Fallout 3

Fallout 3


War. War Never Changes.

It must suck to be GTAIV right now. Last November, there was an absolute glut of great, great AAA titles, and Rockstar wanted nothing to do with fighting BioShock, Mass Effect and their friends. So they brought out their next-gen urban crime sandboxer in May of this year, and when I played it, I immediately crowned it Game of the Year. Nothing could touch it in production values or overall unifying aesthetic. Then the "Summer of Arcade" took the pressure off full disc releases, and it looked like, with Dead Space being great but not perfect and a few other titles faltered, GTAIV looked sure to sweep the year-end accolades.

Oops.

Fallout 3 is not the best game this year. It is the best game made so far. In games. Period, full stop. Bethesda so completely nailed the setting, and their attention to detail spilled over into every thing about the game being fantastic. In the ten years since Fallout 2's release, there's been endless fanboy gnashing of teeth, and while this won't satisfy them (nothing would have, let's be honest), this game delivers at the end on all the promise it offered at the start. Ostensibly, the game follows the progress of one of Vault-Tec's underground Vault Dwellers as he or she makes their escape into the blasted wastelands of a post-apocalyptic future/past Washington DC and affects the world around them on the search for his/her father, who ran away too.

Graphically, there isn't a lot to dislike. It has a draw distance that is essentially unparalleled, thousands of intriticately detailed character models, weapons, landscapes and enemies. More importantly, Bethesda totally nailed the design ethic of a future world where the rock-n-roll revolution never happened, and idyllic 1950's culture endured into a world of fusion cars, talking robots and of course, nuclear holocaust.

The sound runs the gamut, from traditional (but well-choreographed) 'fight music' as enemies approach, to a smattering of classic big band tunes on the various rogue radio stations still broadcasting to the wastes. No expense was spared on voice talent, either, as Malcolm McDowell lends his vocals to the voice of President Eden, and Liam Neeson takes on the role of your father. And of course, Ron Perlman reprises his role as narrator. Weapons and explosions are suitably booming, and the laser weaponry is pew-pew-y enough to harken 1950's space invader paranoia without parodying it.

The controls are daunting at first, but once the realization sets in that the game is essentially an RPG with turn-based combat, it becomes a lot more fun. All projectile weapons are terrifically inaccurate when fired from the hip, but once you enter VATS (a timestop action point based combat system) the enjoyment floods back into the game. The minigames really nail the feel of the actions they mimic; the hacking game in particular is rewarding, as you guess and filter clues to find the correct word out of a list, using a process of elimination, while the lockpicking minigame has real tactile response and overall pressure factored in to it.

Fallout 3 really shines not in the main story (which almost seems intentionally stunted and cropped to get the player to really explore) but in the almost endless variety of sidequests, and the absolutely jaw-dropping amount of things there are to do. There are simply too many things to do in this game, and you cannot possibly do them all. After having sunk over 70 hours (that's not a typo; there's a reason there's a week's gap in posts) into this game in the last month and still playing every day, I haven't explored even half of the game's world. The best parts of the game aren't even in the side quests, they are - like Heaven itself - in the details.

In one corner of the map, you will find a series of giant satellite dishes. Climbing up to the top of them reveals a pile of potato chips and several empty liquor bottles, lying on the top of the dish. And at first you are baffled, but it makes perfect sense. As the world is totally going to hell around you, it'd be pretty sweet to watch the nuclear sunrise from the highest point you can get to; just hanging out on top of a satellite dish and watching the stars as the world decays. There's really nothing I can say about the game that tops that, once you realize that that sort of attention to detail and logical concluding pervades every single step of the game, and you appreciate how much work went into making it, you have no choice but to laud it for basically the crowning achievement in building, populating, and convincingly destroying an entire world.

Graphics: Absurdly good. Highly-detailed walls, ground and a twinkling night sky, unique setpieces everywhere and the longest draw-distance I've ever seen. 5.
Sound: Great voice-acting, especially from the 3 "real stars" brought in, though some characters obviously have the same actor, but the effects and music (both licensed and original) are stellar. 5.
Controls: Not an issue. The only complaint is the inability to jump while on an incline, but that's an engine issue that can be avoided by not trying to glitch to inaccessible areas. With the choice to play any or all of the game in a 1st-, over-the-shoulder- or 3rd-person view, you shouldn't have any complaints. 5.
Tilt: Completely off the charts. Captures the dark human, fatalism and grittyness of Fallout without devolving into parody or taking itself too seriously. Secrets and easter eggs are everywhere. 5.
Overall (not an Average): Tendrils' Top Picks

Bully: Scholarship Edition

Bully: Scholarship Edition

Grand Theft Auto has assumed the mantle of "It's like X, but..." when describing games nowadays. Everything has to have the free-roaming, beat up anything, drive anything mentality to be a proper sandbox game, and yet most games fall on the wayside, championed by a few diehards while the main GTA franchise continues on unopposed. Not suprisingly, the most compelling GTA clone to come out in the last eight years was by GTA's developer, RockStar, and their "GTA, but in Boarding School" offering Bully. The version reviewed here is the much-improved Scholarship Edition, which uses the upgraded power of the 360 to touch up character models, sweeten backgrounds and increase draw distance.

What Rockstar did in Bully, though, was craft a great narrative. While they've always told stories, Bully pulls you through Jimmy's life as he tries to get by and earn the respect of his classmates, and with a unique and more importantly relevant timer/clock, and required missions, the game leads you through the sordid and Lord of the Flies-esque world of high school, and does it in an incisive and very funny series of missions.

The controls are standard fare for a Rockstar sandbox game; you'll recognize the configurations instantly and that level of familiarity makes actually playing the game relaxing. Music cues and dozens of unique voice actors are suitably distinctive and juvenile, and the game puts a lot of stress on not making itself so open that you feel lost. Missions have structure and fall organically into each other.

Bully is, most of all, funny. It has laugh-out-loud moments and is full of heart. The game will ring true to anyone who went through high school as an outcast, and the sweet satisfaction of the main story's resolution, despite the deus ex machina denoumont, will leave you smiling to yourself. The game does have shortcomings, though: Most alternate weapons in the game will be used solely to get their related achievements and then filed away. Collect-a-thons are back, unfortunately, a yoke Rockstar seems to never be able to get off its back, but thankfully escort missions are few and far between. No quick-warp between the world's four areas is a major letdown, as there's nothing to see in its "loading tunnels," and load screens are still present from time to time.

Graphics: Not the prettiest ever, but certainly competent for such a broad and deep game. 4.
Sound: The voice acting of the main character and the variations on the main theme are all fantastic. 4.
Controls: Breaks no new ground, but doesn't trip itself up with obscure configurations either. 3.
Tilt: Great story and acting come together in an idealized, predatory boarding school to paint a bitterly sarcastic take on growing up. 4.
Overall (not an average): 4.

Transformers: The Game

Transformers: The Game

Movie Tie-in games are almost universally awful. There are rare exceptions, and when they are good, it's usually in spite of the movie license, not because of it. Guarenteed sales because of well-meaning but clueless parents/grandparents make it a dicey proposition to devote any more resources to a game than the bare minimum, and it shows.

Transformers: The Game is sadly not one of those exceptions. The average gamer's age is hovering in the late 20's and rising - these are your core game-buying demographic, and they grew up on the Generation 1 Transformers. Even if you were going to slavishly base your game around the atrocious 2007 eponymous movie release, failing to include the ability to switch to Generation 1 skins (at least, switching without disabling achievements) is a major failing of the game. While the animations are slick and the game looks nice (although with a painfully short draw distance, especially for an open-worlder with so many tiny collectables), there's nothing more cringe-inducing than trying to enjoy a game where you play as a hideous exoskeleton robot.

While that's a lot of fanboy whining, there's a lot to dislike about the game otherwise. Your protagonist is always silent, even for characters that voicework was provided for in other scenes, and I desperately wanted something to attach myself to the robot on screen, just a simple "affirmative" or "on my way" would do the trick. The game does feature some nice destructible environments, but also ball-busting difficulty out of nowhere on certain missions, usually due to the game's sad choice of making your weapons into pea-shooters that will not fire straight unless you use your lock-on skill, which is locked to the speed and angle your camera can turn - not the direction your arm could aim. Driving (and flying, which has no altitude, pitch or yaw control, so basically driving without roads) is a mess top to bottom.

The most frustrating thing about this game by far is that it could have been that Hulk: Ultimate Destruction or Chronicles of Riddick that ends up being one of those "WTF" titles on your shelf that people laugh at when they come over and you get to lord your "Diamond-Finding Rough-Searching Skillz" over them as you explain why this tie-in was a blast.



Graphics: Everything is very, very pretty, when it's not totally pitch-black because there's no gamma control to lighten up things when you're indoors or after dark. 4.

Sound: Things crash and explode with appropriate booming resonance, but there's a startling lack of voice acting, especially since they clearly had people do voice work for the characters you control in the game. 2.

Controls: Abysmal. Getting to do the things that make this game fun are a chore. 1.

Tilt: There's a lot to like in the potential of this game, but in the end it falls flat. 2.

Overall (not an average): 2.