Need for Speed Undercover

For the most part, the reaction to the last few Need for Speed games was the same: "Why aren't they more like Need for Speed Most Wanted?" "Where are the cheesy cutscenes and the over-the-top cop chases?" It seems as if EA heard those cries, because for better or for worse, Need for Speed Undercover feels like Most Wanted.
In Undercover you play the role of...wait for it...an undercover officer. Along with agent Chase Linh, played by the attractive Maggie Q, your job is to take down a group of street racers that have somehow become involved in an international smuggling ring. The story is told via campy cutscenes that fail to capture the charm of Most Wanted thanks to uninteresting characters and a predictable plot. Having a story provides incentive to make it through race after race, but the whole "this is cheesy so it's cool" thing feels kind of forced this time around.
Like many other Need for Speed games, all of your racing will take place on the streets of a fictitious open-world city--here it's the Tri-City Bay area. You'll start with a lousy vehicle, but it won't be long before you're able to snag a pink slip to a nicer ride. As you progress you'll earn cash, which can be used to unlock (50+) new vehicles from manufacturers such as Nissan, Dodge, Cadillac, Ford, Porsche, Lamborghini, BMW, Aston Martin, Mitsubishi, and more. If you're into tuning individual aspects of your ride or purchasing individual parts you can do that, but if you're not into tinkering you can purchase an upgrade package and be on your way.
Not only will you earn money for winning an event, you'll earn driving points for dominating it--basically beating it really, really bad. You can power up a number of your driving attributes, but they don't have a noticeable effect on how your car handles. As long as you drive fast you'll probably dominate, but there are occasional races where you'll totally obliterate the time needed to dominate an event, but you'll still lose to the CPU. The game also encourages you to drive with style and drift, draft, and drive really close to other cars, but other than increasing your nitrous there's little to gain from doing so. That said, the new J-Turn mechanic, which lets you bust quick 180s, is invaluable when chasing down rivals or evading the cops. You'll use it because it's useful, though, not because it gets you heroic driving points.
The cops are back in full effect in Undercover, and for the most part, their return is welcome. The challenges in which you must ram and take out a certain number of police cars are great fun, as are the challenges where you must cause a certain monetary sum of damage. Of course, you don't always have to ram cars to take them down; you can also run into log trucks, electrical towers, billboards, and more to leave a little surprise for your pursuers. It's too bad that some odd quirks hamper the cop chases. The environmental hazards that you can unleash certainly look cool and are effective, but quite often you won't see any police cars get hit by the objects, yet when the cutscene ends the cars are trashed. Sometimes you won't have to do anything at all to evade police--the game says "go" and you stay still and nobody finds you. Cops are capable of laying down spikes, but you can go the entire game without them ever doing so. The biggest problem, however, is that the cops don't do much other than bang on the side of your car and yell at you, so if you last long enough they sort of fade away on their own. This makes the chases less challenging than they could have been and also makes them feel artificial, like you're just fulfilling some sort of time requirement until the game decides you've done well enough to escape.
Undercover isn't just about messing with the Man. There are events where you need to maintain a lead for a specific amount of time or get a certain distance ahead of your opponent. Sometimes you'll have to shake the cops while trying to keep a stolen ride in pristine condition, and there are checkpoint races and circuit races as well. There's not a whole lot that's original here and the races are generally extremely easy--you might not see another car for an entire race once you've cleared the starting line. They're difficult on occasion, but this is usually because of the occasionally choppy frame rate, which makes the otherwise great-handling vehicles a chore to drive when it rears its head. What's odd is that there's really no obvious reason for the game's sometimes poor frame rate; the city doesn't look much different than those in Carbon and Most Wanted. That said, the game does do a few things very well. The online cops and robbers mode, where the robber tries to pick up money and take it to a drop-off point while another person plays the cop and tries to ram them, is quite a bit of fun. But mostly what the game gets right is its pacing. The races are short--sometimes as short as 20 seconds, and almost never longer than five minutes. Another cool thing the game does is it lets you instantly jump to the closest race by pressing down on the D pad. If you want to find a specific event you can press up and you're taken to a GPS map, where you can instantly go to the race of your choice. It'll save you a lot of needless backtracking, and combined with the short races, makes sure that Undercover never gets boring.
If you're one of the many people who loved Need for Speed Most Wanted, flaws and all, you'll find a lot to like in Undercover. It's not very original, but there's no denying that it's just good fun to run from the cops and wreak havoc on a city in the process.
For More Review: http://www.gamespot.com/pc/driving/needforspeedundercover/review.html

Battlefield: Bad Company 2

There is no shortage of online destinations for those who enjoy first-person gun-wielding combat, but no matter how many opportunities you get to shoot another player in the face, there is always room for one more. Especially when that one more is as exciting and intense as Battlefield: Bad Company 2. The online multiplayer in this modern military shooter is a standout, featuring huge maps, incredible destructibility, powerful vehicles, and excellent sound design. These elements combine to foster the sense that you are fighting on an actual battlefield, making many other online shooters seem more like combat arenas than believable war zones. Multiplayer battles are invigorating and addictive, but they aren't all that Bad Company 2 has to offer. The sizable campaign takes you to beautiful and exotic locations where you'll be sorely tempted to take a break from shooting bad guys and blowing things up to admire the scenery. Your hilarious and endearing squadmates are great companions, giving the campaign a rich sense of character not often found in the genre. The result is a very entertaining adventure that, coupled with the excellent multiplayer and top-notch technical presentation, makes Battlefield: Bad Company 2 something special in the world of shooters.
The beginning of Bad Company's second tour finds Sarge, Marlowe, Sweetwater, and Haggard stationed in a wintery valley, supposedly serving out Sarge's last tour of duty. Lofty mountains loom high against the bright blue sky as you sneak your way between snow-laden trees and out across a frozen river. As you infiltrate a small village, the snow muffles the sound of your footfalls, and when a firefight breaks out, your ears ring from the concussion of nearby explosives. One daring escape later, you're dropped into the Bolivian jungle, where mosquitoes whine in your ear as you walk in the dappled light of the jungle floor. Gunfire doesn't echo very far in the forest, but beneath the corrugated tin roof of a logging outpost, each bullet is a cacophony unto itself. This vivid, engaging world is a testament to Bad Company 2's remarkable technical presentation. The stunning landscapes are matched by the diverse, intriguing terrain in both rural and urban environments. The excellent sound design further enriches your sense of place, and each gunshot, footstep, and exclamation fuels your battlefield awareness and informs your tactical decisions. Though there are some blurry textures, occasional screen tearing, and awkward moments caused by the pervasive environmental destructibility, these are mere blemishes on the ambitious look and immersive sound of Bad Company 2.
Of course, just because the scenery is great doesn't stop you from wanting to blow it up. Trees, barricades, vehicles, buildings, and bridges all splinter and break apart when exposed to gunfire or explosives. Not only is it immensely fun to destroy things, but it's crucial to your survival and success. Say there's a sniper perched in a tower covering your approach. You can try to pick him off without exposing yourself, or you can bust out your underbarrel grenade launcher and blow the platform to smithereens. The explosion showers debris in a realistic and satisfying way, and the sniper is taken care of. Destruction is a double-edged sword, however, as you'll learn the first time that the window you are shooting out of explodes and becomes a gaping hole through which your enemies are more than happy to shoot you. Most buildings can be completely leveled this time around, provided you have enough firepower, though metal structures like shipping containers are nigh impervious. Occasionally the rampant destructibility will get a bit too ambitious, leaving objects stuck in strange positions. Yet the scale of destruction you can wreak is impressive, and the best part about it is how your destructive power becomes a seamless part of your battlefield strategy. It makes you feel powerful in a logical, invigorating way and makes Bad Company 2 unique among its peers.
For More Reviews: http://www.gamespot.com/pc/action/battlefieldbadcompany2/review.html

Assassin's Creed II

Assassin's Creed II is a gorgeous and impressive piece of work, unfortunately undercut by a few notable issues that intrude on the fun. Developer Ubisoft Montreal has addressed many of the original's flaws by filling its follow-up with fresh and enjoyable mission types while still retaining the joy of movement and atmospheric wonder that characterized the original. The game's vision of Renaissance Italy is astounding, delivering a world that you will love exploring and a sense of wonder that few games can so joyously deliver. The cohesive story and a terrific new character will draw you in, and traditional platforming sequences and other new additions pile on the fun.
Assassin's Creed II's most unusual attribute, however, is displayed in big letters on the front of the box: "A permanent Internet connection is required to play the game." This requirement wouldn't be so peculiar if it were an online-only multiplayer game, but Assassin's Creed II is a single-player, story-driven adventure. Whenever you play the game, you must sign into an online portal; if you aren't connected to the Internet, you cannot start the game, and if you lose your connection, the game will pause. Even your saved games are stored online, which is a boon if you plan on playing on multiple computers, but seems like an otherwise unreasonable mandate. This is a bold approach to digital rights management--and one that could unnecessarily hinder your enjoyment. If a storm knocks out your Internet connection, you're out of luck; if you want to play games on your laptop during an upcoming airplane journey, cross Assassin's Creed II off the list of possibilities. And even if you maintain a solid connection, you might run into a few problems. Twice we had the game shut down while it was saving, and we ran into short but noticeable delays multiple times while the game attempted to load our profile and download our progress. Other times, our attempted login timed out, or the launcher incorrectly informed us that we had used the wrong username or password. These issues hindered our playtime for hours, and sporadically affected European players for days.
Regardless of your view of this unusual copy protection scheme and the inconveniences it might visit upon you, Assassin's Creed II is still a hugely entertaining and occasionally transcendent experience. Like the first game, it occurs across two timelines: a modern-day chronology starring bartender Desmond Miles, and another featuring one of Desmond's ancestors. When you start the game, you'll catch up with Desmond right where the original left him, though as fans of the original can guess, the Abstergo labs are no longer a safe haven. You'll spend a bit of time with Desmond during the course of the game, though the shoes you most frequently fill are those of Ezio Auditore da Firenze, the charmingly impetuous son of a 15th-century Italian banker. Ezio is an instantly likable firebrand, as passionate about family and honor as he is about wine and women. When you first meet him, Ezio is living a carefree life and has not yet donned his assassin's robe, nor is he familiar with the creed. However, Ezio's devil-may-care freedom is soon cut short by murder and betrayal instigated by the assassins' greatest threat: the Templars.
Assassin's Creed's Altair was an interesting character, but only for the stealthy order he represented, not because you ever got to know the man under the white hood. Ezio is far more appealing, for he's not just quick with a secret blade, but he's a fully realized protagonist. He isn't at the mercy of the plot, but rather, the narrative evolves from his need to uncover the truth behind his sorrows. It's the personal nature of the narrative that makes Assassin's Creed II's story more compelling than its predecessor's. The few modern-day segments featuring Desmond pack a lot more punch this time around as well, and the conspiracies driving that story arc become a lot clearer and, as a result, more provocative. The two missions that occur just before the finale, and which were released as downloadable add-ons for the console versions, hinder some of the story's dramatic momentum. However, the ending itself is shocking and memorable, a nice improvement over the original's flaccid conclusion.
For More Review: http://www.gamespot.com/pc/action/assassinscreed2/review.html

Tom Clancy's Splinter Cell: Conviction

Sam Fisher is mad--and after playing the PC version of Splinter Cell: Conviction, you might feel a little cranky too. Conviction tells Sam's conspiracy-driven story in a brilliant way, and its slick execution moves are fun to perform, particularly in the game's cooperative mode. Unfortunately, these sharp strengths are dulled by a number of issues that will have PC players feeling like second-class citizens. The co-op play that made the Xbox 360 version a winner is seriously injured here due to the mind-boggling omission of voice and text chat, and the precision of the keyboard and mouse controls dissolve much of the tension the short campaign tries to generate. Glitches and bugs, some related to Conviction's stringent online-only copy protection, also undercut the goodwill the game's memorable moments inspire. All of this white noise obscures the great game lurking behind it, making Conviction the latest console-to-PC port that fails to do its platform justice
Sam Fisher is the gravel-voiced protagonist who is as much a part of Splinter Cell's identity as goggles and guns. The murder of his daughter Sarah has siphoned away the hope and joy in Sam's life, and he's left with a single focus: find her killer. A few old friends put Sam on the trail, but that trail isn't a straightforward one (is it ever?), and Sam soon finds himself wrapped up in a conspiracy far greater than it first appears. You encounter a few legitimate surprises along the way, though the story isn't as intriguing as the way in which it is told. The text of your current mission is stretched across walls and angled up pipes, as are simple indications of Sam's emotional state. ("Anger," indicates one display; "Guilt," shows another.) Black-and-white flashbacks play out on certain surfaces as if someone is broadcasting Sam's thoughts through an old movie projector. This environmental integration is remarkably effective, broadcasting updates and emotional states as if they are burned into his soul and then etched directly onto his retinas. Actor Michael Ironside again does a good job as Sam; some scenes are thick with his desperation and exasperation. The supporting cast keeps up with him, making it easy to identify with the old acquaintances that have his back.
That something has changed is clear from the moment you lead Sam through the initial level. Sam can still crouch and slink of course, but Conviction's stealth is centered around its cover system. You can take cover and press against any vertical surface easily, from walls and curbs to vehicles and filing cabinets. You may then slip quickly to the next cover spot, assuming the visual indicator appears at the cover spot you want to zip to next. It's an intuitive system, and you can use it to quickly position yourself in all the right ways, often so you can clock a wandering guard over the head as he passes by without being seen by his cohorts in crime. You get some good interface tools to help you get your bearings when trying to stay out of sight. If you're shrouded in darkness and invisible to your enemies, everything turns black and white, aside from targets and important environmental objects. If you're seen, a ghostly image of your form will remain at your last known location, and the AI will direct its attention there. Warning alerts appear and sound if you are caught or are in immediate danger of being caught. The black-and-white effect can obscure things a bit much sometimes, but overall, these are sensible interface elements that toss you important information with a minimum of distraction.
For More Review: http://www.gamespot.com/pc/action/tomclancyssplintercellconviction/review.html

Alpha Protocol

Playing Alpha Protocol is like putting together a 5,000-piece jigsaw puzzle with 500 pieces missing: You get a sense of what the big picture should have been, but the final product is still maddeningly incomplete. This intriguing role-playing game boasts an extraordinarily flexible plot, in which your choices have real consequences both on the story and on the gameplay. Sadly, almost every other element has been skimped upon, resulting in an awkward amalgam of half-baked gameplay elements that never come together. On paper, Alpha Protocol sounds thrilling: You can go into each mission guns blazing, sneak up on your enemies to take them down before they see you coming, or mix and match methods as you see fit all while hacking computers and picking locks to uncover the enemies' deepest secrets. In practice, none of these mechanics work out very well. Terrible AI, a too-close camera angle, and other annoying inconsistencies make the stealth route feel random and unsatisfying. These issues, along with the unreliable cover system and a number of bugs and weapon imbalances, make shooting feel equally clumsy. It's easy to appreciate Alpha Protocol for its high ambitions; it's just not that much fun to play it.
The game begins with a bang--or more specifically, a horrific explosion. Taking a cue from our modern political climate, the opening scenes depict a missile colliding with a commercial airliner. Shortly thereafter, you meet the game's protagonist, Michael Thorton, who is being inducted into a top-secret United States government agency known as Alpha Protocol. Your first mission: travel to Saudi Arabia and investigate the terrorist group responsible for the bombing. Of course, nothing is ever as it seems, and Mike's first mission ends like it began--with the explosion of a well-aimed missile. Thus, a globe-hopping journey through Russia, Italy, and Taiwan ensues as Mike sifts through the information he gathers and follows the necessary leads. The story plays out more or less like a season of 24, though in this case, you get to decide how you to proceed toward the final hour.
Alpha Protocol's greatest asset is, by far, the complex workings behind its plot progression. Conversations with other characters bring with them broad dialogue choices. Most of them boil down to one of three attitudes: aggressive, professional, or suave. Different characters react to you in different ways depending on what approach they most appreciate. A sweet-natured fellow agent may enjoy your flirtations, for example, while a tough-talking Russian vixen may not be so enamored. These characters may stay neutral toward you or they may take a liking (or disliking) to you. If the individual is your handler--that is, your mission guide--you may receive a bonus perk, such as a boost to your endurance levels. In other cases, an allied faction may fight alongside you in battle or provide access to weapons you wouldn't otherwise encounter. In extreme cases, there are life-or-death consequences in which you must weigh the risks of allowing a nemesis to live against the potential benefit he or she might offer: guns, information, and so forth. Many of the plot essentials are more or less static, but how you discover them and the people that join you on the journey can differ from one play-through to the next. Few games can truly make you feel as if you are having an impact on the story, but this is the one area in which Alpha Protocol delivers--and extraordinarily so.
For More Review: http://www.gamespot.com/pc/rpg/alphaprotocol/review.html

The Elder Scrolls IV: Oblivion

This is a rare and remarkable achievement--a huge, open-ended, complex, detailed role-playing game that's fun to play and a pleasure to behold. Oblivion not only delivers everything that earned the Elder Scrolls series the devoted loyalty of a huge following of fans, but also significantly improves on the weaknesses of its 2002 predecessor, Morrowind. Morrowind earned recognition for being one of the best role-playing games in years, but the immersive and long-lasting experience it provided wasn't for everyone. Oblivion is hands-down better, so much so that even those who'd normally have no interest in a role-playing game should find it hard to resist getting swept up in this big, beautiful, meticulously crafted world.
The Elder Scrolls series is known for its sheer size and depth. These are games that you could lose yourself in, spending hours exploring a fantasy world, traveling for miles, or just looking for minutiae, such as rare plants or hidden treasure. Oblivion lives up to this pedigree, putting you into a massive, cohesive, highly immersive world. You get to create your own character--the possibilities for customization seem limitless--and then explore the world as you will. There's a compelling main quest for you to follow, which takes about 40 hours to finish the first time through, but the majority of the game's content is peripheral to that main quest. You can root out evil in hidden dungeons, join and climb the ranks in a number of different guilds, visit all the different towns and try to solve everybody's problems, compete in a long series of gladiatorial battles to the death, break into someone's home and rob them in their sleep, get caught and face the consequences, contract a disease that leads to vampirism and then try to find a cure, buy a house, steal a horse, invest in your favorite shop, and, if you can believe it, there's much more.
For More Review: http://www.gamespot.com/pc/rpg/theelderscrollsivoblivion/review.html

Mass Effect 2

Mass Effect 2 takes the bleak vacuum of space and flushes it with color--the light of stars and galaxies, the red and violet swirls of far-off nebulas, and the glimpses of comets as they burn through the void. You’ll catch your first glimpse of this in the game’s intense and much-improved art design, but that dance of light and shadows is also an apt metaphor for bleak undercurrents in the story, as well as the moral quandaries and past indiscretions that haunt the main characters. More so than its predecessor, Mass Effect 2 possesses an identity, and most of the obvious changes and improvements over the original are beholden to the shift in tone. The shooting is more immediate and satisfying, which keeps the pace moving and intensifies the violence of each encounter. Rich characterizations invite you to look more closely at each crew member's personal stake in the sprawling galactic backdrop. Even the relatively predictable space opera that is the main plot has sinister moments, and you sense the characters struggling with that heavy burden. Mass Effect 2 is incredibly enjoyable, but it's more than just fun: It's a stellar package with a fierce spirit that makes it engrossing and unforgettable.

For More Review: http://www.gamespot.com/pc/rpg/masseffect2workingtitle/review.html