A teenager’s brutal murder brings the FBI to the small town of Greenvale. FBI Agent Francis York Morgan believes the murder is connected to a series of killings he’s worked across the country, but locals fear it’s the work of the Raincoat Killer – an urban legend who’s keeps citizens indoors on rainy days. To solve the crime, Agent York must convince the local police force to follow his unorthodox methods and he’ll need to survive terrifying encounters with Greenvale’s paranormal underbelly.

One of the joys of PC gaming was that I could buy a game I’d never heard of for $20 and have a fun gaming experience. However, development costs for consoles make budget titles a rarity. When I heard a survival horror game was coming out for the Xbox 360 and it would only cost $19.99, I was sold. Deadly Premonition is a quirky, compelling and scary horror game, held back by PS2-era presentation and a few odd design choices.

Among the many things established by the opening cutscene is that Deadly Premonition isn’t Alan Wake. The graphics are substandard; the draw distance is short and there’s a glaring lack of detail. Combine this with low resolution textures and a limited palette and everything looks muddy. I put this upfront because graphics can be a deal-breaker, but I encourage you to get past this.

33% of Deadly Premonition is an adventure game – its strongest element. Greenvale is an open world, letting you explore the town, visiting suspects at work and home – and peaking in the occasional window. Citizens keep to a schedule, so you’ll learn when they go for a morning hike or head home from work. But there’re some nuances: Emily goes to the bar after work, except on rainy nights when she stays in to make dinner. While not Oblivion’s Radiant AI, this system creates a living world.

The core of the adventure element, and Deadly Premonition’s most compelling feature, is its wide cast of characters. There are at least 30 voiced characters and Agent York will have meaningful interactions with all of them – either in scripted events or during one of the optional side quests (which are essential to appreciating the game’s narrative). It’s a small town so everyone knows (or is related) to each other, but what really comes across is how these people are connected to each other – and how, what becomes a series of deaths, truly shocks them.

33% of the game is survival horror. Mirroring Silent Hill, Greenvale takes on a nightmarish façade with red vines suddenly overgrowing parts of the town. Monsters – somewhere between ghosts and zombies – rise up from inky pools, and Agent York can either gun them down (with a growing arsenal) or sneak past them while holding his breath. Greenvale’s undead are disturbing humans who grotesquely contort their body seeking to ram their arms down York’s throat while moaning, “I don’t want to die.” The survival horror sections are eerie, but their effectiveness is undercut by having the best scares take place during cutscenes instead of in-game.

34% of the game is spent driving between the adventure and survival horror sections. Greenvale is a small town on a large map. It takes serious time to drive from one location to another and the locations are so spread out you’ll often spend five minutes just driving along a twisty forest road. In-game conversations make this more palatable, but while Access Games probably strived for realism, it just feels like padding.

To its credit, Deadly Premonition plays like you’re living in this town. With day/night cycles, weather effects and an in-game clock which often feels like it’s real-time, Greenvale has a living, breathing vibe. Speaking of living and breathing, the game throws food and sleep meters at you, so picking up food at the Milk Barn, eating at the A & G Diner, and calling it a night at the Great Deer Yard Hotel becomes part of your daily routine.

Deadly Premonition draws comparisons to Twin Peaks, but I found it Lynchean in a greater sense. The game nails quirk with Agent York, who reads his fortune in mugs of coffee, spouts movie trivia and carries on one-sided conversations with his imaginary friend Zach. But the quirkiness is offset by increasingly brutal crimes and nods to small town S&M. The game plays with dreamlike imagery and recurring symbolism, hinting at multiple meanings from something as simple as a red seed.

We always see fantasy worlds at their worst. Ferelden, the setting for Dragon Age: Origins, is no different. The darkspawn have again arisen from the underworld to spread their Blight. Once more the Grey Wardens assembled an army to crush them, but this time the confrontation ends disastrously — to the extent that the rightful leadership of Ferelden is now in question.

As one of the remaining Grey Wardens, it falls on you to end the Blight. Doing so will require unifying a country on the brink of civil war and convincing the dwarves, elves and mages to honor ancient treaties. How did you get to be so lucky?

Answering that question is one of Dragon Age’s strengths. After character creation — matching an elf, human or dwarf with fighting, thieving or magic using abilities — you begin your adventure along one of six paths. Whether starting as an apprentice in the Circle of Magi or running errands for Orzammar’s shadier citizens as a casteless dwarf, you get to explore your background before moving on to the esteemed ranks of the Grey Wardens.

Showcasing your origin story sets the tone for your character, and the choices you make here have ramifications throughout the entire game. This also makes replaying the game more palatable by bypassing the early level repetition of most RPGs. Even if you tend not to replay games, it’s worth exploring some of the other origins — side characters in one storyline are major characters in another and something as simple as a skeleton in a prison can take on poignant meaning.

After go from rookie to last, best hope, the game loses its rails and opens the world map to you. Here you travel by clicking on a location and watching the meandering path your party takes – punctuated by random encounters and scripted events (combat!).

Dragon Age: Origins uses a real time battle system. While you can switch between the four party members to micromanage them in combat, it isn’t required. Each character has several default profiles (which balance aggression against self preservation), but you can tweak the profiles to get the responses you want.

It’s an amazing level of control ranging from simply telling characters to heal themselves to ordering one of your fighters to drop everything and stun the enemy attacking you. It’s a bit of a learning curve, but it’s also the game’s best feature.

While your party is doing what you’ve programmed to do, your own actions depend on your character type. On my first playthrough, I was a rogue who lured enemies into traps before picking them off one by one. The second time around I was a mage who launched fireballs into crowds and summoned blizzards to freeze my enemies. Customization extends beyond the three main classes with specializations you can learn. Fighters, for instance, can range from noble Templars to demonic Reavers.

Overall, I was impressed with Origins’ controls. Most of your character’s abilities can be mapped to the face buttons and lesser used abilities and inventory are easily accessed from a radial menu which — thankfully — pauses the action. Although the combat is real time, I found it often required a level of strategy reserved for turn-based games. And it helps to maintain that tactical level of thinking, even when an ogre lifts your character off the ground and starts pummeling him.

Unlike Bethesda’s RPGs which are exploration-driven, BioWare’s are quest-driven. I prefer the immersive feeling of Cyrodiil, with its day/night cycles and Radiant AI-powered NPCs, but none of Dragon Age’s 60-hour play time is consumed by simply walking from one town to another or stopping to enjoy a sunset over a lake. Every area in Dragon Age is packed with content and filled with dialogue.

I was amazed at how quickly events could turn, based on my conversations. While recruiting the Circle of Magi, I reloaded an earlier save after a poor choice of words led my party to go Order 66 on them. Yes, Alistair, even the younglings.

Gathering elves, dwarves and men to face the forces of darkness may sound a bit Lord of the Rings to you, but Dragon Age earns points for its focus on Fellowship. As you progress through the game, you gain followers. Each character has a different motivation for joining with you and not all of them are there willingly.

Instead of opting for the traditional good/evil meter, Dragon Age tracks how much your party members like you. On the surface, good actions make them like you more, evil actions less – but Dragon Age throws significant moral quandaries your way and you’ll find that you can’t keep everyone happy. I’ve had party members abandon me, challenge me in combat and betray me.

Of course there’s also love. Taking an interest in someone’s life, giving them gifts and fulfilling their wishes (side-quests) may lead to romantic opportunities. I’m talking about sex – or what passes for sex. It’s really a short montage of partially clothed erotic (or homoerotic) poses. A minute later and you’re ready to hit the road again.

Dragon Age: Origins has amazing music (composed by legendary Inon Zur) and ambient audio brings life to environments which are visually stagnant. If you find yourself emotionally affected by the game’s events, it’s due to the superb voice acting. The cast is literally a who’s who of notable voice actors and almost feels like a Star Trek: Voyager reunion. The amount of dialogue in the game is stunning, both in terms of writing and delivery.

Graphically, the game is a disappointment. Textures are muddy. Environments are lifeless. Faces are unexpressive. And there is no convincing facial hair anywhere in the game. Now I’m not usually a graphics whore, but since BioWare elevated digital acting with Mass Effect, I came to Dragon Age with high expectations. Main characters have their beards sink into their chests. Armor digs into characters’ heads during conversations. Characters will be spattered in blood for no reason and will appear in several different outfits during a single cutscene. Most egregious is a major cinematic at game’s end which is so poorly compressed it’s like watching something on YouTube. It comes down to a lack of polish.

This lack of polish carries over to an overly complicated menu system which keeps poor track of quests and an ever expanding codex. You shouldn’t have to hit three different tabs to find all the information you need on a quest. With the level of content in the game, bugged quests are expected but I was happy with the overall stability in the game and the fact that game breaking bugs were rarely encountered.

Swap Grey Wardens for Spectres, darkspawn for the geth, and the Dalish longbow for the HMWA VII Assault Rifle and you might wonder what BioWare is doing here that they didn’t do in Mass Effect.

What they’ve done is reworked the party dynamic so your fellow adventurers are more than mindless followers. They’ve given gamers a compelling reason to visit and revisit the game by offering multiple starting points and a wealth of paths to explore in-game. And they’ve taken what could be a generic fantasy setting and infused it with hundreds of years of its own history. Dragon Age: Origins is another impressive example of BioWare’s world-building even if the world feels unfinished. Let’s call it a Large Flawed Ice Crystal.

Xbox 360 version reviewed. Also available for the PS3, PC, and Mac.

Sacred 2: Fallen Angel
Review score: A

Let me start with a disclaimer: I’ve made it through less than 30% of Sacred 2’s main quest and I’ve seen less than 20% of Sacred 2’s world. After over 30 hours of play, though, I feel justified in posting a review.

Sacred 2 is an action-RPG loaded with hundreds of quests, thousands of items and a menagerie of monsters. Gameplay is combat-driven so don’t expect to sneak around like a thief and you pick the good or evil path before launching the game so there are no moral quandaries to get in your way. If you need to feel immersed in a fantasy world, then Sacred 2 isn’t for you – but if you’re looking for a game that offers Diablo-style action and WoW-level of addiction, I highly recommend Sacred 2.

In the fraction of the game I’ve seen, I’ve learned that there’s some problem with elves and I’m guessing a Fallen Angel comes into play at some point, but I really don’t care. Not that I’m not interested in being the hero who brings salvation to Ancaria, but I’m having enough fun investigating crop circles, attending rock concerts, and collecting troll hearts. Sure there’s a plot to follow, but the flavor of the game comes from the multitude of side quests available. I eagerly scour cities looking for people with ? floating above their heads, never knowing if I’m going to be asked to wipe out a skeleton army or merely tell guests that the wedding’s off.

Just one more quest, I tell myself and then I get sucked into a mini-campaign or find a class-specific quest I’m compelled to do because I’m a good little Dryad. Yes, I am your typical wood nymph who longs to pepper enemies with arrows and cast her voodoo. She’s one of six preset characters available. Avoiding Gauntlet-style archetypes, Sacred 2 opts for classes like an angelic warrior (Seraphim), a resurrected soldier (Shadow Warrior) and an automaton resembling the Egyptian god Anubis (Temple Guardian).

Each character has different combat skills and magic available to them (called Combat Arts and grouped under three Aspects). Using my voodoo, I can envelop enemies in thorns and use shrunken heads to summon ghosts. With 15 Combat Arts to choose from, in addition to Offensive, Defensive and General Skills to hone, Sacred 2 has a pretty deep RPG system. Combine this with the variety of armor and weapons available and, even though I can’t change my character’s gender or make her ears pointier, I still feel like I’ve shaped her creation.

There’s always a concern that porting from the PC to a console involves a dumbing down of the interface, but the controller works great and allows for intuitive button mapping. You can assign potions to the D-pad and attacks to the face buttons and you can even use the trigger buttons as “shift” buttons letting you easily access up to twelve different attacks, spells, or combinations — in no way is the absence of a keyboard limiting. I have noticed that the controls could be tighter — the game doesn’t always recognize that I want to shift from my longbow to sword. Also, targeting isn’t precise — many times I’ve launched a flurry of poisoned bolts at a rat instead of the horrible monster next to it.

Sacred 2 favors open-world exploration over traditional dungeon crawling. This isn’t to say that you won’t spend a fair amount of time in cellars, caves and sewers fighting subterranean fauna, but Ascaron has built a huge fantasy world and – by Lumen! – they want you to see it. Grassland, desert, mountain, jungle – name an ecosystem and you’ll find it somewhere in the world of Ancaria. This is an incredibly detailed world. There are remnants of battlefields, strange machines, ancient graveyards and other wonders which you just happen upon if you stray from Ancaria’s network of roads.

Sadly, much of Ancaria’s beauty is lost to me because I’m either running like mad or hightailing it on horseback. Sacred 2 doesn’t have random encounters — it just has encounters. There’s no patch of wilderness which isn’t crawling with monsters who have the sense to travel in packs. It’s cool happening upon goblins fighting spiders, but it doesn’t take long for them to join forces against you. Once I barely stayed ahead of a pack of skeletons, bears, minotaurs, goblins, boars, and goblins riding boars.

However, Sacred 2′s deadliest feature is that you can’t pause the game. While the single-player setup is perfectly fine for misanthropes like myself, Ascaron really wants you to enjoy the multiplayer experience (2 player offline or 4 players online) and has created a pseudo-perpetual world MMO type experience. The end result is that if you stop to look at a map, level up, or muck about with your equipment, it won’t take long before something comes up and starts chewing on you. It’s much safer to do any charactery thing in cities, where you’re mostly safe. Luckily, the world of Ancaria is filled with transporters and respawny stones, so you can warp around to cities you’ve already visited and run to the blacksmith to have a magic necklace dropped by a diseased sheep welded to your quarterstaff to make it fiery.

I think Ascaron has a low opinion of my social life, because should I ever complete this massive game, I’ll need to replay it to see where the evil path leads me. And then there’s the other characters for me to try out and they each have their own quests. And I heard there’s an expansion on the way, which is like hearing that Slartibartfast is adding a new continent when I haven’t even seen Paris yet.

E3 (Electronic Entertainment Expo) 2009 is underway and the major players are grabbing their share of the media cycle by revealing hot games and new technologies. Once the major industry show, E3′s relevance has been questioned in recent years, especially since it has served more to confirm rumors than offer surprises.

It’s refreshing that Microsoft has kicked off the show with an impressive E3 Briefing. Here are the three biggest announcements Microsoft revealed today for their Xbox 360:

The Beatles: Rock Band
We knew this was coming on 9.09.09 (number nine, number nine, number nine) and we could have guessed at the track list, but did anyone see vocal harmonies coming? Support for up to three vocalists shows that unlike recent Guitar Hero releases, this isn’t just Rock Band with a Beatles skin. This is a multiplatform release, but the biggest surprise Microsoft pulled off was putting the two surviving Beatles onstage during the announcement. Paul and Ringo may have had an awkward two minutes in the E3 spotlight, but unless Nintendo or Sony have Elvis waiting in the wings, it would be hard to surpass this level of star power.

Social Notworking
I hope you like your couch, because Microsoft is planning to keep you on it. Announced today was integration for social networking giants Facebook and Twitter. Redesigned for your television, it will be easier to keep track of friends, share pictures and highlight your gaming excellence all through your Xbox. As if that isn’t enough, Microsoft is bringing Last.FM to Xbox Live subscribers letting them create and share playlists.

Project Natal
This morning people were talking about Xbox Fluid which morphed into Project Natal during the briefing. I can only assume the pregnant Trixie 360 created this natal fluid confusion. Anyway, Project Natal is Microsoft’s answer to the Wiimote. Bypassing controllers completely, Microsoft showed off the Project Natal concept which uses a camera for facial recognition and body movement tracking while a microphone picks up your voice. Examples shown included miming steering a car to play a racing game, unleashing a martial arts barrage to defeat an on-screen opponent and shouting trivia answers at the screen to win a multiplayer game. Potentially the biggest game-changer, Project Natal also faces the potential of being another gimmick like the EyeToy — or worse — the new Power Glove.

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In the Xbox 360 version of X-Men Origins: Wolverine you earn an achievement for killing 2000 enemies.  And I do mean killing.  With his foot-long adamantium claws, Wolverine dismembers, decapitates, and disembowels his way through some of the best standalone superhero gaming since 2004’s Spider-Man 2.

The “video game of the movie” is typically a tired, obligatory exercise.  Based on Wolverine’s last movie tie-in, X-Men 2: Wolverine’s Revenge  (TestFreaks’ FreakScore 3.2/10), gamers would be right to be skeptical of X-Men Origins: Wolverine.   But, X-Men Origins: Wolverine is more than the typical summer blockbuster throwaway title.   Taking cues from God of War, Wolverine is an epic brawler set comfortably between the X-Men movie franchise and the Marvel Universe.

Following the movie’s lead, Origins starts with a pre-admantium Logan engaged in a black ops mission in Africa.  Logan is part of a mutant team which includes his brother Victor Creed whose mutation parallels Logan’s.  Even without unbreakable bones, Logan is still a killing machine.  By alternating weak and strong claw attacks, players can chain combos unleashing savage attacks against machete and machine gun wielding mercenaries.

While it seems like button mashing at first, Origins has a robust combat system which allows Logan to throw enemies to their death, impale them on spikes, and — most satisfying — lunge at them from a distance.  As the game progresses, Wolverine levels up increasing his health and opening up rage-powered area of effect attacks.  Speaking of health, Wolverine’s healing factor is in place, but it’s more of a nice bonus instead of a game changer — think of it as a replacement for the ubiquitous health kits which litter most games.

Origins bounces between a present day adamantium-laced Wolverine, who’s dealing with severe fraternal issues by killing everyone standing between him and Creed, and the Africa mission where everything went south.  The game resembles the movie’s storyline, but has interesting deviations and many welcome additions.  In addition to an expanded Weapon X facility, Wolverine also tears through a secret robotics lab in the Southwest and the duel with Gambit has been stretched into a multistage battle.

The game pulls from the movie’s dialogue, with some original voice work from major cast members including Hugh Jackman (Logan) and Liev Schrieber (Creed).  I imagine the audio sessions which captured the various grunts must have been hilarious.  Aside from solid voice work (including audio logs ala BioShock), sound is largely unmemorable save for some nice ambient effects.

In addition to the expected boss battles and waves of mercenaries, including specially engineered foot soldiers and jungle mutants, Origins throws a few minibosses against Wolverine and it’s here that repetition sets in.  The first time you figure out how to take down a giant lava monster, it’s satisfying.  But by lava monster number three, the satisfaction is gone.  Later Origins introduces another oversized baddie and you’ll realize that you have to use the same strategy.  And then another oversized baddie is introduced.

Games based on movies have a narrow launch window, often giving them an unfinished feeling.  Origins is more solid than most, but there are a few nagging issues with the graphics including some slowdowns during larger battles and some aggravating clipping issues.  Mostly the levels are well designed — and props to Raven for throwing in some hilarious and timely easter eggs — but there’s definitely pressure to stay on the path.  And it’s a little head scratching that so many environmental puzzles are based on Wolverine trying to open doors, since his claws could easily slice through most of them.

However, these issues pale to the experience of forcing a commando to blow off his head with a shotgun or launching an aerial assault against a fleet of helicopters.  The visceral design of X-Men Origins: Wolverine makes gameplay a compelling (and M for Mature) experience.

Rating: B+