There's a lot to be said about the way download gaming has dramatically broadened the types of games you can now buy. Rather than just producing cheap-and-cheerful versions of the most popular genres, most developers have headed down the path less travelled.
The consequence of this is that we've ended up the best of both worlds, where the most treasured ideas of the past are revived, while new ideas get boldly premiered - sometimes in the same game.
It feels like developers have managed to get their creative confidence back in a way that simply wasn't possible only a few years ago. Not everything will work, of course, but the most important thing is that there are a hell of a lot more interesting and original games doing the rounds now, and that can only be good for the health of a risk-averse 'blockbuster' sector that seems intent on focusing solely on safe sequels to ride out the rest of the generation.
It's not every day that you have to write about a game that places participants in a journey through the world of abstractions, exploring the world of supremacist dreams and eclectic futuristic compositions.
In what purports to be the first part of an on-going series, Kaleidoscope aims to bring its 'Interactive Synaesthesia Project' to the confused masses.
What that means in vaguely coherent terms is that Kaleidoscope consists of level 'paintings', which operate on their own set of abstract rules. There are no on-screen prompts to tell you what to do, but through basic trial and error, it's possible to slowly pick up on what may or may not constitute 'progress'.
In the first, it's apparent that pressing left or right fires a blob from the corresponding side of the screen, and if you happen to hit one of the floating shape fragments, it causes a shape to appear somewhere else on the screen.
After a few minutes, you'll move on to another 'painting' with a love heart in the middle. In this instance, you can cause other love hearts to appear by repeatedly hitting the right direction as matter appears from the edges of the screen. You won't even know if what you're doing is correct, but once the time runs out, you'll gain XP and be able to play the game for a little longer next time.
Do this a few times and eventually you'll find yourself able to sneak onto the next stage, where a collection of squares strung along the centre appear to require you to somehow repel smaller squares heading towards them. It's almost unfathomable, but through basic intuition and repetition, the fog begins to clear.
Kaleidoscope makes almost no sense, and yet this permanent state of addled delirium only makes it all the more fascinating. Turn on, tune in, drop out.
7/10
Now that the Kinect tap has started to gush forth with XBLA offerings, the creepy, possibly sentient device seems intent on forcing regular rearrangement of my home furnishings. Most inconvenient.
But I'm prepared to heave my footstools out of the way and drag the sofa back for a game intent on making you fulfil the role of a benevolent stickman giant.
Your lot in life is to usher the lemming-like Leedmees from one portal to another while trying to scoop up golden stars, avoid inconsiderate hazards and generally not squish them to death en route.
The first step involves positioning yourself so that the emerging Leedmees hop onto your arms and shoulders. But being stupid, brainless morons, they don't think to just sit still and behave themselves, but continually pace from left to right, only changing direction if they bash into something.
With that in mind, you end up holding your arms up at 90 degrees, and then shuffling gently to the portal exit so that they can escape to TK Maxx, or wherever they're in such a hurry to get to.
But ferrying your charges from hither to thither isn't as straightforward as it could - or perhaps should - be, and demands unnaturally smooth, steady limb movement to avoid accidental death.
Do anything untoward, and the game freaks out all too easily, and tends to fling your delicate cargo to their doom at high velocity. Fortunately, passing each level only requires about half of those that appear, but it doesn't stop your minor failures becoming annoying when you're doing reasonably well.
The longer the game goes on, the more delicate these rescue operations become, and although you adapt to what the game wants from you, there are times when its finicky tetchiness becomes a drag. Needless to say, the two-player co-op levels are even more fraught with technological confusion.
Given the relentlessly creative level design, its procession of new ideas and charming style, it's a genuine shame that Konami's ambition is occasionally thwarted. Whether that's Kinect's fault or Konami's implementation is up for discussion, but the bottom line is that it's never as smooth and intuitive as it needs to be. But don't let that put you off at least trying out one of the most creative motion-based games yet.
7/10
I'll admit that I haven't been exposed to the Ugly Americans cartoon. It's probably better than Alan Partridge-flavoured sliced bread, and even funnier than my hair in the morning, if that's possible.
As a game, though, it's so cripplingly inane it makes me want to eat my own teeth and replace them with sweetcorn prongs. Ladies and gents, you couldn't wish for a lazier, more half-assed waste of a brand if you paid a specialist license assassin to take down Comedy Central's from within.
I dare say the idea of a twin stick co-op shooter starring four of the show's lead characters sounded like a riot in the design phase. Play as Leonard the drunk gobshite wizard! Callie the hot demon chick! Grimes the moustachioed cop! Or Mark, the normal dude! Blast man birds, demons and zombies with up to 30 different upgradable weapons!
The depressing reality sinks in within the opening moments, once you've figured out that the gameplay consists of endlessly blasting the enemy hordes until the little arrow on the right hand side dictates that it's time to move on.
You can kid yourself that there's some semblance of variety by trying out each of the different weapons, and inch through the various stages diligently, but by the time you've heard all the characters' speech samples repeated 700 times, you'll start to feel your brains gently leaking out of your ears.
Whether you rope in up to three other players for co-op 'fun', or whether you trudge dutifully on alone, the same spirit-crushing repetition will ultimately grind you into the dust.
If, for complicated reasons, you've got a high tolerance for brainless shooters peppered with the least amusing quips of all time, be my guest.
2/10
It's no secret that the world (yes, all of it) has been waiting on another hack-and-slash adventure in the finest traditions of Castlevania for yonks, but few would have ever expected it to come from a BloodRayne title.
But with games like Contra 4, Shantae: Risky's Revenge, LIT, Mighty Flip Champs and A Boy And His Blob under its expanding man-belt in recent years, WayForward Technologies evidently knows its onions when it comes to downloadable nuggets.
Set across 15 stages in and around a castle, it's exactly the kind of murderously tough side-scrolling slashfest that got young men in a lather about 15 years ago - only buffed up with stylish visuals pleasing to our modern faces.
The fight mechanics are thoroughly familiar, with the red-haired Rayne armed with a blade and pistol throughout, but the game never flinches from an excuse to throw dozens of enemies at you.
As a result, the extent of the challenge might bloody the noses of those unfamiliar to the ways of hardcore action games, but for those of you schooled in games that refuse to give an inch, it hits all the right notes - apart from the fist-eatingly awful metal soundtrack, that is.
If BloodRayne: Betrayal gives Uwe Boll an excuse to make another movie, its appearance might not be such a good thing, But if you can get over such matters, this is a satisfying and brutal return to the old school.
7/10
Futuristic aerial combat racing with a Mario Kart twist? I wouldn't blame you if you were tempted. Fine, it's not the most overtly creative genre-splicing ever (or even this week), but you can forgive a lack of originality when it ticks all the boxes.
The mighty Hungarians at Digital Reality presumably imagined a lost arcade racer where eight players fight it out across a series of dangerous courses for aerial supremacy. You know the drill: power ups galore, unlockable craft and a variety of popular game modes.
So far so predictable, but once you're out there manhandling your aircraft through speed hoops, twisting manically through narrow gaps and loosing off lock-on missiles into the nearest chump, it gets all the right neurons firing.
The important thing is that it feels right. The controls are spot-on, and it's easy to pick up and barrel through its 33-stage campaign or dive into lag-free, eight-player online races.
On the downside, it starts to get fairly repetitive early on and it's easy to see why. With only six courses (and reversed versions), the game wastes little time in recycling the locations. There's also the issue of price. For 800 points or £7.99, it would have been an easy decision to make, but that extra 50 per cent makes it feel pricey.
If you're feeling flush, give it a go - SkyDrift is comfortably one of the strongest aerial combat racers we've seen in the world of download-only titles.
7/10
DICE has documented the five Battlefield 3 multiplayer modes. They are Team Deathmatch, Squad Deathmatch, Rush, Squad Rush and Conquest.
Each of the five modes can be played on each of the nine Battlefield 3 maps available at launch.
Team Deathmatch supports two teams of 12 players (24 in total). The goal is to reach a kill-count before the other team. There are no vehicles in Team Deathmatch.
Squad Deathmatch is for four teams of four (16 in total). Again, the goal is to reach a kill-count before the other squads. An Infantry Fighting Vehicle can be used. An Engineer can repair it.
Rush is for 24 players on console and 32 players on PC. The goal is for the attackers to destroy all M-Com stations, and for the defenders to kill all the attackers. Defenders have unlimited tickets (respawns). Attackers gain tickets by destroying M-Coms.
Rush has lots of vehicles, including transport vehicles, armoured vehicles, helicopters and jets.
Rush was available in Bad Company 2 but has been tweaked for BF3. You cannot use explosives on or shoot at M-Com stations, you can only arm or disarm them. If all the attackers die after an M-Com is armed, the game continues until it blows up or the defenders disarm it. If a defender begins disarming just before the timer runs out, the explosion will be prevented until the disarm is finished. If a defender is shot and killed while disarming, the M-Com will instantly blow.
Squad Rush is for two teams of four (eight in total). It's the same as Rush but more intimate. There are only two bases with 1 M-Com station per base. There are no vehicles in Squad Rush.
Conquest is for 24 players on console and 32 on PC. This is the famous all-out Battlefield warfare mode. Big maps, all the vehicles. The idea is to capture and hold flags. Doing so drains the opposing team's tickets. The first team to run out of tickets loses.
Those are the base multiplayer modes. But you can tweak them. You can opt for Infantry Only and get rid of vehicles; you can select Hardcore Mode to remove the game's interface help.
Batman: Arkham City will feature DC Comics assassin Deadshot.
The reveal was made in new footage from GameTrailers.
Deadshot is in Arkham City to "take out a series of high value targets", which Batman must protect.
The footage below shows an informant being sniped by Deadshot, just as he is about to divulge vital information.
After predecessor Arkham Asylum's Joker-centric story, Rocksteady is beefing up Arkham City with a cavalcade of familiar Batman foes.
Joker, Hugo Strange, Two-Face, Harley Quinn, Riddler, Poison Ivy, Mr. Freeze, Penguin and Calender Man all make appearances.
Inspired first-person puzzle game Portal is free to download on Steam until 20th September.
Maker Valve is running the deal to showcase how Portal and Portal 2 can and have helped kids grasp trickier aspects of science in an enjoyable way.
Apparently Portal makes things like physics and problem solving "cool and fun". And that "gets us one step closer to our goal: engaged, thoughtful kids!"
Portal, a short game, is a calm and bullet-free puzzle solving experience. Twists of humour and taxing, portal-based conundrums made it one of the best games of 2007.
Eurogamer's Portal review awarded 9/10.
Video: Portal finished in nine minutes. It's not always that short.
The tragedy is that it became the punch line to a joke. Jokes, even. The one about Sega's failing video game hardware business, for example, and how the only truly exceptional title for its Saturn - a PlayStation-beating shoot-'em-up, no less! - was released two years after the console war was already lost. Oh, Sega, hapless Sega!
Or the one about the men prepared to pay astronomical prices for fashionable imports: a £100+ eBay price tag evidence not so much of the game's inherent quality as of the demented collector mentality, where scarcity + demand + competitiveness pushes prices beyond all reason. Look at those guys! You could buy 150 copies of Angry Birds for that money!
But the true joke is that Radiant Silvergun should have been punched by tragedy. Its pseudo-successor, vertical shoot-'em-up Ikaruga, may have enjoyed some vindication for its forebear's misfortunes, fast becoming a cult classic and making its way around the world. But the Japan-only Radiant Silvergun is the better game, bringing together all of the themes of boutique developer Treasure's oeuvre into one glorious, tightknit experience that invites long-term study.
It combines the colour-coded puzzling of Silhouette Mirage with the weapon mixology of Gunstar Heroes and the giant multi-part bosses of Alien Soldier in a way that transcends tribute, instead making a bold, singular statement of its own. It is mesmerising, fascinating and without question one of the only games of the 32-bit era that is still relevant today. And it's now available in a new version on Xbox Live Arcade.
Radiant Silvergun also defies neat categorisation. Aesthetically, it's an orthodox shoot-'em-up. But it evolves the genre in fascinating ways that, perhaps due to the dearth of companies still working in the area, have never been borrowed or stolen. First in its fulsome inventory of innovation is the fact that there are no weapon pick-ups in the game. Rather, full use of all seven primary weapons is pressed into your hands from the offset.
The palette of attacks is based on three 'primary' weapons: the Vulcan (a tight upward stream of fiery bullets), Homing (a splay of weaker green bubbles that zip to the closest enemy) and Spread (two brilliant white explosions that fire off at 45-degree angles, the most powerful of the three base attacks). Combine two of these attacks and you get a new one that mixes the properties of its components.
Strike all three at the same time and your ship swipes a tiny plasma sword out in front of it. This weapon has the capacity to absorb pink bullets and, when you've collected ten of these, can trigger a giant, scissor-like attack that swipes across the screen, rendering your ship momentarily invulnerable.
Each of the base weapons upgrade, not through floating pick-ups, but through usage, earning experience points with each takedown and 'levelling up' in turn. Focus solely on the Vulcan, for example, and it will hit harder and wider as the game progresses, leaving the two neglected attacks weak.
While seven weapons may seem like overkill, Treasure's skill is in making each one perfectly suited to a particular situation, and very often the mind game is in choosing the right tool for the right micro-scenario. What initially appears overwhelming soon becomes second nature, and Treasure's fine balancing of the weapons in the game outclasses any top-flight contemporary FPS you care to mention.
Next, every enemy in the game is color-coded red, blue or yellow. While it's possible to ignore this element of the game entirely, score attack players must master the order in which they take down enemies in order to bank the largest number of points. Shoot a red enemy followed by a blue enemy followed by a yellow one and you earn a significant points bonus. Alternatively, chain together enemies of the same colour and the point rewards scale indefinitely until the chain is broken, each set of three adding a multiplayer that can push your score into the stratosphere (levelling your weapons much more quickly as it does so).
As such, the best way to play is often in knowing which enemies to leave alone. It is perhaps the only shoot-'em-up where restraint is rewarded as much as offense and, when it all clicks into place, the sheer ingenuity of the level design - essentially a kind of puzzle - comes into dizzying focus.
The final innovation comes in the form of the boss battles that punctuate each of the game's five lengthy stages. These hulking spaceships come in all shapes, sizes and behaviours, from a giant monkey that swings and rolls its way around the screen, through a space eagle that flings bullets like feathers, to the jaw-dropping final boss, a running colossus around which your ship spins and dives (incidentally, the inspiration for the final boss in Tetsuya Mizuguchi's Rez).
The skill is in taking these foes apart section by section. While it's possible to aim for the heart for a fast completion, you earn far more points for defeating every component of an enemy, which in turn levels your weapons more quickly. Every aspect of the game's design works together in concert. It is a master class in game design.
These systems would mean little if the game they underpinned was lacklustre. Radiant Silvergun instead delivers one of the most memorable journeys not only in the genre, but across the medium, its pacing balancing set-piece fights with lulls in the action to take in the rich, vibrant 3D world that passes below your ship.
The port to Xbox 360 is a good one, Treasure including far more options for players to tinker with under the hood than exist in the dipswitch settings of the original ST-V arcade board, even. However, the game's rich control scheme works poorly with the Xbox controller.
In the arcade, just three buttons are used to control the game, with combinations of those buttons triggering the secondary weapons. For the port, Treasure has mapped each of the weapons to a different button on the Xbox pad, making it too easy to trip over yourself in play. As such, the option to completely reconfigure the pad is welcome.
Play with an arcade stick or a fight pad (itself based on the Sega Saturn controller) and Radiant Silvergun feels much more comfortable, although there will inevitably be some learning curve for newcomers.
Since Radian Silvergun was released before the days of widescreen televisions, Treasure has been forced to include screen guttering, where it places extra HUD information such as a move list and an instant readout of the current level of your weapons. These elements can all be switched off and the screen stretched and reconfigured. There are numerous filtering options to smooth out the polygons and eight different wallpapers to use for the borders.
The game is broken into two key modes: arcade and story (which has short in-game cut-scenes, for the first time subtitled for non-Japanese speakers). Each mode can be played freeplay (with unlimited continues) or as score attack (with no continues), with the latter option the only one that feeds into the online leaderboards. The result is an assured, comprehensive port, even allowing players to upload their replays for a mixture of showboating and instruction.
As with so much of Treasure's output, Radiant Silvergun stands alone. There is nothing else like it. Distinctiveness doesn't guarantee quality but, in this case, it's backed by radiant brilliance.
It's a game that inspires strategising, play after play encouraging you to tweak your game plan in order to squeeze more score from a certain section, all the while building muscle memory and skill. And if you want to play it as a straight shoot-'em-up, hammering through continues without bothering too much with the rabbit hole of strategy, the spectacle is quite like any other.
It may not have the visual class of its younger cousin Ikaruga, but there is no other 32-bit era game that shines like this today; a true classic that is available to the world at last. And the scoffers? Well, the joke is finally on them.
Update: The Resident Evil 6 video was not at Capcom's Theatre Show as Kotaku had heard it would be. Eurogamer was there and can confirm this.
IGN writer Rich George heard from multiple contacts at Capcom that the Resident Evil 6 video was a fake.
Original story:
Capcom Japan has said a Resident Evil 6 video, filmed off-screen behind closed doors during the Tokyo Games Show, is real.
At just under a minute long, the video offers few clues to the story of Resident Evil 6. No release date or platforms are mentioned.
Capcom Japan staff confirmed the video as legitimate to Kotaku.
US Capcom representatives, on the other hand, stuck to a "no comment on rumours or speculation" response.
"The world has seen all kinds of horror... Bio-organic weapons have taken over," the video tells us, as Earth is seen on-screen. "And one place has the key to stop it all..."
A split-second flash of a futuristic-looking facility follows, as do the numbers "48.415802 -89.2673".
The game's logo is then shown against a backdrop of falling ash.
As co-ordinates, the numbers point to a remote part of Canada.
A move to a post-apocalyptic world where bio-weapons have taken over would be a notable change for the horror series.
Capcom previously stated Resident Evil 6 would be "totally different".
Video: Capcom outs Resident Evil 6.
BioWare's iconic role-playing game Knights of the Old Republic will be half-price, £3.50, on Steam this weekend.
It's part of a weekend-long Steam Star Wars deal timed to coincide with the Blu-ray release of the Star Wars Saga.
Other discounted Star Wars games on Steam include Battlefront II, Republic Commando and Empire at War.
Knights of the Old Republic reinvigorated the Star Wars licence for gamers. It's set thousands of years before the Star Wars films. You are a mysterious stranger with no memory of your past. You escape an attack on your rescuer's ship, and your subsequent mission to rescue a Jedi marks the beginning of an epic tale.
Eurogamer called Knights of the Old Republic as "the best Star Wars game since X-Wing and/or Tie Fighter, if not ever". Kieron Gillen's Knights of the Old Republic review for Eurogamer awarded a delicious 9/10.
The success of Knights of the Old Republic lead to a sequel (developed by Obsidian) and to BioWare's biggest ever project, MMO Star Wars: The Old Republic. The success of KOTOR also helped bring about the Mass Effect series of games, which share many similarities.
Standalone Infamous 2 expansion Festival of Blood arrives 26th October in the UK, just in time for Halloween.
US gamers get the bloodsucking side-story on the 25th. It'll be priced at around $15 (£9.50).
The DLC also adds Move support to the main Infamous 2 story.
Festival of Blood floods the Infamous 2 world with vampires, who bite and infect hero Cole himself.
This means Cole must set out to kill the head of the vampire to save both himself and the city.
Well, at least it isn't zombies.
Video: Festival of True Blood.
Dragon Age 2 will welcome new downloadable content pack called Mark of the Assassin on 11th October.
It will be available for all three platforms, PC, PS3 and Xbox 360.
Mark of the Assassin stars the voice and likeness Felicia Day, the former Buffy actress who found fame after creating MMO-related comedy web series The Guild. She worked with BioWare on a web series for Dragon Age called Redemption. It's her green elven assassin Tallis that Mark of the Assassin recreates.
Mark of the Assassin follows Tallis and Hawke as they attempt to steal a jewel called The Heart of the Many from an Orlesian Baron. The only problem being that said jewel is hidden deep within a vault that's protected by magic and a private army, abd housed inside a fortress designed to be impregnable. Oh, and it's also surrounded by monsters.
Tallis is described as a cross, skill-wise, between Varric (ranged rogue) and Isabela (dual-wielding fighter rogue).
Wrote BioWare's Christ Priestly: "Mark of the Assassin features new items, new enemies and monsters and new environments as well as giving players the opportunity to experience a new, tactical way to play with the return of Stealth gameplay. Plus, along with the new environments and monsters, you will learn more about the Orlesians and Qunari."
Party members and other Dragon Age characters will appear in Mark of the Assassin. You can play Mark of the Assassin at any point in the main game, once you have reached Kirkwall and your house.
GameTrailers has the Dragon Age 2: Mark of the Assassin video.
Dragon Age 2 welcomed the Legacy add-on earlier this year. Eurogamer's Dragon Age 2: Legacy review awarded 5/10.
Twisted Pixel is one of the few developers capable of making games that are funny. Not just games with a few jokes in the cut-scenes, but games that play around with the nuts and bolts of the medium itself and are genuinely, inventively funny as a result. When it comes to real comedy in games, there's Twisted Pixel, there's Double Fine, and... well, that's about it.
The Gunstringer is the studio's first Kinect title and also its first retail offering after several years of brightening up Xbox Live Arcade with titles such as The Maw, 'Splosion Man and Comic Jumper. It never quite matches the lunatic heights of some of its predecessors, but there's still amusement to be found. Sadly, that doesn't include the game itself.
Cast as a skeletal outlaw, you rise from your grave as a marionette puppet and set about tracking down your treacherous former gang members in a makeshift world of cotton-reel horses and paper cut-out civilians. The action is framed as a stage show and periodically cuts back to reaction shots of the live-action audience as they gasp and applaud at your antics.
It's the sort of fourth-wall-shattering whimsy we've come to expect from a developer that used footage of its own Chief Technology Officer (the bearded Frank Wilson) as a screen-emptying smart bomb in Comic Jumper. It's also a rare flourish of imagination in a game that makes depressingly little use of Kinect for its experiments. Instead, the gameplay is much like its hero: cool to look at but in dire need of some meat on the bones.
Your left hand controls The Gunstringer, though as his forward movement is handled automatically, all you're really doing is steering him left and right and flicking your hand upwards to jump. Your right hand is his gun - point to aim his crosshairs and tag up to six enemies. Then jerking your hand upwards in the classic playground "pew pew" motion shoots.
From this thin starting point, Twisted Pixel deserves credit for trying to come up with different scenarios for these controls to work in. Most of the time you're advancing on rails, shooting enemies before they can harm you and guiding the Gunstringer around obstacles. Occasionally he'll stop and duck into cover, which you must lean out from with left-to-right sweeps of your hand.
At other times he advances up Donkey Kong-style ascending ramps and you have to throw meaningless punches to eliminate clusters of bad guys up close. Occasionally you'll have to run down the screen as boulders, logs or cannonballs chase after you. Sometimes you get two crosshairs and an endless stream of bullets to take down larger waves of bad guys (or suicidal wildlife) and there are also side-on platforming sections where your input is reduced to well-timed jumps.
Except timing jumps isn't always so easy, which brings us to the game's core weakness: Kinect. Now, I'm an avowed fan of motion gaming. Used well it can be refreshing and enormous fun. But the game has to suit the limitations of the control method, and it's here that The Gunstringer gets tangled up.
Aiming is floaty and unsatisfying. Crucially, you're not aiming at the screen (which is your natural response) but moving the crosshairs with your hand. For me, this meant that aiming at the edge of the screen meant pointing a few feet to the right of it.
Similarly, character movement is often laggy and slow, which becomes increasingly problematic as the game progresses. Later stages feature barrages of enemies and obstacles that require you to be looking in four or five directions at once, with less than a second to react. Birds dive-bomb from above while enemies throw objects at you and a yawning chasm opens beneath your feet. The sluggish controls simply aren't up to the task and the only reason you keep on going is because the game (on normal difficulty at least) props you up with frequent health refills.
So the experience is both irritatingly fiddly and pointlessly easy. You reach the end of each stage through an uneasy combination of genuine skill and largesse on the part of the game, as laissez-faire punishments make allowances for its own shortcomings.
Eventually you have to stop and ask what, exactly, does Kinect bring to this game? The answer is "not very much". It would be both more playable and more enjoyable as a traditional controller-based experience. What does Kinect take away? Timing and precision, two key ingredients of the shooting and platforming genres being mashed together. Motion control may make The Gunstringer stand out, but it doesn't make it better.
Putting another big nail in the game's promise is the slender nature of the whole enterprise. It's not just that the gameplay quickly becomes repetitive, with the same scenarios shuffled around but remaining virtually unchanged as you travel from gaudy bordello to Chinese gardens to fluorescent Mexican underworld. This is also an incredibly short game. There are twenty stages, each of which takes about five to ten minutes to play. Clearing the game in around four hours isn't just possible - it's inevitable. The urge to replay and get gold medal scores on each level is dampened by the knowledge that the drifting controls make that a somewhat random achievement.
As an Xbox Live title, brevity wouldn't have been such an issue, but The Gunstringer never feels like it earned its promotion to boxed product. It feels more like a small game surrounded by so much video and audio silliness that its file size simply ballooned beyond the limits of what was acceptable for a download.
This suspicion is compounded by the inclusion of a free code for Fruit Ninja Kinect, an equally simple yet far more successful game which understands that you need to start with an idea that works best with motion control. There's also some free DLC.
This DLC, The Wavy Tube Man Chronicles, is a good example of how Twisted Pixel's anarchic nature has run ahead of its gameplay development. Weighing in at a hefty 1.94 GB, The Wavy Tube Man Chronicles is a crude and fairly joyless spoof of infamous FMV shooter Mad Dog McCree. Filmed entirely in live action and hosted by Toxic Avenger director Lloyd Kaufman, it's a joke perpetrated on the player. There's very little gameplay - just rudimentary quick draws against enemies that pop up and take you down with a single shot - and after a few minutes I mostly felt annoyed that I'd wasted my time, bandwidth and hard drive space on such a clumsy gag.
Video: The comic highlight is a lumberjack having sex with an alligator. PEGI 12, everybody!
The tragedy is that at the end of The Gunstringer, Twisted Pixel uses a similar idea to far greater effect in a gloriously silly finale that delivers the sort of meta-textual playfulness sorely missing from the preceding few hours of clunky jumping and shooting.
It's hard to know what to make of The Gunstringer. Any retail game that comes packed with two substantial freebies (one good, one stupid) clearly has self-worth issues, but the effort and expense that went into a self-indulgent in-joke like Wavy Tube Man would have been better directed making The Gunstringer more interesting, more playable and more than an afternoon's slightly irritating distraction. Instead, the best stuff in the game is conceptual or consigned to the margins, leaving the actual gameplay as an awkward vestigial thing to be plodded through while you wait for more funny stuff.
It's sometimes hard to criticise Twisted Pixel's output as the developers put so much of themselves, literally, into their games. At times, the self-awareness works. Just as I was thinking, "This is really nothing more than Duck Hunt for Kinect," along comes a perfectly timed Duck Hunt joke to undercut the criticism. Point taken.
I've liked or loved everything the studio's done so far, but this is the first Twisted Pixel offering where I've really struggled to find the positives. It's short, shallow and repetitive, and where humour might elevate the experience, the pointless and clunky motion controls drag it down again. Whether Twisted Pixel is more at home in the digital download arena, more comfortable with traditional controllers or simply more interested in making silly films, The Gunstringer represents the first real disappointment from one of gaming's most distinctive developers.