Mass Effect for PC

When Mass Effect was originally released last November on the Xbox 360, it unveiled a vast, beautiful galaxy populated by diverse, fascinating alien races. Players stepped onto this stage as Commander Shepard, a hero at the vanguard of humanity's ascension in the arena of galactic politics, and thus began an epic story bolstered by engaging characters and rich, branching dialogue. Exciting combat and robust skill management completed the package, but it was not without flaws. Many small issues have been addressed in the PC release, and the result is a more streamlined, more playable version of one of the best role-playing games in recent memory.
The bulk of Mass Effect remains the same, so for our thoughts on the story, character customization, dialogue, quest structure, and combat abilities, please read our review of the 360 version. This review will focus on the PC experience and how it differs from console play.

None of the changes are drastic overhauls, but they do have an appreciable effect on the gameplay. One of the biggest tweaks is to the combat system. In the 360 version, you have to temporarily pause the action to use any weapons or biotic/tech powers beyond the one you currently have equipped. On the PC, this pause is still available, but weapons and powers have been consolidated onto one screen, along with squad commands which you can now issue inidividually. Pressing the space bar will bring up a heads-up display where you can change weapons or powers and issue commands to your squad. Odds are you'll use this pause very rarely, because your weapons are mapped to the function keys and your biotic/tech powers can be assigned to the number keys.
Without frequent pauses, Mass Effect further distances itself from the ponderous, tactical feel of combat in previous BioWare role-playing games. Instead, it feels like a bona fide third-person action title. Gunning down small groups of enemies while barely breaking a stride is still immensely satisfying, as is blasting your way out of larger pitched battles--only now you can unleash multiple tech or biotic attacks on the fly. You can dart out from cover, take down enemies' shields, and explode their weapons--all while shooting them--and be back behind cover in a matter of seconds. The real reward of this faster, more fluid action is the sense of power it imbues. Wielding your formidable abilities with ease really makes you feel like the badass warrior you were meant to be, and it makes combat more exciting and fun.
Unfortunately, all those tech and biotic power animations flying around can cause the frame rate to suffer on less than godly computers. This will really only happen during battles with numerous foes, and though it isn't much more than a brief stumble, it's distracting. Slightly more distracting are the frequent in-game load screens. Masked by long elevator rides on the 360, load times have actually decreased in length but increased in frequency for the PC version. Elevator rides are shorter, but you'll often be ambushed by a two- to four-second pause (the screen dims and a small "loading" icon appears) when you're coming up on a battle or entering a new area. Again, these pauses are brief enough that they don't bring things to a screeching halt, but they are a bit of a nuisance.

A few other tweaks have positive effects on the game. The inventory system is much easier to manage with a mouse and keyboard, and long lists of items won't reset to the top every time you sell something near the bottom. The Mako vehicle sequences are easier to manage thanks to the implementation of dedicated forward and reverse buttons in place of the 360 version's viewpoint-dependent controls. A new hacking and decrypting minigame, in place of the old button-matching one, is both more interesting and more suited to the game: You must move a small arrow through concentric circles to reach the core while avoiding stationary and rotating barriers. It's generally easy to accomplish once you get the hang of it, but the time limit and tricky perspective shifting help keep it entertaining. Keyboard hotkeys allow quick access to the map and squad upgrade screens, and the quicksave button is a great way to ensure you won't have to do too much backtracking. They aren't big changes, but the aggregate benefit is definitely noticeable.

All the things that made Mass Effect great on the 360--the story, the conversations, the galaxy, the combat, the soundtrack, and the characters--are still great on the PC. The changes that have been implemented don't radically alter the game in any way, but they have enough of a positive impact to make it easy to recommend the PC version over the 360 version. On top of that, BioWare is offering the downloadable expansion "Bring Down the Sky" free to PC players, though at the time of this review that content was not yet available. Whether you're a seasoned Spectre looking to suit up again, or a newcomer who has never set foot on the Normandy, the refined PC version is your best choice for experiencing this excellent game.
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Insecticide Episode 1 for PC

Insecticide isn't a straightforward adventure as much as it is an adventure and a 3D platformer pushed together with little care as to how the parts fit. Many of the platform action sequences are dull, repetitive, and seem to have been shoehorned in at the last minute to jazz up what would have otherwise been a traditional point-and-click adventure. So the end result is a haphazard mishmash that won't appeal to fans of either genre.

You play Chrys Liszt, a rookie detective working with her rather Sipowiczian senior partner, a cockroach named Roachy Caruthers, on investigating a homicide--er, insecticide--at the famous Nectarola soft drink plant. The plot is a cutesy, offbeat take on film noir with bugs playing all the key roles, like a combo of '70s TV cop shows, A Bug's Life, and Planet of the Apes. It's the far future city of Troi where the world has been taken over by insects, which have evolved in the wake of what seems to have been a nuclear war. Cockroaches and their buggy brethren now run the show, while mankind has been shoved aside to live as dimwitted hominids who are little better than third-class citizens. This bug world isn't a whole lot different from our own, however. Insects may have survived nukes, but they have the same problem with crime that we do and the same grizzled, seen-it-all-before cops out there trying to deal with it. You've seen it all before in dozens of crime movies and TV shows, albeit not with bugs in place of the usual human stars.

At least the writers do a good job of sending up this noir setting. Insecticide is loaded with puns, inside jokes, and references to old sci-fi shows. The goofiness is so broad that you can readily tell that the lineage of the game goes back to the days when LucasArts was making the adventures that all the cool kids wanted to play. Much of the dialogue is balanced between appealing to kids and adults. References to the "wingless protection program," lines like "Don't be a pupa," and all the characters with buggy cop names like Silverfishberg or McMantis mean that you'll alternate between giggling and groaning, depending on your age. Lines themselves aren't typically all that funny, and everything is sold more as a broad satire than a pure comedy. Nevertheless, the whole presentation is handled with such cheer and the voice acting is done with such a perfect Saturday-morning cartoon bite that you won't much care.

What you'll likely care more about is the ham-fisted way that the adventure and 3D platform game styles are slammed together. The levels switch between the two styles of play, so it feels like you're playing two entirely different games instead of a blend. Adventure levels are generally pretty good, if unimaginative. Many quests are of the straightforward "You scratch my back, I'll scratch yours" variety, with you playing as the delivery girl. For instance, Roachy has a case file you need, but he can't remember where it is on an empty stomach. So it's your job to jog his memory with a dung donut and coffee. Nothing here requires you to strain your synapses too much. Most of the puzzles involve nothing but common-sense solutions. The biggest challenge to your sleuthing is posed by the graphics, which are so dark that they often obscure plot points and important objects. There is no way to adjust the gamma from within the game, either, which means that you either live with the gloom or adjust your video card's gamma setting from Windows. Even if you do this, you have to tweak the setting enough to wash everything out.

Platform levels are focused solely on mindless running, jumping, and gunning. Chrys races from point A to point B blasting a succession of bad-guy bugs that slide in and out of cover like targets in a carnival shooting game. The only break in the monotony is provided by the regular gulping down of health packs that come in the form of Nectarola pop cans. This all gets old really fast because of repetition and a number of overly finicky challenges that require more dexterity than the clunky control system provides. Walking across wires, for instance, which you do on more than a few occasions, is often made rather difficult by the way that Chrys's feet seem to stick in place when she's in tightrope-walker mode. This is more than a bit annoying, especially when you're trying to dodge electrified lines powered by trains rushing underneath. At any rate, the action sequences are so lame that you rush through them to get back to the mediocre adventure game as soon as possible. They come off like somebody's last-minute idea to spice up an old-school adventure. That might have been a reasonable idea back when Insecticide was a Nintendo DS game, but the shooting stuff is totally unnecessary on the PC.

You'll never stop smiling while playing Insecticide Part 1. But even though you'll have a friendly, likable enough experience with this winning story and setting, the actual gameplay disappointingly blends the old fashioned with the awkward. Spending a little more time refining the platform levels--or just ditching them entirely--would be a good idea for Part 2.
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Assassin's Creed for PS3

Assassin's Creed will stay with you long after you finish it. Here is one of the most unique gameworlds ever created: beautiful, memorable, and alive. Every crack and crevasse is filled with gorgeous, subtle details, from astounding visual flourishes to overheard cries for help. But it's more than just a world--it's a fun and exciting action game with a ton of stuff to do and places to explore, rounded out with silky-smooth controls and a complex story that will slowly grab you the more you play. Make no mistake: Assassin's Creed is one of the best efforts of the year and a must-own game for Xbox 360 and PlayStation 3 owners.

Not enough can be said about the living, breathing world that you'll inhabit in Assassin's Creed. As assassin extraordinaire Altaïr, you'll explore three major cities of the Holy Land in the 12th century: Jerusalem, Damascus, and Acre. Each city is beautifully rendered from top to bottom and features meticulously crafted towers that reach for the sky, bustling market squares, and quiet corners where citizens converse and drunks lie in wait to accost you. As you wander the streets (and rooftops), you'll push your way through crowds of women carrying jars on their heads, hear orators shout political and religious wisdom, and watch town guards harass innocent victims. Altaïr has a profound effect on this world, but the cities are entities all their own, with their own flows and personalities.

The visual design has a lot to do with how believably organic everything feels. The cities are absolutely huge, and though you don't get full exploration privileges in the first few chapters, they eventually open up to let you travel seamlessly from one side to another. Everything is beautifully lit with just the right amount of bloom effect, and almost everything casts a shadow, from tall pillars to Altaïr's cloak. In fact, sometimes the shadows get to be a bit much and may make you think for a moment that there is artifacting on your screen, when in fact it's a character's head casting a shadow on his or her own neck. Every object, from scaffolds to pottery, is textured so finely you feel as if you could reach out and touch it. Animations are almost as equally well done. Altaïr scales walls, leaps majestically from towers, and engages in swashbuckling swordfights that would make Errol Flynn proud. And he does it all with fluid ease, generally moving from one pose to another without a hitch. Minor characters move gracefully as well, though one of the game's few visual drawbacks is the occasional jerky animation on the part of a citizen. However, it's easy to forgive, considering that the cities are populated with thousands and thousands of individuals. In fact, these tiny blemishes are noticeable only because everything else looks so incredible.

What you hear is even more impressive than what you see. At the top of a temple, you hear little but the rush of wind, the twittering of birds, and the barking of a far-off dog. In the most populated areas, your ears will fill with the din of street vendors, the pleas of beggars, and the occasional humming. It's never too much, though, and the game does a good job of making sure you hear what you need to hear (for example, the cries of citizens who need your help), without filling your ears with pointless noise. All these effects, along with the clangs of swords and groans of assassinated foes, are outstanding. The voice acting of the supporting cast is similarly remarkable. Conversations are completely believable and delivered with the perfect amount of solemn dignity. Oddly, the weakest link is Altaïr himself. Actor Philip Shahbaz does an all right job, but he isn't up to par with the first-rate acting of his fellow troupe. Rounding it all out is a beautiful orchestral score that is most notable for its subtlety. Many of the game's most impressive moments are accompanied by lovely musical themes that add even more threads to the game's rich living tapestry.

Fortunately, the story that binds it all together rises to the occasion. Actually, there are two related stories in play. The unfolding drama of Crusades-era Palestine is a mere memory, forcibly pulled from a modern-day bartender named Desmond by a resolute researcher using a machine called an animus. The memories aren't Desmond's own--they are Altaïr's, stored safely in the hapless subject's genetic code. We follow Altaïr as he assassinates nine public figures at the command of his master, and as the common thread that ties these men comes into focus, so does the true identity of Desmond's captors. There are no cutscenes in the traditional sense; every bit of story exposition and dialogue flows smoothly from the gameplay and takes place entirely within the game engine. The ending is confusing, and it blatantly leaves open the possibility of a sequel, but it's a small blemish on an otherwise stirring tale. Altaïr's world is not one of absolutes. His assassination targets aren't always evil, and Altaïr isn't always likable. As he is fond of reminding us, "Nothing is true. Everything is permitted."

Of course, such an authentic world would be meaningless without a lot of fun things to do in it. Thankfully, Assassin's Creed is endlessly entertaining in that it features a fine mix of stealthy exploration, tight platforming, and exciting combat. To discover the whereabouts of your assassination targets, you must first follow up on possible leads. There are several different mission types in this regard. In some cases, you sit on a bench and listen in on secret conversations. At other times, you will closely follow someone carrying an important letter that you'll pickpocket. Alternately, you can beat the information out of your target. Most missions are relatively easy to pull off in the early stages of the game. But once the guards and townspeople start recognizing you (or you alert them to your presence too close to the scene of one of your crimes), they get a little tougher.

There are also some optional tasks, such as rescuing innocent townspeople from the clutches of guards. The reward for doing so is a group of vigilantes who will hang out in the area afterward and hinder any foes chasing you. It's also a good way to try out Assassin's Creed's combat, which is surprisingly satisfying, considering the game's focus on sneaking around. You can pounce on enemies using your hidden blade (an incredibly rewarding one-stab kill), or use throwing daggers to take enemies down from a distance. However, your sword is your melee mainstay, and though the hack-and-slash combat may seem simple at first, it gets more challenging once you unlock the various countermoves. Often, you'll have a dozen or more attackers to fend off at once, but though these fights can be a little tricky, you'll never feel as if you're in over your head. In fact, the few circumstances in which you are forced into combat--such as a late-game boss fight against a seemingly endless crowd of attackers and their leering leader--are challenging and require some pitch-perfect timing to counter every strike and lunge.

Nevertheless, brute force is rarely the best way to handle a situation. You want to slink unnoticed through the crowds, but you can draw attention to yourself in a number of ways--whether it be galloping past a guard station on a horse, knocking pottery off of someone's head, or getting so frustrated by the various beggars that you fling them away from you. (And trust us--these are the most aggressive panhandlers you'll ever meet.) If you antagonize the guards, they'll give chase. Yes, you can stick around and fight, and though it's never the easiest option, breaking stealth does not damn you to death like it does in other sneaking games. But why not lure them to a rooftop? Once up there, you can grab them and fling them to the street below. Or if there are too many of them, you can jump across the rooftops gracefully until you find a hiding place, such as a nice bale of hay or a curtained garden. Once you're hidden, they'll break chase and you'll be free to roam about.

You can also seek refuge in small groups of scholars who serve as mobile hiding places. It's a bit contrived to walk into a stationary cluster of scholars and have them suddenly start moving simply because you're there, but it gets the job done. Actually, if there's any drawback to the usually excellent gameplay, it's how synthetic certain elements feel. Vigilantes are always in the same spot, missions reset if you don't get them right the first time, and those same guards will be harrassing that citizen, an hour after you pass by. It's easy to forgive these quirks though, given the easygoing flow of the world surrounding these pockets of gameplay.

Climbing up buildings and jumping around the rooftops is fun and breezy, thanks to effortless controls that strike a great balance between ease of use and player input. You can leap across alleys and scale walls with the pull of a trigger and the press of a button, and though it's possible to launch yourself from a wall or hurtle through a vendor's booth by accident, these moments aren't very common. You'd think that a city specifically designed to let you climb structures and caper about the roofs would look overly artificial, yet there's never a moment when you will think to yourself, "Wow, that looks like a place where I'm supposed to jump." The architecture looks completely natural, which makes Altaïr's abilities all the more exciting to pull off. The environments don't look as if they were created for him to climb around on; he just uses the hand he's been dealt, as any good assassin should.

In Assassin's Creed, the greatest joy comes from the smallest details, and for every nerve-racking battle, there's a quiet moment that cuts to the game's heart and soul. Climbing towers to uncover portions of the map is a simple mechanic but forever satisfying, thanks to the beautiful vistas and soft musical themes that accompany the view. Even the drunks that pester you are amusing and fun, though their constant shoving is more than annoying, especially if you are trying to pickpocket a pedestrian or eliminate a target without a fuss. It all makes your missions that much more compelling, and you'll be inclined to explore every nook and cranny and take on every optional task, just for the fun of it. There's a ton of stuff to do, and even when you've exhausted your official tasks, you can search for the collectible flags and crosses strewn around the cities and countryside. You could probably plow through the main quest in 20 hours if you're lucky, but completists might spend close to 50 hours finishing every quest and gathering every collectible.

There are few differences between the Xbox 360 and PlayStation 3 versions. PS3 owners are blessed with a slightly more solid frame rate, although the 360 version features a little more contrast in the lighting, so it's pretty much a wash. But regardless of which platform you go with, you'll have an amazing and unforgettable game. Assassin's Creed is the kind of game you tell your friends about, and one that should be in your collection.
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Sid Meier's Civilization Revolution for XboX 360

Ever since its inception in the early 1990s, Sid Meier's critically acclaimed Civilization series has challenged players to "build an empire to stand the test of time." Civilization Revolution is the newest scion of the series, and like its predecessors, it's a turn-based strategy game in which you take charge of a notable historical civilization and lead them from humble beginnings to world domination. Faced with the great challenge of preserving the strategic breadth of the series while streamlining the experience for consoles, developer Firaxis games has succeeded admirably. The result is a distilled version of Civilization that will please series veterans and newcomers alike.

Before the game begins, you must make an important choice: Which of the 16 civilizations will you command? Each has a starting bonus and four era bonuses that you'll gain as you progress through the ages, bonuses that will aid you in some way on your path to victory. There are four types of victory in Civilization Revolution: cultural, economic, technology, and domination. Each has particular victory conditions, and civilization-specific bonuses are a good way to start down the road toward meeting those conditions. Those seeking a cultural victory will appreciate that the Egyptians start with an ancient wonder, whereas military-minded players might choose the Germans and their veteran warriors. Trying the different civilizations on for size is great fun, as you adapt your unique strengths to grow your empire and deal with your opponents.

Once you've chosen your civilization, the game begins in earnest. As you set down your first city, you'll see icons on the surrounding squares indicating how much food, production, or trade each produces. Food grows your population, production builds units and buildings, and trade furthers scientific research or fills your coffers with gold. Being aware of these resources is the key to your civilization's prosperity. As your city grows larger and encompasses more squares, you'll have the option of telling your workers to prioritize one resource over the others, or to work certain squares instead of others. Unlike in previous Civilization games, individual squares cannot be improved, and workers now exist only within the confines of the city menu screen. Despite the worker's reduced role, the bulk of its strategic relevance has been preserved. Now certain buildings and technologies will increase your resource yield, so the challenge lies in choosing what to research and what to build to optimize your city's production. This interweaving of strategic considerations is engrossing and spurs you to constantly refine the myriad facets of your grand plan.

With your first city up and running, you begin to go about the business of expanding your realm. You build warriors to defend your city and explore the surrounding area. Barbarians will threaten you early on, and destroying them will grant you gold, or perhaps a bonus unit. There are also friendly villages that will offer similar bonuses, and sometimes even grant you a new technology. Discovering impressive natural wonders, such as a great forest or a vast desert, will also garner you a gold bonus and the gratifying right to stamp a name on it that will last throughout history. There are also a few ancient artifacts, such as the Lost City of Atlantis, that grant substantial boons to the civilization that discovers them. Although it's already a thrill to explore uncharted lands, these bonus incentives add more urgency to your wanderings and encourage you to keep up a brisk pace.

As you explore, create units, and settle new cities, you'll soon discover that you're not alone. Leaders of other civilizations will contact you with offers of peace, but don't expect these truces to last. Depending on your difficulty level, you may have a few leaders asking to trade techs, or they all may try to bully you out of hearth and home. You can do some bullying of your own from the diplomacy panel, as well as make peace, trade techs, or even pay a leader to wage war on another civilization. However, long-term trade agreements are gone, and previously marketable resources like wine, iron, and silk now merely provide resource bonuses to nearby cities. Degrees of peace, like non-agression pacts and open borders, are also gone, the latter of which is particularly missed during online games, when passing through an ally's territory will cause a declaration of war. The controls for navigating diplomacy are easy, but it does feel a bit limited.

If you refuse another civilization's demands for tribute, or want to pursue a domination victory, you'll declare war on your enemies and march your legions off to battle. Every combat unit has a separate attack and defense rating, and it's important to play to their strengths. For example, in the early going, archers are twice as powerful on defense than offense, so leaving them to defend your cities while your more powerful attackers advance to the front may be a good move. Positioning yourself advantageously is rewarding, not only because of terrain bonuses, but also because of the satisfaction you get from winning a carefully executed encounter. Cutting through your opponent's forces and taking their cities is immensely gratifying, though large invasion forces can get cumbersome since you can no longer combine diverse units into a manageable stack.

Actual combat is merely a matter of sending your unit onto an enemy unit's square and seeing how things play out. Victorious units will gain experience and can earn special abilities, such as improved city defense. Combat has been streamlined, too, and the number of units available throughout the ages has been pared down. Ships can no longer bombard land squares, but positioning them on the coast adjacent to your warring armies will give your land troops a boost in combat. Without square improvements to destroy, siege warfare is limited to parking your forces on squares to prevent a city from working them. Furthermore, even the smallest ship can transport a huge number of units, so sending armies by sea is feasible in any age. Thankfully, these changes don't feel like omissions because the strategies that the lost elements supported are still present and can make or break your martial campaigns.

There's a lot of information to take into account when playing Civilization Revolution, and fortunately there are a number of built-in tools to help you. You have a cadre of advisors who pop up to consult you in the city and tech screens, and they, like the leaders of other civilizations, are large, animated characters who react to your decisions and push each other out of the way amusingly as you switch your focus. They do make some repetitive noises and their gibberish speak can get annoying, but they are quite helpful in the early going and once you're in the rhythm of the game, you'll likely tune them out. Other audio effects and background music are more appropriate, and the dramatic flourishes of victory or wonder creation are quite invigorating.

One of the highlights of the game is the robust civilopedia, which is accessible from almost any screen with the press of a button. All of the pertinent game information is here, as well as a wealth of multimedia knowledge for those curious to know the biographies of the great people who appear in their cities, or to see a video clip of a galley at sea. It's a fantastic addition that you'll find yourself consulting often as you refine your game strategy. Though it does take a few seconds to load, it's well worth it to make sure that you choose the right wonder to build or tech to research.

Tying it all together is the vivid, clean presentation and simple control scheme. You can scroll around the map with either analog stick, though the right one is required to issue movement commands. Cycling through units with the directional pad is a breeze. The left trigger zooms out, though not as far as you might like, and the right trigger gives you a quick look at your tech, culture, and treasury growth. City and diplomacy menus are a mere click away. This accessibility is complemented by the vibrant unit designs and animations, as well as the eye-catching city representations. The ocean looks lovely as waves lap at the shore and fish frolic in the clear water, and mountains, forests, and rivers are equally beautiful. Scroll around a busy map and you'll experience some choppiness, but not so much that it's detrimental to the gameplay.

Single-player games are rich and varied, but you can mix things up further by playing the included scenarios or taking on the Game of the Week and seeing how you rank against other Civ players. You can also test your skills head-to-head online. Each match has five civilizations but a max of four human players. You can face off one-on-one, join up with a teammate against human or AI players, or cut loose in a free-for-all. A headset lets you conspire with your fellow players, but be careful to use the private chat feature lest you alert your enemies to your plan. Be sure to block out a few hours for these matches, which can sometimes last quite a while. You can limit the turn time to speed things up, but with four human players and one AI civilization, there's a lot to do. Online matches do have a strange pace to them that's not quite a sequential flow, and they move more slowly than solo games. Nevertheless, if you've got the patience, there's nothing quite like matching wits with another human player.

Played against human or AI opponents, Civilization Revolution is an excellent game that will let you plum different strategic depths each time you play. It's incredibly easy to get engrossed in the rhythm of expansion and evolution, and you can happily lose hours and hours at a time. Sid Meier and Firaxis Games have done a fantastic job of streamlining many of the key game mechanics, and they've cut out some of the micromanagement without gutting the strategic options. If you enjoyed Civilization on the PC and are worried that this version might feel stripped down, fear not. Although it does seem simpler at first, you'll soon realize that it's the same signature gameplay you know and love. If you haven't played a Civilization game before, you should get your hands on this worthy new entry in the Civilization canon.
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The SimCity Box for PC

The SimCity Box is a good value, so if for some reason you haven't tested your mayoral prowess in a SimCity title before, now's your chance. Ostensibly, this package includes five games, though that isn't quite the case, since two of them are expansions. Yet at $39.95, it packs in dozens of hours of quality gameplay, thanks in particular to the inclusion of SimCity 4 and its Rush Hour add-on. This isn't quite the dream team of SimCity games--no one wants or needs the lame SnapCity, and the inclusion of 1998's SimCity 3000 would seem a no-brainer--but if you can overlook the filler, you'll still find that the cream rises to the top.

The most recent title in The SimCity Box is Destinations, an expansion to 2007's SimCity Societies. Societies on its own was a decent but unremarkable take on the city-building formula, in which you juggle social energies and economic needs while making your sims happy in your ever-expanding burb. With the recent release of Destinations, however, SimCity Societies leapt a great hurdle--so be sure to install both the original game and its expansion when prompted. The duo won't provide the challenge or depth you might be used to from a SimCity title, but the presentation is charming, and the simple gameplay is surprisingly engaging. When you consider that the expansion goes for $29.95 on its own, it's also an obviously valuable part of the package. You may have rightfully dismissed Societies as too easy to hold your interest, but the expansion is good enough to bring it in step with the big boys.

Of course, the meat of this package is SimCity 4. As with its predecessors, it was a rewarding challenge that could keep you glued to your computer monitor for hours at a time. Five years after its initial release, the game is still up to that task. The early hours are admittedly slow: You create residential, commercial, and industrial zones while balancing the intricate economic burdens of a growing metropolis. But as your town grows, these needs require a tight balancing act that involves a lot of thought and care. This installment allows for more micromanagement than do prior games; you can set taxes based on social class and zone type, for example, so expect to fiddle around with these options often as you search for that financial sweet spot. In turn, these elements make for an involving game, and seeing impressive new buildings sprout up is an excellent reward for your keen eye and thoughtful calculations.

SimCity 4's expansion, Rush Hour, streamlined the gameplay in ways that made the initial release seem obsolete, so again, be sure to install the expansion before jumping into the original. As you can guess, Rush Hour is all about transportation, and it gives you all the tools to manage your travel networks: parking garages, intercity ferries, and other enhancements that allow you to better see how your roads are affecting traffic congestion. But the most interesting aspect of the expansion is the added ability to get behind the wheel of a vehicle (or in the cockpit of an airplane) and zoom about your bustling burg. It's all good fun, though you shouldn't expect much from the driving mode: It's clunky and a bit unintuitive, though it was pretty awesome back in 2003.
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Grand Theft Auto IV for PS3

Stepping off a boat in the shoes of illegal immigrant Niko Bellic as he arrives in Liberty City at the start of Grand Theft Auto IV, you can tell immediately that Rockstar North's latest offering is something quite special. Yes, this is another GTA game in which you'll likely spend the bulk of your time stealing cars and gunning down cops and criminals, but it's also much more than that. GTAIV is a game with a compelling and nonlinear storyline, a game with a great protagonist who you can't help but like, and a game that boasts a plethora of online multiplayer features in addition to its lengthy story mode. It's not without some flaws, but GTAIV is undoubtedly the best Grand Theft Auto yet.

One of the many things that set GTAIV apart from its predecessors is Liberty City, which is more convincing as a living, breathing urban environment than anything that you've seen in a game before, and bears little resemblance to its namesake in 2001's GTAIII. Liberty's diverse population believably attempts to go about its daily business, seemingly unaware that several criminal factions are at war in the city. Niko has no such luck. He's compelled to start working for one of the factions shortly after arriving, when he learns that his cousin Roman has some potentially fatal gambling debts. Niko's military experience makes him a useful freelancer for employers in the business of killing each other, and though his reluctance to carry out their orders is often apparent, he does whatever is asked of him in the hope that completing missions for other people will ultimately give him the means to complete his own.

Actually, Niko doesn't have to do everything that is asked of him. On several occasions as you play through his story, you'll be presented with decisions that afford you the option of doing what you think is right rather than blindly following instructions. You don't necessarily have to kill a target if he or she promises to disappear, but you have to weigh the risk of your employer finding out against the possibility that the person whose life you spare might prove useful later in the game, or even have work for you in the form of bonus missions. To say anything more specific on this subject would be to risk spoiling one of GTAIV's most interesting new features, but suffice it to say that every decision you make has consequences, and you'll likely want to play through the game at least twice to see how the alternatives unfold.

Grand Theft Auto IV's story mode can be beaten in less than 30 hours, and there are so many optional activities and side missions to take part in along the way that you can comfortably double that number if you're in no hurry. The majority of the story missions task you with making deliveries and/or killing people, and play out in much the same way as those in previous games. With that said, most of the missions are a lot easier this time around, partly because Niko is a more agile and efficient killer than any of his predecessors, and partly because the LCPD seemingly has better things to do than hunt down an illegal immigrant who's gunning down undesirables all over the city. Some of the more imaginative missions sprinkled throughout the story include a kidnapping, a bank heist, and a job interview. The cinematic cutscenes associated with story missions are superbly presented and are the sequences in which the game's characters really shine. Without exception, the characters you encounter benefit from great animation, great voice work, and superbly expressive faces.
They're not always so impressive when they join you on a mission and refuse to do what they're supposed to (for example, not following you on an escort mission, or failing to negotiate a doorway). Nevertheless, these problems are few and far between, and they're made less painful by the new "replay mission" option that you're presented with whenever you fail.

New abilities in Niko's arsenal include scaling fences and walls anywhere he can get a foothold, shimmying along ledges, and, most importantly, taking cover behind objects. The ability to stick close to walls, parked cars, and the like at the touch of a button makes GTAIV's gunplay a huge improvement over that in previous games, and, in tandem with the new targeting system, it also makes it a lot easier. Enemies are rarely smart enough to get to you while you're in cover, and given that you can lock your targeting reticle on to them even when they're hidden, all you have to do is wait for them to poke their heads out and then pick them off with a minimum of effort. Locking on to enemies targets their torso by default, but you can use the right analog stick to fine-tune your aim and kill them more quickly with a headshot or two. Playing without using the lock-on feature make things more difficult, but you’ll need to master the technique so that you can shoot blindly at enemies from positions of cover when you dare not poke your own head out to line up the shot.

Given the amount of trouble that you get into as you play through the story mode, it's inevitable that the police are going to get involved from time to time, even when their presence isn't a scripted feature of your mission. Liberty City's boys in blue are quick to respond when you get flagged with a wanted level of between one and six stars, but they're not nearly as tough to deal with as their counterparts in previous GTA games. They don't drive as quickly when pursuing you, they rarely bother to set up roadblocks, and you'll need to blow up practically an entire city block before the FIB (that's not a typo) show up. Furthermore, you're given an unfair advantage in the form of your GPS system; when you're not using it to plot a valid route to any waypoint of your choosing, it doubles as a kind of police scanner. Any time you have a brush with the law, the GPS shows you the exact locations of patrol cars and cops on foot in your area, and highlights the circular area (centered on your last known whereabouts) where they're concentrating their search. To escape, all you need to do is move outside the circle and then avoid being seen for 10 seconds or so, which is often best achieved by finding a safe spot and just sitting there. It's not a bad system in theory, but in practice it makes dodging the law a little too easy, especially when your wanted level is low and the search area is small.

When you're not running missions for criminals, taking part in street races, stealing cars to order, or randomly causing trouble, you'll find that there are plenty of opportunities to unwind in Liberty City. Some of these optional activities offer tangible rewards that can prove useful in missions later on, whereas others are just a fun way to kill time and take in more of GTAIV's superb humor. For example, you can watch television, listen to numerous different radio stations, check out some genuinely funny shows (including some big-name acts) at cabaret and comedy clubs, and use a computer to surf the in-game Internet.

GTAIV's Internet is filled with spoofs of all the kinds of Web sites that you'd only ever look at accidentally or when you know there's no danger of getting caught. Some of them can be found only by clicking on links in spam e-mails, whereas others are advertised prominently on the search page. There's plenty of amusing stuff to find if you spend some time in one of the "TW@" Internet cafes, but the most interesting site by far is an online dating agency through which you can meet women who, if they like your profile, will agree to go on dates with you. Dating and socializing with friends is something you can spend as much or as little of your time doing as you like, and though the people you meet can occasionally be demanding to the point that they become irritating, keeping them happy invariably benefits you in some way.

Keeping friends and dates happy means spending time with them and doing things that they enjoy, and all of them have different personalities. Some friends like to join you for minigames such as tenpin bowling, pool, or darts, whereas others prefer to go out for a meal, get drunk, or take in a show. Of course, dates are much fussier than regular friends, and their opinions of you are influenced not only by whether you pick them up on time, where you take them, and whether you try your luck when dropping them at home, but also by a number of much more subtle factors. Dates will comment on stuff like the car you drive, how you drive it, and the clothes you wear. They'll even notice if you wear the same outfit two dates in a row, though not all of them will be bothered by it. The rewards that you get when another character likes you enough vary depending on who it is. Without wishing to give away specifics, befriending a lawyer can prove useful if you're having trouble with the cops, for example, and having a nurse on your friends list can literally be a lifesaver.

You'll keep in touch with your dates, friends, and some of your enemies using another of GTAIV's great new features: a cell phone. It's hard to believe that something as simple as a cell phone could add so much to a game like this, but it's implemented so well that it's hard to imagine leaving any of Niko's safe houses without it. If you've ever used a cell phone in real life, you'll have no problem operating this one and, given that it's controlled using only the D pad and a single button, it's easy to call up acquaintances and take calls even while driving. There's no unwieldy conversation system to deal with; you simply choose which friend you want to call, what you want to talk about (it could be work, a fun activity, or asking for a favor) and then, assuming that he or she answers the phone, the conversation plays out. Incoming calls are even easier, though they occasionally come at inopportune (or amusing) times; hearing your cell-phone's signal interfere with your car radio is the least of your worries when you consider the possibility of a date calling you while you're with a prostitute or embroiled in a gunfight with the Mafia. Incidentally, new ringtones and visual themes for your phone can be purchased via the in-game Internet, which is typical of the incredible attention to detail that you'll come to take for granted as you play.

To give you some idea of just how much thought has clearly gone into the crafting of GTAIV, even the act of stealing a parked car, which is still achieved by pushing a single button, can now result in any number of different things happening. If the door is locked, as is often the case, Niko will smash a window with his elbow or his foot to get inside. Once inside the car, he may need to hot-wire it to get it started; you can speed up the process slightly by using the shoulder buttons on your controller. If the car has an alarm, it'll sound for several seconds and cause the headlights to flash on and off as you drive away--practically begging any nearby cops to come after you. Stealing cars with drivers and/or passengers inside opens up lots more possibilities, the most amusing of which is someone (possibly you) getting an arm caught in a door and dragged along as the vehicle speeds away.

Most of the vehicles in GTAIV, like those in previous games, have very loose handling that makes it easy for you to perform Hollywood-style U-turns, skids around corners, and the like. You can play through most of the missions without ever violating a traffic law if you really want to, but you can get away with (and will have a lot more fun) driving like a lunatic, provided that you don't collide with any police vehicles or mow down too many pedestrians. A neat touch when driving with the default camera view is that the camera, which is positioned a few feet behind the rear bumper of the car, centers on you rather than on the vehicle, effectively offering the vehicular equivalent of an over-the-shoulder view. When you take the control of something sporty, the camera also positions itself much closer to the ground, which adds to the sensation of speed.

The vehicle handling is difficult to fault, regardless of whether you're in a sports car, a garbage truck, a motorcycle, a speedboat, or a helicopter. However, while driving, you might notice one odd quirk that has been a constant ever since GTAIII: When taking the controls of certain vehicles, you'll suddenly notice a lot more of the same vehicle on the roads. It's not a big deal, and it isn't detrimental to the gameplay, but it's a little jarring if you get into one of the more unusual vehicles in the game--for example, the equivalent of either a Ferrari or a pickup truck--and suddenly find that the city is filled with them. That particular quirk is pretty common in some of the multiplayer modes as well, though you'll likely be too busy keeping an eye out for other players to take any notice when you venture online.

Getting online in Grand Theft Auto IV couldn't be easier. You simply select the multiplayer option on your cell phone, choose which type of game you want to host or join, and then enter a lobby and wait for the game to start. You won't be getting bored staring at a list of names while you're waiting, though, because when you enter a lobby you actually enter an online version of Liberty City in which you and up to 15 other players are free to do anything. There are weapons scattered all over the place to ensure that things don't stay too friendly for very long.

There are more than a dozen different multiplayer modes to choose from, and although some of them are variations on similar themes, there's certainly no shortage of variety. As the host of a multiplayer session, you also have the freedom to greatly customize all of the game types with variables such as friendly fire, police presence, weapons sets, traffic levels, radar functionality, and many more. You can choose where you'd like your game to take place as well, considering that many gameplay modes can be played either on a specific Liberty City island or across the entire map.

Even conventional 16-player modes such as Deathmatch and Race feel quite different than anything that you've played before. And in addition to those, there are objective-based games in which you're tasked with completing missions similar to those in the single-player game: a team-based Cops 'n Crooks mode, a Turf War mode in which teams compete for control of territories, a carjacking mode, three cooperative missions that support up to four players, and more. With the right group of people, there's no reason why you can't have a lot of fun with every single mode that's available. We experienced a few frame-rate issues and lag that caused other players and their vehicles to jump around the screen at times, but for the most part GTAIV's online play is a real treat. One especially neat touch is that, as a passenger in a vehicle being driven by another player, you can mark waypoints on the GPS system for your driver using a map that tracks the locations of other players and objectives.

If you're wondering about differences between the PlayStation 3 and Xbox 360 versions of Grand Theft Auto IV, the truth is that there aren't many. The PS3 version can only be played after a mandatory install that takes around 10 minutes, and its load times are a little shorter and less frequent as a result. The visuals, which don't always hold up to close scrutiny but are impressive during typical gameplay, are comparable and feature the same quirks (shadows that flicker, for example) on both consoles. Likewise, the audio, which can take a lot of the credit for why Liberty City feels so alive, is exceptional regardless of which console you have and how many speakers it's hooked up to. True to form, GTAIV's soundtrack has plenty of great licensed songs and, unlike other games we could mention, it doesn't force the artist and track information down your throat with pop-up windows that detract from gameplay. However, if you want that information, you can simply dial up a song-recognition service on your cell phone and, after a few seconds, receive it in a text message. Genius.

In case you haven't guessed already, Grand Theft Auto IV is a game that you simply have to play. The single-player game, which you can still play long after you complete the story, is the series' best by far, and the multiplayer features are good enough that you'll likely have no problem finding people to play with for many months to come. The minor flaws that you'll experience are no more difficult to overlook than those in previous GTA games, and they're greatly outnumbered by the features that will impress and surprise you anytime you think you've already seen everything that the game has to offer. There's lots to see in Liberty City, so you'd best get started.

* From GameSpot * Read More....

Metal Gear Solid for PS3

Metal Gear Solid 4: Guns of the Patriots is the most technically stunning video game ever made. It's also a fine example of storytelling prowess within its medium, combining gameplay and narrative so slickly and beautifully that it's impossible to extricate one from the other. It's likely you will emerge awestruck from your first play-through, wishing the experience would continue yet nonetheless satisfied with its conclusion. It's difficult not to sound hyperbolic when discussing MGS4 because every part of its design seemingly fulfills its vision, without compromise. There is no halfway.

Fully realized, lengthy story sequences will come as no surprise to anyone who has played a Metal Gear game. You'll spend a good half of MGS4 watching cinematics, but it would be a grave misinterpretation to assume that great gameplay takes a backseat to the story. Rather, these two elements are tightly intertwined, and this tapestry is held together by an important technical thread: Cutscenes that are rendered fully in real time within the game engine. It's impressive enough that these scenes look as good as any prerendered cinematic you've ever watched. It's even more amazing when those same scenes transition without pause into gameplay, and the same hulking mech you watched lumber about in the cinematic is looming above you. The subtle animations, the lush environments, and the rich textures are the same in and out of story sequences, and the effect is so seamless it may take your breath away. You can skip past the scenes if you prefer, but doing so would soften the experience. The story sequences carry more weight because of the intense gameplay that precedes them--and the gameplay feels more compelling because the story gives you powerful reasons to care about your mission. The high point of this fusion occurs in an exciting and memorable split-screen sequence that simply must be experienced.

Talking about what, exactly, is going on in the plot in the midst of MGS4's grand sweeping gestures is to risk spoiling each little surprise as it emerges. Snake, suffering from the rapid onset of aging, now must cope with stiff joints in addition to the looming specter of Liquid Ocelot's newest plans. This is Snake's final hurrah; yet as the story reaches one height after another, the juxtaposition of huge set piece battles and formidable bosses with Snake's deteriorating body creates tension and gravity even beyond the series' usual pretensions. Some new plot strands emerge while others get tied up, and old friends (and enemies) refuse to be forgotten. You'll also bear witness to a few reunions--some bloody, some teary, and some legitimately shocking. Parts of it are overblown, to be sure. The musical score gets heavy-handed and the voice acting and writing are frequently dogmatic, so while there are plenty of subtle moments, subtlety isn't really MGS4's strong suit. But it doesn't need to be. After all, the fate of the world hangs in the balance, and judging from a few silly attempts at humor that don't work, developer Kojima Productions was wise to err on the side of melodrama.

The gameplay proper is familiar to fans, but it's been cleaned up and expanded, holding as many twists and surprises as the story. For starters, both gunplay and close-quarters combat are more satisfying. Regarding melee, the controls have been streamlined, making it less cumbersome to grab an enemy soldier or perform a stealthy blade kill. Shooting mechanics are even more improved, so much so that shooting your way out of a pickle is just as enjoyable as sneaking around it. There are a huge number of weapons to play with; so many that you'll probably finish the campaign without using many of them. Yet, quality wasn't sacrificed for quantity: Every weapon feels just right, from your handy operator sidearm (best when upgraded with a silencer) and standard issue assault rifles to a powerful railgun. The standard over-the-shoulder view is fine for the most part, but you can gaze down the sights from a first-person perspective. Both views can be further improved with various enhancements, such as laser sights and scopes.

Not that you don't have all the tools for completely avoiding your enemies if you choose that route. Snake's got the basics covered: crawling, hugging walls, peeking around corners, and hanging from ledges, for example. Cover mechanics are tighter than ever, so you can crouch and take potshots from behind cover with ease. There are also a number of important gadgets that will make your life easier in this regard. The most obvious of these is your OctoCamo suit, which takes on the texture of your surroundings when you're prone or pressed against cover. Not only does this make it simpler to avoid watchful eyes, but it's also a cool visual effect. Eventually, you'll be able to camouflage Snake's head, and a few of the available camo options are bound to stir some fans' nostalgia. The Solid Eye is your other major tool, as it expands your compass into a sonic-sensitive radar and allows you to use night vision and a tactical first-person view. These are helpful gadgets indeed, even during boss fights, like a stirring encounter in a blinding blizzard.

Other gadgets, such as portable hiding places (cardboard boxes and rusty barrels) and the Metal Gear Mk. II (a stealthed robot that you can command as a scouting device), are useful to anyone who prefers the sneaky approach. Not every gadget is a welcome addition, though. For example, the much-ballyhooed iPod is a neat touch, but to use it, you cannot have another gadget equipped, so you'll quickly forget the option even exists. But aside from these nitpicks, one of the things that makes the core gameplay so enjoyable is that you're rarely strapped into a single style of play. Shooting your way through requires more thought and care than you'd put into a standard action game, but you never feel as though the gun mechanics are stuffed uncomfortably into a stealth game. If you'd rather sneak, you never have the impression that stealth was shoehorned into a game that's meant to be played as a shooter. Sure, you're Solid Snake--you're not supposed to get caught. But if you're stuck in a jam, breaking stealth isn't a death sentence, and in fact, facing certain enemies head-on is often a heart-pounding, challenging experience. The few levels that do force you into one style, such as one in which you shadow your target through an Eastern European city, are still great, if not quite as impactful.

You'll need to keep an eye on Snake's stress levels and psyche. Though these aspects are more peripheral than health levels, they fit nicely within the plot. When Snake gets stressed (if he gets cold or encumbered, for example), his psyche gauge starts to deplete. The lower the gauge, the slower you will move and the less quickly you replenish health. Generally speaking, the psyche meter is rarely a factor, and should you notice Snake groaning a bit more, there are items like compresses you can use for a pick-me-up. Should the meter get too low, you won't be able to hold up your weapon or rush for cover. This doesn't happen often though, and while you'll need to keep a close eye on your health for obvious reasons, you won't need to pay too much heed to psyche.

Regardless of the tactics you use, the level design and enemy artificial intelligence work in tandem to create unparalleled gameplay. If you go stealth, hiding in that rusty barrel isn't a perfect solution. Your foe may look at it suspiciously, kick it a few times, and eventually blow your cover, so don't expect to be able to trick your way through as you might in other stealth games. In full-on firefights, enemy teams will flank you, use cover to their advantage, and throw grenades with precision to force you out of hiding. Most of your surroundings, inside and out, are littered with objects and cover opportunities, from a trek through a South American jungle to a nostalgic journey through a snowy island base. Each level is more-or-less linear, but within the confines of these areas, you still have remarkable room to explore the various gameplay options and test the limits of your foes. Some enemies are standard soldiers, though many others are wonderfully imaginative. The colossal mechanical Gekkos, for example, are unpredictable and keep you on your toes, while female operatives that pounce from wall to wall intensify an early escape scene.

Later in the game, a few set piece battles deepen the core gameplay even further, including a few peerless on-rails sequences. One of these, a motorcycle chase, is as close as any game has gotten to translating the excitement of similar moments in films to a game format. Another level, which features a gigantic automaton, showcases destructible environments where walkways collapse on top of each other and the screen fills with smoke. In all of these cases, the controls are excellent, with the exception of that same mech's third-person view a bit later on (the first-person view works infinitely better). The interpretation of Metal Gear Solid as an interactive film still applies, but in a way you may not have expected: These levels make you feel like the star of your own action movie.

Boss battles are stimulating, though they aren't all that difficult. Nevertheless, a few of them are tricky and require you to put some thought into your tactics because just riddling the boss with bullets isn't going to ensure victory. Early on, it's clear that you'll be encountering the four members of the Beauty and the Beast unit--female supersoldiers that are as psychologically complex as they are fun to battle. These battles are long and normally require you to fight other enemies in addition to your primary target. In one of them, you can use your night vision to track your target's footprints and use the wind direction to your advantage. In another, you'll dodge missiles from flying creatures while taking on the main boss.

The gameplay and story would, perhaps, not be as effective if Metal Gear Solid 4 did not look and sound so impressive, but truth be told, it's an amazing piece of technology. From the gritty textures of concrete walls to the effective lighting and shadowing, there are few aspects you could reasonably fault. In the biggest battles, billows of smoke fill the screen and blood splatters against the camera--all while meticulously designed helicopters fly overhead and ad-hoc team members take potshots from behind grungy dilapidated vehicles. Yet in the midst of the visual drama, it's the little things that are likely to provoke awe. Small details, such as how Snake rubs his sore back when his stress levels get high or the authentic manner in which he ascends staircases, create as much atmosphere as cluttered underground tunnels and war-torn Middle Eastern cities. You will have to wait through some scattered install periods (just under 20 minutes worth, in total) and the occasional loading screen, and you may find some frame rate drops and low-res textures here and there, but these aren't issues in light of MGS4's impressive graphical accomplishments.

The sound design comes together nearly as well. The soundtrack on its own is rather pompous, but in context, it works just fine to create the appropriate mood for any given cutscene or battle. The voice acting follows suit but succeeds far better. Because the growling voice of David Hayter's Solid Snake is so good, the rare hamming from the mostly excellent supporting cast is easily forgotten. But the sound effects are unforgettable and excellent across the board. The Gekkos emit blood-curdling moos like gargantuan cows, explosions are outstandingly obnoxious, and everything from the clicks of the Solid Eye to the laughter and screams of the beastly bosses are top-notch.

On top of it all, Metal Gear Solid 4 offers some enjoyable online 16-player action to complement its superb single-player experience. Deathmatch and Team Deathmatch are represented, of course, and they play just fine, assuming you don't approach the online component as a standard shooter. The maps are beautifully rendered and packed with detail, and while not every mechanic is as wonderful in multiplayer as it is in single-player (hiding in your cardboard box won't usually get you far, for example), it's all good fun once you adjust to the pace. The multiplayer star, however, is sneaking mode, a Team Deathmatch variant in which one player plays as Snake and another supports him as the Metal Gear Mk II. Shooting others is amusing--but sneaking enthusiasts will enjoy the violent, stealthy game of hide and seek you play as Snake. Playing support is equally entertaining because as Mk. II, you can go invisible, creep up on other players, and zap them with your electronic tentacle. It's a blast. Other modes include base mission, in which teams compete to conquer bases; a capture and defend mode; and rescue mission, which is similar to the same mode in Metal Gear Solid 3: Subsistence. Unfortunately, the process of creating an online account is laborious, so expect to take a few minutes to enter a litany of information (a pain if you aren't using a keyboard). Thankfully, the variety of customization options and sheer numbers of players online mean that this process is quickly forgotten.

If the story-heavy presentation of previous Metal Gear games taxed your patience, Metal Gear Solid 4 won't change your mind. For anyone who appreciates games that rise above the simple act of pushing a few buttons and pulling a few triggers, Metal Gear Solid 4 is a stimulating ride that you won't soon forget. You'll want to see what happens next, yet when its long campaign draws to a close, you'll wish it would continue. That's not just because it's a well-told tale, but because that tale is woven through a thoroughly impressive game that tops its predecessors.

* From Gamespot * Read More....