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Game Corner [Sonic Month]: Sonic the Hedgehog (2006; Xbox 360)

23/06/202303/04/2025Dr. K10 Comments

Sonic the Hedgehog was first introduced to gamers worldwide on this day back in 1991 and, since then, has become not only SEGA’s most enduring and popular character but also a beloved videogame icon and, in keeping with tradition, I have been dedicating the entire month to celebrating SEGA’s supersonic mascot.

This review has been supported by Chiara Cooper.
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Released: 14 November 2006
Developer: Sonic Team
Also Available For: PlayStation 3

The Background:
It always surprises me how often I see people online touting the myth that Sonic the Hedgehog (henceforth Sonic ’06) is some under-rated classic and worthy of your time and attention but this really isn’t the case. As a life-long Sonic fan, I first played it on the PlayStation 3 and, while I enjoyed the cutscenes and the soundtrack, I was unimpressed with the many glitches, load times, and dreadful gameplay experience and haven’t returned to it since finishing the main campaigns some seventeen years ago. Sonic ’06’s development is an interesting story; intended to celebrate the franchise’s fifteenth anniversary, Sonic co-creator Yuji Naka was eager to reinvent Sonic for the then-current generation of high-definition consoles and even had the game take the simple title of Sonic the Hedgehog to indicate its status as a series reboot (despite its numerous narrative ties to previous Sonic games). Tools like the Havok engine allowed the developers to use new lighting options, a day and night system, and craft a far more realistic setting for Sonic and his friends, who were redesigned to better fit in with this aesthetic. Two characters whose gameplay greatly benefitted from the Havok physics engine were Shadow the Hedgehog, who was able to drive and pilot a variety of vehicles, and newcomer Silver the Hedgehog, whose telekinetic powers gave him more options for interacting with the environments. It wasn’t long, however, before Sonic ’06 ran into problems; Naka left the project, and Sonic Team, to form his own company, developing the cutscenes proved problematic, and the development team was split in two to develop a concurrent Nintendo Wii-exclusive Sonic title. Despite impressing with some pre-release footage, Sonic ’06 was met with universal derision upon release; while the graphics and music were seen as somewhat impressive, the level design and camera were heavily criticised, as was the awkward romance between Sonic and Princess Elise, and the game is generally seen as the worst in the franchise. Although it received a fair amount of downloadable content (DLC) following its release, Sonic ’06 was one of many sub-par Sonic games de-listed from online marketplaces for the longest time, and SEGA scrambled to make good on their next mainline Sonic title, which was the shot in the arm the franchise desperately needed after this travesty of a game.

The Plot:
Doctor Eggman kidnaps Princess Elise of Soleanna to harness the destructive “Flames of Disaster” within her, and only Sonic the Hedgehog can save her from his clutches. However, his quest is obstructed by the mysterious Silver the Hedgehog, who has travelled back in time to stop a disaster he believes Sonic causes, while Shadow the Hedgehog works to uncover the truth behind the evil spirit Mephiles, who has stolen his form.

Gameplay:
Sonic ’06 is a third-person, action/adventure platformer that divides its gameplay between three different main playable characters, three main story episodes, and largely attempts to focus on speed or action but also muddies its concept with janky physics, puzzle solving, and exploring a large hub world. Clearly taking inspiration from Sonic Adventure (Sonic Team, 1998), the game’s characters will wander around the large, mostly barren castle town of Soleanna, chatting to eerily lifelike non-playable characters (NPC) for hints or side missions when not taking on one of the nine main action stages. Also like in Sonic Adventure, you can only play as Sonic to start with and will unlock Shadow and Silver’s stories as you progress and encounter them and you’ll occasionally get to play as other characters during action stages and in the hub world as the story dictates, though this time you do get a rudimentary (often useless) compass to guide you around Soleanna and its other areas.

*Run, grind, and spin about as Sonic but good luck controlling him in the awful Mach Speed sections.*

Across the game’s three main characters and nine total playable characters, the controls are largely the same but each one has different abilities and play styles. Pressing A lets you jump or interact with characters, X will perform a special action, and you can use the Right Trigger to activate certain character abilities as dictated by a power meter that builds up as you defeat enemies (or stays constantly full if playing as Sonic). Sonic is, naturally, geared more towards speed; pressing A in mid-air will allow him to dash forwards towards the nearest enemy, spring, or other interactable object with the Homing Attack. Tapping X performs this super janky sweep kick and slide that allows you to slip under certain walls and often leaves you sliding about on your ass like an idiot, but holding X lets you charge up and release a Spin Dash. It’s worth noting that you cannot defeat enemies just by pressing A; even though Sonic’s in a ball as normal, this won’t inflict any damage and will cause you to lose Golden Rings, the life source of your characters. Sonic’s stages are full of dash pads, springs, loops, and other gimmicks designed to get him moving as fast as the sluggish game engine and messed up camera will allow; often, you’ll be battered about like a pinball and it’s usually better to simply relinquish control of Sonic or make very small inputs to the control stick or else you could miss a jump pad or just randomly fall through the environment. Sometimes, you’ll be told to “Jump!” and have to press A to hop from wall to wall to progress; other times, you can take a short cut on a rail, and you’ll soon acquire upgrades that let you dash along a trail of Rings with X (if the game actually registers your inputs) and perform a bounce move to gain extra height on your jump, along with other far more broken mechanics I’ll talk about later. Speaking of broke, though… Sonic has a unique gameplay feature wherein some stages will require him to “Speed up!” in a “Mach Speed” section. Here, Sonic will blast ahead at the speed of sound (or the closest approximation this sluggish engine allows), barely giving you any time to react to incoming obstacles and enemies. You’ll need to jump way ahead of time to clear these hazards, and sometimes the controls and camera will force you to run towards the screen or at an angle, practically guaranteeing that you’ll take damage, fall through the environment, or just be sent spiralling to your death. As a precursor to the later “Boost” mechanic, these are some broken, glitchy, messed up sections that can burn through your lives faster than the shit-ass collision detection and are easily one of the worst parts of Sonic’s gameplay.

*Shadow’s geared more towards awkward combat and janky vehicle gameplay.*

After clearing Sonic’s episode, I played Shadow’s story, which is kind of akin to the hard mode of the game (outside of the DLC). Shadow plays a lot like Sonic; he’s fast, performs a Homing Attack and Spin Dash, hops on the same rails and boost pads and uses the same gimmicks as Sonic, such as flying on an eagle and riding water currents. Unlike Sonic, Shadow’s gameplay is geared more towards activating switches, destroying stuff, and combat; kind of like in the under-rated Shadow the Hedgehog (SEGA Studios USA, 2005), Shadow can perform the Chaos Spear in mid-air by pressing X (or holding X to charge it up), which will stun nearby enemies, and you can mash A after a Homing Attack to do a little combo. More often than not, this will either miss or see you attacking thin air; while this often still damages enemies, so broken is this game, it usually leaves you vulnerable. Shadow can also perform the Light Speed Dash and he also has a meter that builds up as he defeats enemies; once full, he can pull off a “Chaos Boost” with RT that smashes certain rocks and seems to increase his attack power (but not his durability), and this can be upgraded with Memory Shards you purchase from shops. Although Shadow doesn’t pick up and use guns and weapons like in his solo title, he can hop into a number of vehicles; you’ll take the controls of buggies, motorcycles, hovercrafts, and gliders either as an option or by choice in order to progress. You can press Y to hop in and out, A to accelerate, X to reverse, and use the vehicle’s weapons with RT, though you can’t be too trigger happy as weapons will need to cool down or reload over time. When in the hang glider, the game switches to a kind of auto scrolling shooter and has you blasting enemies and obstacles and dodging hazards to not get hurt; the hovercraft allows you safe passage over quicksand and instant death water, but they can both be tricky to control and it’s not always clear where you need to go, with Dusty Desert requiring you to pass through a series of stone columns to open a door. Other vehicles, like the buggy and motorcycle, are more optional and often ill advised; it’s better not to have to contend with the buggy’s janky collision detection and tumbling physics in Crisis City but the motorcycle can help you to catch up to Dr. Eggman’s speeding train…if you can control its breakneck speed, of course!

*Silver’s far slower and has to endure frustrating platforming and puzzles.*

Last of all, I played as newcomer Silver, who’s this naïve little telekinetic hedgehog from a wrecked future who’s come back in time to kill Sonic. He’s basically Future Trunks but far more gullible. Of the three main characters, Silver is the slowest; he trots along like he has rocks in his boots and can neither Spin Dash or roll into a ball when jumping, though he can still bounce on springs and be propelled along (and through the environment…) by dash pads. His gameplay is significantly different thanks to his telekinesis, which allows him to float by holding A, grab incoming projectiles or nearby crates and objects with RT, and hurl them back at enemies or towards destructible targets with X. These powers are tied to his meter, which refills automatically as long as you’re not jumping, and Silver can also create paths, construct bridges, or turn girders and such into springs to progress onwards by holding RT on special glowing circular spots. Silver’s gameplay is much slower and more deliberate and more focused on exploration, platforming, and puzzle solving; side quests see him navigating through rings in platforming challenges, for example, or moving or tossing objects with his mental powers, and action stages are reconfigured to allow him to charge certain platforms to spring himself upwards, carry him across gaps, balance weights with boxes, or guide large balls of magnesium through laser traps. One of his most frustrating gimmicks crops up in Dusty Desert; here, you must use Silver’s telekinetic push (which can be used with a tap or charge of X) to knock giant billiard balls into holes within ten moves. Later, you have to hit one such ball down a narrow, winding corridor trying to avoid holes and such, which can be very tricky, and Silver’s piss-poor jump and expendable meter can make platforming across temporary and sliding platforms a chore in later stages.

*You can briefly also control a bunch of slippery supporting characters who can break the game.*

As you play through each episode, you’ll get the chance to switch to one of the other three playable characters mid-way through certain action stages as their paths cross, and each character is supported by two allies who occasionally follow them across Soleanna and throughout the action stages. Sonic teams up with Miles “Tails” Prower and Knuckles the Echidna, Shadow is joined by Rouge the Bat and E-123Ω “Omega”, and Silver falls in with Amy Rose and is supported by Blaze the Cat. Each of these has their own unique playstyles, though some are shared. Knuckles and Rouge can both glide and climb walls (though good luck detaching from some walls and fighting against the camera, which tends to freak out while following you) and can attack with punches and kicks (though not with their glide…), Tails can toss Dummy Ring Boxes at enemies with X and “snipe” at them by holding the button, which Rouge can also do with her bombs (though she can also place these on walls). Tails can also fly for a short time and will get a boost by flying through mid-air rings like in Sonic Adventure, while Omega can float along and awkwardly boost up to platforms with his jetpack, target multiple enemies by holding X or perform a big power shot by pressing X in mid-air. Amy uses her signature Pike-Piko Hammer to smash enemies, but its range is so short and broken that it’s hard to avoid taking damage; she also has a pretty broken double jump but is largely a shadow of her former Sonic Adventure self. Blaze is also pretty broken; she has this homing tornado attack that sees her just dart about like she’s possessed and can also perform a flaming twirl; she’s okay as long as you keep the reigns tight with her but she (and all of these “amigos”) are very slippery and unwieldy. Generally, you switch to them to platform across a small area, take out enemies, and hit switches but you’ll also switch to controlling them in the hub world for side quests and take on easily the most frustrating stages in the game in the final chapter. When playing as Sonic, you’ll also have to carry Princess Elise to safety a few times; in these stages, she’s constantly in your arms but you can still perform a version of your Homing Attack and she’ll even shield you from quicksand and water when you hold RT, though this is dependent on your meter.

Graphics and Sound:
One of the best things Sonic ’06 has going for it is it’s awesome soundtrack; Sonic games have always had great soundtracks but, ever since the pop/punk-rock direction of Sonic Adventure, the 3D games just went from strength to strength during this time. The main theme, “His World”, is a suitably catchy tune from Ali Tabatabaee and Matty Lewis of Zebrahead, while long-time Sonic collaborators Crush 40 performed an awesome cover of “All Hail Shadow” as Shadow’s theme. Even Silver’s disco-infused jive, “Dreams of an Absolution”, is pretty great and there’s even a sappy lyrical cover of Dreams Come True’s “Sweet Sweet Sweet” by Akon included. While the hub worlds don’t exactly impress in the music department, the action stages and boss battles all fare pretty well, with the music (like much of the game’s presentation) again harkening back to Sonic Adventure. Where the game falters, however, is in the voice acting; once again, the Sonic X (2003 to 2005) cast return and, once again, I remain unimpressed by Jason Griffith’s stilted, unenthusiastic portrayal of the character. Every word out of his mouth is lacking in emotion or passion and just sounds like someone reading a script, and Amy Palant is at her most grating as Tails but, to be fair, the script is absolutely awful at times with such cringe-worthy lines as “It looks like the princess has been moved to another location”, words not matching the subtitles, and even a botched take included. Thankfully, Mike Pollock is still great as Dr. Eggman and even Dan Green does a decent, if over the top, job as the unnecessarily dark Mephiles.

*Despite the high-quality cinematics and music, this game is a laggy, buggy, glitched mess.*

Graphically, the game is an equally mixed back; the high-quality cinematics are fantastic and another of the game’s few highlights, showcasing Sonic and his friends and enemies in all their glory. The cutscenes that use the in-game engine, however, aren’t quite as impressive; characters plod about like puppets, the physics are as all over the place as during gameplay, and there’s a distinct lack of polish to these. The NPCs are even worse, flailing their arms about and yapping their mouths just to say “Thank you” and very few of them make an impression beyond the agonising load times. Any time you want to start a side quest, you need to talk to an NPC; accept their mission and you get a load screen, then the NPC says something like “Go for it!” and you get another load screen. Clear or fail the mission and you get another load screen, then another dialogue box, then the results screen…and then another load screen. Loading screens even interrupt the action stages as well, with new areas needing to be loaded in mid-way through and this can even screw up your run as you can be dropped into the action without warning, which can cause you to miss dash pads or get hit by enemies. While the gameplay is generally okay, the controls, overall, are as slippery and finnicky as the camera; the camera never seems to be where you want it, freaks out for no reason, and is a constant source of frustration but sometimes the game just won’t register your inputs, or randomly decides it doesn’t need any inputs…until it does…or you just run head-first into an obstacle or through the environment and to your death. There are times where characters glitch out, erratically flailing all over the place, times when you can walk on vertical surfaces or ceilings, and times when the ground suddenly loses its collision detection. Collision detection, on the whole, is broken to all hell in Sonic ’06; you’ll pass right through objects, enemies can fire at you through walls and doors, and the entire game’s performance suffers as bad as an 8-bit title sometimes when too much is happening on screen.

*Stages are varied, but nothing new and basically rip-offs from* Sonic Adventure.

Sonic ’06 is also a bit weird in terms of its environments; taking the real-world-meets-fantasy premise of Sonic Adventure and really running with it, the game takes place in a castle town that’s similar to Venice or Europe but, while Soleanna looks pretty, it’s very lifeless and there’s not much to see or do. Action stages are accessed using mirror gates, which is a step down from Sonic Adventure, and many are just poor recreations of gimmicks from that game; we’ve got a beach (complete with killer whale), a snowy mountain (complete with snowboarding section and giant snowball), a volcano level (which includes a frustrating light puzzle that you’ll be doing at least three times), and even the Egg Carrier shows up again (though you don’t get to visit it here). You’ll also cross a desert (complete with instant death, barely tangible quicksand), a swamp-like jungle filled with ruins and featuring springboard lilies and turtles to ride, and storm through Dr. Eggman’s underwater base, which is full of annoying bubbles of magnesium and glass doors but does have some interesting visuals in its aquarium motif. Two of the worst stages in the game are Kingdom Valley, a ruined castle-like environment full of water and collapsing columns, and Crisis City, an apocalyptic city full of fire traps and besieged by a raging tornado. For the most part, the visuals actually aren’t too bad; the level of detail in Crisis City’s destruction is a stark contrast to the bright, cheery joy of Wave Ocean, and there are a few unique gimmicks in each stage; sometimes you’ll be jumping over mace-filled sand waves, or springing from ropes, or racing across the surface of the water desperately hoping that the game will stay stable, but mostly you’re just charging to the finish, ranking be damned, and trying not to die.

Enemies and Bosses:
For the most part, Sonic ’06 does away with the traditional Badniks and replaces them with very Sonic X-esque mechs; these military-style robots drop from the sky and hobble about shooting missiles, bullets, and plasma shots at you and, upon destruction, will fill your meter and award you points for your score ranking. Some hover in the air shooting lasers, some are smaller and more akin to Badniks and can be destroyed by targeting their leader, and some are much bigger, shooting their arms at you and requiring that you knock them down to target their power core. As the story progresses (or sooner, depending on who you play as), you’ll also battle Iblis Monsters that are very similar to the Black Arms from Shadow the Hedgehog; there’s leaping and fire-breathing lizards, flaming bats that swoop down at you, big projectile-spitting worms that burst up from the ground at the worst moments, and large magma-like titans who hurl rocks at you. Sonic and Shadow can chain together successive Homing Attacks to get past all of these, each of which slows the action down with a life bar, but Silver and Tails and the like will have to resort to throwing stuff at them. For the most part, they’re just obstacles, as annoying and inconvenient as the spikes and spike walls and flame plumes, but they’re incredibly generic for Sonic enemies and get repetitive very quickly.

*Dr. Eggman’s contraptions are sadly few and far between, and quite repetitive.*

There are eleven bosses in Sonic ’06; three are fought by all three main characters in slightly different locations in the story, two are rival battles, four are exclusive fights, and one is, obviously the final boss. First, let’s talk about Dr. Eggman’s massive mechanical monstrosities, the Egg-Cerberus and the Egg-Genesis, though neither are much of a threat. The Egg-Cerberus races around the arena smashing down columns and towers, occasionally pouncing at you, and emitting a destructive shockwave that you need to jump over. Sonic and Shadow must avoid these attacks and then grind up the robot dog’s tail to Homing Attack the control antenna on its head, then you need to awkwardly direct the machine to run into a wall to damage itself. When you’ve dealt enough damage, it’ll jump to the background and let Egg Gunners shoot at you before trying to squash you, and the fight is made trickier with Shadow as he has that janky melee function. The Egg-Genesis is much easier by comparison; this floating battleship fires missiles, Egg Fliers, and Egg Gunners at you and can only be damaged by attacking the glowing core underneath it (as Sonic) or by sending missiles and objects flying at its arms and core as Silver, Omega also battles this boss in the DLC, though this is even easier thanks to his greater arsenal of weapons, however you do have to be careful to avoid its high-powered homing laser attack and its suicide run when it’s health is drained. The only time you’ll battle Dr. Eggman one-on-one is in Sonic’s story in a variation of the Egg Viper boss from Sonic Adventure; floating amongst the clouds outside the crumbling Egg Carrier, Dr. Eggman will attack you from the Egg-Wyvern, swooping by and firing projectiles at you, blasting a big homing shot, and destroying your platforms with its harpoons. When it swoops over the gantry, you need to quickly Homing Attack the antenna and try and cause it to fly into some debris; Dr. Eggman will then send out some pods you can attack to hit him directly but, again, he’ll try and obliterate you with a suicide run near the end so be on your toes.

*Iblis comes in many monstrous, frustrating forms, though Mephiles is ridiculously easy.*

Another recurring boss is the flaming demon who has ravaged the future, Iblis. Essentially the fire counterpart to Chaos, this mindless beast is encountered in three different forms, with Silver having to battle two that are exclusive to him. Sonic and Shadow will battle Iblis’s second form inside a volcano after clearing Flame Core; this is a slow and boring battle that can get very annoying as you basically have a few rock platforms to jump to and Iblis will routinely cause more to drop from the ceiling while also destroying some in its attempts to attack you, which almost always manages to hurt you. Hop over the platforms to one of the three orbs and wait for Iblis to prep for its jump, dodging any flaming projectiles it sends your way. When it’s about to jump, activate the orb with a Homing Attack and Iblis will get stuck, allowing you to attack its weak spot on its head, and then the whole thing repeats with Iblis’s attacks becoming more aggressive and it even trying to ram you for the final hit. Silver battles Iblis’s first and third form at the start and end of his story and on a 2.5D pane; in the first encounter, Iblis blasts flaming rocks at you and tries to crush you with entire buildings, but you can simply avoid these attacks and telekinetically toss its projectiles back at it to break away its rocky outer shell. The last battle is a bit trickier; Iblis is constantly moves towards you, again raining projectiles across a small stone platform that it will chip away at until it’s completely destroyed. Iblis also sends out flaming shockwaves that you either need to jump over or stand under and conjures a massive flaming comet to throw at you. However, don’t be intimidated by its size; simply catch it with your telekinesis and send it back to the creature along with any other projectiles you can; eventually, it’ll collapse near your platform and you can float over to use the psychokinesis pad to deal big damage. Shadow also gets two exclusive battles against Iblis’s other half, Mephiles; in the first fight, you need to continuously attack his mini shades until you can perform a Chaos Boost, which will draw him out from your shadow and allow you to land Homing and melee attacks. After enough damage is dealt, you’ll switch to Omega and finish him off with the robot’s massive cannons, but you won’t have any help in the second battle. This time, Mephiles is protected by a shield and conjures large, laser-firing shadow monsters that you must defeat to build up your meter. Activating Chaos Boost again draws Mephiles out so you can attack him, though he darts about to make himself a harder target, commands his shades to swarm you, and fires a massive energy ball at you before forcing you to chain together Homing Attacks to reach him for the final hit.

*After struggling through the rival fights, all three hedgehogs power-up to* *defeat Solaris.*

Like in Sonic Adventure, you’ll also have to take on rival battles against Sonic, Silver, and Shadow. The first of these is probably Sonic ’06’s most infamous legacy; when you face Silver in Soleanna, he’ll throw shit at you and, if you attack him directly or even face him, he’ll grab you with his telekinesis and send you flying with a cry of “It’s no use! Ta-ake this!” Literally nine times out of then, you’ll get locked in a vicious cycle where he does this over and over either until you’re dead or you have to restart as you keep collecting one Ring upon damage, but you can get around this. Basically, you need to grab some Rings and run around and far away like an idiot; you won’t be able to see Silver because the camera is awful but, eventually, you’ll here him cry “How about this!”, which is when he gathers up projectiles to throw at you; this is your chance to attack him but for God’s sake dash away immediately after or else he’ll grab you. This is slightly harder with Shadow as you can’t easily chain Homing Attacks, meaning you’ll end up attacking the air instead of escaping, and Silver tends to blast you upwards as well. When playing as Silver, these battles are much easier but can still be annoying; both Sonic and Shadow can attack from afar with their Homing Attacks and you’ll have to run around like a moron waiting for projectiles to pop back in for you to throw at them. If you’re able to keep from rage quitting when playing through the ridiculously hard final stage, with its instant-death time rips and wonky physics, you’ll take on Solaris in the final battle. Here, Super Sonic, Super Shadow, and Super Silver have to take it in turns to attack the raging Sun God; you can switch between them with Y (the other two will “collect Rings” in the mean time so you shouldn’t ever run out of power) and attack with X (Super Sonic charges ahead, Super Shadow launches and charges Chaos Spear, and Super Silver captures projectiles with LT and tosses them at Solaris). It’s not massively clear (ironically, unlike other Sonic games, the supporting cast doesn’t give you clear direction) but, to start with, you need to destroy Solaris’s arm with Super Silver, then the other arm with Super Shadow, and finish it off with Super Sonic all while it throws projectiles and screen-filling lasers at you. In its second phase, Solaris is much more aggressive but it’s pretty simple to stay out of range of its lasers and switch to whichever hedgehog it’s not shielding against to defeat (and probably for an S-Rank as well).

Power-Ups and Bonuses:
As in pretty much every Sonic game, Golden Rings are your life source; as long as you have at least one, you’ll survive most attacks and, with a hundred, you’ll earn an extra life. As ever, you’ll also find Item Boxes strewn around the action stages that’ll grant you a speed-up (practically a death sentence with this game’s wonky physics!), the rare invincibility, an extra life (which annoyingly won’t respawn if you die after a checkpoint), a bunch of rings (either five, ten, or twenty), or fill your meter so you can perform Chaos Boost or telekinesis. You’ll also spot rainbow rings around the place, which will give you a score boost and act as shortcuts, and there are a decent number of checkpoints (though sporadically; some stages need more, some don’t need any). When you finish a mission or action stage, you’ll receive a ranking based on your score, time, and performance; the higher your ranking, the more Rings you earn and can then spend at shops around Soleanna. This allows you to buy upgrades for Sonic, Shadow, and Silver, such as the Light Speed Dash, bounce, and Chaos Boost, but you’ll also be able to perform more powerful attacks as Shadow and Silver to stun nearby enemies. Sonic’s upgrades take the form of gems and change the colour of his shoes; you can switch between these with the directional pad and activate them with RT for some truly bizarre and game-breaking effects. Sonic can toss an emerald and teleport to it, stop in mid-air to charge his Homing Attack, blast ahead with Mach Speed at any time, shrink, create a magnetic shield to attract Rings, and whip up a tornado to deal damage though, honestly, I never used any of these and found most of them were either useless or didn’t work as intended.

Additional Features:
There are twenty-three Achievements up for grabs in Sonic ’06 and they’re all pretty rubbish. You get an Achievement for clearing each episode, and then finishing the last story, and another three Achievements for fully upgrading each of the three playable characters. You’ll also get Achievements for finishing the story on Hard mode, completing every side mission (easily accessible from the main menu, thankfully), and for finding and earning every Silver and Gold Medal in the game, meaning you need to complete every mission and stage with an S-Rank. Silver Medals are scattered throughout the stages and Gold Medals are awarded for clearing stages and, as I said, getting S-Ranks so good luck in obtaining all of them with this dodgy game! Sonic ’06 was also bolstered by some DLC, which includes an even harder difficulty setting, a boss rush, and the “Team Attack Amigo” pack. This is somewhat similar to the last stage of the game and has you playing through short sections of the main story as the supporting characters (Tails, Rouge, etc), culminating in a boss fight against the Egg-Genesis as Omega. You’ll also unlock a sound test and movie theatre and can play a rudimentary multiplayer mode similar to the one seen in Sonic Adventure 2 (Sonic Team USA, 2001) in which two players either work together to find Chaos Emeralds or race against each other, but I can’t imagine anyone wanting to play this mess of a game with you.

The Summary:
This is the first time I’ve played Sonic the Hedgehog (2006) since I first finished it on the PlayStation 3 and there’s a damn good reason for that. Yes, surprise surprise, I do not hold Sonic ’06 in high esteem; for me, this is one of the absolute worst Sonic games ever made, and one of the worst videogames ever made, and nothing and no one will ever convince me otherwise. The potential is there, and that actually makes things worse; the high-quality cutscenes, the soundtrack, even some of the new characters and concepts are all very appealing. The call-backs to Sonic Adventure are fun…on paper, but the whole game feels like a downgrade and a poor imitation of that far superior and varied classic 3D Sonic title. But what really kills the game is the gameplay; Sonic ’06 is just all over the place, juggling too much and stretching itself too thin, and the game engine cannot handle it. Slowdown, glitches, and diabolical hit detection combined with ridiculous load times and an absolutely atrocious camera are enough to drag this game down but when you factor in the almost unplayable Mach Speed sections, the janky vehicle combat, and Silver’s slow, frustrating gameplay then you hardly have a winning formula. I give the game props for having other characters be playable, even in supporting roles, but they’re poorly implemented and it’s a missed opportunity to not allow the “Amigos” to be playable in every stage and mission. A lack of boss variety, unclear objectives, and some game-breaking shit like the Silver boss and Sonic’s upgrades only exacerbate the game’s issues; the side missions basically amount to defeating enemies or passing through rings and there’s just not much on offer to keep you coming back. Sonic ’06 is more than a slog; it’s like stumbling through quicksand and it throws some ludicrous roadblocks in your way, from racing to stop or destroy a train to desperately trying to dodge instant-kill hazards. To me, there’s little saving grace to this game; it certainly wasn’t the big reboot or return to form the franchise needed and was, instead, a slap in the face to gamers everywhere and a massively rush, missed opportunity for SEGA’s high-speed mascot.

My Rating:

Terrible

Can you think of anything good about Sonic ’06 that isn’t the soundtrack or cutscenes? What did you think to Silver and the three different gameplay styles on offer? Which was your favourite and did you enjoy playing as the likes of Tails and such? What did you think to the story, Mephiles, and the never-ending quest to rescue Princess Elise? Did you ever find all the Medals? What’s your favourite Sonic game, good or bad? How are you celebrating Sonic’s anniversary today? Whatever your thoughts on Sonic ’06, share them down below or start the discussion on my social media.

Game Corner [Superman Month]: Superman Returns (Xbox 360)

19/06/202303/07/2024Dr. K3 Comments

In 2013, DC Comics declared the 12^th of June as “Superman Day”, a day for fans of the Man of Steel the world over to celebrate Clark Kent/Kal-El/Superman, the superpowered virtue of “Truth, Justice, and the American Way” who is widely regarded as the first ever costumed superhero. This year, I’m spending every Monday of June celebrating the Man of Steel as I expand Superman Day to “Superman Month“.

This review has been supported by Chiara Cooper.
If you’d like to support the site, you can do so at my Ko-Fi page.

Released: 22 November 2006
Developer: EA Tiburon
Also Available For: Nintendo DS, PlayStation 2, Xbox

The Background:
As I mentioned in my review of the film, Superman Returns (Singer, 2006) was supposed to be a pretty big deal for DC Comics, Warner Bros. and Superman in general. Absent from cinema screens since 1987, Superman had seen a fair amount of representation in videogames in the intervening years and ever since 1979, but the Man of Steel has had a difficult history with pixels and polygons and it’s not as if videogame tie-in to movies have an esteemed reputation. Add to that the fact that Superman Returns didn’t exactly impress critically and the videogame tie-in was off to a troublesome start before it even released. Developed by a subsidiary of Electronic Arts, EA Tiburon (who had developed a handful of sports-based games for the publisher) and incorporating a large open world version of Metropolis that required players to minimise collateral damage, Superman Returns received mostly negative reviews and Superman has continued to struggle with transitioning into a successful videogame adaptation.

The Plot:
Acting as part-prequel- part-midquel, and part-retelling of the events of the film, Superman leaves Earth to investigate the remains of his home planet, Krypton. There, he incurs the wrath of the tyrant Mongul and, upon returning to Earth after five years, finds his arch enemy, Lex Luthor, enacting a diabolical plot for revenge involving Kryptonian technology while also battling some of his most notorious villains.

Gameplay:
Superman Returns is an open-world action game that places players in the cape and tights of the Man of Steel, as portrayed by Brandon Routh in the movie of the same name. The main objective of the game is to defend the impressively-realised and expansive city of Metropolis from a variety of threats using Superman’s awesome powers, all of which are available to the player from the moment the game begins. By pressing Y, players can take to the skies and can even rocket away by holding the button down. While it is a bit disorientating once you’re in the air, it doesn’t take long to adjust to it and it can be quite a thrill to blast through the air and between skyscrapers at Superman’s full speed. By holding down the Left Bumper, you can speed through the sky, going faster and faster until everything around you becomes a blur and Superman breaks the sound barrier, however it can be very difficult to make tight turns and avoid flying head-first into buildings when going at full speed. You can land with Y and, when on the ground, sprint at superspeed by holding LB, which is equally unwieldy at times.

*Rocket through the sky at breakneck speeds or blast enemies with Superman’s array of powers.*

You can target enemies with the Left Trigger and attack enemies with, primarily, X; repeatedly pressing X and adding in presses of Y and A will see Superman pull off more elaborate combos to deal more damage, although there is a significant input delay when trying to perform combos (in a change from most games, it seems that you have to press each button deliberately rather than as quickly as possible). Superman also has the full scope of his superpowers available to use as well; these are assigned to the directional pad and activated with the Right Trigger and allow you to blast at enemies with heat vision, freeze them with Superman’s freeze breath, or put out fires with his superbreath. All of these can also be augmented by double-tapping the direction and can even be worked into your combos but be sure to keep an eye on the power meter, which will deplete as you use your superpowers and take some time to refill (though you can speed this up by flying up into the sky to bathe in the sun’s rays). One of the constant problems with Superman videogames is that, thanks to the prerequisite for character’s to have a health bar, the Man of Steel is often neutered or susceptible to damage and death rather than being the powerful, superhuman hero he is known to be. Superman Returns comes up with a truly inspired solution to this problem; not only are Superman’s powers restricted by a power meter, not only does he come up against powerful alien foes and robots that are able to bash him about like a ragdoll, but he must also ensure that Metropolis doesn’t suffer too much damage from the constant barrage of attacks that befall it.

*In an ingenious twist, Metropolis takes damage in Superman’s place.*

Enemies will attack civilians, set fire to buildings, and the environment is highly destructible, meaning that cars, trees, walls, and other objects and parts of the environment can be used as weapons or destroyed and, if the city is damaged too much, Superman will fail his mission and you’ll have to either restart the chapter or reload your last save. Replenishing Metropolis’ “health” can be quite a chore; you can pick up injured civilians (one at a time) and carry them to a specific ambulance to restore a bit of the city’s health but the best way to bump its health back up is to get rid of all the enemies or the threat in play or reload your last save. Unlike the vast majority of videogames, Superman Returns doesn’t appear to autosave after you complete objectives and missions; instead, you can/must manually save from the pause menu, which also lets you view Superman’s combos, statistics, and the experience points (XP) you’ve accumulated. XP is earned by defending Metropolis from incoming comets, burning buildings, and attacks from aliens, robots, and Cadmus’ monstrous creations; when you gain enough XP, Superman will level-up and his superpowers will automatically become more powerful as a result. Superman Returns features a nice little mini map on the bottom left of the screen that shows you where enemies and ambulances are located and Superman will pick up cries of distress and be able to see objective markers thanks to his super-senses. You can also view the entire city map by pressing the ‘Back’ button but this really isn’t all that helpful as no areas, secrets, or places of interest are highlighted and the only place you can fast travel to and from is the Fortress of Solitude.

*Gameplay gets extremely tedious and frustrating very quickly.*

Gameplay gets extremely repetitive very quickly and the game’s pace is all over the place; you cannot progress the story until you’ve defended Metropolis from a certain number of random attacks, which occur either so sporadically that you’re flying around aimlessly like an idiot or happen so often and have so many enemies that it becomes annoying. You cannot just fly away from these incidents and ignore them, either, as that’ll cause a game over but, even though you’re playing as frickin’ Superman, you often end up getting bashed all over the place by a barrage of attacks and are forced to mash buttons to get Superman’s useless ass back into the fight. A certain amount of strategy is required to take on enemies, who can race away across the city or are vulnerable to certain superpowers, but it all gets very frustrating and mind-numbing very quickly. Incidents where you have to blast meteors from the sky, put out fires, save citizens, or tackle incoming tornados help to break the monotony up a bit but they’re few and far between.

Graphics and Sound:
Similar to the movie it’s based on, Superman Returns makes extremely poor use of John Williams’ iconic Superman theme; in fact, the rousing “DUN-dun-dun-DUN-DUN” doesn’t appear at all in the game and is replaced by a very generic soundalike that really undermines the entire experience. Stars Brandon Routh, Kate Bosworth, and Kevin Spacey all return to lend their likenesses and voices but, sadly, like many videogame adaptations of movies, the game’s interpretation of the film’s events leaves out many of the characters and sub-plots from the source material and provides only a very basic recap of the film as story-based missions.

*While the cutscenes look terrible, Superman’s character model is okay, especially when he’s flying.*

Plus, while these actors do lend their likenesses, only Superman appears as an in-game character model. The game’s cutscenes are quite low-quality, very blurry, and extremely limited in their detail and length but, thankfully, Superman himself looks mostly okay. When you leave him standing around, he’ll strike a heroic pose (the camera even automatically changes position for the best possible shot) and NPCs will continuous be in awe of his presence, feats, or begging for his help. Superman looks best, however, when flying at high speeds; his head and neck seem a little disproportionate to his body and, like many Xbox 360 character models, he looks a bit more like a malformed action figure than an actual person with a logical skeletal structure. Superman ragdolls around when attacked and seems quite unwieldy at times as he’s both superfast but also clunky and his attacks are slow and have a limited range; additionally, there are some wonky instances of cape physics as well but, still, it’s probably the best rendition of the character in a solo videogame I’ve seen yet.

*Metropolis may be big and impressive but it’s incredibly lifeless and empty.*

Superman’s enemies aren’t exactly much to shout about either; indeed, it seems like the developers put all of their time and effort into creating a vast city for you to fly around in. However, considering how good a job Superman Returns does of recreating Metropolis, it’s quite a dull and uninspiring experience; although cars drive through the streets and non-playable characters (NPCs) wander around the place, the city feels extremely empty and lifeless and there really isn’t that much to do or see beyond iconic buildings like the Daily Planet and areas such as Suicide Slum. Metropolis may be very grey and barren at the best of times but you can damage and interact with a fair amount of it (which is actually to your detriment as it’ll cost the city health) and the environment does change at the start of the game, where you fight Mongul and his warriors on Warworld, and in the final chapters when the city is bathed in an ominous darkness and a tumultuous thunderstorm but you never get to go inside any buildings or freely visit other environments so it all becomes very underwhelming and boring very quickly.

Enemies and Bosses:
There are three types of enemies Superman will have to defend Metropolis against: the alien forces of Mongul, killer robots created and controlled by John Corben/Metallo, and the various monstrous clones created by Cadmus. As you play though the game’s story, you’ll encounter each of these, and their many variants, in successive fashion and, by the end of the game, entire groups of different enemies will attack the city and its inhabitants. For the most part, enemies fall into some recognisable tropes no matter their appearance, being susceptible to heat vision or freeze breath or more vulnerable against objects (such as cars and debris) being thrown at them. Some are smaller and faster, zipping around on the ground or flying through the air and firing Kryptonite lasers, energy blasts, or elemental plumes at you; others are larger, requiring more combos to damage or blocking your attacks; and others will directly attack the environment to distract you with fires and such.

*Bosses like Overcast and Metallo eventually grow to gigantic proportions.*

You’ll learn the basics of combat at the start of the game, where Mongul forces you to fight his minions, Phalanx and Overcast, before taking you on himself. This teaches you how to engage with multiple enemies, use the environment to deal damage to gigantic enemies, and the importance of holding B to block or pressing B to quickly dodge behind opponents. Each group of enemies you face from that point on is directly related to the main villain who serves as the recurring and final boss of that particular chapter; thus, when trying to put a stop to Metallo, you’ll first have to stop his robot minions from attacking the city. Complete enough of these missions, and Metallo will spawn into the map and you can fight him; similar to the enemies you battle on Warworld, Metallo attacks by pummelling you, blasting you with a massive Kryptonite laser, shielding himself like a bitch, and spawning in minions to distract you. Like Overcast, Metallo eventually grows to enormous proportions and begins trashing the city, forcing you to hurl cars at him. Once you deal enough damage, he’ll try to destroy the city with a missile, necessitating that you chase after it and complete a quick-time event (QTE) to stop it and bring him down once and for all.

*Unless you use your powers in the right way, Bizarro and Riot can be a right pain in the ass.*

Next, a breakout at Cadmus Labs sees a whole slew of vicious, demonic monsters roam rampant around the city, attacking blimps and causing massive damage with their big explosive attacks. As if that wasn’t bad enough, Superman’s flawed doppelgänger, Bizarro, is also running rampant; compared to Brainiac, Bizarro is a much easier fight as it’s much simpler to avoid his lumbering attacks and land some combos on him. To put him down for good, however, you’ll need to chase after him and ram into him to stop him destroying the city with his heat vision and complete another QTE in a test of heat vision, all while desperately trying to fend off swarms of flying monsters who pummel you relentlessly. That’s nothing, however, compared to fighting Frederick von Frankenstein/Riot, who duplicates himself every time you land a melee attack and can only be defeated by blasting him and his doubles with your freeze breath and then your heat vision, which can get very tedious.

*After taking out Mongul, you’ll battle Superman’s ultimate nemesis: a giant tornado!*

In the game’s final chapters, Mongul arrives on Earth looking for revenge, bringing with him an army of Phalanx warriors and Overcast, with all three spawning into the map at inopportune times to cause massive amounts of damage. Battling Overcast’s gigantic form while also juggling an endless swarm of Phalanx warriors and contending with Mongul is a hell of a tall order but, thankfully, you can (and totally should) focus on Mongul alone in order to compete this story mission and can worry about the rest later. The opening of the game teaches you that Mongul is a cheap bastard who likes to constantly block your attacks and that’s true in the endgame as well but he’ll also attack citizens and cars and spawns in more and more minions the more damage you do. Personally, I found it easier to just keep throwing cars at him until he goes down. Ultimately, the game concludes with a series of deadly tornados threatening the city; you must blow and freeze them away, put out the fires they cause, and rescue citizens from their path before contending with Superman’s most deadly and iconic foe…a giant tornado! To dispel this swirling mass of destruction, you must blast its core with either your heat vision or freeze breath all while cars and debris relentlessly slam into you but, with enough patience, it’s pretty simple to bring this chore of a game to a close.

Power-Ups and Bonuses:
There’s nothing. Seriously, you fly all over the city fighting bad guys and righting wrongs and there’s literally nothing. The only way you can replenish health is to rescue citizens, stop whatever the current threat is, or reload your save and the only tangible power-up you get is from levelling-up. Unlike most videogames, you can’t freely spend your XP upgrading Superman’s skills individually, though; instead, his powers increase automatically, taking all agency and effort out of your hands entirely.

Additional Features:
Superman Returns has a whopping eighteen Achievements for you to earn; six of these are directly tied to defeating the game’s villains and finishing the story, while there are others for fully powering Superman up, defeating enemies with cars, lifting a certain amount of weight, or playing the game for twelve hours total (as if you’re ever going to bother doing that…). Sadly, despite the size of the city, there aren’t any fun Achievements tied to, say, knocking the globe off the Daily Planet or finding all the Planet Krypton restaurants or even finding much of anything for that matter.

*Rescue kittens, race against Mr. Mxyzptlk, or cause destruction as Bizarro!*

That’s not to say that there isn’t nothing else to do in the game; there are a hundred kittens hidden throughout the city that you can find for an Achievement and, at various points around the map, you’ll encounter Mister Mxyzptlk who’ll challenge you to completing increasingly-challenging races against him. These are quite fun but by far the most entertaining side mission are the instances where you get to play as Bizarro and cause as much damage as possible in a time limit. You can input some cheat codes to make the game easier but you won’t earn any Achievements (except for a 0G one) if you do this. As you play and level-up and explore, you’ll also acquire trophies to view in the Fortress of Solitude and unlock a couple of additional suits for Superman, which is nice, but there’s really not much to entice you back to this game once you’re done trudging through this God-awful borefest.

The Summary:
Superman Returns may very well be the most accurate and impressive Superman game I’ve ever played; being able to fly through and across an impressively-rendered recreation of Metropolis is a real blast and giving the city a life bar instead of Superman was an ingenious solution to the problem of having Superman take damage or be killed when he really shouldn’t be. Sadly, though, these aspects are the only real saving graces of this game, which is clearly a rushed cash-in produced solely to tie-into the movie. The story is basically nonexistent, the combat and gameplay extremely repetitive and boring, and the presentation is wildly inconsistent as, while the city and Superman look pretty good, the cutscenes and music and dreadful. In the end, only die-hard Superman fans will really be able to enjoy this one and, for the rest of us, it’s just a quick game to plough through to increase your Gamer Score that is more monotonous and frustrating than fun and entertaining so I’d say that it’s best avoided.

My Rating:

Terrible

Have you ever played the videogame adaptation of Superman Returns? If so, what did you think to it? Did you enjoy the wide, open world of Metropolis and the feeling of having Superman’s full abilities at your fingertips? Were you also disappointed by how empty the world is and how tedious the gameplay was? Which of the game’s villains was your favourite and why and what did you think to how the game expanded upon the plot of the film? What is your favourite Superman videogame and would you like to see something like this tried again but with a bit more time, effort, and money put into it? How did you celebrate Superman Day this year and what are some of your favourite Superman stories?

Game Corner [X-Men Day]: X-Men: The Official Game (Xbox 360)

13/05/202313/11/2025Dr. K1 Comment

To commemorate, the culmination of their long-running and successful X-Men movies, 20^th Century Fox declared May 13^th as “X-Men Day”, a day to celebrate all things Mutant and X-Men and celebrate Marvel’s iconic collection of superpowered beings who fight to protect a world that hates and fears them.

Released: 16 May 2006
Developer: Z-Axis
Also Available For: Game Boy Advance, GameCube, Nintendo DS, PC, PlayStation 2, Xbox

The Background:
Ever since Stan Lee and long-time collaborator Jack Kirby created the X-Men in 1963, Mutants have featured prominently in Marvel Comics and grew to greater mainstream prominence thanks to the influential animated series from the nineties, the success of which led to 20^th Century Fox purchasing the film rights and producing a successful long-running live-action franchise. The X-Men have also have a storied history in pixels and polygons; the Mutant team first came to life on the Nintendo Entertainment System in what was essentially a vertical shooter, but the characters arguably saw the most success in their numerous arcade ventures and team-based brawlers. To coincide with the release of X-Men: The Last Stand (Ratner, 2006), publisher Activision was tasked with creating a tie-in videogame to be released across all available platforms and bridge the gap between X2: X-Men 2 (Singer, 2003) and the third entry. However, just as X-Men: The Last Stand was critically panned, X-Men: The Official Game failed to impress with its poor enemy A.I., repetitive gameplay, and for being little more than a shameless cash-in.

The Plot:
Still reeling from the death of Doctor Jean Grey, James “Logan” Howlett/Wolverine, Bobby Drake/Iceman, and Kurt Wagner/Nightcrawler battle radical terrorist group known as Hydra and their gigantic, Mutant-hunting Sentinels, encountering some of their worst enemies in the process.

Gameplay:
X-Men: The Official Game is a third-person action game with three distinct gameplay styles split across its three playable characters, Wolverine, Iceman, and Nightcrawler, who embark on an adventure that takes place soon after the events of X-Men 2 and fills the gap between that film and X-Men: The Last Stand to explain why Nightcrawler is missing from the team in the third movie. While the levels in X-Men: The Official Game are pretty linear, the developers furnished players with a helpful mini map which indicates friendly non-playable characters (NPCs), enemies, and points you in the direction of your next objective/s. There are a few branching paths you can sometimes take, either by smashing through walls and windows as Wolverine or teleporting to higher areas as Nightcrawler, but these generally just lead to a collectible and it is actually pretty easy to get turned around as everything looks very similar. Although each character has a distinct way of playing, there are some similarities between all three: both Wolverine and Nightcrawler can jump with A and dish out attacks and combos with X and Y, Nightcrawler and Iceman can both target foes with the Left Trigger, and all three will automatically heal from minor wounds (though Wolverine and Nightcrawler and able to dramatically speed this up by holding the Left Bumper or pressing the Right Bumper, respectively, whenever it’s safe to do so, though any movement at all will cancel out this healing boost).

*Slice through enemies as Wolverine, teleport about as Nightcrawler, and slide around as Iceman.*

Wolverine’s gameplay is very much that of a hack-and-slash brawler; however, fans of genre-defining titles like the God of War series (Various, 2005 to present) will be left disappointed as Wolverine is quite a clunky and limited character thanks to the presentation and camera angles offered by this game. With a tap of LB, Wolverine can sheath and unsheathe his claws (which is more of an Easter Egg than anything), which he can use to slash at the multitude of minions who come charging at him in any given level. Using combinations of X, Y, and B (which pushes enemies away), Wolverine can string together some basic combos; he can also block incoming attacks by holding the Left or Right Trigger (and you can flick the analogue stick while blocking to pull off an awkward dodge roll to try and get away from sticky situations), and successfully landing attacks will build up his “Fury Meter” which, when full, powers up your attacks and healing for a short time with a press of the Right Bumper. Nightcrawler has similar capabilities in combat, but his levels are much more focused on platforming with his signature teleport and a bit of semi-stealth. Nightcrawler can also string together punches and kicks for combos, but you’re best served using his relocation attack; pressing B sees him automatically teleport behind the nearest enemy to pummel them with X or smash them with Y, which is great for taking out groups of enemies quickly. RT allows Nightcrawler to teleport to a variety of surfaces, from pipes to bridges and walkways, and is great for quickly traversing areas and getting to consoles or control panels which need rewiring with X. Of the three, Iceman is the most unique as he’s constantly moving forwards on an ice slide and his levels play much more like chasers or dogfight simulators. Holding A lets Iceman boost ahead, while RT brakes and RB allows him to flip around quickly to retarget enemies. X unleashes an ice beam, which is great for freezing up pipes or putting out fires, while B tosses out his Hailstorm attack and Y puts up a temporary frost shield. You’ll need to constantly tap LT and B when faced with multiple targets, but Iceman’s levels are much more geared towards preventing catastrophes or reaching a goal and are often accompanied by an anxiety-inducing time limit.

*Whether you’re fighting a gauntlet, repairing consoles, or facing a time limit, things get very tedious.*

The game’s story mode is laid out in a linear mission-based structure; at various points, the narrative branches off to follow each of the three characters and, prior to starting a mission, you can pick from three difficulty settings: “Novice”, “Hero”, and “Superhero”. These will dictate how tough the enemies are, with enemies on “Superhero” able to whittle your health to nothing in just a few hits or under sustained gunfire, but there are perks to completing the mission on higher difficulties as you earn more “Mutation Evolutions” on these settings. These power-up each character’s stats, raising such attributes as their overall health, the damage their attacks deal, and their health and energy recovery, and the only way you’ll only be able to max out your abilities is by beating every mission on “Superhero” mode. This, however, is easier said than done; the game is very stingy with its checkpoints, meaning that failure to complete some of the game’s more monotonous tasks requires you to start the mission over right from the beginning. Following glorified training missions for each character, you’ll be thrust into the game’s story mode and, very quickly, will see everything X-Men: The Official Game has to offer. Wolverine will pretty much always be tasked with clearing away all enemies, with wave upon wave teleporting in or rushing in through doors, though he sometimes has to dodge hazards such as flaming vents and cages or destroy something in order to progress. Nightcrawler almost always has to teleport about the claustrophobic environments, activating panels or rewiring stuff, and occasionally luring exploding probes to power nodes or Sentinels to open doors. Iceman is either racing towards something or fending off attacks, often against a time limit; this means you’ll be dousing fires and cooling down nuclear reactors with your ice beam or chasing down an enemy or towards a goal before time runs out. Occasionally, another X-Men appears to help out; Ororo Munroe/Storm accompanies Wolverine and Nightcrawler you can have her instantly kill all enemies with her lightning by pressing in the left stick, while Nightcrawler also has to deactivate shields so that Piotr “Peter” Rasputin/Colossus can destroy some power generators, but Iceman has no such help when desperately trying to stop Giant Sentinels from marching on the downed X-Jet. Sometimes Iceman will have to slide through “nav points” (essentially glorified rings) and avoid laser hazards and mines, sometimes Wolverine’s locked in a room and forced to fight a gauntlet of enemies, and sometimes Nightcrawler has to destroy glowing crystals to keep enemies from spawning, but it’s all very repetitive and your objectives tend to be to do something once and then repeat it three or four times until the mission abruptly ends.

Graphics and Sound:
In all honesty, X-Men: The Official Game doesn’t look all that bad; the in-game graphics are pretty decent, with stylistic versions of the film characters well represented for the most part, though the range of animation offered by the three is somewhat lacklustre. Of them all, Nightcrawler looks the best; I love his little coat and how he spins around on poles with a flourish and sometimes gallops on all fours, and it’s a stark contrast to Iceman, who is either relatively static due to his gameplay or ragdolling all over the place when knocked from his slide. Wolverine looks good, but his gameplay is tedious and clunky and severely hampered by the lack of a lunge attack, though he does gain some extra animation frames when in Fury Mode or trying to pounce on larger enemies. The game’s music is pretty decent; it’s mostly all ripped from X-Men: The Last Stand, and many of the film’s cast return to voice their respective characters. In fact, the vocal work may be one of the best things about this game; it’s great hearing Hugh Jackman and Patrick Stewart not only reprise their roles but do it without the lifelessness and boredom that so often accompanies videogame tie-ins.

*While the game’s later locations become more visually interesting, the cutscenes are a cheap let down.*

Sadly, the same praise can’t be levelled at the game’s environments and cutscenes. Cutscenes are accomplished using a motion comic aesthetic not unlike those employed at various points in games by NetherRealm Studios; these painted pictures have a very limited range of movement, no lip synching, and the cutscenes come off as cheap and rushed and quite unsightly as a result. The in-game environments are okay, but disappointingly bland; the whole game makes a clear effort to evoke the grey, grounded, semi-sci-fi aesthetic of Singer’s films but there’s generally not really much to see since areas are so linear and empty. You’ll get to fight on the Statue of Liberty in a call-back to the first film and revisit the surprisingly unflooded Alkali Lake facility from the second film and the Weapon X laboratory, all of which are very well realised interpretations of the film locations but are so grey and drab that even cheeky references to Wade W. Wilson/Deadpool can’t save them. Thankfully, once the game gets away from recreating areas from X-Men 2, locations become a bit more visually interesting; the Sentinel factory is great, with a massive Sentinel head looming in the background, as are the colourful levels that take Wolverine to an elaborate Japanese palace and garden grounds, but the game really shines once you get into the Master Mold’s control centre, a gigantic airship full of electrified wires and ominous dread that evokes the Borg Cube. Iceman’s chase through the streets of Hong Kong is similarly a visual spectacle thanks to the neon signs, bridges, and skyscrapers, all of which helps to really elevate the game’s presentation after the first few drab missions and despite the tedious gameplay.

Enemies and Bosses:
With such varied and colourful characters as the X-Men and the Brotherhood to work with, it’s no surprise that the developers chose to mainly have you wade through an endless supply of generic and boring Hydra thugs. These guys come packing machine guns, electrified axes and lances, and claws and can mostly be taken out with some quick combos but some will block your attacks. For Wolverine, things get a little more interesting as he gets to battle the Hydra “Wind Unit” (who are basically ninjas with two katana), while Iceman is often blasting at smaller Sentinels or fire dragons conjured by John Allerdyce/Pyro. Nightcrawler will also have to deal with Sentinels but he can only take them out by teleporting to them and luring explosive drones to them before the robots can blast him off with a shockwave. Later, Nightcrawler is placed in a nightmarish illusion by Jason Stryker and forced to battle off teleporting demonic entities, and you’ll also encounter Hydra goons packing bazookas and heavy cannons in some levels. For the most part, the enemy AI is pretty dumb; they’ll easily lose track of you and won’t think to go around certain obstacles, but in wider, more open areas they can be incredibly annoying and persistent, catching you in a crossfire or swarming around you to deplete your health in seconds while you desperately try to escape to safety.

*No matter who Wolverine faces, the same hit-and-run tactics will always serve you well.*

Each character also has to deal with a number of bosses, with some fought multiple times in different forms. During Wolverine’s first training mission, you’ll battle against Victor Creed/Sabretooth to learn the basics of combat; Sabretooth makes a return as the final boss of the game, too, where he’s fought within the decaying remains of the Master Mold facility and significantly more powerful even against your upgraded stats. Sabretooth charges at you with a shoulder barge, can hit slow but powerful combos, grabs and lunges at you, and even has his own Fury Mode that speeds him up and makes him more aggressive. Still, the best thing to do is to avoid his attacks, hit a quick combo, and then stay out of his reach to build up your Fury Meter before unleashing it (avoiding pressing Y as this lunge isn’t effective against him) to whittle down his health bar. Halfway through the fight, Sabretooth flees to a lower level, where debris is a concern for both you and him, and you’ll also have to worry about his health slowly replenishing if you take too long, but he’s not especially difficult to put down. Yuriko Oyama/Lady Deathstrike makes a return in this game and you’ll battle her a couple of times, too; the first time you fight her, it’s within the eye of a hurricane and you have to be careful of being blasted about by the winds while also pushing her into the hazard, and the second time is within a Japanese temple and forces you to fend off waves of enemies between rounds. Still, Lady Deathstrike may be faster and nimbler than Sabretooth, but the same hit-and-run tactics work well against her and it’s much easier to get her trapped in a corner and just go at her full pelt until she goes down. Wolverine’s toughest foe is easily the Silver Samurai; this hulking armoured bastard can teleport about, has great reach with his broadsword, doesn’t get stunned by your attacks, and can send out both energy blades and electrified shockwaves and forces you to fight his minions between bouts. Once again, simply run or dodge about to avoid the brunt of his attacks and build up your Fury Meter and then just tank him as he’s a bit of a damage sponge and can easily cut you down with just a few swipes of his sword.

*Nightcrawler and Iceman generally have to fulfill other objectives while fighting their bosses.*

Nightcrawler only gets one boss to fight against, but it’s one of the more frustrating ones in the game; while on the rainswept Brooklyn Bridge, he and Storm must fend off clones of James Madrox/Multiple Man while teleporting about the place and defusing his many bombs against a time limit. Afterwards, Nightcrawler has to battle him alone and more directly; the “prime” Multiple Man will occasionally set an explosive charge and, if enough of them go off, the bridge will be destroyed and you’ll lose the mission but try and disarm them and you’ll be beaten to death in seconds by his ceaseless doubles. Your best bet is to stay on the move, dashing to safety and healing when you can, and hoping that he doesn’t set any of these charges (or quickly interrupt him before he can). The hardest thing about this battle, though, is actually dealing damage to Multiple Man; he seems either impervious to your attacks or only hurt after you take out his clones, which can be hard to do as they swarm around you, making for a boss battle more about luck than anything. Iceman primarily battles against Pyro; first, Pyro tries to burn down and destroy a fission plant, then he tries to overload a nuclear reactor, and then he conjures a gigantic fire serpent to target the toxic waste canisters. If enough of these are destroyed, the mission ends so make sure you’re rapidly switching target locks and throwing out your Hailstorms to take out the fire dragons. The serpent itself is also quite a damage sponge, and can set you ablaze if you get too close, but if you power-up Iceman’s Hailstorm attack that makes things a lot easier. Definitely his hardest challenge is stopping a seemingly endless army of Giant Sentinels from destroying the X-Jet in Hong Kong; these huge armoured hulks can only be destroyed by targeting six yellow power nodes, but the ones on the front are super hard to hit not just because of aiming difficulties but also because of their high-powered lasers. Destroy one, and another drops soon after, and another, and this was the first mission where I actively had to drop the difficulty down to “Novice” to get past it and even then it was a pain in the ass!

Power-Ups and Bonuses:
Unfortunately, there are no collectible power-us available here. Wolverine and Nightcrawler can built meters (either by landing attacks or waiting for it to charge, respectively) to speed up their healing but the closest Iceman gets is destroying Sentinels to gain extra time until fifteen are taken out. As mentioned, Storm and Colossus will accompany you for some missions; Storm can unleash her lightning, but you’ll need to wait for her meter to fill up too, and you’ll also need to get back to help Colossus fend off the Hydra goons before they deal too much damage to him.

Additional Features:
There are sixteen Achievements up for grabs here, with three insulting 0G Achievements awarded after clearing each character’s training mission, three more being rewarded for completing the story mode’s three vaguely defined acts, and three more earned after fully upgrading each characters Mutations. You’ll no doubt notice a few collectibles in each level of the game; every mission hides five Sentinel Tech files and one Weapon X file, and collecting all of these for each character will award another three Achievements and also unlock a bonus costume for each character and a “Danger Room Challenge” for each. Unfortunately, while these collectibles aren’t too difficult to find even without a guide, the rewards you get are pretty pathetic; the costumes are little more than street clothes variants and just having one each is more than a disappointment, it’s a travesty. The Danger Room Challenges amount to timed obstacle courses and challenges used to test your character’s gameplay and abilities, but you earn nothing for completing them so there’s no point in them even being there. Aside from all that, your only other option is to try and beat every mission on “Superhero” to fully upgrade every character, something you won’t really be motivated to do since the gameplay is so uninspiring that even the promise of cutting down goons dressed in Wolverine’s signature wife-beater won’t be incentive enough to ever play this game again.

The Summary:
I tend to go into movie tie-in videogames with pretty low expectations; while I’ve played a fair amount that are pretty good, there’s no denying that they’re generally very rushed, lacking in content, and don’t have a lot going for them. On the plus side, they can sometimes be quite cheap and have some easy-to-snag Achievements, and that’s basically what you’re getting here with X-Men: The Official Game. There’s some decent stuff on offer here; Nightcrawler, especially, is pretty fun to play as and I enjoyed teleporting about the place and pummelling enemies with his attacks, and even Iceman was quite fun in the few missions where you weren’t forced to battle against an arbitrary time limit. Sadly, and most confusingly, it’s Wolverine’s gameplay that really drags this one down; he’s very restricted in his offense and the lack of checkpoints really makes getting through some missions, but especially his tedious gauntlets, a frustrating chore. Awful cutscenes aside, the presentation is pretty good; the game makes a decent attempt at recreating iconic locations from the first two films while infusing a more comic book aesthetic and storyline into the movie timeline, but locations are far too bland and repetitive to really be all that interesting, even in the latter parts of the game. Bosses battles are equally uninspiring; thanks to Wolverine getting the bulk of them, they’re hardly a selling point of the game’s few strengths and, overall, there are far better superhero and action videogames out there for you to put your time into. A serious lack of options, unlockables, and replayability hamper this title; while it’s not too difficult to blast through it in about four to six hours, it’s unlikely you’ll be motivated to try and get everything you miss the first time around and, despite a few entertaining aspects, it remains a cheap cash grab designed solely to leech off the popularity of Fox’s X-Men films rather than actually trying to be an entertaining videogame experience in and of itself.

My Rating:

Could Be Better

Did you enjoy X-Men: The Official Game? Which of the three characters was your favourite? Did you enjoy the game’s effort to bridge the gap between X-Men 2 and X-Men: The Last Stand? Which of the game’s missions and bosses was your favourite and do you feel like Sentinels are a little overdone in Marvel games? Did you ever fully upgrade the characters and find all the collectibles? Were you disappointed by the lack of options and unlockable extras? What’s the worst (or best) videogame tie-in you’ve ever played? Which X-Men videogame is your favourite and how are you celebrating X-Men Day today? Whatever you think about X-Men: The Official Game, and X-Men in general, feel free to share your thoughts below.

Game Corner [Crossover Crisis]: Mortal Kombat vs. DC Universe (Xbox 360)

04/04/202309/04/2025Dr. K6 Comments

In April 1985, the first issue of the ground-breaking Crisis on Infinite Earths (Wolfman, et al, 1986) released and saw the temporary destruction of the “Multiverse”. To celebrate this momentous event, I’m discussing multiversal crossovers all throughout April in an event I dubbed “Crossover Crisis”.

Released: 16 November 2008
Developer: Midway Games
Also Available For: PlayStation 3

The Background:
Mortal Kombat (Midway, 1992) stood out from the competition at the time with its focus on gore and violence and unique digitised graphics; the game was a massive success for Midway and the first real competition for Street Fighter II: The World Warrior (Capcom, 1991) in arcades and on home consoles. However, while the franchise went from strength to strength during the 2D era of gaming, Mortal Kombat struggled to find a footing in the emerging 3D fighter arena, leading to the developers desperately trying to be innovative and appealing in an increasingly competitive business. Since Capcom had seen some success with crossovers with Marvel Comics and other fighting game developers, Mortal Kombat co-developer Ed Boon scrapped plans for a back-to-basics reboot of his violent fighting series in favour of a crossover with DC Comics. While incorporating popular DC characters like Bruce Wayne/Batman and Clark Kent/Superman had the potential to broaden Mortal Kombat’s mainstream appeal, the license carried many restrictions for the developers; Mortal Kombat vs. DC Universe was hampered by a “Teen” rating, which substantially neutered the series’ trademark violence. This, as much as anything, greatly contributed to the game’s mediocre reception; while some found the title surprisingly enjoyable, despite its bonkers premise, others found the gameplay and variety frustratingly tedious. Although the game received a “Kollector’s Edition” release, this was Midway Games’ last project before they went bankrupt and plans for downloadable content were subsequently scrapped. Thankfully, this wasn’t the final nail in the coffin for the franchise; the association with DC’ s parent company, Warner Bros, saw Midway being purchased by Warner and restructured into NetherRealm Studios, and the ultra violent was not only soon back on track but the new studio also eventually found success with the DC license in a separate series of fighting games.

The Plot:
After Raiden and Superman repel invasions from both their worlds simultaneously in their separate universes, villains, Shao Kahn and Darkseid are unexpectedly merged into “Dark Kahn” and the two universes to begin merging, with catastrophic events. With characters from both universes wildly fluctuating in power, representatives from both worlds come together to stop the merger by any means necessary.

Gameplay:
Mirroring the style and presentation of its mainline series, Mortal Kombat vs. DC Universe is a 2.5D fighting game in which players pick from a roster initially comprised of twenty fighters of iconic characters from both franchise’s and battle through the game’s single-player story mode, fight one-on-one against another player or computer-controlled opponent, battle their way through an arcade ladder, or take on a series of increasingly difficult combo challenges. By default, fights take place in a best-of-three format and against a time limit but you can alter these settings (and many others, including the game’s difficulty and the use of blood) in the game’s main options menu to speed up gameplay or make it more accessible to you. Rather than employing different fighting styles and weapon combat like its predecessors, or properly incorporate different variations like in the later games, Mortal Kombat vs. DC Universe takes a very barebones approach to combat and gameplay options: controls are fully customisable but, by default, you can throw with X or Y, kicks with A or B, toss them aside with a generic throw with Left Bumper, block incoming attacks by holding the Right Trigger, dash towards (but not away from) your opponent, jump in or crouch down to attack or avoid incoming attacks, and string together combos by quickly pressing the attack buttons alongside directional inputs. The game includes a practice mode to help you get to grips with this, and a “Kombo Challenge” feature that helps you practice the game’s tricky combo system, but you can bring up your fighter’s moves at any time by pausing the game. It has to be said that combat is quite a hurdle here; you’ll sometimes jump or dash when you don’t mean to, even when using the directional pad, jumping punches can be very floaty and often miss, and the game seems weighted in the CPU’s favour even when playing on the easiest setting as they have no difficulty pulling off some of the ridiculous combos on offer here.

*Unleash your Rage, pummel opponents in Free-Fall, or smash them through walls.*

Each fighter can pull off a number of unique special moves with simple button and directional inputs (back, back, X, for example, or left, down, B); while these can be stringed together with combos, they can’t be enhanced like in subsequent games as your “Rage Meter” only allows you to pull of the ever-annoying breakers to interrupt combos and attacks when filled to the first tier and activate the game’s “Rage Mode” by pressing RT and LT at the same time. This will put you into “Rage” mode, which powers up your attacks and coats you in a glowing armour that weakens the damage you receive, shrugs off projectiles, and keeps you from being stunned or knocked over. This doesn’t last for very long but it can easily make short work of your opponent, and activating it will even see you unleash a burst of energy that knocks your foe away, so properly timing the burning of your Rage Meter can snatch victory from the jaws of defeat. The game also features a few unique gameplay mechanics: if you grab your opponent with the Right Bumper , you’ll activate “Klose Combat” mode, which sees you pummelling or breaking your opponent’s limbs with successive presses of the face buttons. They (and you) can counter these attacks by pressing the right button at the right time, and these quasi-quick-time events (QTEs) also crop up in the “Free-Fall Kombat” and stage transition moments. In some stages, you can send your opponent plummeting down to a new part of the arena; while in free fall, you can mash different face buttons to deal damage and finish them off with RB, but they’ll turn the tide against you if they hit the right buttons. Similarly, some stages allow you to charge your opponent through a way, whereupon you’re asked to “Test Your Might!” in a tug-of-way style button mashing sequence that inflicts more damage the more of the bar you manage to fill. These mechanics can be fun ways to spice up the somewhat lacklustre in-game combat and definitely open up the otherwise bland and empty arenas a bit more since you can literally smash your opponent to new areas, but they’re a far cry from the stage transitions seen in the Injustice series (NetherRealm Studios, 2013 to present).

*While you can get up close and personal with foes, the dull finishing moves will leave you disappointed.*

Sadly, that’s about it for in-game options; some stages very destructible elements you can smash into, and all of the game’s characters sport special moves befitting of them (Sub-Zero’s ice blast, for example, and Bruce Wayne/Batman’s Batarangs) but, since the game is hampered by a lower rating, there is very little blood and none of the gore you’d expect from a Mortal Kombat. That’s not to say that Fatalities aren’t present, however, they’re just…what’s the word..?…oh yes! Shit. Unlike in subsequent games, you can’t view your character’s finisher inputs from the pause screen, which makes finishing your opponent a real chore, but very few of these moves are even worth your time pulling off. All of the Mortal Kombat characters can execute two Fatalities that will see them murder their opponent in the most PG way imaginable; while some leave the opponent an exceptionally dry and clean skeleton, most boil down to you simply stabbing, shooting, or crushing them with very little bloodshed. The more morally pure DC superheroes will opt to finish their opponent with one of two “Heroic Brutalities”, though many of these would no doubt leave the foe severely crippled or dead since we see the likes of Clark Kent/Superman driving them into the ground and Barry Allen/The Flash pummelling them at superspeed. Unlike in previous (and subsequent) Mortal Kombat videogames, there are no mini games to distract you and is no in-game currency to earn, no player profile or fighter card to customise, and no Krypt to explore to send your coins. There aren’t even alternate skins for the fighters beyond a very minor palette swap when choosing the same character, and the best the game offers is allowing you to view bios, character models, and endings in the “Extras” menu, all of which makes for a very stripped down title even compared to its predecessor, Mortal Kombat: Armageddon (Midway Games, 2006).

*While there’s not much to the arcade mode, the story mode is decent enough, if limited and tedious.*

This also means that there are no challenge towers or option combat modes like “Test Your Luck” or tag-team combat to spice up multi-player gameplay; you can play locally or online (well, I assume you can’t do this latter any more) in ranked and “King of the Hill” style matches but the arcade ladder is a standard, ten-fight challenge where the extent of the game’s variety is offering you the choice between facing all Mortal Kombat or all DC Universe opponents or a mixture of the two. Mortal Kombat vs. DC Universe does, however, feature a single-player story mode but, strangely, it only allows you to play as up to eight characters from either side. After picking either the Mortal Kombat or DC Universe story, you’ll take control of a specific character and battle anywhere from three to five opponents as part of the campaign. This remains a great way to familiarise players with the vast majority of the game’s fighters and their unique combos and special moves, but you cannot perform finishing moves when playing the story mode. Although you can’t skip any of the cutscenes, or jump to specific chapters and fights after completion, you can save and quit…which is definitely something, though the game’s difficulty can become frustrating as the computer-controlled characters love to block your attacks, uppercut you out of nowhere, and jump-kick you out of the air, and can seemingly juggle you in an inescapable combo at will! Unlike in later NetherRealm Studios games, the story mode is as basic as it gets; the only time it actually tries anything remotely different is during Major Jackson “Jax” Briggs’ chapter as you’re forced to battle Diana Prince/Wonder Woman without your machine gun, which means you’re robbed of on of your ranged attacks. If you’re defeated, you have ten in-game seconds to choose between continuing and quitting, which is true of the arcade and two-player bouts as well. Unfortunately, winning or losing in two-player mode simply dumps you back to the fighter select screen and, as far as I could tell, there isn’t even a way to select your stage let alone input Kombat Kodes or activate anything interesting to make the fights less of a chore.

Graphics and Sound:
Mortal Kombat vs. DC Universe looks pretty good, for the most part; the character models are very similar to those seen in Mortal Kombat (NetherRealm Studios, 2011), meaning they hold up about as well, but some suffer more than others. Women, for example, look particularly off; sure, it’s great seeing Selina Kyle/Catwoman’s amply cleavage and Lieutenant Sonya Blade’s nipples poking through her top, but they’re all impossibly sexualised and their hair is very blocky and static. Unlike later NetherRealm Studios offerings, character’s don’t have unique intros or dialogue with each other before a fight; the camera simply pans the arena and zooms in to find the combatants ready to go and, while they do have little animations between rounds, these don’t seem particularly unique to any fighter. Post-fight animations are a little more unique, but there’s a definite lack of variety and character in each fighter which reminds me of the cut-and-paste job seen in Mortal Kombat: Armageddon (with the exception of the Joker, who dances and prances all over the place at every opportunity). On the plus side, characters do take battle damage; you’ll see their clothes rip, blood and bruises form on skin, and even uncover Scorpion’s skull as inflict damage on your opponent, which is fun, but the lack of any alternate attires or skins is a major tick in the “Con” column for this barebones title.

*Stages are quite bland, but character models and cutscenes are okay, save for* *the poor endings.*

There are some other notable little details on offer, however; when you toss Kano’s dagger at an opponent, it’ll stay stuck in their chest for a bit, you can sheath and unsheathe Baraka’s arm-claws with a press of B, you’ll see Sub-Zero’s icy breath, and there’s even a reference to Star Trek II: The Wrath of Khan (Meyer, 1982) thrown in for good measure. Another thing in Mortal Kombat vs. DC Universe’s favour, however, is that the CGI cutscenes are basically indistinguishable from the in-fight graphics; while the character models might be a little less detailed than in later games and have that action figure sheen that is common in this generation of games, it’s still impressive that there’s little distinction between the two, though the voice acting leaves a lot to be desired (the DC Animated Universe this is not!) and there’s very little to inspire you in the soundtrack, either. Similarly, stages are quite a let-down; the majority of them have this half-and-half theme going on where the DC Universe is split or merging with that of Outworld, NetherRealm, or Earthrealm but, even with that, there’s hardly anything to see or do and the stages are disappointingly bland and empty considering how big they are and the fat that you can navigate them in a 3D space. The likes of Oa, Themyscira, and the Fortress of Solitude probably stand out the most and have a few things to see in the background, but there’s a distinct and disappointing lack of Easter Eggs and visually interesting stages. Probably the most interesting one is the asteroid stage that sees you transitioning above and below thanks to the messed up gravity, but the game continues to bug me with presenting all these passable CGI cutscenes and relegating the arcade mode endings to a series of still pictures with narration.

Enemies and Bosses:
Since this is a fighting game, every character will inevitably be your enemy at some point so it can be useful to get an idea of what each one is capable of by playing through the story mode and completing their arcade ladders. However, there isn’t really too much to distinguish each character; you’ think the Flash would be faster and slippery to control compared to Liu Kang but he really isn’t and, while Jax and Billy Batson/Captain Marvel may utilise powerful grabs, they don’t feel any slower than someone like Kano or Hal Jordan/Green Lantern. Every character has a few simple combos that it’s best to learn so you can leap in, mash X three times or X, X, Y and then hit a special move or a throw to deal some decent damage, and they’re obviously made a bit more unique by their individual special moves. Characters will invariably have a projectile or some kind of range attack, a rush or grapple of some kind, and sometimes even disorientating gadgets like flash or smoke grenades. Some have more special moves on offer than others; Shang Tsung, for example, can toss flaming skulls across the screen and from above, suck his opponent’s health to fill his own, swap places (but not bodies) with them, and pull off a slide while other characters, like Batman, Sub-Zero, and the Joker, have parry moves in their arsenal that can interrupt attacks. Some characters are also a little more versatile than others; Superman can suck enemies in for a big punch, rush at them and smack them out of the air, fry them with his heat vision, freeze them with his breath, and perform flying attacks while Lex Luthor relies on his mech suit to fire missiles and blast away from danger. It’s when playing or fighting against the Mortal Kombat characters that long-time series fans will be at their most familiar: Liu Kang tosses his trademark fireballs and flying kicks, Jax grabs his foe and causes shockwaves, Kane launches himself like a cannonball, Scorpion throws his trademark spear, and Kitana uses her fans and dashes about in the air to be her usual annoying self.

*Overcome the largely interchangeable fighters to chip away at the monstrous despots.*

The lack of powered-up attacks, unique throws, and the generic effects of Rage Mode mean that you really don’t have to tailor your fighting style all that much against different opponents; Raiden’s abilities don’t really make him all that different from Slade Wilson/Deathstroke as both can be jumped over, ducked under, and attacked even if one has a dash and teleport and the other relies more on ranged attacks. You also won’t have to worry about any secret fighters cropping up in the arcade ladder; what you see is basically what you get but you do have to watch for characters like Sonya stringing together their multi-kick attacks in a cheap-ass combo. The exception to this comes in the form of the game’s big bad, Dark Kahn, who basically just looks like a slightly tweaked version of Blaze from Mortal Kombat: Armageddon and fights with a combination of moves from Shao Kahn and Darkseid. Dark Kahn awaits at the end of the story mode and arcade tower and is easily the biggest challenge you’ll face outside of the harder difficulties and opponents getting cheaper and more aggressive. A lumbering, monstrous foe, Dark Kahn can absorb a great deal of damage, gains armour and invincibility frames, and can drain your health bar to nothing in just a few basic swipes to say nothing of his energy barrier, shoulder charge, rising knee, and Warhammer attacks. Your best bet against him is to soften him up with ranged attacks and projectiles and stay moving; hop in, land a combo, and follow it up with a jump kick and then back away to avoid him stringing together his devastating moves in an inescapable barrage. The same is true of Shao Kahn and Darkseid, who act as sub-bosses in the arcade ladder; individually, they’re almost as formidable as their merged form, with both able to stun you with their hammer, fry you with their eye lasers, and smash you into the ground with a leaping attack. While you can’t play as Dark Kahn or perform your finishing moves on him, you can perform your finishing moves against Shao Kahn and Darkseid but, while both of these characters are unlocked after finishing the story mode (and, confusingly, pressing RB on the character select screen rather than adding them to the roster), neither of them have Fatalities of their own. Ultimately, while these three aren’t as impossible or as cheap as other Mortal Kombat bosses and sub-bosses, none of them really challenge your combat skills beyond relying on hit-and-run and spam tactics much like the previous two Mortal Kombat videogames that just ended with this hulking beast that could wreck you if given a chance rather than something that actually requires a bit more skill.

Power-Ups and Bonuses:
There’s absolutely nothing on offer in this regard in Mortal Kombat vs. DC Universe beyond the individual character’s special moves; this game is severely lacking even for a one-on-one fighter as there are no codes or options to spice up gameplay, no weapons to grab, barely anything to interact with in stages, and characters don’t even get buffs or anything with their special moves the closest they get is teleporting, surrounding themselves in a damaging aura for a bit, or tossing bombs or grenades either close, mid-range, or far away.

Additional Features:
There are fifty Achievements on offer in Mortal Kombat vs. DC Universe; many of these are obtained simply by playing through the story mode, with Achievements popping after certain chapters and completing each (and both) stories. Simpler ones are acquired by performing a ten-hit combat, initiating Klose- and Free-Fall Kombat, and performing one Fatality or Heroic Brutality. Things get a little more complicated and frustrating when you try to perform all of these moments as a handful of them require you to press up, which makes you jump and interrupts the sequence, and in trying to get the 5G Achievements from completing each character’s Kombo Challenge otherwise, you’ll get Achievements for finishing the arcade ladder with all characters and competing in online fights, which are probably impossible to get these days. These involved standard fare that you might expect, as mentioned, and you can fight locally, but beyond unlocking every character’s ending and trying to finish their Kombo Challenges, there really isn’t anything else on offer here once you’ve finished the story mode and a few arcade ladders. There’s no concept art, character models, or extras to unlock, no gear or skins or arenas to unlock, and no downloadable fighters on offer, making for an extremely barebones and lacklustre fighting title that struggles to compete against others in the genre or even its predecessors.

The Summary:
There was a lot of promise in the concept of Mortal Kombat vs. DC Universe; after the success that Capcom had with their ventures with Marvel Comics, this could’ve been a great springboard to a more mainstream audience. Sadly the game is let-down at almost every turn: everything from the music to the visuals and the depths of the combat is just lacking, to say nothing of the additional features and options for replayability. It’s interesting revisiting this after playing Mortal Kombat ’11 since that game was supposed to be the franchise’s back-to-basics approach but it’s hard to get more barebones than Mortal Kombat vs. DC Universe. Even some of the 2D games had little extras, mini games or cheats or options to tweak the gameplay, but there’s absolutely nothing here, not even alternate skins for the fighters! The story mode is okay; it’s a paper thin excuse to mash these worlds together but it works, but I have no idea why it’s not a twenty-chapter mode that lets you play as each character from both sides. I’m actually a bit lenient on the lacklustre finishing moves; I get that the game couldn’t show spines being ripped out and flash being melted, but I think a little more effort could’ve gone into these and I really don’t like the term “Heroic Brutality”. The Free-Fall Kombat, Klose Kombat, and stage transitions are somewhat interesting, but the stages are so bland and empty that they’re completely wasted here. similarly, the lack of individuality to these colourful characters and the generic nature of their special moves and the Rage Mode really make this probably the most mediocre game in the entire franchise. Ultimately, this feels like a rushed, budget title that was hampered by pressing deadlines and financial pressure and a complete waste of the DC license. If you can get it cheap, give it a try and nab some easy Achievements, but otherwise you’re better off playing NetherRealm’s later games as this is just such a throwaway disappointment of a game.

My Rating:

Terrible

What did you think to Mortal Kombat vs DC Universe? Were you disappointed by its use of the DC license? What were your thoughts on the game’s story and its depiction of these worlds merging? Which of the game’s fighters was your favourite and why? What did you think to the Free-Fall and Klose Kombat features? Were you disappointed by the lack of special features and the Rage Mode mechanic? Which characters or features would you have liked to see added to the game? Which Mortal Kombat and/or DC Comics videogame, movie, comic, or other piece of media is your favourite? Are you a fan of multiverse stories and crossovers? Whatever you think about Mortal Kombat vs DC Universe, eave a comment down below and be sure to check back in next Tuesday for more Crossover Crisis content!

Game Corner [Wolvie Wednesday]: X-Men Origins: Wolverine: Uncaged Editon (Xbox 360)

09/11/202215/05/2024Dr. K1 Comment

When readers were first introduced to the character of James Howlett, better known by the names “Logan” and “Wolverine”, it was in the pages of The Incredible Hulk. From his first full debut in issue 181 all the way back in November 1974 to him officially joining the X-Men in 1975, the character has become one of Marvel Comics’ most recognisable and enduring superheroes, regularly featuring in solo and team comics, cartoons, movies, videogames, and countless other merchandise.

Released: May 2009
Developer: Raven Software
Also Available For: Mobile, Nintendo DS, Nintendo Wii, PC, PlayStation 2 PlayStation 3 PlayStation Portable

The Background:
20^th Century Fox profited greatly after acquiring the X-Men movie rights from Marvel Comics. Under their banner, the first three X-Men movies (Various, 2000 to 2006) made over $600 million and, eager to capitalise on that financial success and the popularity of their star, Hugh Jackman, they quickly began production of a spin-off film focusing solely on breakout star Wolverine. While X-Men: Origins Wolverine (Hood, 2009) proved a financial success, reviews ranged from mixed to scathing (unfairly, in my opinion) but the same couldn’t be said about the obligatory tie-in videogame. Developed by Raven Software, the game was a violent hack-and-slash adventure that expanded upon the film’s storyline using elements from the comic books and emphasised frenetic, gory violence very much like the God of War videogames (Santa Monica Studio/Various, 2005 to present). X-Men Origins: Wolverine: Uncaged Edition was highly regarded by critics and fans alike as one of the most enjoyable and entertaining videogame adaptations ever made.

The Plot:
Decades before he joined the X-Men, Logan (a Mutant with retractable bone claws, a superhuman healing factor, and heightened senses) was a part of William Stryker’s Team X and operated under the codename Wolverine. After many years working alongside his half-brother, Victor Creed, Logan walked away from his violent life only to be forced back into the fight (and to undergo a radical procedure to bond indestructible Adamantium to his skeleton) when Victor killed his lover.

Gameplay:
X-Men Origins: Wolverine is a hack-and-slash action brawler with very light platforming and puzzle elements that sees you cast into the role of the titular Mutant, who has the voice and likeness of X-Men star ~~Huge Jacked-Man~~ Hugh Jackman. The story can largely be summarised as taking “inspiration” from the movie, as the narrative constantly switches back to Africa to follow Wolverine’s final mission with Team X, and to the present day of the mid-1980s in a truncated and decidedly different, if similar, version of the events from the film. The gameplay is primarily geared towards slicing and dicing enemies with Wolverine’s bone or Adamantium claws in a variety of gruesome ways: Wolverine can attack with quick, light strikes with X, heavier attacks with Y (which can also be charged by holding the button), and string together successive presses of X and Y to pull off devastating combos (which you can review at any time from the pause menu) that turn Wolverine into a whirling dervish.

*Lunge at enemies, unleash your Fury Attacks, *and use Feral Senses spot environmental kill spots*.*

Wolverine can also jump with A, cling to ledges and climb certain walls, block, reflect, or counter incoming attacks with the Left Trigger, and grab enemies with B. Once grabbed, you can mash X to pummel them or toss them at other enemies (or into instant death environmental traps), or charge Y to perform a “Quick Kill”. Wolverine can also dash ahead with the Left Bumper but I found that this was a bit clunky and awkward as there is a delay between Wolverine stopping at the end of the dash and returning to a run, so it’s far better to press the Right Bumper and LB to perform a rolling dodge instead. One of Wolverine’s most useful skills, though, is his lunge attack. By holding RB to target enemies, you can then press LB to leap towards your target and attack them with X, B, or Y to quickly pounce across gaps and from target to target, which is endlessly satisfying when overrun by enemies. As you progress through the game, you’ll also unlock four Fury Attacks that can be unleashed when your Rage Meter is full and by pressing the Right Trigger and either A, B, X, or Y. Each of these can also be upgraded further and will see Wolverine fly into a berserker rage and becoming a spinning whirlwind of claws and death as you mash buttons to extend the duration of his onslaught. Wolverine also has the benefit of his heightened senses; by pressing up on the directional pad (D-pad), you’ll see the body heat of nearby enemies, climbable ledges and surfaces, footprints when tracking targets, and an ethereal blue light that points you in the right direction in a mechanic very similar to the Detective Vision from the Batman: Arkham games (Rocksteady Studios/Various, 2009 to 2015), though much more basic.

*Puzzles are pretty simple and amount to little more than button mashing or powering up consoles.*

While the environments you find yourself in are quite linear, they are also made up of a lot of dark, grey corridors, so Wolverine’s Feral Senses are helpful for keeping you on track and spotting opportunities to instantly kill your opponents. I’m not sure why but the developers also allowed you to sheath and unsheathe your claws by pressing down on the D-pad; this doesn’t really seem to do anything but I guess it adds to the immersion of being Wolverine and, very rarely, you’ll be able to instantly kill enemies by sneaking up behind him and pressing either B or X. A good 90% of the game is made up of mindless hack-and-slash combat, usually restricting you to a set area and fending off waves of enemies who can seem never-ending at times. Other times, though, you’ll need to pull off some tricky jumps and awkward platforming; mostly, this isn’t a problem, but that are times when you have to jump from platforms and ledges or ropes and it can be very difficult to make even simple jumps thanks to the dodgy camera and invisible barriers nudging you to your death. Wolverine will also have to zip down wires to cross gaps, precariously walk across balance beams and girders, and occasionally pull or push large objects (usually crates or jeeps) by holding B. Other times, you’ll need to mash A to turn a wheel to open a door or find a crank or power source and carry it to a power node by picking it up with B. It’s all very simple and puzzles generally don’t become more taxing than that, standing on pressure pads, or scaling towers. Given his Mutant abilities, Wolverine is extremely durable, able to sustain prolonged gunfire and attacks and continue fighting. Your health bar will automatically regenerate if you avoid attacks for a few seconds but you can still be “captured” if your bar is completely drained and your vital organs are damaged so, while you can largely leap head-first into situations and groups of enemies, it’s best to keep an eye out from spiked traps and avoid being set on fire or pummelled by larger enemies.

*Gameplay is mixed up by a few different sections and mechanics, some more welcome than others.*

Wolverine’s biggest danger in this regard is falling while trying to jump or navigating across bottomless pits or large chasms; if you fall, you’ll have to restart from your last checkpoint but, thankfully, checkpoints are quite numerous and generally always come right before a tricky situation. Gameplay is further mixed up by a few quick-time events (QTEs), mainly when opening doors, and slightly different camera angles and chase sequences, such as when Wolverine has to race down the spill well of the Alkali Lake facility and leap from jeep to jeep, dispatching enemies as a wall of water comes inexorably after him. Other times, helicopters will fire at you relentlessly and you’ll have to dart between platforms and cover to avoid fire or frantically run and jump across surfaces that crumble beneath your feet. In another mission, you have to lunge at enemies on speedboats down a racing river; if you fall in the water, you’ll have to restart but you eventually commandeer a machine gun turret and can fire wildly at your pursuers by holding RT. One particularly annoying mission has you dodging between metal shields as automatic turrets fire at you; you’ll need to activate a console to put the shields in place to stave off the heavy ordinance and use similar consoles to position teleporters around the sentinel facility.

Graphics and Sound:
Generally speaking, X-Men Origins: Wolverine looks pretty good; environments can be a bit bland and drab at times but you’re constantly hopping back to the jungles of Africa, which helps add a bit of visual variety to the game even if the environments remain quite linear and have very few opportunities for you to explore in a meaningful way. Character models are decent enough but the developers clearly put the most time and effort into the titular character; no other character from the movie save Victor Creed bares the voice or likeness of their actor, which is disappointing, and most of the enemies you encounter are largely generic soldiers with little to really make them stand out. As mentioned, Wolverine spends a lot of his time flashing back to Africa; here; you’ll run through the ruin-strewn jungle and encounter a number of machete-wielding natives and ancient booby traps and such. It’s a stark contrast to the boring, grey corridors of Alkali Lake (a location I could live with never having to see again) but the game claws back (no pun intended) some visual variety in the Sentinel facility and the casino where you pursue and battle Remy Lebeau/Gambit. These locations are much more interesting to look at, being a vast technological complex full of intricate machinery and Sentinel parts and a neon-drenched skyscraper that sees you climbing horizontally and vertically, respectively.

*Environments can be dark, drab, and bland but some manage to stand out regardless.*

It’s a shame, then, that the game doesn’t change the location of its finale, which sees you back in dull, concrete surroundings on Three Mile Island, but I did enjoy the visual of battling Wade Wilson/Weapon XI/Deadpool atop the cooling tower like in the movie. The game’s story is largely told during gameplay using the in-game graphics, often with Wolverine conversing with his superiors or allies via an earpiece (again, very similar to the Batman: Arkham games). There are some CG cutscenes here, though, which are quite blurry and muddy as you might expect from an Xbox 360 title. Similarly, the music isn’t really anything to shout about; it’s not exactly memorable or catchy and the only thing really salvaging the audio presentation is Jackman’s unparalleled work as the titular character. There was, however, quite a bit of slowdown whenever there was a lot happening onscreen and the game doesn’t do a very good job of masking its loading times; often, the game stops completely and you’re left with a “Streaming…” message while it loads the next area, which interrupted the flow of the game considerably at times. You’ll find some interesting audio logs and references to (and cameos from) some recognisable X-Men characters, though, and the final cutscene even places Wolverine in the “Days of Future Past” (Claremont, et al, 1981) timeline.

*The game’s biggest appeal is in its graphic violence and gore in depicting Wolverine’s brutal nature.*

Where the game excels, though, is in its unrelenting gore and violence; ironically, X-Men Origins: Wolverine is more violent and uncompromising than the film it’s based on, meaning that kids who enjoyed the film probably weren’t old enough to play the game at the time! As Wolverine takes damage, his skin and clothing is torn and shredded, revealing his Adamantium skeleton, which is both gruesome and fantastic to see. The wounds heal up over time but you’ll often be running around with a fully metallic arm or half a metal skull, which is something we really haven’t seen in the films yet. When attacking enemies, Wolverine can slice off limbs, impale them on the environment, and set them alight or electrocute them with environmental hazards and you’ll often see dismembered bodies writhing on the floor in agony and heads flying from their shoulders. One of the most brutal kills in the game comes when Wolverine rips a helicopter pilot out of his cockpit and forces him head-first into the blades! There’s no nonsensical censoring in this game; it’s bloody, violent action all the way through and this really helps to make the repetitive hack-and-slash gameplay more interesting and entertaining.

Enemies and Bosses:
As mentioned previously, the majority of the enemies you’ll encounter in the game are machine gun-toting soldiers; when in Africa, you’ll fight wild natives who wield machetes but you’ll also battle some rather generic-looking robots when breaching the Sentinel facility. It doesn’t take long for you to encounter more formidable variants of these enemies, such as the Machete Champion (who can set you ablaze), shield carrying soldiers (whose guard you must break with a charged heavy attack), soldiers packing grenade launchers (whose projectiles you must reflect back), and even invisible enemies (“Ghosts”) who carry shotguns and are be dispatched by grabbing them and tapping Y to blow their heads off. You’ll also come up against more monstrous enemies such as the lava-and-rock-covered Leviathan and the Weaponized Experiment Neurodindritic Incident Gamma Zero (W.E.N.D.I.G.O.) prototypes; these are best attacked with your Fury Attacks as they charge at you, deliver big damage with their swings, and can catch you in mid-air as you lunge if you don’t get around behind them. As you damage the Leviathan, it’ll protect itself with tougher rock and start tossing and smashing boulders at you so you’ll have to lunge at it whenever possible and you’ll soon be faced with two to four of these enemies at a time so it’s best to get a rhythm on.

*You’ll be leaping at a lot of helicopters but especially to bring down the sharp-shooting Agent Zero.*

You’ll also have to fight “Jungle Mutants” like Shifter, a blue energy being who teleports about the place, traps you in electrical prisms of light, and can duplicate itself (but is, thankfully, easily dispatched with environmental kills). The first time you encounter these enemies, they act as sub-bosses but quickly become regular enemies and you’ll often be faced with a variety of different opponents and forced to adapt to each on the fly. A recurring element in the game are the helicopters that are sent to bring you down; at least three times you’ll have to outrun these pursuers and then lunge at them, moving the left analogue stick to avoid being shot at and smashing your way into the cockpit with X or Y to bring them down. There’s a particularly gruelling battle that has you dodging helicopter fire as four W.E.N.D.I.G.O.s attack you at once but, thankfully, enemies can damage each other so you can position the beasts into each other’s attacks and the bullets from the helicopter. Prior to this battle, you’ll also have to contend with a pretty unique switch in perspective as David Nord/Agent Zero takes shots at you with his sniper rifle and you control Wolverine from the perspective of Nord’s sniper scope.

*Creed is a far less pivotal or threatening figure in the game despite being fought twice.*

The first real boss you’ll battle is Victor, Logan’s stepbrother (though this plot point, like a lot of plot points from the film, is nowhere near as relevant or emphasised as in the movie). You’ll fight Victor twice throughout the game, with the first bout taking place in and outside of a bar and the second inside of Stryker’s island base, just like in the film. Victor mirrors many of your own abilities and can lunge, swipe, and claw at you; he can also grab you to deliver combos and you’re in just as much danger of being impaled on the environment throughout the game as he and your other enemies are. Still, Victor isn’t much of a threat; although he boasts the same healing factor as Wolverine, I never actually noticed his health regenerating in either fight and it’s pretty simple to lunge at him, block and counter his attacks, and either use the environment or your Fury Attacks to whittle his health down and defeat him in both battles.

*The Sentinel poses a formidable threat and must be attacked both on the ground and in mid-air!*

As you might expect given that you end up in a Sentinel facility, you’ll have to battle with a Sentinel prototype as well. The first time you encounter the Sentinel, it’s in pieces and you have to solve a bit of a track puzzle to position its hand in place to attack its head but, despite your efforts, Bolivar Trask activates the prototype and you have to fight it outside the facility. The Sentinel is suitably massive and stomps around the place, leaps at you to cause shockwaves, fires laser blasts from its hand, and grabs you to blast you with its eyebeams in a homage to that iconic “Days of Future Past” cover art. To battle the Sentinel, you need to attack its feet and hands; this is best done by luring it towards the electrified panels on the floor, which will stun it for longer (though it’s difficult to tell that you’re actually dealing damage to it because of its high health bar). Once you damage it enough, it’ll take off and you’ll have to freefall down to it, dodging or ploughing through debris and guiding Wolverine to its thrusters. Eventually, you’ll do enough damage that Wolverine targets its main power source, which requires you to mash B to rip open its chest plate before it can blast you.

*While the Blob is simple, Gambit leads you on an elaborate chase and is the most frustrating boss.*

Immediately after felling the Sentinel, you’ll fight with Fred Dukes/The Blob; unlike in the movie, this fight takes place in a supermarket full of destructible elements. The Blob is very similar to the Leviathan and W.E.N.D.I.G.O. enemies and will charge at you and repel your lunges with his drum-like belly. Once you damage him enough, though, he’ll try to squash you with a belly flop, which stuns him long enough for you to lunge or mount him and claw at him and force him into walls to bring him down. Immediately after that fight, you’ll have to battle what was, for me, the most annoying, frustrating, and long-winded boss of the entire game: Gambit. Gambit attacks with his staff and kinetically-charged playing cards, which must be countered and reflected back, respectively, to stun him. What makes this boss so annoying, though, is that you fight him a whole bunch of times and are forced to chase through up and through a skyscraper. Eventually, you battle him on giant neon letters, lunging at him when he charges and destroys them and mashing A when he tosses you over the edge. This was, honestly, the most exasperating part of the entire game as each fight with Gambit just went on and on and it seemed never-ending; of all the characters and Mutants in the game, I never would have expected Gambit to be so versatile, resilient, and challenging!

*Deadpool will push your button mashing skills to breaking point!*

After the finale battle with Victor, you are forced to battle Deadpool at Three Mile Island. If you haven’t seen the film, you might be a bit confused about who Deadpool is since he barely appears at all in the game’s story but he’s a pretty formidable boss in his own right. Fighting him is, essentially, the same as fighting Victor except that you’ll damn near break your wrist trying to mash A following a counter of his blades and it’s a two-stage boss fight. In the first, you fight him in an ordinary area of the island, avoiding his spinning blades and jumping attacks and whittling his health down with your Fury Attacks but, in the second, you battle him atop a cooling tower. Here, he demonstrates his ability to teleport and will blast at you with optic blasts that can destroy parts of the environment. Still, he’s pretty easy to defeat; you simply block his attacks, unleash your Fury Attacks, and lunge at him after he fires his eye beams. When you’ve dealt enough damage, the QTE becomes easier to pull off and is a great way to deal additional damage; while Deadpool’s health doesn’t regenerate during the fight, it will fill up at least once, which can make this rather long-winded and frustrating but it’s nothing compared to fighting Gambit!

Power-Ups and Bonuses:
As you battle enemies and destroy crates, you’ll earn red Rage Orbs to fill up your Rage Meter and experience points (XP) that will see you level-up in time. Levelling up increases your health meter and earns you Skill Points, which you can spend in the “Character” sub-menu. Here, you can increase your maximum health, Rage Meter, and the damage and duration and effectiveness of your Fury Attacks. Each one will cost you more Skill Points as you upgrade them, though, so it’s best to either stock up or focus on one attribute to upgrade at a time. You can also boost your health and earn additional Skill Points by finding power-ups hidden in each environment, generally just off to one side or the opposite way from where you’re being directed to go. Every time you fight and defeat enemies, you’ll also fill up a “Reflex” meter in the Character sub-menu; when each of these is mastered, you’ll find that you deal more damage to, and have a greater defence against, the game’s enemies, which adds an extra incentive to combat. Finally, you’ll also find “Mutagens” hidden throughout the game; up to three of these can eventually be equipped and each one can also by upgraded further to increase you damage, Fury Attacks, or regenerative capabilities as well as boosting the speed which you build up your Reflexes.

Additional Features:
There are fifty Achievements for you to earn throughout the game, the majority of which you’ll get just by playing through the story mode. You get Achievements for killing up to 2000 enemies, performing lunges and Quick Kills, tossing enemies from high ledges, and clearing each chapter of the main story. As you explore your environment, you’ll also find dead bodies and acquire Dog Tags for XP and which count towards Achievements and you’ll need to venture off the beaten path a little bit or attack enemies and bosses in specific ways to get some of the more obscure Achievements but you can track your progress towards them at any time from the “Statistics” menu. When you first start the game, you can select to play on “Easy” or “Normal” difficulty; you may as well pick “Easy” as the only difficulty-based Achievement comes after you clear the game and unlock “Hard” mode. Once you beat the game, though, you can replay any mission you like and pick a costume to wear beforehand but you’ll lose all of your saved progress and upgrades if you want to get the “Walking Death” Achievement so I’d recommend clearing the game and mopping up any Achievements you’ve missed tied to kills and Dog Tags and such before playing on Hard.

*Unlock some cool classic costumes and beat the game to access a harder difficulty mode.*

Also hidden throughout the game are a number of different Wolverine action figures; finding enough of these will unlock a special challenge from the main menu. Here, you’re pitted against three different Wolverines and, when you defeat them, you’ll unlock a new costume to wear including Wolverine’s classic brown-and-tan outfit, his yellow-and-blue spandex, and his awesome black-and-grey X-Force outfit. There are actually more action figures than you need but collecting them only awards you an XP boost rather than the likes of Wolverine’s Weapon-X outfit or movie costume, and there is a fourth challenge available but it seems that this was a Gamestop exclusive unlockable that would give you access to the X-Men’s Danger Room and it doesn’t appear to be accessible now. Sadly, that’s about it as far as bonus content goes; you can enter some codes to make the game easier but you won’t be able to get Achievements with these activated and it’s a shame that there aren’t more costumes to unlock.

The Summary:
I was very much looking forward to playing X-Men Origins: Wolverine; I’d heard time and time again that it was one of the best licensed videogames out there and actually better than the movie (which I have always considered to be pretty enjoyable and under-rated). However, I was surprised to find that all of the praise I had heard about the game didn’t relate to it doing a very good job of recreating the events of the movie. To be fair, a lot of licensed videogames falter a bit in this regard but X-Men Origins: Wolverine does a pretty lacklustre job of rushing through the film’s story, glossing over Team X and Wolverine’s relationship with the team and his brother, and simultaneously paying lip service to the film’s narrative while also awkwardly staying beholden to it in other ways. The game excels when it veers from the film’s plot, to be honest, and I can’t help but think it would have been better for it to act as a prequel and sequel to the movie rather than actually including events from the film. The sections in Africa are much more visually interesting than those in Alkali Lake (even though the developers tried to mix things up a bit by stripping you of your powers here) and I’d rather infiltrate a Sentinel production plant than visit Stryker’s bland island. This would also have given the developers the opportunity to include more characters, enemies, and elements from the comic books; they hint at this with the final cutscene but fall back on disposable grunts and characters from the movie rather than the likes of Mister Sinister or Omega Red. Thanks to its gore, violence, and frenetic gameplay, X-Men Origins: Wolverine is definitely a fun, if monotonous, experience; it’s probably the best and most accurate videogame portrayal of Wolverine ever made and is worth a play if only to see him hack up enemies and be stripped to his metal skeleton but there’s not a lot in terms of replayability and will probably be a mediocre distraction for fans of the hack-and-slash genre.

My Rating:

Pretty Good

Are you a fan of the videogame adaptation of X-Men Origins: Wolverine? Did you prefer it to the movie? How do you feel it compares to other hack-and-slash videogames? Were you a fan of the gratuitous violence and gore? What did you think to the game’s interpretation of the film’s plot; were you also a bit perturbed by the truncated narrative or did you prefer the alterations presented in the game? Which of the bosses was your favourite or most frustrating? Which of Wolverine’s costumes was your default? Which X-Men or Wolverine videogame is your favourite and why? How are you celebrating Wolverine’s debut this month? Whatever your thoughts on X-Men Origins: Wolverine, or Wolverine and the X-Men in general, drop a comment down below.

Game Corner: Rambo: The Video Game (Xbox 360)

22/10/202226/07/2022Dr. KLeave a comment

Released: 21 February 2014
Developer: Teyon
Also Available For: Arcade, PC, and PlayStation 3

The Background:
In 1972, David Morrell’s First Blood was published; a harrowing tale of the horrors of the Vietnam War, the book was well-received upon release eventually led to a live-action adaptation directed by Ted Kotcheff and starring Sylvester Stallone. A commercial success, First Blood (Kotcheff, 1982) is widely regarded as one of the most enduring and influential movies of its genre and was followed by a series of successful and popular action films that helped make Stallone a household name. John Rambo had featured in a number of videogames, most of which were based on the more action-orientated sequels rather than the more introspective First Blood, before Reef Entertainment acquired the rights to the franchise in 2011. Hoping to capitalise on the recent success of Rambo (Stallone, 2008) and the upcoming The Expendables 2 (West, 2012), Reef opted to use voice clips and dialogue ripped straight from the movies for their rail-shooter rather than record new dialogue with existing actors or soundalikes. This was one of many criticisms levelled against the game upon release; critics were equally unimpressed with the game’s over-reliance upon quick-time events (QTEs), the lacklustre enemy intelligence, and the game’s short length and Rambo: The Video Game was generally regarded as being a disappointing and mediocre use of the license. However, since today marks the anniversary of First Blood’s release, this seems like the perfect time to take a look at this poorly-received shooter and see if it truly deserves its overwhelmingly negative reputation.

The Plot:
Rambo: The Video Game sees players take control of John J. Rambo (and one of his allies, if you have a friend to play alongside) and reenact key events from the first three movies. This sees Rambo enduring horrendous torture in Vietnam, battling bigotry in Hope, Washington, infiltrate the Vietnam jungle to rescue a number of captured soldiers, and finally stand against a Soviet invasion of Afghanistan.

Gameplay:
Rambo: The Video Game is a first-person rail shooter that places you into the role of Rambo (or the likes of Colonel Sam Trautman and Co Bao) and has you playing through a number of missions that are either based on key moments from the first three films or directly recreate some of the most iconic moments of Rambo’s film career. Since it’s a rail shooter, your control and movements options are a little limited; Rambo moves as the story dictates and you’re left controlling the aiming reticule with the right stick and holding the left stick to take cover from fire. The Right Trigger will see you fire one of your two main weapons, which can be switched with either Y or the directional pad (D-pad), and you can occasionally use an alternate fire mode with the Left Bumper.

*Shoot down your enemies to enter a Wrath state and unleash the full force of Rambo’s rage.*

Rambo can reload his weapon with either X or the Right Bumper; this will bring up a small reloading wheel and you’ll need to press the button again to reload faster to grant yourself additional ammo (though your overall supply is unlimited). Press it too soon or too late and your gun will jam, giving you less ammo and slowing down your reload time, thus leaving you vulnerable. LB and the B button also allow you to throw one of your limited supply of grenades, while the Left Trigger provides you with an aiming lock to target specific enemies, and you can also use the D-pad to cycle through different types of arrowheads once they’ve been unlocked. As Rambo kills enemies, scoring headshots or disarming them or blowing them to pieces by shooting explosive barrels, he’ll not only earn points but also fill up his “Wrath” bar. When a segment of this is filled, players can press X to enter “Wrath” mode, which slows down time, highlights enemies using their body heat, and refills Rambo’s health for every kill he performs during this limited burst of rage. Rambo: The Video Game allows you to play missions in three different difficulty settings: Private, Sergeant, and Green Beret; each one tweaks the aggressiveness and competence of the enemies, provides a different number of checkpoints, and makes quick-time events (QTEs) either easier or harder. If you’re playing on the easiest setting, you’ll be blessed with an unlimited number of checkpoints but won’t earn as many points for your playthrough; Sergeant or higher will limited your checkpoints to five and three, respectively, and end your game if you run out, though you can lower the difficulty setting from the death screen if you’re having a hard time. As you gun down enemies, you’ll rack up a score multiplier, which is key to increasing your final ranking at the end of each mission; you’ll also gain extra points for your accuracy, headshots, the difficulty setting, and how many deaths you suffered during the mission, promoting more efficient and calculated playthroughs on higher difficulty levels in order to level Rambo up, gain Skill Points, and upgrade his stats and unlock Perks and increase his combat proficiency.

*QTEs, stealth sections, and explosive vehicle gameplay help add some much needed variety.*

However, it’s not just about going in all guns blazing; Rambo will also need to take up his bow and arrow or his iconic knife and sneak through the woods, jungle, or under cover of darkness to take out enemies undetected. This means completing a number of QTEs, which award additional points for pressing the onscreen prompt at the last minute or tapping the button as fast as possible; while QTE time is severely reduced on higher difficulties, the onscreen prompts are always the same so you can simply memorise their order and concentrate on your timing. Sometimes these will crop up mid-mission to have you avoid incoming bullets or mortars, and one particular mission offers you the choice between a stealthy route or a more action-orientated path. You’ll also come across “Cautious Enemies”, indicated by a ! prompt, who will one-shot you if they spot you; enemies can also lean over or shoot through your cover and be bolstered by “Commanders”. Gameplay is given a little variety by the few times you take control of a mounted gun or a helicopter to wreak havoc on the immediate area. These sections are timed and involve blasting at the Hope police station, assaulting a Vietnam base from above, destroying mines and boats while sailing down a river, or blasting away at Soviet forces and their vehicles. These moments of intense action are where the game really excels, though the controls are a little slippery and it can be difficult to aim at your targets with the crosshair slipping all over the screen. This crops up again as Rambo is tasked with disarming and wounding Hope’s police officers for extra points; you can kill them as normal, but you get more points for disarming the cops, which is difficult to do without taking a lot of damage so it’s probably best to turn off the aiming assist option for this mission to make things easier. While sneaking through the Soviet base in Afghanistan, you’ll also have to follow onscreen prompts to arm explosives and can shoot at glowing sections of the cavernous environment to crush your enemies under boulders. If you’re playing alone, you can share your ammo with Co Bao in Vietnam by pressing Y at the right time and she’ll help you out with cover fire, and you’ll even have to take out snipers from afar in Afghanistan. Although the game starts of pretty simply, with you blasting at Viet Cong and diving to cover to reload and catch your breath, things quickly ramp up and get very frustrating and unfair as combinations of the game’s most formidable and annoying enemies ambush you, leaving you on the back foot if you’re out of grenades; things are made all the more maddening by some wonky hit detection than can see your point-blank shots miss or enemies hitting you through normally impenetrable cover.

Graphics and Sound:
I’ve played Rambo: The Video Game in the arcades before; there, on a big screen with a real (albeit plastic) gun in your hand, the game looks and plays pretty well for a standard light gun shooter. However, on home consoles, the game is pretty much an embarrassment from top to bottom; while the missions do a decent enough job of bringing to life the dark, dank jungles of Vietnam and recreating the town of Hope and the Soviet cave from the films, there’s a lot of graphical pop up and corners cut here as it’s simply a rail shooter and you’re not really meant to be stopping and taking in the details around you. Similarly, enemy models are decent enough, but ragdoll all over the place at times and you’ll see the same enemy types again and again with very little variation.

*While locations are okay, the character models, music, and audio dialogue are all absolutely dreadful.*

The actual character models are pretty laughable; Rambo himself looks more like an off-model action figure than the surly Stallone thanks to his ridiculous mane of a haircut. Trautman doesn’t look too bad, but hardly any of the corrupt cops from Hope resemble their onscreen actors. The game’s story is framed as a series of flashbacks at Rambo’s “funeral” as some nameless, unknown military man gives those in attendance a rundown on Rambo’s career and reputation in order to afford him some anonymity for his excursion into Afghanistan. This allows the game to recreate the most memorable moments of the films with the absolute bare minimum of effort; the music is dreadful, repeating in embarrassing loops mid-mission, but it’s the voice acting where the game really falls flat. Stallone and Richard McKenna’s audio are ripped right from the films, making their words distorted and wildly inconsistent and hilariously out of context at times, and only emphasising the cheapness of the title.

Enemies and Bosses:
Rambo will gun down a whole host of nameless, faceless, interchangeable groups of enemies themed after each of the game’s missions: Viet Cong, Hope’s police department, and Soviet forces all try to fill Rambo with holes, popping up from the background, the sides of the screen, and rolling in to take shots at you. Enemies make use of cover to avoid your shots, can have their hats shot off, and some can even be disarmed to render them harmless to you but, for the most part, they are easily offed with just a few shots. Soon enough, you’ll encounter more formidable and annoying enemies, such as grenadiers (who take cover and toss grenades you can shoot out of the air), “Heavy” enemies covered in armour and vulnerable only in their face masks, and “Flamers” who wield flamethrowers and force you to shoot at their flame tank. Commanders will bolster the morale and efficiency of all onscreen enemies, so you should prioritise taking them out, though you must duck behind cover when turrets are rolled out into the field as they’ll shred you pretty quickly. Snipers, armoured enemies, and groups of these foes can whittle your health down in no time at all so it’s best to make use over cover, shoot any nearby explosives, and try to get off some one-shot headshots to off your enemies as quickly as possible.

*Some familiar faces and final encounters close out each of Rambo’s explosive adventures.*

Each of the game’s missions includes a timed sequence where Rambo must destroy parts of the environment, usually by making use of a large cannon or a helicopter but, in Afghanistan, you’ll also be hounded by helicopters and tanks that you cannot destroy and must either avoid by taking cover or run past by eliminating all onscreen enemies (and objective the game makes frustratingly vague) and completing some QTEs. Each mission culminates in something that can be generously described as a boss battle; after laying waste to the Hope police station, you’ll need to avoid Sheriff Teasle’s gunfire by pressing the onscreen prompts when it’s safe to move around, then desperately shoot at him when he peeks out at you from his elevated position. After laying waste to his base with your explosive arrows, you’ll find Lieutenant Tay far less of a challenge as you simply have to fire an arrow at him to blow him up, but you’ll need to take the controls of a helicopter and frantically fire your bullets and rockets at an enemy chopper to finish Rambo’s redemption in Vietnam. Finally, after a harrowing rescue mission in Afghanistan that sees you struggling past formidable and frustrating groups of various enemies, you’ll take the controls of a tank and get into a ground-to-air firefight with Colonel Alexei Zaysen. Jeeps and soldiers run around distracting you, but your primary concerns are Zaysen’s missiles and the tanks, which can severely reduce your vehicle’s health and destroy it in one shot, respectively. You’re thus forced to frantically fire your main gun and your cannon like a madman, desperately hoping to shoot down the missiles and destroy your targets before they can do too much damage, before finally ending Zaysen’s threat in this surprisingly aggravating final showdown.

Power-Ups and Bonuses:
Aside from your Wrath state, there aren’t any in-game power-ups to make use of beyond being tossed a grenade or making use of explosive barrels or other environmental hazards. You don’t need to worry about picking up ammo and health is restored in Wrath mode, so your primary focus should be on staying alive, killing as many enemies as possible, and keeping your multiplier chain and accuracy high. This will net you the Skill Points you need to level-up and improve your efficiency; these can be spent upgrading your resistance to damage, your grenade inventory, the power of both light and heavy weapons, and extending the duration of your Wrath bar. When you level-up high enough, and complete certain requirements (known as “Trautman Challenges”), you’ll unlock additional weapons to take with you into each mission, which can definitely turn the tide in your favour in the game’s tougher stages. You’ll also unlock up to three Perk points and a variety of Perks that allow you to perform perfect QTEs or gain increased health and ammo while reloading or killing enemies in Wrath, for example.

Additional Features:
There are twenty-seven Achievements on offer in Rambo: The Video Game; the vast majority of these are tied to you getting at least a two-star rank on every mission, which will require you to beat the game in at least Sergeant mode, while others include maintaining a high chain multiplier, using every weapon in the game, completing it on Green Beret mode, and killing a total of 3000 enemies. Sadly, none of this is easily accomplished and meeting these criteria quickly becomes a very laborious and needlessly frustrating process as achieving even a two-star rank can be more trouble than it’s worth at times. The game can also be played in two-player co-op, which is very much appreciated and probably makes some of the tougher sections a bit easier, but there’s no head-to-head multiplayer mode and Trautman’s “challenges” amount to fulfilling certain objectives (which you can’t review in-mission) to unlock new weapons. If you simply must have more Rambo, there was some downloadable content released for the game that included some additional missions and Achievements, but I can safely say that I won’t be checking this out any time soon given how infuriating this game can be at times.

The Summary:
I’d heard nothing but bad things about Rambo: The Video Game; however, even after my last few attempts to play the arcade version resulted in my coins being eaten by the machine, I maintained that it would be an inoffensive enough rail gun shooter to blast through and rack up some easy Achievements. Instead, what I got was an absolute slog of a gaming experience; bland environments which, while somewhat faithful to the movies, are way too dark, unimpressive and frustrating enemies, and a lack of variety really bring down the otherwise enjoyable enough gameplay. The stealth and QTE sections are okay, if painfully simple, and the parts where you’re in control of heavy ordinance and vehicles can be a lot of fun, but the presentation is just so cheap and rushed. The muted dialogue ripped right from the movies is the most glaring offense, of course, but the lack of gameplay options, the stringent criteria for unlocking stuff, and the odd little glitches and annoyances peppered through the game definitely don’t make it worth investing your time and money in when there are far better first-person shooters out there. It’s a shame as there’s definitely a lot of potential here, but the execution screams “cheap cash grab” and you really won’t be missing out on all that much if you skip this title, which I’d argue even die-hard Rambo fans would struggle to find enjoyable.

My Rating:

Terrible

Have you ever played Rambo: The Video Game? If so, did you enjoy it or were you as disappointed by it as I and many others were? What did you think to the Wrath system and the recreation of the film’s moments? Were you also disturbed by the poor quality character models and audio clips? Which Rambo videogame, or videogame appearance, is your favourite? Which of the Rambo films is your favourite? Whatever your thoughts on Rambo, drop them below or leave a comment on my social media.

Game Corner: Dead Space (Xbox 360)

15/10/202225/10/2024Dr. K2 Comments

Released: 13 October 2008
Developer: EA Redwood Shores
Also Available For: PC, PlayStation 3, Xbox One and Xbox Series S/X (Backwards Compatible)

The Background:
Dead Space was the creation of Glen Schofield, who was inspired by the likes of Silent Hill (Konami/Various, 1999 to 2012) and Resident Evil (Capcom/Various, 1996 to present) and attracted the attention of a small, but committed, team of developers and Electronic Art’s (EA) Redwood Studios. The team worked tirelessly to put together a proof of concept and push the game within the company, and constantly tweaked the different gameplay mechanics to keep things action-packed and tense. Crucially, Dead Space opted to forgo a traditional heads-up display (HUD) and render cutscenes and story sequences using the in-game engine to avoid breaking the player’s immersion, and combat became more about dismembering enemies rather than mindlessly blasting away. Dead Space is an extremely well-regarded title; reviewers praised the innovative mechanics and horrifying atmosphere, though the story faced some criticism. Still, the game sold over one million copies and kicked off a successful new survival-horror franchise that came to be comprised of animated tie-ins, two sequels, and even a next generation remake.

The Plot:
When a massive deep-space mining ship goes dark after unearthing a strange artifact on a distant planet, troubled engineer Isaac Clarke joins the repair mission. There, he finds a nightmarish bloodbath as the ship’s crew have been horribly slaughtered and infected by alien scourge known as Necromorphs.

Gameplay:
Dead Space is a third-person, survival/horror action shooter with an emphasis on atmospheric horror, light puzzle solving, and exploration. Players are placed into the mute boots of engineer Isaac, who spends pretty much the entire game garbed in a steampunk-like work suit and hiding behind a glowing helmet. Isaac comes armed with a Plasma Cutter by default, but has a few options available to him when it comes to combat: players can hold down the Left Trigger to enter aiming mode (and, crucially, can move while aiming and shooting) and press the Right Trigger to fire their weapon. Outside of aiming mode, you can press RT to throw a slow, clunky, and awkward melee attack to fend off Necromorphs, hold the Left Bumper to jog along a bit faster, to press the Right Bumper to deliver a big stomp to downed Necromorphs or break open crates. There’s no jump or dodge function, but you can press A to interact with consoles or shake off Necromorphs when they grab or claw at you; providing you have some Med Packs on hand, you can heal yourself by pressing X, the directional pad (D-pad) functions as a shortcut to your weapons and allows you to quickly switch between up to four guns on the fly, and you can reload by pressing LT and A or switch to an alternative fire mode by pressing LT and RB.

*Dismember enemies, move objects with Kinesis, or freeze them in place with Stasis.*

While most of this is standard third-person fare, Isaac also acquires a couple of “modules” that allow him to perform a few unique tricks: You can activate the Kinesis Module by holing LT and pressing B, which will allow you to move certain obstacles out of the way, activate certain consoles, and move platforms and doors to progress further and solve problem. While you can use this as much as you like, the Stasis Module is limited by a meter than can only be replenished at refill stations scattered around the game’s locations or with a pickup. Stasis can be used to freeze enemies in place for a limited time, slow fans or other hazards, and is crucial to keeping you safe from attacks or the game’s many instant-kill traps. Unlike many other videogames, Isaac’s health, ammo, and Stasis meter are all displayed either on his suit or on his weapon, a system that easily allows you to see how well you’re doing or when you need to reload or replenish your meters. You can access your inventory, map, and current objectives by pressing the ‘Back’ button (though this won’t pause the game) and are given the option of dropping items if your inventory is full, or dropping them in a safe at Store stations found around the game’s environments. While the map isn’t too clear, you can press in the right analogue stick at any time to drop a light that will briefly point you in the right direction, which is super helpful; slightly less helpful is the abundance of text and holographic imagery that appears onscreen to advance the story and mask the game’s loading screens, though this does flesh out the story and point you towards your next objective. Although you have to manually save the game at save stations, the game does actually contain checkpoints; so, if you die halfway between save points, you’ll respawn pretty close to where you were split in two by a Necromorph.

*Puzzles involve activating or repairing consoles, avoiding hazards, and eliminating Necromorphs.*

Dead Space’s story is split into twelve chapters, with each one separated by a tram-like system around the ship, and can initially be played on Easy, Normal, or Hard difficulty settings, with additional difficulties being unlocked after you complete the story. You cannot replay previous chapters at will, so if you miss any of the pick-ups or collectibles, you’re either going to have to start over or make multiple save files. For the most part, it’s pretty simple to figure out where to go and what you need to do but the camera is placed very close to Isaac at times; when aiming, I found that his character model took up quite a bit of the screen, which made it difficult to get off a good shot (something that’s pretty important considering you need to dismember the Necromorphs to kill them rather than shooting at their bodies). Isaac’s objectives don’t tend to get more complicated than exploring a foreboding area of the ship, fending off Necromorphs, and recovering key items such as a key card, a piece of machinery, or other object and bringing it (or them) back to another area or non-playable character (NPC) to repair a console, machine, or other part of the ship or progress further. Sometimes, areas will get locked down as a quarantine is put into effect and you’ll need to hold out against waves of Necromorphs; other times, the ship decompresses or starts exploding around you; but, mostly, you’ll need to use Stasis or Kinesis to slow down hazards, move platforms, or activate switches to get closer to your objective. While you’re often tasked with moving big batteries around with Kinesis to power up lifts, you’ll also need to kill special Necromorphs that are poisoning the air in the botanical gardens, watch out for air vents, whipping power lines, and laser cutters that threaten to splatter or skewer you or your enemies, clear an area of radioactive material in order to restore gravity and power, and dash through (or shield yourself) from bursts of flame while shooting electrical panels to open doors.

*Watch your air supply in a vacuum, jump around in zero gravity, and blast asteroids with gun turrets.*

Indeed, a prominent aspect of Dead Space is the presence of zero gravity areas; here, you need to hold down LT and press Y to leap across the environment, often while fending off Necromorphs, moving items with Kinesis or activating consoles. You can’t jump to every part of the environment, and the game will notify you when you’re trying to jump to the wrong part of the floor (or ceiling), and it can be a bit disorientating trying to direct yourself in these areas, though they do help to break up the gameplay a bit. There are also many sections that take place either in a vacuum or out in the depths of space; here, sounds are suitably muted, your flamethrower won’t work, and you are in a race against time to cross through the vacuum to the next air lock before your oxygen supply runs out. You can replenish your oxygen supply at refill stations or with items, though, and increase your capacity using Power Nodes; sometimes, you’ll have to deal with zero gravity and a vacuum at the same time. A little more variety is added to the game in a couple of sections where Isaac takes the controls of a massive gun turret to fire at incoming asteroids or a gigantic Necromorph using LT and RT (both separately and at the same time) to keep the ship from being destroyed, but don’t get too trigger happy or you’ll have to wait for the turret to cool down from overheating.

Graphics and Sound:
If I had to use one word to describe Dead Space, “atmospheric” would spring instantly to mind. Players spend the majority of the game exploring a deep space mining vessel, the Ishimura, which has been absolutely wrecked by the outbreak of the Necromorph virus. Dead bodies, blood stains, claw marks, and even dismembered NPCs are all over the place; sometimes they’re still alive and shoot themselves in a frenzy, other times they’re torn apart by Necromorphs, and there’s one harrowing moment where it looks as though a mass suicide has taken place. Ominous words written in blood can be seen everywhere and you can never be too careful when turning a corner as Necromorphs have a nasty tendency to burst out from air vents, glass capsules, or from every nook and cranny to attack you. Sometimes, a massive tentacle will grab at you and drag you around by the ankle, forcing you to blast at its tumour-like weak spot, and visibility it often low thanks to a foreboding darkness, intermittent lighting and power failures, and bursts of flames and electrical sparks in the flickering darkness.

*The environment is suitably bleak, blood-soaked, and teeming with atmospheric horror.*

The best way to describe this game is by calling it Resident Evil meets Event Horizon (Anderson, 1997). The technology and environments all have the same “lived in” feel of that gloriously entertaining space horror and the sense of dread that constantly hangs in the air is just as palpable. Nowhere is this comparison more apt than in one particularly annoying mission where you have to plant markers on a giant asteroid being mined by lasers; the asteroid is protected by huge concentric rings that will slice you in two and is heavily reminiscent of Event Horizon’s Gravity Drive. Other notable areas of the ship include a cargo bay medical facility, the aforementioned botanical gardens, and the main bridge, all of which are crawling with hazards or Necromorphs waiting to pounce on you. You’ll find workstations in disarray, ammo, credits, and collectibles in lockers and crates, and areas frozen from exposure to the void of space. At one point, another ship crashes into the Ishimura and you have to help guide and load up a shuttle with the dangerous “Red Marker” that is the cause of all this chaos, a mission that also forces Isaac to face up to some unsettling truths on the hellish planet of Aegis VII for the finale.

*Isaac may not say anything, but he gets lots of video messages and is a surprisingly complex character.*

You don’t really interact with too many NPCs outside of holographic messages, video calls, or seeing them shielding behind glass or trapped in other rooms. There are some exceptions, however, such as Isaac’s frequent encounters with his wife, Nicole, who he thought was dead and whose voice and memories haunt him throughout the story. Although Isaac himself doesn’t actually talk (always a weird decision for a third-person shooter, I find), you can review his thoughts in his mission log and objectives, and he cuts a formidable and interesting figure. His suit and helmet are instantly iconic and, though they hide his face throughout the game, they make him seem almost as horrific as the creatures he encounters and his grunts of pain and panting wheezes when in a vacuum or running low on health really add to his otherwise blank personality. Transferring the HUD to Isaac’s suit and weapons is a great way to keep the screen from getting too cluttered, and the use of ambient sounds (particularly a haunting rendition of “Twinkle, Twinkle, Little Star”) really add to the game’s horrifying, ominous sense of dread and claustrophobia. Even brightly lit or familiar areas aren’t always a safe haven as the ship can be thrust into a lockdown or dead bodies can suddenly burst to life as Necromorphs, often even while you’re trying to save the game.

Enemies and Bosses:
Isaac is hounded throughout his treacherous and nightmarish mission by demonic Necromorphs, which come in all shapes and sizes and are the result of a horrific alien virus that reanimates corpses and transforms them into shrieking, taloned beasts hungry for human flesh. The most common variant is the Slasher, a blood-soaked, malformed corpse that sports blade-like appendages and shambles towards you either alone or in groups. As with the vast majority of the Necromorphs, these are best dispatched by targeting their limbs rather than their central mass; dismember their insectile arms to keep them from skewering you, and cut off their legs to slow their movement, but be sure to make sure they’re really dead as these bastards have a tendency to take a lickin’ and keep on tickin’! Other common enemies includes the Lurker (a sort of disembodied head that sports three tentacles, hops all over the walls and ceilings, and fire projectiles at you), the Leaper (which, as its name suggests, leaps at you (appearing to float in zero gravity areas) and scuttles across surfaces whipping its scorpion-like tail at you), and the bulbous Pregnant (which lumbers about and bursts forth a swarm of tiny Necromorphs that can quickly whittle down your health bar). Rather than facing off against a boss at the end of each chapter, Isaac will generally encounter newer and deadlier variants of the Necromorphs in each area: The Exploders shuffle about and try to blow you up with their huge, explosive arm (which you can shoot to blow them up, and any nearby Necromorphs), bat-like Infectors will try to attach themselves to you and cause any nearby corpses to burst to life as dangerous Necromorphs, and the corpse-like Dividers are gangly, gory corpses that split into smaller, equally dangerous Necromorphs after being downed.

*Some massive monstrosities await you in* Dead Space, but most have nice, obvious weak spots to shoot.

Large Brutes often act as sub-bosses and must be slowed with Stasis so you can target their various weak spots across their armour-like hide, and you’ll encounter Guardians merged with the walls and have to fend off the Pods they spit out, watch for their instant-kill attack, and severe the tentacles tying them to the Corruption that covers the environment. That’s not to say that there aren’t encounters that could be called boss battles in the game; the intimidating Hunter regenerates lost limbs and tissue so fast that, at first, all you can do is hit it with Stasis or temporarily immobilise it while running to safety. To properly destroy these creatures, you’ll need to lure them into a cryogenic chamber or behind the thrusters of a space shuttle and hold them in place with Stasis and get them into their regeneration animation to put them down once and for all. You’ll also battle the gigantic Leviathan in the food storage area of the ship; this battle takes place in zero gravity and sees you dodging tentacles and firing at the tumorous lumps on its appendages to kill it off. A similar creature, the Slug, attaches itself to the outer hull of the Ishimura and begins ripping it apart, forcing you to man the controls of a gun turret and blast at its tentacles and the debris it throws your way. After being tricked into activating the Red Marker, Isaac must face down the Hive Mind on Aegis VII; this eldritch abomination is a mess of flesh, tentacles, and teeth but sports yellow/green tumorous growths in its gaping maw that you can shoot to damage it. As long as you avoid its massive tentacles and target these areas when its rib cage opens up, you can put this beast down pretty quickly and bring the Necromorph threat to an end.

Power-Ups and Bonuses:
Isaac has a decent variety of weapons at his disposal; the Plasma Cutter he begins the game with is pretty much capable of taking care of every enemy you come across, but you can also pick up a Pulse Rifle for rapid fire, a Line Launcher to shoot out explosives, a flamethrower, and the Ripper, which shoots out buzzsaw-like blades that you can direct to chop up incoming Necromorphs. Each weapon has an alternative fire mode and some are more useful against different enemies; you can charge up the Contact Beam to blow apart bigger enemies, for example, but it’s probably best to use the flamethrower when swarmed by little Necromorphs or to subdue large groups. It pays to explore your environment from top to bottom, and to ransack the corpses of the Necromorphs you kill, to find ammo, health and restorative items, credits, and other items. These are often found in smashable boxes, crates and lockers or strewn around the environment, but be wary as you only have a limited inventory. You can, however, expand your inventory, health bar, Stasis meter, and the power, capacity, and reload speed of your weapons at Workbenches. Here, you can spend Power Nodes you’ve either found or bought on the skill tree of each weapon, your modules, and your suit, though you’ll need a hell of a lot of them to upgrade all of Isaac’s weapons and equipment. You can also find blueprints to allow you to buy new weapons, better restorative items, and even better suits that increase your maximum health, meter, and air supply, so be sure to search all around and focus your efforts on upgrading what works best for you.

Additional Features:
There are forty-eight Achievements on offer in Dead Space, with one popping after you complete each chapter. You’ll get Achievements for dismembering a certain number of limbs, killing a certain number of enemies with each weapon, acquiring every weapon in the game, and completing the story, and for upgrading every weapon and piece of equipment available to you. There are also audio logs to be found to flesh out the story and earn you some G, secret areas to find, and mini games to play that will pop an Achievement. These include a shooting gallery and a zero gravity ball game, and you’ll also get Achievements for keeping the ship’s hull integrity above a certain percentage when shooting down incoming asteroids. After finishing the game on Easy mode, I unlocked a new suit for Isaac, additional logs, 50000 credits, ten Power Nodes, and “Impossible Mode” (which, I assume, is a one-life-only type of mode). While you don’t get to replay specific chapters, you can replay the game from the beginning with all of the weapons, upgrades, and gear you’ve collected, but the lack of a chapter select means that tracking down the last of those Achievements can be a bit of a slog.

The Summary:
Being a big fan of the Resident Evil franchise, and having largely exhausted the games available to me in that series, I was eager to get my teeth into Dead Space and found that it more than scratched my itch for an atmospheric, claustrophobic survival/horror experience. Infusing a desolate sci-fi aesthetic into the genre was an ingenious idea and had me constantly thinking back to films like Event Horizon and games like Doom (id Software, 1993) thanks to the merger of horror, sci-fi, and demonic imagery. While I could have done with the camera being pulled back just a tad and Isaac could be a little clunky to control at times (a quick-turn function really would have helped), and it was pretty much impossible to upgrade all of his gear in one playthrough, I found myself really enjoying the ominous aesthetic of the game, the tight dark corridors, and the thrill of each encounter and managing my resources. I was worried that the limb-targeting system would be difficult to get the hang of but I picked it up pretty easily and was soon dismembering Necromorphs left and right, but even on the easiest setting the game offers a decent challenge as enemies can take a fair bit of damage before finally going down and it’s easy to get overwhelmed or blunder into traps and instant-death hazards. Still, the game had a fantastic atmosphere, tight controls, and intriguing premise, and a suitably morbid and gory presentation and I found myself thoroughly entertaining as I ploughed through each chapter, splattering Necromorph (or Isaac’s) guts all over the walls and clear just one more chapter and I’m excited to tackle the second game in the near future.

My Rating:

Great Stuff

Have you ever played the original Dead Space? How do you think it compares to other survival/horror titles and do you think it still holds up today? What did you think to the game’s enemies, aesthetic, and mechanics? Did you like the mixing of sci-fi with survival/horror or did you find the game a bit derivative? Which of the game’s weapons and was your favourite and what did you think to Isaac as a protagonist? Which game in the Dead Space franchise is your favourite and are you looking forward to the remake? What horror-theme videogames are you playing this October in anticipation of Halloween? Whatever your thoughts on Dead Space, drop them below or comment on my social media.

Game Corner: Super Street Fighter II Turbo HD Remix (Xbox 360)

25/09/202222/09/2022Dr. K27 Comments

Released: 26 November 2008
Developer: Backbone Entertainment
Also Available For: PlayStation 3

The Background:
In 1987, Capcom released Street Fighter onto the arcade scene; this oft-forgotten one-on-one brawler may have been criticised for its repetitive gameplay and dodgy controls but it certainly laid the groundwork for probably one of the most recognised fighting games ever created. Thanks to game’s special moves, pulled off using directional inputs in conjunction with button commands, and the introduction of a six-button cabinet, Street Fighter gained a modicum of intrigue on the growing arcade scene that exploded with the release of Street Fighter II: The World Warrior (Capcom, 1991). Expanding the playable roster to eight, Street Fighter II changed the genre forever through the accidental introduction of combo moves and gave Nintendo a much-needed edge in the “Console Wars“ of the nineties with its blockbuster release on the Super Nintendo Entertainment System. Street Fighter II was so universally popular that it revitalised the arcade scene and was bolstered by a number of revisions and expansions that increased the number of playable characters, special moves, and vastly sped up the gameplay. By 2008, there had been at least five of these revisions as Capcom desperately milked their popular title for all its worth, but the idea of giving the title a whole new gloss of HD paint came at the suggestion of Backbone producer David Sirlin, who spearheaded the game’s development, although sacrifices had to be made to keep the digital release small. In addition to a slick graphical aesthetic courtesy of artists at UDON Entertainment, the game also included an overhauled soundtrack by music tribute website OverClocked ReMix and even saw a limited physical release on the Xbox 360. In keeping with the success and popularity of Street Fighter II, Super Street Fighter II Turbo HD Remix was met with largely unanimous praise; reviews lauded the new graphical style and arcade-perfect controls, though the lack of additional options was noted as a downside. While it wouldn’t go down in history as the definitive version of Street Fighter II, this HD re-release ensured that Capcom’s influential fighter lived on through another console generation.

The Plot:
The malevolent M. Bison, ruler of the criminal organisation Shadaloo, is sponsoring a martial arts tournament for the world’s best fighters. Twelve such fighters join the fight, battling each other for the right to face M. Bison’s four Grand Masters, with each of them having their own motivations for personal vendetta against the dictator.

Gameplay:
I should preface this review by pointing out a couple of things; the first is that I first played Super Street Fighter II Turbo HD Remix on the PlayStation 3 after buying it on a whim (I think, or at least hope, it was on sale at the time), most likely because I realised that I didn’t currently only a version of Street Fighter II. The second thing to note is that there’s a very good reason for that and it’s simply that I’m not a fan of the series; I’m much more of a Mortal Kombat (Various, 1992 to present) kinda guy as I prefer the simplicity and brutal nature of that franchise to Street Fighter’s more intricate mechanics. I owned a cracked version of Street Fighter II for the Amiga as a kid, which fooled me into thinking I was somewhat competent at the game (infinite health will do that to you), but this didn’t translate when I played versions on the Mega Drive and PlayStation 2. Hell, I struggled with the later games in the series despite desperately wanting to get into it since they all look so appealing and everyone always raves about them, but for the life of me I just cannot seem to click with the franchise and always end up feeling frustrated and defeated as a result. I only say this because my enjoyment and opinion of this game, and the entire series, is thus inherently soured; I can’t be anything but biased against it despite my best efforts, but I went into this new playthrough of Super Street Fighter II Turbo HD Remix hoping that maybe things would be different as I do have a lot of fondness for the franchise.

*Be sure to press your attack with the game’s combo system and to be on your guard at all times.*

As any gamer will be able to tell you, Super Street Fighter II Turbo HD Remix is a 2D, one-on-one tournament fighter in which players pick from a roster of sixteen playable fighters and either take on either the computer in a series of battles in a bid to get to M. Bison and his four Grand Masters or go head-to-head with another player, either on or offline. The game’s controls are exactly as you might expect from a Street Fighter II title; you have three types of punch and kick, ranging from a weak, strong, and fierce attack, with each assigned to different buttons. X throws a jab, Y a strong punch, and the Left Bumper a fierce punch while A throws a shot kick, B a roundhouse kick, and the Right Button launches a fierce kick, though all of these controls can be fully customised to your liking. Combining these button inputs, and directional controls, will allow you to pull off various move combinations to dish out greater damage or pull off your character’s special moves, which are helpfully listed in the game’s pause menu. In Street Fighter II, you hold back to block incoming attacks and use up to jump; you can also throw and grab your opponents, sometimes in mid-air, to deal a ridiculous amount of damage. While you can hit buttons to recover from throws, getting stuck in an enemy’s grasp is basically a death sentence and will see your health whittled down in the blink of an eye; you can also be stunned if you take too much successful damage, which can be catastrophic. Fights are decided in rounds, with the default set to best two out of three, though you can change this to as little as one and as many as five (and rights may go to a sudden death final round in the rare instances of a double knock-out). You’re also battling a timer, though you can again disable this option, and can increase the game’s speed on a scale of one to five (with five being the fastest, which also seems to equate to attacks dealing more damage). Finally, you can set player handicaps for player-on-player fighters and choose from four difficult settings to challenge the game’s two arcade modes.

*Stagger your foe with special moves or finish them off with a grandiose Super* *Finish.*

For me, these difficulty settings are a joke; I played with the game speed set to five and on the ‘Easy’ difficulty and still struggled to get past even the first few fighters even with the timer disabled. The computer is an absolute unrelenting machine, making use of combos, frame damage, and cancels to land strings of attacks you have little hope of blocking or counterattacking. The computer is somehow able to hit through your moves at times, grab you in the middle of attacks, and even hit you out of mid-air with low attacks and projectiles, making for an uphill battle right off the bat. As mentioned, you can pull off special moves with each character, though I find these difficult to figure out even with the helpful move list as the require complicated half-turns, charging, and diagonal inputs on the control stick. I find even some of the easiest moves, like Ryu and Ken’s Hadoken, inconsistent to pull off, though projectiles such as this will cancel each other out, which is extremely useful when fighting against spam-artists like Sagat and his constant barrage of TIGER! TIGER! TIGER! shots. As you fight, you’ll build up a little Super meter and, when it’s full, you can try and pull off your character’s Super move, but these are even more complicated to execute and the computer is an expert at blocking and negating all incoming damage. I couldn’t tell you the difference between the ‘HD Remix’ and ‘Classic’ arcade modes as I was barely able to scrape through the ‘HD Remix’ arcade on the lowest difficulty; ‘Classic’ thus seems harder but that might also be because I changed the rounds to win to one, which seems to put the computer in a hyper-aggressive “pinch” mode. Consequently, I can’t say if the classic bonus stages are present in this mode; they weren’t in the ‘HD Remix’ arcade mode I played so, from my perspective, the entirety of the game was geared around tournament fighting, fighting with friends, or desperately trying to get to grips with your character in the game’s training mode.

Graphics and Sound:
Graphically, I don’t think I’ve ever seen Street Fighter II looking better than it does here; the slick UDON aesthetic really makes all of the fighters and their stages pop out and makes the most of HD overhaul the game has received. Every character has their own eccentricities, loudly announcing their special moves and pulling off a couple of victory poses when the fight goes their way in addition to being followed by a shadowy double whenever they execute a Super move. Little touches such as every character’s unique fighting pose, being able to hit off Vega’s iconic claw, M. Bison tossing aside his cape, and characters like Chun-Li being able to spring off the sides of the screen help to make the game more immersive, and this carries over to the stages as well. Some stages have destructible elements such as crates and barrels to smash your opponent into, and all of them include some kind of animation in the background, from cheering crowds to roaring elephants to fighting cages being lowers and boats rising and falling. The remixed soundtrack is a joy to listen to; memorable tuns such as Ken and Guile’s themes sound great, though the fight announcer remains merely serviceable. Although the game lacks a memorable introductory sequence, each character has their own ending, which you’ll get to see even on the easiest difficulty; rendered using text and static artwork in the style of the UDON comic series, the only thing letting these down is that you can’t unlock them to view anywhere else in the game.

*The UDON aesthetic is far more visually engaging than the distorted classic sprites.*

If you’re a purist and prefer the classic look of the original games, Super Street Fighter II Turbo HD Remix has you covered; you can enable not just a classic option for the in-game sprites but the music as well. Unfortunately, the sprites really don’t benefit from this; they appear large, garbled messes against an otherwise pristine background and hearing the classic arcade-style move announcements and music doesn’t make this any better to look at. It would’ve been better if the game had the option to switch everything to an optimised pixel-art aesthetic but, as is, it’s a garish reskin that’s probably not going to appeal to fans of the original releases. One area where the game does get some credit, though, is in the inclusion of palette swaps for each character; each button corresponds to a different palette for each character on the character selection screen, which adds a touch of variety to the game as your opponent’s randomly pick different palettes for each bout, though you can’t switch between different styles of fighting like in other Street Fighter games. The game does run as smooth as butter, though; I noticed no input lag or slowdown, even on the highest speed setting, and I’m sure an accomplished Street Fighter II player would appreciate such a smooth presentation to the game’s action. Every bout also ends with with the victory taunting the loser, who’s left a battered mess, and I’ve always found these jabs entertaining; a helpful countdown gives you ten seconds to continue fighting, which will reinvigorate your fighter and return you to the character selection screen to challenge your opponent again.

Enemies and Bosses:
Being a one-on-one fighter with sixteen characters to pick from, every fighter in Super Street Fighter II Turbo HD Remix will inevitably be your enemy at some point and each offers a slightly different, if also similar, level of challenge. It’s not uncommon to have to switch to a different fighter depending on your opponent as it’s some fighters are better geared towards dealing with certain opponents, though I find it better to stick to one fighter (Ken) and power through with an attack that favours fast-paced button mashing and aggression over any kind of actual strategy. Some fighters, like Zangief, E. Honda, and Balrog are slower, much heavier characters who rely more on grapples, powerful punches, and slams; you can sue faster characters, like Chun-Li and Cammy, to negate their power but this isn’t always a guarantee as they’re still able to close the distance despite lacking projectiles thanks to diving headbutts and screen-covering uppercuts, for example. Dhalsim is a pretty unique fighter in that he has super stretchy limbs to attack from afar, can teleport about the screen, and will set you ablaze with his Yoga Fire and Yoga Flame attacks, making him quite the slippery opponent. Similarly, Chun-Li is extremely quick on her feet, able to flip around behind you and send fireballs your way at a higher speed than Ken or Ryu, who are equally formidable thanks to their Shoryuken and throws. Other fighters, like T. Hawk and Fei Long, present their own challenges thanks to their bulk and lightning-fast speed so it’s recommended that you spend a bit of time playing as each fighter and seeing what they can do before you head into a fighter.

*Surviving Sagat’s spam and M. Bison is one thing but challenging Akuma is a true test.*

Some characters, like my favourite (but not to play as), Blanka, fall back on the unpredictable; not only can Blanka barrel across the screen in a cannonball roll but he can also fry you and chow down on your head if you get up close. Others, like Guile, require more patience to execute their special moves; you’ll need to hold back to charge up before pressing the attack button, for example, but they can catch you unawares because of it as they lure you in for the kill. None exemplify this more than M. Bison and his four Grand Masters, who act as the game’s bosses. Things start off pretty simple against Balrog; while he can deal tremendous damage with his charged-up punches, he’s slow and not too difficult to get around. Vega, on the other hand, is the exact opposite; he flips and whoops about the place, dancing around you and slashing with his claw and easily catching you in a German Suplex or a horrendous rolling throw. Vega can also scale the cage in the background to dive down at you and has a great aerial game, which can make him a tough opponent, but I’ve hit a brick wall with DeeJay just as often as Vega thanks to the former’s aggravating Capoeira style. Things really get serious when you face off against the walking mountain of muscle that is Sagat, the former Street Fighter champion; this absolute spam-artist of a bastard will relentlessly throw projectiles high and low, lure you in to knock you flying wit his TIGER!UPPER-CUT!! and flies across the screen with his TIGER!KNEEEE! attack, all of which make him easily the most formidable of the four Grand Masters on Easy. M. Bison represents the game’s final challenge but is nowhere near as spam-happy as his chief lieutenant, though he’s no less dangerous as a result. M. Bison likes to bounce off your head, land multiple hits with his bicycle kick, and send you careening through the stage statues with his Psycho Crusher attack. On higher difficulties, his challenge only increases with a heightened aggression, but you’ll need to get to M. Bison within twenty minutes if you want the honour of being absolutely obliterated by the game’s secret boss, Akuma, a psychotic variant of Ryu who fills the screen with fireballs and leaves you lying with his destructive Shun Goku Satsu Super move.

Power-Ups and Bonuses:
As it’s a one-on-one fighter, there’s nothing to help you out here except for the Super meter; land hits, blocks, and reversals and you’ll build it up and then it’s just a question of mastering the button inputs and landing the move through your opponent’s block to hopefully score an impressive finish to your fight.

Additional Features:
Super Street Fighter II Turbo HD Remix has twelve Achievements on offer, though I’m not holding out hope in earning any more than the paltry one I got for limping my way through the game’s arcade mode. You’ll snag an Achievement for earning five perfect rounds in a row (achieved by not taking a single hit, so well outside my skill), landing a Super Finish (possible, but most times when I tried it the computer obliterated me as I was trying to input the combo), winning a round in fifteen seconds (I was thoroughly slaughtered on every attempt), and landing ten throws in a single match (also not outside the realm of possibility, though I have trouble executing throws). In addition to a bunch of Achievements being dished out for online play, there’s also Achievements for beating Akuma in arcade mode and for landing Ryu’s Super Finish on Sagat, all of which is probably very doable and appealing for more accomplished Street Fighter II players. Other than that, there’s not much on offer here beyond some run of the mill online modes (including ranked matches and the like) and player-on-player play, though you can input a button code to play as Akuma if you fancy it.

The Summary:
Look, okay, I’m sorry I’m not a more accomplished Street Fighter II player. I’m sorry I haven’t master frame-perfect combos and move cancels and all that nonsense. I’m sorry that it was a constant fight against not only the computer but my desire to rage-quit the game and just relegate this to a Bite-Size review, but I’ve just never got on with Street Fighter II. Having said that, I don’t think I’m wrong to say that the difficulty curve here is pretty unforgiving; you can’t just pick up and play Super Street Fighter II Turbo HD Remix and expect to be good at it; button mashing works, to be sure, but only on occasion and some rounds will fly by in the blink of an eye without you even landing a single hit if you’re not using a bit of skill. Consequently, as always, I struggled with Super Street Fighter II Turbo HD Remix; I was able to make it through the ‘HD Remix’ arcade with Ken after numerous losses, but I couldn’t make a dent in the ‘Classic’ mode and the experience is so draining that I’m not sure when or even if I’ll go back to try and get at least one more Achievement. The fact of the matter is that no game should every require you to go into it as a master, or even a high-intermediate, player; that’s what difficulty settings are supposed to be there for, to incentivise replay and the building of confidence and skill. Super Street Fighter II Turbo HD Remix opts instead to whack you over the head with its unforgiving arcade-style difficulty and force you to earn every win, no matter how cheap. On the plus side, the game looks, sounds, and plays great; I might suck with the combos and special moves, but everything runs super smooth here, it’s just a pity that it’s such a barebones release. It can’t be denied that there are better versions of Street Fighter II out there, and compilations that allow you to sample the length of the series, but this is still a pretty decent conversion and representation of one of gaming’s most successful and influential fighters…I’m just hopelessly bad at it and that apparently will never change.

My Rating:

Pretty Good

Have you ever played Super Street Fighter II Turbo HD Remix? If so, what did you think to it and how do you think it holds up against other versions of Street Fighter II? Which version of the game is your favourite, or which one did you play the most back in the day? What did you think to the game’s graphical overhaul and lack of additional features? Which fighter was your favourite, or least favourite? Have you ever beaten this game on the hardest difficulty? Are you an accomplished Street Fighter II player and, if so, how much of a noob do you think I am? Which fighting game franchise is your favourite? Whatever your thoughts on Super Street Fighter II Turbo HD Remix, your memories of Street Fighter II, and your opinions on the franchise in general, feel free to share them below or on my social media.

Game Corner [Bat-Month]: Batman: Arkham Origins (Xbox 360)

21/09/202227/09/2025Dr. K8 Comments

In the decades since his first dramatic appearance in the pages of Detective Comics, Bruce Wayne/Batman has become a mainstream, worldwide, pop culture icon. The brainchild of writer Bob Kane, Batman was brought to life by artist Bill Finger and has been a popular staple of DC Comics and countless movies, videogames, and cartoons over the years. Accordingly, September celebrates “Batman Day” and is just another perfect excuse to celebrate comic’s grim and broody vigilante and, this year, I’m dedicating every Wednesday to Gotham’s Dark Knight Detective.

Released: 25 October 2013
Developer: WB Games Montréal
Also Available For: PC, PlayStation 3, PlayStation 4 (via PlayStation Now) Wii U, Xbox One and Xbox Series X/S (Backwards Compatible)

The Background:
Batman’s, shall we say “difficult” relationship with videogames was forever turned around when Eidos Interactive, Rocksteady Studios, and celebrated Batman scribe Paul Dini collaborated on the critically and commercially successful Batman: Arkham Asylum (Rocksteady Studios, 2009). They followed this success with the bigger and better sequel, Batman: Arkham City (ibid, 2011), that was even more well-received than its predecessor, ranking as one of the best videogames ever released. Arkham City’s monumental success meant that the bar was raised and expectations were even higher for another sequel after the developers left so many loose threads dangling in the game’s side missions. However, Rocksteady Studios required a lot of time to craft the sequel they had in mind and Warner Bros. Interactive Entertainment were in no mood to wait that long. So, they turned to WB Games Montréal to develop a prequel set during Batman’s early days and placed more emphasis on vertical movement and Batman’s detective skills. The result was a game that was met with mixed reviews; although the plot and certain mechanics drew praise, the game was seen as largely derivative rather than properly expanding upon, Arkham City’s mechanics. Still, Arkham Origins was expanded upon with a fair amount of downloadable content (DLC) and I remember it being more of a good thing when I first played it on PlayStation 3 and particularly enjoying the new Christmas aesthetic and the game’s more challenging boss battles.

The Plot:
Two years into Bruce Wayne’s crimefighting career, Roman Sionis/Black Mask puts a $50 million bounty on the Batman! However, the eight assassins are nothing compared to the appearance of a new, sadistic villain known as “The Joker”.

Gameplay:
Just like the last two games, Batman: Arkham Origins is a third-person, action/adventure game. This time around, rather than change the formula too much, the new developers simply took the gameplay mechanics and game world of Arkham City and tweaked them, expanding on a few areas here and there and basically coating the previous game with a slightly different coat of paint. The result is a game that is immediately (and, perhaps for some, disconcertingly) similar to the last Arkham title in numerous ways but still different enough, in my opinion, to stand alongside its predecessors and, as I always say, there’s no such thing as too much of a good thing.

*Batman’s abilities and skills are almost unchanged from* Arkham City.

In terms of controls, they remain exactly the same as before (which is interesting as I could have sworn that they were a little different when I first played it on PlayStation 3…). You still select one of Batman’s many gadgets and weapons (the majority of which return from Arkham City in some way, shape, or form even when they don’t make narrative sense) using the directional pad, ready a gadget or quick-fire with the Left Trigger and press the Right Trigger to use the gadget or crouch, and you can still use Batman’s cape to stun enemies, glide around the city, and dive bomb onto enemies or to gain extra height and distance. Similarly, the “freeflow combat” remains virtually identical to that seen in Arkham City; you strike with X, counter incoming attacks with Y, and build up combos by directing Batman towards different enemies, mixing up your attacks, and performing takedowns to disarm and/or knock out foes one at a time as gangs of thugs swarm over you. Stealth remains an important aspect of the game and, just like in the last game, Batman can crouch around undetected, grapple to vantage points (usually stone gargoyles) to observe groups of enemies, and perform double or even triple takedowns in certain situations. Batman can venture through vents to avoid detection and take down enemies, interact with his environment using his gadgets to take enemies down or disorientate them, smash enemies into walls and floors and other parts of the environment when he’s near them, interrogate certain enemies for information and to uncover secrets, and deliver a “Knockout Smash” when choking thugs out (though this will attract nearby enemies).

*Batman’s detective skills get much more focus this time and allow him to reconstruct crime scenes.*

As always, these tactics are best utilised during the “Predator” sections of the game and using Batman’s patented “Detective Vision”; tapping the Left Bumper allows Batman to see an x-ray-like layout of the game world and highlight nearby enemies, secrets, and points of interest, all of which are invaluable when going up against armed thugs. Detective Vision is greatly expanded upon in Arkham Origins, though, and the game goes to great lengths to emphasise the “detective” aspects of Batman’s character at numerous points and during side missions. When discovering a dead body or the scene of a crime, Batman can set up a crime scene with LB and you must hold the A button to scan in various pieces of evidence. As you do, Batman will piece together the crime not only through his monologue but also through the use of a holographic recreation, which you must advance and rewind to solve the crime or locate objects in order to progress. At the same time, though, the Detective Vision often feels a little neutered in some situations; like, I found myself stuck in rooms and locations with no real idea of where I was supposed to be going, which was very confusing. Although the map and onscreen compass return just as in Arkham City and it’s great for directing you to where you need to go in the overworld, it falters a bit inside buildings and locations at times, which can get annoying.

*The game world is bigger than ever but, luckily, Batman can fast travel by using the Batwing.*

As for the game world, while it contains the same locations and areas seen in Arkham City, it’s actually far bigger thanks to the addition of a (super long) bridge connecting the recognisable parts of the city to a new area down South. You’ll notice that the recognisable areas are in much better shape than in Arkham City since the area hasn’t been condemned or turned into a prison and some buildings that were only background elements or Easter Eggs in the last game can now be entered to complete story or side missions. The game world is so much bigger that the developers saw fit to include a fast travel mechanic; after hacking into various control towers across the city and liberating them from the control of Edward Nashton/Enigma, Batman can freely fast travel to every prominent area of the map via the Batwing. While this does result in more loading times than in the previous two games, and you cannot control the Batwing or fast exit areas, it is really handy for quickly getting from one end of the city to the other. Also included for the first time is the ability to visit the Batcave; from here, you can converse with Batman’s loyal butler and father-figure, Alfred Pennyworth, progress the story, acquire new gadgets and upgrades, switch to a different costume, or engage in some training by taking on various combat and stealth challenges. It’s not an especially big or well-implemented area, to be fair, and you’re only really forced to go there a handful of times in the main story but it’s a nice addition, at least.

Arkham Origins *has some odd difficulty spikes that aren’t present in the previous two games.*

There are, however, far less destructible elements dotted around the city this time around but you can still earn experience points (XP) and level-up to upgrade Batman’s suit and gadgets and stuff by taking out thugs, scanning points of interest with your Detective Vision, or finding Engima’s informants and Data Packs (which replace the usual Riddler Trophies). Batman: Arkham Origins is probably the hardest of the Arkham games so far; perhaps because of the developers assuming players would be familiar with the franchise and the gameplay, you quickly encounter armoured thugs, goons with knives, batons, and shields, and bigger, more formidable enemies during the opening part of the game. The city is, again, awash with thugs from different gangs (mostly Black Mask’s but also Oswald Cobblepott/The Penguin’s) and you’ll even have to fight against the Gotham City police, specifically their S.W.A.T. division, given that Batman is seen as a disruptive vigilante in this game. The game’s difficulty can, again, be set by the player to increase the challenge offered to you but the two hardest modes, “New Game Plus” and “I Am The Night”, will remove the counter indicators, increase enemy aggressiveness and mix up their placement, and give you only one try to finish the game in the latter mode. This can be extremely challenging when facing off with the game’s bosses, the majority of which will tear through you like paper or have you ripping your hair out trying to figure out how to beat them and counter their attacks as the counter indicators are basically useless.

*While the menus can be difficult to navigate, the increased puzzles adds a new dimension to the game.*

Although Arkham Origins is bigger than its predecessor and instantly familiar, there are some things that let it down in terms of its presentation. For one thing, the menus (particularly the upgrade trees) are much more cluttered and far less intuitive to navigate. It seems like the developers were running out of ideas for things for you to unlock and view from these menus, though you’ll get all the usuals (biographies, side stories, story synopses and the like) and be able to chart the progress of your side missions, set waypoints to travel to, and see secrets or points of interest on the comprehensive map but, again, I found it stupidly easy to get trapped in a room and unable to figure out where I was supposed to go. There are also far more quick-time event-like moments in this game where you must counter an attack during a cutscene or mash A to open a door or break free of an enemy’s grip or avoid an attack, which can actually be more laborious than fun. Finally, you’ll find that there is a far greater emphasis on vertical traversal and puzzle solving this time around; you’ll have to activate a lot more consoles to break through walls or open doors, for example, and when navigating through the Joker’s funhouse in the Gotham Royal Hotel you need to use Batman’s Batarangs and gadgets to free hostages from timed traps and scale up the outside of the buildings using his grapnel gun. Entering an area or hacking a device is also generally made much more annoying thanks to the inclusion of jamming devices that you’ll need to disable with the new Disruptor gadget, meaning that a lot of your traversal is hindered by “busy work” at times.

Graphics and Sound:
Fittingly, given that its basically just slapping some additions onto Arkham City, Arkham Origins continues to be an impressive feat in terms of rendering the gothic, crime-ridden, anachronistic streets of Gotham City. Yes, many of the areas will be familiar to you but they’re far less rundown and have been recontextualised thanks to the Christmas time setting. Snow falls constantly, covering the ground, and Christmas decorations, trees, lights, and presents are in abundance; some enemies even wear Father Christmas hats and even the score is punctuated by Christmassy bells and all of the dialogue you overhear makes constant reference to the Yuletide season. It’s just enough of an aesthetic reskin to make the game world look and feel new and different and it’s great seeing ice in the water, the Penguin’s ship, the Final Offer, moored up at the docks, and buildings like the police station and steel mill in full, working order rather than abandoned like in the last game.

*Gotham is expanded to include new areas and territories alongside familiar regions.*

All of the regions from Arkham City return but you’ll enter different buildings and explore different areas this time, such as the haberdashery in the Bowery and the courthouse, but you’ll also be traversing (or fast travelling) the Gotham Pioneers Bridge down to the new areas in the South of the game map. Here, you’ll explore a high-end apartment building to solve Black Mask’s apparent murder, battle and scale up the aforementioned Gotham Royal Hotel, and fight and sneak your way through the hallways of the Gotham City Police Department. Of course, it wouldn’t be an Arkham game without a load of dank sewers and catacombs to explore and it seems you venture down into these depths a bit more often this time around but they’re a little easier to navigate through. You’ll also fly over to Blackgate Prison to quell a riot there, where the game’s visual presentation closely emulates that of the penitentiary on Arkham Island thanks to its large, automated doors and prison aesthetic.

*Nightmarish renditions of Wonderland and Batman’s worst fears twist the game world.*

As is a tradition with the Arkham games, things also take a turn to the bizarre when you hunt down Jervis Tetch/The Mad Hatter, who drugs Batman and forces him to navigate through a twisted version of wonderland in sections very closely modelled after the nightmarish sequences that pitted him against Doctor Jonathan Crane/The Scarecrow in the first game. Here, you’ll need to dodge electrified floors while using Batman’s gadgets to progress through sidescrolling sections, battle thugs in his mind-controlling rabbit masks who pour through a mirrored doorway, and scale up a twisted clock tower. It’s only one section, unlike the Scarecrow’s three, but it lasts quite a while and can get a bit annoying, especially the part where your vision is reduced to seeing through a keyhole and you must guide Batman through the correct doors to progress. Another standout moment comes late into the game and sees you taking control of the Joker as he recounts a version of his origin story to Doctor Harleen Quinzel; similar to how he played in the DLC for the first game, the Joker is a wild and crazed character who attacks in manic bursts, tosses razor sharp playing cards, and electrocutes enemies with his joy buzzer and you also get to guide him in his Red Hood persona past bursts of flames in a nightmarish funhouse of sorts. There’s also another opportunity to revisit the deaths of Bruce Wayne’s parents and suffer a bunch of unnerving hallucinations after Batman is poisoned by Copperhead, which distorts the screen and your controls at various points throughout the fight, and a pretty cool (if all-too-brief) moment where you must fight some thugs on a rooftop from the perspective of Vicki Vale’s helicopter.

*Some shifts in perspective help to keep things interesting and add some variety.*

The in-game graphics are just as impressive as the last two games; the game engine is tighter than ever, allowing for the biggest game world yet that is full of thugs and Easter Eggs and things to see and do, and character models still look really good. Batman’s suit, especially, is much better in this game, resembling military/riot armour and, in many ways, actually looks more durable and plausible than his suits from the previous games (which take place after this one). He still accumulates battle damage as the game progresses, which is always a nice touch and even though Kevin Conroy and Mark Hamill aren’t present, their replacements (Roger Craig Smith and Troy Baker) do an excellent job of filling in (even if they do seem emulating their predecessors a little too closely, which I guess is natural but keeps them from doing their own take on the characters). However, the game kind of drops the ball a little with its pre-rendered cutscenes, which look…a little more out of place compared to the in-game graphics and the previous Arkham games. Everything in these cinematics seems a little too plasticy and hyper-realised; it’s not a game-breaker, though, just something I happened to notice.

Enemies and Bosses:
All of the standard thugs and enemies you encountered in Arkham City are back this time around, but with a new coat of paint in many cases. Gangs of thugs roam the streets or patrol rooftops, often with sniper rifles; enemies will grab broken bottles or slash at you with knives, swing metal bars and baseball bats at your head, and even lay mines and booby-trap vantage points to reduce your manoeuvrability in Predator sections. The sword-wielding assassin enemies return from the last game, as do the bigger, more armoured enemies who require you to cape stun them and beat them down by mashing X, but there are a bunch of brand new enemies in this game, too. One of the most prominent are the martial artists you’ll encounter, who will test your countering ability with their quick kicks and shoves; another are the muscle-bound thugs juiced up on Venom who you must beat down and use takedowns to pull out the tubes feeding them the substance. Larger, more powerful enemies will rush at you and grab you or hold you in place so other enemies can beat on you and you’ll have to battle variations of these as the game progresses, which forces you to adapt your combat strategies on the fly.

*While Killer Croc is similar to battles you’ve fought before, the Electrocutioner is a complete joke.*

Of course, the main thrust of the story is that the Joker (under the guise of Black Mask) has hired eight assassins to take out Batman on Christmas Eve so, of course, that means you’ll encounter these assassins throughout the course of the game. The first of these is Waylon Jones/Killer Croc, which is a fight you should be well familiar with at this point as it’s the standard fare of stunning him three times with your cape and putting a beatdown on him. Things do get spiced up a little but when he grabs a gas canister to throw at you; at this point, you have to quick-fire a Batarang to explode it and whittle his health down. in a recurring theme, you’ll need to mash A to fend him off when he tries to bite you and also have to battle waves of thugs who jump into support him and distract you but, as first boss battles go, it’s pretty simple and basically the same as fighting the TITAN enemies and even Bane from the previous games. The next assassin you’ll battle is Lester Buchinsky/The Electrocutioner but this is played more for laughs as you take him out in one hit and then have to battle a gauntlet of the Penguin’s goons before he’s unceremoniously killed off by the Joker later on.

*Deathstroke will truly test your mettle in one of the more frustrating boss battles.*

The battle against Slade Wilson/Deathstroke, however, more than makes up for this. This is a complex and multi-stage fight that really comes out of left field and suddenly spikes the game’s difficulty in frustrating ways. Deathstroke has a counter for all of your attacks, many of which are nigh-impossible to defend or counterattack as the counter indicator window is next to useless in this fight. Without it, it’s damn near impossible but, by staying on the move, dodging over him, and utilising the quick-fire Batclaw, you can slowly (and I mean slowly) whittle his health down enough to trigger the next phase. Deathstroke tosses a smoke grenade to sneak attack you with his bo staff, forcing you to mash Y to counter his attacks and then mash X to beat him down, similar to the fight against Rā’s al Ghūl in Arkham City, but he also fires his Remote Claw at your chest to send an explosive barrel flying at you. You need to quickly counter this and throw it at him to keep him from shooting you and, eventually, you’ll snap his bo staff and the fight continues with Deathstroke now attacking with a sword! This doesn’t make things any easier as it’s hard to build up your combos and strikes or get a rhythm going since he counters you so quickly and hits so hard that you can only afford to make a couple of mistakes throughout the fight (which has no checkpoints). This fight is easily the most challenging in the series so far and it would be fun if the counter window wasn’t so damn small but, as it is, it can be one of the most aggravating boss battles in any of the Arkham games because of how brutally unfair it gets.

*Lady Shiva and Copperhead recall previous battles against Rā’s al Ghūl* *and his assassins.*

One of the other assassins is Lady Shiva, who is relegated more to a side mission and who challenges you to rescue an innocent man from a death trap. In doing so, you have to battle her sword-wielding ninjas and, similar to when you tracked the assassin’s blood in Arkham City, track her down by following a blood trail to the bottom of Wonder Tower using your Detective Vision. This leads to a fight against her, her ninjas, some martial artists, and a bigger martial artist variant in what is, essentially, a scaled down version of the sword fight with Rā’s al Ghūl (or, alternatively, a more troublesome version of the fights against the assassins in Arkham City). Basically, your standard striking, counter, and combat skills are more than enough to win the day here but watch out for Shiva’s random attacks in the city as you’ll need to be quick to counter these. The fight against Copperhead also recalls the Rā’s al Ghūl fight; she poisons Batman and causes him to hallucinate being attacked by multiple versions of herself, dashing at him from the darkness much like Rā’s al Ghūl but attacking with agility and claws similar to Selina Kyle/Catwoman. She also leaps onto you, requiring you to mash A to throw her off, and it can be quite a headache dealing with the distorted camera and trying to land a decisive hit on the real Copperhead (though, once Batman is cured, she goes down in one hit).

*Bane is your most recurring foe and requires both agility, brute force, and stealth to defeat.*

One of the more recurring antagonists in the game is Bane, who you’ll battle multiple times throughout the story. In the first instance, he charges at you very much like a TITAN enemy and will deal massive damage if he hits you or grabs a hold of you. Simply cape stun him three times and beat him down and then perform a takedown, however, and he’s not too difficult to overcome. However, he then overdoses on Venom and takes the fight out onto the rooftop; when full of Venom, he charges at you like a rhino and is very hard to dodge out of the way of, and he also leaps at you, causes shockwaves to ripple across the ground, and can easily spam-charge you to death if you’re not careful. You also have to be wary of the never-ending supply of goons who join the fight to distract you but, again, your cape stun and beatdown will do the trick, as will the Shock Gloves, but it can get very aggravating trying to avoid his charges. Later, in the finale, you have to go through it all again but this time, Bane also powers himself up with TN-01 and becomes a hulking, mindless brute who rips you out of floor grates and stomps around a small enclosed area looking for you. Similar to the fight against Doctor Victor Fries/Mister Freeze in Arkham City, you must sneak around behind Bane and use the vents to your advantage to surprise him from behind and then ram him into electrified walls before finally subduing him in a QTE with your Remote Claw.

*While Firefly requires your projectile-based gadgets, *the Joker fight is basically a QTE*.*

Another of the game’s more troublesome and complex boss battles is the encounter with Garfield Lynns/Firefly, who is raining destruction down on the bridge. Before you can even reach him, you need to take out his goons and disarm three bombs while forging a practical relationship with Gordon and then battle Firefly amidst the wreckage on the bridge. Firefly hovers out of reach of your strikes, blasting at you with his flamethrower, so you need to dive out of harm’s way and toss Batarangs, Concussion Detonators, and Glue Grenades at him until he’s stunned. Then you can quick-fire your Batclaw, mash A to haul him down, and put a beating on him and damage one of his wings. In the second phase, after chasing you around the twisted underside of the bridge, you have even less opportunities for cover and Firefly now tosses grenades at you but the tactic remains the same. It can be tricky to dodge and quick-fire your gadgets at him but by far the hardest part is firing your Batclaw and countering his final attack when he flies off with you attached to him via your line so be sure to keep your wits about you. The final moments of the game finally see you track down and get your hands on the Joker, the mysterious anarchist who has been causing death and destruction across the city and who causes a full-blown riot at Blackgate Prison that more than recalls the tense, claustrophobic moments of the first game where the Joker would taunt you constantly. This fight is little more than a QTE, really, requiring you to hit Y to counter the Joker’s attacks and then pummel him into submission with presses of X. It’s a satisfying conclusion given all the chaos the Joker has wrought and how quickly the animosity between him and Batman escalates and, fittingly, is in no way a physical challenge for Batman (there’s enough of that with the likes of Deathstroke and Bane).

Power-Ups and Bonuses:
Like its predecessors, Arkham Origins features a level-up progression system; every time you defeat enemies, pick up Data Packs, scan parts of the environment, and such, you’ll gain XP and, eventually, level-up. This allows you to upgrade Batman’s armour (again, into two blocks to improve damage from melee attacks and gunfire, respectively), add more elaborate takedowns to his repertoire (all of which return from Arkham City), and upgrade his various gadgets to improve their range and efficiency. Upgrading can be tricky this time around, though, as the menus aren’t as easy to navigate; you can still view tutorials and such and you’ll actually receive a grade and additional XP depending on how dangerous a combat or Predator scenario was and how versatile you were in beating it, which will net you more XP if you happen to meet certain criteria in movement, combat, or Predator scenarios and you can get more by talking to Alfred in the Batcave and hearing his wisdom. All of Batman’s gadgets from Arkham City make a return, with many looking and acting a little differently or being expanded upon in new ways. The main exception to this is the Line Launcher, which is entirely absent and replaced with the Remote Claw; this fires a line between two specific points that you can grapple up to, crouch-walk across, or speed along on a zip wire to effectively fulfil the same function but in a way that ties into the game’s more vertical layout.

*Batman has a few new gadgets, most of them repurposed variants of those from* Arkham City.

There are some other new gadgets here, too. The Disruptor is now a gun-like device that disables enemy weapons, speakers, and jamming devices from a distance (which is super useful when facing armed goons), and the Freeze Blast is eventually evoked in Batman’s Glue Grenades, which can trap enemies in glue and allow him to form rafts. The Remote Electrical Charge gun is gone but Batman acquires the Electrocutioner’s Shock Gloves, which charge up as he deals damage and can dish out extra hurt to enemies (even punching through shields and negating the need to cape stun) once activated by pressing in the analogue sticks (they also come in handy for charging electrical panels and opening doors and for resuscitating characters). The Concussion Detonator is a bit like the R.E.C. blast in that it goes of and disorientates and confuses enemies after a short time and, if you purchase the ‘Cold, Cold Heart’ DLC, you’ll gain access to a new Batsuit and thermal gloves to dethaw Mr. Freeze’s victims and heat up your Batarangs.

Additional Features:
Batman: Arkham Origins has fifty Achievements to earn, the vast majority of which will pop as you play through the story, taking down the assassins, and completing side missions. There are specific Achievements for taking out thugs in certain ways (such as not being seen), stopping twenty random assaults in the city as they pop up on your radar, gliding a certain distance, and fast travelling to every point on the map but you’ll also get them for collecting all of Enigma’s Data Packs and finishing the game on New Game Plus. Doing this unlocks the one-life, “I Am The Night” mode that sounds gruelling, at best, though all of your XP and upgrades do carry over to each of these save files.

*Batman encounters some of his most infamous rouges for the first time in side missions.*

As in Arkham City, there are numerous side missions to fill up your time with: Enigma’s data collectors need to be interrogated and his Data Packs found to bring him to justice, Black Mask’s drug stashes need to be destroyed (similar to the Bane side mission in Arkham City), and Barbara Gordon tasks you with destroying the Penguin’s weapons caches across the city. You’ll also have to find and deactivate three bombs placed around the city by Lonnie Machin/Anarky (and you’ll find his tags spray painted all over, too) before confronting him at the courthouse (where you’ll have to fight a wave of goons and Anarky himself, who is armed with stun batons). One of Bane’s henchmen, Bird, is also at large and inspiring gang fights all over the city, as is Floyd Lawton/Deadshot, and the chaos doesn’t end after the main story is cleared as Gordon tasks you with hunting down a number of escapees from Blackgate. Challenge Mode appears once again, now accessible from the main menu and from the Batcave in the main game world. Just like in Arkham City, you can take on self-contained combat and stealth challenges based on encounters in the game that see you battling waves of increasingly difficult enemies and racking up points by sustaining and varying your combos, or picking off goons from the shadows while handicapped by a number of modifiers (such as enemies having access to gun racks and weapons or Batman’s gadgets or combos being disabled).

*Replayability is bolstered by a variety of DLC and a team-based multiplayer mode.*

There is also a series of “Campaign” maps that mix up the two challenges to present a sort of adjacent side story to the main game and you can compare your high scores against friends and other using the online leaderboards. As before, all of this can be further expanded by purchasing a range of DLC. This includes a whole bunch of new skins for Batman (including Jean-Paul Valley’s “AzBats” armour), additional challenge packs that see you playing as Bruce Wayne during his training years, and even the ability to play as Deathstroke in the Challenge Mode, which is pretty cool. The “Cold, Cold Heart” story pack adds a whole extra story-based mission that takes place after the main campaign and features an encounter with Mr. Freeze; it even includes additional Achievements, gadgets, and things to scan and find (though they are limited only to this story mode). The biggest additional mode to Arkham Origin, though, was the inclusion of an online multiplayer that sees players battling as a member of the Joker’s gang, Bane’s gang, or Batman and Dick Grayson/Robin. Unfortunately, though, I never experienced this mode even when I played on the PlayStation 3 so I can’t really comment too much on it but it sounds like a standard, team-based deathmatch kind of mode; my only real grip is that the developers didn’t incorporate Robin into the main game or even as a playable character in the Challenge Mode this time around, and that the DLC can no longer be purchased.

The Summary:
Even now, Batman: Arkham City remains one of my favourite videogames and a standout in the Arkham series; it expanded upon all of the mechanics and features of the first game and truly defined the standard for Batman videogames. For me, then, Batman: Arkham Origins is a lot of fun; it’s (literally) everything Arkham City was but more; it’s not like they just slapped on a reskin or opened up the map a little bit either like some glorified DLC, there is a lot of story and additional features at work here that expand the game world considerably. The Christmas setting is inspired and seeing Batman nearer to the beginning of his career and encountering some of his famous villains for the first time is a blast, as is the intricate development of Batman’s character from a wanted vigilante to a trusted ally of the city and, especially, Jim Gordon. The Batwing, additional gadgets, bigger emphasis on Batman’s detective skills, and the unique, challenging boss battles are all really solid additions and help to make the game very unique. What lets Arkham Origins down a bit, especially compared to its predecessor, is undoubtedly how derivative it can be and how needlessly frustrating many of these boss fights can be. The lack of inspiration in the game’s Enigma puzzles, simple reuse of many of Batman’s gadgets (when this would have been a great opportunity to strip him of many of them to really evoke the gritty feel of the first game), and reskinning of areas we’d explored to death in the last game do take it down a notch but I still maintain that there’s plenty to like about Arkham Origins. I’m not sure if it was worth developing the multiplayer component and it would have been nice to see some of these elements incorporated into the single player story but, overall, I feel if you enjoyed Arkham City then you kind of have to enjoy Arkham Origins as it’s the same game but with a new coat of paint.

My Rating:

Great Stuff

What did you think to Batman: Arkham Origins? How do you feel it compares to the other Arkham games, particularly Arkham City? Did you think the game was too derivative or did you enjoy the additions it made to the gameplay mechanics and revisiting the world in a new, expanded way? Which of the game’s assassins was your your favourite, and how did you fare against the likes of Deathstroke and Bane? Did you ever play the online multiplayer mode and, if so, what did you think to it? Did you enjoy the game’s DLC and the side missions? How are you celebrating Batman Day and what is your favourite Batman videogame? Whatever you think about Batman: Arkham Origins, or Batman in general, please leave a comment below and check back in next Wednesday for one more Arkham review!

Game Corner [Bat-Month]: Batman: Arkham City (Xbox 360)

14/09/202203/07/2024Dr. K10 Comments

Released: 18 October 2011
Developer: Rocksteady Studios
Also Available For: PC, PlayStation 3, PlayStation 4, Wii U, Xbox One, Xbox Series S/X

The Background:
Batman quickly became a successful and dynamic character after his 1939 debut in DC Comics; over the years, the character’s world and mythos has grown considerably to include numerous spin-off comics and adaptations into not just cartoons and movies but also videogames. While Batman has fared rather well in that department, it can’t be denied that there were a few stinkers as well before Eidos Interactive acquired the rights to make a Batman game and brought in both Rocksteady Studios and celebrated Batman scribe writer Paul Dini to create the critically and commercially successful Batman: Arkham Asylum (ibid, 2009) at a time when the character was hot off a resurgence thanks to the recent success of The Dark Knight (Nolan, 2008). Development of a sequel began work before Arkham Asylum had even been completed; despite apprehensions about system limitations, Rocksteady had big ideas for the sequel, which would move away from the claustrophobic trappings of Arkham Island and into more open world territory. Having learned from their mistakes and feedback from the first game, the developers greatly expanded Batman’s arsenal, animations, and gadgets to make him a more capable character and significantly expanded the range of exploration and side missions available to players in the much-larger game world. All of that hard work paid off as Arkham City became one of the fastest selling videogames in history. Critically, the response was universally positive; critics lauded the voice acting and additional features and the high quality of the game’s mechanics and content. The game was so successful that it was released in multiple editions with access to different downloadable content (DLC) and won numerous awards for the sheer expansiveness of its included, and additional, content.

The Plot:
After the events of Arkham Asylum, the city’s criminals have been locked up inside a walled off section of Gotham City known as Arkham City, where supervillains and TYGER mercenaries under the command of Doctor Hugo Strange enforce martial law. Infiltrating the prison to investigate Strange’s unlawful incarceration of those who spoke out against him, the odds against Batman increase when the Joker shows up, apparently dying from TITAN poisoning, and infects Batman with his blood, forcing him to delve into the city’s underworld to find a cure.

Gameplay:
Like its predecessor, Batman: Arkham City is a third-person, action/adventure game but, this time, you’re prowling the streets and rooftops of “Old Gotham”, a dilapidated and rundown area of Gotham that has been encased in high perimeter walls sporting gun turrets to house the city’s undesirables. Arkham City’s game world is five times the size of the one seen in Arkham Asylum and features even more recognisable landmarks from Batman’s famous city and areas to explore, as well as an endless supply of inmates and lowlifes to get your fists on. One of the best things about Arkham City is how the control scheme and core mechanics remain exactly as in the first game, just expanded considerably. Once again, Batman’s main method of traversal is his operatic cape and grapnel gun, which can now be used in conjunction and upgraded to allow him to effortlessly zip across the city. You can also dive bomb while gliding to take out enemies or pull up and gain additional height and length on your glide, allowing you to traverse the city prison in no time at all.

*Combat and stealth are more fluid and satisfying than ever thanks to additional animations and options.*

This more than makes up for Batman’s continued inability to jump and allows him to easily dart out of danger when spotted; Batman can still crouch with the Right Trigger and toss a quick Batarang with the Left Trigger, but now he can also quick-fire other gadgets, which is incredibly useful in combat and for solving the myriad of brain-teasing puzzles scattered around the city by Edward Nashton/Edward Nygma/The Riddler. The “freeflow combat” mechanic of the previous game returns intact but greatly expanded thanks to the addition of more attack animations and combos; X allows you to strike in quick succession while a well-timed press of Y (indicated when the “counter” indicator appears) will allow you to block and counter incoming attacks and rack up a bigger and more fluid combo. The higher your combo, the more damage you’ll deal and the more dynamic the perfectly-placed fight camera will move to allow you to lunge at other enemies before they can land a blow. Since the streets are crawling with a seemingly inexhaustible supply of thugs this time around, there are far more opportunities to sneak up on them and perform a “Silent Takedown”, but this time you can perform a “Knockout Smash” (though this will attract nearby enemies) and you can even perform takedowns from floor grates, double or even triple counters and takedowns when in combat, attack parts of the environment (like fire extinguishers and electrical boxes) to disorientate or disarm opponents, and even slam inmates into walls or dangle them over ledges during combat or interrogations.

*New additions to the Predator sections increase the threat to Batman and his takedown options.*

Also returning is the stealth-based “Predator” mechanic; in addition to sneaking up on enemies, Batman can grapple up to stone gargoyles and other high ledges to review rooms of armed thugs using the x-ray and thermal vision offered by his “Detective Mode”. A simple press of the Left Bumper and you’ll be able to see enemies by their body heat, their current condition, and any interactable parts of the environment. Batman’s new array of gadgets (easily accessed using the directional pad) can also be used in new ways to lure enemies into traps or take them down and, while traversing the city, you’ll need to make liberal use of these (and Batman’s new smoke pellets) to dart away from gunfire and dispatch gun-toting enemies. Again, Batman is tough but can’t take sustained gunfire or explosions; however, his health will replenish after you clear out all nearby enemies, solve riddles, or find the many Riddler Trophies. These same criteria will earn you experience points (XP) to improve Batman’s armour, abilities, and weaponry once more but the game definitely mixes things up by having enemies be able to jam your Detective Vision and electronics and lay traps of their own.

*Navigation is easier than ever thanks to a comprehensive map, waypoint, and compass system.*

If you thought Arkham Asylum had a lot of riddles and Riddler Trophies, then Arkham City will blow your mind! The Riddler has placed his trophies not just out in the open but hidden behind walls, in cages, and a myriad of pressure pads and context-sensitive puzzles that will require all of Batman’s skills and gadgets to acquire. Similarly, there are riddles to find across the city and you can solve them by tapped LB to scan the environment when you spot glowing green question marks or the answer to the riddle. This time, there are also far more destructible elements to snag you some XP; the chattering Joker teeth return but you’ll also be destroying TYGER security cameras, balloons, and massive bobbleheads of Doctor Harleen Quinzel/Harley Quinn, which all adds to the fun, as well as more opportunities to use your gadgets to open vents or shut off steam from pipes. The map screen returns, far more expansive and user friendly (as are all of the menus) than before; you can now set waypoints to your next mission or any other location on the map and a very useful onscreen compass and Bat-Signal will direct you towards your location with a minimum of fuss. Take note, though, that these features are suppressed when you have Detective Mode activated but, again, there are some opportunities to track targets using this vision mode.

*The streets are crawling with more baddies than ever and they’ll repopulate areas as you progress.*

Like the first game, Batman: Arkham City gets progressively difficult as you play but this is expanded upon greatly. You might come across a gang of Harvey Dent/Two-Face’s minions and engage them in combat, only for more and more nearby inmates to hear the fight and join in, for one thing. These enemies will, eventually, repopulate areas after you’ve cleared them out so you constantly have to be aware of enemies on the streets and rooftops and, like in the last game, enemies will increase in their aggressiveness and capabilities as you progress through the story. Also, like before, you can select different difficulty levels to play the game on from the start, with “Hard” mode including counter indicators this time but increasing the damage enemies will put out, but there are no Achievements tied to playing on Hard mode so you may as well play on “Easy” or “Normal” since “New Game Plus” offers an even tougher challenge than the game’s Hard mode. Where Arkham City excels, though, is in its sheer size; Arkham City is full of buildings to enter, Easter Eggs and references, riddles to solve, and side quests to keep you busy. For a returning player like me, it’s really easy to get distracted with side quests on your way to the main story objective and you can keep track of all outstanding missions from the main menu. From here, you can also view stories and character biographies, review Batman’s moves and abilities (and even view a tutorial if you need a refresher), and check up on any outstanding riddles and such. In fact, the only real downside to Arkham City is, again, the inability to quickly exit an area, which can be particularly bothersome when deep in the bowels of the city subway or the forgotten steampunk city, Wonder City, as it can still be a tad laborious to find your way back out sometimes.

Graphics and Sound:
Batman: Arkham Asylum managed to hold up impressively well over time and Arkham City holds up even better; it was already a big step up in terms of graphical quality and visual presentation so it’s only natural that it’s aged even better. As before, it’s a very dark game and takes place in one night so you might be relying on your Detective Vision or brightness settings to navigate in some areas but, thanks to many of the game’s locations taking place in indoor, more suburban (if equally dilapidated) areas, there are far more opportunities to bask in the impressive art direction of the game. Arkham City is split into different regions, with each one being primarily controlled by gangs of thugs affiliated with a different supervillain (Oswald Cobblepott/The Penguin, Two-Face, and the Joker) and having a distinctive feel to them.

*Each region of Arkham City is controlled by a different villain and has a different look to it.*

Because the game takes place within a walled off cityscape, it must be said that it’s not immediately as visually distinctive compared to its predecessor as you’re surrounded by skyscrapers but I can forgive this as there are far more opportunities to see and explore the wider mythos of Batman’s world. You’ll stumble across Crime Alley, explore the remains of the old Gotham City Police Department (complete with Bat-Signal on the roof), fight through the museum and into the Penguin’s Iceberg Lounge, and take on the Joker’s gang at the dilapidated remains of the Sionis steel mill over on Amusement Mile. Similar to Arkham Island (which you can still see lingering in the misty distance), the city prison is a rundown, desolate place full of graffiti, burned out cars, litter, and chaos and there’s a real sense that the dogs have been literally let loose within its high walls and have turned the city into a veritable war zone. As you might expect, there are some more intricate and elaborate areas of the city, too. You can venture down into the abandoned subway and, of course, navigate through some stony catacombs and sewers beneath the city but, luckily, the game is far bigger and makes much better use of these environments when it comes to utilising Batman’s abilities so there’s far less awkward jumping and climbing and much more emphasis on the Line Launcher and grapnel boost, though you will need to get used to the new dive bomb mechanic in order to swoop in through some tight areas and get 100% completion.

*Some nightmarish sequences, jump scares, and chilling encounters add to the world’s mythos.*

Things definitely start to take a more visually interesting turn once you venture into the abandoned Wonder City, a town populated by deactivated robots and lost to the midst of times, and scale Wonder Tower to confront Hugo Strange. Sadly, there aren’t the same dynamic sections as those involving Doctor Jonathan Crane/Scarecrow from the last game but Arkham City does go to some lengths to recreate these sections when the plot demands that Batman suffer the effects of his poisoning. Later, during a side quest involving Jervis Tetch/The Mad Hatter, you’ll experience a much more similar, twisted nightmare world but the game does include far more elaborate and layered areas to explore that change as the story progresses. The GCPD will freeze over because of Doctor Victor Fries/Mister Freeze, the steel mill needs to be cooled down and then you have to enter through a different entrance that involves navigating past giant machinery and drills, Julian Day/Calendar Man is imprisoned beneath the courthouse, and the museum contains a gigantic frozen pool with a very large and unfriendly denizen awaiting you.

*The attention to detail, new villains, and cameos are even better than ever this time around.*

Thanks to the diversity in the game’s inmates, enemies have a lot more visual variety this time around as they wear different colourings and outfits. There is also a lot more chatter as Batman picks up on his enemy’s radio signals and broadcasts, with both Joker and villains like Penguin taunting you and issuing commands to their underlings. Batman’s suit, while visually very similar to the last one, still takes on battle damage as the story progresses and, as you’d expect, both Kevin Conroy and Mark Hamill knock it out of the park with their stellar work as Batman and Joker, respectively. Like before, Batman stops to converse with Barbara Gordon/Oracle but he also talks with his faithful butler and father-figure, Alfred Pennyworth, who sends additional equipment and offers council. The game also features far more references to Batman’s cast of characters and the wider DC universe and there’s even a much-appreciated cameo from a really well-designed version of Tim Drake/Robin for good measure. Cutscenes still make liberal use of the in-game graphics, which are even closer to the higher quality cinematics, and you’ll now see a helpful little recap of the story and your current outstanding missions when reloading a save.

Enemies and Bosses:
With Arkham Asylum gone, its inmates and the rest of Gotham’s criminals have been tossed into Arkham City instead; for the most part, the bulk of the game’s enemies are the same scumbags you fought in the last game but in different clothing and with more jeers to throw your way. Inmates will throw punches, grab weapons, toss items at you, and attack with both knives, guns, grenades (in a new twist), electrical batons, and will even pick up car doors to use as shields and ram you. Eventually, you’ll also have to contend with snipers, enemies wearing collars that will attract their allies when they’re downed, enemies that can jam your technology, ones that take hostages, and thugs will even use thermal vision to spot you and start destroying the ledges you’re hiding on if you linger too long or fail to stay hidden. While the crazed lunatics from the last game are gone, the TITAN monsters make a return and some inmates with be decked out in protective armour. A simple Batarang to the face is no longer enough to dispatch these goons; this time, you must use three cape swipes to stun them and mash X to beat them into submission while also countering incoming attacks. You’ll also have to contend with the one-armed Abramovici twins a number of times; these big bastards swing huge sledgehammers or scythes and must be blasted with a bolt from Batman’s Remote Electrical Charge gun to inflict damage on nearby enemies and pummelled with your attacks as they can’t be stunned so you have to strike, hop over to avoid their swings, and strike again to defeat them.

*Solomon Grundy more than makes up for* *Two-Face and Penguin’s lack of physical challenge.*

Arkham City is populated by a number of Batman’s most notorious rogues, basically all of them being new additions to the roster of bosses. The first you’ll encounter is Two-Face, who has taken over the courthouse and held Selina Kyle/Catwoman hostage. This is more of a tutorial for the basics of combat and Dent is dispatched by Catwoman in a cutscene rather than in an actual boss fight, and the following encounter with the Penguin is quite similar. This is basically the culmination of a side mission that sees you rescuing frozen police officers, freeing Mr. Freeze, and acquiring tech from his suit to deactivate his freezing gun (which the Penguin is using to keep you at bay). In fact, the first real physical challenge you have (aside from gladiatorial bouts against swarms of inmates or fights against one of the Abramovici twins) follows this encounter with the Penguin, which sees you facing off against the hulking zombie Solomon Grundy. You fight Grundy in a kind of gothic laboratory and must use your quick-fire explosive gel to close up three holes on the floor that regenerate Grundy’s health with lightning (while dodging said lightning) and allow you to put a beating on Grundy. This continues into the next phase, where Grundy tries to crush you with leaping attacks and two giant wrecking balls and sends weird little mice-things scuttling towards you. The third phase is more of the same but Grundy has one arm trapped in a machine; this time, the floor holes open sporadically for even shorter bursts and you need to avoid the shockwaves Grundy produces. Once he’s finally defeated, you have to dodge out of the way of the Penguin’s missile to punch him out once and for all, all of which is more interesting and engaging than the final boss of the last game.

*While Rā’s tests your reflexes*, *you’ll need to use all of Batman’s skills and gadgets to bring down Mr. Freeze.*

The next main story boss you’ll battle is Rā’s al Ghūl but, before this, you must first track down one of his ninja assassins by her blood trail, get past more of them in Wonder City (they can dodge your strikes and teleport in puffs of smoke before attacking with sword swipes), and endure the “Demon Trials” (gliding sections through a twisted hellscape where you can’t touch anything but the highlighted areas). You’ll face Rā’s in a desert that is part delusion, part reality, and have to take out hoards of sand men while he dashes at you from out of nowhere. Once you get past them, you must dodge the shurikens and blades he sends your way while blasting at him through his human shield with your Disruptor, and then mash Y to counter his attacks. The speed and aggressiveness of his attacks increases as the fight goes on but the final blow comes down to a well-timed toss of the reverse Batarang and Rā’ later meets a very gruesome end for his part in the game’s events. Next, you’ll have to take on easily the most intricate and complex boss of the game (or most games, for that matter) as Mr. Freeze betrays you and forces you into a confrontation. Depending on the difficulty you’re playing on, you may be forced to use every single one of Batman’s gadgets and abilities to deal damage and leave him vulnerable for a beatdown as Mr. Freeze learns and adapts his strategy as the fight progresses. Mr. Freeze will plod around the laboratory searching for you and sending heat-seeking globes to seek you out; you can use Batman’s glide attack, takedowns, and gadgets (like the explosive gel and Remote Electrical Charge gun) to deal damage but he’ll take action to ensure that you can’t do this twice (he freezes the ledges, grapple points, and vents, destroys parts of the environment, erects a shield, among other defensive measures), which forces you to think on your feet and explore options you might not normally use.

*After stopping Strange and defeating Clayface, you’ll find some other villains to take down.*

In the game’s finale, Strange activates the mysterious “Protocol 10” and commences a strategic bombardment of Arkham City; this briefly forces you to hack into circling helicopters in order to get inside of Wonder Tower and shut Strange down but, after you do, you’re forced into a confrontation with the Joker, who seems revitalised and has taken Talia al Ghūl hostage. Earlier in the game, you actually fight the Joker in his base form while his goons and out of control dodgem cars fill the arena but, when you confront him at the end, it’s revealed to have been Basil Karlo/Clayface in disguise; thus, the finale is, again, a battle against a hulking enemy. This time, you have to dodge Clayface’s cannonball attack and swinging arms while repeatedly spamming Freeze Blasts to whittle his health down. In the second phase, you grab a sword and slice up the mud men he spawns while repeating these tactics and avoiding his big sledgehammer shot in order to take him down. In between each of these main mission boss fights, you’ll come across a number of side missions that will draw you into confrontations with more of Batman’s rogues gallery: Floyd Lawton/Deadshot has been killing targets all over the city but Batman eventually tracks him down and must sneak past his one-shot rifle-arm to take him down; Victor Zsasz/Mister Zsasz has been killing people by luring them to ringing phones so Batman has to listen to his macabre life story to triangulate his location and then sneak around him in a partially flooded area to rescue his hostages; the Mad Hatter abducts you and forces you to battle waves of demonic rabbits; and the Riddler has also taken five hostages and placed them in Saw (Wan, 2004)-like traps. These hostages can only be saved by finding the Riddler’s Trophies, solving riddles, and interrogating his informants (highlighted in green) to gain access to his “Enigma Device” and locate each one in turn using the Cryptographic Sequencer.

Power-Ups and Bonuses:
As before, Arkham City features a level-up progression system; every time you defeat enemies, solve riddles, or pick up Riddler Trophies and destroy cameras and such, you’ll gain XP. Upon levelling-up, you can again upgrade Batman’s armour (now separated into one that improves damage from melee attacks and one from gunfire) to gain additional health, add more elaborate takedowns to his repertoire (including a swarm of disorientating bats, bone-breaking takedowns, and weapon disarmaments), and upgrade his various gadgets to improve their range and efficiency. Again, it’s pretty easy to fully upgrade all of Batman’s abilities if you engage with enemies and search out riddles on a regular basis, and it’s best to mix and match your upgrades for a balanced playthrough but you can choose to focus on making Batman more durable if you so wish.

*Batman’s new toys let him charge power points and create temporary platforms, among other things.*

Batman begins the game with many of the gadgets he had at the end of the last one, making him far more equipped for the rigours of Arkham City; many of his weapons, such as the grapnel gun and explosive gel, can now be used as quick-fire attacks to mix up your combos to allow for more diverse combat. Although Batman can no longer rip down walls with his grapnel gun, the Line Launcher can be upgraded to fire a second line and allow Batman to walk along it like a tightrope and he also has access to some new toys. The smoke pellets allow him to disorientate enemies and make an escape if needed, the Remote Electrical Charge gun allows him to power up electrical appliances, the Disruptor deactivates mines and renders up to two enemy guns useless, and the Freeze Blast (and upgraded Freeze Cluster) can plug up steam pipes and form ice floats on bodies or water to allow Batman to float around by grappling onto conveniently-placed hooks around the environment.

Additional Features:
Batman: Arkham City has fifty Achievements to earn, with the bulk of these popping simply by playing through the story, meeting certain objectives, and defeating bosses. One has you fiddling with the Xbox’s internal date and time in order to hear Calendar Man ’s chilling acts while most of the others are tied specifically towards starting or completing the game’s many side missions rather than solving or finding riddles (although this is a factor since you need to do this to rescue the Riddler’s hostages). No matter what difficulty you complete the game on, you’ll unlock a New Game Plus mode that offers and additional difficult challenge, mixes up the enemy placements, allows you to play the story with any additional DLC costumes, and carries over all of your gadgets and upgrades to a new game file. You’ll also be able to return to your original save file in a post-game world where the inmates will comment on the dramatic conclusion of the game and be freely able to switch to Catwoman at certain points on the map.

*Alongside the Riddler challenges, there are a number of additional side quests to occupy your time.*

This is super useful if you have any outstanding side missions to complete; not only are there some diving simulations to complete and a bunch of Riddler challenges tied to performing combat and gameplay manoeuvres, there are many other mysteries and villains out there to confront, such as tracking down Thomas Elliot/Hush (who has been mutilating victims to impersonate Bruce Wayne), figuring out the motives of the mysterious Michael Lane/Azrael, saving a number of political prisoners from random acts of violence, locating and reunited Nora Fries’ cryogenically frozen body with Mr. Freeze, and destroying TITAN containers in a fragile alliance with Bane. Additionally, there are way more Riddler Trophies hidden throughout Arkham City, many of which require precision gliding, pressing pressure pads, and using a variety of Batman’s gadgets to pick them up. Catwoman also has her own Riddler Trophies to pick up and, while there are no audio tapes to find this time, you can still unlock biographies, news stories, and audio clips by solving and finding riddles. As before, the game features a Challenge Mode, now rebranded as “Riddler’s Revenge”, which allows you to take on self-contained combat and predator challenges based on encounters in the game. You’ll battle a few waves of increasingly difficult enemies and rack up points by sustaining and varying your combos and pick off goons from the shadows while handicapped by a number of modifiers (such as disabling your Detective Mode, shielding enemies from damage, or having reduced health).

Arkham City *makes up for the last game with a whole bunch DLC skins, characters, and challenge maps.*

There is also a new series of “Campaign” maps that mix up the two challenges to present a sort of adjacent side story to the main game and you can compare your high scores against friends and other using the online leaderboards. These challenge maps, and the main game itself, can be expanded by purchasing the many different DLC packs for the game. As mentioned, Catwoman was a big selling point of the game and those who pre-ordered Arkham City or purchased her DLC can switch to playing as Catwoman during the story to follow a side mission involving Poison Ivy and stealing from Hugo Strange. The DLC for Arkham City is such a massive step up compared to the last game, adding twenty Achievements to collect and numerous costumes for Batman to use in New Game Plus and on challenge maps, and, best of all, the ability to play as Robin and Dick Grayson/Nightwing in the challenge maps. Each of the four playable characters plays a little differently (Catwoman is faster but weaker, slashes with her claws and tosses bolas; Robin uses his bo staff, riot shield, and faster (but shorter) version of the Batclaw; and Nightwing batters thugs with batons and utilises his acrobatic skill to take out enemies) and has their own gadgets but, sadly, only Catwoman is available to play as in the main game. Robin does take centre stage in a post-game DLC story, “Harley Quinn’s Revenge”, that sees him infiltrating the steel mill to rescue Batman; I had all of this DLC on the PlayStation 3 and greatly enjoyed the variety offered by the skins and each character but I do wish that the studio had allowed these additional characters to be used in the actual main game.

The Summary:
I was massively impressed with Batman: Arkham City when I first played it on the PlayStation 3; the game was just so much bigger and better than the original thanks to expanding the scope of the game world and the range of Batman’s abilities and gadgets. Everything that worked in the original game is back and improved upon, making combat even more fluid and diverse and truly defining the essence of Batman to set the standard for the remainder of the series. Rather than being confined to a claustrophobic, gothic prison, Batman is freely able to roam and fight around a dilapidated, walled off section of the city full of Easter Eggs, references, inmates to fight, secrets to find, and side missions to keep you busy for far longer than the first game. Best of all, the game is packed full of post-game and additional content thanks to these side missions, the New Game Plus mode, the expanded Challenge Mode, and the impressive abundance of DLC. Including additional skins, a short post-game story, and two of my favourite Batman characters in Robin and Nightwing really helps to expand the lore of this interpretation of Batman’s world and offers far more replay value. For me, Arkham City is still the gold standard for the Batman: Arkham series (Various, 2009 to 2015) and, while Arkham Asylum finally offered all of Batman’s abilities in a fun and engaging way, Arkham City expanded on them to the nth degree and truly defined what it means to play as Batman in an open world environment and it definitely deserves all of the praise it earned upon release and even to this day.

My Rating:

Fantastic

What did you think about Batman: Arkham City? How do you feel it holds up compared to the original games and its sequels? Did you enjoy that the game world was expanded into a city-sized open world or did you prefer to more claustrophobic aesthetic of the first game? Which of Batman’s new gadgets and rogues were your favourite to use or fight against and why? Did you ever track down all of the Riddler’s trophies and secrets? Which of the side missions was your favourite to complete? What did you think to the game’s DLC and would you have liked to see Robin and Nightwing playable in the main game? How are you planning on celebrating Batman Day this year and what is your favourite Batman videogame? Whatever you think about Batman: Arkham City, or Batman in general, please leave a comment below and check back in next Wednesday for my review of the next Arkham videogame!

My Rating:

Terrible

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My Rating:

Terrible

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My Rating:

Could Be Better

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My Rating:

Terrible

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My Rating:

Pretty Good

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My Rating:

Terrible

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My Rating:

Great Stuff

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My Rating:

Pretty Good

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My Rating:

Great Stuff

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My Rating:

Fantastic

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