Last Thursday night, I was too restless to sleep. I usually take some time to relax after my late class, and I found the perfect way to unwind. I cracked open my brand-new copy of Mirror's Edge and played until two in the morning.

It's been a long time since I've loved a game enough from the start to play for hours. I had a feeling that I would like it from the demo, but I didn't know that it would be this much fun.

Perhaps the best part of Mirror's Edge is the sensation of flying. Sometimes this comes from familiarity with a level; after failing a certain part several times I would find the swiftest path. However, good level design can create the feeling of flying without practice runs. For example, when running through a particularly intuitive portion of a level, I found myself suddenly faced with just one option for escape: jumping down the steep side of a building. To my surprise, I slid smoothly down and then used my momentum to complete a particularly long jump. It was a great feeling, and the fantastic sensation of flying felt completely natural in that environment.

Aside from flying, I found many other areas to commend in Mirror's Edge. The first couple of levels that I played through were quite intuitive. When running through small spaces at high speeds, this is a particular accomplishment. I was impressed with the level design, since players need to run through the level as fast as possible, and ordinary platformer and adventure game rules do not apply. I was also glad that the enemies were not an issue, at least at this stage in the game, since I could avoid combat. The combat system seems less refined than other mechanics, and it's nice to have a more peaceful option.

My greatest challenge when playing action-adventure games like Mirror's Edge is jumping. I don't know what it is about me, but I seem to be lacking a key skill in the spatial-relations department. For a game that I enjoyed so much, it may seem surprising that I swore like a sailor half the time I played. I have an odd habit where I almost never curse, except when playing games. Perhaps that was the release I needed to cure my restlessness.

My love-hate relationship with Mirror's Edge became more of a love when I discovered how forgiving the game was regarding death and respawns. Most of the particularly difficult jumps only had to be completed once, which made them much more accessible for people like me. The game had a plethora of triggered spawn points that minimized the time it took for me to reach the points where I got stuck, which also reduced my frustration. No matter how hard a part may have seemed, at least I knew that I only had to complete it once.

I'm excited to play more of Mirror's Edge. The sleek aesthetic, modern music, and HD graphics round it out to create a very enjoyable experience. I hope that it continues to be this fun. If so, Mirror's Edge could easily become my next favorite game.  

"Dark," "gory" and "brutal" aren't the typical words that attract me to a game. I'd heard that The Darkness was all of those wonderful adjectives and more, which initially drove me away. Then a friend lent me the graphic novel that became the basis for the game, and I soon found a reason to explore the depths of The Darkness.

The demo for The Darkness is incredibly well-rounded and complete, giving an excellent view of the game in chapters one, three, and seven. The stats have been adjusted specifically for the demo, allowing a smooth experience despite the gaps. Each level had a very different feel. The game has a strong sense of narrative despite the limited dialogue; most of the story was told through the protagonist's actions.

I wasn't terribly impressed with the first level. It felt more like an amusement park ride than a game. My options were very limited; I only could rotate the camera. When I finally got a gun, I couldn't wait to fire it, but I had to sit and wait while my character loaded the gun at the pace of a sloth. Supposedly I wasn't allowed to fire until the guy in front of me was brutally killed, and I could take his place in the front seat. I finally did get to shoot a bit, but then the demo portion of chapter one ended. While being in a car chase is exciting, I would've enjoyed it more if I were able to take part in the gunfight earlier. Part of my annoyance with control of only the camera came from the fact that the animations were stiff and the character models were just so-so. After reading a comic with the fantastic art style of Top Cow, I had hoped for characters that looked more sophisticated. Instead, these mobsters appeared to be precariously perched on the edge of the uncanny valley.

Chapter three was frustrating in the beginning, and I died a few times trying to get out of the cemetery. It seemed as if the voices of the mobsters weren't coming from any particular direction, so I couldn't tell where my enemies were until I was shot by them. I had some trouble getting used to the shooting mechanics and trying to identify men in black suits against a very dark background. While I could crouch behind cover, it appeared as if I couldn't shoot while hidden and thus I had to expose myself to harm. After a few tries, however, I managed to run into a tunnel and take the men down one by one by shooting at them through a small window. Following that small victory, I gained the darkness power and the game became much, much easier.

As soon as I got the darkness, I began to enjoy the game. I could wear the demons like a suit of armor. I could summon a minion berserker and command him to kill those ahead of me. All I had to do was shoot out streetlights; the darkness only thrives in the absence of light. Perhaps one of the coolest abilities was the "creeping" darkness. One of the demons would creep away like a snake, suddenly making unreachable areas accessible. I used this mode to crawl through a vent, take out a fan, then slither through the opening to brutally murder a man for a key. If there's one thing the darkness ability does well, it's giving the player the power of a real badass.

By the time I played the demo portion of chapter seven, I was much more familiar with the game, my powers, and the controls. Fortunately, the designers had the foresight to balance chapter seven by adding the extra abilities that would be available at that point in the game. These included a new darkness ability (that allowed an darkness "arm" to lift and smash things) as well as two new types of minions (the gunner and kamikaze darklings). Although I would sometimes panic about a lack of ammo, the help from my summoned darklings soon proved to be more than a match for the various henchmen.

My main complaint regarding chapter seven would have to be the level design. There was a gate I wasn't sure how to pass in the beginning, yet there were many locked doors scattered around. Once inside the warehouse area, the actual layout was rather mazelike, and I found myself constantly retracing my steps, accidentally exiting, and getting rather confused in general. My objective was behind a door that I got open somehow, but only after much button-mashing and frustration. I'm still not sure how I finally got through that door.

Overall, I was quite impressed with the faithfulness of the adaptation of The Darkness graphic novel to the gameplay experience. The game chose a strong storyline to follow and did a fantastic job of allowing the player to explore the depths of the protagonist's very dark powers. The brutality of the game didn't bother me, but that was likely due to my exposure to such images in the comics already as well as my high tolerance for blood and guts. I'm not sure if those unfamiliar with the series would enjoy The Darkness as much as I did, but it's certainly worth playing the demo — if you're not afraid of the dark.  

In just over 35 hours, I completed Mass Effect. That might seem like a long time, but it was well worth it to me. I finished every sidequest I could, explored every planet in the galaxy, and played through the Bring Down the Sky expansion. I was very thorough, talking to all the NPCs and opening every storage locker or crate I could find. Now that it’s over, I’m satisfied but a little sad that the awesome ride had to come to an end.

I have already written extensively on Mass Effect, but with a game this vast, I find there is still more to discuss. I may have complained about some of my frustrations, but I have found a lot of value in this game. The story was absolutely fantastic, especially from Ilos to the end. Those last few hours were some of the best paced in the game, and when it was over, I felt a real rush. I got to make important choices up until the very end, and I felt that I was as much a part of the action as the characters in the brief cutscenes.

The story was facilitated only marginally by cutscenes. The main elements of the narrative were conveyed through the fantastic dialog. Mass Effect has been praised for its innovative dialog system. Choices are displayed around a circle, and the dialog shown represents the general idea of the line, but not what is actually said. It felt like what I selected was the thought and what my character said was a more tactful way of expressing that idea (at least for the paragon choices). This system allowed me to better identify with the character, as I felt that she was expressing my thoughts and feelings in the best way possible.

I really enjoyed the addition of so many sidequests. The main path of the game could probably be beaten in ten to fifteen hours, but I chose to play the extra twenty or so to really explore and immerse myself in the Mass Effect universe. I loved the feeling of stumbling across an uncharted resource or coming to the rescue of some helpless people. Some of the sidequests included really tough decisions, which enriched the game and gave me a sense of responsibility. I liked having the freedom to control of the ship and choose the sidequests that I wanted to pursue. The introductions to the quests were vague so I was often surprised by what I found. Even though some of the areas were very similar in structure (likely due to limited art resources) the diversity in the quests was still there and kept it interesting.

Aside from the flaws that I have already discussed, Mass Effect had only a couple other drawbacks: a lack of tutorials and a poor inventory system. I had no idea that I could jump with the mako until halfway through the game, and I never figured out that I could zoom in on enemies in the mako until after I beat it. If I didn’t have a friend to talk me through the beginning of the game, I doubt that I would’ve become as skilled in combat.

Also, the inventory system was cumbersome for someone like me who likes to collect all the items from the game. Given the number of sidequests, I continued collecting hundreds of weapons, armor, and upgrades. I was continually struggling to keep my inventory down so I wouldn’t have to leave anything behind (or convert it to omni-gel). The limit of 150 items was way too low. Due to the abundance of items in the field, I never had to buy anything at the stores. (I did buy the spectre weapons on the Normandy at the end of the game, but some of the later weapons that I found were comparable.) Hours from the end of the game, I maxed out the money. This meant that I had to spend a ridiculous amount of time re-equipping my team to make sure I wouldn’t destroy something that I needed. It took a long time to scroll through items, and I wished the inventory could be sorted.

While Mass Effect did have a few flaws, it was still a fantastic RPG experience. I highly recommend it to people who love immersing themselves in a rich sci-fi world with engaging characters and plenty of content to keep them busy. It is probably the best game experience I’ve had since Okami, and possibly one of the best games I’ve ever played in terms of the emotional impact. I really identified with my character because I was the one who was molding her into the person that I would like to be.  

There are few moments in a game where I get so frustrated that I just want to quit. Most of the time, I’ll get annoyed with a flaw in the design, but I try to stick to my guns and get through it. In Mass Effect, there were a few moments where I got so frustrated that I would swear profusely. However, I knew that I would avoid the game if I had a seemingly insurmountable obstacle waiting for me, so I stubbornly persevered.

The first major source of frustration that I ran into were battles with alien creatures called thresher maws. Like overgrown sand worms, these creatures would appear with no warning from random places in the ground and attack. One of the main sources of frustration in these battles stemmed from the fact that thresher maws appeared while exploring in the mako. Due to the unwieldy controls of the mako and its offensive weapons, this became quite the issue. Not only did the thresher maws appear in random places, but they would kill you instantly if you happened to be on top of it when it shot up through the ground. Then, the thresher maws would shoot toxins that went straight through the mako’s shields. They were tough creatures that gave me only a few seconds to shoot in one tiny area.

I found that there was little strategy involved in fighting a thresher maw. I fought two and ran from another two because I felt that it is simply not worth the effort. The vague strategy I developed consisted of continually moving and shooting as much as possible in the general direction of the maw. If you’re careful, you can also try to jump over the toxins. This will keep your mako in good repair. The main issue here is just trying to survive long enough to outlast the thresher maw.

The second source of frustration was fighting rocket drones on Earth’s moon. There were three stations to explore in this particular sidequest, and each station’s defenses were stronger than the last. In the final station, there were geth rocket drones. The rockets would destroy my shields and kill me instantly. I grew incredibly frustrated because there got to be five to ten geth enemies stuck in a little hallway, and I couldn’t shoot at them unless I was exposed. Once exposed, I would get shot with a rocket and die. I started adapting my strategy, using techniques such as running back and forth in front of the enemies while shooting, throwing bombs, and sending my companions in to get shot in my place. (I could revive my companions, but if I died, it was game over). Eventually, my strategies paid off and I got past the rocket drones.

I have enjoyed most of the gameplay so far in Mass Effect. However, the few design flaws can lead to a lot of frustration for a player less experienced with shooting games like me. I have found the difficulty to be well-balanced for the most part, and most enemies provided a reasonable challenge. I’ll continue playing Mass Effect, but I hope that I don’t run into too many thresher maws or rockets drones. If I do, I’ll probably just run.  

Please do not read on if you intend to play Mass Effect. I will do my best not to reveal unnecessary information, but it is impossible to discuss the impact of a certain portion of the game without giving away a few details. Click here to skip to the previous post.


I wish I could say that I followed my own advice and did not hear about a certain part of Mass Effect before I played it, but, in the course of searching for help a couple of times, I accidentally saw a hint of what was to come. I had heard that I would lose a companion at one point, and I would have to make a tough choice. This information haunted me as I chose my team members for each mission. I kept thinking, “Will this be the mission where I lose someone?” Unable to take the stress, I consulted a friend who had finished the game. He kindly told me that the game would strongly imply when that point would come, and I had no need to worry.

I didn’t worry until I got to a part of the game where my team was suddenly split up. I had to choose one of two companions to leave behind. I thought, “Will this be the tough decision?” I saved compulsively as I moved ahead. By the end of that mission, it turned out that I did have to make a choice to rescue the separated team member or to rescue another. I was very upset, because I had imagined this moment over and over again. I had thought that my party member choices would allow me to leave behind a companion that I never used or someone that I didn’t care about. Unfortunately, the choice happened to be between the two companions I always took along with me. I was torn, as I had spent some time talking to each and learning about their backstories, making them seem like real friends. After all, these characters had been through nearly 20 hours of gameplay with me, and I felt that I could depend on their help.

I agonized over the choice. There was no option to save both. It was simply one or the other. I was sending one of them to their death, and they each wanted me to sacrifice the other. While I considered both equal in terms of friendship, there had to be some deciding factor for me. Soon, it came down to two factors: fighting style preference and the romantic sub-plot. I had begun to enjoy one of the team members’ fighting styles more than the other’s style. This is because my Shepherd’s style complimented the one companion’s well, making my life easier. The other team member had combat skills similar to mine, so it created an overlap that wasn’t quite as helpful. Second, I had begun to pursue the romance subplot with one of the characters. As a writer, I was really curious to see how it would play out (and perhaps my girly desire for a juicy romance got the best of me). These factors may seem trivial, but I had to find some way to choose and these factors tipped the scale for me.

I felt that I had made the best choice for me, but, when I turned off my 360 that night, I felt terrible. I wandered out of my room in a daze, confessing to my roommates that I was torn up about losing a virtual friend that I been through 20 hours of missions with me. I realized how silly it sounded, but I was genuinely sad. I went online, talking to other friends and searching in forums to see if I really did have to make the choice between those same two characters or if I could’ve changed it. While everyone had to make the choice between the same two characters, it was easier for some due to their personal preferences for certain characters. Some of their choices involved romantic interests like me, but others were simply because one character bothered them.

The fact that I let a good friend and member of my team die has stayed with me and I don’t think I’ll forget that moment soon. It was a fantastic moment in game narrative. I hate to think about setting out to make a game that makes people cry, but this type of choice really can have a profound effect on a person. Tough choices seem to be the heart of creating real emotion in games, since you can affect a person’s conscience and make them realize that hard decisions have to be made in situations where the fate of the universe is at stake.  

It’s easy to complain about a game. When something goes wrong, I can often pinpoint the problem and propose a solution. However, when something goes right, it’s often harder to explain why. If someone asked me why I like chocolate milkshakes, for example, I would have a very hard time explaining it. Fortunately, with a game like Mass Effect, it’s a little bit easier to find the positives. I may have complained about achievement difficulties and the mako, but this game is becoming my new addiction.

It’s no secret that RPGs are my favorite genre. I have some trusted favorites from the past, but it seems that few RPGs can compare these days. Then I found Mass Effect. This game has been able to pull me in and immerse me in a new universe. The HD graphics look fantastic, from the environments such as presidium in the citadel to the futuristic clothes. I love being immersed in these fantastic environments, even if texture popping prevents me from seeing all the great details immediately. The outfits are a lot of fun, especially since the characters’ appearance changes with new armor. Most of the time, my female Commander Shepherd looked pretty cool in her armor. I once had a good laugh when I realized that the best armor for my krogan companion was a pink and white getup very similar to Ashley’s from the beginning of the game.

My main motivation for playing most RPGs is an epic story. I love watching a complicated plot unravel slowly and sinking my teeth into some rewarding side quests. Mass Effect is clearly focused on the story. I really wanted to explore the cities and talk to everyone, because I felt I could learn a little something from each NPC. The main worlds felt alive and interesting. I’m not sure how the story will play out, but at this point the missions feel very well paced and have great story arcs.

While I have not been very good at shooting games in the past, Mass Effect requires a lot of shooting. I like to think that I’m getting better at it, but the game is structured so that it is accessible for people like me that aren’t as familiar shooters. I could’ve chosen to be a biotic (giving me talents that can do damage without aiming) or could I rely more on my AI-controlled companions. I found that the game was never too difficult for me on normal mode.

I’ve really enjoyed Mass Effect so far. Despite my frustrations with the mako, the fantastic story and effective gameplay are keeping me addicted. I’m looking forward to playing it again soon and getting lost in Mass Effect’s universe.  

I’ve been playing a lot of Mass Effect lately, and I love it. I look forward to playing each moment, except areas that require use of the Mako, a futuristic planetary-exploration vehicle. The game encourages the player to use this vehicle first on a planet called Feros. There is no tutorial for this vehicle, so the player must learn the controls through experimentation. This would be an acceptable design choice if the road didn’t quickly turn into a narrow skyway. I’ve talked to several people, who, like me, found the controls to be counterintuitive and proceeded to fall off the skyway to their death multiple times.

The movement of the vehicle is controlled by the left thumb stick; the camera and reticle for the gun turret are controlled by the right thumb stick. Steering is relative to the camera, so the Mako will move in the direction relative to what the player sees. I found this to be counterintuitive, and I would frequently move in the wrong direction during combat and take extensive damage.

There were also flaws in the design of the reticle movement, especially when zooming in. When rapidly rotating the camera view, the gun turret can’t keep up with the reticle, especially if the turret is firing. Also, the reticle can be aimed higher and lower than the actual turret range. If the reticle is focused on an area out of the turret’s range, the turret will fire somewhere within its range but not where the reticule is aimed.

There are a few simple solutions to these frustrating flaws. First, the game should point the player to an easier mission for a better introduction to the Mako. Mass Effect allows players to choose between several missions at that point, and there is no reason why the Feros skyway should be a training ground. A planet such as Novaria is more suitable to players new to the Mako. This change could be easily made by changing the dialog in the conversation that encouraged players to go to Feros first.

Second, a formal tutorial or a change in the control structure would be beneficial. If the control structure was received well during testing, then a tutorial that briefly explained movement, aiming and camera rotation would help those who found the player-centered motion counterintuitive. If players seemed to be struggling with movement, then the controls could be shifted so movement is relative to the vehicle itself. This is would be similar to vehicles in real life and automotive games, which would make it familiar for many players.

Finally, I would limit the motion of the reticule, at least in the zoomed-in mode. If the players need to look around at their environments, the game allows players to exit the vehicle at any time. It simply does not make sense to allow players to aim for targets they cannot hit.

If those few changes were made, areas with the Mako would be more fun. Players could concentrate on the gameplay instead of fighting the controls. Hopefully, players of Mass Effect sequels will be able to avoid the frustrations many have felt due to the current design flaws.  

With the increasing online component of many games, it comes as no surprise that achievements and points have become a measure of gamer status. Instead of just beating a game, you can now prove how much effort you invested in optional aspects of the game, such as sidequests or special types of kills. You can instantly compare the achievements you unlocked to the achievements of your friends.

I haven’t been able to sink my teeth into an Xbox 360 game since my brief fling with Eternal Sonata. I grew tired of the disproportionate percentage of time spent in repetitive battles so my 360 began gathering dust. Fortunately, a friend gave me Mass Effect. I began playing it at his house and was blown away by the first hour. Unsure of the ability to transfer saves off my memory card, I didn’t play more until I was back home.

When I got home, I was excited to learn that I could transfer my save and soon jumped back into Mass Effect. I was excited about the idea of getting achievements, as my gamerscore was quite low and I wanted to prove that I was a real gamer. Five hours into Mass Effect, I became a spectre. This achievement is essential to the progression of the game and I had read online that it would unlock an Xbox achievement. When my achievement pop-up didn’t appear, I was a little concerned but decided to wait in case it was tied into a later event. One hour later, no achievement had appeared. After some research online, I discovered that I was a good distance past the spectre achievement and I had somehow missed it.

I called Xbox help and explained how I had transferred the save from a different profile on a memory card. Unfortunately, the two representatives I talked to did not mention the most important detail: you can’t unlock achievements from a save that was not created on your profile. I was torn. Was it worth re-playing five hours of a game I would likely spend 25-30 hours playing? I was very thorough the first time and hated to lose my progress. However, this was likely one of the only games I would be motivated to finish on the 360, and it would be sad to lose those points.

Part of me was frustrated with myself for caring so much about Xbox achievements. After all, weren’t they just a device to feed my ego and spur competition? People have played games for years and still do without worrying about being rewarded outside the game. Have measures of success become more than just a motivational tool? Have rewards for the game become more important than the game itself?

After careful deliberation, I decided to play Mass Effect again from the beginning. Even if achievements didn’t exist for older games, the achievements are available for Mass Effect and I wanted to show off the effort I put into the game. While I should focus on enjoying the game for what it is, it’s still nice to have a little ego boost by periodically earning a few points. The best part about playing those five hours again was that I didn’t mind diving into such a beautiful and well-crafted story after just playing it. Mass Effect is so compelling that it is worth playing again.  

When I tell people I’m majoring in video game design, they often ask me about Halo. The Halo series has penetrated mainstream culture in a way that most games never will. I think it is great that this franchise has made the entertainment industry take notice of the purchasing power of gamers, but I am not a fan of Halo. FPS games aren’t my favorite, since they usually lack the story, characterization, and lovely graphics that keep me glued to RPGs and adventure games.

When Halo 3 came out, I heard the co-op mode was decent. Hoping that this would mean better chances of survival for me, I grabbed a friend who hadn’t played much Halo and sat down with him to play Halo 3.

The opening sequence was decent but not terribly impressive by my standards. I soon found myself controlling an alien who had grudgingly become an ally of Master Chief. I found this somewhat amusing, as I was a taller than the human but much shorter than my co-op partner in real life. It was fun to tower above him and watch him running ahead of me.

The console FPS controls were somewhat confusing compared to the PC mouse and keyboard. This is a common issue for those used to PCs, and those used to consoles will often have the opposite problem. It seems that it’s merely a matter of preference for most people. However, I often found myself running into the ground or swinging the camera wildly in my attempts to determine whether or not the camera was inverted compared to my intuitive idea of controls.

Due to my difficulties in controlling my character, my partner would often run ahead. We established a nice system where he would jump into melee combat and I would stay behind, sniping off some enemies and providing a re-spawn point. This worked well for a while, but soon became somewhat boring.

The enemies were mostly mindless. A certain group of aliens had ridiculous voices that made me laugh at the game…because it was so stupid. I didn’t like the idea of the enemy being completely idiotic. I prefer games where war is about fighting for what you think is right, but you still realize the consequences due to the humanization of the enemy.

The biggest problem I had with this game in general was the fact that I just didn’t care. There was little cover, sporadically placed, but it didn’t seem to matter much if I died. Ammo was in good supply, so I never had to consider conserving my resources. I could just shoot everywhere if I wanted. Also, there was an A.I. controlled team that we first rescued and then joined. They provided little help; I didn’t really notice if they were around or not.

Compared to games like Half-Life, this game was incredibly dull and lacked a decent story. The story was sprinkled in small doses after completing certain objectives, but it wasn’t very interesting. Since I didn’t care about my team and those around me, I found myself lacking motivation.

Finally, I was frustrated with Halo 3 due to its unrefined design. There were enormous enemies with huge shock sticks that were ridiculously powerful. If these enemies ran at you, you would die, even if your partner was shooting them in the back. This type of imbalance is something I aim to avoid in my games. Then there was little guidance in the form of maps, making it hard to figure out where to go. Unlike the refined level design of Star Wars: Knights of the Old Republic, the level design in Halo often left me lost.

For such a popular game, I was very disappointed in my co-op Halo 3 experience. I hope that the appeal in this game comes from the multiplayer aspect, because I was sincerely disappointed in the story mode. Halo 3 seems like an unrefined, mediocre experience.  

It is rare to find a demo that leaves you satisfied at the end. Many end with cliffhangers, hoping you’ll buy the game. With Viva Piñata: Party Animals, the mini-games created a satisfying experience in just a short demo.

I wasn’t sure whether or not I would like Party Animals. I have never played Viva Piñata, but it was one of my sister’s obsessions. I have been hesitant to start the game because we have similar taste and I don’t want to get distracted from my schoolwork. When I heard that there was a party game using these characters, I thought it would be worth checking out the demo.

In the first few minutes, I was impressed by the amount of character packed into the game. Each piñata animal had its own personality, through exaggerated body language and careful character design. The mini-games were summarized and scored after each round with voice-overs imitating sports commentators. It was cute and clever.

After playing two other party games for quite some time (Rayman’s Raving Rabbids and Super Monkey Ball: Banana Blitz), I have to admit that this game won me over with its charm. While the games themselves hardly seem innovative (from a Mario Kart race clone to sailboats powered by burps), they are certainly fun covered in the Viva Piñata theme. The humor is not quite as gross as Rabbids, yet it still seems to have a good balance of humor to appeal to younger boys and girls.

However, I would not limit the audience of this game to children. My coworkers were playing through the demo one day and had a blast. While neither grown man would likely admit to enjoying a kids game that much, I saw first-hand how much they became immersed. The game became a way for them to compete and tease each other to a greater degree than they do in real life. Also, the stakes were quite low, keeping the fun level high.

I really enjoyed the limited demo experience I had with Viva Piñata: Party Animals. I plan to rent this game later. I was glad that I was able to gain an understanding of the strengths of the game from the demo. I would recommend this game for children and encourage curious older gamers to consider trying the demo.  

I have always been intrigued by the Katamari series. I found Katamari Damacy to be one of the most original ideas of its time. The quirky, flippant king was amusing and the music was fantastic. I listen to the soundtrack often, but I never finished the first game. I had gotten stuck on one of the levels and was soon distracted by other games. When Beautiful Katamari was released, I had recently purchased an Xbox 360. It was time to give the series another chance.

Katamari looked fantastic in HD. I have an Xbox Elite with the HDMI cord connected an HDTV. The vibrancy and clarity of the game environments were simply stunning. I was excited to get into the game. I played through the first few levels, but soon found myself feeling disappointed.

I had some major issues with Beautiful Katamari. First, the controls in this game made my hands sore. The 360 controller is much bigger than the PS2 controller, and the placement of the analog sticks is awkward for me, as I have small hands. I found that one hand had to be sideways while the other was in a normal position, making it more difficult to move the sticks in sync.

My second complaint regarding Katamari is something inherent to the theme of the series: the character of the king. I tried very hard to do my best and make the biggest star possible. However, even when I reached the goal, I would get snide comments from him. This type of negative feedback makes me want to quit a game when I’m frustrated. Why should I try hard if it won’t even satisfy the king? The carrot at the end of the stick had to be created by me, the player. I prefer games with more positive feedback, so I will want to try again and again.

After experiencing physical pain in my hands after each of the 5-10 minute levels and continually receiving negative feedback, I returned the game. It seemed to mostly be more of the same type of gameplay from the first games, aside from the pretty HD graphics and the online play (which I had no intention of testing). If the king was already so mean to me, why would I want to face the scorn of other players?

Games like this make me wonder if I should build up a thicker skin. The snide remarks of a video game character should not affect my self-esteem. However, it does seem that, for a gameplay experience intended to be fun, a highly critical character will inevitably drive some players away when the levels get more difficult.  

After months of writing about games by myself, I thought it would be fun to write with someone else. A good friend of mine and a fellow game blogger, Jettoki is the co-author of He Games, She Games. Each week, we play the same title and then write about it. Unlike this blog, the games analyzed on He Games, She Games are almost exclusively recent releases.

Click below to read our thoughts on Stuntman: Ignition, one of the games I tested this summer.

He Games, She Games  

I downloaded Prince of Persia: Classic to play with my friend over the weekend. He had told me that it was supposed to be great and he was very excited to try it out. Assuming that it would be worth the $10 or so, I decided not to waste my time with a demo and go straight for the full version.

First, my friend and I took turns playing. When one of us would complete a level or die repeatedly, we'd switch off. This worked pretty well through the first few levels. The visuals looked great and the Prince moved swiftly. The combat mechanics seemed a little rough, but I thought that I just needed more time to get used to it.

We progressed until the fourth level, when suddenly we got stuck. Perhaps it was the fact that we had found so few of the health increase potions. Maybe it was the combat system. Whatever it was, we both got frustrated because we had an incredibly hard time defeating a common enemy. Once in a while we did beat the enemy, but there was no checkpoint right afterwards, and a misstep in a difficult jump sequence made it all worthless. Prince of Persia: Classic is very unforgiving.

I stopped playing the game after multiple attempts at the fourth level. I was ready to give it up entirely. Fortunately, my friend is more patient or perhaps just more stubborn. After a short break, he continued to play through the game and is nearly finished now. However, it was not without repeated swearing and complaining that he progressed that far. While he did not face the same block that we found earlier, he still didn't seem to be having a lot of fun.

It seems that we may have run into such frustration for two reasons: not finding the life potions and the lack of consistency in combat. The fact that we didn't find all the potions to give our Prince more health was entirely within our control, but the combat was not. Although we could have looked up the secret locations to extend our health or explored more on our own, many of the potions were well-hidden. Areas that don't appear to be accessible until you jump to them suddenly become visible. However, this leap-before-you-look philosophy can be very dangerous. As I mentioned earlier, one bad jump can set you back several minutes, especially when there are difficult enemies. While the areas become very obvious once you discover them, it seems to work well only upon repeat plays of the levels. I am not the kind of player who enjoys returning to games over and over, and I think this type of play may have worked better in the arcade setting.

The second most frustrating part of the game was the combat system. If you tried to counter an attack one way and it failed, the next time that same method would work (and vice versa). It was incredibly inconsistent and lacked a cohesive pattern. In this way, it felt less like a skill-based game and more emphasis was placed on chance. Also, attack animations could take a long time, and button mashing would cause the Prince to execute all the commands in order, but slowly. It felt like watching a slow computer, clicking away while the cursor spins and you just have to watch while your Prince dies.

Although I did not play the game for as long as my friend, I experienced enough frustration to show me that Prince of Persia: Classic is not my type of game. If you want to read a more in-depth review from my friend who played with me, check it out here: Design Review: Prince of Persia Classic.  

I’m still thinking about Bioshock. I haven’t even played the game – I only watched it – yet it’s on my mind. Perhaps the critics were right: there’s something about this game that hits you on a deeper level.

Lately I’ve been wondering, how did Bioshock remain scary without anyone jumping out in the demo? It may be because of the frightening story of a utopia gone wrong, where little girls become soulless monsters and people brutally kill their best friends. Still, I can’t help thinking that it’s more than that.

In Bioshock, you are an outsider in the city, so you don’t really care about it, but the horror of the game still affects you on some level. The game encourages you to loot corpses. Many games do this, and it is probably essential to survival in many of those hypothetical plots, but does that make it right? The splicers are selfish beings who kill each other and are only out for themselves. If you loot corpses and kill splicers, you essentially become a splicer yourself.

When first entering the city of Rapture, there is a scene where one splicer attacks another. These attacks happen in front of you multiple times. I kept expecting there to be a “good” side and a “bad” side – like some sort of resistance. My friend informed me that the story of the game explains how the resistance has been defeated, making your situation more hopeless. However, I was surprised by the lack of a companion. Outside of the companion accessible through the radio, there is really no one checking in with you. No one in this game seems to be “on your side” – no one wants to help you get out alive unless they believe it will help them (like the radio guide).

These factors help to isolate you and make your situation all the more desperate. I keep thinking back to that scene where the splicer was drilled by the Big Daddy. The gore didn’t bother me, but the lack of emotion I felt did. Why didn’t I care about this city and the fact that people were tearing themselves apart? Why did I find myself laughing at the monstrous little girl when she said normal children’s words in a creepy voice?

It seems that games allow us to have an unnatural separation from the morals we use in daily life. Perhaps this is a motivation for some to play. I am personally shocked by the way in which I slip into this lax sense of morality. While watching my friend play Bioshock, I would ask him if he checked this or that corpse in the corner to make sure he raided all the items. I saw enemies like tasks on a to-list: kill him, kill her, and kill that one over there.

It is common to separate ourselves from the enemy in games, but does that make it right? People separate themselves from enemies in wars so they can kill them. We voluntarily play games against enemies that are very human in nature, from Germans in war games to zombies. I have no problem at all killing monsters in games, but killing people in the virtual space feels different. I have no problem with other people playing these games since the vast majority seems to have a strong distinction between reality and virtual worlds. However, I don’t like the part of myself that can human enemies like animals to slaughter, so it may be hard for me to ever have the desire to buy a game like Bioshock.  

Recently, I have discovered that there are two basic types of RPGs: the kind where you have a little group of friends to fight alongside you and the kind where you’re pretty much on your own. When I tell people I love RPGs, I mean that I love RPGs like Final Fantasy where you have those virtual friends. I do not mean that I love RPGs like Oblivion where you pretty much run around on your own and the camera follows the character around as if it’s a third-person shooter.

I had heard that Star Wars: Knights of the Old Republic (KOTOR) was a great RPG. I am a fan of Star Wars and many of my nerdiest friends had basically told me that KOTOR was the best Star Wars game ever made. I had the feeling it was the no-friends type of RPG, but so many of my friends recommended it that I felt I should give it a try.

I had purchased the game just after buying my 360, counting on it to be a great experience. One hour into the game, I wondered if I had made an unfortunate mistake. While it was certainly Star Wars, it was feeling less and less like a game I wanted to play. To begin, you can customize your character. I knew very little about the game and didn’t care about character stats and intensive customization. I just wanted to try the game out, so I went with recommended stats and chose the female character that looked the least mannish.

The game began with a stuttering cutscene of a ship under attack that made the game look incredibly dated. I soon gained control of my customized character and had to run around a ship. Finding my way through the ship was easy enough, especially as there was basically only one exit in each area. The battle system felt staged and boring, as characters would attack in turns but there was one attack “mode”. Moving my character while this attack mode was engaged would cancel my actions. So, much like World of Warcraft, I got to sit back and watch my character attack automatically unless I was struck by the sudden desire to use a special attack or a healing item. There seemed to be little thought required here – a stark contrast to the many options allowed just minutes ago when customizing my character.

I continued through the game and ended up in Taris. I ran around, talking to many people. I had a companion who followed me around at this point but he said little and was pracitally useless. I got lost in a circular maze of a bar and had to consult my map (in the menu). After consulting the menu a few times, I grew increasingly frustrated by its complexity. The attempt to visually map things out such as character stats and equipping items in a grid seemed overly complex. There were so many options that I had trouble finding what I wanted. To make things more difficult, this was the first real Xbox game I had played on the 360, so I was continually confused when the game kept asking me to press the black and white buttons (now bumpers in a completely different area of the controller). This was not the game’s fault, but it wore down my patience.

After half an hour of talking to people and exploring the town, I had no idea where to go. Perhaps I am just one of those people who has to have a strategy guide in order to enjoy RPGs. I would like to think that KOTOR is more like an adventure game, so I would not need a guide. Unfortunately, I got stuck shortly after going to the one “event” to which I was invited. It was some sort of Sith party. When I went to the party, I was greeted by the man I had met earlier and then saw a short cutscene where the attendees joked about drinking too much. The cutscene ended and I heard a “clunk” noise. I looked around and everyone at the party was on the floor, unconscious, and no one in the surrounding apartments cared. The one lead I had stopped dead on the floor with the Sith party.

I was frustrated with my first experience of KOTOR. The game seemed burdened by dialogue that continued to refer to at least five people I had never seen or met. I was forced to ask stupid questions because I had so little background and constant remarks like, “You really aren’t from around here, are you?” made me feel even more like an outsider. Perhaps I take such comments too personally.

I wanted so badly for this game to take me away into the Star Wars universe. I really hoped that I could break out of my habit of playing turn-based RPGs with happy parties of friends. I may give KOTOR another shot in the future, but next time, it will probably be with a strategy guide to serve as my faithful companion.  

Out of all the demos I downloaded off Xbox Live the other day, I was most excited to try out two RPGs: Eternal Sonata and Blue Dragon. I had heard a lot about both and they were part of what motivated me to finally buy a 360.

I had already pre-ordered Eternal Sonata so I decided to play it first. I was immediately impressed by the vibrant colors and the richly detailed landscape. This world felt so alive, from the variation in the foliage to the distinct personalities of the NPCs. It had a great soundtrack based on Chopin’s music, which appealed to the classical musician in me. While it certainly has a few flaws, I realized that this just might be the immersive experience that I have been craving.

Eternal Sonata has a fast-paced battle system that feels like a cross between Kingdom Hearts and the traditional turn-based Final Fantasies. Characters’ movements can be controlled during a limited attack time. The position of a character can greatly change their attack and defense. For example, enemies have a harder time defending against attacks when the attacker is behind them. There are also two special attacks that become available depending on if a character is standing in the light or in shadows. I appreciated all this attention to detail. While the battle system did seem to have a high learning curve, at least for a demo, its original approach pulled me into the game immediately.

Like any other game, Eternal Sonata does have some flaws. The characters speak audible lines sometimes, such as when a battle begins. Some of these lines sound really stupid, including a little boy exclaiming, “C’mon! C’mon! C’mon!” I’m hoping that these lines sounded better in Japanese. Also, my QA tester training helped me to find two bugs in the half-hour demo. I was slightly disappointed, considering the obviously high production value of the game, but most commercial games do have bugs. Sometimes these bugs are reported and closed simply because there is no time to change them anymore.

I really enjoyed the Eternal Sonata demo. It had a nice pace and the demo limits felt natural, not confining. From the user-friendly menu to the inviting fantasy world, it seemed like a polished game that will be a lot of fun for me. Eternal Sonata combines two of my favorite genres: music/rhythm games and RPGs. I’m looking forward to buying it.

However, the Blue Dragon demo hardly sold me on the much-hyped RPG. First, I was disgusted by the childish art style and the ridiculous voices. When the opening cutscene began, I felt like I was watching cheap anime in 3D. I understand that Akira Toriyama of Dragon Ball Z was responsible for the character designs, but I am of the belief that some designs just don’t translate as well into HD. I had no problem with Dragon Ball Z designs in 2D, but in 3D they look wrong. It’s simply too perfect and, frankly, a bit frightening to see things like bloated heads, vacant eyes, and giant portly puppies in three realistic dimensions.

I hate to dismiss a game entirely on its artistic style. I have boycotted a couple, like Psychonauts, for this reason, but I wanted to give Blue Dragon a chance. After all, Hironobu Sakaguchi, who directed the first five Final Fantasy games, and famed Final Fantasy composer Nobuo Uematsu were involved. This game must have some redeeming qualities.

I continued past the first cutscene and found myself plagued by laborious tutorial dialogue from frightening giant animals such as the previously mentioned portly puppy. While illustrative screenshots attempted to break up the monotony, there was way too much information to absorb at once. I much prefer in-battle tutorials or other more interactive forms of instruction. I was practically asleep by the time I began the game.

I ran around and fought some enemies, but my entire party attacked with these gigantic genie-like creatures. It was never explained how or why these creatures attacked for us – they could have been anything from alien parasites to manifestations of the warriors’ souls. While it did seem cool, I was left scratching my head and it took my focus away from combat. When my allies needed healing, I explored the magic menus. I was immediately overwhelmed by almost 30 different spells, all at my disposal. Also, I had a large party and it appeared as if only one or two members could actually heal other people and yet they wouldn’t even get a turn in several fights. Desperate to heal my allies, I opened the menu to see if I could heal out of battles.

The menu appeared very industrial and was immediately overwhelming. Compared to the simpler, more friendly menu in Eternal Sonata, this was quite a shock. In a demo, there is no need for hundreds of spells and items. Since the game timer allows one hour to play the game, it is nearly impossible to even cast every spell in the time allotted. While I did find my healing spells within a few minutes, I was deeply disappointed in the overwhelming amount of items and the lack of direction after the hasty, dull tutorial.

I am definitely not pre-ordering Blue Dragon. If the gameplay or story could capture my attention, I would be willing to overlook the ridiculous visuals and childish voices. Unfortunately, my high expectations were met with disappointment in what felt like a hastily assembled demo. I am just glad that I have the Eternal Sonata demo to play, as I would be happy to check it out again.  

What do you do with a new Xbox 360? I had played plenty of games on the 360, but I had never been able to fully explore Xbox Live. I had just read about a new demo of Beautiful Katamari released earlier that morning, which inspired me to download 10 other demos. It was Demo Day.

Once downloading was complete, I couldn't wait to check out Katamari in HD. The manager of an EB Games had told me that the HDMI connection would make a noticeable difference in quality from the component HD cables. He was right – the HD was as clean as any computer monitor. The colors were more vibrant and the text was the sharpest I’ve seen.

I was expecting the Beautiful Katamari demo to begin with a nice little movie of more of the random animals and colors that can make anyone wonder if they’re on some sort of hallucinogenic drug. Sadly, it was just a three-minute level that I easily failed. I am no stranger to Katamari, and I was slightly disappointed by the lack of content. The gameplay itself felt pretty natural. The move from the symmetric PS2 analog sticks to the offset 360 sticks was surprisingly easy. The vibrant world did look even better in HD, but I did feel that three minutes was way too short for me to get addicted again.

The next demo I played was for Pirates of the Caribbean: At World’s End. I had heard earlier that the game had captured Johnny Depp’s signature Jack Sparrow walk and I was curious to see what it was like to play as a pirate. The walk itself did look great, as did some of the other movements that obviously used motion capture technology.

However, the walk was highly impractical when most of the demo required running, if not sprinting. The sets and costumes seemed to fit the setting very well, but the camera angles made the game difficult to appreciate. I had to continually adjust my camera, especially to see the highlights on the floor of enemies preparing to attack (necessary to execute counterattacks). The battle system itself felt spontaneous and slightly simplistic, but I felt that it suited the pirate theme. One of the most frustrating aspects was the fact that different voice actors were used than the actors from the movies and the story lay slightly outside the movie. I didn’t quite understand what was going on and the demo seemed to end suddenly.

I then moved on to another movie game: Harry Potter and the Order of the Phoenix. I am a fan of the Harry Potter series, but I have never played any of the games due to their typically mediocre reviews. I never wanted to ruin the magic of the series, but I figured it wouldn’t hurt to try a demo.

The world of Harry Potter looked very accurately represented in the game – visually, it was practically a digital version of the movie sets, props, and characters. Many of the voice actors seemed different, which bothered me immediately, but I was still willing to look past it if the gameplay was strong. I began in a courtyard and could talk to many people. Unfortunately, the first person I chose to talk to happened to initiate a game of gobstones from which I had no escape. I played the game for several minutes and lost. It was a close match, but I had no desire to play again when there were so many other things to explore.

I wandered around the courtyard, trying out a couple of spells and talking to a few people. The spell mechanics felt slightly clumsy compared to the apparent elegance of using a wand. Also, I found that talking to people became a bit disturbing – the faces were so similar to the actors in HD that they had begun to cross into the uncanny valley. About two minutes after finishing my game of gobstones, the game flashed a one minute demo ending warning. I raced around, trying to do something so I could figure out what this game was all about. I had just learned about another area of the school when my demo ended. If the game is at all like the demo, it seems like you just walk around and talk to people most of the time. That has never been my favorite part of games. Although this game seemed to faithfully recreate much of the book, I felt that it failed to capture the same sense of fun.

Three demos later, I was not sold on any game. Beautiful Katamari is probably the only game I would consider buying, but I should probably finish the original game first. Despite the disappointment I felt while playing some of these games, I feel that playing demos is hardly a waste of time. I can learn so much so quickly about a game by being immersed in it and playing through several minutes. I was glad to experience three games from series I enjoy without the pressure or expense of a rental.  

After much deliberation and a well-timed price drop, I decided it was time to buy an Xbox 360. I was just about to order one from Amazon.com when a friend asked me, “Since you have an HDTV, don’t you want to wait for HDMI?”

The answer was no, but I ended up doing more thinking and had a long discussion with the owner of an EB Games. He convinced me that the black Elite console really was cooler, as I would need the extra 100GB of space and I could have my HDMI hookup right then. Later that day, I was at a Target in Oregon. There is no sales tax there, so I finally said those magical words, “Excuse me, I’d like to buy an Xbox 360 Elite.”

I had the magical console in my hands and was eagerly awaiting the moment when I could call it mine. I scanned my credit card in the card reader and looked up. The young man trying to sell me my Xbox just 20 minutes before closing was on the phone with my credit card company. Unless someone had stolen my credit card number, there was no way I could have maxed out my card. My mother came to my rescue and the console was mine. I walked out of the store gleefully, and then noticed a thirty-something couple gawking at my purchase on the way out of the store. I must’ve looked unusual, since I was a little blonde girl lugging that heavy console as if it were my own.

The next day, I received a call from the fraud department. They wanted to know if I had charged over $450 at a Target in Oregon. Ten minutes later, I discovered that the sales guy must’ve hit the wrong button and accidentally marked my purchase as fraud. My mom’s explanation was that I had made the guy flustered since I had one of the coolest summer jobs and was going to school to make games. I wasn't sure about that, but I was relieved to find out that I was the only supposedly fraudulent person using my credit card.

Later, I went to a mall with my mother and I convinced her to let me stop in the game store. I found exactly what I was looking for: a pristine used copy of the Xbox game Star Wars: Knights of the Old Republic. Since I never owned an Xbox, I missed out on this one, but now the 360’s backwards compatibility changed that. Several of my friends love that game and I was very excited to own it. I walked up to the counter and stared to buy it. “Is this for you?” asked the salesman. I was proud to say that it was, but part of me wanted to roll my eyes. Why was everyone looking at me like I was some sort of intriguing alien every time I did anything concerning Xboxes?

Just then, my mom met me at the counter. She smiled at the salesman and then said, “She tested games in L.A. all summer and she’s going to school at USC so she can follow her dream of being a video game producer.” Uh, thanks Mom. I think this made the salesman a little uncomfortable, as he explained his own interest in games and how he had been taking classes at the local community college. My mom wished him good luck and we left the store.

The next morning, we drove to the airport so I could fly back to L.A. I had bought way too much stuff, so I had to carry on my Xbox 360 along with my purse and a tote bag. I went to go through security and put my purse and tote in the machine, followed by the 360. I hurried through the metal detector in my socks and was about to grab my purse when I was called back. I had to run back through so I could take my 360 out of the box. Torn between leaving my purse unattended on one side and 360 unattended on the other, I hesitated a moment. Then I ran back to the 360 and took it out of the box as quickly as possible.

“Please remember, we need all DVD Players, laptops and Xboxes to be scanned separately!” shouted the TSA officials. I’m sure no one else had an Xbox, but the all decided to say it, just for me.

“So, are you hooked?” asked an older TSA man.

“Actually, it’s what I want to do for a living,” I said, smiling.

“So how much was that thing?” he asked.

“$450!” I shouted as I ran through the metal detector again, relieved to be reunited with my purse.

I didn’t have enough time to hide the 360 in the simple, strong canvas bag my mom had loaned me until I reached my gate. I was definitely proud of my console, but the little boy who shouted, “Look Mom! An Xbox!” reminded me of my desire to carry such a high-profile item under the radar. That one console had definitely drawn more than enough attention to me already.