In the end, there can be only one…

With unmeasurable timidness I unveil which of these should be crowned king of the juices, and once more, in a way that is strategically confusing to the average human being.

Let this be the final say; let this be the resting place of the mighty argument, so that the future may yield only the good.

Also, just to get the majority of individuals to stfuyawncakes about the matter.

By the way, there are a few NSFW moments..

Acknowledged as an aptly anticipated journey, Freelancer promised its followers that a vast system awaits to be explored, and while it made the average individual’s blood flow increase (in a non-erotic manner) one must comprehend that with a vast system comes a certain sense of expectation.

Does Freelancer manage to tractor beam the win and set a profound bar for any title that ostentatiously dares to be labeled a successor, or would it make Notepad a more viable option as a Space Simulation game.

Join me, and I will show you in the most convoluted and irrelevant way possible where Freelancer hits its mark, so without further ado hit play and holster that mouse…in a non-erotic way.

In order to prevail, you need to expand your arsenal.

It needs no elaboration that for the average gamer he/she will capriciously procure a predetermined set of games he/she will play. This is not rocket-science, but common knowledge, since it is an innate trait. Why? In reality it all comes down to personal preference. The logic of what entertains your senses and envelopes your hedonic self. This is just a pretty way of saying ‘you play what you like’. It is how we approach the majority of things in life (or should).

However, accompanying the aforementioned philosophy is the obvious, and that is we will not experience certain things or never cogitate about its existence. Some of us are FPS-fanatics while others are RTS-rangers (sounds sexually ambiguous); some of us join the world of Sport Simulation, while others tank RPG’s. Whatever your primary genre of affection, it is of probable tendency that you do not indulge in all genres, be it because of time, preference or budget.

Therein emerges the problem for the more competitive gamers. It introduces the layers of acuteness of a particular game that you have embraced as that which you would like to play competitively. How well your aim is, or how meticulous you command your army, it is all dependable on your knowledge of the game and highly likely your reflexes. Yet, how can you achieve a greater level of sense or skill when it comes to your gaming capability? And the obvious answer is practice, but how about using other gaming platforms (or just other titles in general) to perfect your current technique.

Now let us look at the two most prominent aspects of how to excel in a game:

A) Awareness

B) Reflex

It is as easy as that. Did you enjoy that? Here, let me lie again. You will be an astronaut! Oh yes, so much fun. Well, that’s enough. Evidently, in order to really perform exceptionally in a gaming title you need to learn its mechanics, practice and amend your obvious mistakes. But there is that slight residual aspect that suggests inadequacy. Also, with excessive practice in a particular game follows the inevitable ‘routine’ procedure. Meaning that certain actions are executed because it is the basic way of obtaining the desired effect, and it becomes a habit. Now superficially that statement resembles truth in that it is the correct behavior, yes, but with routine actions you render yourself vulnerable to prediction. This is not a reference to, say, last hitting creeps in DotA, or reloading a weapon in CS, but rather to that insidious layer where slightly more complicated methods are contemplated.

The following is a brief explanation on the two primary traits (mentioned above) that are mandatory of competitive gamers to have.

A) Awareness

This is a broad term that could be defined by a few things, but it could be most likely summed up with the phrase ‘know your surroundings’. Regardless of genre/game this is constant. You should always, at any given time, be as lucid as possible to your environment, where the enemy is, where your goals are located, what is the best method/path to reach them, how many routes there are to a target, which is safest, which yields the highest possibility of confrontation. However awareness is could also be defined by convening the additional knowledge regarding game dynamics and basically how the game plays in general (interface, items, weapons etc.)

B) Reflexes

HOW GUD IS UR MICRO MY BOYKIE. WHATS UR “APM DOOD? KLIEK OP SY KOP JOU DOORSTOP!”

Reflexes are self-explanatory. How fast you can respond to events in the game. Superimposed on this is how accurately you dictate action, for instance responding in a FPS when an enemy emerges from a corner. Do you:

1) Turn to face another direction (if you can’t see him, he can’t see you)

2) Mousesalsa (fire off a shot that is nowhere near his body)

3)  Aim for his head, squeeze the trigger (sounds deliciously PG-rated)

Having a determined aim in a FPS is vital, but never err to infer (you have unlocked MC-hammer achievement) that reflexes are only native to FPSeseseseses. It is vital in almost all games (I say most simply because when it comes to turn-based games there is much more leniency).

So how does indulging in other genres of gaming platforms help develop your skills in a specific game? There will always be overlapping properties with various gaming platforms, be it in dynamics, strategy or goals. However most do not use these inconspicuous tools, but to deduce that it will not help is absolute jizzizms. Example time folks, gather around, that’s right, closer, get off my leg.

One of the most neglected elements in the game of DotA (even War3 in general) is that of the mini-map. It is common for a rookie to be ignorant of its existence, but more importantly its uses. It is the holy grail of information. The implication of this is fairly obvious; it is absolute paramount to keep a constant eye on it, which means that not only do you have to assess the information on the primary interface, but contend with key situation/developments provided by the mini-map. So what games could potentially help you learn the apt awareness so that you can efficiently interpret the events?

RTS-style games would probably the initial response, and rightfully so. However, how about a Flight Simulation title? <MASS-GASP 2000> Few things have the ability to overwhelm one like a Flight Simulator game, but how could this help in constructing a DotA-brute? Let us assume you are executing a landing sequence in a Flight Simulator game, and you are approaching the airfield, you have to intermittently monitor a magnitude of factors. INNNNCESSANNNNNTLLLLLLLY. For instance:

a) Flaps are set

b) Gear extended

c) Having the correct approach speed

d) You have an acceptable descend rate

e) The Angle of Attack of the aircraft is correct.

f) You are the appropriate altitude in relation to the distance form the airfield

g) You are lined up for the runway

Note this is a basic (neglecting communications, the correct procedure for joining the airfields airspace, flight checks to mention a few) explanation of the landing sequence. In that rudimentary ‘guide’ you are effectively monitoring the following gauges; Altimeter, Airspeed Indicator, Vertical Speed Indicator with the addition of consulting the outside environment (in accordance to VFR). It is a relentless task, that once practiced, becomes a habitual procedure and ultimately easier to execute. With all these observations that you are enduring, will come a great demand of discipline. POINT IS! You are concentrating to the degree that you will leak bone-marrow. You have to remain conscious of multiple factors simultaneously, which is exactly the equivalent of observing the main interface and the mini-map in Warcraft 3. STAY FOCUSUSSED MAN, U CUD SAW I WAS LIKE COMIN LIKE TU GENG.

The above-depicted scenario is fairly succinct to the primary idea of how a totally different game could potentially avail your skills regarding another game. The majority of professional gamers fathom that when micro-ing various games you tend to build upon the previously cemented fundamentals of what you have already obtained, and that there is much correspondence between them (even if very subtle). However this does NOT substitute the vigorous practice that accompanies the specific title you wish to compete in. That said, be aware of the degree you practice. Too much will ruin your acuteness in some areas, things will form procedure, and it does affect the amount of enjoyment you receive from playing which is the single most significant factor when playing a game. If you do not enjoy it, you WILL lose your motivation to participate in the game and precipitously barrel-role down the fail-road.

Do take into consideration that this is not the standard or recognized ‘Guide to competing in E-sports’ but rather an elementary indication to what might fuel your abilities to render them more balanced and effective. In truth, all gamers have at least once in their life contemplated: What would it be like to be a pro-gamer? The fact is presently very much obtrusive, that the industry’s potential is conglomerating and it is demanding growth, even if not in profound quantities, but nonetheless it is expanding in docile fashion. Thus one should never deduce that there is no future for an individual in competitive gaming. And there is no doubt that possessing knowledge from various platforms/titles one could become quite the revered opponent in any game.

In the most precarious of fashions you inch yourself forward to the edge of your seat, completely submerged in the ambience, absolutely lucid as to what might transpire or occur.

It is no secret that to fully enjoy the benefits of a game or movie, there has to be an assiduous use of audio, the apt contribution of music or sound. Surely this needs no explanation? Or does it? Join me, and let us take a rather astute look at what sporadically becomes unobtrusive to the mind.

Sadly, this will probably be the final addition to the Golden Oldies Video Voyage (sounds so exquisite/sexy). I would like to thank the various folks for making this possible.

Happy gaming.

In adamant determination the MechWarrior franchise grew from a few humble admirers to a recognized fan-base. Those who understood the grace and elegance of the war machines knew that a hedonic adventure was readily available with the push of the throttle, and due to such qualities, cemented itself a truly deserved spot in the ostentatious world that forms gaming.

Once again moving pictures will avail us in reviewing this misconstrued gem, so make sure to press your right hand onto monitor for a telepathic 5, and lets get things underway.

The year of 1999 saw the birth of a FPS so resolute it still vociferously maintains the respect and adoration of many fellow gamers. Never could it elude its established status, thus it was only a matter of time before this review would resonate into existence and once again, remind us of what fundamentals a game must procure to live in perpetual grace. To such a degree that simply conjuring a written review will not do its glory justice, thus I am proud to present the first Golden Oldie Video Review.

So, without further ado, get comfortable, grab a cup of cocaine/coffee/tea and enjoy being entertained by pretty images. Enjoy.

The final chapter’s end draws close. Time had dissolved into mere vanity. With lethargic fingers and exiguous attentiveness you push forward when apprehension suddenly grips, and the realization settles: ‘This is the final boss…’

Unequivocally, the apogee of any game is its boss. It is the single most significant factor that will invariably determine how you, as player, will experience the overall journey, in that not only does it conclude the story, but assembles all the components (from story to music, from tone to visual elements) into harmony. It is, for the sake of lucidity, the ending. It is the conclusion.

To determine the most memorable bosses, one takes the process of recalling those virtual delights that had an impression on oneself; that resonated with your idea of what constitutes a solid gaming experience. Meaning, that while the list is completely relative and based on opinion, I want to invite you to be become indulged in the respective worlds from which so many more have sprung and prospered, and, even if only for a minute, just reminisce…

5. FLIGHT SIMULATOR 2000

Not quite.

5. MDK 2

Zizzy

*Special mention: the first installment was intrepidly close to supercede the second for this article, however MDK 1 suffered from the lack of a decent final battle, and although the game as a whole is fantastic, for the purposes of this article it just cannot be articulated.

Any fan of the first MDK would surely boast that the sequel had more of the ethereal adventure one would expect, and that it was established as a notoriously difficult game. MDK 2 was riddled with vacuous puzzles that made even the most composed player react with a sense of ire. It is that factor, in turn, that made the experience even more memorable and to a subtle degree fun.

All the events leading up to the final boss, Zizzy Ballooba, is quite linear and does not verily compliment or entice the expectation of his confrontation. However, succeeding in defeating every enemy and solving all those tedious mini-games made the average player form some slight image of or opinion of what the end chapter might look like. It does not disappoint.

To fiend off the vile Zizzy Ballooba, you have the option of attempting it with one of the three characters namely, Dr. Hawkins, Max the dog or Kurt (in actuality the main character). What ensues is one of the more original battles and downright difficult in comparison to most games. After you made your way to Zizzy (the path varies depending on who you play) you are greeted with various attacks from him, which makes constant movement of highest preference. Not the most intense of battles, that is until you finally defeat him. Defeat, in this scenario, is defined by the fact his abdomen will rip open and will suck you inside his physique (yes folks, uncle Zizzy wants you). Delightful. In all perplexity you would probably infer that shooting things would provide result, which is the case. Your goals are that of destroying Zizzy’s organs in quick succession while being shot by inexplicable green beasties, who will prove to be most unpleasant. The whole instance is made more complicated by the fact that you will be extruded and left to fight his exterior until you are, again, sucked back in. Destroying him from within, and moving upward towards his head, resulting in disposing of his eyeballs and ultimately his brain.

In entirety the final boss is equal in difficulty with regards to the rest of the game, be it creatures or puzzles. And with those having a large dose of hard-to-overcome, the adventure is just overall well rounded making the player feel that he deserved the ¾ tablespoon of conceit. Which is a nice feeling when one considers that those who have played MDK 2 will claim that it is one the most difficult games to finish.

4. UNREAL TOURNAMENT CLASSIC

UNREALs Xan

‘Flesh is a design flaw’.

UT classic is possibly the only exception to the above-mentioned rule simply for the lack of story. There is no coherent or complicated (for that matter not even rudimentary) plot. Its linear gameplay comprised of the player successfully winning each event that he/she attempts, and at the very end of the gauntlet, defeat some arbitrary person named Xan. The concept is simple and concise. However, although these insipid ingredients should convince the common gamer to steer clear of such a title, it had sufficient style and expedient playability to seduce one into its world, and give it a try.

Stumbling through the various game modes that included Deathmatch, Capture the Flag, Domination and Assault you would eventually conclude your ordeal dueling against Xan on a map aptly named Hyperblast. The map itself had a rather provocative feature, namely that it included both normal gravity and low gravity in respective parts of the map. The most paramount instance to mention is that of the difficulty curve. No matter on what skill level you instigated, Xan would always, prominently exhibit a higher difficulty, which is completely acceptable when one is reminded that he is after all the final boss.

At first spawn one scurries to the nearest available weapon, determined to find something worthy of firing (or just anything but the Enforcer for confidence’s sake). And while you mission towards those immediate goals, one can hear Xan roaming, sometimes taunting (look above for an example), you would hear him acquiring weapons, ammo and the highly disconcerting armor pick-up. It is a welcome tickle to the senses, especially when the truth is that one has no idea of what to expect. Inevitably, so much fun will ensue. If you happen to roam the interior of the ship, after you feel safe to attempt a kill, you would be greeted by Xan, with either Mini-gun or Flak-Cannon, depending on your range from him. Either way your screen will samba with a constant crimson glow. If you are unfortunate enough to grace his personal space with your presence a one-hit Flak Cannon shot would perforate your bodily pixels with instant result. If, however, you are slightly further in distance, you will be greeted by a Mini-gun delight. But wait, there’s more! Order the exterior duel and feel the shove of a Shock Rifle, and inevitably be smeared into space.

The battle will always be a constant strafin’-and-jump-a-thon. It tests your ability to predict Xan, or employing frivolous tactics that will hopefully put you into a slightly more advantageous position, engaging or retreating for med-packs or ammo, whichever choice you make, it should have gone through some process of contemplation or you will die, or worse, Xan will become stronger. All these attributes, from weapon balance to map, makes the fight commendable, enjoyable, even when at the time it seems too difficult. And when the dust settles and the last clip is expelled, exhausted hands succumb to numbness, and with concentration levels so astute you can accurately predict the pH level of love, a sudden exult and triumph will settle in, and amend any void one may have had that the experience wasn’t worth it.

3. MECHWARRIOR 4: VENGEANCE

MECHWARRIOR 4’s Daishi

A mutated aberration of elements made the most intriguing and genuinely tangible Sci-Fi simulation that hailed the title MechWarrior, possible. Though the fourth installment’s reputation was questionable to that of its predecessors, special reference to MechWarrior 3, it was nonetheless a pure thrill to play. With an acceptable plot, characters that had sufficient purpose and enough background story, vast worlds, but more importantly, scrupulous sculpted Mechs. The way the title made one engrossed with the notion that you are commandeering a machine of profound strength, was a trait that most games could not capture. And that might explain the following:

E3 2000 Game Critics Awards: Best Simulation Game

After traversing through 25 missions, you are left with one more, to face the antagonist of Vengeance namely William Dresari, your cousin (give it a gasp). The build-up to the climatic battle is not particularly a memorable one, it is however how the mission itself is constructed and produced, using a clever ‘defeat-his-henchmen-first’ method that makes the event venerable. Following the drop near Dresari’s Palace, you would throttle forward only a short distance to be instantaneously welcomed by the Mechs guarding his palace. Docile LRMs will obstinately wave toward you and your lancemates, rendering any wandering mind to concentrate on the task at hand. Lasers embrace any insipid parts of the map in bellowing symphonic fashion while Gauss Guns ripple through armor. Each Mech you engage, or for every one that engages you, you must remain conscious of the damage that incurs on your own Mech, which aggravates the need to make use of your lancemates. So while trying to vehemently command your own Mech and exhibit a lucid disposition to your surrounding enemies, you are required to order your lancemates to ensure that each foe’s demise is as swiftly as possible, so that ultimately, you are left with as much armor as you can muster.

Taking this into consideration, the mission is designed so that when William Dresari appears (which is after you killed ALL his henchmen) you do not have the luxury of aid of your lancemates. They will perish. The most significant factor is how you deal with the remaining enemy Mechs. And accompanying any damage taken by you, you will highly have likely lost weapons, ammo and even more devastating, the lost a ‘limb’ (a pulverized leg leaves you with very little maneuverability, which makes an unhappy face). Based on the layout of your Mech, the way you will duel with William will vary. Whether it’s launching LRM’s form afar and obtaining refuge between structures, or attempting a more close range assault with lasers, gauss guns and whatever projectile that has more restricted range, you will need to determine what will suite best, and hope to be prepared.

The conclusion is that most (if not all) who attempt the final mission for the first time, will not receive the benefit of victory, simply because the mission was built so that it is nearly impossible. The fusion of the idea of piloting a machine of vast complexity and the general concept of incurring massive damage without any means of escape but to kill every machine that poses a threat, confirms MechWarrior 4 to have one of the most extraordinarily superb executed final mission bosses in the history of gaming.

2. DIABLO 2

El Diablo

With abundant journeys, Diablo 2 obstinately injected its immersion into anyone who dared to undertake the adventure it contained. From humble Tristam to the inevitable morbid gates of The Monastery, one cannot help but be excessively infatuated with the way Diablo 2 unfolds and thusly elaborates, which in turn exacerbates the need and covetousness for a spectacular ending of epic proportions. Hence the warm feelings felt when one returns after completing the second quest of ‘Act 4′ and be confronted by Tyreal with his following statement:

‘The time has come to face Diablo himself…’

Thus, promptly defines ‘warm feelings’ with: ‘Hell yeah mofo lets get it on’.

After slaying the last demon that has spawned when the final seal is released, Diablo is summoned in the Monastery, and depending where you dispatched with the last unfortunate creature, his presence might be rather subtle at first. However, this soon changes when you decide to endeavor toward Diablo, or more accurately to the center of the Monastery.

His appearance might not resemble the prevalent idea of ‘final boss’, a specific reference to his stature, but one is not graced with the opportunity to marvel or gawk at the beast, since you will most likely be bathed in flame. His damage is unequivocal, testing your knowledge regarding your class and the use of its abilities, your reflex and timing in attack or evading, and finally, whether you remembered to stack up on health potions. Taking the latter into account and assuming you have a belt stuffed to its pinnacle capacity with mana and health potions, does not make you immune nor prepared when one is completely oblivious to summon a ‘town portal’ (although Diablo can ‘counter’ it, it is worth doing to save those precious minutes running the entire way back if you happen to succumb to a demise).

The damage that you as hero will do to the crimson beast is entirely dependant on spells, auras, items and character build, however it is quite safe to assume that the initial damage is intensely small. This makes the battle a rather tedious and arduous task, and is the basic formula for a solid final boss feud, but a significant one nonetheless. This coupled with the entire journey that brought you to him and all the ancillary elements, makes Diablo one of the most memorable bosses. Not simply because of his appearance (which, as stated, is not that profound), but rather how everything you were required to do and learn is a build-up to Diablo and how you will eventually face him. Even though all aspects of the game, at its core, resembles the fact that you need to ‘kill a thing’, when the final blow or spell sears through Diablo, and the cacophony of his death is sung, you will without a doubt feel a sense of euphoria and relief, and more importantly, one is left with a strong satisfaction, a satisfaction that the entire ordeal was unquestionably worth every minute spent playing.

1. QUAKE 2

Jorg/Makron - Note Makron’s legs dangling from the battlesuit

Forged purposefully and meticulously, to such a degree it was incomprehensible. The phenomenon that was dubbed Quake 2 will perpetually exist as the game that solidified a revelation in FPSseseses and imbued itself into history as one the grand classics. It most certainly did not have a cogent and revered storyline, in fact it resembled downright Hollywoodified attributes, but it was far to a delectable and tangible of a game to decry its reputability regarding plot dynamics. It was profound. Ineffable. Godly.

When you, a solitary marine, are encumbered by various missions and objectives and set forth in the world of the Strogg, you cannot help but be infatuated and overwhelmed by the atmosphere and tone. While the effect was obscured by the soundtrack (which is terrific, just not quite suitable), it nevertheless found a way into your conscience self and propagated like deranged fungi. It was how the world and monsters were depicted, how the auditory alerts and reactions of the creatures and environment interacted, that found a complete equilibrium. To reiterate, the tone of Quake is demented and unsettling until the very end.

Your pursuit of the alien-mastermind leads you through a plethora of locations and goals, until you meet up with him, namely Makron, however before you duel him, you are transported to another arena. This is where you become aware of the existence of something completely different.

Jorg.

When you spawn at your final destination, one can hear the Jorg idly awaiting your presence. You hear his mechanical disposition, alien-organic thunderous roars, that tremble through the corridors into your brittle psyche. Quite marvelous, and succeeds in making you anxious. Relative to the spawn point you can deduce that he is a level directly above you. You set forth retrieving some ammo-packs and picking up any obligatory medi-packs, and enter a lift to ascend and meet the mighty abomination.

His physical stature is not preposterous in relation to you however the demented depiction of him is eccentrically exquisite. Mauling dread into your skull and wielding weapons that contribute to its insane appearance, it is simply a relentless beast. There is however a fair degree of fallibility in the battle itself, in that he is not difficult to defeat. If you have been selfish with your use of Quad Damage, his awesome grandeur will be dented quite severely. Thus activating it and using the various pillars for cover you should probably endure the minimum of damages. However once defeating Jorg, the creature takes a more obvious appearance in that, the Jorg itself is a battlesuit in which the Makron resides. So once dispatched with Jorgie, Markon will eject and engage you with blaster, railgun and ala-BFG. Although employing the previous tactics will almost definitely have the same efficiency, the Makron itself is slightly more difficult than Jorg, but still easy to defeat.

Once the final bullet, cell, rail or shell propels through Makron, he promptly activates a self-destruction sequence, leaving you little time to bathe in some self-indulging glory. However after you find the ejection pod, witness the epilogue FMV, and the journey negates to an end, everything of the adventure, ironically, seems iridescent. It is not that the final boss of Quake 2 proved to be inadequate, but more how it resembled the end to an ingenious game that consisted of such splendor and well crafted elements to which one could relate. How the process of being introduced to a devious world and remarkable aliens, brought an infallible title into existence. Be it that time consumes the greats and will incessantly be endeavored to be copied or better, one simply cannot deny the brilliant play that Quake brought to the gaming world.

QUICKIES:

MOST ANTI-CLIMATIC BOSSES

• Half-Life:

For a terrific, captivating and perfectly composed game, it had one major disappointing endgame boss, the lovable and pointless jellybean-fetus. Leaving the player cemented in a position facing upward to gawk at the unborn baby-dairycake and confused whether to think: “ZOMG WTF IS THAT” or “OMG YOU CUTE BUGGER YOU”.

• Quake 3:

A complete mockery of what it could have offered. A half-heartedly designed map, for a final showdown no less, was just inexcusable. Xearo prancing around railing you where you THOUGHT of spawning made the game conclude on a rather B-flat-ulance note (SEE WHAT I DID THERE). Not that Xearo was impossible to defeat, even on Nightmare. The cherry on top was of course the thrilling end sequence. Xearo walks towards you, unleashing his powers of being able to bow, and then letting you REALLY have it by making your screen fade to grey and rolling the game’s credits.

• Diablo 2: Lord of Destruction

After much contemplation, the contriving little lollards at Blizzard finally agreed on a formula to build Baal’s physical appearance on. Herewith the equation:

Baal = (Human-head + Coffee-table) x Tentacles

Though this would probably upset a rather large portion of the gaming community, it remains true. Not a entirely disappointing battle, however one is left exhausted when pounding his minions (it is relentless) and trying to dispose of them, just before you teleport to Baal. It is just unnerving and unnecessary.

• NEED FOR SPEED: MOST WANTED

Yeah, sheer WTF would suffice.

###########

If this had been a Console-based review, you could’ve expected to see:

***SNES and Sega MegaDrive mixed

• Mortal Kombat
• RockMan (especially the second and third)
• Sonic the Hedgehog 2
• Gunstar Heroes
• Bubble Bobble (oldest version, incredibly tough boss)
• Earthworm Jim
• Eternal Champions

To mention only a few.

A spectacular symphony of elements combined with refined finesse and relentless emersion, brought upon the world, possibly, the best racing simulation ever conceived for the PC: Need for Speed, the fifth installment.

Overview:

From its humble beginnings, the Need for Speed (NFS) franchises aspired to inject realism (debatable) and passion into, at that period of time, an insipid and neglected genre of the PC gaming society. Intrepid, ambitious and tenacious, the NFS title was born. Retrospectively, the first title was morbidly received, benign only to the few who abided by what it so selfishly had to offer. Nonetheless enough was convened to impose an impression, a reality that the title endeavored to create an environment that had an aesthetic perception for the art of racing. Very much unsurprising, a sequel was conjured, one that was cognitive to success in, possibly, the most profound ways and rightfully so.

Yet, to superimpose on the benevolent success of the second, the persistence and motivation to assemble a third title in the series, proved present, as Need for Speed 3: Hot Pursuit was unleashed upon the world, players was introduced to a welcomed concept of commandeering a ‘Cop-car’. Or of opposite preference, to be chased by one, where evasion proved to be of significant requisite. However a vast number of similarities between the third and the fourth titles, caused the fourth, ‘High Stakes’, to incur much obloquy from revered fans, and thus aptly failed at satisfying the insatiable hunger that is expectation. The fourth installment was the first NFS to completely miss the appeal and commendation of its dedicated followers.

Then, insidiously, the eventual jewel of the NFS series was born. A barrage of unique elements, alien to the conventional repetitive routine the predecessors depicted, was introduced in a subtly boisterous way. The package that brought the NFS franchise to heart again and nestled itself was the fifth. Need for Speed: Porsche 2000 (or Unleashed).

Story:

Your father was brutishly startled by a driver who callously honked his car’s horn. He promptly fainted and spilled his lima beans. You vowed to seek revenge, to hunt down the Honker.

Wait a second, no.

Game modes:

Porsche 2000 introduced two unique game modes that will perpetually be indigenous to the title, namely: Evolution mode and Factory Driver. Both enveloped the player providing absolute emersion in NFS: 5 and presented enough playability to sustain such notions.

The Factory Driver game mode gave the player the opportunity to drive various models (of Porsche, if it proved difficult to surmise) around test tracks or the skid pad. It was a revolutionary idea that, probably, most developers felt just too futile or frivolous to execute in a racing game. Yet, the story, or explanation that constitutes as to why the player is a ‘Factory Driver’ (a term almost synonymous with stunt driving), is simply, you are a test driver for Porsche. Not that most would see this as an obligatory aspect, the fact that it had to be elaborated why this game mode exists, but it does meticulously complete the general feel of tangibility. The sheer innuendo of test-driving a Porsche would unequivocally catch the attention of any remotely interested driving-enthusiast. So, what does ‘Factory Driver’ entail? Quite candor, the player would be required to complete various challenges or tasks (cookie if you guessed that bit): one would comprise of successfully finishing a track/circuit in a predetermined time; the other (as mentioned) is the ‘skid-pad’ scenario, where the driver would be obligated to complete an array of tricks for example, doing handbrake turns, 360° or 180° spins, again, within the required time limit. It might not superficially appear as a conspicuous fun mode, but there is benign sense of appeal, and it incessantly entices the senses. It renders colostomy-bag wrestling dull.

Evolution mode is nearly self-explanatory. The player is expected to compete in races, starting with the very first models of Porsche (those sexy 356), and persist through the three eras, working through a vast number of models ranging from the first 911 Carreras, the 914, 944, the 911 Turbo, Boxter, and eventually conclude with the 911 Turbo 2000 model. It is prevalently a rather simple concept that is infallible in execution. The incremental increase in sense of speed, the obtrusiveness in significance of money, the recession of one’s flawed driving tendencies. It is all quite remarkable. Simple concept + assiduous execution = yayburger (yes, equation sponsored by Kepten Kraaim Stop himself). The reason for being obstreperous about this mode will be made clear, momentarily.

Gameplay:

What made NFS Porsche so unbearably attractive were the tremendously miniscule aspects. Those aspects beget emersion and the expedient appreciation for the title. For example: to convey the verisimilitude of the car’s behavior or the overall sense of realism, a very rudimentary concept was implemented, namely an axis (this was not a technique native to NFS 5). Meaning if you accelerated, the car would aptly raise its nose slightly, contrastingly, if you would brake, the car’s nose would ‘bury’ itself. Furthermore, if you found yourself in a turn (considering the nature of the game that might be regularly) the appropriate ‘roll’ would correspond. This is an embarrassingly simple idea that makes the feel immaculate. Countless times you would be obliviously immersed in whatever action you are dictating to the car. Say you are approaching a right turn and applying brake, you will witness the nose of the car lower, and when you eventually attack the turn and advocate the action and turn right, you would notice the left suspension giving way and lowering, rendering a tangible motion. Controversially though, these events would most probably be oblivious to the driver (turn, turn, turn, please don’t spin, please don’t spin).

NFS: Porsche also included a diligent damage system. Not solitarily affecting the bodywork, but performance as well. Arguably not the most venerated aspect of the NFS due to the fact that it could cause you to lose that rather significant race, but, again, contributes to the sense of realism and playability, encouraging the driver to be meticulous in his/her execution of the correct action in the pertaining situation. Simply reiterated, it forces you to learn, become better, and thusly leads to a greater euphoria when winning that important race.

On a more insidious note (and most likely overlooked by most), NFS 5, like its predecessors, incorporated ‘actual’ cockpits of the various Porsche models. It would seem that all the NFS sequels finally declared this to be a frivolous and too arduous endeavor, and therefore completely negated it. However it proved to be a basic concept that, even if it were infinitesimal, bred a notion of realism, an oblique method that made the player feel that he/she is in the relevant or actual vehicle. Simple, yet it proved effective.

However, there is another attribute of NFS 5 which is absolutely enigmatic in quality, so much so it encompasses oneself in the effect of realism and enables you to perceive the grace and glory of all the respective entities combined. After a race you are immediately treated to the according replay. It is here one can sincerely be tainted with awe, especially with regards to the physics of the car. The way the car depicts how you took a corner, or how you so narrowly and assiduously overtook two opposing vehicles. It is absolutely ineffable. Specifically the Factory Driver mode, adds value to the replay and vice versa. Discerning how the car moves when you complete a 360° handbrake turn will make you morbidly cringe with delight. It is as if you can feel the weight of the car swaying, timidly playing being thrown around. Marvelous.

Multiplayer:

Sheer emersion would lucidly sell the excitement that NFS Porsche had to offer. Outmost concentration was a malign key necessity to ensure pole position, or anything even near relevant. Cognitive of the human factor, pressure always played a gargantuan role in determining success, and nothing quite orchestrates some tension like spotting an amply motivated driver in the rearview-mirror of one’s car.

Moreover nothing fuels one’s ire by being overtaken by a fellow player and then witnessing him/her flashing composed hazards. A quite vacuous and adventitious addition made by Porsche 2000 that made a simple event so much more memorable.

Multiplayer was structured enough to let players take part in car-specific races or be a part of a mix-model feud. While the fundamental notion to race with various models might arouse some appeal, it would be slightly ignorant to let a 914 share a track with a 2000 model 911 Turbo. That’s a no-no folks.

Epilogue:

NFS Porsche is a desolate prodigy in a sea of equal titles of the genre. It remains until this very day a unique simulation racing game that would be impervious to any reverence and general gaming public attention, thus decomposing in the minds of the few who genuinely loved it. Those who understood why it was an apogee of feats, an astounding package in its fragile ways, knew what pleasures and excitement it displayed.

It was remarkable and always will be. Current NFS titles are of severe esoteric nature. It would seem the days are gone, aged in complete obsolescence, where one could drive a sports car, those exotic marvels only depicted in the images one would see in magazines, or on the internet. It was reciprocated by Fiat Uno’s with 22″ rims and a roof-scoop. NFS completely negated the essential sense of racing and replaced it with a more paramount aspect, making you feel GANGSTA. Why in *&% name, does one need ‘street-cred’? Why does one need to eventually beat a bad-acting muscle-head by winning other arbitrary races first? The term esoteric becomes vastly aggravated. While the appeal DOES exist for those gamers who prefer modified everyday cars, again, NFS intrepidly neglected those who still yearn for exotic car races.

Possibly the biggest loss of the ‘neo-NFSesessees’ is that it comprises of complete arcade sense of gameplay. Again, the term esoteric emerges. Taking into consideration the plethora of people who state with fervor ‘I wish Gran Turismo were on PC’, one would conjecture EA would fathom the fact that there is a need for a racing SIMULATION for the PC.

Until then, NFS 5 will perpetually reside on my hard-drive. Recognize.

The conservative, ominous glow of pulsating light sweeps the utterly desolate terrain in front of me…

“What is that?” I ineloquently murmur, arduously marching towards a path perniciously guarded by uncertainty.

Wind gusts play with my rational self, it puppeteers my conscience, my senses…

The motion tracker made itself heard. In the decrepit distance…something moving towards me, pursuing down the path.

‘A truck…’

Just as it made itself evident, an electronic boom-like sound emerges from somewhere beyond the truck itself, followed by a spec of innocuous teal glow. The terrain morphed into life as the spec made its way to the obscure truck, the glow appearing even more malicious.

Thoughts quickly dissipated in my mind when the projectile struck the lower rear of the fleeing vehicle with a morbid ‘thump’. The convergence buried the truck’s nose into the ground; it somersaulted while it accelerated effortlessly down the path, towards…

Me.

This rudimentary portrayal of only one of the introductory occurrences in the game would seem quite vacuous, when it is not experienced by the player himself however it confirms that your various emotional states are present and accounted for…

Story:

Alien vs. Predator 2 is the long awaited sequel to Construction Bob: Finding Drill. Oh no wait, logically, it must…mathematically…it… Point made, moving along. AvP 2 is set after its prequel (AvP 1 for those playing the home game), and the story is fairly linear, with some subtle exceptions in the methods it is conveyed. Just like the game’s predecessor, you are able play three independent scenarios, which entails you choose one of three races that form part of the entire ordeal. The above-mentioned races are (in order of prettiness): Marine, Alien, and Predator.

In the Marine campaign you are informed that Weyland-Yutani Corporation has lost contact with a research facility on some arbitrary planet called LV-1201. Unfortunately the ship that is nearest to LV-1201 accommodates you (tum tum tuuuum) and so, your journey begins (in point of fact you do form part of a team that would, amicably command you to ensue in solitary missions).

The Alien campaign starts off with a concise introduction of the predicament the Weyland-Yutani members have of containing the alien specimens, although is hastily made evident that one rogue, diluted and emotionally-crippled-from-childhood man, contrives to be befriended towards the aliens <GASP>. Ultimately, the Predator’s contribution is fairly stale at first as the prevalent idea is that of it fastidiously hunts the aliens.

What must be verbosely mentioned is that, predominantly, the three respective stories intertwine with one another, delightfully contributing to the various depictions, and assisting in the idea of viewing it from independent perceptions of each of the races. Do note these are the fundamental basics of the stories, as it is cogently easy to reveal key elements which would spoil the game to those who have not yet endeavored to play AvP 2.

A personal perceptive:

Cogitate the following, if you will: Aliens, Predators and Marines are dueling to the death. Which of the three races would you prefer NOT to form a part of? If you conjectured Marines, please apply commendation to left eye-socket in the form of melted butter. You are correct! That rendered lucid, which of the campaigns would devour your nerves, digest your anxiety and toy with your trigger-finger? If you answered Marines, apply butter to entire body! Hell yeah! You are buttered!

The absolute vulnerable state of the marine is articulated to such an assiduous degree it is unprecedented. From the very first timid step you so naively take, to the last detrimental bullet that you riddle through a deserving recipient, the process, the journey, the experience, it will all conglomerate to the pinnacle of all endeavors for which you require the most intense sense of composure. This relevant campaign starts off with you and your squad on LV-1201 and bestowed upon you was a mission to find a landing beacon and activate it. However, 20 seconds (literally) after your very first step, you are aptly separated from your squad. You are alone, armed with a radio, pulse rifle and the most terrifying piece of equipment ever conceived; the motion tracker. At this very point of the game a rather unparalleled ambience and tone is sincerely concreted. Let’s get technical and elaborate on the ambience aspect (this is most significant instance of the game)

Firstly: The music is borderlines on apropos noises and a barrage of inconsistencies that changes and conforms to events that are happening at that point in time. Meaning, roaming the corridors after you have been benignly removed from your squad, you hear only subtle instances and radio conversations. Referring to the latter, as you progress through the complex, and make your way to the pertaining objectives, you hear your fellow comrades declare their current situation. An example:

“Heads up team, this area has seen definite heat…”

Also, situational ambience contributions add to the color of you underpants. For instance, when turning to bring blood and guts into view, you would hear a distinct stab exactly similar to that found in the Aliens film; it is unnerving, and very much unfunny.

Secondly: Lighting. The first Alien vs. Predator installment had a vast lack of lighting, so much so that even turning up the brightness to full, would ultimately leave you with a grey-colored monitor and almost visible pulse rifle (exacerbated for my amusement, but only just). AvP 2, though, was painfully well created in terms of lighting and made use of this fact very accordingly. You would find yourself scurrying around with you shoulder lamp permanently switched on even though the situation did not really require it. Just the comfort that it incurred on one self’s conscience was enough to assemble the confidence to pursue forth. The reliance on it sometimes almost conceded that one’s relationship with it had at long last gone beyond the platonic stages.

Thirdly: Motion tracker. The motion tracker is the single most simplistic and vile instance to build tension. Countless times will you set out to your goal location and be confronted by the high-pitch noises it so chivalrously gives. With apprehension levels well in the brown (spot the pun/reference) you would wait for, say, an elevator, already the motion tracker will whine, now when the elevator doors open (there are two) you have two separate motions registering on it and, depending on the distance, it will also convey the distance between you and the motion. Easy enough, any motion will register and it could turn out to be a desolate crane see-sawing in the relentless wind, or a bug jumping aimlessly or, again my favorite, elevator doors (it really does shove you out of your comfort-zone).

Now, in one scenario/mission of the marine you haughtily VOLUNTEER to search for a lost member of your squad. You, a single marine, volunteer. Thus, take the above plight, and add the formula of all the ambient factors and you have a lucid environment enveloped with emotions unwelcome to your well-being. The tension is pretty much infallibly done.

However, after the completion of the marine campaign the other remaining two seem fairly insipid. Not obsolete. Respectively they do bring some unique features to the table and decent concepts that adds to the playability value. For example, in the Alien campaign you are born as a Xenomorph (how you came to be is actually a rather ridiculous story) which is the very start of the Alien life-cycle, and you are then equipped to impregnate a host. The best part, of course, would constitute of eating your way through the chest of your host (which is marvelous if I may sound malign).

Multiplayer:

Logic would dictate that the multiplayer aspect of Avp 2 would be unique, fun and eventful, and it is exactly that. Ample attention has gone into the balancing of the three races and respective classes. From Marines with their weapon-dependant stature to the Aliens’ nimble and fragile nature to the Predators’ grand arsenal and extraordinarily apt equipment for hunting, the battlefield will surely resemble chaos in magnitude. Commandeering a marine you are able to pick up various weapons ranging from a knife to rocket launcher, from pistol, to minigun, all with their independent glory. Rocket launchers with homing missiles on open terrains really ruins the experience, but considering (if its not 1v1) it is easy to counter if utilizing certain specific tactics, it still maintains a balanced aspect. Using the skills of the Predator it is always a welcome feeling being cloaked and using the ol’ spear-gun to wreak some havoc and remove decapitate your opponents. However, possibly the most overpowered weapon in the game, the Predator has a shoulder cannon (plasma caster) at his disposal. Infinitesimal skill is needed to cycle between his respective view-modes and relentlessly and repetitively ram a barrage of its glory down onto your enemy. Lastly, the Aliens, with a somewhat fragile nature, its enormous pounce yields massive damage if executed properly (the whole maneuver is dependant on that insidious if). However the most rewarding kill would be done by that of the Xenomorph (such a kill is similar to that of the gauntlet of Quake).

When the second installment was introduced of Alien vs. Predator, the more venerated aspect proved to be the multiplayer which is, to yours truly, an unforgiving act. If ever presented the quixotic opportunity to partake in the Alien vs. Predator 2 experience, before you prepare for some multiplayer carnage, indulge yourself with the unequaled Marine campaign and be immersed in an environment that is adamant, not forgettable. That will impetuously devour your apprehension and composure, leaving you solitary in unconventional surroundings, equipped with your objectives, your path subtly carved by the luminescence of you intrepid shoulder lamp, and confided in your pulse rifle. Tangible to the point that you gaze intently, purposefully at the screen, fingers orchestrating the keyboard, the other, tightening the grip on your mouse…

Quotes: “Oh no, way. Someone tell me that’s just a boot. That better be a boot.”

“Hey! It’s a boot!”

“It’s out there. It’s coming.” (referring to Predator)

An inane and expedient fact: If you happen to be a fan of the Alien and Predator films you will most undoubtedly be enamored with the game. The cross-over and blend of the various environments is flawlessly executed, and adheres to the visions sculpted by the various directors/creators.

Introduction:

Concisely elaborated, Golden Oldies will consist of a review of a game rich of age (age would be a relative concept). I will review various aspects of the pertaining game to convey my ideas as to why it was memorable, what rendered it unique and why it should be revered. I very hastily conjured a list of 41 PC-platform games that incurred some possibility of being reviewed, and probably will be, however it should be made evident (superfluously) preference will be of personal affinity. Additionally, due to the vast amount of potential games, this will become weekly submissions.

Note: I am still in the process of deciding whether I should review old Nintendo- or Genesis- (Sega) platform games. If any individual is fortunate enough to persevere through these articles, be sure to let me know your opinion, I will include details below.

Now, in the infamous words of Cary-Hiroyuki Tagawa (that freaky dude that played Shang Tsung in the first Mortal Kombat film):

‘It has begun.’

GOLDEN OLDIE:

STRONGHOLD

Hmm, did any anti-climax alarm-wails ensue? How could this be a golden oldie? It is not even accumulated enough years to be labeled such, and besides it really did not convene enough to benignly resemble something fun. If any of the preceding thoughts excreted from some gland into your mind, then you, my friend, are in desperate need of a slap on the forehead.

It harbored possibly the most unique, ingenious and sophisticated concepts for a real-time strategy instance that were not contrived by supposedly, ‘equal’ retrospective examples. From basic to more subliminal ramifications, one can adduce its resource system for the imaginative potential it possessed. Meaning: what a sense of euphoria it was NOT journey half-way across the map in search of something that resembles a goldmine, only to find it is already occupied by an opponent (granted, it was a prevalent concept that made the majority of real-time strategies more interesting to some extent). Still, however, it was a welcome and desired change. Stronghold incorporated a system whereby you acquire gold via taxes. The more populated your settlement, the more gold you will accumulate. Logically, it meant that various factors needed to be in balance.

The most evident instance and, possibly, what made Stronghold succumb to more defined real-time strategy (RTS) was that of the means by which you manage your settlement. Plainly conveyed, the citizens that comprises your settlement, has a ‘happy-factor’ measured out of a 100. If this figure were to drop below 50 the citizens would leave your castle, while, logically, if the figure proved more than 50 people will join the population.

So what determines the emotional state of your settlement? Food, tax, crowding, fear factor, religion and ale coverage. This is the most significant aspect of Stronghold, to keep these figures in the positive. However, the most minimal of tax increase, has the outcome of -2 for tax. Therefore compensation is in order, where one solution would be to increase food consumption (and have them whine about how fat they are getting, but they are still very much happy) or the purchase of ornaments, the construction of churches or to provide them with booze, or more felicitously, to ‘produce’ ale.

Everything in Stronghold is dependant on the mood of you settlement. Therefore nothing quite comes close to the sensation of hearing ‘the Pig’s troops are attacking’, and you try DESPERATELY to create a few archers only to hear the following: ‘recruits needed Sire’. This now aptly brings me to the military fundamentals of Stronghold. There is no real variety in units to train, however those you have at your disposal is advantageous in their own respective ways. For example, spearmen can dig a moat; engineers can build multiple siege structures; tunnelers strategically weaken walls (quite brittle buggers those things, which is why one gets a nice warm feeling when you try to instruct a tunneler to dig, only to find a few seconds later, 10 arrows through his corps); and ladder men which is self-explanatory. While these units are effective in certain scenarios nothing ever really comes close to the devastation that archers and crossbowmen are obliged to bring. To elaborate: a gargantuan army consisting of various units, that form quite a pernicious view, relentlessly marches forward to your base/settlement. You have built turrets (defensive platforms, meaning it is not a tesla coil or photon cannon) and gatehouses that have many, many, MANY archers and crossbow-man on top of it. What follows is too poetic to articulate. But briefly pictured, the army will stampede towards you, while the archers and crossbowmen (from elevated grounds their range is awe-inspiring which is another +1 for Stronghold), they will start firing at the barrage of opponents and, depending on how many you have, the enemy will helplessly be picked off one by one. This effect is vivified with more archers and/or crossbowmen (crossbowmen have a longer reload time, and slightly shorter range but their damage is unsurpassed). In the end, huge army, meets 100+ arrows from a screen-and-a-half away, equals sexy time.

The story that underlies Stronghold is quite monotonous and in most cases clichéd, which is why one could construe it as an insipid basis to buy it for. Basically, it comprises of the following: The king was overthrown and what ensued was the invasion of countries. A group of individuals were on a mission to negotiate and end the bloodshed, when they were massacred by unknown bandits. Surprisingly enough, accompanying this benevolent and courageous force of men, was your father (OH NO). Now, you took refuge and seek (quoted from the game itself) ‘to avenge your father’s death’. It is as intricate to the same degree of the deliciousness it possesses.

Soundtrack-wise: Conceived by an apathetic mentality (or something similar), there is no superimposing impression of talent or an attempt thereof and therefore no special mention (note that personally I am fixated on the soundtrack of a game and will therefore almost always refer to it, even if it is, most likely, near absent).

Regarding multiplayer, unequivocally Stronghold was infested with potential. All the adjacent factors that made the single-player memorable and fun, and converge it into a multiplayer experience was to be a supercilious act. It some areas it succeeded, alas only in some. The multiplayer instance was deterred by the lack of maps however it was made completely obsolete due to balancing issues. Imagine deploying a strategy that involved building and training a mass army to attack your opponent. You use the most expensive resources to construct a force purely of the best units the game had to offer, only to have it WIPED OUT by a pack of rabid wolves. Let me reiterate, your entire army of 50+ units is pulverized by a pack of measly WOLVES. Again, your Knight (guy on a horse) can be killed rather quickly by one wolf if the Knight itself say, attacks a wall. So, you need armor, a sword and a horse to train a knight (the Knight unit itself costs 40 gold, never mind the ancillary requirements), and it could be killed by a wolf, which is trained by building a cage that costs 50 gold. On top of that for 50 gold you get 4 wolves (they are actually called ‘war dogs’ but they look exactly the same as the wolves the game recognizes). Considering the above factor alone can rather dim ones perception of a fair and competitive multiplayer match. However it still is playable, if you consider that, that mountainous obstacle is able to be overcome, and it is if you plan accordingly. The above mentioned does however prove a rather interesting endeavor and unintentionally adds to a unique multiplayer game.

At its core, Stronghold successfully fathered unique concepts into the RTS-genre, and intrepidly showed that it could surpass many of its predecessors/competition, even though it never really yielded enough recognition and veneration. Yet, those who really took notice became part of the extraordinary experience it had to offer, and thus it pursued into the hearts of true RTS fans. Wherever it rests, it will always be, opulent and adored.

Just had to include this:
Quote: ‘Greetings Sire, your stronghold awaits you.’

Or, my favorite: ‘I would stay inside and hide just now Sire.’ When inquiring about one’s popularity (that specific quote is said when you reached a popularity of 0).

Quickie:

Worst RTS EVER: Empire Earth

Playing attentively and continuously for an hour and a half and finally declaring: ‘Sweet grape-juice of divinity I’m on my way to epoch (age) 3!’

There are 12 epochs. You do the math. As one of the apex fundamentals the game was marketed on, it had some serious fail baggage.