Games can be about a lot of different things. They can be about war or romance, politics or zombies, or everyday life. Heck, they can be about all of those things at once. Sniper Ghost Warrior 2, as you might have guessed from the title, is a game about being a sniper.
The game came out yesterday, but I was unable to get a copy of it to review before release, so I downloaded it from Steam and gave it a run. I thought I'd share some impressions after playing it for a couple hours last night.
Ghost Warrior 2 feels as though the developers at City Interactive said, "You know that great Chernobyl sniping mission in Modern Warfare? Let's make a whole game that's like that." Which, you know, there are totally worse ideas out there. I never played the first Ghost Warrior game, but everyone I've talked to about it characterizes it as an interesting, if flawed, game. The hook is tempting—here's a game that revolves entirely around sniping, with none of the annoying cover-shooting and grenade-tossing histrionics other first-person shooters focus on.
At first glance, Ghost Warrior 2 feels and moves like a Call of Duty game—it's a first-person military shooter through and through. It was made using CryEngine 3, the same tech that powers Crysis 2 and 3, though while it looks nice enough, it's nowhere close to either of those games in terms of looks or production values.
You spend the first mission doing the same "FPS-Follow" that you do in Call of Duty games, sticking with your teammate, moving when he says move, holding when he says hold. It really is like that Chernobyl level, but set in a swamp. The accouterments are also very Call of Duty-like: Loading screens have a familiar military-style readout, and gruff boring soldier types holler out military jargon like many a Ghost Recon or Black Ops game. The story is... let's not even go there. It's as rote as military FPS stories get.
But when it comes to the action, Ghost Warrior 2 takes a left-turn. From what I've played, the game seems split into two sections—sniping and sneaking.
The sneaking happens whenever your character, Anderson, needs to relocate from one sniping vantage point to another. You'll come across enemy encampments that you'll have to either clear out or bypass. I've found the sneaking to be okay, so far, though it's mostly trial-and-error. If you get spotted, every enemy in the area is instantly on alert, and they'll all charge you and likely gun you down.
This is much more of a stealth game than its FPS brethren, which is neat, save for the fact that the game has already had a couple of egregiously spaced-out checkpoints. Last night I lost about 10 minutes of progress several times over, passing one outpost and dying at the next, only to restart before the first. With a game this unforgiving, the lack of a quicksave option is annoying.
The sniping is fun, as far as it goes, as long as you don't move too far outside of the prescribed way of doing things. In the first few scenarios, I covered a group of my special forces bros as they moved through a series of buildings. They'd call out targets, and I'd take them down. It was fun, if very linear—so far the game has mostly felt like a shooting gallery, albeit an enjoyable one.
When you're not escorting a group of teammates from on high, the sniping challenges get more interesting—you're alone, and have to take out an outpost of dudes without any of them seeing the others go down. That means you'll have to think about the enemies' line-of-sight, and pick off dudes in the right order. The AI is hardly realistic—whether or not they were immediately visible, I'd think a guy would notice if his entire team suddenly became dead. If you alert an enemy to your presence, his friends will also go on alert, but they'll mostly just sit still behind cover and wait for you to kill them. Occasionally, they'll rush your position, but mostly they'll just sit still. That said, the general setup of these scenarios is pretty fun, and lends a puzzle-like quality to the challenges.
The bullets all react to the game's physics, meaning you'll have to correct your aim to account for drop-off. This isn't as much of a consideration at medium range, but during the long-range sniping bits, you'll have to aim significantly off-target to score a hit. Fortunately, on normal and easy difficulty, holding your breath brings up a small red dot that gives an inclination of where the bullet will land. I couldn't quite grok how the red dot worked—sometimes it'd turn up, but other times it wouldn't. But for the most part, holding my breath would make it appear. You can see the red dot in action here:
There's also a pretty cool "bullet-cam" mode that activates when you land a final room-clearing shot, as seen in the gif up top.
In another interesting touch, your character's heart-rate winds up being an important factor. If you run too far, your breathing will increase, and your aim will suffer. Lay down and catch your breath, and you'll be able to hold it longer to steady your shot. It's one more reason that fast-paced, hectic gunfights almost always end in your death.
So far, Sniper Ghost Warrior 2 feels like a gussied-up budget title, which I guess is more or less what it is. I don't get the sense that the campaign is going to be very long, or that it'll offer much replay value. It's only $30 on Steam right now, and it wouldn't surprise me if it got even cheaper in a hurry. But because the game isn't trying to go toe-to-toe with Call of Duty or Battlefield in terms of features, it's able to narrow its focus in an interesting way. The levels I've played have mostly been linear shooting galleries, but they've been reasonably enjoyable ones.
Basically: It's a game that tells you how many double-headshots you scored at the end of every level. Keep in mind that these are just some first impressions—I've noodled around with the game for a few hours, but haven't tried multiplayer or messed around with the highest difficulty setting. So far, I'm not in love, but I wasn't expecting to enjoy it as much as I have been, either.
With more than 10 million monthly players between Facebook and the Mac app store, Cmune's UberStrike is one of the most popular first-person shooters you may have never heard of. Today's free-to-play move to iPad and Tegra 3 tablets should make it a little harder to ignore.
It'll be interesting to see how more discerning tablet gamers react to UberStrike, a highly-capable but not very pretty first-person shooter, especially considering they'll be playing with touch controls against folks doing it up mouse-and-keyboard style. I would think a touch-based control scheme, no matter how advanced, would be inferior to traditional FPS controls. Cmune co-founder and UberStrike chief architect Shaun Lelacheur Sales tells us it's a pretty close battle.
"We were worried tablet players would get crushed by web players so we segregated servers to protect tablet players. But during recent tests at tablet LAN parties with the agile control scheme we designed, iPad and Android users could hold their ground fairly well! A few more steps in that direction and we will have a truly cross-platform game."
I hopped on the iPad version earlier today, and found myself in a gigantic map meant for eight players (the game recommends mobile players stick to a max of six for stability's sake). I saw maybe one of my opponents the entire time I played — this was a really large map.
I did manage to kill that one person twice, so the game shows promise.
Get UberStrike on iPad or Tegra 3 and try it out for yourself.
This Wednesday edition of Kotaku's The Moneysaver catches all the offers, promotions and bargains that can't wait until the weekend. The Midweek Moneysaver is brought to you by Dealzon.
GameStop
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As always, smart gamers can find values any day of the week, so if you've run across a deal, share it with us in the comments.
The rain has subsided, the clouds slowly dissipate and the forecast for this summer is golden-yellow sponge cake with creme filling, as private equity firms Apollo Global Management and Metropoulos & Co confirm a $410 million winning bid for the Hostess brand.
After failing to pull clear of bankruptcy in November of last year following a lengthy labor dispute, Hostess Brands closed its doors, leaving the fate of the king of snack cakes uncertain. Within days, store shelves across the country were picked clean, causing fans of the Twinkie to seek shelter in less savory places.
But there is light at the end of that spongy, creme-filled tunnel. Now the company is in the hands of, among others, one C. Dean Metropoulos. He's the man that bought the Pabst Brewing Company in 2010 for $250 million. He is the lord of the PBR, a beer created for people that don't like to spend a lot of money on beer that's recently been embraced ironically by people that have plenty of money to spend on beer.
In an official statement (via CNNMoney), Metropoulos promised a summer return for our lost hero.
"Our family is thrilled to have the opportunity to reestablish these iconic brands with new creative marketing ideas and renewed sales efforts and investment," said Metropoulos. "We look forward to having America's favorite snacks back on the shelf by this summer. We are also ecstatic to bring jobs back to many cities across the country."
Apollo and Metropoulos now own Hostess and Dolly Madison. Flowers Foods snagged the bread business last month, so Wonder Bread is covered. The only major player still up in the air is Drake's — that's Ring Dings, Devil Dogs, Yodels and Yankee Doodles. The current high bidder for Drake's is Mckee Foods, the makers of Little Debbies. Such an incestuous business. It almost needs a racy HBO miniseries.
So rest, America, and dream your creme-filled dreams. They'll be coming true soon.
A New York federal jury has ruled that Nintendo infringed on inventor Seijiro Tomita's 3D technology with their handheld 3DS, Reuters reports. The jury awarded Mr. Tomita $30.2 million in compensatory damages. Yow.
From Reuters:
In opening arguments last month, Tomita's attorney, Joe Diamante, told the jury in U.S. District Court in Manhattan that Nintendo used technology that Tomita developed for its 3DS. Tomita is a former longtime Sony Corp employee.
But Scott Lindvall, a defense attorney for the Super Mario Bros franchise creator, argued that the 3DS doesn't use key aspects of Tomita's patent.
Lindvall also said a 2003 meeting with Nintendo officials that Tomita cited in his argument was merely one of several the company held with vendors selling 3-D display technology.
We've reached out to Nintendo for comment and will update if and when we hear back.
Update: Nintendo of America has provided the following statement:
A jury awarded $30.2 million in damages to Tomita Technologies in a patent infringement lawsuit brought by Tomita against Nintendo. The Tomita patent did not relate to the 3D games playable on the Nintendo 3DS. The trial was held in U.S. District Court in New York before Judge Jed Rakoff.
Nintendo is confident that the result will be set aside. The jury's verdict will not impact Nintendo's continued sales in the United States of its highly acclaimed line of video game hardware, software and accessories, including the Nintendo 3DS. Nintendo has a long history of developing innovative products while respecting the intellectual property rights of others.
U.S. jury finds Nintendo liable for patent infringement [Reuters]
I live in New York City. Everyday I ride the subway to work; most people here do. I haven't owned a car in 10 years. I live in the densest large city in America, one full of massive skyscrapers, immense culture and people of every race, culture and creed.
Which is why SimCity is so confusing to me: It's a city game without any subways.
I grew up playing SimCity 2000. In many ways, it was a game that shaped what I thought an ideal big city should be and psychologically prepared me for the experience of living in one. The most efficiently made cities in that game followed so many of the conventions I would later find here — the grid system, the emphasis on population density, and above all the idea that public transit is key to making any city grow and function well. Look hard enough, and you'll find the DNA of New York City in SimCity 2000.
The new SimCity is not a game about big cities. It's not a game about making London or New York or Paris or Tokyo. SimCity is a game about the complex ecosystems that exist between medium size cities and towns, about urban and suburban sprawl. It's a game that I've really grown to enjoy.
Part of the problem is the roads. In the new SimCity, the roads dictate the maximum density of your buildings; the idea being that more traffic allows for more growth. And while this is true a lot of the time, life doesn't always work that way in a sprawling metropolis where space is at a premium. If that were the case, then the Financial District in New York, with all its tiny, one way side-streets, would still be full of tiny Dutch buildings.
Ideologically, much of SimCity feels rooted in the failed legacy of infamous New York City urban planner Robert Moses. Moses believed that highways and suburban commuting were the key to urban growth. Saying once of his plan to bulldoze big parts of lower Manhattan to make way for a 10-lane super-highway "We simply repeat, that cities are created by and for traffic. A city without traffic is a ghost town". Moses was rebuked, the highway was never built, and history has since vindicated his opponents.
Subways are essentially a space-saving hack. They encourage density without causing clutter, and unlike trolley-cars and buses they're not beholden to the ebb and flow of traffic. It's the reason why so many of the most psychotically dense cities ever built in the history of the SimCity franchise have no roads, existing exclusively on subways. It's also why only about 54% of people in this city even have cars and why even fewer commute with them.
I'm not saying that subways are ideal or that focusing on building density creates a world that is somehow magically happier. I'm not saying New York City's design is without flaws (believe me, there are many) or even that there is such a thing as a perfect city: Part of the thing that works so well in SimCity the very idea that no city is without its pros and cons. What I am saying is that statistically more and more people are abandoning the sprawl of the suburbs in favor of living in giant cities — that a growing population is choosing to live in urban areas rather than being tethered to the perpetually rising price of gas.
A game called SimCity should be capable of reflecting that.
I'm aware that there are trolley cars and buses in the game, but that's not the point. One of the most basic, core impulses in any simulation is the desire to create a simulacrum — a proxy of a thing either real or fictional. The continued success of Minecraft is proof positive of that basic truth. But in its current state, with its small plots of land and lack of subways, I can't recreate the place I've chosen to call my home. Not only that, I can't make anything remotely resembling it.
All I want from SimCity is New York and New York is nothing without its subways.
Police Squad! lasted one, glorious, six-episode season 31 years ago. (It's still famous enough to have this memorable introduction sequence, which swapped gags each week.) The show was the forerunner to The Naked Gun, and this DayZ is a perfect tribute to the ZAZ (that's the filmmakers Zucker, Abrahams and Zucker) brand of slapstick, absurdist, deadpan humor.
The PSF DayZ Diary is behind this send-up, and say the reaction to the video has them contemplating a full episode. If you enjoyed it, they've got outtakes here.
Edit: Gah, OK, I know the headline references a joke from Airplane! That was also a ZAZ job (their first) and in many ways set the stage for Police Squad! That's why I confused it. Sorry.
DAY Z SQUAD! In Color [The PSF DayZ Diary]
Capcom just released the introductory cinematic to Monster Hunter 3 Ultimate, which comes out March 19 for Wii U and 3DS. Gorgeous, don't you think? Too bad the real game doesn't look like this.
Underrail might be in development in 2013, but its roots are decidedly old-school. We're talking influences like Fallout, Arcanum, Neverwinter Nights and System Shock 2.
The Fallout influence is visible at a glance—I'd say, this is probably what a modern isometric Fallout might've looked like. But that's only because Underrail doesn't feature a huge aesthetic departure from Fallout and I cling to the older games a little.
The premise, according to the game's website:
The game is set in a distant future, when the life on the Earth's surface has long since been made impossible and the remnants of humanity now dwell in the Underrail, a vast system of metro station-states that, it seems, are the last bastions of a fading race.
The player takes control of one of the denizens of such a station-state whose life is about to become all that much more interesting and dangerous, as our protagonist is caught amidst the conflicting factions of the Underrail as they secretly but violently struggle for the Humanity's last gem of hope.
To add to that: Underrail is a turn-based game that focuses on exploration and combat, and it looks like it has a robust crafting system too. Judging from the footage above, this might be a good way to tide you over while we get news of a new Fallout.
You can download a demo here (though there is a newer alpha available if you purchase the game here), and you can vote for it on Steam Greenlight here.
In the screenshot you see here I am being killed by zombies, but they aren't normal zombies. They are #ReplaceMovieTitlesWithPope zombies, and they are legion.
Created by Hamsteria! creator Sean McCracken (with game design support by his five-year-old son, Geoffrey), TweetsOfTheDead is a simple zombie shooter for iOS and Android that spawns enemies based on tweets from the Twitter main timeline.
For instance, say you play a game based on the tag #Zombies. The game scans for tweets containing the tag and spawns zombies for each one. Zombies spawned have the tweets that spawned them hanging over their heads, and when you finally go down you'll see the Twitter handle belonging to the author whose tweet killed you, in case you're hungry for revenge.
The shooting action is a bit primitive and light on options, but McCracken has plans to build the game into something much bigger. You can purchase TweetsOfTheDead for iOS and Android for $.99 right now, with proceeds going towards making the game even better.
"I tried to make a really fun shooter by ditching the dual stick approach and going with a one stick or a one stick + gyro control schema," McCracken told me via email. "This game is way beta still, but I have lots planned for it. This is my Anti-Kickstarter, I'm trying to make money on the MVG (Minimum Viable Game) and turn it into a real shooter with missions and multiplayer."
It's rough, but it definitely has promise. Maybe one day #TweetsOfTheDead will be its own deadliest level.