A New Way To Sell

In marketing circles, when a company or brand promotes itself with a range of media channels i.e. press, radio, public relations, billboards etc, it is called multi channel marketing.

Sometimes brands delve into the world of movies and video games, creating branded content and yet another way to reach out to the consumer in an engaging manner.

This has been most successful for bands, especially with the creation of the niche Rhythm market. If you compare the number of songs from Guitar Hero II that were performed by the original band (and not just ‘made famous by’) to those of Guitar Hero 5, you will see what I mean.

By including the master recording, it means the song isn’t covered by a local musician and that the band and its management approve of its use. It also shows that the $40 billion games industry is a viable channel for releasing and showcasing music.

Further success for bands to prosper in games can be seen in PGR4, Burnout 3: Takedown and the Tony Hawk series. These games have a wide selection of music including punk, rock and electronic that can be selected to create a playlist to suit your taste and tailor your gaming experience.

This enables bands to become a bigger part of the game, with new songs being introduced via the gaming channel. Personally, I have either become a fan or a bigger fan of some bands because of this introduction.

In some cases I have also noticed a difference in my driving technique when select songs play in my play list. Some songs I enjoy a little too much which negatively affects my lap times while other songs improve my time because they motivate me and put me in the mood to win.

Furthermore, DLC for Burnout Revenge included cars from Alienware, Dolby, Monster, Xbox Live and even the band Yellow Card. This in game content is yet another way to reach out to a consumer and expand your brand to a captivated audience.

The beauty of this is that the advertising for each of the brands (Alienware, Dolby etc) fits in with the game and doesn’t feel intrusive. It enhances your experience and can make you feel more inclined to deal with these brands outside of the game.

This can also be said with the inclusion of actual car brands in games. Driving a Porsche, Audi or a Zonda through a course and noticing the difference between the cars, both in performance and handling, can create new fans for each manufacturer.

Upgrading your car with Spoon parts or Brembo brakes also influences real life purchases, especially once you see the results in a decent simulator.

What I find questionable is blatant advertising such as the Barrack Obama, Burger King or Gillette ads placed in Burnout Paradise. Although I can’t tell you if the campaigns were successful (or how successful they were), I can tell you this kind of advertising is a risky move that can be detrimental to one’s brand.

While Burnout Paradise was a fairly well received game, I don’t think it was real enough to introduce real world advertising. Games such as GT5 or Forza 3 should include advertising (either static if stand alone or dynamic if online) as this enhances the game play and creates the realism of racing on a professional track.

Subtlety is key in these situations, unlike the advergames of the 90’s (McDonald’s, Kool-Aid and 7-Up adventures), the recent Transformers movies (gee, I wonder who sponsored those...) or the Fall Out Boy video clip for Thnks fr th Mmrs (either I don't get the premise or you're trying to make an extra dollar or two boys).

What do you think about in game advertising or branded content? Does it enrich your experience or does it frustrate you enough to put the controller down?

The Last Day - A Wedding Haiku

Today is the day
Two lives join and become one
After two long years

I've always loved you
But soon we'll sign some papers
Make it official

Rarely we argue
All of my faults, you accept
Almost too easy

Accomodating
Of weekends spent with consoles
Watched, and never judged

You knew what it meant
To find solace in fiction
For me, games. You, books

There is more to us
A shared desire to wander,
Learn, joke and converse

Your strong ambition
At times, intimidating
You make me so proud

With our boy, Bosca
We make a happy household
Hair everywhere

Now, please take my hand
Our hearts and will to combine
I'm yours forever

The Rating Game

Today is a big day for gamers, with a meeting of federal and state ministers discussing the possibility of introducing an R18+ rating for games released in the Australian market.

A hot topic providing robust debate among gamers, politicians, religious groups and retailers, the issue has been discussed for many years with no positive resolution for gamers; an outcome that simply leads to the purchase of uncensored titles from overseas vendors.

Although the argument has strong support from the Minister for Home Affairs, Brendan O’Connor, industry lobbyists and the general public, the key problem has been the position of ex-South Australian Attorney-General Michael Atkinson.

Since his appointment in 2002, Mr Atkinson believed the introduction of an R18+ rating would not benefit society or protect children; instead it would make gratuitous violence and sexual content more readily available to them.

In a reply to a discussion paper sent to Mr Atkinson, he goes on to explain his position, citing the family oriented Wii console and games as proof that violence and gore are not required for challenging and entertaining gaming.

Whilst I can understand the opinion of Mr Atkinson and see his concerns, his views and arguments are flawed. For example, when discussing his concern about the new rating making it easier for children to be exposed to gratuitous content, there was no mention of parental responsibility. Are parents no longer meant to guide their children towards media that is suitable?

Additionally, the average age of gamers is 30. An entire generation of people have grown up playing games and continue to do so. The National Classification Code states adults should be able to read, hear and see what they want, so why are we unable to do so?

Thankfully, he was voted out of office in the March election and replaced by John Rau, who fully supports the introduction provided there are safeguards to protect minors from content.

The next hurdle is gaining the support of West Australian Attorney-General Christian Porter, who is under pressure from his party to block the classification.

Unfortunately it only takes one Attorney-General to veto the new rating. Hopefully Mr Porter will not succumb to the pressure and support the move, however even if he does, it is unknown how newly elected Victorian Attorney-General, Robert Sercombe, views the classification.

Almost one year after his initial discussion paper was released, Brendan O’Connor has compiled a strong case as to why a new rating should be introduced and is confident of gaining the support required to pass it.

Included in his argument is a study indicating that there is no indication that ‘violent video games have a greater impact on players than other violent media, such as movies or music videos.

In addition, there is a strong economic argument, claiming that an R18+ rating will boost the $1.3 billion industry and assist parents and adults in determining what is and truly isn’t acceptable for children and teenagers to play.

If the new rating is passed, it means banned titles such as Man Hunt, NARC and Reservoir Dogs could be released, while games edited for the Australian market such as Left 4 Dead 2, GTA and Fallout 3 could be re-released as the original version.

Furthermore, future releases of games similar to COD Modern Warfare 2 or Black Ops may be given a stronger rating.

It is important to remember that if the new R18+ rating is approved, the Office of Film and Literature Classification would still have the power to ban games they believe are too violent or inappropriate, such as the Japanese game, Rapelay.

For more information about the rating introduction, visit R18+ Games Australia or simply search the Herald Sun or ABC News archives.

What do you think of an R18+ rating? Is it necessary and do you think it will benefit you in more ways than just free speech?

On a side note, when looking up lists of banned video games, Brazil banned Cat in the Hat: The Game. Granted it was for copyright infringement but it made me giggle to see it among titles such as Doom, Carmageddon and GTA.

In case you haven't played it: Star Wars - The Force Unleashed II (X360)

For all of its promise, Star Wars: The Force Unleashed was a painfully frustrating game. You would have thought that one man with the Force as his ally would be close to unbeatable, but Starkiller was an overly fallible Sith/Jedi. Boss fights were brutal (read: cheap), and large-scale battles often led to many (MANY) deaths. Worse than that, SWTFU featured several painful (read: almost broken) platforming sections, and more quick-time-events than all of the God of War games put together (slight exaggeration, but you get the point). Based on the thoroughly enjoyable demo alone though, it sold more than enough copies to justify a sequel on all major platforms. To be entirely honest, I expected nothing but the worst from Star Wars: The Force Unleashed II, but after four or five hours I was happy enough with what I had seen.

The story is a throwaway What-If scenario that ends in ridiculous fashion, no matter which side you choose (I YouTubed the Dark Side ending and it is even more preposterous and pointless than that of the Light Side arc). What's more, the sole moral choice in the game is saved for the last twenty seconds of actual gameplay. There is no lead-up; players decide just before the credits role. I don't mind (probably would have back in the day) so much that the developers have taken some liberties with the fiction, because otherwise I would prophecise that the tale would have been even more uneventful. Restricting yourself to the period ending just before the original Star Wars trilogy begins should mean that some of the central characters in this game are safe from (a lot) of harm. Not really the case here. The greatest compliment I can give to the writers is despite the shallow Starkiller clone premise, the action moves at a fast enough pace that the plot holes don't really seem to matter that much.

The combat, save for some cosmetic changes, hasn't changed too much. Starkiller now has two lightsabers, but the combat works similarly to when he was equipped with the single weapon. His actions look more graceful, but there are no meaningful additions to melee combat. There is only one new Force Power (Jedi Mind Trick), and I think I used it about five times. Why would you bother suggesting to a Stormtrooper that they jump out of a window, when you can just pick him and his three buddies up and slam them against any surface (glass or otherwise)? That being said, it is still fun to charge up a Force Push (read: Star Wars-flavoured Hadouken), electrify foes, and dangle them over precariously high places. There have been some new enemies added, but they are used ad infinitum (and ad nauseum), and ultimately betray the developers lack of creativity. Players can now activate Force Fury, which is essentially an "I win!" button that grants unlimited Force Power usage for a limited amount of time, as well as invincibility and damage buffs. It takes a fair while to charge the Force Fury meter though, so it can't be abused too often.

Unfortunately, the uninspired platforming sections from the original make a return. None proved to be anywhere near as frustrating as those found in the first instalment, but they still felt entirely unessential. The level design on the whole for that matter, is fairly inconsistent. The first level, which is entirely unchanged from the demo, features some enjoyable combat scenarios, but is otherwise pretty bland. The second level, set on Cato Neimoidia on the other hand; is full of fantastic architecture, varied combat segments, and a wide palette of colours. The scale of the boss fight in this level is also reminiscent of that found in the God of War games. It is spectacular. The final two levels of the campaign are way too long, and only display brief glimpses of what could be considered good level design. 

As hinted at above, the multi-stage boss fights make a return as well. There are less to conquer this time around, and they are ridiculously simple. Even counting the final forty-five minute boss fight that fuses the broken platforming mechanics and easy combat into one powerfully-unsatisfying experience; I would have died about five times across all of these encounters. The standard combat is also markedly less difficult than that found in the first game, and contributes to the solid pacing overall. I've actually started playing through on the hardest difficulty (Unleashed), and I'm about a third of the way through. Sure I have died more often than the playthough on Normal, but I would argue that Unleashed difficulty in the sequel is about equivalent to Normal difficulty in the first instalment in terms of both frustration and difficulty. The campaign lasts about four hours on Normal, and while there is a challenge mode available afterwards, there is very little reason to come back to the title upon completion.

In terms of visuals, Star Wars: The Force Unleashed II is leagues ahead of its predecessor. There are several noticeable instances of screen tearing during cut-scenes, but some of the scripted sequences are simply breathtaking. The character models during pre-rendered sequences are particularly good-looking, but the weather effects and environments are also of far greater quality than that found in the original. While technically impressive, some of the levels are a little uninspired from an artistic perspective. The lapses in creative energy are most prevalent in the level set on a capital ship. The engine rooms of these massive starships feature quite the multitude of decorative (read: pointless) gears and obstacles. In direct contrast to the visual audacity on display, the sound design is very much understated. The cliched segments of John Williams' composition return, and you'll here the requisites screams, lightsaber whirs and blaster effects; in the end though, it all sounds like white noise.

5.0/10 - For those like myself, who expected very little from Star Wars: The Force Unleashed II, I often found myself surprised. There are flashes of brilliance in this sequel, but they are often obscured by some questionable level design, and almost complete absence of challenge. Some of the scripted sequences and boss fights are spectacular, and while not essential, should be experienced if you find this swimming around the depths of the bargain bin. This is a more enjoyable game than its predecessor, but that is a backhanded compliment if ever there was one. 

In case you haven't played it: Call Of Duty - Black Ops Multiplayer Review (PS3)

The Call of Duty (COD) series has had a long, and at times, chequered past. More and more people are starting to get into the series, and with the series now starting to resemble an EA Sport’s series, with yearly installations that provide minor tweaks at best; it is not illogical to assume that the trend will continue.

The main reason for the mass love of COD these days can primarily be attributed to the multiplayer section of the game. While the first COD instalment did not have a multiplayer offering of any kind, Call of Duty 2 blew the console gaming world away. Now you could actually play a decent shooter on a console, which reacted as it should, and that provided enough motivation for people to come back. The main reason for COD2’s dominance was the fact that using a bolt action sniper rifle was, for a lack of a better word, fun. Through the next four iterations, the prevalence of sniper rifles in any given game lobby, regardless of the game mode, was huge.

With the past iterations in mind, I would like to delve into the latest offering from Activision and Treyarch: COD: Black Ops. Firstly, what does Black Ops bring to the table as far as the series is concerned?

For a start, it has removed many of the extremely annoying features that Modern Warfare 2 (MW2) installed. I am talking, of course, about the infamous deathstreaks, which provided players with a boost should they die a prerequisite number of times. The deathstreaks included: Pain Killer (3x health for 10 seconds); Final Stand (instead of being killed, you will fall to ground and continue to be able to shoot your primary weapon, and stand back up should you survive long enough); Martyrdom (drop a grenade when you die); and Copy Cat (copy the class of the person who just killed you).

It also removed the following perks: One Man Army, which allowed you to change your set-up at will; Danger Close, which added additional power to any explosive you were using; and Commando, which allowed you to melee a person from further away. I can’t begin to explain how happy I was when, in the midst of my pre-Black Ops hysteria, I read that these perks would be removed. They were the bane of my existence, especially the combinations of Commando and lag, and One Man Army/Danger Close and the under barrel grenade launcher (read: n00b tube).

At the same time that I read these ridiculous perks were on the way out, I also read that Sleight of Hand Pro (a pro perk which allows you to aim down the sights twice as quickly) would not apply to sniper rifles. I don’t have an issue with this, as it means people who want to aggressively play with a sniper rifle (that is quick scope), will now actually have to have some skill, ala Call Of Duty 4 and World At War.

I have, at this point in time, played Black Ops for approximately twenty hours, reaching level 46, and am excited to prestige for the first time. I decided early that Black Ops would be the first COD game with which I would try to go “all the way”, and reach 15th prestige. On the basis of the time I have spent with Black Ops thus far (which is bound to increase significantly given I have a week and a half off!), I don’t think I will see this feat as a grind, but as more of a journey.

As Tristan has repeatedly stated, the new customisation feature of the game is amazing. I am truly enjoying “try-harding” during games to earn valuable COD points, which I will then go and blow on every conceivable attachment for the guns I currently own. I’ll admit that I haven’t really experimented too much with regards to guns. However, I have found that each of the guns I have used have their own pros and cons: with a high recoil for those with a fast fire rate, and low fire rate for those with high power. This is in such a vast contrast to MW2 it isn’t funny, where only one gun has recoil (the F2000), and makes sniping across the map with an ACR far more effective than actually using a sniper rifle.

Another high point is how the perks have been set up. There seems to be a more balanced feel to perks now, with players no longer able to sprint around the level like Usain Bolt, all the while moving like a ninja. Another positive that should be noted is the removal of Stopping Power, which requires players to be more thoughtful when choosing a primary weapon. Instead of choosing a weapon with a high damage level, which is then multiplied by the perk; they must now consider their comfort level with the gun, and develop a strategy around it.

However, the most gratifying tweak to the game involves killstreaks. In Black Ops, killstreaks do not stack. A major issue with MW2 was the fact that a person needed five kills (four using Hardline) to get a predator missile. From there, it was almost guaranteed a harrier and chopper gunner would follow, resulting in the destruction of entire teams stuck in a spawn spree of mammoth proportions. This strategy became extremely annoying by the end of MW2’s life. As kills from your killstreaks no longer count towards your next killstreak stack, it now requires players to actually kill people with their gun or equipment. Shock horror!

However, not all is perfect in Black Ops. During the first week of play, the lag experienced by many people was, to put it bluntly, horrendous. Case and point:, I emptied an entire clip from my Galil (an assault rifle) into a person using an SMG and I did not get the kill. The player then proceeded to turn and shoot me twice, resulting in my death and a few choice words exiting my mouth. This would almost always, be followed by Lisa getting up me for yelling. It was infuriating to say the least, and. I am happy to say that this is no longer a major issue (the lag that is, Lisa still gets up me when I get a tad excited). You will still experience lag on occasion, but that is to be expected in a Peer-to-Peer system.

An issue of greater concern is that of the spawn system. COD games have never been known for an amazing spawn system, but Black Ops is sometimes just downright confusing. Many a times I have killed someone, turned around, only to find the same person running around an approaching corner and spraying away, dropping me like last week’s cold. This isn’t reserved for Team Deathmatch TDM either. This has actually occurred in Domination, near one of my own flags no less. While I understand that developing a fully functional and rational spawn system is a difficult piece of programming, surely Treyarch could have come up with something better than the one which has been implemented.

Something that is probably a lot closer to my own heart than that of any of the other reader’s is the new sniper rifle mechanics. While I have no issue with SoH Pro not working on sniper rifles, what I do have an issue with is the whole two second delay once when you scope in where your bullets do not even fly straight. And I am not talking about a slight deviation either, I am talking about a major deviation from where you have aimed the crosshairs. While there have been a few people who have found a way around this, the new mechanic pretty much makes using a sniper rifle completely ineffective for those who are do not have a Bobby Lee Swagger level of proficiency.

But that didn’t stop me from trying the sniper rifle, and I am slowly getting the hang of it. Thanks to the new, and absolutely amazing Theatre Mode, I was able to hit this triple while playing Domination on Array, then make a clip of it, and upload it onto the internet. To a massive geek like myself, I almost wept when I saw my work on YouTube. So, I will leave you with this my ridiculously cool shot I got, and a recommendation:

If you have not picked up Black Ops, and you have a solid internet connection, do it. You will find a game that is enjoyable to all levels of players, and a level of customisation that surpasses that of many games available, some RPGs included.

http://www.youtube.com/watch?v=p3Y0v8fuivk

As a side note, if you are struggling to get consistently good games in Black Ops, I suggest that you subscribe to a player called xJaws on YouTube. He provides tips and tricks on how to perform consistently, but more importantly, on how to have fun.

PS. Subscribe to me! I will try and upload any good little clips I get like this. If I actually end up doing alright in BO, I am even considering getting a capture card.

Gearbox Revival

It would seem my last comments on Duke Nukem Forever never arriving were a little premature. After discussions with friends and a couple of Google searches, it turns out that Gearbox Software have recently resurrected the project.

Officially announced on September 3 at the Penny Arcade Expo 2010, Gearbox stated they bought the intellectual property from 3D Realms and 2K Games and now hold the exclusive long-term publishing rights of the game.

Gearbox is the developer behind Halo, Half Life and Borderlands, providing an impressive pedigree to complete the game known by many gaming media journalists as Duke Nukem Forever In Development.

Duke Nukem Forever has now been in development for over 13 years, mainly due to staffing issues and engine changes and rewrites.

After Duke Nukem 3D was released, the original game engine, Build, was antiquated, so development had moved to the Quake II engine, then Unreal Engine in 1999. With everything full steam ahead, in 2004 it was rumoured that the game was to be redeveloped to suit the Doom 3 engine. This was neither confirmed nor denied by the developers, but would explain further extended delays.

In typical Duke fashion, the game has a number of in-jokes about its lengthy development, which is an issue that the gaming industry has continuously reminded the teams working on the game since 2001. As game trailers and footage from PAX 2010 have shown, Duke can be seen using a urinal for an extended period of time and exclaiming, “This is taking forever!”

There are a number of videos on YouTube showcasing the game, but as usual, it is difficult to determine what is real in game footage and what is not. Either way, I enjoyed the teaser trailer and the other in game footage, whether it is authentic or not.

If the footage is real, I’m looking forward to the game even more-so. Not only do the environments and enemies appear to be rich and detailed, the ability to utilise vehicles and effectively use cover are also a big plus and expected in today’s games.

Improved physics, such as those that enable you to blow up enemies in mid air and push them to the side is also quite appealing.

Duke Nukem Forever is finally expected to be released in 2011 on all major platforms. With Gearbox in control, will it be the final announcement or will fans be let down yet again? Only time will tell.

What games have you been waiting forever on?

The High Horse Audit (Part 3): The Top 5 Games of 2010

5. Bioshock 2 (PS3/360/PC - Played on PS3)
Not on its own. Bioshock 2 and Minerva's Den are the perfect juxtaposition of frenetic action and compelling narrative. The intial product managed to address many of the control issues of the first game, allowing players to duel-wield weapons and plasmids. The addition of Big Sisters and Eve Harvesting made for some exciting encounters, and ensured that the return to Rapture wasn't just retreading water (ha! underwater dystopia pun). The story was a mixed bag of with the shallow, ideological conflict between Sophia Lamb and Rapture's father, Andrew Ryan; and the protagonist's quest to be reunited with his Little Sister, which just happens to be Lamb's daughter, Eleanor. The battle between Lamb and Ryan plays out over the series' staple of audio logs, and never sounds overly meaningful. If Lamb was such a powerful political opponent to Ryan, you would imagine that she would have played a far more prominent role in the city's downfall. Not so. The principal pursuit of a reunion with Eleanor however, is particularly forceful; and where politics bemuse, love prevails. Minerva's Den is the stronger narrative experience, with some truly surprising and stirring moments. There were few meaningful additions as far as gameplay is concerned, but Sigma's battle to liberate The Thinker is an essential experience. The final hour in particular, features several fantastic set pieces and the second biggest tearkjerker of the year. I'd talk about the multiplayer component, but this dispensable failure only serves to diminish my fervour for this exceptional sequel.


4. Metal Gear Solid: Peace Walker (PSP)
Metal Gear Solid: Peace Walker is easily the most visually impressive game released on the PSP. It also happens to feature the most fluid control system for any shooter released on Sony's portable console, and rarely provided frustration while sneaking through the jungles of Nicaragua. For those with the patience to delve into the game's economy, a plethora of weapons and equipment will be developed for your various play styles. You can opt to go naked, to carry more weapons with the trade-off of being more visible and susceptible to damage. On the other hand, you can don a sneaking suit and attempt to move undetected. The boss fights are grand in scale, and clearly designed for cooperative play. With the right equipment and strategy however, they can be conquered alone. The action is deep, but the narrative is easily the most memorable aspect of this title. What starts off as a reasonably innocuous investigation of military activity, quickly escalates to full-scale nuclear tension between world superpowers. Add to this the apparent sightings of Naked Snake's mentor, and you have a legitimate and essential chapter in the MGS canon. Snake's reunion with The Boss is the biggest tearjerker in recent memory. The end to the final confrontation forces players to relive the most horrific moment of the protagonist's life over and over again. Both characters may look (VERY) different, but questions of The Boss' betrayal still linger; once again forcing Snake to question his ideals. The story doesn't end there, with many missions and audio files to plough through upon finishing the main quest.

3. Battlefield: Bad Company 2 (PS3/PC/360 - Played on PS3)
Bad Company 2 is unbridled fun with firearms. Either alone, with friends or anonymous foes, the sheer chaos that unfolds on screen will demand hours of dedicated play. The single player campaign progresses at a frenetic pace, with breathtaking on-rails sequences and epic firefights. The story may not be essential, but it does tie these events together competently. While there were some missions towards the end that digressed to the grind of other checkpoint-based FPS campaigns, the overall pace of the title was exceptional. Bad Company 2 also features one of the most hilariously zany conclusions I've had the joy of playing through, with violent exchanges of gunfire on a plane, followed by a skydive chase. The multiplayer suite is well supported, with several updates and map packs being made available after release (most for free if you bought a new copy of the game). The addictive class-based play affords players numerous strategy, and is as deep and rewarding as the competition. The true star though in both the single and multiplayer offerings, is the almost-entirely destructible environments. There is no safe hiding place, and the absence of a sanctuary forces players to engage in sometimes unbelievable acts of heroism (and/or vengence). For an example: in the map, White Pass I had taken refuge in the second floor of a farm house, and had snaked a few cheeky kills with a mounted turret. An opponent stealthily entered the structure and stabbed me in the back, taking my precious dog tags. Enraged at my own assassination, and thankfully spawning within a short walk of my previous location, I proceeded to demolish the ceiling of my former safe haven with an underbarrel grenade launcher so that my assassin was exposed. Alterted to my presence (stealth was not part of the plan), my enemy returned fire and nearly killed me. I jumped into a nearby well, popped out, and killed my rival and two of his teammates with a spirited burst of fire. I felt like a hero. A murderous, vengeful hero (but a hero all the same).


2. Red Dead Redemption (PS3/360 - Played on PS3)
What can I say about Red Dead Redemption that has not gone unsaid by myself, or most other critics for that matter? While some were happy to assume that the game was essentially Grand Theft Auto with Horses, John Marston's quest to redeem himself and save his family was the most involving single player adventure to be released this year. The second chapter of the story is perhaps a bit too long, and the numerous fetch quests do become somewhat tiresome, but the endearing characters and thoughtful dialogue ensured that I was engaged from start to finish. Aside from the principal tale, there are hours worth of side-quests, and a complex economy to observe. It is easy to get lost on the frontier for hours on end; stopping thieves, hunting game, helping strangers, and even picking flowers. The multiplayer was an interesting concept, but unfortunately the action didn't translate perfectly from the solo campaign. It was fun enough, but was ultimately nothing more than a distraction.

1. Halo: Reach (360)
Do you know what I find to be the most annoying idiosyncracy amongst almost all of the gaming websites I visit?

The "Game of the Year," award almost never goes to the game which attained the highest score over the course of the year. Now that I'm involved with a blog, what do I do? Engage in the same irritating behaviour.

I loved this game. After I had finished the campaign, and proceeded to play other games, I felt like I was cheating on it. I felt like my game time was not being spent effectively. Halo: Reach is my sentimental favourite for the year. Sure it may be similar to every other instalment of the series, but when the action is this good, does it matter?

 The action is rarely not grand (read: EPIC) in scale, and Bungie expertly allows players to feel as though they are on the losing side of a war. More than that, the pace shifts constantly with brilliant vehicle sequences (including an excellent space dogfight); intense, on-foot firefights, and well-directed cut scenes. Noble Team (with the exception of Kat) are all a likeable band of rogues, and that makes the final hours of the campaign all the more poignant and vital. The fall of Reach is easily more engaging than any previous narrative instalment in the series, and was a great joy to experience. The single player quest demands multiple playthroughs (although so far I've only managed one). Game-changing Skulls are all available from the outset too, as are multiple difficulties, ensuring that the experience can be altered to suit your tastes. I am determined however to earn the achievement titled "A Monument To All Your Sins," for finishing the game alone on Legendary difficulty; an Xbox Live friend has it, and I often gaze upon it, seething jealous rage. Two missions down, eight to go.

The multiplayer offering introduces Armour Abilities into the standard, low-gravity combat and is as enjoyable as ever. The maps and new weapons offer a visual and strategic feast that any Xbox 360 owner should indulge in. There is plenty for competitive and cooperative enthusiasts, with Firefight mode returning from Halo 3: ODST and new modes like Invasion bringing large scale battles to the series, and add much to the already strong (not to mention, diverse) multiplayer suite. Best of all, a persistent reward system operates across both solo and multiplayer activity, which means no time with the game goes without recompense.

Halo: Reach may not be the most original game released in 2010, however it is easily the most polished. A gripping, sometimes moving narrative, coupled with white-knuckle action that can be enjoyed alone or with company; Halo: Reach offers more fun than any other game released this year.



What was your GOTY? What would you like to see from Unbearable Dutch next year?

That's it from me this year. Have a happy and safe holiday season, and I'll see you all back here for my first regular post of 2011 on Monday, 3 January.