Saturday, 3 December 2011

Euro Rally in Forex Trading

EuroEuro is rallying after some earlier weakness as positive sentiment returns to the Forex market. Hopes for ECB/IMF money, as well as good news out of the US, are helping the 17-nation currency.

Earlier, the euro weakened as sentiment turned a little negative. US dollar made some gains, but those are being erased as the euro rallies on the latest round of news. There are rumors that the ECB will lend money to embattled eurozone countries via the IMF. This news is prompting hopes that eurozone countries will be able to get themselves out of the current mess.

On top of that, Forex traders are responding favorably to the latest economic news out of the US. November nonfarm payrolls show that the 120,000 jobs were added to the economy in November. Between this uptick in jobs, and evidence that US consumers are ready to spend this holiday season, it appears that America’s economy is slowly recovering.

This news is prompting some risk appetite, and encouraging the euro to head higher in Forex trading. How long the current sentiment will last is up for debate, but, for now, the euro is doing well enough.

At 15:08 GMT EUR/USD is higher at 1.3474, up from the open at 1.3462. EUR/GBP is up to 0.8599 from the open at 0.8580. EUR/JPY is higher at 104.9885, up from the open at 104.6050.

If you have any questions, comments or opinions regarding the Euro, feel free to post them using the commentary form below.

Canadian Dollar Erases Daily Gains

Canadian DollarThe Canadian dollar retreated, losing its initial gains, after the report showed that the Canadian employment declined instead of rising as was predicted and the unemployment rate unexpectedly increased.

The Canadian employment was expected to rise by 18,100 jobs, but instead it decline by almost the same amount (18,600 on the seasonally adjusted basis) in November. The unemployment rate edged up from 7.3 percent to 7.4 percent, while market participants hoped it to stay unchanged.

Earlier, the loonie (as Canada’s currency is nicknamed) gained on the rumors about the proposal of the European governments to channel loans for supporting the Euro-region through the International Monetary Fund. The European central banks are forbidden to directly finance the nations’ budget, but directing money to the most-indebted nations through the IMF would allow the banks to help the battle with the debt crisis without violating the rules. The rumors speak about as much as €200 billion that may be channeled through the IMF to the debt-laden European countries.

USD/CAD advanced from 1.0137 to close at 1.0191, following the earlier drop to 1.0078. CAD/JPY fell from 76.58 to the closing price of 76.40, while intraday it reached 77.33, the highest rate since November 4.

If you have any questions, comments or opinions regarding the Canadian Dollar, feel free to post them using the commentary form below.

Swiss Franc Drops on Talks About Another Intervention

The Swiss franc declined as Switzerland signaled that it’s may take steps to further weaken then nation’s currency, which is already subdued by its peg to the euro.

The Swiss National Bank set the ceiling for the franc at 1.20 francs per euro on September 6. The SNB was trying to weaken the Swiss currency for several years, but it was the first time when the central bank was able to contain Swissie’s gains for a prolonged time.

The SNB also suggested that it may boost the cap further in case it would view the strength of the franc as excessive. And the Swiss central bank was continuously stating that it considers the currency overvalued. It’s no surprise that the government decided to support the central bank and signaled that it’s going to ”examine the feasibility of supporting measures”. The SNB itself stated that it would sell “unlimited quantities” of the currency to trim the franc’s appreciation.

USD/CHF closed at 0.9209, rising from 0.9156, while EUR/CHF closed at 1.2334, slightly above its opening level of 1.2325. CHF/JPY was down from 84.80 to 84.54.

If you have any questions, comments or opinions regarding the Swiss Franc, feel free to post them using the commentary form below.

Tuesday, 15 November 2011

Taxation of insurance premiums and benefits 101

As tax season looms upon us yet again, I encourage you to verify with your accountant that your insurance premiums are being paid tax efficiently while optimizing the benefits you would receive if you made a claim. Most importantly, you want to ensure your method of paying premiums is onside with Canada Revenue Agency (CRA).

If you are not incorporated, your insurance premiums are paid using your after-tax dollars. The benefits you receive are generally non-taxable and the premiums are not tax de­duc­tible, except for office overhead insurance, where premiums can be deducted on your personal T1 and benefits are taxable when received.

If you’re incorporated, insurance premium accounting becomes more complex. Incorporated physicians often use their company to pay for the majority of their expenses, including insurance premiums. Your company’s ability to pay for and deduct premiums from BCMA group and individual insurance plans depend on the type of product.

Taxation of benefits
Negotiated benefit payments (CME, CMPA, CPRSP, PLP and REAP) are considered taxable benefits and as such a T4A is issued for any amounts paid in the calendar year. Note that you are able to deduct the corresponding costs as an expense on your in­come tax return.

For example, for CPRSP your financial institution will forward the appropriate income tax contribution receipts directly to you and therefore the net effect of this benefit will be nil for tax purposes. For CME and CMPA, your cost to attend a course on liability insurance will usually exceed the amount of your benefit.

A T4A will not be issued if:
• CME, CMPA, REAP—the benefit is paid to your corporation.
• CPRSP—the contribution is deposited to a corporation for IPP holdings.

Life insurance
You can pay life premiums through the corporation if the beneficiary is the same corporation. If your beneficiary is not your corporation (perhaps it’s your spouse or child), your corporation should issue a taxable benefit to you personally for the premium or the death benefit may become taxable at time of claim.

Although the premiums can be paid by your corporation, the premiums are usually not a tax-deductible expense; premiums are added back to the net income of the company. Corporate-paid life premiums are tax deductible only if the insurance is assigned to a loan at the request of the lender.

Disability insurance
Your corporation can pay for disability insurance premiums and deduct them as an expense, but the benefit you receive would be taxable. If disability insurance premiums are employer paid, you can purchase a higher level of coverage to take into account the taxes payable when the benefits are received.

More commonly, you would receive a taxable shareholder or employee benefit for the disability premiums so that when you make a claim the benefit amount is non-taxable to you. An employee taxable benefit is a tax-deductible expense to the company, whereas a shareholder taxable benefit is not. Your accountant can differentiate if a taxable shareholder or employee benefit is appropriate for you.

Critical illness
Similar to disability insurance, if you do not receive a taxable benefit for critical illness premiums paid by the corporation, the benefit can be fully taxable as income when it is received. Since a critical illness benefit is paid as a lump sum, you definitely want to avoid giving almost half your benefit away to CRA.

Professional office overhead insurance
This type of insurance reimburses eligible office expenses like rent, em­ployee salaries, and equipment leases. The premiums are paid by the corporation and are a tax-deductible ex­pense. Although the benefits received are considered taxable income, the office expenses that the benefits reimbursed would be deductible, placing you in a neutral tax position.

Health and dental insurance
These premiums are a tax-deductible ex­pense to your corporation, and the benefits you receive are tax free. If you belong to the BCMA Health Benefits Trust Fund (HBTF) Core-Plus Plan, your corporation can pay for the actual medical expense, which is then tax deduc­tible. This ability to pay for and deduct health care expenses directly through the HBTF Core-Plus Plan can be more cost effective than partial reimbursements from traditional health and dental plans that may have high premiums.

You can see that it’s beneficial to take a closer look at how you pay premiums—the tax savings or loss can be substantial. If you find you’ve been paying premiums inefficiently, there are usually ways to correct past mistakes and implement optimal bookkeeping procedures going forward. The information we’ve provided is general guidance for you to assess if you’re on the right track. For your personal tax situation, please consult your accountant.
—Julie Kwan, BBA, CFP, CLU, GBA

October 9th earthquake – insurance update

What does this new event mean for new insurance cover?


Sunday 9th October saw another significant aftershock, an earthquake of magnitude 5.5, hit Christchurch. As you may be aware, the October 9th event was the most significant earthquake since the 13 June. Fortunately this event did not cause anywhere near the level of damage the 13 June event did, although there are reports of damage.

So what does this new event mean for new insurance cover and does this mean another 28 day stand down period?

On the advice of the Insurance Council, it is worth contacting individual insurers directly regarding their intentions. However, indications from the councils members were that the October 9th event had not caused widespread damage. As a result, the situation for insurers had not really changed. The majority of insurers are declining new cover that will expose them to increased risk but they are prepared to work with existing customers on a case by case basis. For example; where an existing customer of an insurer buys a new property in another zone, most insurers are very keen to write new cover as soon as possible. The situation is being continuously reviewed by the insurance companies.

The Council said that the October 9th event may affect rebuilds to the extent that it would slow the rebuild process initially as rebuilds are more vulnerable to events of this magnitude.

The EQC also announced on Monday that the earthquake will be treated as a new event for insurance purposes.

Wednesday, 19 October 2011

China to control shadow banking and private lending

Yuan notes

The China Banking Regulatory Commission (CBRC) has said it is looking to curb the rise of shadow banking and private lending in the country.

Liu Mingkang, chairman of CBRC, said the commission was taking measures to ensure such activities do not put the financial system at risk.

There have been concerns that private loans are hurting the government's effort to control lending.

Some estimates put private loans at 4 trillion yuan ($627bn; £406bn).

Recent moves by Chinese authorities to slow credit growth in the country has given rise to shadow banking and private lending, where rich individuals and businesses lend money to individuals and other companies.

These loans come with exorbitant interest rates, ranging from 14% to as much as 70%.

Mr Liu said the commission was "strictly against shadow banks and the risks associated with private financing".

Asset bubbles

Start Quote

Through unremitting efforts, the latest stress test results show that China's banking industry is in general control of real-estate risk”

End Quote Liu Mingkang CBRC

In recent years, as the global economy grappled with the financial crisis, Chinese banks lent out record sums of money to ensure the country's growth momentum was sustained.

In 2009 and 2010, banks in China issued a combined 17.5tn yuan of new loans.

However, the surge in lending was followed by a rise in property prices, raising concerns about the formation of assets bubbles in the country.

There have been fears that a fall in the real estate market may see a rise of bad debt amongst the Chinese banks and trigger a slowdown in the country's overall economic growth.

However, Mr Liu said that the ratio of non-performing real estate loans was less than 2%, and it continued to fall in many areas.

"Through unremitting efforts, the latest stress test results show that China's banking industry is in general control of real-estate risk," he said.

Government debt

The other big concern about China's financial sector has been the huge number of loans extended by the banks to local governments.

According to the CBRC, these loans totalled 10.7tn yuan in 2010, or 80% of bank lending.

In June, ratings agency Moody's warned that "economic non-performing loans could reach between 8% and 12% of total loans".

However, China's banking regulator said that the local governments were in a strong financial position and would be able to service their commitments.

"The overall stability of local revenue, through its own economic development and financial growth, and the medium and long term solvency of governments at all levels, continues to increase," Mr Liu said.

He added that revenues have increased by 21.3% last year.

Europe's bankers resisting bigger debt losses

Following yet another failed round of talks to head off a Greek debt default, it is increasingly clear that European bankers are about to get a big haircut.

And they’re embracing the idea about as well as a squirming 3-year-old.

European political and financial leaders have set an Oct. 23 deadline to come up with yet another set of proposals to resolve a debt crisis that threatens the send the continental into a deep and painful recession. After months of failed efforts to help the Greek government make good on those debts, Europe’s politicians have now finally accepted that avoiding default simply isn’t feasible, according to Paul De Grauwe, professor of international economics at Leuven University.

“Everyone agrees today that the Greek government will not be able to pay its debt,” he said. “And we had better face that fact and start that process of restructuring - and haircuts that will allow Greece to have a lighter debt burden”

That “haircut” for bankers and other holders of Greek debt means accepting less than 100 cents on the euro. The question European leaders are wrestling with is: How big a hair cut will it take to stabilize Greece’s budget?

European leaders thought they had reached a working solution in July, when the European Union agreed to a series of endlessly-debated proposals that include, among others, a “voluntary” swap of Greek debt for newly-issued bonds that would force bankers to take a loss of 20 percent. The hope was that a voluntary plan would dodge the legal definition of an outright default.

That distinction is critical. A legal default could reverberate through the financial markets because it would trigger a wave of claims on a debt loss insurance known as credit default swaps. Uncertainty about the size of swaps holdings, and which investors and banks held them, were a central cause of the global financial Panic of 2008.

Three months later, it appears the July plan doesn’t go far enough. Now, bankers who face much bigger losses are pushing back on proposals that they cut the value of their Greek debt holdings by as much as 50 percent. Many banks are believed to have too little capital in reserve to covers those losses, prompting calls by regulators to force bankers to raise more capital.

Without stronger capital cushions to withstand Greek debt losses, European governments fear they’ll have to step in to clean up the financial mess. Earlier this month, France and Belgium took over the failed bank Dexia after it’s investment losses burned through the last of its cash.

Faced with the prospect of seeing the value of their Greek bonds cut in half, European bankers are not going quietly. On Thursday, Deutsche Bank CEO Josef Ackermann warned that the combination of stricter capital requirements and deeper losses on bond holdings would force bankers to write fewer loans.

"A question remains over whether banks will be able to provide financing, or whether possible haircuts in the euro zone and the new regulatory environment will practically force them to be restrictive," Ackermann told a conference of corporate executives in Berlin. "We need to find the right balance between stricter regulation of the financial sector and the impacts these have on the economy as a whole."

A credit crunch couldn’t come at a worse time for the European economy, which is now teetering on the brink of another recession. That, in turn, is raising debt pressures on other countries with weak economies, including Ireland, Portugal and Spain. Unless those economies recover sharply, their governments will likely have to follow Greece down the path of debt restructuring, former IMF chief economist Kenneth Rogoff told a group of business reporters Friday.

While a Greek debt restructuring may now be unavoidable, it will represent the beginning of a long, difficult period of recovery as investors stop lending to the Greek government. Jittery lenders and investors may also have second thoughts about lending to countries now seen as being at risk of a future default, according to Roger Nightingale, economist at RDN Associates.

“It’s going to be pretty frightful,” he said. “There’ll be no private sector lending to Greece, and they’ll be no private sector lending to any at-risk country for years to come. I think this is no solution at all. This makes things very much worse.”

Wednesday, 5 October 2011

Health Insurance : What is it?

24.jpg

The term health insurance is generally used to describe a form of insurance that pays for medical expenses. It is sometimes used more broadly to include insurance covering disability or long-term nursing or custodial care needs. It may be provided through a government-sponsored social insurance program, or from private insurance companies. It may be purchased on a group basis (e.g., by a firm to cover its employees) or purchased by individual consumers. In each case, the covered groups or individuals pay premiums or taxes to help protect themselves from high or unexpected healthcare expenses. Similar benefits paying for medical expenses may also be provided through social welfare programs funded by the government.

Health insurance works by estimating the overall risk of healthcare expenses and developing a routine finance structure (such as a monthly premium or annual tax) that will ensure that money is available to pay for the healthcare benefits specified in the insurance agreement. The benefit is administered by a central organization, most often either a government agency or a private or not-for-profit entity operating a health plan.

Cutting Out Uncovered Medical Expenses

Although Medicare has proven to be a valuable service especially in terms of assisting in medical related expenses and has become an integral element in health planning for senior citizens, the fact remains that it was not designed as a one stop medical requirement coverage. Taking into account the rising healthcare costs, the number of expenses that are not shouldered by Medicare like outpatient hospital services, deductibles, physician’s professional fees and co-insurances are but some of the increasing expenses that a patient has to shoulder himself. Unless a patient is equipped with supplemental coverages for health insurance, the only place this payment is coming from would be from the patient’s pocket.

For this reason, the AFL-CIO was established for the welfare and interest of the retired worker’s groups for providing affordable insurance coverage in terms of Retiree Health which is described as a supplemental coverage of Medicare.

Sunday, 25 September 2011

Equity Update

Devil’s stocks outperform!, we now take a deeper look at the Casino/Gaming industry. As we highlighted in that article, Casino/Gaming stocks have underperformed versus the MSCI world index over the past five years, but there are great divergences within the industry.

Casino/gambling stocks can be divided into traditional casinos being: 1) actual casinos with related hotels and restaurants; and 2) online gambling, which are pure play online companies offering betting on sports, poker and casino.

In charts 1 and 2 we show the 1 year performance of the MSCI index and the share price development of online gambling companies and traditional casinos, respectively.






While all the traditional casino stocks in chart 2 have outperformed the MSCI world index, some of the online gambling companies have underperformed significantly (chart 1), namely Bwin and Sportingbet losing significant value (60 percent and 20 percent, respectively). Much of the online gambling underperformance stems from licensing rounds in Europe. The best performers within traditional casinos, on the other hand, are driven by emerging market growth (Macau).

Looking at risk (Net debt/EBITDA) and valuation (P/E) in chart 3, Online gambling companies stand out with negative net debt levels (positive cash holdings). Looking at chart 3 on a stand alone basis, bet-at-home appears most attractive, due to its low valuation and negative net debt. The more expensive traditional casinos, such as Wynn Resorts or Sands China, have higher growth expectations over the next three years, and therefore are traded at higher multiples.


So as an investor, the choice is either to go for cheaper online companies (with the licence round risk) or the traditional casinos riding the Macau growth wave.

Stong USD To Come, While Global Stocks Are Falling

Global stock market extended losses during Asian hours after poor number in US jobs reported on Friday and continuing sovereign debt concerns. HSI is down more than 2.8%, NIKKEI -1.8% CHINA -1.9% and KOSPI more than 4% in red.
Based on he wave structure shown on S&P500, oil and Treasurys, we believe that risky assets are headed lower in this week. As such, we US dollar should strengthen in this week against the other major currencies.
Usd/Chf intra-day
Usd/Chf formed an extended wave v) within wave (a) about we warned you in the past intra-day update. well, price as we can see recovered quite sharply from 0.7710 so we think that an impulsive decline from the top is complete and that three-wave corrective bounce is underway, which will be a blue wave (b). we will be looking for another sell-off once we will be able to recognize end of a corrective recovery, which may find resistance somewhere around 0.80.
Aud/Usd intra-day
Aussie moved nicely lower from 1.0786 where pair shows evidence of a larger completed corrective recovery. In fact, even a sell-off from the pick appears impulsive, so we believe that this pair is headed even lower. As such, we favor higher US dollar while pair trades below 1.0768.
Forex Analysis by Gregor Horvat at ForexPros. com

Friday, 12 August 2011

What are games?

What are games?

Games are a structured means of interacting with other people. (In some cases, a game player might be interacting with a computer or a deck of cards instead.) Games overlap with activities like puzzles. For example, is solitaire a game? What about a crossword puzzle? Or a jigsaw puzzle?

As far as we're concerned, the specific definition of "games" is pretty explicit. This site focus on some specific games types, mostly board games, card games, and roleplaying games right now, but we have plans to expand our coverage to include all types of games, including dice games, party games, trivia games, etc.

Here are some traits that we think all types of games have in common:

  • Players - All games have players, even solitaire games, which have on player.
  • Structure - Think of structure as a set of rules for a game. No rules? No game. Even the simplest types of games, like tic-tac-toe, have rules.
  • Goals - All games have some kind of goal. In Monopoly, a player's goal is to bankrupt the other players. In Scrabble, the goal is to score more points than your opponent.

Friday, 5 August 2011

Gaming Skills Become a College Course

Problem-solving skills used in one of -- if not the most -- popular real-time strategy games of all time are not unlike those used in the 21st Century real world. At least that is the song that the University of Florida is singing.

The school, located in Gainesville, Florida, is offering a two-credit honors couse titled, "21st century Skills in Starcaft." The eight-week class "does not teach about Starcraft," but combines weekly gameplay, analysis of recorded matches and "synthesis of real/game-world concepts," to develop workplace skills.

Part of the course description for the interdisciplinary honors course reads:

"With society becoming increasingly technology-based and fast-paced, it is important for professionals to be highly proficient in skills such as critical thinking, problem solving, resource management, and adaptive decision making. These skills are fundamental in Starcraft and therefore make the game a highly effective environment for students to analyze and take action in complex situations."

The course is open to twenty students that have access to a Mac or PC, Internet access outside the school labs and experience playing the popular game. (No noobs allowed.)

The class is taught by Nathaniel Poling, a doctoral student in the school's department of education. He recently told the MIT Technology Review:

"In StarCraft you're managing a lot of different units and groups of different capacities. It's not a stretch to think of that in the business world or in the work of a healthcare administrator."

In other words, don't use a Dragoon to do the job of a Zealot.

Let's hope the curriculum includes other important tidbits, such as the tip that playing the game for 50 hours with little sleep or food can be bad for your health.

This isn't Blizzard Entertainment's first foray into the world of higher education. Last year, the University of California at Berkeley started offering a course in competitive Starcraft playing.

Sunday, 31 July 2011

Child of Eden – Review (Xbox 360 / Kinect)

Child of Eden In Game Screenshot - Xbox 360 KinectChild of Eden is a prequel to Rez and is from Q Entertainment and designer Tetsuya Mizuguchi. Rez was title released in 2001 that garnered high scores from reviewers and even higher praise from its fans but since it was so unique and different, it was quickly relegated to niche status. Fan of the title feared that they would never get another title but a glimmer of hope in 2007 gave them Rez HD, which was an updated version of their beloved game. Finally now almost a decade after the launch of its predecessor, Child of Eden has been released. Can this match the expectations of the Rez fan base while bringing in a new audience?

Child of Eden refers to the birth of a person within a construct known as Eden. Eden is similar our internet but it contains all of human knowledge and the latest project is to recreate the personality of Lumi, the first human born in space, within it. As fate would have it, as the project starts reaching its final stages, a virus invades the system and threatens everything. It’s up to you to head in and purify the invaders and protect Lumi. It’s quite a simple premise that lasts little more than a paragraph in the intro sequence of the game but gives you enough reason to make it through the title.

Child of Eden is an on-rails shooter with a slight influence from the music game genre. The path through each level is largely the same but you have the freedom to control the first-person camera and look anywhere except directly behind you. There are two weapon types, an automatic weapon and a lock-on and fire weapon. The differences are conveyed by pink and blue cursors respectively. The former weapon is easier to use and is constantly firing. The latter can lock onto several enemies at once and unleash the attack all at once. If you match the beat of the music when you fire, you can build your multiplier and hence score more points. At the end of each level, you’re rated up to five stars and they are used to unlock subsequent levels so it’s in your best interest to do well. Thankfully, the prerequisites to unlock new levels are not that severe and will at most require you to replay a level once or twice. On the flip side, there are only five levels with a bonus challenge level unlocking at the end. While the hardcore may not have an issue with this and will duke it out on the leader boards, for the casual gamers, the game will feel short. Each level may take up to approximately 15 minutes, so run the math.

The advertised way to play this game is with the Xbox 360 Kinect camera but this system has been marred in controversy as to if it’s a good control method. In Child of Eden, you use your left arm to fire the automatic weapon and use your right to lock-on and with a push gesture, unleashes the missiles. There is a single type of power-up in this title and that’s a bomb. Occasionally through the title, you’ll have a special target that if you hit, will add it to your inventory. With Kinect, raising both hands unleashes it and devastates anything on screen. This all sounds nice but the question remains, does it work well. Yes. It does. To an extent though. There is a learning curve that takes about a half hour to get it down solid and you still get occasional issues. Sometimes it has issues switching from hand to hand. Sometimes it doesn’t take the lock-on fire push gesture on first pass. But the reticule is lag-free and fairly precise. You’ll still have the occasional issue hitting a specific target but overall the Kinect control style works really well and is quite immersive.

Now, if you want a traditional experience, you can use the normal Xbox 360 controller. This experience is much more predictable. There are no mistakes other than what the user does. No moments of frustrations that may mare the Kinect experience. This way to play feels good. The automatic weapon requires you to pull the trigger and you still control a reticule. Using the lock-on weapon feels much better and more predictable here. You can build your multiplier much easier. Making the switch from one to the other will be jarring. Kinect provides the better immersion and overall experience but if you’re going to delve deeper and start competing on the leaderboards, it feels like the controller will be better. There are different leaderboards for each control method though so you will not be penalized by using one over the other.

The graphics lie within the realm of abstract. At the beginning of this generation there was a little known Xbox Live Arcade title called Geometry Wars and the same amazement I had then translates here. The same bright colors and abstract shapes don the levels you visit. The camera can be used to freely look around so you can admire everything. Certain enemies are color coded for certain weapons but unless you’ve been playing the game, you’d never know. They blend right into the art style. At times, video will be played in the levels which drifts between cheesy and cool but taken within the context of everything, is easy to accept. Overall the visual style is excellent, keeps you engaged, and something different from all the grays and browns that dominate the palettes of today’s games.

Child of Eden is something that’s a bit different from the status quo. These types of games do not come often. It’s quite similar to Rez with tweaks of its own, which will please the fans but since it’s so different, Child of Eden will most likely be relegated to niche title status. On the upside, it’s the best Kinect title yet. The abstract graphics are mesmerizing, and the music is awesome. But with only 5 levels plus a challenge mode, the longevity is not there. You’ll definitely want to replay some of the levels but only the truly hardcore will keep coming back for more and more. When the price drops down the argument will be a lot easier to make that this game should be gotten. It’s unique, different, and very entertaining, just a bit costly at launch.

Monday, 25 July 2011

What is PEGI?

What is PEGI?
The Pan-European Game Information (PEGI) age rating system was established to help European parents make informed decisions on buying computer games. It was launched in spring 2003 and replaced a number of national age rating systems with a single system now used throughout most of Europe, in 30 countries (Austria Denmark, Hungary, Latvia, Norway, Slovenia, Belgium, Estonia, Iceland, Lithuania, Poland, Spain, Bulgaria, Finland, Ireland, Luxembourg, Portugal, Sweden, Cyprus, France, Israel, Malta, Romania, Switzerland, Czech Republic, Greece, Italy, the Netherlands, Slovak Republic and the United Kingdom)

The system is supported by the major console manufacturers, including Sony, Microsoft and Nintendo, as well as by publishers and developers of interactive games throughout Europe. The age rating system was developed by the Interactive Software Federation of Europe (ISFE).

What are ratings?

What are ratings?
Age ratings are systems used to ensure that entertainment content, such as films, videos, DVDs, and computer games, are clearly labelled by age according to the content they contain. Age ratings provide guidance to consumers (particularly parents) to help them decide whether or not to buy a particular product.

Computer and video games are now enjoyed by millions of players throughout Europe. In the UK, 37 % of the population aged between 16 and 49 describe themselves as ‘active gamers’ (defined as currently playing games on a console, handheld or PC). In comparison, in Spain and Finland 28% of the population aged 16 and 49 are defined as ‘active gamers’(Nielsen report 2008). While most games (49%) are suitable for players of all ages there are many that are only suitable for older children and young teenagers. There are also some games (4%) that are made for adults only (over the age of 18).

The rating on a game confirms that it is suitable for players over a certain age. Accordingly, a PEGI 7 game is only suitable for those aged seven and above and an PEGI 18 game is only suitable for adults aged eighteen and above. The PEGI rating considers the age suitability of a game, not the level of difficulty.

PEGI is used and recognised throughout Europe and has the enthusiastic support of the European Commission. It is considered to be a model of European harmonisation in the field of the protection of children.

Tuesday, 5 July 2011

How Team Fortress 2 Will Be Ruined By Going Free-To-Play

Of all the groups that consume media, people who play video games are easily the most obnoxious, entitled, and dickish. When you think about it, this is probably a logical extension of the interactive nature of games. Other media is passive, but when you directly control some element of the end product it makes sense that you'd become more invested and therefore more likely to question the creator.

Players have proclaimed the ruination of Team Fortress 2 at every opportunity. First they hated the class updates. Then they claimed that hats killed the experience because, you see, there were hats in the game. Although the mechanics hadn't changed, the fact that people could randomly win or purchase hats meant that the entire game was crumbling. With all those hats, it was impossible to aim guns, run around levels, and shoot people. Team Fortress 2 had simply become a hat simulator.

Now that Team Fortress 2 has officially become the first good game to adapt a free-to-play model, it is COMPLETELY RUINED according to internet jerks. Here's why.

  • With the sudden influx of new players, the game might become more popular than it had been in recent months. People who enjoyed the game as a quiet little cult favorite will now have to put up with all the riff raff as Team Fortress 2 sells out.
  • If people don't have to pay to get in, how will they know the value of a perfectly placed meatspin.gif tag?
  • More people means more hats. Hats totally ruin everything.
  • "Um, excuse me but I bought this game and enjoyed it. If everyone else is getting it for free I demand a refund!"
  • This is clearly a stunt to trick more people into installing Steam. Gaming as a whole will lose, as the Steam platform is terribly unfair to consumers and publishers, unlike EA's Origin, which offers download insurance at reasonable prices.
  • With so many additional players waiting to get into servers, it will be harder to get away with switching away from a losing team without being kicked.
  • New people can't play as well as experienced people. They should just go away so the community can become smaller and more impossible, rather than staying and becoming better like you did several years ago.
  • What's next, free Left 4 Dead and Portal content? Ugh.
  • There's only so much ammo in the Team Fortress universe. These new guys are going to hog it all, I just know it.
  • If Valve has to focus on all the free players, what are the chances we'll ever get a "Meet The Control Point" video?
  • The chances of us getting the long-rumored Play By Email option are now pretty much zilch.
  • Giving the game away for free sounds nice, but what if the new people want computers to play the game on? Won't they expect those to be free too? I'm not giving them my money. Fuck you, Valve.

Wednesday, 22 June 2011

Gemini Rue Review

Gemini Rue is a look back to a bygone era. From its 2D pixel art to its point-and-click controls, this is a game cut from the cloth of Sierra's classic adventure games of the early '90s. Created almost entirely by UCLA student Joshua Nuernberger, Gemini Rue was picked up by indie publisher Wadjet Eye Games late in development. The final release is a gripping science fiction thriller that weaves an amazing tale across two storylines. Unfortunately, what you're doing in between these story segments isn't as inspired, but it's worth pressing on just to see what happens next.

Like its name suggests, Gemini Rue divides your time between two protagonists. Half of the time is spent as Azriel Odin, an ex-assassin on an intergalactic hunt for his missing brother. His search has led him to the planet Barracus, which is locked in a seemingly permanent rainstorm. The other half is spent as the mysterious Delta-Six. After having his memory wiped at the game's outset, Delta-Six wakes to finds himself trapped in an unknown rehabilitation clinic. Little explanation is given, but if Delta-Six wants to eat, he'll have to complete his firearms training.

Gemini Rue's strongest asset is its story. What start as two seemingly unrelated plot threads gradually begin to overlap each other in ways you might not expect. The pace is masterfully balanced between the two protagonists, and you never feel lost in the middle. Just as you start to figure things out for one, the game switches perspectives to the other. Azriel might uncover a critical clue to his brother's whereabouts moments before the game cuts to Delta-Six who is listening to conflicting reports from his "friends" about what transpired before his memory wipe. Just as you're about to solve one mystery, another pops up to take its place.

This is essential because the actual gameplay of Gemini Rue is very simple. With a few exceptions, the solution to any puzzle is obvious and never impedes your progress. The puzzles simply guide you through the action of what is essentially an interactive novel. This means you're never saddled with frustrations, such as attempting obtuse, trial-and-error item combinations or pixel hunting for a tiny key hidden in a busy background. However, this also means that the game slips into monotony at times as you go through the motions of its clearly prescribed path to the next plot point.

The shooting segments are a similar situation. When a firefight starts, your character drops into cover. From here, you can lean out and fire on your attackers. Naturally, you'll want to stay behind cover when being shot at and lean out just as your enemy finishes shooting but before he ducks back down. Timing--that's all there is to it. Once you have the timing down, these segments--just like the puzzles--become a breeze. Overall, the shooting and puzzle-solving do the job of breaking up the story sections, but on their own, they can get tedious.

What does hold up is the game's atmosphere. Whether you're Azriel listening to the patter of the unending rainstorm or Delta-Six surrounded by the deep hum of an industrial air conditioner, the ambient sound design always conveys a sense of oppression and isolation in the unknown. The entire experience is underscored by soft jazz or piano tracks that emphasizes the sci-fi/noir hybrid at play in Gemini Rue. On top of all that is the voice acting. Though a bit dull in spots, the voice acting lends an extra bit of immersion that really brings this world to life. Brian Silliman's throat-of-gravel voice for Azriel Odin is especially fitting.

Thankfully, this game doesn't overstay its welcome. Clocking in at about eight hours, the game maintains a consistent pace that tugs you from one plot hook to the next. And by the time you enter the game's final act, you won't be able to put it down. Developer commentary is added after your first play-through and provides a wonderful incentive for you to jump back into the game. Even with its basic puzzle and action sequences, Gemini Rue is an intriguing experience for adventure gamers young and old.

Trenched Review

During the First World War, life in the trenches was anything but fun; rats, lice, heavy rainfall, and enemy snipers all did their bit to ensure misery. Developer Double Fine's take on trench warfare in which Trenches are mechlike war machines rather than muddy holes in the ground, on the other hand, is a blast. Somewhat reminiscent of Signal Studios' excellent Toy Soldiers, but with a greater emphasis on action, Trenched is a tower defense game that lets you take an active role on the battlefield as you defend strategically important locations from an unimaginable evil. You're afforded brief respites between the waves of enemies that are headed your way, but Trenched is played at a pleasingly frantic pace for the most part, and you need to be both smart with your tower placements and skilled with your chosen weapons to overcome the enemy. All 15 campaign missions are fun to tackle solo or alongside up to three friends, and replay value comes courtesy of leaderboards and a compelling loot system. This isn't the Great War that your ancestors might have fought in, but it's a great war nonetheless.

No, really, this is tower defense.

Trenched isn't a game that's going to keep you glued to your controller with its story, but its tale is at least good for a few chuckles. The events of the game transpire shortly after the aforementioned conflict, when two injured comrades serving at an Allied listening station intercept a mysterious signal that makes them supersmart. Frank Woodruff and Vladimir Farnsworth then take very different approaches to using their newfound intellect to aid other disabled veterans. Woodruff invents mechanical legs known as Trenches so that he and others like him might walk again, while Farnsworth invents television (referred to in-game as Monovision) so that veterans who are unable to move can still see the world. Woodruff's Trenches make him the toast of the town, while Farnsworth's broadcasts are considered a plague. Long story short, Farnsworth loses his marbles and, in an attempt to force his broadcasts upon humankind, fashions mechanical monsters (Tubes) and sends them into battle. And that's where you come in. As one of four marines with a customizable Trench at your disposal, your mission is to defend against Farnsworth's forces and to foil his dastardly plan to dominate the airwaves.

The first campaign mission, in which you must defend your battleship-with-legs base of operations, serves as a tutorial and does a great job of familiarizing you with the equipment at your disposal. Controlling your Trench and dropping defensive emplacements almost anywhere that you care to on the battlefield could hardly be easier. Emplacements, which initially include only mounted machine guns and shotguns, must be positioned a certain distance apart, but that's the only restriction. Typically, you start each mission with only enough of the game's scrap resource to place a couple of them, but since scrap is dropped anytime you kill a Tube, there's certainly no shortage of it. What's unfortunate, though, is that while most of your time is spent gleefully managing defenses or using Trench-mounted weapons to deal with enemies in a more hands-on manner, some of it must be spent wandering around the battlefield to collect scrap. Trenches are equipped with magnets that attract this valuable resource, but the magnets aren't nearly as powerful as they should be, and because Trenches move at a pretty sedate pace, this process quickly becomes a chore. Compounding this problem is that scrap disappears after a short time, so if you don't collect it quickly you don't get to collect it at all.

Scrap collection is a minor but frequent irritation throughout Trenched's campaign. As you progress and unlock more customization options for your Trench, you might choose to equip legs that move more quickly or to carry emplacements that automatically collect nearby scrap for you, but these are imperfect solutions. Making your Trench a more effective scrap collector means compromising its abilities in other areas. Using legs with a sprint ability means not using legs with the ability to shorten your weapons' reload times, for example, and since no Trench can carry more than four different types of emplacements simultaneously, devoting one of those slots to a scrap collection pod means you have one less defensive option. It's a shame that scrap collection isn't handled more efficiently in Trenched, because customizing your Trench for each mission can be almost as much fun as the missions themselves. In addition to legs, each Trench incorporates a chassis with variable armor and speed ratings, and the chassis, in turn, incorporates one to six weapon slots and up to four emplacement slots. You'll inevitably have a favorite setup, but missions are varied enough and new equipment comes your way quickly enough that you're unlikely to use the same Trench for more than a couple of missions in succession.

F.E.A.R. 3 Review

Nothing is more terrifying than the unknown. Unfortunately, F.E.A.R. 3 doesn't seem to grasp this, and it lays bare all the mysteries of this series of paranormal shooters, moving the story forward but stripping away its power to get inside your head and keep you up at night. But while F.E.A.R. 3 may disappoint as a horror game, it satisfies as a shooter. The campaign is good fun in single-player and especially enjoyable when played cooperatively with a friend. And the game's multiplayer modes present some thrills for those willing to work with others to survive.

Point Man will go to great lengths for a tasty cut of meat.

F.E.A.R. 3 follows hot on the heels of F.E.A.R. 2's startling conclusion, but returns us to the protagonist of the original F.E.A.R., the genetically designed supersoldier known as Point Man. The events at the end of F.E.A.R. 2 have triggered a paranormal catastrophe of biblical proportions in the city of Fairport, and Point Man is eager to make his way there and help out a former squadmate caught up in the chaos. Point Man's not alone, though. His homicidal brother, Paxton Fettel, is along for the ride. Point Man may have put a bullet in his brother's brain in F.E.A.R., but Fettel isn't about to let a little thing like being dead keep him down. The brothers form an uneasy alliance, but despite the tension between them, the story progresses predictably. There's a pleasant sense of closure that goes with seeing the brothers confront the painful reality of their shared past, but there aren't any surprises or scares that will stay with you once the story has run its course. The visuals also won't work their way into your subconscious. F.E.A.R. 3's graphics are plain and lag behind current standards. As a result, the creepy living rooms, city streets, and food courts you fight your way through aren't quite as creepy as they should be; the environments lack the convincing level of detail to fully pull you in. The sounds are more effective; the loud blasts of gunfire heighten the intensity of firefights, and the ethereal wails that accompany ghostly visions may unsettle you a bit, even if the sight of them doesn't.

Point Man and Paxton Fettel are both playable, but when tackling the campaign alone, you must first play each stage as Point Man to unlock the option to play it as Fettel. Regardless of which character you're playing as, F.E.A.R. 3 is, at its core, a corridor shooter that shuttles you from one small area to another and sees you constantly beset by groups of enemies. Although the core action doesn't evolve much over the course of the game, the firefights remain exciting. The assortment of pistols, shotguns, assault rifles, and other weapons you can employ feel powerful, and the smooth controls make aiming and shooting a pleasure. And your melee attacks, which include a sliding kick that can send enemies flying like rag dolls, make it fun to sometimes forgo the use of guns and charge your enemies.

Most of your time is spent fighting soldiers in the private army of the evil Armacham corporation, and these enemies keep you on your toes by flanking your position, though they also occasionally do dumb things like get stuck while coming down stairs. All of the areas in which shoot-outs take place provide ample opportunities for cover, but a lot of cover is destructible, and it's a thrill to frantically dash from one position to another as your cover is blown to smithereens. F.E.A.R. 3 prevents the shoot-outs from growing tiresome by providing atmospheric periods between firefights. For instance, a few quiet minutes spent making your way through a defiled superstore build up the tension before the bullets start flying. And although Point Man and Paxton are figurative killing machines, the occasional opportunity to take control of a literal killing machine and make things very unpleasant for your adversaries is a lot of fun. At a few points during the campaign, you can commandeer two types of armored power suits. These powerful, lumbering contraptions make the assaults of Armacham soldiers laughable, and shooting helicopters out of the sky from inside one of these machines is a delicious taste of destructive power.

As Point Man, you have an edge in battle courtesy of your unnaturally fast reflexes. These let you trigger slow motion for brief periods, making it much easier to line up that perfect headshot or deal with an overwhelming number of assailants. There's nothing novel about the ability to go into slow motion in shooters anymore, but it's still cool to see the air vibrate in the wake of a speeding bullet that whizzes past your head or to watch as what's left of an enemy explodes in a bloody mess. Paxton lacks his brother's heightened reflexes but makes up for it with other talents. As a specter, he can't pick up guns (though he's still vulnerable to bullets), but he can suspend enemies helplessly in the air and fire deadly blasts of energy from his hand. He can also take possession of soldiers even from significant distances, and it's liberating to zap into the body of an enemy from across the room. A meter drains while you inhabit a body, and if it runs out, you're returned to spectral form. But enemies you kill leave behind psychic energy that you can use to refill your meter and prolong your possession time, encouraging you to take risks and not hide behind cover for too long.

Shadows of the Damned Review

Honestly, even if you forget about the demons constantly trying to kill you, hell is a pretty lousy place. Take, for instance, an ordinary act like turning on the lights. While residing on the earthly plane, you just flick a switch and your world is bathed in a fluorescent glow. But if you're stuck in hell, you have to find a goat head (listen for the bleats!) and shoot it with your flaming pistol. You do have a flaming pistol, right? There's a chance it's called a Boner. That's what Garcia Hotspur calls his gun. Make no mistake about it, Shadows of the Damned is a weird game, but it doesn't use its strangeness as a crutch to hold up sagging gameplay. There's a chance you may become immune to the reggae charm of the sushi lamp or just find vulgar jokes off-putting. But the beauty of the brilliantly crafted combat situations makes it so that you can't help but push on to see what devious traps lay before you. Shadows of the Damned turns the gloomy world of hell into a digital paradise.

If you had to choose a prime candidate for hell's most-wanted list, a demon slayer would be a fine guess. Garcia Hotspur kills corrupt souls for giggles, so it's not surprising when his lovely girlfriend Paula is kidnapped by the vindictive lord of darkness. Unfortunately for the bad guys, there isn't anyone better equipped to win her back. Plot details don't get much deeper than a basic setup, but story is still a large part of this stygian adventure. Garcia pals around with a floating skull named Johnson that serves as your tour guide and moral compass, and which transforms into a gun or torch when the situation warrants. The demonic-hunting duo is unrelentingly crass, fixated on the male reproductive organ and its many useful functions. It's immature, to be sure, but it also comes across as genuine. There's a natural rapport between these characters that gives their raunchy dialogue a whiff of believability. There are times when Shadows is tiresome and there are times when it's laugh-out-loud funny, but it's usually amusing enough to add to the experience.

On the most rudimentary level, Shadows of the Damned is a third-person shooter. Victorian houses, farming villages, and other gloomy abodes confine you in mostly linear levels, and you dispatch pain to unruly demons with your trusty guns. Garcia moves with the troubling grace of an injured ballerina. Jerky animations and a zoomed-in camera combine to make navigation clunky, and there are times when enemies trap you in a corner, which obstructs your view. But, for the most part, the controls function admirably. When Sister Grim lashes out with her razor-sharp scythe, you can dive away like a frightened rabbit. Or when demons get too close, you can run, perform a quick turn, and fire to end their pathetic lives in one sure blast. Movement inconsistencies are a looming presence, but Garcia can still overcome this liability with practice.

Flawed core mechanics have been known to derail lesser games, but there's no such problem in Shadows of the Damned. Garcia enters hell prepared to execute every demon in sight, and he has the firepower to pull off such a feat. Endearing names like Skullblaster, Hotboner, and Dentist are affixed to guns comparable to a shotgun, pistol, and machine gun, but they are a lot more versatile than their real-life counterparts. Upgrades let you increase carrying capacity, damage, and reload speed, but these tools of destruction let you go much further. At specific story moments, new powers are unlocked that make the already-delicious combat even more enticing. Your ordinary pistol gains the ability to shoot combustible mines that are just as handy for knocking down cracked walls as they are at blowing a wicked demon sky high. With a blast from your shotgun, you can blow off an arm or leg or initiate an instant-death decapitation, but why waste your time aiming? Homing bullets let you dispose of demons with lazy ease. Weapons are diverse and deadly in Damned, and it's sadistically satisfying to strike down your teeming enemies with them.

Combat is a lot more involved than just shooting any fool who wanders your way. Darkness is the creeping threat that lingers around you, and if you get caught in the gloomy veil, your health slowly depletes. To lift this fog, you must seek out a goat head positioned somewhere on a wall. It's a basic concept that is used in fascinating ways during the course of your heroic rescue mission. You may need to run through a hall of shadows, cognizant of your slowly draining health, to reach safety on the other side. Or a monster may confront you that fears the darkness above all else, and you have to figure out a way to quench flames without succumbing to death yourself. Puzzles force you to step in a darkened room to find the solution, and certain bosses require you to make the same sacrifice. How can you so readily kill if you're afraid to dance with death when the time arises? There's a constant balance to tempt fate without dying that makes these scenarios intoxicating.

Thursday, 16 June 2011

Transformers: Dark of the Moon Review

Another Transformers movie means another Transformers game. For many longtime fans, Optimus Prime, Bumblebee, and the other robots in disguise are special characters, and hope endures that someday, a Transformers game will come along that does them justice. Unfortunately, Dark of the Moon is not that game. The action in this third-person shooter isn't bad, but it also isn't anything remarkable. There aren't any surprises or standout moments during its brief campaign, and the shallow multiplayer isn't likely to keep you coming back for very long.

Ironhide enjoys a pleasant, uneventful drive through Detroit.

Dark of the Moon serves as a prologue to the upcoming film of the same name. There's a story here about the evil Decepticons desperately looking for something, but the game never makes it clear why we should care about the outcome, so it's hard to feel invested in what happens. And because you play as both Autobots and Decepticons, you're not rooting for either side to prevail. The ending is underwhelming; nothing is resolved, and there are no clear winners or losers. All we get is the setup of a situation that will play out at cineplexes later this summer. The visuals don't support a sense of global conflict, either. The South American villages, Mayan temples, and other locations don't have much detail, making them look more like playsets for toy robots than actual locations around the world. It's not uncommon to see robots pass through objects or get caught on corners, and destroyed enemies inexplicably evaporate into smoke and ash. The sounds do a better job of bringing the conflict to life. The various guns and other weapons you use throughout the game sound powerful. And Peter Cullen, the longtime voice of Optimus Prime, sounds as authoritative and benevolent as ever.

The campaign is spread across seven chapters, each one focusing on a different Transformer (or, in one case, two Transformers). When in robot form, you have a few different weapons and abilities available, and the unique abilities of each Transformer lend the action a bit of variety from chapter to chapter. Mirage, for instance, has a cloaking ability and a sniper rifle, and Megatron can drain health from nearby Autobots. But these abilities aren't significant enough to prevent the action from falling into a rut as a result of the repetitive and uninspired level design. You spend most of your time walking or rolling your way through levels, pausing frequently to blast generic robots of the opposing faction. On very rare occasions, you need to do things a bit differently, such as in one section as Mirage during which you have only the cloaking ability and melee attacks at your disposal. But for the most part, there's nothing that makes one battle significantly different from the next. You fight the same standard enemies in similar environments over and over.

So the game doesn't change things up much. But of course, this being a Transformers game, you can change things up a bit yourself at almost any time. In Dark of the Moon, Transformers have what's called a "stealth force" form, which looks like a tricked-out, heavily armed version of their vehicle form but lets them move in all directions. This mobility makes the stealth force forms fun to control, but their limited firepower means you'll probably spend more time in robot form. Each Transformer also has a vehicle form, which you can enter only by holding down a shoulder button that makes you speed forward. This form isn't always your most effective offensive weapon, but it is the most fun. Crashing into enemy robots sends them flying back through the air a ridiculous distance. It's an absurd and fun way to dispatch your foes, though this one-note goofiness can entertain for only so long.

Vehicle forms are also useful during specific sections of levels when you need to cover a lot of ground quickly. The controls for vehicle forms are awkward; cars and trucks are slippery and seem to pivot from a central point, as if their wheels aren't actually touching the ground. This awkwardness makes precise driving difficult, but this doesn't matter much. You can usually just drive ahead clumsily at full speed, bouncing off the sides of the road, and still not have any trouble reaching your destination. These sections are a breezy break from the third-person shooting that makes up most of the game, but the strange controls and slippery physics also make them one of the game's biggest disappointments. When Bumblebee transforms into vehicle form and speeds down the road, it feels like you're controlling a lightweight toy rather than putting the pedal to the metal in a Camaro. The flying sections are similarly disappointing; during one chapter, you pilot Starscream in jet form, but he flies through the air much too slowly to make this exciting.

In addition to the campaign, Dark of the Moon has a multiplayer mode. Here, the Transformers are divided up into four classes. There are speedy scouts, airborne hunters, well-rounded commanders, and hard-hitting warriors. There are only three game modes: Deathmatch, Team Deathmatch, and Conquest, in which teams earn points for controlling nodes. As in so many multiplayer games these days, you earn experience and level up, unlocking new perks (like faster speed on foot, or an automatic grenade drop when killed) and new abilities (like a healing ability, or a temporary boost to armor and damage for all nearby allies). Battles tend to be chaotic, with lots of players shooting and clobbering each other at close quarters. They're good for some quick and shallow Rock'Em Sock'Em Robots fun, but they lack the depth to keep you coming back for long. You level up very quickly and can earn every ability for every class in a handful of hours. With shallow action, just three basic modes of play, and five maps, this multiplayer quickly loses its appeal.

The same can be said of the entire game. The seven-chapter campaign is over quickly and leaves you feeling like nothing has been resolved. It's more of a commercial for the upcoming film than a story in its own right. Walking through levels blasting and crashing into robots offers some satisfaction, but the game doesn't have any memorable moments, and it certainly doesn't capture the Transformers magic that fans of the robots in disguise are hoping for. They say that Transformers offer more than meets the eye. But with Dark of the Moon, what you see is an ordinary and unattractive third-person action game, and what you see is exactly what you get.

Wizardry: Labyrinth of Lost Souls Review

Get out the graph paper. You just might need it in Wizardry: Labyrinth of Lost Souls, an old-fashioned dungeon crawler for the PlayStation Network so true to its roots that it lacks an automap feature and just about every other amenity of a modern role-playing game. This slavish attention to detail is both the biggest strength and the biggest weakness of the game. Developer Acquire has stuck so closely to the RPG formula circa 1990 or thereabouts that you might love the game for its evocation of nostalgia, in spite of its archaic graphics, sound, and mechanics. You can't argue about Acquire meeting its goals here, however, because this game is so true to the RPG experience as it was two decades ago that you might as well be playing it on a Commodore Amiga instead of a PlayStation 3.

If you have ever played any classic dungeon crawlers like Dungeon Master for the late, great Atari ST and the Eye of the Beholder series for the PC, or gotten into any of the modern revivals, such as The Dark Spire and the Etrian Odyssey franchise for the Nintendo DS, you will immediately know what you're in for here. Wizardry: Labyrinth of Lost Souls is a straight-up single-player dungeon trek. It pits a traditional six-member party of adventurers against all of the Dungeons & Dragons-inspired horrors that can be found in an eerie underground maze of caverns, chambers, and catacombs. Everything is basic. You roll up a party by tweaking skill stats and choosing classes from a list of mostly traditional fighters and mages, with a couple of oddballs like the samurai and ninja thrown in for good measure. You access various adventurer-accommodating features in a city represented by simple menu choices that instantly port the party to an inn for resting, a temple for healing, a shop for buying and selling items, a guild for accepting quests, and so forth. And you venture into a couple of many-floored dungeons to kill monsters for fun and profit.

The two dungeons in the game are moved through step-by-step with the party en masse, with the dungeon before you shown via a first-person camera. Three fight-friendly adventurers are in the front row and three ranged- or magic-combat specialists are in the back row. When you push the D pad forward, the party moves one step forward; when you push the D pad backward, the party moves one step backward; when you push the D pad sideways you turn in the indicated direction. Dungeon levels are simple mazes laid out with brick-lined walls, rocky caverns, and the like. Every square looks pretty much the same, unless you encounter a door, a treasure chest, some kind of special creature like a ghost or non-player character, or are swept off into a fight with monsters. There is no automatic mapping function here, which makes finding your way around extremely challenging. You can buy maps and deal with this in various other ways, but at times, you need to either resort to graph paper or a really uncanny sense of direction. An automap that can be turned on and off would have been a better solution here, letting more casual players get into the game without the hassle of manual mapping and using the limited in-game maps.

When you run into bad guys, you generally have a choice of either fighting or fleeing. Battles are turn-based and extremely simple. Each party member fights or casts a spell each turn until the monsters go down or the entire party bites the dust. Fighting is rather unforgiving. In the early stages, you have garbage equipment and weapons like cloaks and daggers, so you are vulnerable to being smacked around by a gang of kobolds. Leveling up is a fairly measured process, and you need to do a lot of killing and exploring to scrounge up the gold needed to upgrade gear. Still, it's all strangely addictive. The whole game is a level grind, and quite repetitive in the style of old-time RPGs, but the grim nature of the surroundings and the extremely focused "see monster, kill monster, loot dungeon" nature of what you're doing keeps pushing you forward. Tough battles provide a good challenge to egg you on, as well. Even the lack of an automap feature helps immerse you in the game, because you need to really pay attention to what you're doing to even find your way in and out of the dungeons.

With all that said, it is hard to quantify the appeal of a retro game like this. Part of the reason you keep playing is the thrill of exploring ever-deeper dungeon levels and seeing what else there is out there to try and kill. Despite the minimalistic visuals, sticking around to see what lies around the next darkened corner is a big part of the attraction. The stark visuals are entirely in keeping with the retro theme, of course, although the backdrops are perhaps a little too dark, even when you have assistance in the form of a spell. Another issue has to do with the six character portraits that line both sides of the screen to provide a look at the party you're leading and to keep an eye on their overall health by tracking hit points. These big and brightly lit anime-flavored icons contrast so much with the darkened dungeons that it is hard to make out where you're going when adventuring underground. Being able to turn them off would have been welcome, so you could better immerse yourself in the spooky dungeon corridors. The anime character art is also a bit extreme in spots, with some of the big-eyed female heroes dressed in risque outfits that are wholly inappropriate for exploring a dungeon stocked with goblins and dragons. Creatures are more appropriately drawn, although they are represented by flat, mostly unmoving models that don't have a great deal of detail. There are a lot of different types of monsters, ranging from floating evil coins and orcs to dragons and demons, but all you see of them are simple little figures that don't have a great deal of visual impact.

Audio is also pretty rough and ready. The generic music could have been composed, if not recorded, during the 8-bit era. Battle effects are equally old school and made up of basic sword clashes and groans. All of the vocals seem to have been carried over intact from the Japanese version of the game that was released back in 2009. This works with the anime character art, but it isn't so pleasing to the ear. Most of the lines are high pitched and involve various squeals. The collective gasp when you navigate the party into a wall is hilarious, at least.

Wizardry: Labyrinth of Lost Souls is one uncompromising game. To really appreciate this sort of RPG, you need to be either someone who fondly remembers the good old days or someone who has always wanted to take a trip back in time to the dungeon crawlers that dad used to play. As such, it's either a good game or an awful one depending on your perspective. But the developers have clearly succeeded in their efforts to turn back the clock for the nostalgia-minded, so you have to admire the effort and the end results, even if you can't fully get into its old-time atmosphere.

Fallout: New Vegas - Honest Hearts Review

In the Fallout universe, nuclear war has ravaged the country, but religious faith abides. In Fallout: New Vegas - Honest Hearts, men of God struggle to find peace in a land where strife is inescapable--a powerful theme for a downloadable add-on. The story in Honest Hearts doesn't take advantage of this fertile premise, but that premise still enriches this formulaic yet enjoyable adventure into Utah's Zion National Park. As its name would suggest, some see this region as a promised land, and it's here that two religious leaders struggle to maintain control in the face of a warring tribe that would drive them out. Zion is a big and atmospheric setting for a new adventure, and there's enough new content here to keep you busy for four or five hours as you shoot up charging geckos and get to know the local tribes. That said, Honest Hearts doesn't make a lasting impression; none of its characters, places, or events stand up to those of the main game or even those of Fallout 3's better content packs. Yet, this enjoyable excursion gives you several welcome chances to exercise the power of choice, and it rewards you with new perks, new weapons, and an increased level cap.

The two men at the center of Honest Hearts are good, sincere blokes that nonetheless don't see eye to eye on how to deal with the White Legs, a violent tribe of nomads eager to scalp anyone that dares oppose them. One of these men is Daniel, a Mormon missionary with close ties to a tribe called The Sorrows. The other is Joshua Graham, otherwise known as The Burned Man. Joshua favors an aggressive approach toward the White Legs, which is no surprise given his violent past with Caesar's Legion. He is beloved by the Dead Horses tribe and preaches that mankind should shun the greed of the outside world. You stumble upon both men after the trading caravan you join falls victim to the White Legs, though neither makes a very strong impression. Joshua needs supplies like lunch boxes and walkie-talkies; Daniel sends you to find maps and disarm traps. These are nice men that nonetheless make you wonder how they managed to inspire the devotion of the locals. Joshua tells you that he was put on Earth to show people how to fight, yet he speaks in even tones, without an ounce of passion. For someone called The Burned Man, his personality lacks fire, and the tasks he needs performed are hardly extraordinary.

As mundane as the narrative is, you still get welcome opportunities to make decisions, though they would have more weight if you felt more invested in the consequences. Standard quests allow for a bit of flexibility. You might kill the gigantic Yao Guai creatures threatening the camp or collapse the cave in which they live. You could convince a tribesman to follow his heart and explore the "civilized" world or encourage him to stay with his people. The final series of decisions determine the future of several characters and their tribes, and these are outlined in an epilogue that closes the adventure in traditional Fallout fashion. Some of these characters include a few that join you as followers, and they, like Joshua and Daniel, are remarkably even tempered. It's nice to have their company, however--particularly that of Waking Cloud, a pious Sorrow tribeswoman indebted to Daniel for her saving her life. It's too bad that some of the quests these characters join you for are so routine. Find a key, open a cabinet, search for a compass: These are simple fetch quests that needed some dressing up with better context.

A few quests offer some variety, however, including one that pits you against a giant creature in Honest Hearts' best battle. The reward is an excellent melee weapon that nicely complements an intimidating helmet you might also grab before you head back to the Mojave. Other tangible goodies in this content include weapons (such as tomahawks) and new perks (extra damage when limbs are crippled). In addition, the level cap has been increased by five. Zion also serves as its own reward; its prickly cacti and red-orange plateaus provide a great backdrop to your travels. This graphics engine is showing its age, what with the bland textures, frequent pauses and jitters, and awkward animations. Yet campsites dotted with empty beer bottles and abandoned communal grills are an effective reminder of the civilization from which Joshua wants to shield his followers.

This being a Fallout game, it's no surprise that you could run into a number of bugs. These include some enemies you cannot damage or target in the Vault-Tec Assisted Targeting System because they are standing in water; VATS sequences that get stuck for 30 seconds or more before continuing on; and non-player characters sprinting through the air rather than across land. Don't let such typical bugs dissuade you from considering Fallout: New Vegas - Honest Hearts, however. The story and related quests don't surprise, but this add-on gives you the opportunity to once again influence those you meet and accomplish your goals as you see fit. And, you do those things in a desert environment harboring enough creatures and caves to make it worth exploring.

Tuesday, 14 June 2011

Alice: Madness Returns Review

In Alice: Madness Returns, the heroine of American McGee's Alice has not escaped the demons she worked so hard to banish. The Wonderland of her imagination has been mangled into a dark and demonic caricature, filled with even more torturous hallucinations than she last encountered. Alice's mind is a dark place indeed, and in this long-awaited sequel, we discover that the real world isn't any sunnier. Creative and creepy visuals give this action platformer a twisted and surreal vibe, drawing you into a land inhabited by fire-breathing doll babies and squirming leeches. The action doesn't display the same kind of creativity, unfortunately. The game recycles the same basic ideas over and again, and its failure to grow and challenge leads to occasional tedium. Nevertheless, leaping and floating through an eerie oversized dollhouse and a Japanese-inspired dreamland is a joy, and there are enough hidden secrets to make it worth inspecting Madness Returns' grotesque nooks. Alice: Madness Returns is a fun but thoroughly ordinary game that takes place in an extraordinary setting.

Porcelain makes for extravagant--if easily broken--headgear.

In American McGee's Alice, the titular dreamer had seemingly overcome her insanity. A fire at her home had killed her parents and sister, leaving both her mind and her imagined Wonderland in shambles. She eventually triumphed over the Red Queen and her own madness, but it seems that this victory was a temporary one. Alice is still under medical care, struggling to remember the circumstances that led to her family's horrific end. Her psychiatrist urges her to forget her past, insisting that doing so is the only way to wellness. Yet forgetting proves a formidable task, and soon Alice finds herself once again lost in her imagination, where Wonderland lies in ruin. To save herself, she must save Wonderland, and vice versa. But this is not the curioser and curioser world author Lewis Carroll dreamed up when he wrote Alice's Adventures in Wonderland. Rather, it is a place of nightmares, where the card guards that once protected the Red Queen are now undead monstrosities, and hobbyhorses are not playthings, but deadly weapons.

Wonderland itself is Madness Returns' finest attribute. Each chapter explores a different visual theme, some of them impossible to describe in a few simple words. Rusted platforms float against a cloudy yellow backdrop, next to clock towers from which giant forks and teapots dangle. Gnarled vines twist into an off-kilter heart above a giant castle whose spires lean in all directions. Alice's clothing changes from chapter to chapter, and her flowery prints and blood-red fabrics subtly match the level art. Wonderland is not the only place you explore, however. At the start of each chapter, you wander about an increasingly morose London. This vision of that city is more grubby and industrial than even Carroll's contemporary Charles Dickens conjured, drained of color and inhabited by impossibly wrinkled old crones and filthy fishermen. This world is not flawlessly rendered, however. Textures pop in frequently (and sometimes back out, and then in again), and the game pauses at bizarre times to load data. Audio is an occasional issue as well: characters might talk over their own lines and are sometimes drowned out by the ambient music. At least that music is evocative, if not as excellent as the original Alice's score. The occasional tinkling of a toy piano and the buzz of low double basses provide fine contrast to the pounding drumbeats that accompany battle.

Alice is generally a dream to control due to the effortless way you can string multiple jumps together and float gently downward. When you drift or perform midair leaps, flower petals blossom in your wake, emphasizing Alice's grace in a graceless land. The smoothness of motion makes bouncing from springy mushrooms and catching drafts of air a delight, and rarely is timing or landing a leap a struggle. For a few hours, you get caught up in freewheeling around this unusual place, scanning for secrets and admiring the view. You can shrink yourself to minute size and enter keyholes, where you might find lost memories, Madness Returns' equivalent of audio logs. You come across floating pig snouts and can shoot them full of pepper from your pepper grinder to uncover new pathways. Hidden treasures are scattered all over, and hearing the telltale snort from a nearby snout elicits a pleasant Pavlovian response: you hear the oink and immediately move into scouting mode.

Every so often, Madness Returns' level layouts displays a glimmer of creativity, such as when playing cards flip and slide into view, extending your path. However, reaching your destination is a usually predictable affair. You spend a lot of time jumping onto floating surfaces and into gusts of air so that you can flip a switch that creates another set of surfaces and gusts. Sometimes you need to drop bombs to weigh down pressure plates, shrink to miniscule size to bring invisible platforms into view, or run under a spiked ceiling threatening to slam down on you. But Alice: Madness Returns has a limited bag of tricks, and so you frequently perform the same actions in the same context. Monotony too often results, particularly when your objectives are simple fetch quests. (Some residents of Wonderland are unwilling to divulge information unless you do them petty favors.) Levels have no sense of momentum: were it not for the unique environments, you could replace one sequence with any other and not even notice, and navigation is barely more challenging in the penultimate chapter than it is in the first.

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