Once again, we have returned from a brief hiatus to discuss what in the world of video games has been on our mind and taking up our time. It’s been a little while so we’ve had plenty of time to get some games in during the early summer — Nick and Tyler both have thoughts on InFamous, Aaron’s now one of us, and Doug’s catching up with two of 2010′s best action games. Nick also weighs in with what is easily one of the most bizarre recommendations we’ve ever made.

Anyways, without further ado (do do), TO THE BACKLOOOOOOG!

Nick

Oh, that wacky Conquistador.

Duke Nukem Forever is out, and I’ve played the demo. After more than a decade of waiting uneasily, its release is not unlike the removal of a benign tumor. Good riddance.

InFamous 2 is also out. Based on the demo, Sucker Punch has delivered some impressively animated and ultimately soulless action-platforming, just like the first one. I can’t help but feel like some of that blame can be placed on them for not sticking with their initial, more humanizing redesign of Cole, the protagonist from the first game. Fans were outraged for reasons I can’t even begin to understand, and Sucker Punch acquiesced by returning to the shaved-head, gruff-talking hero from the first game. Just like every other blockbuster game in the last five years. Way to go out on a limb, guys. Let me know when Sly 4 is out.

Look, I realize this is getting a little pessimistic, but I wanted to point out that there is still some originality to be found and joy to be experienced in gaming. I’ve got two examples: something old and something new.

The old game is The Legend of Zelda: Link’s Awakening DX. I never realized just how strange this game was until I revisited it over the last couple weeks on my 3DS. There’s something wonderful about the peculiar diction used by Koholint’s inhabitants and the Mario-universe enemies that populate the game’s side-scrolling sequences. It’s also a true classic, sporting some seriously compelling dungeon design, excellent music and goofy humor. While I could go on, I’ll save the rest for another day — and possibly another medium.

Don’t read too much into that. Unless that’s your kind of thing.

The new game is an absolutely outstanding tribute to Cave’s shoot-’em-up bullet-hell games. It’s called Jamestown, and it’s ten dollars on Steam. Buy this game.

Go ahead, buy it. Seriously.

I’m not going to beat around the bush. This game is amazing. The core game is supremely tight and refined, combining gorgeous sprites running at a high frame rate and several distinct, easy-to-learn but hard-to-master ships to play as. It’s also got a lot of extra content to keep you occupied, including challenge missions and an alternate, unlockable campaign.

The plot is compelling and epic in scale. You’re a British colonist in the year 1619 in the settlement of Jamestown, struggling against the hazardous native populations and the campaign of destruction being waged by the Spanish Conquistador.

Also, Jamestown is on Mars, and there are squid-like aliens.

Still with me? This is the game for you. I recommend it without reservation.

Tyler

The cast of "X-men: First Class" is bored of this InFamous talk. Go see their movie instead.

One of the most unique aspects of video games as a medium is that, as a direct result of their inherent activity you can, to some extent, influence the outcome of every situation. In some ways this is more significant than others. In Super Mario Bros. you will always complete the game by saving the princess; however, the means with which Mario deals with enemy encounters and the order in which he progresses through the levels is left entirely to the judgment of the player. As narrative has begun to play a stronger role in contemporary titles, the amount of agency a player has has likewise shifted. A game in the Call of Duty series will allow players to deal with enemies how they see fit but only with the tools the designers provide in a very careful constructed environment. For all intents and purposes, these type of games are a slightly more interactive blockbuster movie.

On the complete opposite end of the spectrum you have titles like Nick Cummings’ 2010 favorite, Minecraft. This is a title almost completely devoid of any narrative other than what one makes of it, and whatever happens in the world is almost certainly the result of direct action by the player. I can, to some extent, respect either extreme; both present unique cases for the potential of games. What I have a difficult time appreciating is when a developer will try to have their cake and eat it too by creating a tight, forward-moving narrative and provide some sort of illusion that the player has any real agency in this world or story.

Sony recently made their “Welcome Back” PlayStation Network promotion available to users and I took the opportunity to replay Sucker Punch’s 2009 open-world superhero title InFamous. I enjoyed the game for what it was two years ago and it worked well as an early summer release, but after two years much of the veneer has worn off for me. The gameplay is there, protagonist Cole McGrath has electricity/lightning-based powers (ala Marvel’s Electro and DC’s Livewire) that upgrade in interesting ways over the course of the campaign. What is most frustrating about the title is the aforementioned illusion of player agency. Open-world titles such as Just Cause 2, Grand Theft Auto: San Andreas and FarCry 2 provide strong reasons to break away from the level-act structure most narrative based games employ by crafting an interesting world with a variety of ways to influence it. InFamous’ Empire City is neither interesting as a setting nor is there any meaningful reason to interact with it beyond story missions. It is itself yet another New York City analogue, minus any of the personality (granted, part of the game’s narrative is that the locale is recovering from a severe explosion and is under quarantine), with plenty of other titles that have explored similar ideas with superior results. InFamous actually drew many comparisons to a similar title released in 2009, Prototype, which actually took place in a quarantined Manhattan with a super-powered protagonist.  Though Prototype was much less polished than Sony’s exclusive, the traversal and interactions with the world it constructed are significantly more entertaining.

The second egregious offense of dangling player agency as this carrot to the stick is InFamous’ morality system. I can accept that the decisions player makes in missions are obnoxiously binary (i.e. save this orphan or kick this puppy), many other modern releases have similarly employed such concepts to much more successful results. The first time I played InFamous I chose the evil path; this time I took the other route and was good. The powers are different, but evil’s are much more useful, which certainly put a damper on the more recent play-through. This is a trivial complaint compared to the fact that Cole does not feel any different as a character as a result of choosing alternate decisions at these key moments. The immediate result changes but his reaction to the circumstances of the world is uniform to each side of the story.

My opinion of InFamous has changed because everything it does that is intended to make the game unique and stand out are aspects I have seen done better one way or another in other media very recently. Mass Effect 2 has a better personality system, giving the player much more simulated control over their protagonist, even in an extremely linear space; Fallout: New Vegas provides a far more compelling destroyed open-world and a more diverse toolset with which to effect it. And ‘X-Men First Class’ (a truly fantastic film, by the way) shows that there are far subtler ways to show moral relativism with regard to super-powered beings in a comparatively realistic setting.

It is unfortunate that the reason I chose InFamous as one of the two free titles Sony made available in their Welcome Back promotion is that I sincerely wanted to get excited for the just-released sequel. Playing through InFamous did anything but, and unfortunately reviews seems to indicate most of these issues were not fixed for InFamous 2. Three Sly games gave me faith that Sucker Punch can deliver an entertaining title and I truly want to seem them do more with their next release than what InFamous delivers.

Aaron

Proof that Aaron is now one of us!

There’s been a significant development since our last Backlog.

I’m an iPhone owner.

My years of protesting aside, it’s only taken a few weeks of acclimation to my newly connected lifestyle to make me appreciate the special nook a smartphone has in day-to-day wanderings. I’ve got my apps set up, I’ve purchased a few games (Sword & Sworcery EP, Infinity Blade, Puzzle Agent, Army of Darkness Defense, Words With Friends and Gears) and I spent a large portion of my recent vacation to Bend, Oregon tweeting, posting to Instagram and following up on my Facebook news feed. I don’t think the folks at Verizon realized they were creating a monster.

But I haven’t always embraced the best parts of Web 2.0, 3G and app-fever. The people closest to me can attest to my notoriously bad social habits when it comes to phone calls, text messages and emails. Now with an iPhone always within reach, I have no excuse. And I’m preserving the lifespan of my ancient desktop by doing the majority of my Internets on the ol’ Jesus Phone (named so for its magical powers, which are beyond those of normal phones). Shit, I’m even digesting more media content than before thanks to apps like Pulse news — in many ways I’m becoming a better, smarter and more handsome human. Who doesn’t look cool holding an iPhone?

Most of you have suffered and recovered from this type of new-phone fever by now, but this is a pretty big development for me. I apologize for any curmudgeon-y attitude I may have demonstrated in the past when discussing the iPhone. Everyone but me was right, for once.

Now regarding “traditional” videogames, I have little to say. I’ve begun an attempt to 100% L.A. Noire, and I even purchased the Rockstar Pass because I just can’t get enough of Phelps and Co. And last week I polished off The Witcher 2, which should be remembered as the most-improved sequel in the last 10 years.

Honestly? I’m not jazzed about much else right now. I can definitely feel my mind focusing its entertainment needs on my iPhone and its seemingly endless vault of treasures. Couple that distraction with a general lack of any major games releasing in the next month that I care about (InFamous 2 is…”a’ight,” I suppose), and I’m starting to get restless. I need Deus Ex: Human Revolution to come out, and be amazing too, or I need to give up and buy a 3DS and Ocarina because I’m simply outta-my-fucking-gourd.

Doug

Doug is glad Ubisoft gave Ezio more ways to kick ass in combat in Assassin's Creed: Brotherhood; it got a bit stale in AC2.

Since we last spoke, my most significant achievement has been winning my second World Drivers Championship in F1 2010. Okay, so in the grand scheme of things it isn’t that important — packing and preparing to move to Japan in August is probably the most important thing I’m doing now. But, as somebody who loves F1 racing, loves playing racing games, and was hopeful last fall that the first F1 console game in five years would be as good as advertised, I’m happy to see it’s a little more Ferrari than Minardi, if you follow the F1 allusion. I’m now on my fourth season in the game and will probably keep with it until F1 2011, which should be out this fall, and if previews are to be believed, should be much improved.

On a related note, if Kairosoft ever releases Grand Prix Story for iPhone, my life will be over. It’s out on Android, and if the name sounds like Game Dev Story, that’s because it’s that game. But with auto racing. So, yeah.

However! In an unexpected turn, I’ve been playing games with single-player storylines and third-person cameras! No, I promise, I’ve broken the fever of sports games for the time in order to finish a couple of last year’s best before I bid my Xbox 360 adieu. First up is Bayonetta, which I never put enough time into when I borrowed it from Nick last year but have grown to really appreciate and love since buying it on Xbox Live.

It’s a very different game from what I’ve grown accustomed to with modern action games, where you unlock all the moves and weapons you need through the course of play. Sure, this also happens in Bayonetta, but a lot of the good stuff is stocked in the Gates of Hell store. Combine that with no suggestion as to which upgrades to pursue and ignore, and you’ve got the recipe for a very old-school, trial-and-error experience. Adding to that is the control and gameplay, which can be overbearing and difficult, but rarely in a way the player can’t understand or learn from.

As an action game, though, it’s a very different animal from the other title I’ve just picked up, Assassin’s Creed: Brotherhood. After such a rocky start with the first Assassin’s Creed, the gameplay and storytelling have taken massive steps in the Assassin’s Creed II games. I only got through AC2 earlier this year (which is my fault) and when I saw that Assassin’s Creed: Brotherhood was available for $40 on Xbox Live, I knew I had to have that, too.

I was a little disappointed with the very beginning of the game. It’s a necessary contrivance, and actually pulled off halfway decently, but damn am I tired of games Metroid-ing you right at the beginning. I know it’s necessary in order to have a “difficulty ramp” and to re-acquire goods so that the player isn’t overpowered at the beginning of the game, but I think it would be a neat change of pace for a developer to roll with once. Maybe Ezio won’t lose all his mojo at the beginning of Revelations this year?

To focus so much on other aspects should tell you two things: First, that I’m not terribly far into the game. Give me a week or so and Rome will bend to my will. Secondly, that the game is still so good. I was a little worried about stepping back into the fray and picking the controls and systems back up, but damn, Ubisoft has refined them in such a way as to make the game feel incredibly natural. Climbing buildings for viewpoints is such a cool experience, and I think one of the defying gameplay experiences in this generation.

We honestly can't remember what Snake is memorializing here, but the old soldier sure is rocking an appropriately solemn mustache

Don’t call it a comeback? We’ve been through down periods before, and we’ve come back stronger before, but this one feels good. We’ve got a four-man strong Backlog that is incredibly lengthy (helped along by Tyler’s mini-article about RPGs) and features as disparate things as L.A. Noire, Fallout 3, Chrono Trigger, LAN parties, Doug’s sports games, Bayonetta, and more.

There are also more promises to write again, so please be on the lookout online, on Twitter, on Facebook, in RSS feeds and via smoke signals to see when we’re publishing great articles once again. So, without further ado, TO THE BACKLOG!

Aaron

What's Aaron learned from L.A. Noire? Cole Phelps can grill to make a suspect spill.

I’m cutting a swathe through the bullshit and getting to the point today: L.A. Noire is among the most engaging games I’ve ever had the pleasure of shoving into my console’s disc tray. It’s nearly two weeks after its release, and I can’t get it out of my mind. When I’m at work, I’m analyzing my case load for mistakes. When I’m cooking dinner, I wonder who would have been convicted if I’d used a different piece of evidence in an interrogation. When I’m not playing L.A. Noire, I’m thinking about it.

And why is that? What makes a modern take on a classic film, literature and television genre standout? Well, dear reader, that’s because Rockstar and Team Bondi (whose backs should certainly be patted) have made a game more real than anything else on the market today; its realism lies in its intrinsic reliance on the human condition and a player’s complete suspension of disbelief. Your instincts matter, and your natural intuition, which evolved over millions of years for the express purpose of reading emotion, can change the entirety of the scripted experience. As much as I love choice and consequence in videogames, the good and evil dichotomy most games latch onto (since Knights of the Old Republic popularized the notion) is infantile compared with the responsibility a player is entrusted with throughout L.A. Noire. Lives are in your hands, and your indecisions or your missteps can — and will — cost lives. It’s so brilliant that I still can’t believe this game exists, and isn’t just a complete mess.

A CSI-branded bargain-bin game L.A. Noire certainly is not. A fictionalized pulp tale that in 30 blissful hours justifies videogames as an artform L.A. Noire most certainly is.

Tyler

Tyler thinks that New Vegas' sense of humor is a strong contrast to such a bleak world.

When an acronym is used with enough frequency it begins to lose the meaning of what it stands for and takes on an identity all its own. A major offender in gaming in this regard would be Super Mario RPG, a game featuring one of the most famous protagonists in gaming, a man whose role for all intents and purposes is very clearly defined. When I was younger, an RPG wasn’t a “role-playing game”, it was a game with magic points, some (however slight) degree of strategy in combat and usually an epic storyline filled to the brim with melodrama. RPG for me back then was all things Squaresoft plus a handful of other titles hailing from the far east. I never played Dungeons and Dragons and had no experience with the progenitors of the genre like Ultima or Wizardry. No, it wasn’t until I received a budget-priced Fallout two-pack as a gift in middle school that I truly understood what it mean to play a role of your own making in a video game.

It was daunting then, and perhaps more so now, to come from the experience having only played linear titles to be thrown into a world with the freedom to go everywhere and do anything with only the slightest degree of direction. The first two Fallout games remain in my mind some of the only games in existence in which there is no correct way to play. Don’t enjoy combat? Whether you wish to be an explosives-loving, smooth-talking locksmith, a drug-addicted, kung-fu field medic or an autistic, sharp-shooting savant, the progression of the games and how the wasteland welcomes you is entirely within the player’s control. The difference between an RPG like Fallout and one like Final Fantasy VII is the difference between playing with action figures and playing with Legos. Once the rules of the game are understood, true role-playing games stop being intimidating and become freeing in ways that truly show off their potential of the medium.

The most recent release in the series, Fallout: New Vegas, represents those ideals better than its immediate predecessor, Fallout 3. Not to put down 3, as it served wonderfully as a reintroduction to the franchise, but it lacked much of the series’ levity and do-anything/be-anyone mentality. The player’s role was more clearly defined and his/her choices more limited. It makes sense to have this return to what Fallout originally stood for, as developer Obsidian was formed from the fallout (hah!) of the collapse of the franchise creator Black Isle.

Right from the start, Obsidian’s additions bring the classic Fallout experience to Bethesda’s formula; the game was built on the Gamebryo engine used for Fallout 3. I have been playing in Hardcore mode: selectable from the start of the game, the option is seemingly built entirely for role-players. The mode causes the player to grow tired, thirsty and hungry and adds some other difficulties that one would naturally expect to encounter were they forced to roam a post-nuclear apocalyptic Mojave desert.

Also evident at the beginning is a secret feature present in the first games, the caustically fan-defined “retard mode.” If the player chooses to set their avatar’s intelligence to a level of three or below, NPCs will believe that the protagonist must be suffering from some sort of severe brain trauma, and player responses will be written as short and simple sentences, sometimes even being simple grunts or nondescript noises.  It may sound pointless and almost counter-intuitive but it adds so much to the experience and does a great job of setting the tone for the game.

Talking to a friend yesterday about why Final Fantasy XIII failed so completely from a design standpoint, it drew to my attention how different these two games are, despite them both being released in 2010. XIII is sterile and pristine, every environment is meticulously designed with such a narrow path the player sees it all. It lacks a lot of the bugs and overall jankiness New Vegas suffers from, but it also loses so much personality and charm in the process. If you don’t like the characters you’re playing with, tough shit, you’re stuck with them for the entire experience. Naturally there is a balance between these two ends of the RPG spectrum, but ultimately it comes down to choice and freedom. If a developer wants to constantly throw the player down a set path interrupted only by quick-time events and cutscenes then there’s certainly a market for that, as titles like God of War and Call of Duty prove time and time again. But please, developers, leave RPGs for those of us that want to make our own path, not walk down yours. When designing an RPG it’s important to know your role.

Nick

Nick wants to revisit Chrono Trigger every year, like a fine well-thumbed-through novel, but doesn't have the time! Oh, the irony.

When it comes to gaming, the biggest problem I’m facing is probably the best problem I could ever hope for: There are too many great games to play and not enough time to play them.

I’ve got a stack of games in front of my TV that I fully intend to finish off before the post-E3 onslaught descends upon us. It includes recent games like L.A. Noire and Mortal Kombat, but there’s also quite a few less-recent hits that I really need to finish off. I know that I could wrap up Singularity, Enslaved and Bulletstorm in a couple of hours each, but I just don’t have that sort of time anymore. And that’s not to mention deep, rich RPGs like Demon’s Souls and Valkyria Chronicles, both of which have much more to offer before I can feel comfortable putting them to rest.

And Chrono Trigger! No game has ever come close to the impact on me that Chrono Trigger did, and yet I haven’t played past the Millennial Fair on the recently-released Virtual Console version. CT is just one of those things that I need to revisit every year or two, much like Harry Potter or Calvin and Hobbes.

It’s a shame, because having that time to get deep into a videogame is so important to me. A solid single-player experience can be so intellectually enriching, much like reading a good novel.  I’ve got my hands full in other aspects of my life, but I think it’s a mistake to underestimate the importance of downtime.

That goes for older games, too. Last night I went to a mini-LAN party at my friend’s apartment. As someone who hasn’t so much as plugged his desktop into a network with other Windows-based machines since PAX 2009, it felt a little bit like going home again. A four-player local run of Left 4 Dead 2 on expert was one of the most challenging and gratifying group experiences I’ve had recently.

There’s just something weighty about LAN gaming. I think a large part of that is owed to just what a pain in the ass it is to throw a LAN event together: people have to haul desktop computers — all but a relic of the past at this point — into a shared space, troubleshoot network issues, make sure games are patched, and so on. Because there’s that base level of commitment, the cooperative spirit is deeply entrenched in the LAN environment and taking on the hardest challenges in a fiercely collaborative game like Left 4 Dead works amazingly well.

Finally, I’m spending a good deal of time trying to get my shit together when it comes to writing. I’m not going to beat around the bush: I have been a colossal disappointment on this front. We’re coming up on nearly three months with almost nothing to show for it, and as a writer, that’s pretty much a death sentence. I’m trying to find the right routine or mindset to get back on the wagon, but until I figure it out, any and all suggestions are welcome.

Doug

Doug is going to be seeing the shining neon of Tokyo and Japan again soon.

Much of what I’ve been playing has involved scratching ritual itches: Formula 1 2010, Pro Evo Soccer, NCAA Football. Time keeps on ticking, but it seems inevitable I’ll be playing some kind of racer, soccer game, or football game at any given point. But what’s this? Something new, as well? Well, at least a little new: Bayonetta.

I picked Platinum and Sega’s game back up a week ago via digital download on Xbox Live, and after crossing my fingers that it would read my existing save data, fired it back up. Nothing like jumping back into a complicated game you haven’t played in a while at the worst possible time — right before a boss. As a tangent, this is why I haven’t played Fallout 3 since it killed my last Xbox 360 — by now I have no clue where I am, how dead my character is, if it’s in a firefight, or what. Kind of a risk to take, and the re-learning curve is incredibly steep.

But I found my feet again in Bayonetta, and I remain incredibly impressed with the title. Combat is wonderfully fluid and creative, controls are weighted perfectly, and nothing is ever really taken out of your hands. Despite the difficulty, it’s more a challenge than ever really unfair; you have all the tools to kick angelic ass, and the battles are never so tough to feel overly punishing. Even jumping back in during a boss fight, I could figure out what the pattern was and then try to execute on it. The challenge was in staying alive long enough and not accidentally jumping into attacks that would kill the hell out of you. Sure, there’s a really goofy story and the aesthetic of the game is definitely Japanese, but I feel it’s much better executed in the game than if you were to get a quick glimpse from screenshots or videos.

I don’t know if it’s available direct-to-download on the PlayStation 3, but it’s all of $20 as a download on Xbox Live and can be found for a little cheaper in stores. It’s completely worth your time and money.

The other game I’ve been playing as of late is “prepare and pack to move overseas,” one that I think Tyler already has a bunch of the achievements for. I’m going to be moving to somewhere in Japan as of this August (I still don’t know where specifically, which just adds to the fun!) and though I’m worrying about things like banking and the culture clash and doing an entirely different job and what clothes I need to take, I’m also a gamer, and trying to figure out what I can take with me. Of course my Nintendo DS is going to come along for the trip — it’s region free, it’s one of the most popular systems in Japan, and I can fit all my games for it into an Altoids tin. My laptop is coming along as well. What gets tricky is when I think about my Xbox 360. Time to investigate my options, although I think I’d have to get it shipped over, because my packing options are limited.

Regardless, I’m excited and looking forward to the challenge. Hopefully it will lead to interesting stories to be related here.

Image by friend of the site Brian Gundell

I don’t care who you are, if you’re an Oregonian, this is a weekend you care about. It’s Civil War weekend, and as proud (if a bit underemployed) alumni of the University of Oregon, all three of us have a side to take in the game. Good luck getting much done in Portland tomorrow between noon and 4 pm, and god speed to anyone driving south on I-5 from Portland who isn’t going to the game. I don’t think it hurts us to take an excessively pro-Ducks stance, so here goes:

LET’S GO DUCKS!

We do have the usual Backlog content to go with the heaping of school pride, though. Nick’s been stabbin’ fools in Assassin’s Creed: Brotherhood, Doug’s tackling some single-player games passed over during the year, and Aaron has been finding a balance between work, games, and the Wasteland.

Nick

This reminds me of a recent Penny Arcade comic that featured this very thing. Didn't think I'd actually see it in the game!

So there’s this book I was working on? Anyway, I guess it’s out now. I wouldn’t really know much about that kind of thing.

Now, though, I’m faced with an overabundance of free time — that is, until panic sets in and I spend my days focused only on job applications and the crippling guilt that comes from having lived at home for four months now. But in the meantime, I’m hoping to finish sampling games as we lead up to our Game of the Year feature later this month. Let’s talk about some games, okay? Is that fine?

As is my custom, I demolished Assassin’s Creed: Brotherhood‘s single player mode and have been climbing the ranks of multiplayer. I had my doubts about that series getting a direct sequel a year after Assassin’s Creed 2 did so much to improve upon the original, but it delivered in just about every way I could have hoped for. Granted it’s much more of an incremental improvement over its predecessor, but I still think it’s safe to say that Brotherhood is the strongest overall game in the series.

Playing Prince of Persia: The Forgotten Sands makes me wonder if Ubisoft has any idea what made 2003′s Prince of Persia: The Sands of Time such a landmark success (and, if I’m remembering right, my declared favorite game of that year). Like most flagship series under the Ubisoft helm, it’s had its fair share of ups and downs, ranging from the unabashed shittiness of Warrior Within, the relatively successful conclusion of that trilogy with The Two Thrones, and 2008′s series reboot, which remains one of my favorite current-gen experiences — so as you can imagine, most people thought it was stupid. The Forgotten Sands is the product of a company groping in the dark for whatever serendipitous formula made The Sands of Time a classic, and it sees the series returning to an almost carbon copy of that exact formula. However, the crucial elements — the balanced pacing between exploration and combat, the storybook charm and narration, the stuffy Prince — are all watered down. Yeah, it’s an okay game, and if you never played the old trilogy you might get a lot out of it. But to me, Forgotten Sands is kind of just sad, you know?

I also spent an hour with 3D Dot Game Heroes, a tediously paced and, frankly, pretty boring homage to The Legend of Zelda. It’s clever and weird and unlike much of anything else out there, so you’d think I’d go wild for it. But for whatever reason, I feel like it hasn’t done much to spark any sort of attachment for me. If it had a stronger identity or it was more self-aware with its Zelda imitations and references to gaming culture, then maybe I’d stick with it. But so far, it’s a pretty bland experience all around.

And then, at the opposite end of the spectrum from Brotherhood, there’s Fable 3. I’m a few hours in, but I don’t think I’ve seen a lazier sequel from a big-name studio this generation. I’m trying my damnedest to engage with this game, but it’s just sort of sitting there, twiddling its thumbs and occasionally humming under its breath, staring vacantly out into the distance. This is not a game that was ready for the world to see.

Doug

It's from multiplayer and not single-player, but this Halo: Reach screenshot was too badass not to post.

Much like Nick, this is the time of the year where all three of us have to get caught up on some of the games we may have missed this year. Thanks to the largesse of my chums, I’ve been able to borrow and put some time into a couple of the titles that may be up for our Game of the Year award.

I’m about three or four hours into Bayonetta and I can’t believe I haven’t gotten to the game sooner. I mean, it must be cheap used by now, right? Regardless what you think of the game’s setting, cut-scenes or art direction (to put it kindly), the actual fighting engine and in-game combat is really, really fun. Seeking out attacks to dodge then activate Witch Time can feel a bit hokey, but bouncing from target to target and kicking ass feels appropriately…err…bad-ass. The mechanics are great, and I can tell I’ve barely scratched the surface. Time to kick the difficulty down from normal and see what Bayonetta has, because I do not have time to repeat bosses four or five times each.

The other single-player game I’ve taken a dive into is Halo: Reach. That game really does not fuck around — you get dropped into Noble Team, it assumes you’ve played a Halo game or two before, and you get stuck into fighting the Covenant quickly. I barely ever play first-person shooters — I actually think the last one I spent time with may have been Halo 3 — but I’ve enjoyed the Halo series for a long time, and especially love the way they integrate story into the proceedings. As well, the firefights are obviously well done (great encounters have been at the heart of every Halo game) and the weapons have that heft. Picking Reach up feels like reminiscing with an old friend in a good way; I’ve heard this is one of the best single-player campaigns in the Halo series, and ends on a poignant note. I’m looking forward to that.

Inspired by a friend finishing up the campaign in Mass Effect 2, I’ve spent a good five or six hours with my second playthrough this week. I’m into the second half of the game, about to start up the Lair of the Shadow Broker DLC content, and also at the point where your Shepard’s powers have blossomed. The beginning of the game really relies on gunplay, but as you unlock and level up biotic and engineering powers, the combat gets better. Playing through the story again reminds me how much I loved the game the first time around. Definitely a Game of the Year contender.

Of course, a week can’t go by without playing more sports games. I’ve got Nick salivating to dig into NBA 2K11; I’m looking forward to teaching him the ropes in the coming weeks. I’ve also done another F1 2010 race weekend and spent some time in NCAA Football 11 guiding the Ducks to victory as well. Hopefully they win the day on Saturday, too, and get to the National Championship in January.

Aaron

Aaron's car, dubbed the Spicy Penguin, makes its destructive debut in Forza 3

Working has its benefits. For one, I actually have an income, which lets me do things like eat, drink and be merry (and pay rent!). The only problem with all the working I’ve been doing is I’ve had little time to myself to play games. I’m coping with that fact, and I just need to figure out a schedule that permits more time to relax with a videogame or two.

This week I finished Fallout: New Vegas. It was kind of a let down, but I attribute that to following the “good guy” path and allying with the New California Republic.

With my wandering in the wasteland complete, I dove into Assassin’s Creed: Brotherhood more, and I’m enjoying what I’ve played. I don’t think I’ve explored enough of Rome yet to be able to tell the game apart from AC2, but what I have seen impresses me. Still, it’s more incremental than revolutionary, but I think it’s what most fans wanted anyway.

I also received my used copy of Forza Motorsport 3 on Tuesday, and poured three hours into the game a few days later. The experience system is genius because it gives me a reason to keep playing besides simply collecting cars and unlocking tournaments. It’s a shame I waited so long to play it (It really is – Doug).

What, exactly, is going on in Bayonetta?

That question has weighed heavily on me throughout the last few months, from the moment I launched the game to the present day, where I find myself in the middle of my third playthrough. And, frankly, that question is a big part of why this review has taken weeks to write.

While I’m still not convinced I’ve distilled the core theme or purpose of Bayonetta, I am confident it can be defined in just a few ways:

• Bayonetta is a stylish, fast-paced action game
• Bayonetta is a dynamic, fluid and intricate combat game
• Bayonetta is a hypersexualized and exploitative commentary on the role of women in games

If you’re considering buying a copy, it’s my firm belief that almost anybody is guaranteed dozens of hours of great entertainment with Bayonetta. Although it might simply look like a prettied-up rehash of a modern character-action game like Devil May Cry or God of War, a few minutes with a controller in hand will prove otherwise. Like Guitar Hero and Wii Sports, it’s the sort of experience where the main appeal rests in the actual, tactile feeling the game evokes; it’s one of those things that can’t be described, but you know it when you experience it. In this case, the player is treated to a surprisingly natural and empowering sense of control over the protagonist that steadily grows in complexity and escalates in lunacy throughout the game’s dozen-plus levels. It’s a wild ride that’s simultaneously brilliant and befuddling, and it’s required literature for anyone with a taste for adrenaline.

One of Bayonetta's signature torture attacks is the ability to summon a guillotine with a snap of her fingers, doling out swift, Dickensian justice to countless angels

It requires the hard work of a lot of people to make a fully fledged, sixty-dollar videogame like Bayonetta. And while it’s not my intention to sideline the creative input and effort of the entire team at Platinum Games and publisher Sega, Bayonetta bears the unmistakable mark of its director, Hideki Kamiya.

Even among the enthusiast gaming crowd, Kamiya might not be a household name like Miyamoto or Kojima. But if you’ve played some of the top-rated games of the past decade or so, chances are you’ve played a few of the games he’s had a hand in from Capcom and the now-defunct Clover studio. His directorial credits, including Resident Evil 2, Viewtiful Joe, Devil May Cry and Okami, run the gamut of game design between high-tension survival horror, engrossing action-adventures and fast-paced stylized action-fighting hybrids. Although Kamiya’s games have been both blockbusters and commercial flops, they all received glowing reviews from nearly every game critic upon release.

After Clover was dissolved by Capcom in early 2007, Kamiya went on to join Platinum Games. And now, almost three years later, Kamiya has reemerged with his first new title under the Platinum label: Bayonetta.

A couple of creative vehicle-based sequences are thrown into the mix, including an over-the-top motorcycle chase and a clever tribute to Sega's Space Harrier

Bayonetta doesn’t bring any major revelations to the character-action genre. Instead, it focuses on refining the elements that worked best in its predecessors and removing the half-baked ideas that held them back from perfection. The result is a straightforward, mostly linear journey through a number of distinct levels (with a small amount of requisite backtracking thrown in for good measure) punctuated with a steady series of distinct confrontations.

Fortunately, Platinum’s decision to stick close to the feel and structure of the Devil May Cry, Ninja Gaiden and God of War series doesn’t leave the game feeling stale. In fact, it makes it easier for genre veterans to slide right in and get down to discovering what makes Bayonetta distinctive: its style and fine-tuned game design.

Each level is a guided journey through beautiful set pieces punctuated by a dozen or so distinct confrontations. These fights, despite only being composed of a couple dozen enemy types, never feel repetitive, thanks in large part to the careful balancing of each encounter. A battle can last as long as ten seconds and no longer than a couple minutes, which helps keep the tempo at a fast pace.

Fights are fast, involved, and almost overwhelmingly flashy. With the game’s bold use of color and rhythm, it calls to mind the sort of imagery and physical sensation that often comes with games like Treasure’s twitchy and unparalleled Gunstar Heroes and Sin and Punishment. And while fluid animations and flashy effects are vital to any modern character-action game, they’re merely par for the course; any game from Devil May Cry to Dante’s Inferno is filled to the brim with these components. But what the competition lacks is something that can’t be seen — it has to be felt.

Bayonetta's skillset is perfect for dispatching more than a few enemies at a time, enabling her to gracefully move from angel to angel without a moment's hesitation

Simply put, controlling Bayonetta is a joy. She moves with an exaggerated grace and ease, transitioning from move to move with a surprising fluidity that creates the illusion that she’s anticipating the moves you’re performing. Her body language evokes a sense of glee at violently dispatching her creepy, inhuman adversaries, and it fosters a delightfully politically incorrect overtone throughout the game: you’re not working for the forces of good, but you’re sure as hell not the bad guy.

At the conclusion of each encounter, the player is scored on how well they performed. Ratings on time, style and damage provide the player with a heads-up on what their strengths and weaknesses were without lending a sense of punishment for not doing well. Winning the fight is still winning the fight, and the game doesn’t dwell on any individual encounter longer than a few seconds after the fact before you’re running headlong into the next. It’s a rare instance where scoring is a uniformly positive experience for the player as opposed to something like Grand Theft Auto’s The Ballad of Gay Tony, where the parameters for scoring well are withheld until the end of the mission and scores are often significantly lower than the player anticipates.

Bayonetta bears the mark of a well-polished game thanks to a number of small but significant features that are so obvious in retrospect that it’s puzzling why nobody thought to include them before. Loading screens are fully interactive and display a move list at all times, allowing the player to practice a handful of moves and to warm up for the next major fight. The game’s level selection feature allows the player to return to any level on any difficulty at any time, meaning there’s no penalty for going back to revisit a particular sequence or to stock up on halos, the game’s currency. Besides being a less-than-subtle nod to Sega’s Sonic the Hedgehog series, these halos also function as a currency that can be spent at the Gates of Hell, a bar operated by a sunglasses-wearing, sinister merchant named Rodin. Halos can be spent to learn new moves, acquire new equipment and stock up on resources, a process that requires multiple playthroughs to complete but yields rewards ranging from near-vital combat abilities to bizarre costumes for Bayonetta to wear.

An integral part of Bayonetta’s appeal is its tongue-in-cheek, self-referential humor. A number of acknowledgments to Kamiya’s past games are slipped in as clever asides; for instance, at one point early in the game, Bayonetta spouts a one-liner that’s nearly identical to Viewtiful Joe’s catchphrase (“Henshin a-go-go, baby!”). At times, Bayonetta seems acutely aware of the fact that she is starring in a game and flirts with breaking the fourth wall on a few occasions by commenting on her present situation as though speaking directly to the player. Rodin also does this whenever you stop in at the Gates of Hell for some upgrades: “Hey, check this out: ‘What are ya buyin‘?’ Heh heh. Heard that in a game once.”

Bayonetta’s story involves two warring clans, the Lumen Sages and Umbra Witches, who maintained balance for thousands of years until they went to war and the Lumen Sages influenced humans to instigate witch hunts. You’re the last of the witches and you’re out to understand what happened and kill anything that crosses your path. As a narrative, it amounts to nothing more than your typical black-and-white, good-versus-evil dichotomy, but the game clearly isn’t concerned with sending a strong message about the importance of balance or anything heavy-handed like that. It’s simply a premise that attempts to justify the over-the-top action and violence that define Bayonetta, and while it usually ends up feeling utterly ridiculous with its pervasive sexual themes, it did more to keep me interested than to deter me from finishing the game.

Of course, that same imagery of a woman who flaunts her exaggerated curves and strips naked every few moments with reckless abandon inevitably leads to some tough questions about gender stereotypes and exploitation. Perhaps the most pertinent question is: Is Bayonetta misogynistic?

That question isn’t one I can answer on a universal scale, but it is undeniable that Bayonetta is filled with provocative imagery and classic examples of male and female gender role stereotypes. What I can do is assess what I’ve observed in playing the game several times and explain how I came to my own conclusion.

The best place to start is with the character of Bayonetta herself. She doesn’t look like a realistic human being: she’s impossibly tall, her feminine features are intensely exaggerated, and she’s usually half-naked. Her hair is the focal point of much of her power, which — aside from being symbolically significant — also acts as her sole source of clothing. In the heat of battle, Bayonetta’s hair is flying in all directions, meaning the vast majority of her body is exposed. As the player — and as a heterosexual male — I found this discomforting. There’s a concept in gender studies (which I’ll admit I only have a cursory understanding of) that relates to the idea of the male gaze, a common theme in all kinds literature where women are placed in situations where they are exposed and ignorant of what’s around them while a male character observes in secrecy. The most famous example of this in film is Psycho, where Norman Bates watches as a woman undresses and is then murdered in the shower.

Bayonetta’s nudity isn’t confined to combat, either. The opening scene depicts her shedding her clothing on highly suggestive regions while moaning at an increasingly high pitch. Really, how many ways that can be interpreted? It’s utterly ridiculous. If anyone else had been in the room, I’d have been mortified to be seen playing the game.

So yes, Bayonetta is absolutely a hypersexualized experience. But is it misogynistic?

Bayonetta's hair-based outfit temporarily leaves her body to summon terrifying hair demon things, rendering her virtually naked in the process. If that sounds too weird on paper, you might want to just skip this game.

I think anyone with a conscience would be entitled to say so; there’s certainly enough evidence indicating as such. But personally, I don’t think it’s misogynistic at all. I think Bayonetta is empowering to women if only because she seems so acutely aware of constantly being the object of observation by male characters — and how she uses that advantage to deliver a swift and brutal death to anyone who stands in her way. Whenever a male character, such as Luka, makes a comment objectifying her, he’s always immediately punished for it or made to look the fool by her. She is in control of every situation, and the only instance in which control is taken away from her is when her friend — another witch — comes to save her.

Bayonetta is fully aware that she’s a sexual stereotype, and she uses that knowledge playfully as a weapon before brutally murdering her enemies. But it’s also undeniable that these overtly sexist images have weight to them, and as a result not everyone will have the same interpretation I do. I believe you’re entitled to interpret the game however you like, and it’s important that you’re aware of what’s involved in Bayonetta before you purchase it. Fortunately, there’s a demo available for just that purpose. But I do hope everybody reading this will give the game a shot and draw their own conclusions. After all, no matter what else you call it, Bayonetta is simply the best game of its kind. It delivers a much-needed shot of adrenaline to the character action genre, and it’s absolutely one of the finest games of the year.

Bayonetta does more than preserve Hideki Kamiya’s reputation for crafting the greatest games the action/adventure genre has to offer: It elevates him and the team at Platinum Games to the absolute highest echelon of game development.

Bayonetta was developed by Platinum Games and published by Sega.  It retails for a suggested $59.99 on Xbox 360 and PlayStation 3. The reviewer completed two full playthroughs and part of a third on the Xbox 360 version of the game and unlocked 41 of 50 achievements.

Recommended for:

• Fans of fast-paced fighting and action games who seek a genuine visceral thrill in a game
• Hideki Kamiya devotees who appreciate his trademark bizarre style and high standard of polish
• Devil May Cry, Ninja Gaiden and God of War fans looking for a fresh take on a tired genre
• Anyone doubting the creativity and craftsmanship of the Japanese games industry in recent years — Bayonetta proves there’s at least one studio out there with serious chops

Not Recommended for:

• Anyone offended by the ostensibly sexist imagery and rampant violence that characterize the game’s image; my theory is the game is consciously using an exploitative style to convey a positive message about female heroes in videogames, but your interpretation may vary

Read our policy on reviews here.

Lots of good things start with the letter “b”; Many games right now, for instance (Battlefield and Bayonetta being two of them). Other things start with that letter — like business school, bad tests, The Beatles…and also brains.

Wait, brains? It will make more sense in a moment! So, without further ado, here’s the log.

The Beatles' "Here Comes The Sun" seems apt for a week where the sun shone through the usual February doldrums in the Northwest.

Aaron

What a boring week for me. I didn’t play that much of anything during the past seven days, aside from more Battlefield: Bad Company 2 and a little bit of Bayonetta. Isn’t it bad when you can’t remember what you did for one-quarter of the month?

So, I apologize for my lackluster contribution to this edi…oh, wait, I remembered: I did some drumming. I rocked out in the virtual sense with Beatles: Rock Band, but I also played music outside of the game when I took my non-plastic drum kit to a friend’s house to spend an entire day in a focused jam session. It felt good to do what I used to do — it’s been nearly three years since I had my full kit set up. I laid down some sick beats, bro.

Next week will be seven days of the letter B (I think I just turned into a Sesame Street character), with a mixture of more Bayonetta and Bad Company 2, and the arrival of my brand new, $8.99 copy of Bionic Commando from Amazon. Sure, that tiny bit of money could have gone to BioShock 2, Darksiders or covering the cost of Bad Company 2 now that Barnes & Noble cancelled their $20 mistake, but I like to live in a state of stupidity sometimes.

Netflix Instant Watch has been all that's kept Nick connected to his Xbox 360 this week.

Nick

Bayonetta. Darksiders. Forza Motorsport 3. Mass Effect 2. DJ Hero. BioShock 2. They’re all sitting right in front of me, but I haven’t touched any of them in days.

I wish I could say I’ve been getting lots of quality time in with a few of my current favorites, but this week has been so draining that I’ve only had the energy to come home and boot up my Netflix Instant Queue before my eyes glaze over and my jaw falls slack.

Also, this weekend I’m looking forward to taking the GRE. But that’s not a game (It is, in fact, the most dangerous game of them all – Ed).

Now that PopCap has released Plants vs. Zombies for the iPhone platform, you can use the dark horticultural arts to protect your house on the go.

Doug

Add me to Nick in the “too busy to play games” category this week, sadly. Finals are next week, and between school and real life my AS Roma team have had to wait patiently on the PES 2010 sidelines, my Forza 3 cars have had to sit in the garage, and the Normandy has just had to cruise in a holding pattern for my second Shepard in Mass Effect 2.

However, one bright, shining, wonderful gaming thing has come into my life this week: Plants vs. Zombies has been released on the iPhone platform. That sound you hear is my free time being sucked right up by yet another Popcap game for iPhone. I didn’t buy PvZ last year when it first came out, but played and saw a decent amount of it — certainly enough to know that the new handheld version is an almost-perfect port. And, yes, the touch controls work brilliantly.

Plus it’s $2.99. What are you waiting for?

Why am I so conflicted over BioShock 2? The original was great, brilliant even. And if 2K Marin’s sequel is half as good as the first, that would still make it better than all of the dust-collecting shovelware currently sitting on store shelves.

Nick doesn’t seem as wracked with indecision this week as yours truly, and I fully believe it when he predicts BioShock 2 will soon find a spot in his vast library of interactive software. However, Nick doesn’t know that upon purchasing the game he will be obligated to review it. Sorry, friend.

Doug takes this edition’s opportunity to educate us on the intricate differences between Pro Evo Soccer 2010 and FIFA 10, and it’s an extremely informative primer about a segment of gaming I’ve all but forgotten. I actually want to give soccer sims another shot after reading it. Truly, I do.

And for me, well, I’m in love with Bayonetta — the game, mind you. Though with her strength-based sex appeal and quotes such as: “Do I look like I’m a child person? Making children, on the other hand,” it’s easy to swoon over the ridiculous charm of the character and to even feel all right about it; hopefully without coming off as a chauvinist.

Also, apologies for the article headline. An Otis Redding track pack is coming to Rock Band next week, and I thought the titular pun was appropriately humorous. I was likely wrong.

Cut from Heavy Rain was a special DLC skin for Radiohead's Thom Yorke

Nick:

When you’ve been playing games for 20 years, you tend to appreciate the major advances that have been made in game design. But at the same time, it’s nice when an ages-old strategy remains as relevant as ever. And in the case of Mass Effect 2, it turns out that maintaining multiple save files is still a really, really good idea.

I managed to save the universe last Sunday, but not without paying a heavy price: My crew was decimated by a couple of terrible decisions that I made. While I appreciate the real weight of the consequences your actions have in the game’s suicide mission finale, I wasn’t about to let my game end on anything but my own terms. I re-evaluated what went wrong the first time around, and managed to complete the mission a second time last night without a single mistake. That felt good.

I held off on picking up BioShock 2 this week, a decision that gnaws at me every day. I’ll probably cave and purchase it soon. What can I say? I’m a sucker for art deco, big band music and Objectivism.

And in a few moments, I’m going to boot up the PlayStation Network demo of Heavy Rain, a game I’m both anticipating and dreading. Back in 2005, I was captivated by Indigo Prophecy’s demo and its revolutionary, open-ended adventure game design. I wish I’d known at the time just how disastrous the rest of the game was — frankly, it was the absolute worst game I finished in the last decade — but from what I’ve heard, Quantic Dream learned from its mistakes when it set about designing its latest game. Indigo Prophecy was proof that Quantic Dream was a team filled with brilliant ideas. I just hope they managed to fully develop them this time around!

Doug told me this is from a fictional version of the World Cup. The Konami Cup? How clever, you crafty developers.

Doug:

Along with finishing Mass Effect 2 — which was an incredibly satisfying and very well done game from start to finish — I’ve hopped back into one of my classic addictions: Konami’s Winning Eleven soccer series. In lieu of sitting down and working on a review that very few of our readers would likely find useful, I will instead take some time here and justify how I can absolutely love Pro Evo Soccer 2010 but also want to give it a mediocre review score.

This game does lots of things right. It provides a deep, customizable single-player mode in the form of a refined Master League (with added UEFA Champions League licensing!), an improved animation and physics engine for the gameplay, and even more expansive customization possibilities. As somebody who’s put probably 200 hours into PlayStation 2-era PES titles, the latest game is what I’ve wanted for the last two years: a good next-gen console PES.

The problem is the learning curve. Not only do you have to have a real interest in soccer — not a given here in the U.S. — but you have to be willing to put a lot of time into PES 2010. The controls are an evolved mish-mash carried over from the PS2 era; there’s little doubt that some parts of the control could be better. Intimidating for newcomers, yes, but for somebody who already knows what to do it’s an adequate improvement over the previous incarnations. The same goes for off-the-field mechanics too: Konami has never secured as many licenses as EA Sports’ FIFA titles, but that’s fine because you can edit the non-licensed teams to within an inch of realism. Buyers of the PS3 version of PES 2010 can do a little heavy lifting by importing game files that will fill the lackluster licensing holes; problem is, it’s much more difficult on the 360, and even renaming teams can be an intimidating process — never mind renaming all the players on any given team.

So why do I put up with this crap instead of just buying FIFA 10? Because of PES 2010′s on-field gameplay and presentation. FIFA’s graphics are very good, but they have always looked “off” to me; PES looks more like how soccer has been broadcast on TV for years. It’s an aesthetic preference. FIFA’s gameplay is fine as well — the last few years have improved both the passing system and the A.I., making the series more robust — but it still feels a touch hollow and boring. Few PES games are boring, especially in all the ways one can move the ball upfield and put it in the back of the net; FIFA over the last few years can feel like foosball at times.

For example: my current Master League save is with Italian club AS Roma, which has a very good attacking left fullback (John Arne Riise) who can bomb up the wing and put crosses in from deep with pinpoint accuracy. I’ve scored a couple of headers this way, and trying to work an opening to make use of this particular player’s strength is engaging and fun. Making use of other players and their talents is also a challenge — playing tappy-tap football with my favorite team, Arsenal, is a very different game from building Liverpool’s attack around Steven Gerrard’s surges forward and Torres’ brilliance and speed. They’re all rewarding, true to real life, and once you’ve built a team that plays how you want to play, it’s utterly brilliant.

If you understood any of that above paragraph, PES 2010 is probably for you — it’s not for everybody. Otherwise, stick to FIFA and enjoy the ride.

One word: Redonkulous.

Aaron:

I’m not even close to finishing Bayonetta, which arrived in the mail last Saturday. Each day I chip away a little more of the game, constantly pausing between chapters to evaluate such things as: my foolish blocking mistakes, which combos work best, how many halos I need to save up for a cool attack, and so on and so forth. The fact that I’m taking my time and being meticulous about my decisions tells me that I actually care about the entire experience. I don’t want to ruin it.

When I plow through big games like Borderlands, Dragon Age: Origins and Mass Effect 2, it’s because I find the experience addicting;  I’m flushed with the desire to keep amassing experience, loot or whatever other incentives are there. That’s just my style, and it’s why I’ve been a diehard RPG fan for as long as I can remember. But sometimes, it sucks to play games like that — no matter how many moments etch themselves into my brain, I get the sense that I’m missing something by forcing myself to perform a blitzkrieg of playtime. In that sense I highly appreciate Hideki Kamiya’s work in the action genre. Bayonetta has forced me to use gaming muscles I’ve lost since the PlayStation 2 days.

Back then I played Devil May Cry to death, dominated God of War (and also yelled at it in anger) and absolutely loved the Viewtiful Joe titles on GameCube. Ever since the latest generation of consoles started I’ve forgotten how to play certain games, and I’m quickly remembering that it’s very important to diversify your gamer’s resume to effectively expand your digital horizons. I’ve missed relying on my twitch reflexes and an intimate knowledge of combo systems to achieve battlefield domination.

Bayonetta has brought that level of fun back to me. It’s witty, intelligent, hilarious and has the greatest videogame heroine I’ve had the privilege of playing as (aside from Beyond Good and Evil’s Jade, perhaps). I’ve never seen an action game that takes itself seriously while simultaneously laughing at its own lineage since, well, Kamiya’s other games.

I’ve also put around 16 hours into the Battlefield: Bad Company 2 demo.

I’m buying the full game, no question. And don’t forget to highlight March 2nd, 2010: Look forward to it as the day I will absolutely destroy you with my Bad Company 2 sniping abilities. I rarely boast, but this time I’m telling the truth.

Without further ado, onto the Backlog…

Was I the only one whose parents used to grab them by the belt loop back in the day? That's a good way to control somebody. Nice to see Ubisoft (and ACII protagonist Ezio) taking note, too.

Aaron

After my glowing account of Ghostbusters: The Video Game in last week’s backlog, I quickly kicked Slimer and company to the curb after opening the neon green eco-case containing Assassin’s Creed II. For an entire week, Ubisoft’s much-improved sequel has remained in my Xbox 360′s disc drive, lodged in the retracting plastic mouth like a popcorn kernel. However, unlike an actual pesky and potentially gingiva-damaging kernel, Assassin’s Creed II is a-freakin’-mazing, and part of a balanced gaming diet.

This is the game that the first Assassin’s Creed wanted to be, and the team at Ubisoft Montreal worked hard to make it feel that way. They’ve made missions bigger, more fun and decimated any trace of the original’s tedium. Ezio Auditore da Firenze, the protagonist, is a realistic character with a distinct personality and unique motives; he’s a digitized Renaissance ladies’ man that I can’t help but find likable. The weapon selection is genius in its variety and detailed attack animations, and the less blatant aspects, like hiring mercenaries, prostitutes or thieves to distract a city’s hired goons who guard a precious stash of treasure chests, make a memorable impact. Assassin’s Creed II is a game with so many moments I won’t ever forget, and, perhaps unfortunate for other action adventure titles, I’ll be using those to judge future titles’ value. Oh, and I still haven’t finished the game as of this writing.

One complaint, though: Leonardo da Vinci’s flying machine segment. It was pretty lame. Of course that’s my opinion, but really: After all the hype the flying machine garnered back in the spring during the game’s slow unveiling, I was expecting more than an annoying checkpoint-to-checkpoint ordeal via multiple bonfires lit across Venice to help propel your glider back into the air as you float ever closer to your assassination target. The very brief mission played like it was designed by the mentally handicapped cousin of a designer from Pilotwings 64.

Favorite Italian phrase of the week: Requiescat in pace.

Bayonetta, caught in a rare moment of quiet solitude in one of the most crazy action games of the current console generation.

Nick

I’ve been a bit deprived of my regular gaming habits lately, but I have managed to sneak in a bit more time with Dragon Age: Origins and Bayonetta. I still haven’t finished either, but there’s little doubt in my mind that they represent the absolute best in their respective genres.

I’m also only about five songs away from having five-starred every song on expert in DJ Hero, which just goes to show how dangerously addicted I become when a great rhythm game comes along.

Finally, I caught up on some Rock Band songs, including the White Stripes and Paul McCartney packs. Harmonix has maintained a constant stream of great new songs over the last two-plus years. Now, if only Rock Band Network would hurry up and launch…

Holy sideways driving, Batman. 700-plus horsepower Audi Sport Quattros are not exactly easy to control, especially on Forza 3's narrow Amalfi Coast circuit.

Doug

I’m not going to lie: much like Nick, I’ve had very little time to game this week. Having something going every night for school this week has crushed my free time, but I’m really hoping to have some more time to myself next week.

However, I did spend some good time with one of the usual suspects, Forza Motorsport 3, including spending a couple hours on Tuesday night. Friend of the site Peter is far from a diehard racer, but he rented Forza 3 on something of a whim; first he calls to see if it’s something he’d like, then he caught me on Xbox Live and told me he’d just poured three hours into the game…and was loving the experience. We spent some time racing online against the computer for a while, discussing progression from sim-racing newbie to veteran, and Peter left convinced this was a great game. I’m just glad to help!

I’ve also been sneaking in games of the original NBA Jam in the mornings before leaving for class. Inspired by the recent confirmation of the series’ return, I’ve been revisiting the original (as well as the Tournament Edition follow-up that’s basically NBA Jam 1.5), and really trying to break apart what made the game fun. This might pop up later as the center of an editorial, but NBA Jam succeeds so well because it’s such a simple, focused experience — there’s no fat and no unneeded difficulty or complexity. As well, the controls and game engine both feel very taut; the game responds quickly to your inputs and you’re rarely caught fighting the game for control.

Because I need the rest, I’m going to spend the weekend stapled to the couch, so I may very well finally beat Batman: Arkham Asylum, and get to spend some time with other games.

Well, it was fun while it lasted.

With December and its myriad holidays out of the way, everybody’s got something to keep them busy. Doug’s back to work on his master’s program, Aaron has transformed into a job-applying machine, and I’ve thankfully found a job once again. Unfortunately, that means we all have a whole lot less time to be playing games, but that doesn’t mean we’re going to turn a blind eye to our sacred obligation to Silicon Sasquatch. Don’t worry! We’ve got a couple great articles that are almost ready for publication, and we’re anticipating a full run of content next week.

In the meantime, here’s what we’ve been keeping ourselves busy with.

Aaron wouldn't say 'I ain't afraid of no ghosts': he has much less bravado toward specters than you might think.

Aaron:

Now, the game I actually have something say about is Ghostbusters: The Video Game. Maybe it’s because I only paid a meager $12.99 at GameFly’s used game store (with free shipping), but I can’t help but like what I’ve seen. I’m perhaps halfway though the story now, and while the camera and controls are a bit rough around the edges, Ghostbusters is pure fun for fans of the movies. It’s by no means perfect, and that’s fine. The humor is there, the attention to detail in the firehouse headquarters is there, the proton packs are spot-on and the thrill of catching a ghost in a trap still makes me giggle just like my 6-year-old self used to with my toy Nerf proton pack and authentic jumpsuit. Ghostbusters is simple fun layered over a strong IP, and I truly hope Atari gives Terminal Reality another shot in future sequel. Maybe when the third movie finally (maybe) sees release next year, a tie-in game could coincide with the film’s debut.

In case you'd like some added context, here's what's happening. Man on the left: "Colonel! What have you been hiding from me!?" Man in giant robot: "Snaaaaaaaaaaake!"

Doug:

Much like Aaron, I’m just going to list out most of what I played over our holiday break because, being a degenerate graduate student, I had almost nothing productive to do between Thanksgiving and this week, when classes re-started up in earnest. Because that means a lot of time to play games, I’m just going to cut the fat and go list-happy.

I finished Brütal Legend (which seemed like it lost its storytelling steam a bit at the very end) and am close to finishing Batman: Arkham Asylum (trap-laden gargoyles are my kryptonite right now). I almost have what the gentlemen at Giant Bomb would term an “S-rank” (or 1000/1000 achievement score) on Forza Motorsport 3, which I also did a lot of online racing on during the break. I was definitely happy to hit Level 50 in that game and get the last gifted car.

The only game really worth the meagre Xbox Live sale over the holiday break was Marvel vs. Capcom 2, which was marked down to almost 60 percent off the regular list price and is worth every penny. Better than arcade-perfect, with every character unlocked from the start and online multiplayer capable? Yes, please. I also received a kind gift in the form of Shadow Complex, which scratches my Metroid-vania itch in so many ways. Definitely one of the best Xbox 360-only games of last year.

Lastly, my sports game fix has come in two forms — first, as part of multiple trips to downtown Portland old-school arcade Ground Kontrol, I’ve fulfilled my basketball jones by playing a bunch of NBA Jam. Nick and I (and friend of the site Andrew) went to GK on New Year’s Eve, and besides crushing the X-Men 6-player arcade game, the most fun had was running the two-man game with the Blazers on NBA Jam. The other sports game I picked up was, finally, Pro Evo Soccer 2010…which definitely lives up to the expectations I had for it based off my playtime with the demo. It may not be as pretty as FIFA 10, but it provides a much more challenging and fulfilling soccer experience. Crank the difficulty all the way up and enjoy smart AI in a sports game for once.

The story of a witch, her hair, and gratuitous almost-nudity. This is gonna be awkward.

Nick:

As a test to see who’s interested in the blog, I offered up a vote on our Facebook page to ask people which game they’d rather see me purchase and review first: Demon’s Souls or Bayonetta. Although there was support for both, Bayonetta got the nod and I picked up a copy last night. While I’ve only had time to play about ten minutes of the game, those ten minutes were extraordinarily promising. I just hope the game’s rampant, bizarre sexuality doesn’t weird out my friends and loved ones.

The majority of my free time has been spent on — yeah, you guessed it — Dragon Age: Origins. I keep thinking I’m getting close to the end, and then another 15-hour sequence of quests pops up. I’m absolutely enamored with the game, so I think I won’t have any complaints if it turns out the game just never ends.

Well, would you look at that — another podcast! And this one’s blessedly much shorter than the previous, meaning you get plenty of on-topic discussion and analysis without having to meander through dozens of games and several months of backlogged news to cover.

This podcast picks up where the last one left off, with the gang discussing the myriad top-tier releases of the first quarter of 2010. A near-complete list of titles is available after the jump for your perusal.

As always, thanks for listening, and let us know what you think!

(P.S. Wanna receive our latest podcasts automatically? Subscribe with iTunes here!)

JANUARY
Bayonetta (Xbox 360, PlayStation 3) — Jan. 5th
Darksiders (Xbox 360, PlayStation 3) — Jan. 5th
Army of Two: The 40th Day (Xbox 360, PlayStation 3) — Jan. 12th
Dark Void (Xbox 360, PS3, PC?) — Jan. 12th
Mass Effect 2 (Xbox 360, PC) — Jan. 26th
MAG (PS3) — Jan. 26th
No More Heroes 2 (Wii) — Jan. 28th

FEBRUARY
Star Trek: Online (PC) — Feb. 2nd
BioShock 2 (Xbox 360, PS3) — Feb. 9th
Dante’s Inferno (Xbox 360, PS3) — Feb. 9th
Red Steel 2 (Wii) — Feb. 16th
Lost Planet 2 (Xbox 360, PS3) — Feb. 23rd
Splinter Cell: Conviction (Xbox 360, PS3, PC?) — Feb. 23rd

MARCH
God of War III (PS3) — Mar. ??
Battlefield: Bad Company 2 (Xbox 360, PS3, PC) — Mar. 2nd
Final Fantasy XIII (Xbox 360 – 57 DVDs, PS3 – 1 BD-DVD) — Mar. 9th
Command & Conquer 4 (PC) — Mar. 16th
Just Cause 2 (Xbox 360, PS3, PC) — Mar. 23rd

APRIL
Red Dead Redemption (Xbox 360, PS3) — Apr. 27

MAY
Mafia II (Xbox 360, PS3, PC) — May ??

UNDETERMINED
Alan Wake
Dead Rising 2
Heavy Rain
Gran Turismo 5
Max Payne 3
Fable 3
Metroid: Other M
Castlevania: Lords of Shadow
Crackdown 2
Alpha Protocol
Fallout: New Vegas
Crysis 2
Epic Mickey
Super Mario Galaxy 2