The First Hour

Initially, Humble Indie Bundle 3 was only five videogames for whatever price you deemed worthy: Crayon Physics Deluxe, Cogs, VVVVVV, And Yet It Moves, and Hammerfight. After a day or two, a free pass for Markus “Notch” Persson's Minecraft was added, allowing HIB3 buyers to play the blocks-laden indie game until August 14, 2011. This might have had something to do with the fact that Notch was/is one of the top contributors to the cause, dropping well over $4,000 for a handful of games he surely already owns. But it's easy to figure out why he'd support indie games like so, and giving the wary a free looksie into his own thriving title is a smart decision.

For some time now, I've been interested in Minecraft. Take note that I did not say interested in playing Minecraft, as the two statements are actually very different. Just interested. From the outside, it looks like a creative, germinal, easy-to-play game that is just asking you to open it up and go nuts. Plus, y'know, I grew up on Lego blocks. It's just plain ol' nature here, stacking and breaking blocks galore and building crazy fortresses loaded from ceiling to cellar with booby-traps. However, Minecraft could also share the same problems many other open-world games have, where there is ultimately little purpose.

At E3 2011, it was announced that Minecraft was coming to the Xbox 360, my preferred gaming console. For now, I'll be giving the game a swing on my Macbook, and hopefully it can handle everything. It's struggled to run other games from Humble Indie Bundle 3 (and previous iterations). I am and always will be a console gamer though so if I do enjoy my time here, I'll more than likely download it from Xbox Live Arcade whenever it becomes available.

(WARNING: This post discusses significant plot points of Infamous and Infamous 2 in detail. You are now at the gates of Spoiler City. Turn back if you intend to play the game with a blank slate someday.)

One of the cornerstones of horror is mystery. People fear the unknown, enough so that they will fill in the blanks with their own personal hellspawn when presented with a few creepy clues. Things that go bump in the night don't need to bare glistening fangs or a bloody hook to terrify us: they just have to bump.

This connection is easily exploited to make a good scare even better. It sounds crazy that so many left theaters spooked after the Blair Witch Project, considering the titular monster was never shown, yet that's exactly why the movie was a hit. Cloverfield saw that success and adapted it to trailers and TV spots, depicting a Godzilla-level monster attack from the view of those unable to see the monster directly. Video games are catching on as well, with many praising Amnesia: The Dark Descent for providing scares when nothing's there.

Infamous 2 isn't a horror game, but it makes excellent use of this deprivation technique to ramp up the suspense. The story's core is Cole MacGrath's quest to prepare for the destined arrival of The Beast, a being of such power and wrath that only at his fullest potential could the hero hope to stop it. Throughout the game, chilling reminders of this impending cataclysm are ever present, casting a shadow of despair that even overcasts Cole's considerable predicaments in the here and now. And when the Beast finally arrives, revealing itself at last to the wearied but hardened superman, the suspense is replaced with a dread so thick that it suffocates the player in a way no game ever has before.

One of the fun attributes of film noir is that, while often filmed in a stark black and white style, the characters and situations aren't so easily sorted. Good guys can keep bad habits, damsels in distress can turn femme fatale, and the line between cop and crook gets muddy. Black and white is the look, but gray is the tone.

L.A. Noire, Rockstar's latest critical smash, pays tribute to film noir's unclear nature not only in style but also in its design. A vast open world is the stage for a linear story. Modern gunfights and street races play nice with adventure game relics and intuition simulation that should prove to be the game's lasting legacy. And, given the task, I'd place L.A. Noire somewhere in the spectrum between pretty good and almost great.

But to be honest, that's not really what this piece turned out to be. It's not quite a review, but not really just a critique, either. Want a review? Here: "L.A. Noire isn't a bad game by any standard, but it's more an interesting experiment than it is a great experience." I'll even throw a number at you. "7." Bam, reviewed.

With that addressed, the following is a look at a few of the ways L.A. Noire straddles many seemingly opposite design elements. Sometimes this leads to nagging issues, others to surprise delights. But more often than not, it's hard to say either way.

I vividly recall some trials and frustrations in my time with the original inFAMOUS (not the least of which was that horrible spelling which will henceforth be abandoned), but overall I really enjoyed the game. As much as the sticky platforming, messy mission design, and transparent morality system bothered me, I ultimately had a great time surfing on power lines, tossing electric grenades, and guiding a concentrated lightning storm down alleys of soon-to-be-corpses. It was inevitable that the game would get a sequel due to its ending (and the sad, predictable nature of this industry), and I really hoped that Sucker Punch would iron out a few of the teeth-grating problems I had with the original.

Lo and behold, it's one month and two years later, and there's another Infamous game. Boasting a locale with more colors than gray, melee combat that's not completely worthless, and the promise of acquiring more elemental powers, Infamous 2 certainly seems like the kind of sequel that boasts incremental improvements over the original and hasn't yet worn out the franchise's welcome. Pretty typical of a "2," really.

I find it amusing that the game arrived in my mailbox last Monday, the same day that Sony featured a trailer from the game in its E3 conference. Shortly after their presentation, I had my first taste of Infamous 2. I grabbed three clips from my first hour: arrival at the new sandbox city of New Marais, the first new power tutorial, and an early choice between good and evil sidequests.

I like to think I'm open-minded, but it's undeniable that I'm leery of open-world games. The genre's tendency to prioritize quantity over quality often produces sandboxes full of activities and environments that are rough around the edges (if not outright broken). That's not to say that the entire package can't overcome the inadequacy of its individual elements, but the apparent lack of focus often leads me to suspect that developers sometimes take the kitchen-sink route to distract players from a game's inability to evolve, improve, or even replicate proven game mechanics.

It's this perceived deficiency, whether imagined or real, that has distanced me from THE sandbox developer's games. I had a decent time ramming criminals off the road in Grand Theft Auto III's vigilante missions, and Red Dead Redemption's gorgeous frontier can be fun to gallop through, but I've mostly ignored Rockstar's standard-setting sandboxes. While Web of Shadows and InFamous at least throw some fancy superpowers into the mix, there's not a whole lot more to Grand Theft Auto and Red Dead Redemption than driving and shooting, one or both of which are available (and often superior) in a thousand other games.

So it certainly was a surprise for me when I caught my first trailer for L.A. Noire -- a project that Rockstar has been cooking up for many years now -- and saw a concept that appears not only focused, but novel and ambitious as well. The game's use of facial capture animation produces some of the most realistic character visuals the medium has ever seen, and the trailers would have you believe that it's not just for show: players will have to intuit characters' body language and act on hunches in order to get to the bottom of each case. The feeling I'm getting is less Grand Theft Maltese Falcon and more Phoenix Wright: Cynical Detective. I'm skeptical that it will quite live up to what I have in mind, but I'm more than willing to let it try.

The following video is a taste of L.A. Noire's third case, which should give you an idea of a detective's duty and how to do it with all the bumbling inadequacy of Inspector Jacques Clouseau.

We haven’t played a lot of first hours of racing games: Diddy Kong Racing, Beetle Adventure Racing, and Split/Second, that’s about it. They don’t make for very conducive first hour and usually a gamer can figure out within the first lap of the first race whether they’ll enjoy the rest of the game.

But Burnout Paradise set about to turn racing games on their head. Mixing the super-arcade pedigree of the previous Burnout titles with the open-worldness of the Grand Theft Auto series produced one of 2008’s hits. Criterion Games produced a well received game that has allowed them to branch out and work on last year’s Need for Speed: Hot Pursuit, which also received similar acclaim (and many, many sales).

I have a long history with the Burnout series stemming from a random rental I made of Burnout 3: Takedown during college. I was very excited to play Paradise when it was released but had to settle with just playing the excellent demo for the longest time until I received the game myself for the Xbox 360.

This first hour review was originally supposed to be for the site Games ‘N Beer, which hopefully much like this site, is self-explanatory in nature. I conducted some drunk driving safely in my own living room playing Burnout Paradise with a six-pack of Summit beer in January 2010, with the intention that he would post the review along with my thoughts on the beer. Alas, CJ Stratton has seemingly given up on the site with only one post since then, so I’ve decided to deliver the goods the normal way.

As for the beer, it was delicious and went down smooth. As for the game, here’s the first hour of Burnout Paradise.

I played the first hour of Red Dead Revolver last year, mostly in preparation for what was going to be one of the biggest game releases of the year, Red Dead Redemption. I didn’t really like the start of the game too much, it felt cliched and reminded me a lot of Rising Zan: Samurai Gunman in the way the gameplay and story were structured. Pro-tip: that’s not a good comparison.

But here I am, finally, with the first hour of Red Dead Redemption. Rockstar essentially threw out everything but the Western setting of Revolver during development of Redemption, and it definitely shows. While Revolver felt like an arcade game at times, Redemption really does feel like Grand Theft Equine.

Released last May, Red Dead Redemption has sold many copies and reaped many awards, but so did Grand Theft Auto IV, and I could only stomach about a dozen hours of that monster before giving up due to its tedious amount of relationship balancing and all-too-realistic driving gameplay. But if any company has been able to learn from their mistakes in the past, Rockstar Games is that developer. Let’s ride into the first hour of Red Dead Redemption for the Xbox 360.

Since Grand Theft Auto III was released in 2001, there has been a new expectation of open world video games. Along with a story, there needs to be dozens of extra things to do that usually have little to do with the actual plot, such as driving a taxi cab, delivering pizzas, or putting out fires (that you started!). Now what if we had a game that featured an open world, but was story driven and linear? Seems like a bit of an oxymoron, but that’s exactly what Mafia II is.

Mafia II was released in August on the Xbox 360, PlayStation 3, and Windows. Reception has been good but for a game in development for over half a decade, some gamers and analysts were expecting better. Mafia II is all about recreating that favorite mobster movie of yours and putting control into your hands. While it isn’t my favorite genre of film, I can appreciate a good mob tale when I see one.

Our copy of Mafia II was provided to us by 2K Games, this review is for the Xbox 360 version.

When someone talks about the mob, the first thing that pops into our head is probably a great gangster movie. Be it The Godfather Part II, Scarface, or Goodfellas, there are a lot of excellent mob films to land on. 2K Games would like to change that though with Mafia II, the sequel to the 2002 hit, Mafia: The City of Lost Heaven.

Can you even name a decent mob game? Sure, there have been Godfather games, a bargain bin full of Yakuza titles, or even the Grand Theft Auto series, but there has not been a standout mob game since the original Mafia. A game that flew way off my radar, but must have landed on someone’s as it received a lot of critical acclaim.

So here we are eight years later with Mafia II. Yes, the game has essentially been in development that entire time as it was originally slated to release on the original Xbox and PlayStation 2 (remember those?). Fans of the original are going to be expecting a lot of improvement over nearly a decade of development, and those who are unfamiliar with the series are going to be asking what sets Mafia II apart from the likes of Grand Theft Auto IV.

Mafia II was released on the Xbox 360, PS3, and Windows. The First Hour’s Xbox 360 copy was provided by 2K Games.

I don’t think I’ve ever played a game and honestly felt sad that the developer was no longer around, but that’s exactly what happened after I beat Pandemic Studios’ swan song, The Saboteur. I had an honestly great time with a flawed game, which is the opposite experience I’ve had with similar games in the genre. 

The Saboteur is pretty much the quintessential First Hour game: I played the first hour of the game a few months back, loved it, but had to send it back to my brother-in-law. A few months later I had the opportunity to borrow it again and jumped at the chance. When I said I wanted to keep playing, I really did.

Without much further ado, The Saboteur was released on the Xbox 360, PlayStation 3, and Windows, and while the game seems to hint at future sequels, with the studio closing it is doubtful those will ever appear.   But you never know, I’m assuming EA owns the license to the game and characters so they might trudge up good old Sean Devlin again someday.

My full review is on the Xbox 360 version.