Saipan. Unlike Red Orchestra 2, most of Rising Storm's maps don't feature multi-floor structures.

You usually don’t get a second opportunity to make a first impression. When Red Orchestra 2 released in 2011, it was an authentic, ambitious, 64-player WWII shooter burdened by bugs and a few unpolished features. Tripwire’s self-imposed rush to beat Battlefield 3 out the gate roughed the edges of an otherwise brilliant FPS.

The Georgia-based indie studio patched the issues over time, eventually releasing a free “Game of the Year” edition that included new Action and Classic modes that catered to casual and hardcore players. But throughout 2012, Tripwire was also collaborating with a team of talented modders on Rising Storm, the standalone expansion that represents Red Orchestra 2’s second coming.
"The overlap of precision, authenticity, and thick danger is still the most rewarding aspect of Red Orchestra."
Rising Storm isn’t simply RO2 recast into the Pacific. “We have something started and created by a mod team, but polished to perfection by a group of professional developers,” says John Gibson, Tripwire’s president. What’s immediately impressive about the expansion is the way it embraces the asymmetries inherent to the American and Japanese infantry at the end of the war. It’s a seemingly uncrackable balancing problem, for example, that the Japanese mainly used bolt-action rifles while Americans carried the semi-automatic M1 Carbine and Garand, the Thompson, and the fully automatic BAR.

A counterweight Tripwire has applied against this is making Japanese soldiers harder to suppress, a trait chalked up to their willingness to die for the emperor. More tangibly, the islanders get bayonets and a Banzai charge attack—a sprinting move that mitigates damage and suppresses nearby Americans. Both of these effects improve in radius and intensity when used in unison with teammates.

A deadly duo: a Japanese mortarman takes range and location information from a teammate on Iwo Jima.

Some members of the Japanese team can also carry the knee mortar, a portable artillery. “There’s nothing the Americans can do other than run when they hear that whistling sound,” says Gibson. “So it helps balance out the Americans’ overwhelming ability to put bullets down range.” My first encounter with it is on Iwo Jima, where a crack member of Tripwire’s QA team fires it horizontally off the hill like a cannon, dialing me in from a hundred meters. The shell punts into my gut, an impossibly accurate shot from an indirect weapon. I wheel back on my chair, laughing and raising my hands helplessly.

Red Orchestra 2 continues to be a demanding game. Away from grey Stalingrad, neck-deep in island vegetation, it’s still a shooter that insists you use your eyes, ears, and intuition to stay alive. Acing an American with the bolt-action Type 38 or Type 99 is instant self esteem. The famous pling of a spent M1 Garand clip signals that a GI’s run out of ammo—but incredibly, the Americans can fake the sound by pressing a key, a tactic that was actually employed in WWII.

This overlap of precision, authenticity, and thick danger is still the most rewarding aspect of Red Orchestra. But as I keep playing, there are more moments of relaxed mayhem than I experienced in Heroes of Stalingrad—like taking a mortar directly to the liver. I fill my team’s flamethower soldier slot on a tough round on Guadalcanal. Under the blue-purple skybox, I curl around a bamboo hut and lock eyes with a Japanese rifleman inches away. My mouse hand flinches, his skin goes molten, and I giggle as a lengthy death animation plays out.

When a spider appears in your bunker, do the right thing.
"Any burp of fire is a bright invitation to the Japanese to shoot you from across the battlefield."
Later in the round, I arrive too late to a capture point that’s just been flipped by the Japanese. I linger lost outside the thatched, single-floor command structure. Some instinct rings inside me, and I flick a rope of heat through the window out of a need to uncork this hot potato of a weapon I’m running around with. Seconds later, four kill notifications with my name on them stack up.

Letting a messy, powerful weapon like a flamethrower into a gritty game of inches like RO2 might seem like inviting a dragon to a war reenactment, so it’s remarkable that Tripwire has balanced the thing while making it so absurdly fun. You’re heavy as hell, only have seven seconds of burn time before you have to refuel, and any burp of fire is a bright invitation to the Japanese to shoot you from across the battlefield.

The good design of these incongruous features is in part thanks to Elliot Cannon, an ex-Epic, ex-Crytek, veteran FPS designer that joined Tripwire in May 2012. Gibson pursued Cannon after learning that he was the author of his favorite Unreal Tournament map, Deck 16. “We needed some input from someone outside the inner circle that could come in and say ‘This is what needs to be different,’” he says. “Elliot came up with a lot of the ideas that are making the asymmetrical gameplay work.”

I’m glad for an invitation to revisit Red Orchestra 2, but Tripwire’s move to take Rising Storm’s theme and setting to its mechanical extreme is what has me excited. On paper, Tripwire's commitment to representing some of the real-life differences between the Axis and Allies seems like it would undermine game balance, but each round I played (all of which were filled with experienced testers) was heavily contested. This approach to designing Rising Storm has produced at least one completely insane tactic among the development team. Over weeks of map testing, katanas became a kind of souvenir weapon for American players, who would pick them up from dead Japanese. Noticing this, one Japanese soldier had the bright idea to drop their katana in plain sight, then use the alternate fire for their hand grenades—exclusive to the Axis side—to bury their grenades like mines and set a trap disguised as a trophy.

A Banzai charge. Static spotlights on Guadalcanal make a few of the map's lanes especially treacherous.

Tripwire President John Gibson holds an M1 Garand inside the team's studio, one of the guns carried by the Americans in Rising Storm.

Earlier this month I visited Killing Floor and Red Orchestra 2 creator Tripwire Interactive to play Rising Storm, the upcoming standalone expansion to RO2 (look for a preview on Monday). After the demo, Tripwire President John Gibson and I got talking about the state of first-person shooters, and Gibson laid out a detailed criticism about the way Call of Duty "takes individual skill out of the equation." Gibson also expressed frustration over how difficult it had been trying to design a mode for Red Orchestra 2 that appealed to Call of Duty players.

PCG: How do you feel about the state of FPSes?

John Gibson, President: I think that single-player shooters are getting better. I think they’re finally coming out from under the shadow of the Hollywood movie, overblown “I’m on a rail” linear shooter. I’m talking about Call of Duty-style shooters. In the late ‘90s, you had the original Deus Ex, which was an RPG-shooter. And those kind of games almost took an eight year hiatus. And I’m so excited to see them coming back with interesting gameplay. Like the Fallout games, even though their shooting mechanics could really use some improvement, just mixing a really cool story, but not a linear story, one that you create yourself. The melding of RPG elements and shooter elements has been great. I’ve seen this reflected in a lot of the reviews, it’s like, “Okay guys, we’re tired of this on-rails experience.”

On the flip side, I’m really discouraged by the current state of multiplayer shooters. I think that, and I hate to mention names, because it sounds like ‘I’m just jealous of their success,’ but I’m really, I feel like Call of Duty has almost ruined a generation of FPS players. I know that’s a bold statement, but I won’t just throw stones without backing it up. When I was developing Action Mode , I got a group of people that I know that are pretty hardcore Call of Duty players. And my goal was to create something that was accessible enough for them to enjoy the game—not turn it into Call of Duty, but try to make something that I thought was casual enough but with the Red Orchestra gameplay style that they would enjoy. And we iterated on it a lot. And just listening to all the niggling, pedantic things that they would complain about, that made them not want to play the game, I just thought, “I give up. Call of Duty has ruined this whole generation of gamers.”

Red Orchestra 2. Gibson says he's "discouraged" by the state of multiplayer shooters on PC.

What did they complain about?

Gibson: It’s the gameplay mechanics that they become used to. The way that players instantly accelerate when they move, they don’t build up speed. “The weapons really don’t have a lot of power” . They’re all very weak. The way they handle... They’re like: “I hate Red Orchestra, I can’t play it.” Well, why? “Because the guy doesn’t move like he does in Call of Duty. Call of Duty has great movement.” Why is it great? “Because it just is, I just like the way it works.” So you don’t like the momentum system in Red Orchestra? “Yeah, it sucks, it’s clunky, it’s terrible.” Well, why? “It’s just because I’m used to this.”

I make it sound like there was a combative conversation, probably because I get a little emotional when I think about it. But it was really a calm discussion of, “What don’t you like?” and “It doesn’t feel like Call of Duty.” Almost every element boiled down to “it doesn’t feel like Call of Duty.” And really, watching some of these guys play... one of the things that Call of Duty does, and it’s smart business, to a degree, is they compress the skill gap. And the way you compress the skill gap as a designer is you add a whole bunch of randomness. A whole bunch of weaponry that doesn’t require any skill to get kills. Random spawns, massive cone fire on your weapons. Lots of devices that can get kills with zero skill at all, and you know, it’s kind of smart to compress your skill gap to a degree. You don’t want the elite players to destroy the new players so bad that new players can never get into the game and enjoy it. I’m looking at you, Dota. Sorry.

"If there’s no fear, there’s no tension, the victory is shallow. We want there to be some fear."

But the skill gap is so compressed, that it’s like a slot machine. You might as well just sit down at a slot machine and have a thing that pops up an says “I got a kill!” They’ve taken individual skill out of the equation so much. So you see these guys—I see it all the time, they come in to play Red Orchestra, and they’re like “This game’s just too hardcore. I’m awesome at Call of Duty, so there’s something wrong with your game. Because I’m not successful at playing this game, so it must suck. I’m not the problem, it’s your game.” And sometimes as designers, it is our game. Sometimes we screw up, sometimes we design something that’s not accesible enough, they can’t figure it out, we didn’t give them enough information to figure out where to go... but more often than not, it’s because Call of Duty compressed their skill gap so much that these guys never needed to get good at a shooter. They never needed to get good at their twitch skills with a mouse.

Players like Elliot and I, back in the Quake and Unreal days, you know, we had to get good at aiming. These guys don’t have to anymore. The skill gap is so compressed that like, “The game makes me feel that I’m awesome.” These guys, when I actually watch them play, they’re actually very poor FPS players. And I don’t think it’s because they’re incapable of getting good, I think it’s because they never had to get good. They get enough kills in Call of Duty to feel like they’re awesome, but they never really had to develop their FPS skills beyond that.

And it’s a shame because when you do that, when you create a shooter like that, you’re very limited on the amount of depth that you can give the game. It’s all gotta be very surface level, like I’m sitting there eating cotton candy and I never get any meat and potatoes. And it’s frustrating for me as a designer to see players come in and they’re literally like “In Call of Duty it takes 0.15 seconds to go into ironsights. In RO2 it takes 0.17 seconds to go into ironsights. I hate this.”

Gibson fires an MP40 during an audio recording session for Red Orchestra 2 in the Nevada desert. Gibson is frustrated by the way that Call of Duty has "taken individual skill out of the equation" for many modern FPS players.

Do you think it’s a matter of patience? Have these players lost their sense of patience?

Gibson:I think that’s part of it. The game is kind of spoonfeeding them, and making them feel great when they’re not. And like I said, that’s smart business, and I don’t blame Infinity Ward for wanting to do that. They’re selling millions of games and they have lots of people enjoying it, but I think there’s a depth of enjoyment there that a lot of these players are missing out on. And when you try to get them to branch out, their knee-jerk reaction is “The training wheels have come off, I’m gonna fall!” And I hate to see that.

It’s this weird dichotomy between, you know, single-player is getting much more depth, and players are just eating it up. They’re loving that. They’re buying these FPS-RPG single-player games like crazy. But multiplayer, “Ooh, don’t take my training wheels off.” I hate that. So we’re trying... we’re giving a little bit of training wheels, but we’re going to take them off occasionally in the shooters that we’re making, and hopefully we’ll get some of those people to branch out. I think for me though, I wouldn’t say I’ve completely given up on all of those players, but I’m not gonna try to make a game that tries to be Call of Duty at the expense of having fun gameplay that actually has depth.

Elliot Cannon, Rising Storm Lead Designer: Or creating a game that feels like you might be in a war, and you might die?

"One of the things that Call of Duty does, and it’s smart business, to a degree, is they compress the skill gap."

Gibson: Yeah. That’s one of the things that we do in our games, and it’s fear. When you play... I know there are modes in Left 4 Dead that are more hardcore, but when you play Left 4 Dead, and I’m really friends with Valve, so I hope they don’t get mad at me, but you do get spikes of adrenaline. But eventually that wears off because you figure out, well, as long as we stick together we’re never gonna die. In Killing Floor, when the Fleshpound shows up, you could be screwed. Half your team is probably gonna die. Your heart rate goes up, you’re freaking out, like “I can actually lose this shooter.” And if there’s no fear, there’s no tension, the victory is shallow. We want there to be some fear.

What do you consider your tools for expressing fear?

Gibson: Vulnerability is a big part of it, lethality. The ability to lose. There has to be... it’s kind of like, you know, if you’re gambling. If you go to the penny slots, you’re like, “Okay, yeah, whatever, I lost a penny.” But you go to the Roulette table, you throw down a thousand bucks, and you spin the wheel—you’re nervous at that point.

So, having the players have to take risks. Risk versus reward. They risk more, but the reward is greater. There’s more depth, there’s a bit more of a learning curve, but when you get that kill at long range with that bolt-action rifle, while the artillery’s flying around your head, and mortar shells are falling and guys are Banzai-charging you in the face, and your guy’s shaking, but you still kill him anyway. That’s an experience. You had some risk there, but you got a bigger reward. The kill wasn’t just handed to you. It wasn’t like “I called in the helicopter and it flew into the level and mowed down half the enemy team while I wasn’t even doing anything.”

Check back on Monday for an exclusive hands-on with Rising Storm.

Tripwire have announced the winners of their community mapping contest. Over $35,000 worth of prize money was handed out in recognition of the expertly crafted World War 2 battlefields that mapmakers have created, fuelling fans of the military shooter for months and years to come. The grand prize went to Danh Truong for his Winterwald map, a harrowing icy assault on/defence of Soviet anti-air.

The winners for "Best Original Level", including Truong's Grand Prize map, are:

1. Winterwald by Danh Truong, winning $10,000 and RO2 laptop
2. Bridges of Druzhina by Kieran Tobin, winning $2,500
3. Coldsteel by Johan van Pelt - wins $1,000

The contest also looked at "Best Remakes", awarding quality re-imaginings of classic maps:

1. Gumrak Station by Maik Doktor, winning $5,000
2. Stalingrad Kessel by Florian Montaut, winning $2,500
3 (Tied). Arad 2 by John Cree, winning $1,000
3 (Tied). Rakowice by Johan van Pelt, winning $1,000

All the maps, along with runners up, are now playable from the Steam Workshop.

We've now faced so many zombie apocalypses that it's amazing the shambling menace can elicit even the mildest increase in heartbeat. So while Killing Floor remains an enjoyable co-op FPS, any change to its morbid monsters is welcome. Especially when that change is in the form of in the form of H.R. Giger's face-smothering, acid-dripping, chest-bursting beasties.

That's what you get in Killing Floor: Aliens, an extensive mod that swaps out the game's setting, weapons and, most importantly, enemies for those from James Cameron's action sequel. Nearly two years in development, the mod's team say of the project, "AKF is one of the most comprehensive mods to date released for Killing Floor. The aim of this mod was to bring the feel and scope of James Cameron's Aliens to Killing Floor while in one hand remaining true to the franchise and in the other ensuring that it still retains the feel of Killing Floor."

There's a whole zoo full of Xenomorphs, from the tiny facehuggers to the giant Alien Queen, along with new weapons, maps and perks. You also get a full roster of characters from the movie - including Ripley - who the mod's makers claim now play and sound like their cinematic counterparts.

Download and installation instructions are available from the mod's website, or you can go here and install through the Steam Workshop.

Lambent Stew's free, web-based Steam Time Analysis tool laid bare my backlog of shame by breaking down time spent (or not spent) on each of my library's games like some sort of cold, ruthless PowerPoint presentation. The breadth of information provided is quite impressive. Over email, Stew told us the new build includes a few new features that further visualize users' habits.

You're now be able to compare your profile with those on your friends list for games owned, how many were played, and total hours played. (Our own Executive Editor Evan Lahti only played around 16 percent of his over 1300-game stable, the lazy bum.)

Similar to another homebrewed utility, a new worth calculator also provides combined figures for minimum, maximum, and current game prices in your library. Locating your own profile should be easier with improved search: just type in your Steam profile ID, and the tool should easily zero in on your data.

Check out the tool for yourself on Lambent Stew's website. How do you rank against your friends? What's your most-played game?

Games get a bad rap for being a solitary, violence-obsessed form of entertainment. But they can also be a collaborative, violence-obsessed form of entertainment. Just ask the close-knit PC Gamer team.

Tom F: Co-op based games teach us the value of teamwork better than any kitten based motivational poster, by showing us how many more of our enemies we can crush if we can just learn to work together.

Graham: They’re not just violent either. We can build giant penis statues together in Minecraft. No, wait, that’s bad. We can control egotistical millionaires in FIFA! Oh God, no. Rich?

Rich: Well, Supreme Commander celebrates the pioneering spirit, by asking us to build a host of clanking deathbots... I got nothing. Chris?

Chris: Uh. Diablo III shows that hell is easier with other people? Hm. Senior? Bail me out?

Tom S: I can’t, I’m too busy shooting these damn zombies. Stop intro-ing and let’s go play together.



Portal 2 - 2 players, Online
 
How does it work? You and a friend play comedy robots in co-op-only test chambers.

Why is it good?

Tom F: The puzzles get magnificently complicated when designed for two. You can jump through each other’s portals, so you’re often setting up a jump that your partner will perform. And because every puzzle requires two players, you’ve got to figure out where to put four different portals, and coordinate your approach. It bent my brain in the same ridiculous ways that Portal 1 did.

Graham: I use my portals to make a corridor slick with gloopy paint. Tom places his at either end of the corridor, creating the world’s first infinite slip ’n’ slide. I run down it and build absurd momentum, and as I reach terminal velocity, Tom moves one of his portals so that when I exit, I’m flung out over a chasm filled with acid. Co-op Portal 2 means entwining not just your portals, but your brains.



Minecraft - 2 to many, online or LAN
 
How does it work? Join a server and collaborate with friends – or strangers – to build the biggest, best, and most phallic structures you can.

Why is it good?

Rich: Within minutes, I was building a spa. I don’t know why I was building a spa. No one had said “let’s build a spa” in the chat channel, but there it was, forming before us. Graham, now-departed Craig Pearson and I, had hollowed out an underground chamber, constructed a raised dais of glass, and diverted water to create a lovely jacuzzi pool. Our subterranean sauna was lit by lava, and we sat in it, content.

Graham: My first time was on a new, private server with a few folks from the PCG community. In three hours we dotted the landscape with giant Darwinians, and built an underground bunker with launch missiles, library and steam rooms to avoid a player who had built an ugly golden bridge around the world. It felt like I’d spent an afternoon building sandcastles with friends.



Fifa 12 - 2-5 players, local
 
How does it work? Two or more players join forces to defeat the nefarious forces of Computron, the dark lord of kicking.

Why is it good?

Rich: Football is incredibly frustrating. FIFA recreates that frustration perfectly: genius moves undone by idiot players. But in co-op, I managed to reduce that frustration through one simple method: blame someone else. I think I’m great at FIFA 12 at the best of times; when I’m playing in co-op, I’m flawless. Graham, on the other hand, is terrible.

Graham: And Rich smells bad. For a while, we were playing two-on-two, but then our fourth man lost interest. We started playing two-on-one. Here’s what we found: the player controlling a team on their own has the advantage. To work together in FIFA is to anticipate the other’s moves, making runs and pulling away defenders. If you do it right, you’re unstoppable. If you’re Rich and I, Rich smells bad.





Diablo 3 - Up to four, drop-in, drop-out co-op across the whole campaign
 
How does it work? Every player you add to a game of Diablo III boosts the health of your enemies, increasing the challenge – but far less than it did on launch, when damage increased as well. Otherwise, it’s just Diablo III with more people.

Why is it good?

Chris: D3’s normal difficulty is very easy, but it gains a lot of life if you’re doing it with friends. Experimenting with new skills adds a slapstick dimension to demonbashing that’s better with other people. It’s basically that bit from Lord of the Rings where Legolas and Gimli are competing to kill the most orcs, strung out over 15 hours.

Tom S: Having a friend or two around gives you more freedom to experiment with new abilities. If you’ve got a Barbarian chum to wave and shout and take punches to the face, you can sacrifice a defensive ability for that demonic ghost bat bombing run skill you’ve been dying to try. Few things amaze and terrify a co-op partner as effectively as an unannounced demonic ghost bat bombing run.

Chris: It used to be that co-op Diablo III didn’t work: it was too diffi cult, and actually reduced the amount of loot you seemed to get. Patches have since redressed the balance, and working together to crack Inferno is a satisfying challenge.



Alien Swarm - Up to 4 players, online

How does it work? It’s a top-down shooter where you control a squad of four marines shooting aliens in a scripted campaign.
 
Why is it good?

Rich: People love swarms. The swarms of aliens in Alien Swarm (clue’s in the name), are best dealt with by coordination: one of your group becomes point-man, clearing rooms with shotguns and flamethrowers. Another takes up the rear, machinegun blaring to dissuade any would-be alien pouncers. This coordination is the result of a kind of natural, happy trance that players fall into, rather than tiresome enforcement.

Tom F: I’m a Medic, which used to mean I was the sensible, cautious, team player. Until I realised I could take a chainsaw. It’s terrible. It’s a terrible weapon, don’t use it. You can’t just charge into alien hordes, blade revving. OK, just one more go.



Trine - Up to 3 players, online or LAN
 
How does it work? Each player can transform themselves into a thief, warrior or wizard at any time. In the mode we play, you can have two Thieves at once if you like.

Why is it good?

Tom F: It’s a physics-based platform puzzler, which in co-op means dropping heavy objects on each other for fun. The wizard can create boxes and levitate them, and your co-op partner can stand on them. Most of our solutions involved carting each other around on telekinetic elevators.

Graham: Trine’s best class is the grapple-hooking, arrow-firing thief, because of the arrow-fi ring but specifically because of the grapple-hooking. In the singleplayer game, you’re forced to switch away from the thief to navigate obstacles and fi ght larger enemies. In co-op, two thieves are better than one, and combined you’re able to spend more time as a swinging idiot. The best kind of idiot.



Left 4 Dead 2 - Up to 4 players, online or LAN
 
How does it work? - There are lots of game modes now, but the one we play most is still the campaign: four players against the AI-controlled zombie hordes.

Why is it good?

Tom S: I ran through Left 4 Dead 1’s campaign on its hardest diffi culty setting with a group of regulars. We played in the 4 6 5 same small room for many hot, panicked hours until our cries of fear overruled the rattling pistol fire coming out of our speakers. The defence events and climactic mission fi nales offered us a chance to take stock and plan, but the best moments happened when those plans disintegrated in the face of an unexpected Tank charge, or a perfectly placed Witch.

The AI director never quite offered the longevity that it promised, and the monsters lost their scare factor after a while, but Left 4 Dead is still a superb, if harrowing, co-op experience. Ever since Valve ported the fi rst game’s superior maps into the sequel, Left 4 Dead 2 has been the better choice of the pair.

Tom F: There’s an achievement for winning a garden gnome on the fairground level, and taking it all the way through the rest of that campaign. For me, that is the game. It takes both hands to carry the gnome, so whoever’s holding it can’t fi re their weapons. You can set it down and grab it later, but among huge crowds of zombies and charging Tanks, it tends to get kicked around with alarming force.

So you take it in turns to sacrifice your firepower and carry the precious cargo, relying completely on your friends to protect you and your porcelain companion when it’s your turn. If a zombie does get to you, all you can really do is bash him with the gnome.

The carnival finale, set in a huge stadium, was just too intense for any of us to survive it gunless. So when the helicopter finally arrived to bail us out, the real challenge was a frantic scavenger hunt for a chipped red hat among the seething infected. Finding him, grabbing him, and making it out alive was the most nail-biting co-op experience I’ve ever had with the game.





Half Life 2 - 2-10 players, online or LAN
 
How does it work? The Synergy mod enables two or more of you to jump straight into Half-Life 2, Episode One or Episode Two’s singleplayer campaign.

Why is it good?

Tom F: Half-Life 2 is a huge and amazing adventure. And while there are a lot of great co-op games, there aren’t many that are huge and amazing adventures. People don’t make long, varied, story-driven journeys through meticulously detailed and gorgeous places when they’re making a co-op campaign. So a mod that makes Half-Life 2 and its two episodic expansions work cooperatively is an amazing discovery. I don’t know how it works, but it does.

Graham: Tom and I played through the entire of Half-Life 2, and into Episode Two, over many happy lunchtimes. The best part is the Highway 17 segment in Half-Life 2. You’re both given your own buggy to drive across the countryside, and the solitary bungalows that dot the coast are perfect for cooperative assault: one person bursting through the front door while the other circles around the back. The Combine only seem to be expecting one of you, for some reason...



Rainbow Six: Vegas 2 - " players in campaign mode, 2-4 players in terrorist hunt, online or LAN
 
How does it work? We play Terrorist Hunt: you and the other players have to clear out a big, complex building in which a fixed number of terrorists run around and try to ambush you. It’s brilliant.

Why is it good?

Tom F: Terrorist Hunt is an immediately exciting concept, because it feels more like a simulation of a real armed-response firefight than any campaign level could be. You can’t be sure the level designer isn’t going to have the terrorists suddenly come from behind you, because the level designer doesn’t make that call: the terrorists do.

Graham: It’s doubly cool in co-op, because the challenge is so overwhelming. Even with the foresight of a snake camera under the door, it’s just tough to take out six terrorists in a room before any of them kill you. So you plan: I’ll take the left two... You throw a frag... I’ll come from the other door... You rope down to the window. And then you completely screw it up.



Mass Effect 3 - Up to 4 players online
 
How does it work? Fight to complete a mixture of objectives on small but open levels against randomised enemy forces. Level up characters and promote them into the singleplayer campaign to improve Shepard’s chances.

Why is it good?

Chris: ME3 multiplayer takes what is good about co-op survival modes – last-stand heroics and impromptu acts of daring – and adds incredibly varied races, classes and weapons that prevent it from ever becoming samey. Right now, I’m enjoying a Quarian infi ltrator that disintegrates enemies at close range with the Reegar Carbine, a gun we’ve come to call THE PLASMA HOSE. I’m just as happy charging around as a Krogan vanguard, or racking up headshots as a Turian sentinel carrying a Black Widow.

Tom S: New classes and bizarre new weapons are added regularly through free updates. You’re always holding out against waves of familiar enemies, but the variety of ways in which you can off these enemies expands every month. The N7 classes BioWare added recently push the boundaries of what the Mass Effect universe can sensibly contain. The Shadow can dart across the map and slash foes with a psychically infused katana, the Destroyer’s weighty carapace gives him the grounding to wield a rapid-fire grenade launcher with decent accuracy and the Slayer is a teleporting martial arts expert. With so many powerful abilities to choose from, playing with friends becomes more about showing off than anything else.

Chris: BioWare’s free updates to the game have been excellent and generous, particularly the new maps. They’ve drawn me back to the game and kept it feeling fresh, which is essential for co-op.

SCREENSHOT MISSING

Supreme Commander - 2-7 players, online or LAN
 
How does it work?

Start a multiplayer game, put all humans on team 1, and some nice tough AIs on team 2. Crush.

Why is it good?

Tom F: It’s not the first co-op game you think of, but playing it cooperatively is how we’ve had the most fun with it. It can be dauntingly complex, so it’s great to have friends in there to help out if you forget to build anti-air or crash your power economy. In theory. In practice what usually happens is we beaver away on our own bases in silence for seven minutes then one of us says “Shit, fuck, they’re dropping in my base and I forgot to build point defence again, have you got anything that can help?” and the other says...

Graham: No, soz :(

Tom F: It’s about hatching your own masterplans, surviving long enough to see them complete, then raining the giant robotic fruits of your labours down on the enemy at the same time. My giant laser spiders are ready! Your flying fortresses are ready? Let’s go! My towering Galactic Colossus is ready! Your swarm of invincible death bricks is ready? Let’s go!





Dawn of War: Last Stand - Up to 3 players online
 
How does it work? - Unlike the main game, Last Stand gives you only one hero each. You’ve got to fi ght off increasingly tough waves of enemies until you die (likely) or beat wave 20 (unlikely). After the match, you usually unlock new equipment for your character.

Why is it good?

Tom F: I didn’t really get Last Stand until I levelled up a few times. The fun is in discovering new builds, and the role they can play in your group. As the Ork, I thought I was the longrange damage dealer: my autocannon certainly works for that, and when enemies get close I use my teleporting armour to get away. The notion of using the much tougher set, the one that can’t teleport, seemed pretty ridiculous. Until I unlocked the knife. The knife doesn’t do much damage, but it regenerates your health. Add some armour bonus trinkets, a self-healing trait, and an item that stops me being knocked down, and I can turn myself into an unstoppable tank. Suddenly I’m the guy charging into a nest of Tyranids to keep them off my friends, and coming out at full health.

Tom S: In the grim darkness of the future, three dudes battle ridiculous odds in a small stone circle. The setup may seem contrived, but DoW2’s overlooked co-op mode does a much better job of realising the Warhammer 40K fantasy than the campaign. Absurdly powerful heroes dominate the fiction, so I got a kick out of levelling up my venerable Space Marine captain and testing him against the hordes.

Last Stand understands 40K’s scale as well. The final waves throw more foes into the arena than you’ll see in any of the singleplayer missions, so victory may seem impossible. After a few levels you can start combining your heroes’ most powerful abilities to create a maelstrom of death. The glorious slaughterfest that results is worthy of a Space Marine’s final heroic moments.



Killing Floor - Up to 6 players, online or LAN
 
How does it work? Fight together to fend off waves of mutants, then stock up on guns and ammo at a shop that’s never in the same place twice.

Why is it good?

Chris: Without its guns, Killing Floor would be the bleakest, muddiest depiction of Britain at the end of the world since a bunch of Romans said “let’s go home, it’s cold and everyone here is mental.” With its guns, it’s one of the most satisfying co-op shooters around. My favourite is the bolt-action rifl e, which takes mutant head-popping and turns it into an avant garde musical genre. Bang! Chunk. Click. Bang! Blargh! Splatter.

Rich: I like the dual desert eagles. They go ‘whump’, like a pie dropped down a hole. But a really big pie, one that kills anyone unlucky enough to be standing under it in a spray of arterial blood. And when it kills them, this pie, it makes everything slow motion for a while, so your team can marvel at your incredible pie-dropping-stroke-gun-shooting skills.

Chris: Definitely play it with voice chat, though. Partly so that you can coordinate properly and warn your friends when they’re about to be sawn in half, but mostly so that you can talk over the truly, deeply dreadful voice acting. I started playing it during the Portal 2 promo campaign, when all the shopkeepers were replaced by GlaDOS. It was a huge improvement.



Borderlands 2 - Up to 4 players, online or LAN
 
How does it work? The whole campaign is playable in drop-in, drop-out co-op.

Why is it good?

Tom F: Two reasons – for one, the different abilities of each class mix well in a team fight. It’s great to see your Siren pluck a boss up into the air, and into range of your Commando’s turret and your Gunzerker’s... gunzerk. Secondly, cooperative play is good for diffi culty spikes, and Borderlands 2 sure has those. Dealing with an inordinately tough boss is less frustrating when there’s a whole a bunch of you coming up with new ideas and tactics, and a wider variety of weapons to try.

Tom S: Almost anything can pop out of Borderlands 2’s unfolding robot boxes. It could be a revolver that shoots lightning grenades, it could be a glowing, five-foot-long sniper rifl e with an enormous bayonet on the end. Whatever you get, it’s always better to have friends there to go “WOAH” or “whaaaat” or “give me that immediately.” Borderlands 2’s batty enemies are more fun to fi ght in a team, a constant stream of new gadgets to crow over makes it feel like the best sort of trick or treat trip, the sort where you get bazookas instead of sweets.



Arma 2 - 2 to many, online or LAN
 
How does it work? Players can join and play custom missions with each other, or mess around in the weapon playground add-on pack, Private Military Academy.

Why is it good?

Rich: The first time I played an Arma 2 custom mission with Marsh and Owen, it ended with me rolling sideways up a hill and giggling like a maniac. The second time, we were shot before we realised what the ‘open backpack’ key was mapped to. The third time, we found ourselves on a hillside, standing next to a crumpled chopper. It was dark, but the sky was brightening slowly as the sun rose somewhere off in the east. It would’ve been idyllic, were it not for the crowd of ornery locals taking potshots at us.

Together, we made it into a nearby settlement, where our rendezvous chopper was settling down into the dust. We sprinted towards it, tracer fire whistling over our heads, as we howled fears for our safety down our microphones. We were silly men, but Arma 2 quickly made us feel like (mildly inept) soldiers.

Marsh: Most of the time, my Arma 2 experience seems to consist of dying instantly or getting stuck in rocks. But occasionally, you roll the incredibly-complex-emergent-behaviour dice and get a scene as gripping and fluidly dramatic as anything from Full Metal Jacket. I don’t mean the toilet-suicide sequence. Running for that chopper with a busted leg and three shots left in my pistol as the enemy tightened the noose was one of the most extensive workouts my heart has undergone in many years. And it wouldn’t have been half the experience without Owen and Rich bellowing, “COME ON! YOU CAN DO IT!” as I lurched the final few yards.

Have you got any plans this weekend? Maybe you're thinking about going somewhere nice or meeting up with a few friends. Fool! Weekends aren't about that any more. These days, they're for trialling games that have been made temporarily free to play, then pondering whether they're worth the rather hefty discount they've also been given.

From now until Sunday evening you can download and play the hardcore World War 2 multiplayer FPS Red Orchestra 2. Should you find doing that a pleasurable experience, there's a 75% discount in effect until Monday, bringing the game down to £3.74.

This is all to celebrate the release of the Fall 2012 Free Content Pack, which brings a new map - Barashka, from the first Red Orchestra - and a redesigned Countdown mode.



There's also a 75% discount on the Tripwire bundle, which includes both Red Orchestras, first-person puzzler The Ball, Dwarfs?! and the rather good zombie co-op FPS Killing Floor.

Anyone planning to give this a shot? RO2 was pretty wonky on release, but I've since heard that it's been fixed up nicely and is well worth a try.

I love having new excuses to hop back into Killing Floor. Tripwire continues to sprinkle absurd themes (like Summer Sideshow, or Hillbilly Horrors in October) into its wave-based survival game, and each is a pleasant, casual context that tempers some of KF’s inherent, backpedaly hecticness.

Going live sometime on Tuesday, December's special event is Twisted Christmas III: Evil Santa’s Moonbase. It features low gravity monster-killing, a dwarven battle axe, new character and weapon DLC, and an in-game scavenger hunt. Tripwire invited me to play the new content in advance, and I've shared some footage of our match below.

http://youtu.be/idui9cJtnMg

Tripwire told me that Twisted Christmas III was put together over the past three or four months. President John Gibson says the promotional events continue to boost interest in Killing Floor, which hit a million in sales back in February 2012. “The sales are cool, but really it’s just fun for us to developers to step out of our game. To say, ‘Hey, let’s make a guy with a gingerbread cane as a spike on his arm,’” Gibson says.

Compared to previous KF promo levels (like the terrific Portal 2 crossover stage), the new Moonbase map felt a little confining to me, especially considering the new verticality provided by lowered gravity. But the weapons were fantastic: the Zed Eradication Device feels obnoxiously powerful and cool—it's a split between a high-end DOOM weapon, Ghostbusters’ proton gun, and the Aliens motion tracker.

To unlock the ZED for purchase (permanently, for all team members), you have to work together to find 16 weapon parts scattered through the map in a single round—a metagame that should provide another excuse to replay the map. I also liked the Dwarfish axe, a handsome melee weapon that can knock enemies back, and the resulting physics usually sends them flying awkwardly, hilariously into the ceiling. Shotguns also propel you through the air if you fire them mid-jump. “The automatic shotgun basically becomes a jetpack,” one Tripwire dev commented during our match.

Twisted Christmas III runs until January 3. Watch the official event trailer below, and visit Tripwire's helpful Twisted Christmas III page for a look at the new weapon and character DLC associated with the event.

http://youtu.be/L2JHYGvo4F4

The year is 20XX. Over-reliance on mysterious "cloud storage" and catastrophic "Y2X" software failures have devastated the world's supply of PC games. You can only choose five games to preserve. What's at stake? Oh, just the fate of PC gaming and ten dollars. Yep, that's (mostly) right: drop by GOG this week and you can liberate five DRM-free games from their servers for only $10 (around £6).

There are 20 games to choose from, including the likes of Resonance, Gemini Rue, Torchlight, and Trine, and a combination of the most expensive nets $60 in savings. It's the perfect opportunity to be a hero and save great games for future generations, who will laugh at our local hard drives until the digital apocalypse brings their networks crashing down.

And this is just the beginning: every year in the US we spend a certain Thursday eating large birds, then the subsequent Friday spending billions of dollars to adjust retail outlets' yearly earnings reports. It's weird, I know, but we do benefit with big discounts. Rumor has it that Steam's Autumn Sale starts tomorrow, so prepare to trample their servers as well.

Red Orchestra 2, our 2011 multiplayer shooter of the year, is now on Steam Workshop. As I write, only one map and a selection of SDK tutorials have been posted, but phase two of Tripwire's $15,000 RO2 mapping contest should incite a blitzkrieg of community-made content for the WWII shooter.

Also, for the next few days, the Tripwire Interactive Bundle is 75% off on Steam. That's $15/£12.49 for Red Orchestra, Red Orchestra 2, Killing Floor and its DLC, The Ball, and Dwarfs!? (I wasn't angry and confused about that list, the game is called "Dwarfs!?" Or is it?!)