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03:45 AM

Friday, 22 Mar 2013

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Gran Turismo 5

22.03.2013 02:45

Doing things in high definition takes longer. We all know that. The average car in Gran Turismo 4 was made up of over 4,000 polygons. The figure for GT5 Prologue is meant to be higher than 200,000. Being pretty goes a long way, but with 71 cars and just six tracks (High Speed Ring, Daytona, Fuji Speedway, Eiger Nordwand from Gran Turismo HD Concept, Suzuka Circuit and a section of central London), it will have to go a very long way, right? That's not a lot of content, even when you factor in a second variation of each track. GT4 had 721 cars. GT5 Prologue launches in Europe with 71. We may be 11 million polygons ahead, but we're 650 cars behind.

Fortunately, Prologue does a lot with the means at its disposal. 30 race events are split evenly across three classes. Initially you're hauling cheap Suzukis and Hondas to the front of 8 to 12-car packs for two or three laps, reinvesting the prize purse in faster cars. As the field thickens with Skylines, Imprezas, Mustangs and Ford GTs, you're asked to go further, the AI pushing you harder.

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Uncharted 2 - Nathan Drake’s

22.03.2013 02:45

Since we briefly played Uncharted 2 at Gamescom in Cologne recently and were part of the multiplayer Beta, we expected it to be pretty good, but shittin’ crikey, not this good. Sony has searched long and hard for their killer-app - a sole reason to part with your cash - but have come up short. Killzone 2 had good-looks but offered very little in terms of originality. LittleBigPlanet was mega-fun but too niche for many. Ratchet & Clank is great but too juvenile to win over the hardcore masses. Uncharted 2 now fills this void - and then some. So good are Nathan Drake’s new adventures, that unless Lara Croft goes fully nude for the entirety of her next game, then she won’t even get a look in over this. Here’s the obligatory gist of the action: It’s a couple of years after the events of original game (which is surprisingly, very rarely spoken of). Drake and Elena have parted ways for reasons unknown and a British bloke, named Flynn, ropes Nathan and Kiwi crumpet Chloe, into stealing an antique oil lamp from a Turkish museum.

Infamous, the choice is yours.

22.03.2013 02:45

Imagine waking up one day and finding yourself in the middle of a burning crater, destroyed buildings and dead people everywhere. You soon learn that you are no longer like other humans. Electricity courses through your body, endowing you with superpowers and, by extension, the power to control the fates of those around you. Will you become a noble hero, striving to bring peace to a city in ruins? Or will you lash out in anger, crushing the weak humans who are no longer your equals? In Infamous, the choice is yours. These moral dilemmas intertwine your fate with that of the city, but it's the amazing freedom that makes this experience so incredible. From unleashing electrical blasts to corral your enemies, to scaling the highest skyscrapers with finesse and ease, Infamous lets you seamlessly control the powered-up hero you've always wanted to be. The buggy visuals and gameplay glitches can't quite live up to the excellent action, but the overall experience crushes these small problems like so many petty criminals. It's not easy being a superhero, but it is an absolute blast.

Assassins Creed 2

22.03.2013 02:45

You can’t see me. I’m there in the shadows, crouched down on the roof above you, dangling on the ledge below you. Maybe you know I’m nearby. Maybe you’re afraid for your life. You should be. Because by the time you realize where I am, you’ll be dead. Assassin’s Creed II, released Tuesday for Xbox 360 and PlayStation 3 (reviewed), totally full fills that promise. The sequel is as vibrant as the first game was repetitive, as compelling as the original was boring. The gameplay is rich and varied, blending assassinations with puzzles, acrobatics and stealth. It has a fantastic original story and setting — a tale of family, conspiracy and betrayal in 15th-century Italy. Assassin’s Creed II finally delivers everything the original promised and then some.

Kelly Clarkson - All I Ever Wanted

22.03.2013 02:45

Seven years ago, when Kelly Clarkson triumphed in the first American Idol competition by blasting out the high-schlocky inspirational ballad "A Moment Like This," who could have guessed that she would become the early 21st century's exemplary Angry Chick? Everything changed in 2004, when Clarkson released a little song called "Since U Been Gone." That exploding stick of bubblegum pushed Clarkson to the forefront of the new girl-power pop, establishing her as the leader of a wave of pugnacious female stars — Avril and Pink and Katy Perry — who have stormed the Top of the Pops, bellowing their outrage over bright hooks and punchy guitars.

Even when Clarkson is happy, she sounds pissed. Exhibit A on the singer's fourth CD is the opener, "My Life Would Suck Without You." The keen-eared will detect a similarity between that chart-topper and "Since U Been Gone," from jittery guitar intro to shout-along chorus. Scrutinize the credits and you discover why: The new hit was co-written by Max Martin, the Swedish mad scientist behind some of the best radio pop of the past decade-plus (". . . Baby One More Time," "I Want It That Way" and, yes, "Since U Been Gone").

Clarkson's recourse to Martin's Stockholm hit factory is not insignificant. Her 2007 album, My December, was a declaration of independence, released over the reported objections of her label. Its 13 gloomy songs, all co-composed by Clarkson, had scarcely a hook to wrap your ears around. So "My Life Would Suck Without You" is a kind of repentance, a chastened pop star's retreat from auteurdom. It's also, as it turns out, fantastic — the early favorite for single of the year.

It's hard to match that thunderclap opening, but Clarkson does, for a couple of songs, at least. "I Do Not Hook Up" is another spitfire mix of melody and crashing guitars — one of the most raucous odes to chastity in recent memory. Next comes "Cry," a big waltz-time ballad whose tune holds a hint of Nashville-pop twang. Clarkson grew up in Texas listening to country; "Cry" serves notice that she could give Carrie Underwood a run for her money.

Clarkson's voice remains one of the most powerful in pop, and on "Wanted" it flattens everything in its path, blasting through piano ballads, chirpy retrosoul and, on "Whyyawannabringmedown," a kind of AM-radio punk. "I'm not your love monkey, so be takin' back all of the lies you sold," cries Clarkson over a pogo-ing beat.

That state of high dudgeon is her default mode. In song after song, she proclaims self-reliance in the face of ne'er-do-well men. It's a fine message, but Clarkson's sense of grievance, inflated to gargantuan size by her huge voice, can be wearying over 14 songs, particularly when the music sags. And sag it does. Clarkson has wedded her fate to Ryan Tedder, the heavily moussed OneRepublic songwriter: He contributes to four dreary songs, awash in strings and insipid sentiments like "Why are my convictions blinded by your spotlight?"

Clarkson snarls gamely through such moments, but as My December proved, virtuoso vocals carry you only so far. Like everyone else, she rises and falls on the strength of her tunes. She has made brilliant singles, and may yet record a great album. It's no mystery how to start. Three words: more Max Martin.