Staring through the sniper scope of my Gewehr 43 rifle, I could see the silouhette of a German soldier perched atop the roof of a building in the near distance. He had already taken out one of the Britsh troops directly to my right. Now I saw him reloading his weapon. He would take aim at me next. He probably assumed I couldnt see him from my position. I lined up my shot calmly, knowing from firsthand experience that it took at least four seconds to fully reload the Gewehr. Three of the seconds were up. By the fourth second, I saw the soldier bring up his rifle. I knew he was aiming for me, but it was too late. I had already pulled the trigger. The sound of a single bullet exploding from the long barrel of the gun echoed through the streets of the burned, broken city.
I think Brad's assessment of the game is generally accurate, but I cannot match his enthusiasm for Headhunter. When he claims it is the videogame equivalent of a Van Damme or Steven Segal movie, hes right. I, however, don't consider that a compliment.
Unfortunately, despite some redeeming qualities, Agent Under Fire ultimately feels like yet another attempt to slap a lucrative license onto derivative gameplay in an attempt to fatten the bottom line.
Trying to gauge which game was the first to blur the line between game and movie is a daunting task (and one sure to inspire more than a few arguments). However, the game that tends to stand out as one of the first to do it effectively is Half-Life—a classic PC game that is now making its debut on the PlayStation 2 gaming console.
Anyone who reads GameCritics.com regularly will know that I'm not a big fan of first-person shooter (FPS) games. I don't hate them, but I don't think it's particularly fun to just run around and blast things, either. Most of the games tend to be very repetitious and unimaginative, and the genre has rarely captured my attention. Being the non-fragger that I am, I was particularly interested to check out Half-Life.
Game Description:Half-Life features an integrated storyline with stunning visual effects and a huge, sprawling environment filled with aliens determined to hunt you down and kill you. You no longer just point and shoot—Half-Life is a dynamic, plot-driven, complex world where you need to play smart to survive. Monsters have a strong instinct for self-preservation. They will duck, jump, hide behind barriers to avoid gunfire, and even retreat if feeling threatened. Superior AI drives these behaviors and they are different for each species. Plus you can choose from 18 different weapons, ranging from a crowbar to laser-guided rockets.
Mechanical innovation is often viewed as strictly contextual, in that it solves a problem or improves the functionality of a gameplay element. Gunvalkyrie challenges this perception by eschewing the conventions of its genre with a complex, unorthodox control scheme that radically shapes the direction of the game.
Undoubtedly, Ecks Versus Sever is a very competent FPS despite being hampered by a very tiny view screen, barely serviceable controls, and limited 3-D rendering hardware. It has a uniquely conceived design premise based on the two playable perspectives of its opposing spy protagonists, Ecks (emotionally-scared father where the death of his family continues to haunt him) and Sever (heartless femme fatale who born and raised to kill).
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