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 Chrissy Snow
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Get our game guides and support for: LittleBigPlanet and Call of Duty: World at War. These precise WALKTHROUGH GAME STRATEGY GUIDES is now available here and compatable for the Nintendo Wii, Sony PS2 PS3, Microsoft XBOX 360, and PC Platform. GameGuideDog.Com is dedicated to helping gamers through games. We are confident our support and guides are one of the best gaming resources anywhere!
COD: World at war guide is here:
Two of our topic picks for this upcoming week are our proudly added titles, and we'd like to re-visit our reviewers comments:
LittleBigPlanet in review:
Working with this game's physics has a huge part to play in this game. In keeping with the theme of conjuring fantasy from the realistic and mundane, the physics are consistent but also exaggerated and slightly slowed, and the PS3's processing power taxed to the point of slowdown in a couple of places by the sheer amount of bouncing, collapsing, pinwheeling chaos, as well as the blistering speeds achieved in some vehicle sections. It's slapstick of the highest order, and again, adding extra players just adds to the feedback-loop of fun.
With physics as the basic building block, Media Molecule has designed levels around momentum and mechanical ingenuity more than taxing puzzles or acrobatic challenges. The quality isn't totally consistent - the game drags a little in the finicky and generic Mexican section, about halfway through. The mini-game levels seem rather arbitrary and pointless solo, although if you use the Quick Play option to chain them in multiplayer, they can sustain an uproarious hour or two. But the second half of Story mode is mostly fantastic, and at their most ingenious and surprising, the systems of cogs and tunnels and traps that the Sackboys tumble through are worthy of Nintendo's best designs.
The controls and the lives system, however, are not. Sackboys are fun to manipulate, especially the puppeteering you can do with their facial expressions and gestures, but also just their easy, bouncing joie-de-vivre. But there's the slightest lack of precision and definition to the floaty jump, a hint of stickiness, the timing's off by a fraction of a fraction of a second. When the game presents you with exacting challenges of dexterity and timing, as it occasionally does, that's a minor annoyance. When it's combined with the vague, slow and over-zealously auto-corrected movement between the game's three planes of depth, it's a problem.
Call of Duty World at War review:
So it's come to this. Right at the very start of World at War, you're a helpless prisoner of the Japanese, saved from execution at the last second by a rescue squad of US Marines. Handed a rifle, you begin to exact your payback. As you move from hut to hut, one of the game's many scripted moments occurs. Directly in front of you, a Japanese soldier, his uniform ablaze, bursts out at a fellow US soldier. Should you manage to shoot the assailant quickly enough, and thus prevent your team mate from burning alive, you're awarded your first Achievement or Trophy - Saved Private Ryan.
It's an obvious gag, and a revealing one. World at War, it seems, is not a game concerned with avoiding the basics and status quo. Quite the opposite in fact. For a game that goes out of its way to rub your nose in the grisly underbelly of war (opening, rather tastelessly, with what looks like real archive footage of Japanese military executions) it nevertheless nestles snugly inside the safely visible comfort zone already established by over a decade of similar WW2 shooters.
That's not to say that World at War doesn't impress. Much like its predecessor, Modern Warfare, this is an exhilarating and painstakingly designed journey through the smoke, flames and dust of armed combat. It's linear and scripted, as all shooters must be to some extent, but the series has always succeeded by hiding the strings better than most. That success wavers here, but there's still plenty to enjoy for those who enjoy shock and awe more than surprises.
The double storyline follows Private Miller, an American soldier in the Pacific and the subject of the opening rescue, and Red Army soldier Private Petrenko, pulled from the rubble of Stalingrad by the grizzled Sergeant Reznov, brilliantly voiced by Gary Oldman. It's the Russian story that is most interesting, tracking the Soviets as they push the Germans out of the motherland all the way back to Berlin for the climactic assault on the Reichstag. The American story, on the other hand, feels a bit piecemeal and offers a less than satisfying conclusion.
There are thirteen levels in all, although thirteen set pieces may be a more accurate description. If the early Call of Duty games were aping Spielberg, this is videogaming in the Michael Bay style. Each level seems designed to drop you into an instantly thrilling combat scenario, delivered with maximum speaker-rattling intensity and all the particle effects the game engine can muster. When it works, it's as ferociously thrilling as ever. One level, seemingly unrelated to either story, finds you scampering up and down a US seaplane, manning the various turrets to fend off Japanese gunboats and fighters. At one point, you land on the water and must pull the survivors of a Navy convoy to safety while explosions rattle the fuselage.
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Posted by on November 28, 2008