Game Review: Mirror's Edge

There was a lot of anticipation for Mirror's Edge on release. Possessing an original concept, with great visuals and gameplay to back it up, it didn't seem like a lot could go wrong. Could Mirror's Edge live up to it's potential, and become one of the best games of 2008?

In Mirror's Edge you'll assume the role of Faith, a free runner. After your sister is framed for murdering a politician, you'll use your skills to track down and kill the men who were behind it all, while trying to uncover a secret government project. While it's full of betrayal and conspiracy, it's ultimately unsatisfying. The twists are predictable, and the ending is just setting up for another sequel, never mind the fact that it's criminally short by any game's standards.

The key element of Mirror's Edge's gameplay is the platforming, which innovatively takes place in the first person. First person platforming hasn't really been attempted before, so it's all the more impressive that DICE have created a game that flows as smoothly as Mirror's Edge. The excellent control scheme allows you to move through levels with grace and fluidity, and it's an incredibly fun experience. It's has the potential to be incredibly frustrating, as to be expected from a platformer, but for the most part, it's an original, intuitive and smooth experience.

Oh, and don't fall down. That's probably the most important thing.

Mirror's Edge is also playable as a first person shooter. Since the emphasis is on movement, you'll never carry guns around, so you'll have to obtain them from disarming or knocking out opponents, and you'll have to be creative to get past groups of enemies in later levels. The shooting itself is average with larger weapons since they restrict your movement and slow the games pace. But, with smaller weapons, it's excellent, as you're still free to do all the stylish movements and actions that you're used to doing. With the handy bullet time (it's called reflex time, but it's not fooling anyone), this is probably the closest you'll get to being in The Matrix, it's awesome.

Unfortunately, once the initial novelty wears off, Mirror's Edge becomes irritatingly repetitive. Because you'll find the same guns, fight the same enemies and run around very similar, linear environments, Mirror's Edge quickly stops being a new, fresh experience. For something that has tried to capture the essence of parkour - the freedom of movement - to be so linear is a massive disappointment.

Hint: Wanting to use colours other than grey is fine... but replacing it with only one other colour doesn't really work.

There's nothing in the way of multiplayer either, which is a shame, because as you play through the game you'll realise just how excellent it could have been. All the ingredients for an excellent online multiplayer are there - superb player movement, slow-motion, a variety of guns – and it's so disappointing when you start to think just how cool it could have been.

The lack of multiplayer would have been forgiveable if the single player had any length or replay value. The story lasts approximately one hour if you aim for the speed run times (which aren't particularly difficult), and once you're done with them, all you can do is time trials on old levels. It's so underwhelming to have a game receive all this hype, and be beatable in two hours.

Once the story is done, all there is left to do is follow this red thing around the Time Trials. How exciting.

Mirror's Edge bears many similarities to Valve's excellent Portal, sharing both it's good and bad aspects. Both are original and creative, but both are incredibly short. But there's a significant difference between the two: Portal was the third game in the Orange Box, it was sold alongside Half Live 2 and Team Fortress 2, not as a stand alone game, which made the short length forgiveable. As a stand alone game, the flaws in Mirror's Edge can't be glanced over. There just isn't enough to it to justify the short length, or the lack of replay value. Or the price tag.

What Mirror's Edge has is good. The platforming is refined, the shooting is decent, and the graphics and soundtrack are genuinely beautiful at times. But it's all condensed into this neat little one hour package, which cannot justify the cost. It barely justifies the rent.

6/10

You'll probably get the full experience of Mirror's Edge by just playing the demo fifty times. Except that's free.

At least I didn't have to review another sequel - tomdoodle16@live.co.uk

TV Review: Heroes Season 3, Episode 9

The third season of Heroes has been in a downward spiral as of late, thanks to it's irritating inconsistency, poor writing and mind numbing pretentiousness. But, with Heroes there's always the chance that it'll pick itself up again. Hopefully episode nine “It's Coming”(here come the double entendres) would be the beginning of Heroes dragging itself out of mediocrity.

After a few minutes of Mohinder's inane babbling (why isn't he dead yet?) episode nine picks up immediately from where the previous episode left off, with Rafiki decapitated and Hiro being tortured by Arthur Petrelli. But, while Arthur is distracted by a painting of an eclipse, Hiro and Ando make their escape, only to discover that, after having some of his memories removed, Hiro believes he is ten years old. It's hard to say whether this is a bad move or a good one, because while it's incredibly silly, it's simultaneously charming and amusing, and so long as it isn't dragged out, it's still a welcome break from Heroes' drama.

At Pinehearst, Arthur decides to teach Sylar to access his empathy (which he apparently had all along, and isn't just a random plot device, honest), and give him the ability to obtain other powers without his signature zombie-esque brain trick. To do so, Sylar must reconcile with Elle, and after being electrocuted to the point where he is left conveniently topless, he absorbs her powers through empathy (Peter Petrelli style). While the effects in this scene are genuinely impressive, the reconciliation between the characters looks to be leading into yet another romantic sub-plot, and we all know how bad Heroes is at those.

Meanwhile, as Claire and Peter prepare to go on the run, they are tracked down by Knox and Flint. In an attempt to protect Peter, Claire assures him that she has a plan, which turns out to be chatting to Knox and Flint for a while, before jumping out of a window. Good plan, Claire.

Matt and Daphne search for help at the Company, only to find Angela Petrelli, still in her coma. As Matt ventures into her mind in a bit to free her, Daphne alerts Arthur of Matt's intentions, leading to a confrontation in Angela's mind. While the scene is fairly cleverly shot, it's upstaged by the poor romantic dialogue between Matt and Daphne, as the couple openly declare their love. It's predictable, borderline nauseating, and a harsh reminder of just how bad the Heroes writers are when it comes to romance.

While it's an improvement on the previous episodes, it's become apparent Heroes isn't learning from it's mistakes. It's insistence on romantic sub-plots, weak plot devices and slow development (why has the line between heroes and villains only just been drawn?) makes me wonder if the show will ever reach the standards of the first season. There isn't even Dania Ramírez anymore. Boo.

3/5

When did Daphne fall in love with Matt anyway? She thought he was a stalker two days ago.

Is trying to think of synonyms for "inconsistency"- tomdoodle16@live.co.uk

Game Review: Gears of War 2

After the success of the first Gears of War, there were high expectations for Gears of War 2. With new weapons, multiplayer maps, and gametypes, it looked like Gears of War 2 was going to be a little more than the typical sequel.

In Gears of War 2 you'll reprise the role of Marcus Fenix, in the continued struggle against the locust horde. The bulk of the plot is fairly average, and most of it can be summed up with “Isn't everything manly”. But there are some surprisingly potent moments, which are genuinely well done. Seeing these tragic moments in a game such as Gears of War 2, which is full of senseless violence and gore, makes them all the more effective, and you'll find yourself actually sympathising with the characters. It might be a little cliché, but it's genuinely well written and cinematic, and not many games are capable of this.

The campaign's single player, too, is a significant improvement on the first game. While it stays true to the “cover and shoot” gameplay, the variety of environments and scenarios makes it much more enjoyable, and constantly keeps the gameplay fresh. The vehicle sections – which were the weakest part of the original – have been tuned up, and have become some of the strongest, and most enjoyable, parts of the game. The best of these vehicle sections are saved until the ending, giving Gears of War 2 one of the most frantic, destructive and enjoyable climaxes in any game on the 360.

At a glance, Gears of War 2 could be dismissed as a typical sequel. The emphasis was definitely on giving the player more; whether it be more weapons, maps, or shades of grey. But, instead of just being thrown in for effect, everything new in Gears of War 2 adds a lot of depth and variety that the first game didn't really have. It's resulted in a gameplay experience that allows you to approach the game as you see fit, depending on personal preferences or the in-game scenario, as well as constantly keeping the game fresh.

Real men use chainsaws

I didn't have a lot of opportunity to play the online multiplayer, because if you aren't prepared to cobble a team together before going into versus matches, you'll find that you could be waiting around for a while for a game, almost as if the game is punishing you for not having enough friends. Still, at least there's the option to play with AI bots, which more than makes up for this.

The reason I didn't have much chance to try the online aspects of the game is because Gears of War 2's Horde mode seemed to be the most popular choice when it came to the multiplayer. The mode has a distinct arcade-y feel, as you and up to four others battle wave after wave of enemies on your way to victory. As you progress, the enemies become stronger, faster, and more numerous, and while it may sound repetitive, it's also frantic, addictive, and damn good fun. Think “Geometry Wars, but designed by Leatherface”.

You think these guys look tough? Wait for the next wave...

One of the best things about the first Gears of War was the excessive amounts of gore, and that makes a welcome return in this game. For the most part, it remains unchanged. Chainsaws will still slice opponents in half, sniping an enemy will cause his head to pop like a balloon, and if you're hit by an explosive expect to find your head in a drain on one side of the map and your arse in a tree on the other. All this is good, and you can't help but appreciate it, but it feels like some elements of the gore have been toned down a little bit. Bodies no longer explode majestically when you hit them point blank with a shotgun, and you can't mercilessly slice up the corpse of an enemy in a grotesque victory dance, both of which were always hilarious and satisfying in equal measure, and it's a shame that some of the gore has been left out. But, since you can now shove a chainsaw up a Locust's arse, who am I to complain?

Ooh, isn't it gloopy

While most of the game feels well polished, there are a couple of glitches to be found, involving the cover system. Most of the time it'll work fine, but occasionally you'll find yourself not skidding to the cover, instead rolling into it and standing back up again. And while vaulting over cover, you may find that, instead of simply vaulting over, your character will ping several metres into open ground, which is a nightmare if you're under fire. But, fortunately these are the kind of niggling details that can easily be fixed with a patch.

Overall though, Gears of War 2 is a big step up from the first game. Everything that could have been improved in the first game has been. It may seem like a typical sequel, but once you start playing, you'll realise that Gears of War 2 is much more than that.

9/10

I used the word "climax" for a reason. It is just that good.

Instead of using a chainsaw, cowered behind his shield like a girl - tomdoodle16@live.co.uk

Film Review: Quantum of Solace

Directly following on from 2006's 'Casino Royale', Bond's latest outing 'Quantum of Solace' is the first true sequel of the Bond series. After the success of Casino Royale, the series had set itself very high expectations. Hopefully, the bizarrely titled Quantum of Solace could deliver.

Quantum of Solace sparks into life immediately, as we find Bond (Daniel Craig) engaged in a car chase, shortly after the events of the previous film. After meeting up with M (Judi Dench) in Siena, the pair are betrayed by M's bodyguard, which kicks off the plot. Unfortunately, this is also the point where the film stops making any sense. It doesn't seem to know which topical subject it's trying to give a vague commentary on, alternating between civil wars, oil, drought and corrupt government organisations faster than you can say “Shaken, not stirred”. After Casino Royale, the plot is a bit of a let down, although with a title like Quantum of Solace, it's hardly surprising.

On the plus side, what the film lacks in plot, it makes up for in action and locations. As well as the opening car chase, there's also a boat, plane, and rooftop chase, all frantically paced and none of them unnecessarily drawn out. Bond has also stopped treating his body count like a golf score, instead opting for a more brutal approach, which is always engaging and gritty. The film seems to have taken more than a couple of notes from the Bourne movies when it comes to action and location hopping, and this is no bad thing, as it's resulted in a fast paced, action packed experience that, while occasionally clunky, is nevertheless entertaining.

While the performances in general are good, they all pale in comparison to Daniel Craig. After deservedly reprising the role after his excellent portrayal of Bond in Casino Royale, Craig is no worse in Quantum of Solace, with an great performance throughout. The man is an immense talent, and a true method actor (performing many of his stunts in the film), and his consistently great performances should convince any doubters that he is a more than suitable choice for the lead role.

While it's not going to please the hardcore Bond fans, who insist on clinging to their ideals of a stereotyped and altogether dated and predictable Bond, Quantum of Solace is still a good film. There are some flaws, particularly when it comes to the plot, but it's still a fast paced, gritty, and entertaining film.

3/5

Does anyone know what Quantum of Solace actually means?

Never really liked Pierce Brosnan anyway – tomdoodle16@live.co.uk

TV Review: Heroes Season 3, Episode 8

Heroes has always talked itself up as a fast paced, pulse pounding show, with ingenious plot twists and top quality special effects. But the latest episode “Villains” has none of that, instead deciding that, instead of advancing the plot, that having a tedious flashback episode explaining some of the underdeveloped minor characters was a smarter move. Oh yeah, this is going to be good.

After another pretentious waffle-a-thon by Mohinder (for fucks sake) we're treated to a scene with the Petrelli family, shortly before Arthur's faked death, and these scenes are the better parts of the episode. The performances are fantastic, some of the lines are just as good, and it's a nice reminder of how much better the characters were in season one - back when Peter was a nurse, and not Captain Drama-pants. What else makes the episode good is Angela Petrelli, and it made me realise that her character has quickly become of the better things about Heroes, probably because she's one of the few characters with actual complexity. Despite always playing the victim she's incredibly manipulative, and with her dark, troubled back story she's an genuinely deep and emotional character. It's a welcome change from the other Barbie and Ken dolls that have been generously dubbed as “characters”, when “over-dramatically positioned cardboard cut-outs” would probably suffice.

Next, there's a few scenes with Sylar and Elle. Turns out that, shortly after he forcefully acquired his telekinetic abilities, Sylar had a wave of consciousness and tried to hang himself. This is all well and good, but I'm starting to wonder where all of Sylar's changes of heart are coming from. He seems to make the extreme change from brutal killer to mild-mannered mothers-boy in a matter of seconds, and while it was fairly believable in the first season (because it wasn't written quite as ham-handedly) it's getting a little silly now. Then there's Elle who, as opposed to being a slightly masochistic sociopath, is now a sweet, innocent company agent. It's gotten to the point where I've given up any hope of the series maintaining any kind of consistency, although that doesn't mean I'm going to stop complaining about it.

Finally, there's Meredith and Flint, and I'm struggling to see what the point was in these parts of the episode. We all knew Flint was only included to be big, dumb, ugly and tough, but for some reason they felt the need to spend an entire episode reinforcing that.

The whole episode seems pointless, and while the hardcore fans who love the meaningless background knowledge will be satisfied, anyone who doesn't waste their time reading the online graphic novel is going to see the end credits and feel ripped off. It's also a sad reminder of how much better the first season was, back when Noah was a sinister agent, and when Peter wasn't an over-dramatic douche.

And to top it all off – parts of this episode are just clips from season one. If all they can come up with is a glorified clip show then this series has well and truly tanked.

2/5

If they had run the Simpsons' “Sorry for the clip show” song at the end, it would have been forgiveable.

Actually reads the graphic novel – tomdoodle16@live.co.uk

Game Review: Fable 2

Sequel to 2005's 'Fable: The Lost Chapters', Lionhead's 'Fable 2' was released with high expectations. With the critical and commercial successes of the prequels, could Fable 2 make a successful jump into the next generation?

Similar to the prequels, in Fable 2 you'll play through a hero's life, from their grief stricken childhood to their heroic, glorious adulthood. As the hero, you'll travel the world, completing quests and assembling other heroes in an attempt to save the world from certain destruction. Sure, it's been done before, but it's brilliantly told, with compelling characters, and witty writing.

While the storyline is fairly linear, you'll have a lot of choice as to how you approach the rest of Fable 2. Besides the obvious choice between good and evil, there are other choice that are made more subtly. For example; if you walk around a town kicking chickens, people might think you're funny. If you extort someone in the street, they will think you're corrupt. Eat all the pies, and you become a fat bastard. It's a superb, unique system, that allows you to develop a character to your liking.

Not all heroes will adhere to the stereotype.

Fable 2 has something most games don't have; an economy. I don't mean the basic trading that we're used to, I mean an economy that changes and develops based on your actions in the game. So, if you trade a lot in certain regions, or buy a lot of property, the regions wealth will increase. As the worlds wealth increases or decreases, it'll go through various physical changes. Very few other RPGs do this, but none of them uses quite as sophisticated as system as Fable 2 does.

As a hero, you're going to be getting into your fair share of fights, and fortunately Fable 2 has an excellent combat system to accommodate for all the action. With ranged, melee and magic attacks each assigned to individual buttons, the combat system allows you to alternate between different aspects of fighting effortlessly, and you'll find that the combat flows brilliantly. The combat is accessible and intricate in equal measure which means that, while experienced players can enjoy sniping a bandit's left bollock from a mile away, new players can do just as well by button mashing while wielding a giant hammer. The combat system is easily the best in any RPG I've played, offering a slick, flowing experience that is as deep, or as shallow, as you want it to be.

Every gun-toting hero needs a comical mask. It's just the rule.

Unlike other RPGs such as the Elder Scrolls series, Fable 2 allows you to focus on the social aspect, as well as the heroic aspect of your hero. The game allows for genuine social interactions with other NPCs that go beyond receiving quests, giving you the opportunity to develop a relationship with random characters. This gives Fable 2 a more personal feel, and really helps to immerse you into the game, much more than the prequels managed.

While Fable 2 has remained true to the original Fable in many respects, it does bring in some completely new features, and the easiest to notice – and arguably the best – is the dog. It sounds like a silly, pointless accessory, but it's easily the most useful, most intelligent AI in the entire game. Serving as a guide in place of a mini-map, a treasure hunter, helping you in combat and even doing tricks to match your expressions, the dog is a fantastic, and unique part of Fable 2. You'll grow a genuine attachment to it, which is a fantastic feat for any video game.

Another feature Fable 2 introduces to the series is the superb co-op mode. Allowing a second player to drop in and out of the game playing as the heroes henchmen, you'll be able to play through the entire campaign, online or locally. There are a couple of minor qualms, such as how you can only bring your character's stats into the henchmen and not their appearance, and the camera is, occasionally, a little temperamental. But otherwise, it's nothing short of excellent, and a great addition to the Fable series.

As soon as you step into the world of Albion, you'll notice just how beautiful Fable 2 is. The colours are a gorgeous mixture of vibrancy and subtlety, creating a world that has a fantastic, magical vibe, but always feels natural. The art style is equally superb, whether it's Gothic castles leering above you, or just one of the local prostitutes, it's incredibly well designed, and always interesting. From the dank bogs, to the bustling towns, to the lush fields, Fable 2 offers a visual experienced unmatched by any other game on the 360. It's simply stunning.

What isn't gorgeous about this?

To top off an already great game is the original music score, which is nothing short of perfect. Ranging from the slow, mellow music of Albion's lush forests, to the heavy drumbeat of combat, Fable 2 has ideal music for every situation. There's also some superb voice acting, with big names such as Stephen Fry and Zoe Wanamaker lending their talents, and as a result a little extra credibility, to the game.

Fable 2 is one of the best games you'll play on 360. Witty, beautiful and immersive, Fable 2 is a stunning experience that shouldn't be missed by anyone. A near flawless game, it is sure to delight anyone who plays it. If I had to choose a game of the year now, this would probably be it.

9/10

Oh yeah, did I mention that Fable 2 allows you to have orgies? Even if you weren't convinced by the review, I bet you are now. You dirty bugger.

Named his Fable 2 dog after his girlfriend - tomdoodle16@live.co.uk

TV Review: Heroes Season 3, Episode 7

Pretentiousness makes an unwelcome return to Heroes with the seventh episode of the third season. You could see it coming from a mile off, with the title “Eris Quod Sum”. You know something is going to be stuck up it's own arse, when you have to translate the title from a Latin dictionary.

With Eric Doyle back at the Company, Claire and Sandra return home. But, as you'd expect from Heroes, their trouble is not over, as they discover Elle, the ex-company agent, overloading on her own electrical power. After a heated confrontation ending with a...um... water fight, Claire agrees to take Elle to Pinehearst, hoping they can teach her to control her powers.

This is the point that the bad writing kicks in. So far Heroes has managed to steer clear of bad writing, at least clear enough so that it wasn't so noticeable. But in episode seven, you'll really struggle to miss it. Whether it's the unintentional sexual innuendo, or just the poor attempts at witty dialogue – including an embarrassingly witless reference to The Wizard of Oz – it's clear that episode seven has some of the worst dialogue in the series so far. But, on the bright side, Peter exclaiming “You came for me” is unintentional comic genius.

At the end of episode six, you'll remember Peter Petrelli's powers were removed by his father, Arthur. Don't get me wrong, I'm thankful that a powerless Peter will probably get a little less screen time. But in removing his abilities, they've thrown away the superb plot development, that was giving Peter Sylar's ability. Dicking around with good character developments seems to be something the Heroes writers enjoy doing – such as when Peter was imprisoned in the body of a villain, then taken out again the next episode – and it's starting to kill my faith in the show's plot. As if every time the show does something new and risky, it's inevitably going to wimp out. Maybe I'm just being cynical.

After confronting Nathan and Tracy while declaring that their fight wasn't over, Mohinder instead decides that, actually, it was. That'll be another opportunity for a superhero fight gone to waste, then. Escaping to Pinehearst with Maya, Mohinder agrees to work for Arthur Petrelli and help perfect the new formula, regardless of any hidden agendas. Considering Mohinder has been consistently bent over the lab bench and forced to fellate test tubes by the original Company for the past two seasons, you'd think he'd have learnt to stop working for these people. He must enjoy it.

Then there's Daphne and Matt, the Heroes love story, and for various it's quickly becoming as godawful as the Claire and West love story from the second season. Mainly because it's just so gosh darn cute that it's nauseating. That, and it's not nearly as entertaining as Daphne's bitchy Tinkerbell act from previous episodes. Still, at least we can make amusing size comparisons between her and Matt.

Eris Quod Sum is a weak episode, doing nothing to advance the series. It's a shame, the series looked like it was beginning to peak again. I guess that's Heroes for you.

2/5

Anyone else tempted to send Tim Kring an e-mail containing nothing but the definition of the word 'consistency'?

Would never come for Peter – tomdoodle16@live.co.uk

Game Review: Far Cry 2

Developed by gaming giants Ubisoft Montreal, 'Far Cry 2' hit the UK shelves a fortnight ago. Abandoning the science fiction element of the previous instalments in favour of a more realistic approach, Far Cry 2 was touted as the “true sequel” to the first Far Cry. But would it be able to live up to Crytek's acclaimed original?

The first thing you'll notice about Far Cry 2 is the environment, which is nothing short of stunning. Creating an environment as gorgeous as Far Cry 2's is an achievement in itself, but considering the huge scale and the fact that there are no loading screens, it's fair to say that Ubisoft Montreal have outdone themselves (no small feat after developing 'Assassin's Creed'). Whether you're skulking through the undergrowth, flooring it across the desert, or hang gliding over a valley, you'll be in awe at just how beautiful the world of Far Cry 2 is.

Sneak up on enemies while they're...ooh...that's a lovely sunrise...

A great environment is nothing without great gameplay to compliment it, and initially it seemed Far Cry 2 didn't have that. It moves slowly at first, and getting used to fighting in an open environment is a steep learning curve, especially since you're overcoming malaria. But, if you have patience, and persevere, you'll be rewarded with one of the best first person shooters on the 360.

As you complete missions, you'll be able to unlock and purchase more weapons, and as your arsenal grows, you'll be able to tailor how you approach the game to what suits you best. If you want to be subtle, you can try skulking through the undergrowth in a camouflage suit. Or you can just burn your way through the same undergrowth with a flame-thrower. The variety of ways in which you can approach the Far Cry 2 constantly keeps the gameplay fresh and, more importantly, fun. This is what makes Far Cry 2 great – the more you play it, the more fun it gets, and not many games are as fun as Far Cry 2 becomes.

Not everyone favours the subtle approach

On top of that, the single player is incredibly immersive, and this is thanks to the realistic approach. For a start, there's no HUD (Heads Up Display) unless you bring it up – by healing, picking up ammo, or checking your map – or unless the game is notifying you of something. Far Cry 2 is littered with similar equally brilliant and realistic features. As you're digging bullets out of your leg, frantically slapping a jammed weapon so that you can return fire, or just watching a herd of zebras scatter as you drive across the savannah, you'll realise that Far Cry 2 has reached a new level of immersion and realism. And you'll love it.

The only real flaw with Far Cry 2's single player is the guard posts dotted throughout the landscape, which are less of a hazard, and more of a chore. A repetitive chore at that, since you'll be encountering another guard post every ten or so minutes. The only way around them is to risk your car by driving off road, or by fast travelling to certain points on the map. But giving us this beautiful world to explore, then effectively forcing fast travel, feels broken. There are other, niggling faults in Far Cry 2, like people aiming in the opposite direction but still managing to land shots, or the foliage being so thick that you can't see your enemies, but they're still able to see you. But, with everything else about Far Cry 2 being as excellent as it is, these are forgiveable in the long run.

The map editor is Far Cry 2 is, by far, the most advanced map editor in any console shooter, and makes Halo 3's 'Forge' mode looks like toddlers building blocks by comparison. It's incredibly deep, with thousands of different features to edit - from the basic size and style of the map, to the time of day – and allows you to finally create your own, unique maps. An overwhelmingly brilliant feature, which raises the standard of console map editors above and beyond what Halo 3 did with Forge.

Making a drawbridge on Foundry stops being cool when you redecorate square miles of Africa.

Coincidently, the map editor has a massive impact on the online play. While ranked matches use default multiplayer maps, unranked matches allow you to download the host's customised map before the game, or to take your own maps online. It's a brilliant new feature, and while you'll have to wait an extra couple of minutes for a game, it's worth it to see what other players have created.

The multiplayer itself is nothing revolutionary, probably because all the revolutionary ideas were exhausted elsewhere. It's a class based multiplayer, with five different classes to choose from and upgrade, and four game types, which are simply variants of old, familiar game types (for example, Capture The Diamond works exactly like Capture the Flag). Ubisoft Montreal made a couple of bad decisions for the multiplayer – such as not allowing you to pick up dropped weapons – but as a whole, it holds it's own, and can be genuinely good fun. It's not about to knock Call of Duty 4 off it's perch, though.

While there are some flaws, Far Cry 2 is nonetheless a stunning game, easily ranking as one of the best single players I've had the fortune to play on Xbox 360. Don't let the slow start put you off, because eventually you will be rewarded with a slick, fun, and immersive experience. There's no restrictions, just a big box of toys, a huge playground, and no need to play nice. Play this game, because you'd be missing out if you didn't.

9/10

May or may not have spent 20 minutes chasing after a zebra – tomdoodle16@live.co.uk

TV Review: Dead Set (series)

The week building up to Halloween is usually a poor one for British television, as channels battle it out to see which one can churn out the most mediocre and mainstream horror movies within the week. Fortunately, E4 tried a different tact, instead treating us to an original five part series: 'Dead Set'.

Dead Set takes place during the early stages of a massive outbreak, which coincidentally happens during a Big Brother eviction night. With the production team focussed on the spectacle and the house mates isolated from the outside world, the epidemic hits them hard and fast. After the brutal wave of violence, the few remaining survivors band together inside the Big Brother house itself. The series draws many parallels with Danny Boyle's '28 Days Later', but the unique Big Brother factor gives an otherwise stock plot line an interesting spin.

With the a horde of flesh eating zombies on the loose, Dead Set is bursting at the seams with gore and violence – and when it comes to both, it doesn't pull a single punch. Whether it's Davina McCall's neck being ripped open, or a zombie's head being smashed apart with a fire extinguisher, the gore is always fantastically gruesome. Seeing this level of gore in a television series is increasingly rare, and while it's bound to put off the more prudish viewers, anyone who's ever appreciated a little blood and guts is not going to be disappointed by Dead Set.

The visuals as a whole are one of the series' strongest points. The lighting is nothing short of fantastic, and the hand held camera style (similar to the style in Cloverfield) really puts you in the moment. Both of these factors make Dead Set incredibly atmospheric, and easily surpasses the standards set by most television shows. Hell, it surpasses the standards set by most films.

Dead Set's cast is mostly made up of relatively unknown actors, but they put together a surprisingly strong performance. These performances make the characters incredibly easy to relate to and sympathise with, which is a massive achievement for any horror flick. A special mention has to go to Andy Nyman, who plays authoritarian, and borderline sadistic, producer Patrick, who's superb timing and delivery provides some genuinely hilarious moments, which are a great contrast to the horror or drama of the series.

Dead Set does almost everything right. While the disappointing ending feels like a complete cop-out, the drama, suspense and dark humour leading up to it is nothing short of excellent. Anybody who likes a good zombie flick should check this one out, especially if you're a fan of 28 Days Later. I doubt you'll be disappointed with Dead Set.

4/5

Like a good zombie flick, if you know what I mean – tomdoodle16@live.co.uk

And then there was the walrus with the AK 47...

A few months ago, back when I was toying with the idea of making a new site for the reviews, I asked a couple of guys if they would help me come up with ideas for a logo or banner.

Knowing the kind of random people I find on the internet, it was only a matter of time before someone suggested that my logo should feature a walrus and an AK 47. And here, thanks to invisibleninja7 / David, is the logo that resulted from that lengthy, intelligent discussion regarding large mammals and assault rifles.

Personally I think that it captures my large, toothsome, gun-toting essence perfectly. Top stuff, invisibleninja7.

Oh yeah, I should probably mention some review stuff, right? I've got a couple of game reviews lined up, including 'Far Cry 2' and 'Fable 2', and it's possible I'll be doing one or two more.

As for films, I'm looking to review the new Bond flick 'Quantum of Solace', partly because I love Bond, partly because I want to find out what the name is all out.

As well as the usual Heroes episode reviews, I'm planning to do a series review of E4's 'Dead Set'. If you haven't heard of 'Dead Set', it's essentially Big Brother meets 28 Days Later.

So there you go, hopefully you'll come back and enjoy reading the reviews when they're up, and I hope you've enjoyed some of my recent writing.

Cheers,

Tom

Tell me that you'd never waste your time e-mailing me - tomdoodle16@live.co.uk