By Stephanie Zacharek
By Inkoo Kang
By Voice Film Critics
By Alan Scherstuhl
By Alan Scherstuhl
By Stephanie Zacharek
By Stephanie Zacharek
By Aaron Hills
First, make believe you're at the Ziegfeld. The complex and lengthy opening sequences last for over ten minutes (plus, there's time for some essential time for game play). The movies are real feasts for the eyes as the sorrow and carnage of war meet natural disasters in medieval Japan. Think legendary director Kurasawa meets all-action-all-the-time producer Jerry Bruckheimer. You think, that's gonna suck wind like a boxer who got a nasty haymaker, right? It works nearly perfectly.
The Onimusha franchise, a tight combination of adventure story, combat, and puzzle-solving, is now five years old. In this two-disc set, you're still fighting evil and demons that are hell-bent on taking over Japan in the 1500s. But there's so much that's new that seasoned players will feel the franchise is fresh. And the tutorials early on will appeal to the novice who hasn't played an Onimusha previously. In the process, you'll learn how to fight and how to parry, and you'll whack some nasty demonsincluding an ugly, easy-to-kill giant.
Full of greedy warlords, mythic magic, and mayhem, Dawn Of Dreams comes complete with an arsenal of weapons for your protagonist, Soki, The Blue Demon. Soki can also absorb the souls of the dead to gain power. Some decent (though not perfect) companions help you slash your way through the nasty, armor-clad skeletons which come at you in hordes.
Wanna be like Jack? If you fantasize about being counterterrorist Jack Bauer, 24: THE GAME may be for you. While the game play has been trounced by various crits, I have to say that for a true 24 addict who thinks the show is one of the greatest damn dramas ever to hit television, it's not all about the game.
It's also about the story, about the rising tension and heartbeating drama that mount as the seconds tick away. With plot and nailbiting aspects, the developers have worked hard and it shows. I kept wondering how things would unfold, and I wasn't disappointed when they did. That's partially because a writer from the actual TV show worked on the game and because you feel Bauer-like pressure as the game unfolds in real time. You'll be playing during the tenure of the powerful, ethics-minded President Palmer during a time between the second and third seasons. In other words, there's nothing stolen from shows you've already seen: it's all newwith acting from most everyone involved in the show. Yes, that means Kiefer Sutherland.
But Jack, stop this crazy thing! Here's a game that throws everything at you in its 100 missions: You drive, you move with stealth, you kill, you shoot, you strategize, and you blow things up. But the game aspect does pale in comparison to the presentation. In other words, if the developers had spent another six months to make, say, the camera angles work properly and the vehicles drive smoothly, this could have been one of the best games of the year.
Jack Bauer, beyond everything else, is a workaholic, utterly consumed with saving the world. Even though I love 24 on TV, and even though I like the game's story, the upshot is the game makers should have been more like Jack. They should have been obsessed. Unlike Jack, they didn't give us one hundred percent.
Developer: BigBig Studios
Yeh, yeh, yeh, talk to the hand: game makers wanna be like Peter Jackson and Jerry Bruckheimer. They want the accolades, the respect, the props. Everyone says, the game business is young; it will get the respect it deserves as it evolves. But approaching age 25, the industry ain't so young anymore. And if you compare it to the movie industry, after 20 years of moviemaking the Oscars were events that everyone from kiddies to grannies cared about. No one but gamers care about the game award ceremonies on that insipid Spike network. For the last 10 or 12 years, the developers in the video game industry have yearned to be like their producer counterparts in Hollywood. With the advent of the PS2 and the Xbox 360, it's true that some of the best games offer production values and special effects that rival Hollywood's action films. But if games were really like movies, they'd have terrific stories. Nine out of ten don't.
Having said that, there's nothing wrong with trying to emulate Hollywood. Pursuit Force takes its action cues, which are relentless and many, from Tinseltown action flicks, everything from The French Connection to The Fast and the Furious. What makes this PSP game new is how you, as a rookie cop, capture the criminals from five gangs who run amok in the fictional Capital City. To apprehend the baddies, you can leap from car to car with astonishing, frog-like power and accuracy. That small innovation makes Pursuit Force a thrill to play. With cars that go 150 mph, 55 vehicles to drive and 10 types of weapons, the 30 cases to solve are full of teeth-gritting skirmishes. You won't wanna take your Ambien and play this one. Your boss is the kind of no-nonsense tough guy that you played for in Halo 2 and in Mercenaries. He's gruff and humorous, but one-dimensional. That's my reservation regarding each of the characters, and the story, too. It's as cliché as Uwe Bolls movies. Yet it's the game play that will get you through Pursuit Force because it's so fast and furious. If you stop to take a gander at the gorgeous artwork as you drive and leap, you'll lose these timed challenges. And the crabby boss will belittle youan attempt to get you to do better the next time: call it the Bill Parcells Effect.
While it certainly doesn't have the Hollywood frenticism of Pursuit Force, I really like Exit, a fascinating 2D puzzle game for the PSP with a mammoth 100 levels. Here, you play an heroic escapologist who must save people from dire situations like fires and floods. You are Mr. ESC, a wispy, caffeine gulping hero who needs to save just about everyone, from the young to the infirm. In the game's early stages, everything's easy enough as you learn to save people from burning buildings and the like. You're something like a 9-11 hero meets Bruce Willis in Die Hard.
Once you're at one with the mechanics, the puzzles can be trying and, occasionally, full of tribulation. In other words, they're fun but maddening: especially when the room you're in goes completely dark. Handy maps help you negotiate the levels, but there are constant obstacles along the way like live wires that will electrocute you. Beyond the game play, the character rendering is inspired and hand drawn, a few steps up from stick figures. And yet, you find them cute, powerful, and compelling as you always try to find the exit and become the hero. And you know what? With the right writer, it'd make a terrific movie.
Both Pursuit Force and Exit prove one thing: the games for the PSP are getting better and better. And that's great news for handheld fans who suffered through the first year of the PSP as dozens of paltry offerings were released. They should not have seen the light of day. But that's the game industry: You get the cutting edge hardware early. Then you have to wait for what seems like an interminable amount of time for the best game technology to catch up.
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