midst of some of the more heated firefights, with a monochrome screen I often found myself unknowingly walking in ankle-deep water. This coupled with explosives and minigun fire led to many a cheap death.

Lightning gun - Some of the new powers in the sequel are so creatively-derivative, you'll wonder why they didn't just give Cole a gun. There's the Pincer Shot, which is your shotgun. No points for guessing what gun the Magnum Bolt can be likened to. There's also the Bolt Stream which is like a minigun. With regards to the other aspects of Cole's arsenal, the elemental twist is disappointingly handled. In most cases, the ice powers are only different to the lightning equivalent in terms of appearance. Ostensibly speaking, a blast or grenade with a frosty twist essentially does the same thing: push or explode respectively. There's no ice beam or Iceman-like surfing. Most of the powers are brought over from the original game and - with the sole exception of the Lightning Tether - most of the new ones were not used very often.

Tres Sexy - Nix and Kuo very obviously represent the north and south poles on the moral compass in inFamous 2; and even though I'm often prone to playing the good guy, Nix proved to be no incentive to switch to the dark side. With a voice that sounds like John Leguizamo crossed with Lil' Wayne, Nix should have been oozing Creole charm but instead ended up sounding like "The Pest." That said though, Kuo is far too vanilla and vulnerable to sustain any interest either. Both female supporting cast members fail to be endearing to the point where I would consider Zeke to be better company; and for anyone that has played the original, that's a bold statement to make.

Get stupid. Get retarded. Nix will get the party started.

The Ugly
Sticky - One of my biggest problems with the original game was the sticky nature of the platforming action. Whenever I wanted to drop somewhere, or move somewhere that was close to a cluster of grips, I could never quite get where I needed to be. It was infuriating sometimes, trying to maneuver myself towards a Blast Shard only to overshoot, or drop seven stories below it. This hasn't been remedied in any way shape or form in the sequel: if anything, it's worse. It even manages to transfer into other aspects of the game, such as draining power. Whenever I needed to drain power out of an explosive, I had to be wary of cars or any other power source and often found myself sucking watts from one or two objects before I got my intended target. Even combat suffers from sticky targeting, as I often found myself brutalizing the people I was trying to save. It was nothing of a "game breaking," nature, but these events happened often enough for it to be superpowerfully-frustrating.

Second Act - Much like its predecessor, inFamous 2's momentum grinds to a near halt upon discovering Flood Town. After one of the most spectacular boss fights I've ever come across, Cole must then power up this sinking part of New Marais. As much as I ended up enjoying my travels through this part of the play area, the introduction does little to make this near Atlantean section of the city appealing early on.

No Ninja - I could never get the drop on standard militia thugs. Whether on rooftops or wandering the streets, these redneck thugs had superhuman hearing and Spidey Sense. What's worse than that is that you are extremely susceptible to gun fire, and these guys are dead-accurate with anything from a rifle to a minigun. Even when I thought I was behind sufficient cover, these common enemies found a way to sneak in a shot. What's worse is that as above, any grunt with a launcher had no regard for their own safety and did not hesitate to fire at close range. I would argue that the standard enemies in inFamous 2 were far more deadly than any boss creatures I came across.

If you see these guys: run. RUN!

The Verdict

8.5/10 - inFamous 2 was a genuine surprise. In spite of some recurring issues, superficial additions and narrative stumbles: it proved to be a great sequel and offers some genuinely new and compelling experiences. Most essential of all being the grand boss fights that eclipse all competitors in terms of scale. The periphery activities have also seen much improvement and are almost all worth playing. Strong visuals, fan service and authentic score also served to enrich my time with what is the best game I've played this year.