Dragon’s Dogma is a title that stands out for many reasons; some of them good and some of them not so much. The majority of the latter is usually in relation to Capcom’s business practices as opposed to the quality of the game. We’ve all heard the complaints that Dark Arisen should have been a DLC and how even discounting the price of a full game release doesn’t make up for the fact that Capcom is trying to squeeze as much money out of gamers as they can. Normally I would agree but the fact of the matter is this; the new content itself is longer, more challenging, and more satisfying than many major full release games this generation. Sure it sucks for those of us who already owned the original game, as I myself do, but being forced to shell out more than your typical DLC price does not embitter the quality of the content.

From the moment I created my very first character at level 1 last year to the last time I played my level 138 just yesterday, Dragon’s Dogma has never stopped surprising me. The first play through of the main story is itself a generously full length experience. The endgame however is like an entirely new beast with an entirely new community. Without talking too much about the original game since this is meant to highlight the new content, developers found a way to maintain interest hours upon hours into the endgame and even more so during new game+. Welcome now to Bitterblack Isle, the new location introduced in Dark Arisen where Capcom has done it again.

Bitterblack Isle is meant for seasoned dragon slayers, with a generally agreed upon suggested minimum level range of perhaps 55-60. This concerned me a bit because my Arisen was always level 88 by the time I had put the original game down. I was worried the experience would be too easy so just to be safe I flipped on Hard Mode and decided to dive head first into Bitterblack. The atmosphere is noticeably dark and dreary with a hint of the otherworldly. Right outside the entrance to the ancient labyrinth stands an epitaph of sorts which holds the memories of former Arisens who ventured in, ones you must find and decipher deep inside the Island. There is a riftstone, a resting bench to sleep, and the mysterious woman named Orla who brings you to the Island from Cassardis. She will offer the same services of our good buddy from Gran Soren, Asalam. It’s pretty much everything you need to call a base. Once you enter however, the ambiance changes quite quickly.

Ghostly voices of the departed spirits of those who braved the island in the past bestow upon you their warnings and regrets. There is barely time to take in the despondent surroundings and consider the pleas of the dead before you encounter your first foes; Wargs, a twisted version of the wolves and direwolves of Gransys. As Hellhounds were with flame, Wargs bring with poison. My initial concern of an easy expedition was given temporary pause after noticing that not only did they not die after a few cuts and arrows, but they packed quite a punch as well. Hard mode can be thanked for the latter, thus making it essential to reap the full challenge from the Island lest all your encounters simply be time consuming with a stunted sense of danger and self-preservation. This was only the tip of the iceberg however.

Deeper chambers brought more dangerous enemies such as Living Armor, Elder Ogres, and the Gorecyclops who dwarves their Gransys brethren significantly. More and more I began to realize that even as I leveled into the 100s I was being consistently put against the ropes. My first Gorecyclops encounter took me roughly 20 minutes to emerge victorious from as a Magick Archer and without the superior damaging capabilities of a Sorcerer. Tenfold Flurry, High Fulmination and Dire Gouge are handy skills to have for most encounters, but even those don’t guarantee you a cakewalk so feel free to switch up vocations as you see fit. Death also looms around any corner of its choosing…and I actually mean Death. He comes in the form of a Reaper who floats about like a Lich. One touch from his Scythe and any pawn will instantly be sent back to the Rift; you will of course be slain instantly as well if touched. Farming wakestones for money in the Everfall was a common practice, but on Bitterblack Isle holding a few on you to avoid checkpoint restarts are essential.

Even with my most powerful dragonforged gear I found myself downing curatives at a rate I thought not possible at my level. The surprising yet welcomed sense of difficulty came from one massive encounter after another in enclosed areas with little time to sit back and observe for weaknesses or other strategies. Throw in our good buddy Death showing up randomly, booby trapped treasure chests with tentacles that cast instant death, and other random spawns of beasts attracted to the smell of death and there are very few areas where you may feel entirely safe. It’s a tense trip, and it reinvigorates what made Dragon’s Dogma the enjoyable gem it is.

As with collecting Everfall and Ur-Dragon gear, Bitterblack comes with its own brand of high end attire and armaments. Most commonly dropped by only the toughest encounters or found in special chests, you can either find Bitterblack Weapon, Armor, Gear, or Novelties levels 1-3. The higher the level, the rarer your find. Each piece found must be taken to Orla to remove the curse upon them so they can be used, and what you receive is completely dependent on the class of you and your main pawn. Novelties can range from complete heal potions to special buffs, whereas most armors and weapons at their raw unenhanced base prove better than your dragon forged Everfall gear. Throw in the ability to “rarefy” dragon forged gear to make them even stronger and there is plenty of purpose to delve deep into the island and patiently farm for the best equipment possible.

It is in farming where DD always seems to find a large chunk of its longevity. Despite the best gear always coming from the highest level areas last available, people tend to get sucked into the trading game for gear they want and spending hours just trying to get a particular sword, staff, or robe. While in an MMORPG there is always a harder area you really shouldn’t tackle until you’ve reaped as much gear from another area as possible, Dragon’s Dogma players seem to collect more for vanity and pride than convenience. It’s actually rather refreshing that it is possible to conquer the hardest bosses of Bitterblack Isle with any combination of favorite gear found within the labyrinth as opposed to requiring the best of the best statistic wise.

I was further impressed still during my second run after defeating the main boss of the Island when I discovered that the chambers I once ran through had been reset with new encounters and new enemy patterns. Some areas that were once comparative safe havens now had such strong foes as Cursed Drakes. Give your main and pawn a makeover and new vocation and you really might as well be playing through a new game; the only similarity is the setting and the loot pool. Everyone will have their own pace but completing everything the Island has to offer including side quests and defeating the end boss could take anywhere between 20-25 hours. Throw that on top of the 30 hour main story and hopefully that will shed some light on why Capcom made the decision they did concerning how to release Dark Arisen.

Granted the story aspect hasn’t gotten much better, but the mysteries of Bitterblack Island fair more interesting than the nearly non-existent continuity of the main story. Dragon’s Dogma: Dark Arisen doesn’t necessarily improve on the faults of the original release, but it does offer more of what made it a great role-playing game.

Fun Factor: Rewarding and challenging combat, new gear to collect, more reasons to take your pawn legion out of retirement? If you loved DD last year, you’ll love Dark Arisen.

Length: Possible 20 hours for the new content alone with reasons to play through again. Combined with the main story a good 50+ hours.

Difficulty: A happy medium between the devastating difficulty of Dark Souls and the more relaxed Skyrim.

On the Negative Side: $40 price tag will repel a lot of gamers at first glance, especially those who already own Dragon’s Dogma. Story hasn’t improved much and an increased frequency of glitches from the original product.

Bang for your Buck: For veterans, it’s a bit of a sting to the wallet but playing through the new content should sooth most cases. For newcomer fans of the genre, this is one of this generations most must buy games.

Critic Score: 8.5

Post contributed by Senior Editor Matt J. Randisi. Questions for the author? Send an email to Mrandisi@gamesabyss.com. Follow him on Twitter: @SaveUsMatt.

By now we all know that Lobo and Batgirl will be joining the cast of Injustice: Gods Among Us as two of the four characters planned for the next DLC. Speculation about the other two has had the internet buzzing since being announced and rumors of who they may be based on disc-based coding have even been revealed. Whether there is any merit to these claims will be brought to light soon enough, but a sentiment shared by most gamers is that the chances are pretty good the ball will be dropped as far as who should have actually been included. Lobo is a solid choice for sure due to his wide association within the DC universe without being primarily of any particular canon already featured on the roster. As far as all the others who were left out of the parallel universe party NetherRealm has thrown together it is important to make sure there is a sense of uniqueness as well as reconciling the void left by the more surprising omissions of core characters. These are our hopefuls that may or may not be possible in another dimension just like this one…only slightly different.

Huntress – Helena Bertinelli saw herself oddly omitted from Injustice’s final guest list, granted there is an archer represented already but if there is one criticism I have always given Green Arrow it is that his zoning capabilities are severely lax for someone whose superpower is a rapid fire bow. The problem lies both within the menial damage each shot does and the lack of impact on each normal shot. Fire and Lightning may keep foes at bay well enough but the time it takes to switch arrow types and the fact that they are no more difficult to avoid makes it easy for most characters to close the distance on good ol’ Ollie. I would envision Huntress playing a little closer to Deathstroke in terms of her shots; only with bolts instead of bullets. Her combos would be a rather swift and flashy martial arts style as well with only Nightwing and Flash to match her speed; so Huntress could very well turn out to be one of the most well-rounded playable characters if added. Her superpower should be a grander usage of her weapons, opposite how Green Arrow’s is his primary usage of his bow; perhaps a downward arc spread shot which pins her enemy momentarily with an 8 second refresh time. This way her special moves are freed up to be dedicated to more damaging and impactful crossbow shots. For those afraid of the potential for another spam-frenzy character like Slade, I have only this to say: at least she’d be a hell of a lot nicer to look at.

Martian Manhunter – Probably the easiest addition to the cast considering his fully rendered model in the background of The Watchtower, J’onn J’onnz may seem like the most sensible choice to toss in. The concern however may lie with the idea that he may play a little too similarly to Superman; not to mention his vast wealth of powers are also shared prominently with others on the roster already. This is a good opportunity for NetherRealm  to have a little fun with a character I say. I don’t necessarily mean to have MM thrown in as a novelty act, but with so many powers in the repertoire of the mysterious member of the JLA it’s only natural to emphasize some creativity. Superpowers involving telepathic mind control to reverse the control scheme of the other player, phasing himself into the intangible to absorb a particular amount of damage, or even shifting his form into random members of the roster or just his opponent are all interesting options to toy around with. Should at any point this concept should seem too gimmicky, MM could always be granted a few heavy hitting combos to bring him closer to the side of convenience.

Starfire – The non-demonic goth looking female member of the Teen Titans is on here while other core female members of the DC universe such as Power Girl and Supergirl are not. Why is this? Simple, Starfire is an opportunity for a fresh move template. Power Girl would play even closer to Superman than Manhunter would considering she is in fact related to the man of steel, and that shouldn’t even have to be mentioned in reference to Supergirl. Granted the addition of either of those 2 would still do little to counterbalance the dominating presence the Batman universe has on the roster. Injustice does not exactly shout that there is more in the world of DC than Bruce Wayne and company; though to be fair it does exclaim it in a slightly raised voice. Getting back on track, flight is a giant part of Starfire’s powers and could grant her a related superpower, one that could open up a new repertoire of moves however unlike Hawkgirl.  We’ve seen this already in Raven’s dark transformation. Many forms of solar projectiles and other enhancements would also be at her disposal. Not to mention the game could always use more knee-high boot clad other-worldly princesses.

Darkseid – Darkseid is not on this list because he has a grand potential for a variety of special moves or versatility per se, he is on this list to satisfy one of those aforementioned voids that just did not seem to make sense. While he does make an appearance as part of a level transition, the master of the Omega Beams could be included in the roster and still have as much variety in his play style as Doomsday or Bane if not a little more. The Omega Beams alone can be used for several destructive purposes while his basic moves and combos could boast more knockdowns or wall-bounces to coincide with the imposing stature Darkseid is known for. Combat style aside, this choice in particular would provide the best should developers ever want to expand upon the story or simply break away into an entirely new arc. It would be nice to see a future DLC with more substance in it other than new characters.

Swamp Thing – Here’s someone who has probably flew under a lot of radars. It’s been a long time since anyone has really discussed Swamp Thing in reference to a video game, but the fact of the matter is he is a DC licensed character and would be one of the more unique choices to throw into the roster megamix. If you thought Poison Ivy was the master of plant life, you haven’t seen anything yet. ST can assimilate any sort of plant life and fuse it with his biological make-up; this can include such usages as armoring himself from harm and extending his reach; for the sake of his superpower we might expect a characteristic version of Doomsday’s rock armor. Many of his moves could involve detachment of limbs considering he can simply regrow them. The power he possesses over vegetation involve being able to transfer his consciousness; this could be portrayed as some kind of teleport or decoy maneuver (think Sub-Zero’s ice clone) which ensnares or poisons those who make contact with it. However built, Swamp Thing would be a much more interesting addition over say, another character from the Batman universe or a guest fighter from Mortal Kombat.

Honorable Mention: Krypto – Hey…if Capcom can put Ammy in their fighting games why can’t Krypto be in Injustice? Ok that’s my only argument on this one. Probably won’t happen but that doesn’t change the fact that Krypto is pretty awesome. Don’t try to deny it.

Sure this list may upset the balance between heroes and villains, though I suppose depending on what story you’re following Huntress could sneak her way onto the baddies’ side. After all I’m not entirely sure Catwoman can be categorized so black and white either, yet there she stands beside the likes of Joker and Doomsday. In any case, the idea is that an odd number wouldn’t be adopted for a DLC; but it would be nice to see some of those additions taken from this list. Are any of your favorite DC Universers listed here?

Post contributed by Senior Editor Matt J. Randisi. Questions for the author? Send an email to Mrandisi@gamesabyss.com. Follow him on Twitter: @SaveUsMatt.

Sometimes simple fun is the best kind of fun. A game like Mr. Runner 2: The Masks by Zing Games is the perfect example of this. The original Mr. Runner was a hit, and the sequel seeks to both capitalize and improve upon that. If you're looking to get some arcade-style gaming in quick bursts on your iPhone, Mr. Runner 2 is one of many fine choices. It's got the features, character, and zaniness to carve its own path on the iOS market.

Stories in most mobile games seem to not matter much. At all. Still, they can add a little flavor every now and then. The story of Mr. Runner 2 is given to you in a quick cinematic at the start: Mr. Runner's head has been locked in a box. Anyone familiar with the quirkiness of the original Mr. Runner won't even bat an eye at that. Your mission is to run your way through different worlds and retrieve the key that will unlock your head. There's a certain trippy quality to it.

The main hub features Mr. Runner, erm, running, past different wolds in the form of portraits. clicking on an unlocked one will lead you to the level select screen, as each world has several different levels. Worlds and levels can be unlocked early if you have enough coins, but no sane person is going to be able to amass enough coins on their own to do that unless you pay for some in the micro-transaction menu. Right off the bat it's not worth it, but the temptation is always there. You can also get more coins by participating in social activities, such as liking the game on Facebook or tweeting about it. Game Center support is also here so you continue your achievement hording.

Once you enter a world, Mr. Runner just starts running. That's his thing, you know. By holding the right or left side of the screen you can either make him sprint or tell him to slow down. The slow command is much more useful than the sprint, as it's easier to slow down before the world comes down to crush you than it is to sprint past the falling columns/masses or general obstructions. If you successfully dodge being crushed Mr. Runner busts out a quick pose, and they change depending on how just close to death you come. This is all part of Mr. Runner 2's humor, which is prevalent. The intro levels feature a Pikachu-like creature that even let's loose with the catch-phrase. Of course, it turns out to be an over-sized hamster with a lightning bolt headband.

You'll also come upon items that allow you to gather more coins quickly, revive yourself after you've been squashed, and keys that will open locked chests. These items help to break up the monotony of running and stopping constantly. Make no mistake, Mr. Runner 2 requires strategy, but it's much more forgiving than something like Temple Run, which is more twitch-based. For only $.99, it's hard to go wrong here. Mr. Runner 2 is, frankly, a robust-featured blast.

Fun Factor: High, especially if you're a mobile-gaming addict.

Length: It will take time to master all of the worlds and levels, but it will take significantly less to just unlock them through micro-transactions. Still, it's more about mastering your technique than rushing through it.

Difficulty: Just right once you get the hang of it. Very casual friendly.

On the Negative Side: Micro-transactions allow for a little too much freedom.

Bang For Your Buck: Worth it! $.99 is the absolute sweet-spot.

Critic Score: 8

Contributed by Associate Staff Writer Reuben Levine

What do you get when you mix the gameplay and brutality of Mortal Kombat with the characters and universe of DC comics? Good god no, I am not talking about that ill-fated crossover back in 2008. I speak of course about the much more anticipated and infinitely more satisfying Injustice: Gods Among Us. As a fighting game enthusiast and comic book nerd the idea of playing a proper version of what Midway’s past venture into the DC license should have been was an opportunity to not pass on. Thankfully NetherRealm has made it a reality and I, along with any other fan of the Mortal Kombat gameplay engine, should be thanking them whole-heartedly for it. Injustice is the best product to come out of either studio in just about every aspect.

With Marvel practically monopolizing the best the comic book fighting game scene has to offer since Capcom’s first versus installment, X-men vs. Street Fighter, it is refreshing to see a respectable contest between that other big comic label finally come to fruition. Though released in a very heavily favored Batman world (which shows through in about one fourth of the roster), the most major superheroes brought to life by DC artists find their fair share of exposure here. In fact quite possibly one of the most impressive feats achieved with the Injustice roster is that Aquaman is a total badass. No joke. Although the whole entering every stage from the water thing is a bit puzzling…in any case, I digress. There are a couple of surprising omissions such as Martian Manhunter, Darkseid, and Huntress but that’s what DLC, hopes, and dreams are for…aren’t they?

NetherRealm is welcoming you into a world where there are two realities with only the slightest of differences, one of those slight differences being that in one of them Superman is an man-of-steel fisted dictator who has been tricked into believing he is a faith breaking murderer. Alright so that’s not so slight, maybe the slicked back hairstyle would have been a better example? In any case, a rift has been created in the entire make-up of the DC universe where good guys have gone bad, bad guys have gone good, and Harley Quinn has a tramp stamp. A pretty intense and well-constructed backstory is present here in Injustice and thankfully it is arguably the best feature of the entire game.

If one thing was established from Mortal Kombat 9 it’s that the studio knew how to breathe new life into the reason everyone is actually fighting one another. This is even more evident in Injustice as it arguably boasts the best story mode in any mainstream fighting game in existence. It truly is like a full-blown Justice League of America animated movie was transferred over as Injustice’s story and enough player-controlled battles were thrown in to remind us that we are playing a game. Voice acting is spot-on with such famed names as Kevin Conroy (Batman) and Susan Eisenberg (Wonder Woman) reprising their roles within the DC universe. While the story can be beaten within 3 hours, the longevity of fighting games we know is not in its single player. Completing it at least once however is quite rewarding. Experience levels are gained quickly and each level allows you the ability to unlock bonus features in the archives such as alternate costumes, concept art, and extra battle modes.

The overall offering of game modes available to enjoy the combat are more plentiful than your typical fighter in today’s gaming world; while it may not seem like a lot on the menu quantity wise, the variety is found within 2 particular modes. Battle Mode includes over 20 special stipulation battles in which you will work your way through a string of fighters. These range from your basic arcade style ladder progression to having to survive each fight while gradually losing health over time or even having to put up with your foe being completely healed every 30 seconds. The difficulty level even on medium can prove surprisingly punishing for the majority of these, so most experiences even for veteran gamers will range from challenging to controller breaking. Interest usually returns after frustration wanes with time, whereas a lack of stimulation from too easy an experience tends to linger; so let’s call this one a victory.

S.T.A.R labs is quite akin to what can be considered a mission mode. There is a generous stage of condition specific battles for every character in the game designed to both teach advanced strategies and just have some fun. The only real bummer about this mode is that most missions are locked until obtaining certain amounts of stars from initial missions, so if you’ve developed any favorite characters prior to the labs out you may not get to play as them until later in. Granted a vast majority of play time will be spent in the mostly prototypical multiplayer, which has some interesting points itself, such as the new betting system which allows you to wager XP on who will win their fight while waiting your turn in an online lobby. Once story mode is completed once or twice however it is nice to know that there are ways to spice up your experience when not online or playing against friends locally.

Gamers will have no problems finding a character who suits their play style. Rush down combo fans will enjoy the quick in the fray striking of Harley Quinn or Flash while those who like to employ that zoning game will be more than satisfied with the gunplay of Deathstroke or slew of ranged special moves of Green Lantern. Each hero/villain will also be able to utilize unique “superpowers” during battles; these range from switching between weapons such as Nightwing’s staff and batons to timed enhancements such as Doomsday’s rock armor. The diversity within the move-sets of the 24 man/woman roster is impressive all save for one feature; the super moves.

While bad ass enough in animation, super move variety is mostly lacking and certain characters deserve a more characteristic treatment. With only slight differences Superman and Hawkgirl essentially have the same technique; the major difference being Superman brings his foe to space whereas Hawkgirl brings them into the clouds. Wonder Woman’s just makes you wonder how getting jumped by 3 amazons with conventional weapons could possible hurt characters like Ares or Bane. Flash’s is merely a more animated version of his throw plus an extra punch. The most impressive animations on the other hand include Ares’ transporting his foe to the middle of a hail of arrows during a war and Green Lantern’s onslaught of ring-created sledgehammers, buses, and fighter jets one after another. The more tournament minded gamer will not care one way or the other, and certain characters play better using their meter to strengthen their special moves, known as “meter-burning”, as opposed to saving it up to perform a super move. Another usage of meter is to overpower your opponent in a “clash”, a type of counter maneuver which can be timed to interrupt a combo and grant either a large chunk of damage or health bar replenishment to the winner. Simply put, the more meter you have to wager the better your chances of winning a clash.

The combat itself is an improved version of the latest Mortal Kombat title; which is not to say that was flawed but simply that Injustice was cared for greatly when in development. Controls are exceptionally responsive in such a way that button mashing is actually difficult to do. The best way to optimize your skills will actually be training yourself to only input as many buttons or directions any given move or combo requires. This may discourage newcomers or casual fighting game fans but ultimately makes the experience smoother and more fulfilling. Most people will actually feel like they’ve learned something or earned their victories when they realize winning involves more skill than luck.

Developing skills has also been made much more technical as practice mode now includes detailed information on moves and combos that more pro gamers or aficionados pay attention to, such as start-up and recovery frames and hit advantage. Overall percentage of damage can be found as well as well as detailed descriptions of special and super moves. Anytime the desire arises to go through the tutorial again, that can also be accessed within practice mode.

Stage design shines brightly with detail. The state of the battlefield changes after each round to show more destruction and there are interactive portions of each level to be used for further punishment. Depending on the build and overall strength capability of your character the interactions will be different. Doomsday will simply break off pieces of the stage and hurl them at his opponent whereas Green Arrow will use it to vault himself or affix an explosive to it with the debris causing damage. The dichotomy is also shown quite well in certain stages such as Atlantis where those with no measurable superpowers will turn the valve which releases a high pressure water pump to damage opponents while powerful characters will simply break the glass wall causing a deluge.

There isn’t much to say in terms of negatives other than a sense of gimmickry in the interactive stage aspect; though the feature can be deactivated playing the game as it was meant to be can see a lot of focus put on using the stage as opposed to straight up fighting. Most of these are unblockable and have huge hit advantage; it is very possible in fact to combine some with regular combos multiplying the damage done tremendously. Call me old fashioned but I will always prefer the purity of combat based on the skills developed for one’s character alone.

Difficulty might also repel a portion of gamers, fighting fan or not. I don’t speak only of the A.I in Battle Mode but also the much stricter control demands. Injustice requires much more precise timing as opposed to a game like Ultimate Marvel vs. Capcom 3 where victory has many factors aside from skill such as x-factor comebacks and forgiving button mashing. Neatherealm has an appropriate license for a game like this however as the cast will likely play a strong role of attractor despite the gameplay mechanic.

With the promise of DLC characters just around the corner and potentially more in the further future, Injustice has the formula for longevity down. This of course only really applies if you are a fighting game fan; though comic fans who can sit and watch their favorite DC movies over and over will probably also find the same satisfaction in playing the story mode over and over. All in all it’s worth picking up and holding onto for a while, especially if you are looking to appreciate the genre a little more.

Fun Factor: Enjoyable and personally rewarding combat system and one of the best story modes the genre will ever see. Not to mention sending people crashing through walls and watching them get hit by trains in stage transitions never stops being fun.

Length: Story mode is the length of a full-feature movie, give or take a half hour. As with most fighting games, multiplayer combat can’t be measured in time.

Difficulty: A bit challenging with a dash of frustration here and there depending on what mode you are playing. Controls will take more effort to master than most fighting games. Not exactly newbie-friendly, but not completely discouraging either.

On the Negative Side: Slight imbalances in combat, spastic difficulty, and lack of diversity in what should be the most creative and unique aspect of the move-sets.

Bang for your Buck: Fighting game fan? Well worth the money. Comic fan? Worth the money. Fan of neither? Enter at your own risk…although, why would you even be reading this review?

Critic Score: 8.5

Post contributed by Senior Editor Matt J. Randisi. Questions for the author? Send an email to Mrandisi@gamesabyss.com. Follow him on Twitter: @SaveUsMatt.

The Longest Journey is one of the greatest adventure games to ever grace the PC. Period. This is hard to argue, even for the most dedicated of doubters and it’s important to understand why in order to fully grasp the significance of what Red Thread Games is currently up to. With the release of Dreamfall in 2006 came an unrealized promise of a continuation; until now that is. It may have been a frustrating wait but perhaps it was all for the best. It’s always wise to strike while the iron is hot, and it’s possible that the iron has never been hotter with the inclusion of the core design team, including creator Ragnar Torquist; this alone should eradicate any doubt concerning the passion and validity behind this production.

Kickstarter has seen the rise and fall of many hopeful projects in the gaming industry, and it is the perfect place for Red Thread Games to position their potential sequel. Although the campaign did not reach the hysterical marks of some other company's Kickstarter success last year – i'm looking at you Double Fine, the interest among the fans is still obviously there. This does not necessarily mean that interest has waned in the genre since Double Fine Adventure, but it does show that it’s perhaps possible to get even more niche in an already niche audience. The target audience came out to support the effort in droves, and victory is in the air in the form of being 180% funded!

Even after the runaway success of Mr. Schafer's ambitious project, there hasn’t exactly been a huge spike in the popularity of adventure games. Major studios still seem to be shying away from the genre and thus these titles continue to dwell within the shadows of other major indie titles; particularly the ones heading up the "game as art" movement. The successful funding of Dreamfall Chapters (over 1.5 million) again proves that despite all of this, the interest is still quite relevant if you know how to find and cultivate it. Even though the ultimate stretch-goal of The Longest Journey Home — a prequel to Dreamfall Chapters featuring heroine April Ryan — didn’t make the cut, there is still enough blood pumping away to keep the genre moving forward.

Dreamfall Chapters: The Longest Journey is in fact a direct sequel to Dreamfall, a game that polarized many fans of the original The Longest Journey. Switching to a more typical action/adventure structure while tossing in some awkward combat sequences came as a bucket of cold water to those that loved the point-and-click style of the original. If a sequel to Dreamfall had shown its head any other time, it’s possible that it simply wouldn’t have done as well. Trust was lost thanks to letting the product freeze over for so long, time however is also capable of healing all wounds. Now is also time for the rise of the adventure game, and people’s nostalgia for that style of gaming has never been higher. It’s a painful fact but the long wait will ultimately prove beneficial to the project's success and longevity, even if reasons not within developer's control were involved in the decision.

Even though some of the puzzles present in The Longest Journey were stupidly obtuse (Inflatable duck, anyone?), they celebrated the joys and creativity of the genre. Dreamfall, by stripping the game of those puzzles and creativity, felt like a somewhat hallow experience. Dreamfall Chapters seeks to combine the two in a unique way, which is the perfect way to bring the series into the modern age. Or it could simply crumble under the weight of imagination and consumer expectation. You know, that old Chestnut.

Creativity needs to be nurtured. Dreamfall Chapters is another hurdle is the revitalization of a once-dead genre, but that’s been cleared with flying colors. At some point there will be renewed major studio interest in an adventure game, then maybe just maybe we'll get a few more titles out there aside from the occasional Uncharted game. Red Thread Games is even considering a console release once they get the PC version out of the gate; such advanced planning says enough of the studio's confidence. For lovers of adventure games, hell, for lovers of April Ryan, Dreamfall Chapters will be a sight for the sorest of eyes.

Submitted by Staff Writer Reuben Levine.

Auto Club Revolution is not just a browser based MMO racing game; it’s an experience. That’s what developer Eutechnyx hoped the general feeling of their massively multiplayer online racing title would inspire, and in terms of the components that comprise this title are concerned it’s a pretty spot on expectation. Social gaming can be a very fickle subject for many people; the majority of images that come to mind when hearing the term used are those friendly facebook games like Farmville or other titles that your friends obnoxiously keep sending requests to play with them. While ACR is in essence one half the aforementioned style of game, admittedly so from the mouth of senior marketing manager Dan Robinson himself, the other half is as authentic and hardcore an experience you could want in a racing game. If you’ve been mourning the slow gradual exit of the racing genre from the summit of mainstream gaming, let’s take a look at how Auto Club Revolution aims not to be a swan song – but a song of renewal.

No strangers to putting out some of the most well-tuned racing sims and "car games" on the market for over a decade now (such as NASCAR The Game 2011, Ford vs. Chevy, and Big Mutha Truckers), Eutechnyx is well qualified to develop a way to bring both hardcore car fanatics and race gamers together into a whirlpool that will appeal to both crowds. The key to achieving this is in the immensely detailed ACR homepage.

The homepage is the center where every feature ACR is rich in comes together. The main section allows you to view all the cars in your collection along with their ranks and performance stats. Ranks for cars range within eight different types, E being the beginner class whereas RA describes the top supercars of the world; even the Raptor GTR which only one in the entire world exists. Oh and by the way, I’ve personally raced with it in-game and it’s pretty obvious the thing drives like a beast out of hell.

Each car’s overall capability will be represented by VPR (vehicle performance rating) which can be raised through upgrading the many components of a vehicle. The higher the VPR the better the car will perform in categories such as acceleration, braking, handling, and top speed; however each car will still be restricted by rank. This pretty much ensures that races will be between gamers with similar experience; so no picking on the noobs. Other major points of interest located on the main page include news and updates about the game every time something is patched or added, your friends list along with suggested friends based on those on your list, challenges and achievements for each individual car owned, and the daily challenge which will be something all racers can aim for and will constantly change.

The Auto Club tab is where a good chunk of the social structure can be found. You can think of auto clubs as what guilds are to games like World of Warcraft and other MMORPGs. You can race with your crew or just kick back and talk cars. The real incentive to join forces with your like-minded peers is to reap the rewards of everyone contributing their own personal achievements to the collective pot of the club. Some challenges can only be satisfied by tackling them as a group. When you are ready to race whether for the needs of the one or the needs of the many, it’s time to head to the Race Hangouts tab. Here you can either join a lobby for a race or create your own multiplayer set-up. The chat window can be accessed here as well to talk with your fellow motorists or ask any moderators for help with any issues.

The My Account tab will allow you opportunity for personalization; more specifically you can share information about yourself by answering several questionnaires. Additionally you can view facts and features of your favorite cars and see your most recent achievements and awards. Feel free to get creative with this tab; after all it’s how other people will see you.

In the Workshop is where all the customization magic happens. One of the most impressive features of ACR is that everything is authentic and licensed from the cars to the parts available for upgrade. Everything from brakes to decals can be enhanced and raise your car’s VPR. Hardcore auto enthusiasts will be particularly happy with this aspect of the game and will likely keep collecting until they’ve bought every single car on the market. Here is where the game’s currency will come into play as well. Money will come as post-racing rewards in the form of credits, and though the game is free to play the option to spend actual cash on something called “e-bucks” will be an option as well. While an actual value ratio hasn’t been specified, during the demo an upgrade was available for either 5 e-bucks or 350 credits. Dan gives his personal assurance that this won’t open the floodgates to “super powering” cars however. No matter how much money someone is willing to dedicate to their experience, upgrades are locked by VPR and each one must be purchased starting from level 1. Also paying to win is a non-factor as no matter how much money is spent on one particular car, match-making will only group those ranked similarly into races. So I repeat: no picking on the noobs!

The Showroom is where you can purchase new cars for Credits or E-Bucks. For a reduced price you can even choose to rent a car for a certain amount of days or even just for a specific challenge you are having trouble beating. Virtual test drives is one of the best features of the game because it will ensure that your personal garage is stocked only with the cars you know you want to flaunt. There will also be Packs you can purchase which are essentially comprised of auto-parts or even cars for a discounted bundled price. This will benefit newcomers and the more experience alike as you may end up with something you couldn’t get a hold of individually. Just think of those big brown grab bags on the last day of comic-con…yeah, those are actually pretty hit or miss.

The last tab on the homepage is the leaderboard which should require no explanation. You can filter listings by virtually anything from stats with particular cars to regions. Navigating the entirety of the ACR homepage may seem pretty intimidating at first, but it’s fairly simple to breakdown and all the tabs are necessary to completing the feel of the overall experience. It’s a detailed and loving fusion of social gaming and racing simulator.

Speaking of the racing simulator portion of the game, I suppose it would be difficult to sing the praises of a racing game if the gameplay itself wasn’t on point. The differences in stats like handling and speed are exceptionally noticeable when on the tracks; each car may take some getting used to even for veteran racers but it is a fun process. Granted the game could benefit from a change in scenery like some open street racing, but being restricted to real life and fictional tracks isn’t necessarily a terrible thing. Figuring out the layout of each track and conquering the twists and turns will keep you constantly trying to better your time trial time or build a dominating reputation in multiplayer races. ACR even offers some assistance in clearing certain turns smoothly with an arrow system which shows you the ideal arc in which to turn and differs in color dependent on the difficulty. Not pulling off the smoothest moves may result in a cutting corners penalty at the end of the race; be careful as you’ll want to get the max amount of EXP and credits possible for your efforts!

The ACR experience will also be closely cared for as constant updates are promised every week. Judging by the amount of additions during the beta alone, Eutechnyx has undoubtedly been true to their word thus far. Moderators will be constantly available and issues promptly patched up. The only real drawback, if it can be called as such, is that regardless of how deep the Auto Club Revolution rabbit hole goes, it will ultimately only appeal to tried and true race fans at first. If enough word of mouth gets around however it isn’t inconceivable that new recruits may eventually become intrigued by the social concept.

Auto Club Revolution is still currently in its Beta phase, but the game is staring pretty confidently at a May release. While there are no plans to bring the game to consoles at this time, it will be compatible with an Xbox 360 controller configuration for those who don’t favor the keyboard. As someone who used to play racing games quite a lot and has admittedly lost a little faith in the genre, I would very much like to see ACR succeed. Hopefully there are enough people out there like myself who will be willing to give it a try; I mean…it IS free to play. You have everything to gain, and nothing to lose.

Post contributed by Senior Editor Matt J. Randisi. Questions for the author? Send an email to Mrandisi@gamesabyss.com. Follow him on Twitter: @SaveUsMatt.

Operation Rainfall is, or was, a campaign set up by American Anime/JRPG diehards in which they petition Nintendo to release three games into the western region. To the dismay of the hopefuls involved, Nintendo refused the demands and instead long time favored RPG publisher XSeed picked up the slack and took it upon themselves to publish each title. The targeted titles involved were Xenoblade Chronicles, The Last Story and the subject we will be discussing Pandora’s Tower. Now I wouldn’t call myself a supporter of the cause (or internet petitions in general) because honestly I could live normally and with my mental state intact whether or not these games made it stateside. I do casually play JRPGs and generally consider myself a fan of the genre, but not to the point where I’d riot if localization didn’t pan out. As the last of the three titles released, Pandora’s Tower looks to become the proverbial "swan song" for the Wii, unfortunately after playing it the song is more like something from the LMFAO back catalog; which is to say that it’s not a good song.

You play as the ultimately dull and uninteresting Aeron whose mission in this game is to gradually repel a curse inflicted on his friend, and potential love-interest Elena. The story starts when Elena is chosen to sing at her kingdom's Harvest Festival, as if a good harvest totally depends on how good this chick can sing; but it’s either that or the harvest lottery which I guess is supposed to be a negative alternative? In any case monsters suddenly assault the city during the festival, why? They’re monsters, that’s what they do. Elena somehow becomes cursed during the chaos and transforms into a hideous beast. If it seems like I’m making light of the situation, it’s because that’s pretty much how exciting this whole scene is.

Aeron later finds her reverted back to human form and unconscious. With the Elyrian Army searching for them the two escape the city with the help of a Vestra merchant named Mavda. They reach a tower called the Observatory in the wastelands of Okanos. Later they find out that Elena has been cursed, as shown by an ominous mark on her upper back. In order to lift the curse Aeron must use the Oraclos Chain given to him by Mavda for the purpose of obtaining meat from the beasts that live in the 13 Towers of the Scar. Sounds yummy no? If he does not complete this task in time, Elena will gradually turn into a beast herself and perish. As the game progresses the story will explain the origins of all the characters involved and the ending will finally explain what the curse is, where it came from, who inflicted upon Elena and why; at least that is the hope.

At its core the gameplay is mostly combat-driven and it is actually quite static and lackluster. The combat is so boring, repetitive and simplistic it’s practically insulting. All you do is button mash the "A" button like there's no tomorrow while Aeron does the same 5 moves over and over and over again. There is no technique besides:

Hit+Hit+Hit+Dodge

Hit+Hit+Hit+Dodge

Hit+Hit+Hit+Dodge

Use Chain

Devil May Cry this game is not; in fact it’s barely Dynasty Warriors. Sure, you get different weapons, but you have to find them in different temples and the differences between them are purely cosmetic seeing as how they all just about control and inflict damage in the same manner. In most games with similar action combat styles such as your Castlevanias or No More Heroes, you can buy or earn new weapons and techniques to keep the combat from getting stale and boring. When you enter a room full of enemies in those games you get excited and all you wanna do is kick everybody's ass that is stupid enough to get in your way; that anticipatory feeling is lacking in Pandora’s Tower. Now that’s not to say that weapon upgrades are  non-existent, in fact the weapons can be enhanced through forging but you have to find items you’ve never heard of and have no possible idea where to find them. Given the game’s very strict time mechanic of Elena’s curse it isn’t wise to mess around looking for these items and chances are you’ll have no need to upgrade anyway. If the game was more accommodating on giving us clues or even making half of the upgrades findable during the main story this wouldn’t be an issue. At a certain point when entering into rooms with enemies, it's a more appealing option to just run past them and avoid combat altogether aside from the rooms where you are forced to fight them in order to progress. After the fifth temple I just stopped caring. The only good thing about the combat is the boss fights; these are actually quite fun. Unlike the normal enemies, fighting the bosses actually involves strategy and technique between each one and requires more than the usual method of fighting. You can only harm the boss by using a pulling technique and as the fight progresses it is going catch on and change up its tactics forcing you to do the same.

The leveling system in Pandora’s Tower is rather pointless. You don't learn new attacks; you don't even learn new techniques to do with the chain. What’s the point of leveling up when you can still only do the same "technique" for fighting enemies? Longer life and longer chain meter isn't exactly what I call progress either seeing as how they don't really enhance the game in anyway from where your started. You can still do the same amount of damage to the bosses before they begin their attack phase. The inventory system is a bigger pain in the ass than hemorrhoids. When picking up, let’s say, the “iron ore” it sometimes stacks onto one another while most of the time it proceeds to take up an extra slot with no discernible way to judge a max amount per stack. On one hand it’d be cool to carry two columns worth of an item but on the more logical side of things that space could be better spent sneaking in that extra healing item or something else worth selling.

Completing the game may succeed more in turning you into a nervous wreck than anything else. There is a meter that indicates the progression of Elena’s curse and if you don’t return to her with the “Master Flesh” before the timer runs out…well then game over, slowpoke. It’s brings up a feeling of pressure but at the same time you can quickly remedy this by giving her a smaller slab of meat from the normal enemies because, they all do just about the same thing. The game makes you believe that the Master Flesh is the only thing Elena can eat in order to suppress the curse but it’s not. I actually love this mechanic though, it drives you to pay close attention to the detail of the towers and hopefully inspire you to find shortcuts around each tower. However, it also prevents the player from screwing around in the temples or bothering with time wasting fights. But it also discourages exploration and looking for items to upgrade weapons and other side objectives.

Tedious repetition seems to be the theme of this game. The combat is repetitive, the game’s progression is repetitive, Hell, and even the towers themselves aren’t varied enough in design because they all follow the same principle; go into the tower, destroy two giant items that will release two chains that will unlock the boss door, kill the boss, get its meat and feed it to Elena. You liked doing that? Sweet! Do it eleven more times!

It seems the developers weren't aware that this isn't 2007 anymore, because they are stuck on this ideology of "let's make Wii games using the motion/wiggle fad". The developers made this game with the Wiimote+Nunchuk in mind while the game straight up punishes you for using the Classic Controller. You use the left analog stick to move the cursor in place of the Wiimote sensor but it’s really slow and really inconvenient especially in battle. At one point I had to fight with my controller in the Fire Temple to retract the chain before the boss nailed me with his super mega ultra anime attack, but it didn't respond fast enough and I got pounded by it. This results in questioning why the hell they even bothered implementing the Classic Controller in the first place if using that peripheral in this game was going to result in all out frustration.

I’ll try to end this on a positive note, as there are aspects of the experience I did thoroughly enjoy. The music is great and does some work to soothe the wounds of monotony. Elena is a great girl and you as the player actually care for her as the girl who never once comes off as being a basket case. The graphics are good for a Wii title; not Monster Hunter 3 great but certainly pretty to look at. Voice acting is all over the place, it's 70% Japanese and 30% English; which is not to say either is done poorly but it may give you a complete case of auditory whiplash when the game's dialogue is primary spoken in Japanese and then English comes outta nowhere.

Pandora's Tower is not a very good game but it's not the worse of the bunch either. There really is no better way to explain it than that. The Last Story wins that distinction and its leagues behind the stellar Xenoblade Chronicles. If you feel you have to play this game get it extremely cheap.

Fun Factor: If your idea of fun is a video game where tedious repetition of doing the same mission over and over again is the norm and boasts a brain dead combat system with no variety, Pandora’s Tower is for you.

Length: It can be beaten within a day

Difficulty: It’s slow and incredibly unresponsive most of the time, it’s very irresponsible of the developers to do something this half-assed with the controls. The bosses do get harder as the game progresses but the enemies and the puzzles don’t, The End.

On the Negative Side: Besides 90% of what was already written?

Bang for your Buck: There are better things you can do with $40; like not buying this game. But if you must “absolutely have it” or you feel it’s your “Obligation as a Wii owner to get this game to support the cause” then get it bargain bin style, at least that way you won’t feel ripped off. Other than that, spend your $40 on a better Wii game or a slew better Wii games you can get with $40

Critic Score: 5.0

Written by Associate Staff Writer Corey Moore.

Admittedly at first glance the most impressive thing about the Remember Me demo at this year’s PAX East was probably the Nilin cosplay walking around taking pictures with anxious gamers. Capcom does tend to have a history of putting together an underwhelming show floor presence; a little more promotional work and even some theatrics never hurt anyone. This is the exterior however; those who allow themselves into the heart of the booth can find hidden treasure. Lately Capcom has been putting up new IPs that are beginning to soothe the wounds of one franchise’s gradual demise (Resident Evil), and bolster another’s lingering prominence (Capcom fighters, i.e. Street Fighter/Marvel). Last Year Dragon’s Dogma surprised many gamers by being an impressively charming and coherent hybrid of western RPG and throwback D&D adventure and difficulty. This year gamers should keep an eye on Remember Me, Capcom’s next breakout waiting to happen in the genre of science-fiction.

While the demo had an intended beginning and a set end point, Capcom’s booth set-up is very drop-in drop-out. When picking up the controller at any given station you are essentially taking over where someone left off unless choosing to restart, which will typically bring gamers into a menu with a choice of scenarios to play through; just a handy tip for convention goers who may have been slighted by the lack of structure. Remember Me was fairly open ended however. Almost immediately you are able to navigate around Neo-Paris with Nilin. Traversal controls are simple and familiar; like Dragon’s Dogma Remember Me incorporates many tried and true gaming elements already introduced  and seeks to make it their own.

There are subtle yet effective prompts when needing to leap gaps, climb structures, or need help with direction. Much of this “adventurer” style of movement is necessary as it appears like Neo-Paris has no streets; at least that’s how it seems you can play it. The city’s design reflects a very well realized regressed societal cyberpunk feel; most of the architecture sports scrap metal décor with neon signs, hovering drones, and original advertisements for alternate sources of everything from sports drinks to transportation. Hidden passages above the crowd are plentiful and Nilin moves through the shadows quite frequently. Of course there are moments where you can take the more traditional path, but where only the walkways of Neo-Paris can take you is not where’s worth being. Very few ledges, billboards, and buildings cannot be scaled in some form.

Combat is the very definition of free flowing, but is somehow effectively contained by a strict combo system. Nilin can seamlessly move between enemies while mixing up punches, kicks, and multi-directional dodges. Successfully carrying on a combo and gaining the bonuses involved however relies completely on your pinpoint timing of hitting the next button at just the right time. This will eventually become easier once you get your sense of timing down, but it can be particularly punishing once a new combo is learned or if focus is split between waves of foes. Many will appreciate the challenge involved in this, and it is quite satisfying to see the fruits of your efforts. Power-ups will also become available throughout gameplay including temporarily increasing speed, attack, defense, and special abilities to add to your offensive repertoire.

Remember Me’s soundtrack is simultaneously subtle and definitive. The minimalist approach to creating a mood through music has been a popular one in the past and must be done with care to succeed. The sound design shines through as a result as well; footsteps on metal grating and the groans of the less fortunate citizens that litter the alcoves of Neo-Paris are never missed. Crackles in the air around electronics give the atmosphere a very techy feel. The only time the music really picked up into the foreground was during encounters where Nilin was thrust into combat; a situation where one’s mind is otherwise preoccupied with laying the smackdown as opposed to enjoying the ambiance.

Little is revealed about the story or about Nilin as a character through the gameplay portion of the demo, though constant contact with your partner in crime Edge accompanies you through much of your time running around the city. If you are ever stuck, chances are Edge has a tip for you. Her memory-jacking style of assassination we have seen in past trailers was not available to experiment with, but we are reminded of its presence in the compilation shown at the demo’s end.

Everything about the game we have seen through cinematic implies that Remember Me will break down doors for itself and push into the elite of this year’s already generous triple A offering. The gameplay gives the experience a more humble and scaled down feel, leaving me to wonder how well the two worlds will clash when the final product is released. Nilin and company could be hot on the formula for creating another brilliant hybrid experience which will truly be memorable; or the game’s title could be a pre-emptive plea to the industry should Capcom’s ambitious approach fall short. I for one have found my faith newly restored in the developer that defined much of my younger life’s gaming memories. Lately Capcom has found a shortcut into gamer’s hearts without the tedium of grandeur. Don’t disappoint us now.        

Post contributed by Senior Editor Matt J. Randisi. Questions for the author? Send an email to Mrandisi@gamesabyss.com. Follow him on Twitter: @SaveUsMatt.

In the months, weeks, days and minutes prior to Bioshock Infinite’s release, the only thing loftier than the floating city of Columbus depicted therein was the state of fan expectations for the long awaited follow up to the 2007 classic.  The original Bioshock drowned our collectively lazy expectations of what a FPS could be beneath a placid ocean surface that belied a terrifying world beneath. Arguably not since Half-Life and its sequel had gamers borne witness to so perfect a marriage of gameplay and narrative in this particular genre. For a game set so many leagues beneath the ocean, Bioshock possessed a surprisingly heady premise; the city of Rapture and its denizens stood as a grotesque perversion of Ayn Rand’s opus, Atlas Shrugged.

In addition to possessing one of the finer plot twists in the history of this young medium (WYK), Bioshock created an atmosphere as immersive as it was deadly, it’s flooded halls filled with addicts whose narcotic of choice was genetic modification. Bioshock also gave to the medium the breath-holding, heart-stopping image of the diminutively angelic and demonic little sisters and their lumbering protectors, the diving-bell encaged Big Daddies. Following Bioshock’s runaway critical and commercial success, Irrational games retreated into the fog to plan their next project. A competent but minimally evolved sequel was developed by 2K Marin, but most fans kept their eyes fixed to the ocean’s still surface, eagerly awaiting the day when the silent Irrational Games would come back up for air. But it turns out that our eyes gazed at the wrong horizon. Irrational Games and the next Bioshock were hiding in the clouds.

Bioshock Infinite begins in the same womb as did its predecessor: in a dark ocean, an ominous lighthouse as the solitary beacon in the distance. But Infinite promptly proves that it turns its eyes to different, more celestial fields. Secured in a mysterious elevator not unlike the bathysphere in the original Bioshock, the expected descent into the waters of Rapture is instead replaced by a rapid ascent into the heavens where the flying city of Columbia awaits.  A mournful violin plays the first time the sky city appears in all it’s glory, a note not unlike that heard the first time Rapture comes into view in the first game. This musical leitmotif joins many other thematic elements that make Bioshock Infinite a true sequel to Bioshock despite the dramatically different setting.

That setting is the year 1912 and you stare at the lighthouse from the eyes of Booker DeWitt, a former Pinkerton agent whose brutal past has left him seeing the world in only harsh monotones. Yet Booker is given a second chance in the form of a note, “bring us the girl, wipe away the debt.” Booker finds himself whisked away to Columbia in search of a girl named Elizabeth.  It is not long before Booker finds himself at odds with a megalomaniac prophet named Comstock, on the run with a beautiful young girl, set upon by a monstrous mechanical bird in pursuit, and both fighting for, then against, angry revolutionaries seeking to tear Columbia’s ruling elite from their literal and figurative perch. To say more of the set-up would be to rob the reader of the unfettered joy of discovering Columbia and the story it has to tell for themselves.

Without question, Columbia itself is one of the finer artistic accomplishments of this console generation and is truly a breathing character in of itself. The pacing with which this marvel of a locale reveals itself is meticulously plotted. The first hour of the Infinite is essentially a leisurely stroll through the many pleasures of airy Columbia. Booker can engage in several carnival games, eavesdrop on conversations or prayers among the dapper populace, and even enjoy the anachronistic musical stylings of a barbershop quartet crooning an almost unrecognizable version of the Beach Boy’s God Only Knows. But even in the early goings, it is clear that the gorgeous clouds obscure a rotten underbelly to the floating city. Racist quips, forced human servitude, and whispers of revolution begin to show the city’s seams. It is not long before these taught stitches expand beyond their ability to endure, the visage cracks and Columbia is thrown into violent conflict. Soon the many star-spangled banners are aflame, the cobblestone is buckled and streams with blood, and the white clouds are replaced by those whose fiery tone suggesting a very different form of afterlife than the heavens its citizens speak so frequently of.

Despite its nigh-literary aspirations, Bioshock is, at its heart, a shooter. Booker may equip himself with a number of fire-arms ranging from pistols to sniper rifles, grenade launchers and everything in between. But fans of Bioshock know that munitions are only half of the battle: replacing Bioshock’s plasmids, Infinite introduces Vigors, essentially a variety of genetic warfare that can be unleashed from Booker’s left hand. Vigors range from the more mundane fireballs and electricity to the more unique abilities such as sending forth a flock of angry crows to distract and shred his enemies.  Additionally, each vigor has an alternate fire that is deployed with a prolonged press of the button. A forceful wave of water may be used to push enemies off of ledges, or instead used as an aquatic lasso to pull them in for much more personal punishment. Electricity may stream forth from your fingertips in bolts that would make Emperor Palpatine cackle with glee, or may be placed as traps ready to ensnare the wayward victim. The true delight in the use of vigors is finding unique combinations with which to turn enemies into helpless ragdolls. Launch a foe into the air with the bucking bronco, then tear at his flesh with a swarm of angry crows which can also be lit aflame for even more ridiculous chaos.

While these abilities may sound consistent with the Bioshocks of yesterday, Infinite differentiates itself by taking combat to the skies with the use of magnetic rails. Early in the game, Booker dons a hook-arm that doubles as both a brutal melee weapon (complete with juicy executions) and a form of transportation that may be used to zipline along the elevated rails about the city. The motion allowed by the skylines provides a sense of verticality in the environments that was absent in the characteristically claustrophobic Rapture seen in Bioshock 1 and 2. Riding lines from ground level to several stories skyward and back again opens up multiple strategic possibilities for each combat encounter that beg to be experimented with. Boxed in by turrets and flame wielding soldiers down low? Take to the high ground with the zipline and drop a bead on them from above with your sniper rifle or, better yet, lock on and pelt them while zipping continuous circles around the environment. And lest you become too comfortable in your sense of air-superiority, be forewarned, your foes may make the same use of the skyrails as you, and some of the more intelligent of opponents will electrify them to bring you crashing to earth in a positively charged mass. Taken together, the use of skylines is an exhilarating new form of combat to Bioshock and it is a shame that they are not quite ubiquitous in Columbia as we might have hoped. They are instead mostly designated to a finite number of memorable combat set pieces that make the long stretches of zipline free combat feel a bit vanilla by comparison.

Indeed, Bioshock Infinite strives to provide options in how you approach its combat. This is aided by the availability of “gear” which provide passive combat bonuses to take the place of the passive plasmid abilities seen in the prior iteration of the franchise. Gear affords a fair bit of customizability to your play-style, whether you want to increase the splash damage of a drop attack, provide an ammo boost every time you leap to a skyline, or regain some health or salt (the essence that Vigor use draws from) with each kill and so on. Gear may be swapped in and out without permanence so a build that works for one encounter against a multitude of weaker mobs may be readily adapted for a one on one against a heavy-hitter.  This becomes increasingly important in harder difficulty settings in which you can and will die, a lot. Vigors and weapons may be upgraded at vending machines and take on new damage and accessory perks the more you choose to invest in the ones you use most frequently.

One would think that with the fully customizable guns, vigors and hookarms, Booker could not possibly have another secret weapon up his sleeve. He does, however, and her name is Elizabeth. The doe-eyed young lady is Booker’s near-constant companion throughout the approximately 12 – 14 hours of gameplay Bioshock Infinite provides and at no point does she wear out her welcome. While platitudes heaped upon the quality of her AI may be a bit overzealous (I had her lose her pathfinding on at least 5 occasions in my play through, and disappear entirely twice), she certainly carries her weight in the adventure. In a lesser game, Elizabeth would be the formula for a game-length escort mission, but in Infinite, sometimes you wonder who is truly escorting whom. In addition to being a constant source of ammunition in the heat of combat (ostensibly foraging the battlefield under cover to help you out), the fiction of her character allows Elizabeth to open “tears” in the time-space of the battlefield. These tears effectively call in stationary turrets, motorized air-sentries, health kits, or even perches for Booker to affix to with his hook-arm for a new perspective (and drop) on the fight. The use of Elizabeth’s tears greatly add to the flow and strategy of combat and are very easily implemented with the press of a button.

Even if she wasn’t so damn helpful in a fight, Elizabeth would be a vital part of the Bioshock Infinite experience due to the quality with which her character is both written and acted and this is crucial to what elevates Bioshock Infinite above its peers. Booker and Elizabeth share an almost constant dialog on their journey and the care with which their relationship develops translates into an incredibly developed supporting character. As such, Elizabeth joins an all-to-short line of AI companions that the gamer finds themselves genuinely caring for (a line consisting of the likes of Ico’s Yorda, and Enslaved’s Trip) Even when the shooting begins to grow a bit long in the tooth by the mid-game, the desire to see what fate awaits these two characters will keep you playing to the next checkpoint and beyond.

Graphically, Bioshock Infinite astounds from an artistic level if not always a technical one. The aforementioned majesty of Columbia in both peacetime and chaos is a site to behold. Textures on the console versions can be a bit muddy upon  closer inspection, but that is certainly more the fault of aging consoles than lazy design. The visual splendor of the diverse outdoor and indoor environments, their classic architecture turned to ruin, far outweighs minor complaints in graphical fidelity. Bioshock is a feast for the ears as well, with an incredible soundtrack that makes use of an orchestral score that responds to the onscreen action (even capping off headshots with a horn blare), as well as delightfully playful versions of a number of 80’s hits sung in a style and production more appropriate to a much earlier part of that century.

Despite these praises, however, Bioshock does have a few noticeable flaws. From a technical perspective, clipping and frame rate hiccups did noticeably occur in my XBOX360 build of the game, and at one point Elizabeth got stuck in place in her zipline animation necessitating a checkpoint reload in order to progress. From a design perspective, the decision to limit guns and vigor capacity to two at a time adds an unnecessary and incongruous amount of “realism” to a game already deeply steeped in the fantastical. To make use of an unequipped Vigor requires pulling up a game pausing radial menu that robs the action of its momentum. This limitation is an inexplicable choice by Irrational games given that it serves only to handicap the player, discourage experimentation and makes combat suffer relative to its more free-form predecessors.  Coupled with the addition of a Halo-esque regenerating shield, it would seem as if Irrational tried to simplify the player’s immediate combat readiness at the sake of depth. Additionally, despite one or two standouts, the vigors on display are either re-skinned versions of the plasmids seen in the original Bioshock (fireball, check, electricity, check, swarm of creatures to disorient enemy, check) or not quite as inspired or useful.

While on the subject of mismanaged variety, enemy types run the gamut from generic club, gun or pyro wielding foot soldiers to the imposing “heavy hitters” such as the motorized patriots and Handymen, yet none capture the unbridled risk-reward anxiety of a showdown with the Big Daddies from the original Bioshock.  The sole enemy that does evoke such terror and sense of vulnerability never ultimately results in an actual combat encounter, which seems like a profoundly missed opportunity. That said, Irrational seems to have learned from at least one of its mistakes: the much-panned final boss fight of Bioshock that was so against the grain of the rest of the experience has been remedied here with a fairly memorable final scenario that tests all of your finely honed strategies.

For the sake of those who followed Infinite’s development and promotional material closely, it should also be mentioned that many of the features demonstrated in multiple design-stage trailers and demos did not make it into the final product. While nowhere near the degree of deception demonstrated by Gearbox’s recent Aliens: Colonial Marines, Irrational may be taken to task for a considerable volume of previously advertised content that was omitted. This includes everything from the extent to which skylines were implemented, unique vigors, entire set piece and plot moments shown in trailers, and most significantly, multiple ways by which Elizabeth was meant to interact with the combat environment which were apparently left on the cutting board floor. To be clear, the final product does not FEEL as if it is missing features per se and remains a stellar game, but those who poured over early trailers may be left scratching their heads in comparison.

To end on a high note, however, would be to discuss, well, the end. There will be no spoilers here, but suffice it to say that Bioshock Infinite’s ending is one of the most considerately crafted, surprisingly implemented and thought-provoking finales to any videogame in the past decade.  In an recent interview, Ken Levine (the creative mind and steady hand behind Bioshock) stated that he believed gamers had never seen an ending like what Irrational attempted to do with Infinite’s final 20 minutes. Well, I am thrilled to report that their aim resulted in a resounding success. This is an ending that must be pored over repeatedly, contemplated upon when alone and discussed over drinks when in company. More importantly, it is an ending that begs the gamer to immediately restart a new game (perhaps on the brutal 1999 difficulty level) to see the adventure once more with eyes armed with hindsight. Truly, Bioshock Infinite’s ending is an achievement that should be celebrated by the entire industry and its legions of fans.

Bioshock Infinite is a game that wears its legacy well while setting out to claim its own space.  It is an example of a product that pushes gaming forward in both artistry, story-telling, and virtual tourism, if not always gameplay mechanics. Infinite does have a few flaws but , for the most part, they are merely a few scattered dark clouds in an otherwise sunny and open sky. In the end, you are left with a game whose narrative implants itself deep in your mind and heart where only the elite few of gaming experiences settle. This is due, in large part, to a genuine relationship between two extremely well developed leads that culminates in a mind-shattering finale. With Irrational Games having now brought their meticulous and artful approach to game design to both the ocean’s deep and the vast, cloud laden skies, one can only wonder how the next Bioshock could possibly surpass a game that is, in both name and quality, Infinite.

Fun Factor: Amazingly enough, the competent combat is not the true star on display here, it is instead the immersive world, characters and story. As such, the “fun” takes a back seat to “awe.”

Difficulty: Playing on the default difficulty will be a breeze to anyone competent with FPS. A first play-through on Hard is recommended to squeeze the most out of your first run. Move onto the insane 1999 difficulty only if you like your challenges Dark Souls worthy.

Length: Approximately 12-14 hours per playthrough, truly the perfect length for a game such as this that allows you to take in its world without overstaying its welcome.

On the Negative Side: A few technical difficulties and combat design choices that may actually be a step backwards for the series.

Bang for your Buck: Full price is well spent to experience this exceptional marriage of gameplay and story telling. It is refreshing to be able to say that for a game that stands on the worth of its single player and has the self-confidence to not tack on a superfluous multiplayer death match mode to attract the cool kids.

Score: 9.0

Post contributed by Senior Staff Writer Justin Belin. Questions for the author? Send an email to JustBelin@gmail.com. Follow him on Twitter: @BitsofBelin.

The Saints Row series has always served as a comfortable staple in the gaming community as a franchise built to satisfy our innate need for catharsis. Volition likes it that way, and their goal with every installment isn’t “how do we capture the industry’s hearts and win all the important awards?” but “how to we make our game even crazier!?” You know what? We love them for it. We know they love us too, and the first-hand look we got at Saints Row IV at this year’s PAX East is irrefutable proof of that. Let’s have a look at what exactly is pushing the Saints way over the top in their latest venture.

Commander in Chief – What more is there for the leader of the Saints to achieve? Steelport is essentially his backyard and every gang that has tried to wrestle it from the prince of purple’s grasp has been taken out of the picture. If you were thinking it’s time to branch out and expand influence, then how does president of the United States strike you? No I’m not kidding, but when you think about the history of Saints Row this isn’t particularly hard to believe. Yes the head honcho is now that and more for the entire nation; a damn scary thought yet this is hardly the craziest aspect of the game. That last statement alone is also a damn scary thought. Volition has assured us that while the typical duties of being in such a high office may not present the best opportunities for fun and exciting activities, this is a Saints Row game and nothing is ever “typical”.

Saints or Superfriends? – One of the most outlandish, if not the most outlandish addition to SRIV is the ability to utilize superpowers. Cole McGrath eat your heart out because the big man in the oval office is coming to town with powers such as super speed, flight, the ability to freeze others, and a lot more. The effects this will have on combat are fairly obvious, but what is important to take into consideration here is how it will change navigating the city. While Steelport is essentially the same design minus some…well you could call them aesthetic changes (to be discussed in the following paragraph), verticality wise there is more to explore. With the option to leap tall buildings and fly around the city more had to be made available to players than the usual landing zones for jumping out of planes. It’s a rather elegant solution to giving gamers a change in scenery from past games without actually moving the entire setting. According to Volition, the overall point of adding these powers to your repertoire is exactly as it seems, to make the leader of the saints more of a badass.

Enter the Extra-Terrestrials – It’s been confirmed that one of the staples of Saints Row games past has been done away with for SRIV; I speak of the concept of gang warfare. However the idea of territory control is still very central to the story; this time around the struggle is on a much grander scale. Steelport has been invaded by aliens known as the Zin, who primarily serve as the counter-balance to the superpowers so that a challenge in combat is still present and the gameplay avoids a totally broken feel. Having tiers of difficulty within their ranks as well, the strongest methods you have available to fight with at any given time could possibly matched by a Zin encounter; after all players won’t start off with every single ability learned. During the demo is seemed as if the Zin can take the form of humans, as several encounters with the police force actually turned out to be the aliens in disguise. It is also these invaders that cause the twisted types of changes to the appearance to Steelport that was discussed earlier. Structures have been destroyed and ships can be seen hovering above parts of the city, it would seem humanity has a common enemy now but you can still bet there will be plenty of idiots on the ground that deserve to get groin punched or tossed head first into a street sign. The joys of mindless violence on the innocent is not lost in Saints Row IV. Thank god.

More Wacky Weapons – I would just like to start by saying I always knew dubstep would be the death of humanity; or at least it can now be harnessed as a weapon…um…sort of. Another trademark of Saints Row is the insane weapons you can wield, and the addition of superpowers will not be a deterrent for that. Guns are wackier and more fun to use than ever before it would seem with demonstrations by such weapons as the dubstep gun which when fired makes everyone in its range break out into dance to the tunes of…well you guess it, dubstep. Hilarious in design, perhaps even more so in social commentary. Another of the crazy weapons showcased was the inflate-o-ray which turns your target’s head into a hot air balloon. Of course the game will also feature the infamous Penetrator, which I will only say is long, purple, and dangerous…ok and hilarious.

It may not seem like it on the surface but Volition prides themselves in dealing in fun within responsible boundaries. The whole idea of the over the top entertainment in Saints Row is to make sure there’s a reason for something and nothing is being done only for the sake of being ridiculous. The sense of crazy will always be pushed to its limits, but without overstepping the sensible nature of an M-rating. After working on the series for so long the team has a sense of what lines not to cross while still offering what no company out there is offering on the market today. The team also promises there will be plenty of reasons for veteran fans of the series to smile as well, including some appearances by past characters. Who are they? We’ll just have to wait and see.

Post contributed by Senior Editor Matt J. Randisi. Questions for the author? Send an email to Mrandisi@gamesabyss.com. Follow him on Twitter: @SaveUsMatt.