Gothic II Gold

Description

Gothic II Gold includes the original game plus its expansion pack, Gothic II Night of the Raven. In this popular RPG of action and adventure, players experience a storyline of intrigue and mystery as they wander through massive fully 3D lush environments, where players may encounter more than 500 characters. With more than 50 magical artifacts, such as rings, amulets and belts; 50 magic spells to cast; and 150 powerful weapons to wield, players will have more than enough power to take on Evil.

Hardware Requirements

Operating System: Windows 98/ME/2k/XP Processor: 700 MHz or faster RAM: 256 MB or higher Hard Drive: 4.5 GB free disk space Video Card: 3D graphic card 32 MB or higher CD-ROM: CD-ROM

X-Blades

While good “hack and slash” titles are hard to come by these days, occasionally a developer will come by and try to put a new twist on a classic genre. X-Blades makes no apologies for itself, from the mindless hordes of enemies right down to the nearly-naked female protagonist. The player takes on the role of Ayumi, a violent young lady bent on – you guessed it – destroying monsters in search of treasure. The game features two different endings, but the minimalist storyline is not likely to propel players any further into smashing their way through demons. Drawn up in a cutesy-anime style, her character design is the main standout in the game. The quality of her animation is something of a mixed-bag, with her full-speed run looking like many of the hovering and skating animations that plagued characters seen before in games of this style.

At the heart of the X-Blades combat system is three primary attack types, which consists of magic, melee, and ranged attacks. Her “gun-blades” combine the melee and ranged components into a single weapon (or, more accurately, dual weapons since she wields both of them). Carving through groups of baddies loses its appeal rather quickly, as very little tactical ability is required and the foes tend to be extraordinarily dumb, anyway. The magical attacks are your classic, elemental-based sorcery, ranging from powerful earthquakes to sizzling blasts of flame. Some of the animalistic beasties you’ll face are more vulnerable to certain “classes” of magic than others, not unlike the magical “houses” from Otogi of yesteryear. The magic itself is accumulated through combat, as are the various upgrades that will improve Ayumi’s combat abilities. Battles force Ayumi to remain ensconced in a designated zone until the enemies have all been destroyed, lending combat a forced intensity that feels a bit artificial at times. The ability to collect objects and navigate environmental hazards helps to break up the pace of the combat, but falls just short of what most players would likely consider “a good time.”

Much of the fighting, particularly where magic selection is concerned, feels rather unnatural in the heat of battle. Even players willing to tolerate the cumbersome controls will likely find fault with the gameplay itself where both the enemies and the environments become repetitive early on. The music and sound effects are all in working order, adequate but nothing terribly memorable. The game’s thespian performances are almost laughable at times, as Ayumi’s valley-girlish whining loses its charm almost as quickly as the combat itself. The biggest highpoint of X-Blades is probably its visual style, with the distinctive-looking heroine and almost blinding color palette lending a near comic book-like quality to the game. On the whole, however, there’s very little here that hasn’t already been done elsewhere, and with greater success. Since the game is already planned to be extended into a trilogy, one can only hope that the controls are streamlined and the gameplay given a hefty overhaul before Ayumi’s second outing.

Gameplay: 6.0
Clumsy, repetitive, and frequently dull combat leeches most of the fun out of an essentially simple game.

Graphics: 8.0
Not mind blowing, but some striking effects here and the character design is rather unique.

Sound: 7.0
Decent effects and music, but the voice acting is fair, at best.

Difficulty: Easy/Medium
Players will find the game ranges from mind-numbingly easy to inexplicably frustrating.

Concept: 7.0
Interesting character design and varied combat mechanics, but there’s very little truly inspired about it.

Overall: 6.5
X-Blades may prove a pleasant enough distraction for hack-and-slash gamers thirsty for something new. Repetitive gameplay and bland design keep it from becoming anything outstandingly great.

Tom Clancy's EndWar

Tom Clancy’s EndWar is the first title in the Tom Clancy franchise to take the form of an RTS. In the vein of other titles in the franchise, it attempts to blend realistic storytelling with strategic action, all for the pleasure of military game geeks across the world. The game recounts a not-so-distant future, where dwindling oil supplies have driven major world powers toward heavy militarization. In EndWar, the three primary factions include the United States, the European Federation, and those classic Clancy baddies, the Russians. Interestingly, the “universe” of EndWar is built around the same world where all those other Clancy games took place. That means you’ll find former Rainbow Six operatives planning strikes against groups led by former Rainbow Six team members. If the general leading the U.S. Joint Strike Force sounds familiar to longtime Clancy fans, they might want to consider breaking out the latest Ghost Recon game to get reacquainted with Scott Mitchell.

The underlying story is surprisingly thin after the game begins, however. The player is tasked with capturing satellite uplinks in major cities, which are essentially control points, in locations all over the globe. As you progress, new abilities and upgrades can be earned; nothing says “successful strategist” like the unleashing of air strikes or a WMD upon one’s foes, the very prospect of which will likely attract casual players to the RTS genre. Hardcore RTS gamers might be a bit stymied when first approaching EndWar, however. For one thing, the game focuses more heavily on fighting than resource management. This can be partly attributed to the previous release of the game on consoles, where players are presumably more interested in loud noises than thoughtful tactics. Some may find this “dumbing down” to be an annoyance, but in truth, the game is still quite fun to play. Another distinctive feature – and certainly EndWar’s most touted one – is the voice command system. Find yourself a good headset, and you’ll be able to control just about every element on the battlefield with words alone. Barking commands at your forces and seeing the units blast enemies at your bidding is probably the most rewarding experience EndWar has to offer. Granted, no voice recognition software works perfectly all the time, but EndWar does it better than any other game I’ve experienced thus far. An onscreen command menu also branches out as you speak, guiding you through all possible commands so you can learn the voice mechanics in a quick and fluid manner.

Each faction offers the same basic unit organization, though some players might find themselves attracted to factions based on differences in their individual characteristics. The Russians typically have the bulk of heavily armored vehicles, while the European units have the best speed, leaving the US as a fairly “balanced” bunch. The arsenal contains a nice mixture of futuristic goodies from robotic drones to high-energy lasers, lending a slick, sci-fi appeal to the game. The gameplay modes themselves offer some nice variety, as well. One moment you’ll be leading a tactical assault on JFK Space Center, the next you’ll be scrambling to defend Paris from invading armies. The online play even offers persistent battlefields to some extent, where players will no doubt be eager to pit themselves against each other in a bid for world domination. The possibilities for skirmishes in each game mode are fairly wide, although it would have been nice to see greater focus on storytelling. With Call Of Duty ames offering a strong narrative from multiple factions in a war, it seems like something similar could have been implemented in EndWar, at least on a broad scale if not on a personal level.

While most Tom Clancy games deliver excellent aesthetics, EndWar is an inexplicably disappointing standout. The aural landscape is rather drab, and lacks much of the solid sounds players have come to expect from other Clancy titles. The camera keeps the player close enough to the action that some sense of the battle’s scale should be present, yet there is very little beyond the chattering of soldiers that stimulates the ears. Like its simplified gameplay, PC RTS fans will likely blame the console roots of the game for its bland visuals. There is no reason the draw distance should be so deeply affected on modern hardware, yet distant geometry is extremely prone to pop-in. The animation’s weaknesses show easily at the close camera distance, and there is little detail to admire on the units themselves. Granted, the RTS was meant to draw players to the game based on its mechanics rather than its visuals, and EndWar manages to at least offer up some enjoyable gameplay.

Gameplay: 8.0
EndWar handles itself nicely, and using the voice commands is certainly a pleasure.

Graphics: 7.0
Things are pretty simple at the visual level, but at least it’s easy to tell what’s going on.

Sound: 7.0
Lots of dialogue, but where’s the thunderous battlezone we wanted?

Difficulty: Medium
The mechanics are pretty easy to pick up, and the game provides some decent challenges.

Concept: 8.0
Voice commands provide the obvious distinction in EndWar, but there is still a pervasive feeling that the title didn’t quite live up to its full potential.

Multiplayer: 8.0
There’s certainly some fun to be had in the online Theater of War modes.

Overall: 7.8
Tom Clancy’s EndWar is certainly not a crowning achievement for the franchise, but it works well as an RTS and may help to draw new players to the genre. Hardcore RTS fans will likely be disappointed by the game’s lack of depth, however.

Penumbra

If your long-lost father sent you a note telling you not to search for him in an abandoned mine, what would you do? Well, I suppose it would depend on how you felt about your father. In Penumbra: Overture, we can safely assume Philip was close to his dad, or at least has an interest in his fate. So great is his determination, Philip travels to a creepy old mine in Greenland where he combats monsters, madness, darkness, and puzzles all in an effort to learn the fate of his missing parent. Sounds like a typical Hallmark scenario.

The Penumbra Collection contains three games, beginning with Overture. The majority of the gameplay can be split into two elements. The first mechanic you’ll be using is that of puzzle-solving. This is actually quite fun, particularly in the pitch-black, what-the-hell-will-I-see-next environments of Overture. What makes this particularly immersive is that the mouse mimics the hand, so if I want to push a door open, I must literally push forward on the mouse. I realize it doesn’t sound like much on paper, but it really does make the puzzles feel more fluid and natural. The bad news is that the second game mechanic, combat, uses the same elements. Taking a swipe with a melee weapon using the mouse may sound fun, but the weapons (whether intentionally or not) feel heavy and sluggish. For this reason, players will likely favor stealth tactics whenever possible. Mysterious voices and scrawled documents help to keep the story going, if you don’t mind a bit of reading to complement your puzzle-solving. Of course you won’t mind that; you’re a PC gamer, and that makes you an indisputable genius. The soundtrack keeps the hairs standing on end, but the graphical power of the game is a bit underwhelming. Overture might not be a very old game, but it’s important to remember that this was the product of a small, independent development studio. It is not Crysis in the dark. Overture’s ending will leave players wanting more; fortunately, the Collection allows the next chapter to be just a few clicks away.
The Collection’s second offering is Penumbra: Black Plague. Rather than finding a way to repair the clumsy combat of the first game, the developers seem to have decided to remove most of the combat situations entirely. I suppose this is preferable to extending the combat, so you won’t have to worry about enemies nearly as frequently in this follow up. This is probably Black Plague’s strongest point, as it allows greater focus on puzzle solving and navigating the haunting caverns throughout the game. This means greater use of the physics system, and an overall improved experience for the player. Again, there is just something about rummaging through drawers that is more enjoyable when you are physically pushing and pulling them around. While the first title might help to flesh out the storyline a bit, it isn’t a necessary prerequisite for enjoying Black Plague. Audio is once again far superior to the visuals, with drab geometry and low resolution surfaces feeling very much out of place in such a genuinely frightening game.

The third and final game in Penumbra Collection is Requiem. Here lies something which can certainly be considered an excellent puzzle-based adventure game, although its place within the collection makes it feel a bit awkward. The game settings also serve to reinforce this bizarre title within the series (even the voices are different). Story elements appear to have taken a backseat, and that’s a real shame, because it was a major draw and incentive for player progress. With characters seemingly loses their minds, there should have been greater potential for storytelling. Gameplay is largely the same, but playing around with the physics and puzzles has become the primary activity. Players annoyed with frequent attacks from dogs and zombies will find Requiem to be much more to their liking. There is little to speak of in terms of graphical developments. This game, like the others, sounds much better than it looks. Still, Requiem functions for what it is at the core: a pleasant, puzzle-solving spookfest. The game is still on the easy side, but noticeably shorter than the previous installments.

All combined, the Penumbra Collection won’t quite get you to the twenty hour mark that some players arbitrarily seek. It doesn’t have much depth to speak of, but the accessibility and fun of the puzzle-solving is something even non-adventure gamers can enjoy. Having a good sound setup and a dark room to yourself are definitely going to make this game a memorable experience. Admittedly, many of the game’s thrills are of the cheap, startling variety. Interesting mechanics and an eerie atmosphere create a distinction for the Penumbra Collection that makes it a good buy, even if the experience is a brief one.

Gameplay: 8.0
The interactive physics really enhance gameplay, rather than simply making things look good. If only the combat could be fixed.

Graphics: 6.0
This is not “cutting -edge”, but it gets the job done.

Sound: 8.0
An impressively spooky aural experience.

Difficulty: Easy/Medium
This is a generally quick and easy set of games, but satisfying nonetheless.

Concept: 7.0
The puzzles are very nicely executed, though the story could be better. Any game that lets you throw ketchup earns respect in my book.

Overall: 7.5
Simple, scary, and satisfying. Aside from object collection, there’s little in the way of replay value, but Penumbra Collection is an enjoyable romp while it lasts.

The Lord of the Rings Online: Vol II, Book 7

March 12, 2009 - Later this month, the team over at Turbine will be releasing Leaves of Lorien, Book 7 in their current volume of The Lord of the Rings Online. After braving the depths of Moria, players will finally have a chance to catch their breath and reunite with the Fellowship in the tranquil glades of Lorien. Of course, it's not all lounging about under the mallorn trees; there are orcs (and creatures worse than orcs) who have been stirred up by the Fellowship's passage through Moria and are now threatening the security of The Golden Wood. We recently had the opportunity to tour the new areas, from Nimrodel all the way to the banks of the Anduin.

As with many aspects of The Lord of the Rings Online, creating compelling MMO gameplay while staying faithful to the details and mood of the books presented a challenge to the designers at Turbine. Lorien is, in the books, a very peaceful area of great security and hope. Just throwing random conflicts in there for the sake of player interest and advancement wouldn't quite work. So, while there's still a fair bit of combat found here in fighting back the orcs along the borders, a lot of the content in Lorien is more focused on exploring the history and culture of the elves and interacting with the Fellowship.

In fact, the arc of Lorien isn't about toppling some powerful enemy or claiming some ancient treasure. The story here focuses on rebuilding the trust between elves and dwarves, and it uses Legolas and Gimli as a focal point. In fact, players who enter Lorien without having completed the Volume 2, Book 6 quest in Moria will be able to pick up the threads in Nimrodel. There they will meet Legolas and Gimli and journey with them as they go orc hunting in a solo-friendly epic quest.

Whether you do it in Moria or Nimrodel, you'll need to complete Book 6 in order to gain enough favor to enter Lothlorien proper. The entire area is closed to players who haven't earned sufficient reputation with the elves, which means if you want to explore the beauty of Caras Galadhon, you'll need to make sure you're helping the Galadhrim as much as possible. And since the elves of Lorien don't use money, you'll need the tokens earned through quests if you want to barter for goods while you're here.

Once in Lorien, you'll be in a world of soft light, golden leaves and treetop platforms known as flets. The whole area has a sort of gauzy filter over it that softens the visuals and contributes to the peaceful, quiet mood of the place. The beauty of the natural world really shines through in Lorien, and even the bits of architecture that the elves have constructed -- fountains, docks, flets, and such -- are in harmony with the natural world around them. Some of the best views of The Golden Wood, of course, are found at the higher flets, accessible by ladders reaching down to the ground.

After climbing up and surveying the world around us from the flets, we dropped back down to the ground to survey the Imlad Lalaith, or Banquet Lawn. This broad bit of land sits in the angle where the Celebrant joins the Anduin and is the site of many elven feasts. Just down at the river's edge is the Hythe, the docks of the Lorien elves and the transition to the next part of the Fellowship's voyage. Players can stop here to get a look at the ornate swan boat, or even swim across the river to visit the vineyards on the opposite bank.

And you're not likely to be the only one swimming the waters of the Celebrant. We were joined by a pair of moose, who, like many of the other animals in Lorien, enjoyed protective status under the supervision of the elves. If you hunt these animals, you'll lose reputation with the elves, but there are some compelling reasons to be tempted. There's a dwarf poacher nearby who's offering tremendous rewards to players who are willing to hunt a bit in the woods. Of course, you can turn him in and claim favored status among the elves, but the decision is up to you.

The ultimate destination in Lorien is Caras Galadhon, the sublime treetop city of the elves. This is the first real working hub east of the Twenty-First Hall. You can find banks and trainers, crafting stations and even travel routes back to the other locations you've visited. This large multi-leveled city will offer many of the same routing challenges of Moria, as you try to determine how to get from A to B. There are even some fun, timed quests that offer rewards to players who can negotiate the treetop flets quickly. Caras Galadhon offers much to see as well, from the home of Celeborn and Galadriel to the Fellowship's pavilion where Aragorn broods and Pippin naps.