Showing posts with label Downloadable. Show all posts
Showing posts with label Downloadable. Show all posts

Thursday, 12 April 2012

Knife Party - 100% No Modern Talking E.P. [CD REVIEW]

Free to download dubstep offering from 2 of the guys out of Pendulum. These 4 tracks pave the way for their entry into a new musical genre - but there's not enough to call this a classic.




What's It All About Then?
This is the first offering from newly-formed Knife Party, created by Pendulum DJs Rob Swire and Gareth McGrillen. The guys have moved away from drum and bass, slightly, and have now tried their hand at some dubstep and electro house. This EP is available for free if you sign up to their mailing list - a small price to pay for 4 great belting electronic tracks. The EP was released in December 2011 and can be downloaded from here - www.knifeparty.com


So Is It Any Good?
+++ Big Bassy Tunes +++
Even though this is a slight diversion from their usual stuff, the guys from Pendulum were hardly going to have much difficulty creating some fresh electronic music. The tracks show the hallmarks of Pendulum, such as excellent use of carefully-chosen samples and catchy melodies.


Each track has a good feel to it - from Destroy Them With Lazers's snappy beat to Internet Friends' unsettling vocals, and message alerts. The tracks fit well together as an EP too - there is a bold and bassy flow to them that keeps your ears vibrating from start to finish. I find this EP to be a good introduction - and a positive hint at a full album to come.




+++ Welcome to Dubstep +++
The guys have clearly been reading up on their new music too - this is most definitely a dubstep offering : Bass "wub-wubs" around in that satisfying fashion. Samples swiftly pan  and choppily fade in and out - creating a very vibrant sound. Tempo and rhythms switch at the drop of a hat to keep things fresh throughout.


The track Internet Friends is showing off their electro house skillz too - and while the beat works well and the track is great, I can't help but be a bit freaked out by it. I worry that woman is going to pop up on Messenger and kill me. She freaks. Me. Out.

There are also some traces of their past laced in - the track Fire Hive in particular - with it's reggae melody and vocals that hark back to "Tarantula". The guys have always been great at sculpting clever beats and they certainly do not disappoint in the tracks on offer here - they blast out of your speakers in a similar way to Hold Your Colour (like a sonic cannonball aimed at your face, if you missed Pendulum's glorious debut).


--- Wow Factor ---
Strangely though, with all these things in its favour, the EP doesn't grab me in the way Pendulum's work did. It's not the new sound - I'm quite coming round to the dubstep genre when done right - and it's certainly not the quality, as this is a well produced work. They clearly can write dubstep and electro house songs well and their use of samples is, as always, spot on.


I think it's just that in 4 tracks - that are not put together to form a full album - the guys haven't got the time to go wild creatively. Each of Pendulum's albums was arranged to be paced for maximum listening impact - with glorious introductions, a wide variety of styles and influences, and contained both floor-filling anthems and awesome chillout tracks. You could just sit down and put the albums on and it was just welcoming, interesting music to listen to.


100% No Modern Talking is quite "samey" in that respect - each track is a few samples used to build up to a big climax and wub-wubby breakdown - and as such it doesn't quite appeal in the same way.


So watch this space - if and when Knife Party release a full album I wouldn't be surprised if I fall straight back in love with the Australian duo's offerings.

Conclusions
100% No Modern Talking is a great start - I think the guys have done well to move in a new direction and they have not disappointed.


Each track is a belting and slick affair - and the clever use of beats and samples just goes to cement Rob and Gareth's status as musical greats.


The main issue with the EP is that.... it's an EP! 
If they were able to create a full album, with a better range of styles and influences, ranging from D&B right through to electro and dubstep, then we would have a 100% Brilliant Modern Album. 

Feel free to post comments or contributions to improve the experience!
Any videos in this review are from Youtube and are subject to relevant copyrights. They are kindly provided by: http://www.youtube.com/user/KnifePartyHD

Shank 2 [PS3 REVIEW] [QUICK&SHORT]

Gory-Gorgeous platformer fighter that has an awesome, tight retro control system... if you can stomach the shanking.

This square-jawed brute is our hero - Shank - who just loves to..... er..... chop vegetables?
What's It All About Then?
This is Shank 2, a 2D side-scrolling brawler where you play the part of "Shank" - a guy who loves to use knives (do you see what they did there?). This is the sequel to the extremely popular 2010 original - which impressed players with it's beautiful graphics and brutal combat.

In this outing, Shank is somewhere in South America, and there's this evil dictator who is obviously up to no good. Shank is a tough hitman, out to help nobody, but the violent struggle going on around him draws him back into action.


Grab the brute, break his arm, jump over and slash that guy with the gun....
it's all in a day's work for our boy Shank.
So Is It Any Good?
+++ Retro-Perfect Controls +++
The big draw for me to this game was the controls - they are wonderfully tight and well-designed. You use square for your knives, triangle to use heavy weapons (ranging from chainsaws to sledgehammers) and circle to use ranged weapons (throwing knives and guns). The combat rockets on at an intense pace - with enemies spawning left-right-and-centre to cut up into little pieces. 


There's some extra moves that help to get you out of tight spots (launching jumps and grab/throw moves) and these allow the combat to get very tough without feeling impossible. Add to that the wide range of environmental helpers that you can use - such as explosive canisters around the place and spike pits to smash enemies into.


Basically you're never short of ways to violently kill anyone in your path - and the game keeps things tense by having quite a high difficulty level (especially on the boss fights).


If you found the combat a bit too easy then there's a Hard Mode to try as well, with less health pick-ups and more soft squishy baddies to put your namesake to. Special mention goes to the "Survival mode", which puts Shank into a small combat arena where he must take on wave after wave of increasingly powerful enemies. There's a shop system here too, where you buy bonus items to make the action slightly more bearable - but if you are still in the mood for a challenge after the main story then there's another hour or so of play here.
You can even gross-out a friend in Co-op Survival Mode!
+++ Gorgeous Graphics... ish +++

Each of the nasty ways you can dispatch baddies is animated with bright, bloody, cartoon graphics - looking truly awesome in high-def... if a little stomach-turning. Shoot grunts with a shotgun to see them splat into pieces. Throw them into rotating blades to see them splat into pieces. Run at them with a chainsaw to see them... you get the idea.


The cutscenes are just as comic-book beautiful - but the game seems to feel the need to be brutal and offensive as much as possible - so be prepared for some guts being spilled, heads being lopped off, and limbs flying everywhere.


The story that links these all up is good enough - even though one level you traipse through a swamp filled with cannibals for no good reason other than it allowed the developers to throw in some humans chomping on human bowels. It's not really about the story though, is it? It's about being a tough-as-nails hitman who slashes people to shreds in the same way you might viciously tear up a copy of the Daily Mail.
It's not just DmC's Dante who can juggle baddies with his guns.

--- Short and Brutal ---

The only bad things I can say about Shank 2 are that the game is just a little too short to be a stellar success. The main story - even if some fights take a few tries - will be over in under 3 hours. Hard Mode is there if you want it, but there's little difference in the actual gameplay. The Survival Mode again adds an hour or so, but still isn't quite meaty enough to keep me hooked for very long.

The second negative point is that with so much video violence, it all feels just a little bit cheap. Graphic nasties are thrown in for shock value alone - but when the entire game is about carving people into grillable lumps then it comes across as a little pointless. 

Basically, there's violence because it's necessary (such as taking down an evil dictator) and then there's violence because it'll make people go "Eeeeeewwww!". I found myself feeling slightly queasy at several points in the game, and it didn't really add to the experience for me.


Conclusions
The gameplay and graphics in Shank 2 are spot on - really tight and fun to play.

The difficulty level is set just right too - so you're constantly having to make the most out of the control system without it ever feeling too hard.

There is still room for improvement though - taking out some of the "filler" violence and just sticking with a longer, more-focused campaign mode and this would be a big hit.


Feel free to post comments or contributions to improve the experience!
Any images in this review are subject to relevant copyrights and are kindly provided by: http://www.shankgame.com/

Thursday, 5 April 2012

DS Downloadable Games vol. 3 [DS REVIEW] [QUICK&SHORT]

GAIA'S MOON

+++ PROS +++
  • Simple and effective play mechanic - you press 1 button to fly upwards - press for longer to fly higher.
  • Use this to swoop and dive, avoiding a weird and wonderful assortment of "enemies"
  • Enemies include jumping sharks, flying dolphins, floating skulls and puffer fish. All in the same level too.
  • Nice graphics serve the purpose well - although not amazing
  • 2 player mode too - one uses the top screen and the other uses the bottom screen. This can get a little confusing though
  • Cheap - only £1.80 on DSi Store
  • Infuriatingly catchy soundtrack will stay in your head for weeks.

--- CONS ---
  • Your flight path to avoid some of the enemies can be a bit ambiguous - sometimes it seems only flying through the bottom of one enemy will get you through
  • Hard to master - takes at least half an hour to get through the first 5 levels safely - and when you lose you have to start right from the beginning
  • Infuriatingly catchy soundtrack will stay in your head for weeks.

3 HEROES - CRYSTAL SOUL


+++ PROS +++
  • Bright and colourful strategy puzzler game
  • On the surface is just a "Match-3" game but actually has some deeper mechanics to work out
  • Novel gameplay and design - you must move your character around a grid map by attacking nearby enemies. When you attack, you will also defeat all adjacent enemies of the same colour and earn colour points.
  • By defeating the enemies in the right order - and choosing the right colours to go for at the right times - you can earn enough points to pull off special moves and get even bigger bonuses and treasures.
  • Enough levels to play through with 3 different (albeit fairly similar) characters - so you can kill a few hours with this. 

--- CONS ---
  • Not too cheap for what you get - £4.50 on DSi Store
  • Claims to have "RPG elements". In reality it just uses some basic RPG philosophy, fight for as long as you can until your health goes down - then run and heal/save
  • Not really any incentive for playing through the levels - there is just the satisfaction of unlocking all the levels but certainly not what you'd expect from an "RPG puzzler"

GO SERIES - UNDEAD STORM




+++ PROS +++
  • Basic zombie shooter with plenty of charm and appeal
  • Cheap - only £1.80 on DSi Store
  • 3 levels and 3 difficulty settings for each - and it is worth giving each of them a go!
  • Easy is good for a laugh, just take some rage out on some zombies
  • Hard is a challenge - you'll either need to have lightning reflexes or employ clever use of weaponry
  • Nice variety of weapons - shotguns, machine guns, grenades, mines, molotovs, melee 
  • And a diverse bunch of enemies to use them on!
  • 4 characters to choose from - each with their own dialogue
  • Plenty of choice for how to approach levels too - do you search for survivors to help you or just go commando?
  • LOADS of medals to unlock - sort of like achievements on Xbox or trophies on PS3 - these are awarded for things like level completes or not using special weapons or taking no damage

--- CONS ---
  • Simplistic graphics can make it difficult to see what exactly is going on when the screen fills up with baddies and explosions
  • Sometimes the end-level bosses can wipe out everyone in your party very quickly - leading to some distressing game overs
  • Sometimes the zombies can be a bit....er..... braindead? They just stand there and wait for you to kill them. Not that I'm complaining that much or anything....



If you're in the market for a Nintendo DS - and 45 incredible games to go with it -
then check out my eBay auction.

Ends Sunday 8th April at 8PM BST!

LINK TO THE AUCTION >>>> HERE


Feel free to post comments or contributions to improve the experience!
Any images in this review are subject to relevant copyrights and are kindly provided by:
http://www.nintendo.co.uk/NOE/en_GB/games/dsiware/gaiaacutes_moon_47538.html
http://www.nintendo.co.uk/NOE/en_GB/games/dsiware/3_heroes_crystal_soul_47787.html
http://www.nintendo.co.uk/NOE/en_GB/games/dsiware/go_series_undead_storm_47758.html

The Mars Volta - Nocturniquet [CD REVIEW] [QUICK&SHORT]

What's It All About Then?
This is the latest studio album from The Mars Volta, released on March 26th 2012. The Mars Volta are a progressive rock band from Texas, consisting of Omar Rodríguez-López (guitarist and direction), Cedric Bixler-Zavala (vocals and lyrics), Juan Alderete (bass guitar), Marcel Rodriguez-Lopez (keyboards and percussion) and Deantoni Parks (drums). The first single released from the album is The Malkin Jewel (below).


According to Rodríguez-López, Nocturniquet's music was written back in 2010 but vocalist Bixler-Zavala took a full 2 1/2 years to finish lyrics! The band describe this album as a turning point, away from the era when Rodríguez-López "dictated" the direction and musical content, instead allowing each member to provide a more equal contribution. This change is mirrored in the Nocturniquet's theme - the album is about "...embracing life for what it should be. There's a view of the elitist lifestyle - that being an artist is unattainable. I'm trying to write this story that reminds people that we're all artists." 


So Is It Any Good? 
+++ Clever, Complex Tracks +++ 
The album is still very much "Mars Volta" - the irregular percussive beats combined with heavy use of vocal and guitar effects produces a truly unique sound. The frantic, technical drumming and chunky but unusual guitar riffs combines to produce an intense and sensational sound - Molochwalker (below) is a good example of one of these tracks.


In each of the songs there is a definite purpose and sound to them, and none of the tracks could be said to be "filler" - each one feels like it has been placed at that particular point in the album to move the listener through the conceptual landscape as intended.


There is definitely a good flow to the tracks, with the "harsher" and heavier early tracks eventually flowing into some slightly more sombre but fairly gorgeous later tracks, such as Vedamalady and Nocturniquet.

--- Incoherent Noise ---
Sadly though, several of the tracks, The Malkin Jewel and In Absentia included, push this sound too far - they use some fairly "noisy" samples and arrangements, and as such can be quite unpleasant to listen to (particularly at higher volumes through headphones while on a train to work - I actually said "Ouch" out loud and got some weird looks).


There are a few of this type of track - where I have actually felt like I needed to skip the track or just stop playing the album. Quite unusual as I'm quite a fan of their earlier work. It is something to do with the way the distorted vocals buzz across a heavily-distorted guitar and off-beat percussives - it "peaks" at certain points to produce genuinely painful levels of distortion. When the volume is turned down the effect is much the same... though perhaps now I'm conditioned to wince when I listen to these parts!


This sort of track, like In Absentia, are a bit too "messy" as well - at no other time in the Volta's history have I felt that the drums were placed intentionally to offend - and just throwing some extra drum beats into a track doesn't make it more prog, it just stops becoming music - basically it just makes it a mess.



--- Somewhat Disjointed ---
It's almost like you can hear the inner struggle of the band at work in some tracks - guitar, drums and vocals all sound like they are playing different songs! It's hard to hear the cohesion between each of the instruments in the majority of tracks 3 - 7 (Dyslexicon, Empty Vessels Make the Loudest Sound, The Malkin Jewel, Lapochka, In Absentia and Imago). Generally this is because one riff or beat will stand out but the balance is always slightly off - and when the distortion stands out I'm left with the pain described above.


This lets the theme of the album down - this is the first Volta album where I've felt genuinely alienated by some of the noise they are making, and if you are trying to convey a sense that anyone can be an artist and express themselves this sort of works counter-productively. I didn't get the sense that the rest of the band had that much input - I'm sure the overall production was still down to Rodríguez-López, and the parts that the other members may have added seem to have produced a messy and off-putting sounds.


It's quite sad because the second half of the album is actually really very good, and it's only a few tracks in the middle that I actually can't stand to listen to. What a shame.


Conclusions

The album has some great tracks, many of the same vibrancy and technical ability as former works by the Volta.

The album is let down by some unnecessarily noisy tracks - distorted guitars, blaring vocals and brash drumming make a few of the tracks distinctly painful to listen to.

The album's proposed direction "the value of art and to open art up to the masses" is let down by this off-putting sound. Later tracks serve this purpose well, but you have to sit through 3 or 4 difficult and scream-inducing  numbers before you reach the good stuff.

Feel free to post comments or contributions to improve the experience!
Any videos in this review are from Youtube and are subject to relevant copyrights. They are kindly provided by: http://www.youtube.com/user/TheMarsVolta
http://www.youtube.com/user/MrSolocrew

Thursday, 29 March 2012

Chase and Status - No More Idols [CD] [QUICK&SHORT]

So What's The Story Here?
London electronic duo Saul Milton and Will Kennard, better known as Chase and Status released this album back in January 2011. Chase and Status's early work was more classically Drum and Bass, however the new album, No More Idols, is a much more varied, albeit more "commercialised" affair (which I'm not saying is a bad thing). The album had a number of Top 40 hits, including End Credits (feat. Plan B), Blind Faith (feat. Liam Bailey), and Flashing Lights (feat. Takura).





So Is It Any Good?
+++ Floor-Filling Singles +++ 
The album has clearly been built from the ground up with chart releases in mind. The album is split roughly 50/50 - with half the tracks being powerful and more simplistically-arranged (Blind Faith, Flashing Lights, Time, End Credits). 


The singles are all brilliant - catchy melodies, well-chosen samples and bass that vibrates my brain just right.


Have a listen to Blind Faith and Flashing Lights through a good pair of headphones and tell me you aren't almost religiously-inspired to find class A drugs and attend an illegal rave. 


Is that just me? Bugger.





+++ Great British Mash +++
The other half is an eclectic mix with collaborations from artists such as White Lies, Tempa T and Dizzee Rascals, that are clearly less "radio-friendly" (Hypest Hype, Heavy and Hocus Pocus.... all beginning with "H".... hmmm). 


These tracks are great in their own right, being diverse in musical influences and characteristics, such that the album as a whole dips into many electronic genres - and manages to pull each one of them off. Each track has its own personality, well-suited to the guest vocalist who features on the album - and a big bonus point for showcasing so many UK artists as well - this album is a fantastic reference when describing great contemporary UK music.




--- Personal Tastes ---
There is always this risk when you create such a diverse album - some of the tracks won't appeal to everyone. A few of the tracks on the album are certainly impressive - and really show off Chase and Status's musical skills - but sadly I found them a little off-putting.


Strangely, this wasn't the tracks that I initially disliked - the track Time has really grown on me, and is now one of my favourite tracks on the album. Tunes such as Hits and Embrace have never really appealed to me though - so I have to skip them when I put the album on.


It is just the odd track that lets the album down for me though - the rest of the album is still highly playable and thoroughly enjoyable... and has been on my MP3 player for most of the past twelve months.


Conclusions


An eclectic mix of tracks, artists and genres - this defies labels and redefines perceptions. People who have had no interest in electronic music whatsoever have still picked up this album and found a few tracks that they love.

Absolutely love the UK talent involved - and the guest vocalists are both well-chosen and well-utilised. Each track has its own unique flavour, with the genre and the vocals working together to create a series of distinct musical experiences. This is varied, thoughtful, clever stuff.

The only problem is that with such a diverse mix, you are bound to alienate some listeners with one track or two. The testament to the albums quality is that my personal preferences were changed by some of the tunes - and you end up with a more diverse set of songs on your playlists as a result.


Feel free to post comments or contributions to improve the experience!
Any videos in this review are from Youtube and are subject to relevant copyrights. They are kindly provided by: http://www.youtube.com/user/chaseandstatustv
http://www.youtube.com/user/IllusionParkour1

Sly Raccoon and the Thievius Raccoonius - HD Update [PS3] [QUICK&SHORT]


The original PS2 box art.
So What's The Story Then?
This is the first title of the Sly Cooper trilogy, which were released on the Playstation 2 between 2002 and 2005, and chart the antics of a master thief raccoon - Sly Cooper - and his gang of helpful animal friends. 


This review concerns the high-definition remaster of the first instalment, Sly Raccoon and the Thievius Raccoonius. Originally released by developers Sucker Punch and updated by Sanzaru Games in 2011. In this game, Sly is searching for the stolen pages of a family heirloom - the Thievius Raccoonius - an ancient manuscript which generations of Cooper thieves have added the knowledge of their special sneaky powers and secrets. These pages have been stolen by a gang of criminal masterminds and taken away to opposite ends of the Earth - so Sly must break into each of their headquarters in turn to steal back what is rightfully his! At all times he must be wary of the long arm of the law, always trying to chase Sly down, the form of the foxy Inspector Carmelita!


This is Sly swinging into action with the foxy Inspector Carmelita on his arm.... phwoar!


So Is It Any Good?
+++ Cartoon Colourful +++ 
Graphically great, excellent use of colour and with a really vibrant, cartoon style.... but that was all from the original version. This new HD update offers a higher resolution and some very minor graphical refinement - it's pretty much the same graphics but adapted for bigger TVs.



Sly's special moves - dive bombing, quick rolling, rail grinding - are all great fun and get unlocked as you carry out robberies. Special mention goes to slow motion - this really brings out the best in the updated HD graphics - allowing you to let things smash up as you jump away and watch the action unfold at a quarter speed.


The sections where Inspector Carmelita tries to shoot you with her laser gun are particularly fun - you have to race across the level while she blows up the structures you are standing on - and when combined with the slow motion these sections look and play incredibly. 


The variety in traps and special moves is complemented by the an nice bunch of scenarios and villains - such as a Haitian swamp with a voodoo crocodile, and a Chinese palace complete with a firework-flinging panda. They're well characterised, fun to beat, and perfectly matched to the cartoon tone of the game.



+++ Glorious Platforming +++

This is a 3D platformer from the glory days when platformers rule the gaming charts. You can tell that a lot of effort was put into the design of the characters, gameplay and environments - but that was just the way we used to make games (ah, nostalgia trip...)


Early levels are nicely paced and allow you to get used to Sly's skills and try out a few robberies. Later levels are a web of platforms to cross, enemies to fend off, and traps to avoid - and if you fail at the end of the level you can find yourself having to trek a loooooong way back to continue. 


This is because the health system is archaic and punishing. By collecting a hundred coins, which are produced by smashing background objects to bits, you earn a shield to protect you from one hit of damage. Once that is gone, or if you still haven't collected all one hundred coins, then a single hit of damage and you're dead. You have to go back to the start of the level and try again.


That's not a bad thing, it means that you have to take care and not just run recklessly through the levels. It builds a sense of danger - the traps and enemies are all threatening because they can easily lead to a "Game Over".



Then we get to the bosses - they always have a sneaky change or a last-minute trick to catch you off guard - and then you have to start the whole boss fight again. No handy mid-fight checkpoints or autosaving in Sly's boss stages - you have to get from start to finish without taking any damage. Boss fights are three-tiered: the first stage is basic and you learn what the boss's moves are, the second mixes it up a bit and makes you do something slightly different, and the third stage normally has the boss do some sneaky attack (like a frog who bounces around all battle until at the last minute he starts viciously whipping his tongue around).


Again, even though they are quite challenging this is not a criticism - it makes you adapt and learn how to beat each of them - and you become a better master thief as a result.

You are aided on your quest by a tech genius tortoise and a hippo.... who drives the van.


--- Minor Sound and Control Issues ---
Some of the sounds can be distinctly "low-fi" - most of the music sounds great but certain effects can sound very tinny and unpleasant (especially when played over the music). This doesn't happen too often, but it would surely have been part of the HD update to remaster the sound as well so that it works on bigger stereo systems.

Again, a very minor gripe, but Sly can sometimes ignore commands because he is millimetres out alignment with the object you want to interact with. Rails, ledges and wires are the big culprits - leading to a lot of deaths on-screen and a lot of blood boiling in my veins.


With a game that demands you to make as few mistakes as possible, when you input perfectly correct button presses and still end up watching a raccoon plummeting to his death - you feel a little cheated.


The same goes for the two driving sections - your hippo friend takes over and you have to complete a three-lap race. The controls are so pants that these sections get really annoying - particularly when you have to try them a couple of times. Luckily you'll only be spending about fifteen minutes of your total play time in the driving sections.

Conclusions

This is a welcome blast-from-the-past - and surely a welcome addition to anyone's platformer collection. If you missed Sly's adventures the first time around then I strongly recommend you give this a go now.

Although this is a kids game, it still has enough character and depth to keep adults entertained until the end. The colourful graphics aren't quite High-Definition quality, but are functional and bright enough to make the game both fun and enjoyable.

Perhaps with a bit more time and care taken over the update to the graphics, sounds and controls then this would be a stand-out title. As it is, this is an excellent reminder of one of the PS2's treasures.

Feel free to post comments or contributions to improve the experience!
Any images in this review are subject to relevant copyrights and are kindly provided by:
http://www.suckerpunch.com/index.php?option=com_content&view=category&layout=blog&id=57&Itemid=107
http://www.sanzaru.com/wp/games/the-sly-collection/

Friday, 23 March 2012

Mass Effect 3 [PS3]




Final instalment of the Commander Shepard trilogy - the sci-fi epic of the generation.


Oh, and have you heard that Mass Effect 3 has a multiplayer mode?

Well, I think 
MASS EFFECT 3 IS THE MULTIPLAYER.

The story is great and this really is the grand finale that the trilogy has been building to... but I just can't stop playing the 
absolutely awesometastic multiplayer!

That big evil-looking thing is a Reaper - and they've invaded Earth.


So What's The Story Here?
In Mass Effect 3, you play as Commander Shepard - human hero and captain of the Normandy, one of the most awesome space ships ever built.  The game is an epic sci-fi role-playing adventure, with tech gadgets, special powers and weaponry. Now, those things sound fairly nerdy and off-putting for some people when put together, but the whole experience of playing as an elite and customisable space ship captain is just too fun for words. 



I always play as kick-ass bitch Shepard.

You get to choose:

  • a male or female Shepard
  • what they look like using a fairly decent character creator, including face, colour and style of skin/eyes/hair/lips etc.
  • whether you are justly heroic or pragmatically renegade (basically save as many lives as possible for the good of the team, or sacrifice as many as needed for the safety of the Galaxy)
  • what missions you take - to some extent - in that you can choose to take or leave certain missions if you feel you can do without the benefits of completion, but there are still "key" story missions that you have to play through in order to complete the game
  • what character class you are - 6 to choose from - which are as follows: Soldier (pure firepower), Adept (pure powers), Vanguard (guns and powers), Sentinel (powers and armour), Engineer (drones and hacking), and  Infiltrator (stealth and sabotage)
  • what loadout of weapons and armour you take into battle
  • which powers and special abilities your experience points unlock
  • which squad members to take on missions - and which to sacrifice at key points along the way.

You choose who to save - and who to let go.

When you're not fighting various enemies, there is a lot of time spent talking to the different species of the Galaxy - gaining their trust in order to combat the greatest threat ever known - the Reapers.


The Reapers are the most fearsome beings the Galaxy has ever seen - coming back every few thousand years and wiping out all life to "restore the order". Shepard has been fighting Reapers in small numbers for the whole trilogy - but now the Reapers have come out of hiding and have invaded the Earth!


Oh come on, that's pretty scary. The War of the Worlds-esque laser is equally pants-staining.


So what are the really good bits to Mass Effect 3?


+++ You Can't Take The Sky From Me +++
As I mentioned earlier, this is just the kind of major sci-fi epicness that's right up my street. Being able to pilot your own spaceship, choose your crew, carve your own path through space - this has all the things that make me drool over the TV show Firefly. Man, I want my own spaceship.


Anyway, the tense and spectacular climax to the trilogy is pulled-off pretty well. Right from the word go you know that things have been cranked up a notch - the Earth is being invaded, millions of people are dying right across the Galaxy and you are the last hope. 


It sounds very similar to previous games but throughout the previous games there never had the same sense of urgency or drama to them. You are constantly reminded of the impending threat and meet up with the relevant parties to discuss the situation regularly throughout the story.


It all adds to the grand and gripping experience that the main story is - it has been slowly building to this point for 3 games and it's time for the big showdown.


And you get to kit out your crew with sexy blue aliens - like Liara here.


+++ It's The Final Countdown +++
And this really does go all out on the "end of the world finale" thing. I played through as a renegade bitch - always taking the "bad" or "reckless" options - and bloody hell did it mean it changed my experience. I told myself "whenever the option comes up to choose a really badass action - I'll go for it". 


I ended up sentencing several of my oldest friends to death. 
Oh yessiree. 

I actually saw 3 of my oldest friends die due to my actions during my first playthrough - 2 were killed by my hand and the third killed herself when she saw what I had done to her people. 


This is do-or-die time. They aren't holding anyone back for a sequel here - pretty much any of your crew can and may be killed off during your campaign, which just adds to the tense feeling of responsibility and power you get when playing. You can choose to save people - which will only work to some extent. You can choose to kick ass - if you're prepared to put a bullet in the back of your friend's head.

Oh Mordin, I'm sorry .... but you left me no choice...

+++ System Refinements +++
In terms of the improvements in terms of gameplay between previous ME titles and this one, they are all quite subtle. There are a few extra powers available to you - and these are good fun to play around with and see what new destruction you can cause with them - but they aren't too spectacular.

The big positive changes are in the way that you allocate experience points and equipment. When you are spending experience points to improve your skills and powers, at higher levels you get the option to choose bonuses as you unlock. These can be things like "damage an additional nearby target" or "reduce recharge time by 50%", so if you know how you like to use your powers then you can now spend your experience points more efficiently and effectively.

With your equipment, you now have a lot more options - you can buy upgrades for all of your weapons, new parts for guns or just whole new weapons, new armour with unique bonuses - each of these gives you more options to tailor your play style. There is also a new melee attack system, so you can take out baddies up close and personally if you so choose.

Whether you like guns, powers or tech skills - there's a play style for you.

Another great addition is the trade-off between power recharge time and weapon weight. The more weapon weight you are carrying, the slower your powers will recharge. This means that if you are carrying 1 of each of the 5 types of weapons then your powers will take 10 to 20 seconds to recharge after use. If you go in with just a pistol and a light assault rifle, then you can knock out special powers every 5 seconds. 

Again, this is just adding in more flexibility in the game to create a more unique and tailored experience - and in terms of the combat then Bioware has succeeded. It is just as tactical and tight, and with the new customisation options and powers then you really can see your choices in action. Explosive warfare action!

And now you can melee people to smithereens using the omni-blade.



+++ THE Multiplayer +++
And now the bit I've been looking forward to getting round to - the online stuff. This took me by surprise - I knew there would be a multiplayer mode but I always thought it would just pan out the playtime of the single player. As it turns out, I've probably spent as much time on the campaign (30 hours) as I have in the multiplayer. But... why exactly? 

The multiplayer lets you start a whole new character - or any number of characters - from the 6 available classes. You then are put into a match, based on the settings you choose, with 4 other online players. The match is 10 waves, starting off easy and progressing to the tough enemies - during which time there will be a few objectives to complete. 

Later levels in multiplayer feature big buggers like this. Lots of them.

The main tasks in each wave is to kill all the enemies. Killing enemies gives you experience, as does helping to kill enemies - you are always given a fair "portion" of the available experience based on the damage you caused. When you kill a certain number of enemies you get a bonus, by completing extra objectives you earn credits that can be spent on better armour and items.

There's extra characters you can unlock with special powers, rare armour sets that offer you bonuses - basically the more you play, the more cool stuff you unlock.

And you can just keep mixing it up as you play. Try 1 match as a different class for a change. Try some new powers. Spend some money on rare unlocks and see how much that improves your game. Again, this works like the single player - you can choose to play however you want to.

When you are ready, there are harder difficulty levels that offer greater rewards but with greater risks. There's a lot of play time on offer here - you can spend hours at a time honing your skills and showing off in front of your mates. Really, I don't know what Mass Effect was like before multiplayer now. This is how it always should have been.

Working together to take out foes is one of the multiplayer's greatest joys.

The only real problem with the multiplayer is that there's no mute setting for other players. Thanks to one git with a french accent, the ending was nearly ruined for me. Thanks "Noel242LePoo", I had to jump off my sofa and run over to turn my speakers off to stop you from spoiling the whole finale. What a douschebag. I got my own back though - if you think I'm going to revive that asshat when I see him bleeding out on the floor, you can think again!

So now I'll spend some time talking about the areas that they didn't get quite right.


--- Space Soap Opera ---
Both the dialogue and the story in this game are hammy. Really hammy. Like daytime soap opera hammy. It's things like this: after successfully fighting off 400000-bazillion monsters with your soldier buddy, it seems there are a couple left to deal with. Then delicate piano music comes in as he says:


You go on without me .... Time to die...


Hmmmm.... I wonder what's going to happen here then? 
And then he is slaughtered 5 seconds later. 


Here's Admiral Londoner now.


Then during the finale, your commanding officer questions whether they have what it takes to tackle the Reapers. The conversation between Shepard and the Admiral goes:


Don't worry Sir, they'll do whatever it takes to beat them. 
Good. Because that's what it's going to take.


Wow. That is award-winning pap. In fact, that didn't even make sense.



Another sad example is when you are required to escape from a robot AI mothership. The main robot tells you that there are no escape pods on the mothership, because they are like robots and shit. So it recommends using a robot fighter ship to fly off on. When Shepard and your 2 crewmates get in the fighter ship, the robot AI says:


"Is there enough room there, in the storage bay, Commander Shepard?" 


Aw... I would have assumed it was a storage bay if you hadn't said it. But the fact that you went out of your way to slip in an explanation for why 3 extra humanoids can fit into a single pilot robot fighter just makes me suspicious. 


Are you trying to hard to avoid bitching from nerds, Bioware? 


There's a lot of times in Mass Effect 3 where it really feels like the writers are trying far too hard to cram in story (or fill in plot holes) during the dialogue. It leaves a lot of conversations feeling desperately unnatural.



If you've ever fancied a job as an outer-space diplomat then it's your lucky day!



--- To Boldly Gay.... ---
Another key change is that you can now form gay relationships - yay! Now this is quite a progressive move for a videogame - and certainly a welcome one in my opinion - if only I weren't so annoyed with the way it was offered in ME3.


Really, I wanted to get in bed with Liara. She's the really gorgeous blue one in the screenshots above. I didn't manage to. Maybe I didn't give her enough time, or chat her up right... I don't know.


Then my secretary starts trying to jump me at every opportunity! Hey! Alright, you're kinda cute... but I'm still holding out for Liara!


And so while the Universe was being destroyed, she kept inviting me upstairs to play "Chess" (one of the lamest and least-romantic euphamisms I have ever heard).


Basically, while I welcome the option to have a gay relationship in-game, they went a bit overboard on the lesbian love interest here....because she wasn't very interesting.


Maybe I should've tried my luck with the reporter, Diana Allers. She looked up for it.

--- Minor Bugs ---
There's also a lot of little problems that don't affect gameplay too much but still cause irritation. The sound can be a bit jumpy - especially when loading up or moving into a new area. When the rest of the audio features a tense, bassy, epic soundtrack (and so I'm playing through with massive headphones turned up full blast), when the sound skips it can be quite uncomfortable. It only happens once a level, and doesn't cause any real trouble - it just feels slightly unpolished for such a big-budget title.


Another little issue arises when there is smoke on the battlefield. The smoke is meant to visually cover up enemies, but also stops your targeting system working so that you lock-on to enemies. The problem is that it is too powerful and a bit glitchy, meaning that even after smoke has cleared you can aim at a target and have your shot miss because some non-existent smoke clouded your vision. Again, this is a fairly rare and minor issue so I shan't dwell on it.


You should be able to nail these guys... so long as they aren't obscured by smoke.

--- Violent Mood Swings ---
The AI, particularly in multiplayer, can fluctuate between mind-blowingly stupid and swarmingly genius at the drop of a hat - so keep your wits about you. There are certain enemies in game which you know to be wary of anyway, such as Geth Primes and Reaper Banshees, but now other units can become really tough in an instant.


I think this is again due to the AI changes. Most units are pretty stupid - bang, bang, hide behind cover, pop out, bang, bang, dead. However, it seems that when certain special abilities are used, such as the type that instantly deplete your shields, and they all jump out and fire heavily at the exposed targets. This leaves milliseconds for you to either find cover or take out all nearby enemies. No amount of first aid kits in the world can save you if they all fire on you at once. No use of powers and tactics can prevent this - you just get pwnd. 


The Reapers big red giant killy laser thing is dangerous. Bet you're glad I told you.

So the difficulty level can be a bit unbalanced - with the majority of missions being quite short and relatively easy, some are frustratingly difficult. Special mention goes to the final section, where you take down dozens of high-level units only to be taken out by an instant kill-o-death Reaper laser. It takes a few goes to work out the annoyingly erratic pattern of the laser so you have to fight off the build-up troops quite a few times. Urgh. I hate instant kill lasers.

Cerberus troops are a piece of piss though.

--- Cerberus Bites ---
One thing I am still left to work out is why on Earth so much of the game is spent killing humans. The main human-biased organisation in the galaxy, Cerberus, is causing all sorts of trouble and seems to have lost all sense of moral bearings. 

While the rest of the galaxy is burning, you find that the troops have started massacres in various bases around the place, mutated people, manipulated and used influential figures, tearing civilisation apart even further. 

And the thing is - they're meant to be trying to stop the Reapers too! Not quite sure why Shepard spent so long clearing up after Cerberus, why no-one sees that perhaps they're somehow connected to all this - and why none of the Cerberus foot-soldiers didn't stop and say "Er... with all this impending eradication of all life in the galaxy, don't we have better things to do than to hunt down defenceless civilians?"

All the answers should reveal in the climactic ending - so here it goes....


+++ The Grand Finale +++
So what about this controversial ending that I've been hearing about? That has sparked mass protest in the gaming community? Well apart from it having some obnoxiously difficult combat sections, and being the culmination of several plotlines that made very little sense - the ending wasn't too bad. The last action level is set in London.... so far as there's Big Ben's tower in the background. Several of the characters mention being born in London, so this is really bringing the final fight back home.

The last sections and dialogue choices allow you to get your last defiant grunts in - and they take place in a truly blissfully pretty environment with a massive space battle in the background. 

There then is of course around an hour's worth of cutscenes to sit through, but you are rewarded with a final moral/decisive choice you are left to pick (a bit like Deus Ex: Human Revolution). 

The war can be ended. 
It's up to you to say how that will be achieved. 

There is enough closure to the storylines in the very short final cutscene to round the story off. All in all, it was as good as it could have gone. I felt Shepard had played her own way throughout, and was given the choice to be a suitably kickass hero at the end.

I'm just glad that you don't need a huge great additional section in order to explain the ending (a la Assassin's Creed Revelations). Oh, what's that Bioware? You're releasing some extra DLC to explain the ending? D'oh.

Conclusion
The finale to the series is suitably epic and in many ways a clear improvement over its predecessors. It wraps up the story nicely and gives some big set pieces to end with - I really liked it.


Bear in mind though - although the action and visuals are blockbuster - some of the plotlines and dialogue are distinctly lacklustre.... bordering on ridiculous. 


The stand-out feature for me is the multiplayer, which more than makes up for the flaws in the rest of the game. With the many hours of fun I've had online, I can overlook one or two minor issues and am completely satisfied that I've gotten my money's worth here.


It only remains for me to say a fond farewell to 
Commander Shepard.
Kick ass space ship captain.


You can choose to have female Shepard as your physical game inlay cover. Coooool.


Feel free to post comments or contributions to improve the experience!
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