As the release date for Borderlands 2 grew closer, I was surprised at how excited I was for the game. I loved the first Borderlands, its challenge, skill progression, and charm had obviously stuck with me, so the sequel was an obvious buy. But I decided to push purchasing it to the first major Steam sale, that couldn’t be too far off, right? Well, thanks to 2K Games coming through and sending me a review copy, I was back in Pandora much sooner than I thought.

Borderlands 2 was released last month on Windows, Xbox 360, and PlayStation 3. I played the original Borderlands on my Xbox 360, but since then I’ve built a gaming computer and my Xbox Live has expired, it was an easy decision to switch over to the PC. I’ve honestly enjoyed the experience even more on my PC, essentially no loading times certainly help, and the superior graphics don’t hurt either.

I wish I could have gotten this review done sooner, but I just finished the game for the first time and Steam reports I played for 50 hours! I completed every side quest I could find and helped a friend level up a few times, but this is a big game that is worth exploring. 50 hours of one game in a month though for me is pretty crazy. Here’s my review of Borderlands 2.

The success of Prince of Persia: The Sands of Time completely rejuvenated a left for dead franchise. From a series that was known for its challenging, timed gameplay, rose a 3D incarnation that was nearly beloved by both the gaming press and gamers themselves. Setting the gears in motion for sequels, spinoffs, and a movie, The Sands of Time was both a trendsetter for many future titles and an acknowledgement to its roots.

A few years after its immediate trilogy sputtered off, Ubisoft tried to remake the prince once again with Prince of Persia, no subtitle. Much like the NES Ninja Gaiden and the Xbox Ninja Gaiden, Prince of Persia was annoyingly named the exact same as the original game twenty years its predecessor. But if fans were expecting an even closer imitation of the original, they would be quite surprised with the bigger changes made by Ubisoft.

Prince of Persia (2008, not 1989) received mixed reviews with attention to the excellent art and animation, but some disdain towards the game’s reported simple difficulty. What attracted me to reviewing the game’s first hour was definitely the art style. Borrowing the watercolor look from Okami was definitely a brave move by a generally conservative Ubisoft, and I am hoping some of that creativity might have run over to the parkour and fighting elements of the game. Let’s take a look.

Dishonored, the new property published by Bethesda (The Elder Scrolls; Fallout) and developed by Arkane Studios (Dark Mesiah; Bioshock 2), is a brave and original story looking to enter into a decaying console cycle – the time when the sequel and spinoff reign supreme. It has to be said, the sights are firm and the course is true; Dishonored is looking to contend for Game of the Year status – and so it should. Arkane Studios has talent from across the globe, and a laundry list of prior experience. From Bioshock to Half-Life 2 to Deus Ex, and many more, Arkane’s capability holds great repute.

Dishonored sets off to be the spiritual successor to the very franchises that inspired it and you would be hard-pressed to find a reason why it does not fit the bill. At its core, Dishonored is a first-person stealth action game. You are able to sneak around quietly, hit confrontation head-on, or some other combination of the two. The level of freedom here is something that would make any long-time Deus Ex fan smile. It’s not just about the gameplay, though – the level of presentation on display is top notch.

Before getting into the review-proper, I want to touch on the design and visual presentation; its uniqueness begs prying eyes to observe. Dunwall, the city setting in Dishonored, is designed by the very same man who imagined City 17 in Half-Life 2. Visually, I get the sensation that Arkane started with something relatively gritty, and then moved the entire art-style in the direction of pastel and caricature. It’s just utterly dripping with style and brave design choices. The character design in particular is especially reminiscent of old political cartoon artwork, with all the exaggerated features necessary to convey a character without words.

Now, it’s not all sunshine and roses when it comes to the presentation. There are elements of the game that feel somewhat dated. While the character design is a pure joy of originality, the animations leave something to be desired. I’m never left with the sensation that these are alive, even for a moment. There’s also not much in the way of post-effects being leveraged. You have god-rays, dynamic shadows, and that’s about it. And while the artwork is incredibly balanced and fitting to itself, I found myself reaching for my video card’s anti-aliasing controls in short order just to get everything to sit better with the art style. Neither the MLAA or FXAA solutions quite cut it – the jaggies on display just detracted from the pastel effect.

Saints Row 2 was already over the top. After an epic prison bust you then shoot up a courthouse and spray poop on rich people’s homes. It was crazy and pretty fun, and seemed worth playing beyond the first hour just to see what the developers could cook up.

Volition wanted to go bigger though, so they made Saints Row: The Third. Within days of release, the game was already famous for one of its weapons: The Penetrator, a giant purple dildo with realistic... dildo physics. But from my time with the game, I can promise you they really went to town with an adrenaline-pumping, action set-piece heavy first hour that simply blows the offerings Saints Row 2 put up.

So let’s take a look at the first hour of Saints Row: The Third, with this hour’s minute by minute section being sponsored by the absurdity of Volition, highlighting the crazy levels the game goes beyond even its predecessor.

The original Borderlands was a breakout hit for Gearbox Software in 2009. The cel-shaded mission-driven FPS-meets-Diablo-style super-hyphenated lootfest was a quirky and endearing departure from more serious franchises like Halo, Call of Duty, and Medal of Honor. Instead of pushing the same "OMG 40 modes of multiplayer!" angle that had gotten so popular, it chose to design around the concept of 4 player co-op gameplay. And it did so with relish.

With the success of Borderlands, Gearbox was able to move beyond porting other studios games and their now languishing Brothers in Arms property. Instead of working on others titles, they had a verifiable sales behemoth of their own making. But with great power comes great responsibility. Games like Borderlands often struggle because harried gamers don't give them a chance. In a retail sea awash with sequels and spinoffs, new IPs often struggle to gain traction. Because of this, those gamers who do latch onto a new piece of software, often feel entitled. Afterall, they took a chance on an unknown, thus contributing to its success. These types of fans are a double edged sword. They are often some of the most vocal in supporting a game and getting the word out. But they are also frequently among the hardest to please with sequels, as the developers try to thread the needle of offering new and interesting content, while staying true to the experience of earlier games.

This is the environment that Gearbox developed Borderlands in. How does one replicate the success of a game whose popularity was so driven by its quirky uniqueness? In other words, how does one make a game that is the same, but still unique? If I had the answer... if anyone had the answer, they would most likely be very rich. It's a moving target. The question is whether Gearbox is as accurate at hitting that target as some of the guns they designed for the game. And if they are, can they relay that fact to a gamer in the first 60 minutes? Let's take a look at Borderlands 2 and find out.

Growing up, playing a game cooperatively usually meant sitting down with a friend in front of my NES playing Contra, Teenage Mutant Ninja Turtles, or Chip 'n Dale Rescue Rangers. The game was either made easier with a second player (twice as many bullets!), or twice as hard (fellow chipmunks can be used as weapons!). But as games have evolved from the living room to the internet, cooperative play has changed too.

Portal 2 was designed with two campaigns in mind, one for the single player and the other for multiplayer, specifically a cooperative experience with no traditional way to communicate available. Both sets of levels were brilliant in their own right, and excelled in creating a unique undertaking. On the other hand, the original Trine was made for local gaming only. Friends gathered in front of the TV or monitor and lead the trio of heroes on their adventure.

Trine 2 introduces online co-op for up to three gamers, fixes many complaints from the first game, and features some of the most gorgeous graphics I've ever seen in a video game. I finally got to tax my video card. Steve and I played through the entire game together online without voice communication, here are our thoughts.

I like freedom in games. That being said, I love open world games-the ability to run around a virtual world, doing missions whenever I please, and I will give any open-world sandbox game a chance, from Toy Story to Saints Row. I fondly remember the “undercover cop” GTA rip-off True Crime series so ridiculous it was almost hard to take serious about ten years ago-yeah, the one that let you play as Snoop Dog. I soon found out that Sleeping Dogs, seemingly released out of nowhere this month, was the once-titled True Crime: Hong Kong, only having changed names due to legal reasons after switching publishers from Activision to Square Enix. While it may have once belonged in a line of True Crime games, TRUST ME- In no way, shape, or form is this anything like what I remember the True Crime series being like. (In a good way.)

With Square Enix’s reboot, remastering and renaming of the True Crime franchise, now Sleeping Dogs, they have tooled what could prove to be one of the biggest surprise smash hits this year with tight gameplay all around and with a story more compelling than most of Rockstar or THQ’s gangster tales have ever felt. Here is my review of Sleeping Dogs for Xbox 360.

Without Rockstar Games and Grand Theft Auto III, we wouldn’t have Sleeping Dogs, The Saboteur, and possibly dozens of other series, including Saints Row. But whereas Grand Theft Auto IV upped the realism to aggravating levels (managing relationships and awful driving are the worst offenders), Saints Row has descended further and further into insanity, basically delivering the same sandbox joy that GTA III, Vice City, and San Andreas were known for.

I’ve never played the original Saints Row, and while Saints Row 2 seems to continue directly off from the first game, I’m guessing I’ll be able to jump into the gangster-filled world with ease. I’ve heard tons of great things about the third game recently, but the second one flew under my radar, so I’m not exactly sure what to expect.

Here’s the first hour of Saints Row 2 for the PlayStation 3.

I find it kind of amazing that I grew up as a geek and never experienced any of the Warhammer 40,000 gaming culture. This is a tabletop game that has expanded far beyond the living room, including graphic novels, movies, books, and lots of video games.

Released last September from Relic Entertainment, Warhammer 40,000: Space Marine stars one of the more popular aspects of the lore: Ultramarines. Super soldiers in huge armor that are seemingly unmatched on the battlefield. To the Warhammer ignorant, they may look like rip offs of the COG soldiers from Gears of War, which is a rather unfortunate comparison considering Warhammer has been around since 1987 and has undoubtedly inspired dozens of video game universes itself, including Gears.

So it’s time for me to take my first steps into the Warhammer 40,000 universe with Space Marine on the PlayStation 3. In one hour, I’ll know whether or not I want to stay any longer.

We’ve played our share of unique games here at First Hour, but Catherine is in a league of its own. With adult-oriented anime scenes about love, marriage, and infidelity splitting time between fast-paced, psychological horror block puzzles, Catherine is... different. The game opens with a television show framing device, dives into our hero’s nightmares, and is apparently pursued by two women named Katherine and Catherine.

Developed by Atlus and released a year ago for the PlayStation 3 and Xbox 360, Catherine was well received by the press but noted for its oddities. These types of games often are not seen outside of Japan, but Atlus made a gamble which reportedly has paid off, with Catherine being their best North American launch ever.

As we move beyond our fifth birthday, I’ll be making some changes to my first hour review format. I’m going to cut most of the big “minute by minute” section which (sometimes tediously) detailed the happenings of the game. Instead I’ll call out the game’s strengths and weaknesses section by section much like Nate does. So without further ado, here’s the first hour of Catherine for the PlayStation 3.