With this console generation coming to an end it’s hard not to get nostalgic about what has made these past several years so memorable. So, we’re looking back at what titles have been the highlights, especially when it comes to gaming with friends.
Danny Lilley reflects over one of this generations most unique and enjoyable multiplayer experiences. Nope, it’s not an entry from the hugely popular Call of Duty, FIFA or Battlefield franchises, but 2008’s Burnout Paradise from Guildford-based Criterion Games.
The Need For Speed franchise has been waning in recent years. It was once the king of street racing, however a number of less than successful games saw it’s name sullied. Despite the progress made in last year’s Need for Speed: Shift, a game which saw the series take a driving simulator stance, gamers have still been waiting for a return to it’s cops and robbers, arcade roots. Fortunately, fresh from their success with Burnout Paradise, Criterion Games were more than willing to take up the cause.
It’s not often that DLC warrants a review all of it’s own, but it’s not often that DLC, or indeed a game, like this comes along. Since the game proper launched in January, Burnout: Paradise has established a solid reputation as the best hidden gem frequenting Xbox live and PSN. Shying away from the hyper competitive arenas dominated by the likes of Halo and Call of Duty, Burnout instead offers something entirely different to its fans. Inside the joyous concrete playground of the titular Paradise City, players are given the freedom to race, do a series of co-op challenges or play a variety of quickfire games- stunt runs, cat and mouse chases or just about anything else the host can think of. The result is an accessible, purely enjoyable multiplayer experience that at times, when all the players are screaming along winding mountain roads purely for the joy of driving the games’ series of preposterously amusing super cars, feels like a Sunday driving club for adrenaline junkies.
Burnout’s reputation for a unique online experience extends in to the games’ fantastic DLC offerings and this, naturally, brings us to The Point. It’s become customary for console gamers to expect to pay for their downloads these days, so it came as no small surprise to discover that Burnout would be sporting a massive series of upgrades to the core game for free, with a schedule spanning an entire year. The latest in the series, following the release of a content patch for the multiplayer modes, is the addition of Bikes to the heady roster of vehicles available. This is a first for the franchise and it’s nothing short of an absolute pleasure to find out that Criterion have pulled out all the stops for the event, making this update one of the best pieces of DLC this generation.
In short, this feels like an entirely new game as much as a mere freebie. Most developers would be content with adding the bikes to the existing game structure and letting you get on with it. Not so here: to welcome in the new rides, Criterion have included 38 single player time trial races and 70 new multiplayer co-op events to do with friends. Although this won’t take you too long to finish, especially on single player, the fact that it’s included at all, and that it’s so fun, deserves huge praise.
But more importantly, how do the bikes handle? The answer is ‘utterly brilliantly’, which is nice. Ridiculously fast, the bikes feel responsive, weighty and exhilarating to drive and, with a smaller profile on the road and reduced traffic in the streets, feel hugely empowering as you explore the city afresh, roaring through previously difficult short cuts and dangerous back roads with ease- even in the darkest hours of the game’s new and customisable day/ night cycle.
In fact, it’s arguable that the bikes make things a little too easy- for experienced players particularly the single player content is far simpler to complete than the challenge presented by the cars. All the events are time trials from A-B and the problem simply seems to be that the allocated time limits are too slack. In one instance, I finished an event with fifty seconds on the clock going spare- enough time to cover half the city in vehicles this fast. Multiplayer, however, feels more substantial with 10 tasks to complete for every different player count from 2-8. These are still quite easy, but they’re particularly well designed anyway. Criterion clearly know their city inside out, and quite possibly the driving habits of their players too so many of the challenges are cunningly designed to send you down particularly fun parts of the map to tackle on a bike- be it gently swooping mountain passes or hairpin city rat runs the team make sure you see it all and doing so with a host of other bikers on screen, racing as a pack, is pure gaming hedonism, sparking that old Paradise feel of driving for the pure pleasure of the experience alone.
Sadly, there comes a point where driving for the sake of it is all that remains of the bikes update- bar the challenges, the bikes do not come with any other kind of multiplayer game, and the single player does not include any other kind of event, either. Stunt runs and racing are conspicuous by their absence. Online players, then, will be left to their own devices. Perhaps we’ll see more modes and games in the ‘Eastwood’ update which will conclude the ‘year of paradise’ DLC extravaganza by adding a whole new island to the game. Untill then, Burnout Bikes provides a brilliant, if possibly short lived, alternative way of playing an already impressive title.
Criterion’s latest game is one that has been exposed to the highest degree of hype. Press and fans alike have been expecting the next generation of the fps genre. The question is, how does the final game live up to the hype?
In short: very well, but you may be expecting a very different game to what you’re actually getting. If you’ve seen the trailers and pre-release material, you would be forgiven for expecting something akin to Serious Sam where all out guns’ blazing wins the day. The truth is very different, and certainly a lot better. Black is a game that should perhaps be compared to Call of Duty meeting Golden Eye rather than the retro shooters that immediately spring to mind.
The gameplay in this game is fantastic- I may as well get that out of the way immediately. The mission statement for this game was to make the most intense shooting experience available and they’ve pretty much succeeded. The guns in Black are the true stars- without a doubt the coolest arsenal ever and the level of visual impact they have on your surroundings is equally impressive. This alone elevates the experience above the norm as simply using each and every weapon is thrilling and diverse enough to encourage a kind of psychopathic experimentation while you blow up as much of the level to dust as possible. With regards to destroying the levels, it’s important to remember with Black that the effect of creating homage to Hollywood blockbusters was the main aim of the game. As a result, the game is tightly scripted in its destruction rather than freeform like Red Faction was with its geo-mod engine. Rather than letting you take out everything you can see, Criterion opted to work with the principle that if it looks like you should probably blow something up, and then by all means do so. Examples that are particularly fun are things like doors that, instead of having an open function, simply have to be taken off their hinges by a shotgun or grenade, fuel tanks and barrels that lurk perilously close to enemy cover and in one very special example a massive chemical silo that results in the biggest explosion I think I have ever seen in a game.
While some may find the level of genuine destruction on the structure of the levels disappointing, Criterion still do enough to make the whole experience a huge adrenaline rush- why go for dull headshots when you can throw a ‘nade through the window and take out two floors, too? It may be a scripted explosion when you do it, but it’s still a total head rush. What may take people by surprise when they play Black is that run and gun techniques just don’t work very well. It’s very much about cover, here, cover there. A lot of the gameplay is based on hiding behind something solid and using your guns to take away an enemies cover in explosive style. Most of the in game cover points disintegrates under fire, leaving you or the AI open for a serious beating. It’s a cool style all of its own and is visually brilliant. Blowing the pillars apart in the asylum stage is a hugely satisfying example. Sure it rips off the matrix, but its awesome fun.
The games AI is similar in its approach to the destruction of the levels- more virtual stuntmen to your own action scene than anything, they don’t really pose much of a threat to your brains but they’re dangerous enough and they certainly do a decent job of making the experience suitably spectacular. Accompanied by a meaty rag doll effect that throws bodies around with satisfying weight and speed, the death animations are all really good, holding back from embracing the cartoony physics of games like Halo. While the enemy goons might be a little placeholder at times, they do offer enough variety and general carnage to be good fun. As well as the usual machine gun wielders you’d expect, Black also features an assortment of special enemies in the form of armour wearing shotgun troops that take entire clips to eliminate, men equipped with riot shields and magnums that require special tricks to take down- like using your guns to break up pillars they use as cover matrix style so that the falling concrete crushes them. It’s a cool way to make you fight differently and it certainly breaks up the pace a little. One thing that Criterion did hold back on is blood. There isn’t any in the game but it really doesn’t matter one bit. With or without blood this remains one of the most violent games on the shelves simply due to the amount of ass you kick throughout that sends men flying almost without exception
Graphically, this game is a technical tour de force. If Criterion knows anything, its how to milk the current gen systems dry for every ounce of power. Black effortlessly throws around huge clouds of particle effects from massive fireballs to clouds of plaster and dirt thrown up by your bullets while all the time holding a rock steady frame rate. Considering that this game is based on PS2 architecture, Black looks all the more impressive, practically putting next gen games to shame. Set in a diverse range of locales, the art direction is also similarly impressive. The story (for what it’s worth) sees you tracking a rogue CIA operative across a fictional Eastern European country and each level is diverse enough to really engage you as you play though. Starting off in a war torn city street section; the game progresses through woodlands, graveyards, trench networks, steel factories, dockyards, a colossal ruined bridge, an abandoned asylum and a huge prison. Each level was an attempt by Criterion to allow for a new kind of destructive effect, and it shows too. Each level has its quirks and nuances that show a great deal of craftsmanship going into each area in order to make it as spectacular as possible. It works amazingly well.
The sound is also amazing in this game, the effects on the weapons and explosions are breathtaking. Part of the experience that makes Black so amazing to play is that the weapons are just great fun to use, particularly because they sound utterly fantastic. I often found myself switching weapons simply because I hadn’t heard them yet. It really is that good. The musical score is not quite as good. While it certainly does its job, it all feels a bit obvious like they took a bit of star wars, a bit of lord of the rings and a touch of halo to make a bit of a clichéd score. It’s not bad as such, just unspectacular. And if you really don’t like it, the Xbox version comes with custom soundtracks if you fancy blowing stuff up to a bit of whatever it is you like to blow stuff up to.
Black, then, is a game that may take a few people by surprise. Far more intelligent than we were led to believe, it’s a really solid shooter that, while it may lack the finer elements of it’s more advanced brethren, packs enough spectacle and great style into its levels to really keep you interested. It sets the bar within seconds of its first level and never lets up for a second until the credits roll.
Some people will find it too short, some might find it doesn’t quite live up to the lofty hype machine that it generated but if you take it for what it is, you’ll be hard pressed to find a more thrilling game available.