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Of the many great lines in the classic 1985 film “The Breakfast Club,” my favorite has always been the knowing enticement delivered by Judd Nelson’s character, the delinquent John Bender: “Being bad feels pretty good, huh?”

It most certainly can, and that is why the Grand Theft Auto series is so successful, both commercially and artistically. In its ambition, fearlessness, style and production quality, it stands apart from every other game franchise.

All sorts of games are about visions of power, often accompanied by violence. But most titles are set far away from what most people would consider the real world: off in outer space, on a historical battlefield, in a mythical land of dragons and elves. A distant, fanciful realm both heightens a sense of fantasy and allows designers to avoid tough questions about social responsibility.

Most designers fear those questions. Rockstar Games, maker of Grand Theft Auto, does not. The company appears to recognize that it is not necessarily irresponsible to portray the real world’s underbelly. After all, Americans love gangsters and criminals in their entertainment. Americans even like to see the bad guys win once in a while.

Grand Theft Auto IV and its tale of the Balkan immigrant Niko Bellic were a revelation last year. This week, Rockstar is releasing the first additional episode for the title as a $19.99 download available only for the Xbox 360 via Microsoft’s Xbox Live Internet service (it is not available at retail stores).

Called “The Lost and Damned,” the new episode is set in the same dark, vibrant, often hilariously sarcastic version of the metropolitan New York area that provided the backdrop for, and was the most compelling element of, the original game. While dystopian, this vision is not nihilistic. Like the original, the new episode conveys a humor, wit, intelligence and sense of cultural satire that, although sophomoric at times, at least never takes itself too seriously.

“The Lost and Damned” suffers from a few curious and unfortunate design decisions — players often have less freedom than in the original — that will probably prompt most to return to the original game after completing the new episode’s main story. But there is no question that it is the most fully realized, thoroughly produced and substantial downloadable add-on yet released for a console game. Anyone who enjoys Grand Theft Auto IV should get it.

From a business perspective, 2009 may be shaping up as the year when downloads become a viable path to develop and release significant console games; if so, “The Lost and Damned” will be leading the way. (The new episode will probably become available for the PlayStation 3 and PCs once Rockstar’s exclusive deal with Microsoft expires, but it is unclear when that will happen.)

In “The Lost and Damned,” the player takes the role of one Johnny Klebitz, vice president of a New Jersey motorcycle gang called the Lost. Johnny has been running the gang ever since its president, Billy, went into a drug rehab program as part of a plea deal. As the episode begins, Billy is leaving the program and returning to what he considers his rightful place at the head of the pack. Naturally, Johnny and Billy have different ideas about how the gang should be run and how aggressively they should confront their archrivals, the Angels of Death.

The writing here is as streetwise and sassy as in the original game, but perhaps it is somewhat inevitable that the scope of Johnny’s story feels much smaller and less epic than Niko’s journey last year. Ultimately, this is the story of a small-time biker gang in New Jersey, little more.

In Grand Theft Auto IV, you could move into a penthouse if you liked. In “The Lost and Damned,” your only beds are some ratty mattresses in a couple of filthy, run-down buildings. In Grand Theft Auto IV you could choose the overall vibe of your lifestyle (what you drive, where you live). In “The Lost and Damned” there is no way to change the hard-core thrash metal coming from the radio in your disgusting kitchen.

That’s fine if you like hard-core thrash metal. But a vital part of the Grand Theft Auto experience has always been giving players free rein to define their own tastes and preferences. The new episode gets away from that a bit.

In terms of the actual mechanics of driving and shooting, it’s significantly easier than Grand Theft Auto IV. It often requires you to drive a motorcycle (another contrast with the original game, in which players usually could choose from a range of vehicles), and the bikes’ handling is significantly more forgiving than in the original game. So while “The Lost and Damned” includes about a third as many missions as the original, it takes significantly less than a third as long to complete. I got through the main story in about 8.5 hours (and then spent about the same amount of time exploring and completing optional shootouts and races).

For $19.99, that is a great value. Despite its occasional stumbles, “The Lost and Damned” sets a new standard for what a downloadable console add-on can achieve. Being bad still feels pretty good.

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Left 4 Dead is a co-operative, survival horror, first-person shooter video game. It was developed by Turtle Rock Studios, which was purchased by the Valve Corporation part-way into development. The game uses the Source game engine, and is available for Windows-based personal computers and the Xbox 360.

The game pits four Survivors of an apocalyptic pandemic against hordes of aggressive zombies. There are two game modes: a four-player, co-op Campaign mode, and an eight-player Versus mode. In both modes, an AI, dubbed “The Director”, controls level pacing and item spawns, in an attempt to create a dynamic experience and increase replay value.

The game went gold on November 13, 2008, and was released on November 18, 2008 in the United States; and on November 21, 2008 in Europe to coincide with the tenth anniversary of the release of Half-Life. A five-minute trailer was released on Halloween. A playable demo was made available on November 6 for pre-purchasers and on November 11 for the general public, and was closed on November 18, 2008. The demo contained the majority of the first two chapters in the “No Mercy” campaign, and was playable in both single and multi-player co-op.

Left 4 Dead was well received with an aggregate score of 88% on Game Rankings and 89% on Metacritic upon its release, with praise given for its replay value, focus on cooperative play, and movie-like experience. Similar to Team Fortress 2, Valve intends to support the game with downloadable content.

Gameplay

Left 4 Dead is a first-person shooter but makes use of the third-person perspective during certain events or player actions. In Campaign and Single-player mode, the player takes control of one of the Survivors; if four human players are not available, then the remaining Survivors are AI-controlled bots. They play through the levels fighting off the “Infected”—living humans who have been infected with a mutated rabies virus to which the Survivors are immune.

The game is focused on cooperation and team play; colored outlines of teammates are visible through walls to help players stick together and coordinate their movement. If a Survivor falls off a ledge, then they may automatically hang onto it and can only be helped up by another Survivor. If a Survivor’s health is depleted, then they become incapacitated and can only be revived by another Survivor, at which point they continue playing with a low amount of health that decreases over time. If a Survivor has been incapacitated and revived twice without tending to their wounds, then they will experience distorted black-and-white vision, and the next incapacitation will kill the player. If a Survivor incurs enough damage while incapacitated, or is not eventually helped up by teammates, then the incapacitated player will die. If a Survivor is killed, then they will respawn in a closet or other enclosed space after a period of time (except during key points in the scenario or in Versus mode), but must be freed by another Survivor to rejoin the team. Otherwise, the player must wait until the next level. Survivors can share first-aid kits and pain pills and help each other heal. Left 4 Dead has friendly fire that cannot be disabled, increasing the need for caution around other Survivors. On the Easy difficulty level, friendly fire does not harm teammates but still registers as having occurred.

The Survivors communicate by voice commands that are accessed by quick menus, and some sound off automatically when performing actions such as reloading or spotting Infected. Over 1000 unique lines have been recorded for each Survivor. Additional communication of player actions is conveyed through character lights. Also, weapon-mounted flashlights and muzzle flashes help the players in determining whether their companions are shooting, performing melee attacks, reloading or moving. Due to control issues and the likelihood of players using a LIVE headset, the Xbox 360 version of Left 4 Dead omits the quick phrases feature.

The game is experienced through four campaigns that take place in various urban and rural locales. Multiple visual in-game hints, including license plates, park signs, and markings on airport equipment, imply that these locations are in Pennsylvania. Each campaign is divided into several chapters marked by safe rooms, which are checkpoints where players can heal, re-arm, and revive players who were killed. Specifically, the four campaigns are: “No Mercy”, an urban setting; “Death Toll”, a small-town and countryside setting; “Dead Air”, an airport setting; and “Blood Harvest”, a woodland and farm setting. The levels are essentially linear, with distinct beginnings and ends, but there are a number of alternate routes to follow with more supplies, helping to create a sense of non-linearity. In the final chapter of each campaign, the players must defend a position from an onslaught of Infected until rescue arrives. Each campaign typically lasts between 45 and 75 minutes depending on the difficulty level.

Survivor characters

There are four playable human characters in the game: Francis (voiced by Vince Valenzuela), a tattoo-covered biker; Zoey (voiced by Jen Taylor), a college student and horror movie enthusiast; Louis (voiced by Earl Alexander), a Junior Systems Analyst in his company’s IT department; and Bill (voiced by Jim French), a former Green Beret and a Vietnam veteran. Early plans were for players to be randomly assigned to characters but in the final release, players can choose any character—provided that the character has not already been selected—or be randomly assigned an unselected character.

Survivors are armed with various firearms. Each player starts the game with a M1911 pistol. It has unlimited ammo and is the only weapon that the Survivor can use when they are incapacitated. When a second pistol is found, the player can dual wield them. Regardless of what weapon a player is using, a melee attack can be used. At the beginning of each campaign, the player can choose between an Uzi submachine gun and a pump-action shotgun. As the Survivors progress through a campaign, more powerful weapons can be found: the M16A3 assault rifle, Benelli M4 Super 90 combat shotgun, and Ruger Mini-14 rifle. In addition to firearms, a player can also carry three other items in their inventory: improvised grenades (either a Molotov cocktail to create a wall of fire or a modified pipe bomb designed to attract the Infected to it, with a blinking light and alarm attached to it); a first-aid kit, which heals the Survivor on which it is used; and pain pills, which provide temporary health and can be handed to teammates for later use. Also available are environmental weapons, such as gasoline cans, oxygen cylinders, and LPG tanks, that explode when shot. These can be picked up and moved by the survivors, however while carrying an object they cannot use their pistols or primary weapons.

Infected characters

The “Infected” are the Survivors’ foes in Left 4 Dead, and they appear to be partly inspired by the infected from several modern films, including 28 Days Later. The Common Infected encountered during the game are fast and agile, weak individually, but may be overwhelming in numbers. They occasionally attack en masse, referred to in game as a “Horde”. In addition to the Common Infected, there are five “Special Infected” whose mutations grant them special attacks that make them much more dangerous: the Hunter, an agile Infected that can pounce on Survivors from a great distance; the Smoker, an Infected that ensnares Survivors with its long tongue at a distance and, upon death, releases a cloud of smoke; the Boomer, a bloated Infected whose vomit and bile (which may be released at will or upon death) blind the player and attract the Horde; the Tank, a huge, muscular Infected that is the most powerful and difficult to kill; and the Witch, a passive female Infected that, when provoked by a loud sound, light, gunshots, or a Survivor approaching too close to her, will attack her provoker. The victims of some of these attacks require assistance from a teammate before they can regain control. Each of the Special Infected, as well as approaching Hordes, have a distinctive sound or a timely musical cue, making their presence easily recognizable by players.

More Information

• Developer(s)  Valve Corporation, Certain Affinity (Xbox 360 version)
• Publisher(s)  Valve Corporation
• Distributor(s)  Electronic Arts (retail), Steam (online)
• Designer(s)  Mike Booth (director)
• Writer(s)  Chet Faliszek
• Composer(s)  Mike Morasky
• Engine  Source
• Platform(s)  Microsoft Windows, Xbox 360
• Genre(s)  Survival horror
• First-person shooter
• Mode(s)  4 player Cooperative multiplayer, 4 vs 4 Versus multiplayer

Links

• Left 4 Dead official website
• Left 4 Dead on Steam

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Super Smash Bros. Brawl is the third installment in the Super Smash Bros. series of crossover fighting games, developed by Sora and published by Nintendo for the Wii video game console. Brawl was announced at a pre-E3 2005 press conference by Nintendo president and Chief Executive Officer Satoru Iwata. Masahiro Sakurai, director of the previous two games in the series, assumed the role of director for the third installment at the request of Iwata. Game development began in October 2005 with a creative team that included collaborations with various second- and third-party Nintendo developers. The game was released on January 31, 2008 in Japan, March 9, 2008 in the United States, June 26, 2008 in Australia, and June 27, 2008 in Europe.

The number of playable characters that players can control in Brawl has grown from that of Super Smash Bros. Melee; Brawl is the first game in the series to expand past Nintendo characters and allow players control of third-party characters. Like its predecessors, the object of Brawl is to knock an opponent off the screen. It is a departure from traditional fighting games, notably in its simplified move commands and emphasis on ring outs over knockouts. It includes a more extensive single-player mode than its predecessors, known as The Subspace Emissary (SSE). This mode is a plot-driven, side-scrolling beat ‘em up featuring computer-generated cut scenes and playable characters from the game. Brawl also supports multiplayer battles with up to four combatants, and is the first game of its franchise to feature online battles via the Nintendo Wi-Fi Connection.

The game was met with positive reviews, with critics praising the game’s entertainment value, despite issues relating to Brawl’s loading times. The game’s musical score, which was composed through a collaboration among 38 renowned video game composers, was lauded for its representation of different generations in gaming history. Brawl received an aggregate review score of 94% on Metacritic and 93.3% on Game Rankings. It has sold a total of 7.47 million copies worldwide as of September 30, 2008.

Gameplay

Following its predecessors, Brawl uses a battle system unlike that of typical fighting games. Players can choose from a large selection of characters, each attempting to knock their opponents off the screen as they fight on various stages. Instead of using traditional health bars that start at 100% and lose value, Brawl characters start the game with 0% and the value rises as they take damage. As a character’s percentage increases, the character flies farther back when hit. When a character is knocked beyond a stage’s boundary and disappears from the screen, the character loses either a life or a point depending on the mode of play. Brawl includes a function which allows players to create profiles with personalized button configurations for each control method along with their chosen username.

The characters fight each other using a variety of attacks. Players execute each move by pressing a button in conjunction with a tilt of the control stick or a press of the D-pad, depending on the mode of control. In addition to basic attacks, characters have access to more powerful moves, known as smash attacks. Each character has four unique moves, which often cause effects besides damage to an opponent. Brawl introduces the ability to perform character-specific super attacks, referred to as “Final Smash” moves. Significantly more powerful than regular attacks, these moves have a wide variety of effects that range from nearly unavoidable blasts to temporary transformations. Final Smash moves may be performed upon destroying a Smash Ball, an item bearing the Smash Bros. logo.

Characters can use items ranging from projectiles to melee weapons; each has a different effect on the characters around it. Although many items have returned from previous Super Smash Bros. games, new ones have been introduced as well. Some returning items have changed appearance and function. Two varieties of items, Assist Trophies and Poké Balls, temporarily summon guest characters and Pokémon, respectively, that generally aid the summoner. They cannot be controlled by players and are usually invincible.

More Information

• Developer(s)  Sora
• Publisher(s)  Nintendo
• Designer(s)  Masahiro Sakurai
• Writer(s)  Kazushige Nojima
• Composer(s)  Takahiro Nishi, Shogo Sakai, Masaaki Iwasaki, Yutaka Iraha, Keigo Ozaki, Kentaro Ishizaka
• Series  Super Smash Bros.
• Platform(s)  Wii
• Release date(s)  JP January 31, 2008, NA March 9, 2008, AUS June 26, 2008, EU June 27, 2008,
• Genre(s)  Fighting/Action
• Mode(s)  Single-player, multiplayer, online multiplayer[6]

Links

• Official Super Smash Bros. website
• Super Smash Bros. Brawl guide at StrategyWiki

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Chrono Trigger is a console role-playing game developed and published by Square (now Square Enix) for the Super Nintendo Entertainment System in 1995. The game’s story follows a group of young adventurers who travel through time to prevent a global catastrophe. Square re-released a ported version by TOSE in Japan for Sony’s PlayStation in 1999, later repackaged with a Final Fantasy IV port as Final Fantasy Chronicles in 2001. A slightly enhanced Chrono Trigger was released for the Nintendo DS on November 25, 2008 in North America and Japan, and will go on sale in Europe in early 2009. It has never been released in PAL territories on the SNES or the PlayStation.

The development team of Chrono Trigger was headed by three designers that Square dubbed the “Dream Team”, consisting of Hironobu Sakaguchi, creator of the Final Fantasy series, and Yuuji Horii and Akira Toriyama—two freelance designers known for their work on Enix’s Dragon Quest series. The game was produced by Kazuhiko Aoki. Masato Kato wrote most of the plot, while composer Yasunori Mitsuda scored most of the game before falling ill and deferring remaining tracks to Final Fantasy composer Nobuo Uematsu.

Chrono Trigger was well-received by reviewers and commercially successful. Nintendo Power magazine described certain aspects of Chrono Trigger as revolutionary, including its multiple endings, plot-related sidequests focusing on character development, unique battle system, and detailed graphics. The game has shipped more than 2.36 million copies in Japan and 290,000 worldwide as of March 31, 2003.

Gameplay

Chrono Trigger features standard console role-playing game (RPG) gameplay with several innovations. The player controls the protagonist and his companions in the game’s two-dimensional fictional world, consisting of various forests, cities, and dungeons. Navigation occurs via an overworld map, depicting the landscape from a scaled down overhead view. Areas such as forests, cities, and similar places are depicted as more realistic scaled down maps, in which players can converse with locals to procure items and services, solve puzzles and challenges, or encounter enemies. Chrono Trigger’s gameplay deviates from that of traditional RPGs in that, rather than appearing in random encounters, many enemies are openly visible on field maps or lie in wait to ambush the party. Contact with enemies on a field map initiates a battle that occurs directly on the map rather than on a separate battle screen. This concept had previously been featured in such titles as Secret of Mana and Final Fantasy Adventure, but was uncommon at the time for RPGs outside the action RPG genre.

Players and enemies may use physical or magical attacks to wound targets during battle, and players may use items to heal or protect themselves. Each character and enemy has a certain number of hit points, and successful attacks reduce that character’s hit points, while hit points can be restored with potions and spells. When a playable character loses all hit points, he or she faints; if all the player’s characters fall in battle, the game ends and must be restored from a previously saved chapter, except in specific storyline-related battles that allow or force the player to lose. Between battles, the player can equip his/her characters with weapons, armor, helmets, and accessories that provide special effects (such as increased attack power or defense against magic), and various consumable items can be used both in and out of battles. Items and equipment can be purchased in shops or found on field maps, often in treasure chests. By exploring new areas and fighting enemies, players progress through Chrono Trigger’s story.

Chrono Trigger uses an Active Time Battle system—a staple of Square’s Final Fantasy game series designed by Hiroyuki Itō for Final Fantasy IV—named “Active Time Battle 2.0″. Each character can take action in battle once a personal timer dependent on the character’s speed statistic counts to zero. Magic and special physical techniques are handled through a system called “Techs”. Techs deplete a character’s magic points (a numerical meter like hit points), and often have special areas of effect; some spells damage huddled monsters, while others can harm enemies spread in a line. Enemies often change positions during battle, creating opportunities for tactical Tech use. A unique feature of Chrono Trigger’s Tech system is that numerous cooperative techniques exist. Each character receives eight personal Techs which can be used in conjunction with others’ to create Double and Triple Techs for greater effect. For instance, Crono’s sword-spinning Cyclone Tech can be combined with Lucca’s Flame Toss to create Fire Whirl. When characters with compatible Techs have enough magic points available to perform their techniques, the game automatically displays the combo as an option.

Chrono Trigger features several other unique gameplay traits, including time travel. Players have access to seven eras of the game world’s history, and past actions affect future events. Throughout history, players find new allies, complete side quests, and search for keynote villains. Time travel is accomplished via portals and pillars of light called “time gates”, as well as a time machine named Epoch. The game contains thirteen unique endings; the ending the player receives depends on when and how he or she reaches and completes the game’s final battle.[10] The re-release of Chrono Trigger for the DS features a new ending that can be accessed from the End of Time upon completion of the final extra dungeon. The ending is reported to contain a new optional final boss. Chrono Trigger also introduces a New Game+ option—after completing the game, the player may begin a new game with the same character levels, techniques, and equipment (but not money) that he or she ended the previous game with. Certain items central to the storyline are removed and must be found again, such as the sword Masamune. Square has since employed the New Game+ concept in later titles, including Vagrant Story, Chrono Cross, Parasite Eve and Final Fantasy X-2.

More Information

• Developer(s)  Square, TOSE (PS and DS)
• Publisher(s)  Super Nintendo Entertainment System, JP Square, NA Square Soft, Inc., PlayStation, JP Square, NA Square Electronic Arts, Nintendo DS, Square Enix
• Designer(s)  Takashi Tokita, Yoshinori Kitase, Akihiko Matsui, Yuuji Horii, Hironobu Sakaguchi
• Writer(s)  Masato Kato
• Artist(s)  Akira Toriyama
• Composer(s)  Yasunori Mitsuda, Nobuo Uematsu, Noriko Matsueda
• Series  Chrono
• Platform(s)  Super Nintendo Entertainment System, PlayStation, Nintendo DS
• Genre(s)  Console role-playing game
• Mode(s)  Single-player

Links

• Official Japanese Chrono Trigger for Nintendo DS website
• Official North American Chrono Trigger for Nintendo DS website
• Chrono Trigger guide at StrategyWiki