Showing posts with label Xbox 360 Games. Show all posts
Showing posts with label Xbox 360 Games. Show all posts

The Orange Box -PC , Xbox GAMES


It's hard to talk about what Valve's The Orange Box offers without immediately falling into an impression of some sort of late-night pitchman for fantasy knives and alternative cleaning products. That's partially because the name "The Orange Box" sounds more like some kind of citrus-scented bathroom cleanser than a video game, and partially because this five-games-in-one package is the kind of crazy deal that almost forces you to shout "Now how much would you pay?" With three amazing new games and two classics all in one package, it's impossible to go wrong with The Orange Box.

With your purchase of The Orange Box, you'll get Half-Life 2: Episode Two, Team Fortress 2, and Portal. They're all based on the same graphics engine, but they're all incredibly different games, which ensures that there's something for everyone. You'll also get 2004's Half-Life 2 and 2006's Half-Life 2: Episode One, which is handy if you aren't up to speed with what Gordon Freeman's been doing over the past few years. On the PC, you'll launch each game separately. On the Xbox 360, the game boots up to a menu where you can easily select any of the five games, and quitting out of a game brings you back to the selection menu.

Let's start with new stuff. Episode Two is the continuation of the Half-Life 2 story. It picks up right where Episode One leaves off, with Alyx helping Gordon out of the rubble of a train crash. You've escaped from City 17, which now looks more like a smoking crater in the ground with a huge, swirling portal floating over it. But you aren't safe just yet. You've escaped with information that the Combine very much wants to get back from you, so the chase is on again. Fortunately, you'll do much more than just run in Episode Two. The biggest difference here is that Alyx doesn't directly accompany you through the entire game. You'll split up much more frequently, so, for example, you'll find yourself working your way through antlion nests and crushing antlion grubs all by your lonesome. You'll also negotiate a mine with the help of a vortigaunt who happens to serve as a subtle form of comic relief. It spouts dialogue that plays off of the serious, spiritual tone that most of these aliens take, only applying it to things such as crates full of supplies that just flew down a broken mineshaft and out of reach. These bits alone give Episode Two a much different tone than the previous games, but there are also significant gameplay alterations.

Episode Two marks the return of the lengthy vehicle sequences seen in Half-Life 2. There's a large block of action that takes place with you moving from spot to spot in what appears to be a stripped-down Dodge Charger. There are also a couple of big set pieces, such as one sequence where you have to defend the center of a mine from relentless antlion attacks. Likewise, the game's final sequence takes place in a wide-open area and, without getting too specific, feels very different from anything Half-Life 2 has done so far. Although you won't encounter any new weapons in Episode Two, the developers have at least broken the flashlight power meter out from the same auxiliary power that you use to sprint. This is a smart change that doesn't make much sense in terms of continuity between episodes, but it's handy and the sort of thing you wish they'd roll back into the much darker, much more flashlight-oriented action of Episode One. At about four or five hours, Episode Two is also longer than Episode One.

With all that Half-Life, you'd think that the other two parts of this package would be minor additions thrown in to make the deal sound more attractive. But Portal is probably the greatest thing about The Orange Box. It's a clever mix that combines first-person action with very focused puzzle-solving. It's also completely hilarious. The premise is simple. You're a woman who wakes up in a tiny box inside some lab facility run by a mysterious company called Aperture Science. You're presented with a portal that lets you walk out of the room and into another. From there, the game gradually introduces you to portals and eventually gives you a gun that you can use to fire portals onto walls, ceilings, and floors. Your primary and alternate fire buttons are used to create blue and orange portals, respectively, and walking, jumping, or falling into one portal sends you out of the other one. You can also pick up objects, such as large boxes, which often must be placed on large buttons to open doors so you can proceed through a variety of test chambers.

Along the way, a computerized female voice guides you...and misguides you. The dialogue from the computer supervising your test gets more and more overtly funny as you play and leads to a very satisfying conclusion, including what might be the best end-credit song ever written. Later puzzles force you to pull off some tricky portal maneuvers and require you to consider how much momentum you have when you enter a portal, given that the same momentum is carried with you when you come out the other side. So if you jump down into a floor portal and have the exit portal set on a side wall, you'll rocket out of that portal with the velocity you had when falling into the hole on the floor.

Upon finishing Portal, which may take you three hours or so if you're able to quickly grasp the concepts that are presented, you'll unlock a series of advanced challenges. These include six harder versions of puzzles from the main game, and challenges that ask you to finish levels under certain limits, such as the time it takes you to complete the level, the number of portals you use, or the number of steps you take. The advanced puzzles are tough, but not impossible. However, the challenges are much rougher. There are bronze, silver, and gold medals awarded for each of the three challenge types across six levels. Even after you've figured out the puzzles, Portal remains fun and is worth coming back to again and again, just to listen to the dialogue and spend a few fleeting moments with the weighted companion cube. It's a shame that it had to end this way.


THE GOOD


  • Portal is an amazing combination of thought-provoking gameplay and a terrific sense of humor
  • Outstanding sound across all five games
  • You won't be finished with everything on the disc anytime soon.

The Bad

  • Playing through all three Half-Life 2 games in succession makes Episode One stand out as a relatively weak link.
read more here : http://www.gamespot.com/pc/action/halflife2episode2ob/index.html

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Kane and Lynch Dead Men - XBOX 360 Game



While it's easy to point to Kane and Lynch as a natural evolution of the Hitman series -- same developer, M-rated story, third-person action -- it actually has more similarities to a big-budget action film (which is a bit strange since the moderate-budget Hitman movie is about to hit theaters, but stick with us). From the big set pieces to the fast pacing and intense cut-scenes, Kane & Lynch is all about the chance to be along for a ride, with a few technical flaws making it a bumpy one.

The game follows the titular characters on a quest to rescue and reunite Kane's kidnapped (and highly estranged) family. There's a lot more going on, but that's the core of the story. Kane, who you play as unless you're player two in a co-op game, is the semi-normal mercenary who remains focused on this goal, while Lynch is the crazy one (a "medicated psychopath") who gets easily distracted and is someone you have to keep in line.

Furthering the action-movie feel, the game presents some of the best individual locations you'll find in any game. Sure, it's kind of weird that you bounce from a Tokyo nightclub to the streets of Havana to other seemingly random locations, but it makes for a great experience since each location feels very different from the one before it, and each was obviously put together with a lot of care. The game essentially cuts out the fat that most games would use to connect these scenes, so you get a story that jumps around from great moment to great moment and doesn't really care that it misses some of the connective tissue along the way.




When you're in the Tokyo nightclub and you have to sneak by hundreds of people dancing, or when you have to break out of prison while working with a team of prisoners, or when you have to rappel down the side of a skyscraper, you feel like you're involved in the story rather than just running through environments that just happen to be lined with enemies. Your teammates can give you ammunition if you run out, or adrenaline shots if you die (but not too often) to keep the game going, which works extremely well.

The story is pretty interesting, too. A lot of it is clichéd -- try to save your wife and daughter from the evildoers -- but the writing is solid (minus the overuse of the word "f***") and the story blends very well from cut-scenes to gameplay. It's disappointing that the story focuses so much on Kane and leaves Lynch's medical issues in the background, since Kane is such a straightforward character. But it still tells its tale much better than most games.

But while the campaign is well-structured, there are a few distracting issues. First is the obvious one: no online co-op. It's great that the game has cooperative play, since the story concept plays perfectly into that idea, but it's a shame that you have to play split-screen if you want to play with a friend.

The game also has issues with enemy intelligence, hit boxes, and weird difficulty spikes. The intelligence problems -- where enemies will stand around doing nothing while you snipe them, or stand five feet away and not notice you (one time we ran around a level for a few minutes without being able to proceed because we hadn't killed one guy who wasn't shooting, in motion, or visible from any reasonable angle) -- aren't a huge deal since they don't pop up too often. But when combined with the occasional hit box issues -- where if you shoot an enemy from the wrong perspective in a certain part of their body, it won't register as actually hitting anything -- the game feels cheaper than it should.

The difficulty spikes also indicate a lack of polish. These are rare, and we should note that you have the option to drop down to the easy difficulty setting if you get frustrated, but some scenes on the normal setting are oddly difficult compared to the rest of the game. In one scene that you might consider a boss fight, you have to shoot the glass out of a window until you can kill a truck driver. You can spend forever figuring out how to do this on normal, or drop down to easy and complete the task in about five seconds.




Kane & Lynch also has a competitive multiplayer mode called Fragile Alliance. Unlike in a lot of shooters there's no deathmatch or capture the flag, which is likely for the best since we'd much rather have one original mode than a few we've seen hundreds of times before. In Fragile Alliance, a team of players attempts to steal money/jewelry/etc. by attacking a specific point on a map. It starts off as a cooperative game where everyone is on the same team going up against the enemies in the environment, but anyone who dies returns as a SWAT officer trying to stop the heist. Adding a level of complexity, players who stay alive on the criminal side can choose to betray/kill each other (thus the title) to steal money from teammates.

It's a fun little timewaster of a mode, but the randomness of who is going to decide to betray whom at what time -- and how quickly you can die -- makes it hard to see the mode as much more than a gimmick, and the same hit detection and enemy intelligence issues from the campaign pop up here as well.

So there are problems that prevent Kane & Lynch from fully realizing its potential, but its concept and execution are strong enough to survive them. We rarely see scenarios and story structure this good in a game, and that makes it easier to forgive some of the more hardcore technical game-design issues. It's definitely more of a popcorn game for the action-movie crowd than a hardcore shooter, but there's nothing wrong with that.

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