Editor’s note: We at Silicon Sasquatch have a problem. We don’t get to play every game that comes out simply because we aren’t sent review copies by publishers. However, we have friends who, like us, buy their own games, and these same friends also happen to be competent writers. Mr. Matt Damiano is one of those people, and we’d like to congratulate him on being our first guest reviewer. Let him know what you think of his review in the comments!

Prince of Persia: The Forgotten Sands is the follow-up to the 2008 series reboot, Prince of Persia, which didn’t make much of an initial commercial impression despite its generally positive reviews (and my personal favor). Consequently, Ubisoft Montreal opted to return to the original mythos of the Sands of Time games and explore the seven-year gap between Prince of Persia: The Sands of Time and Prince of Persia: Warrior Within. Given the studio’s lengthy track record with the Prince, how does Forgotten Sands hold up?

Despite the advice of '90s pop group TLC, the Prince went and chased the waterfalls anyway

In Forgotten Sands, the always affable and snarky Prince is traveling to visit his brother Malik, who guards King Solomon’s castle. Invaders seize the castle upon the Prince’s arrival, and in an attempt to fend-off the attack Malik unleashes an ancient, evil army made of (wait for it…) sand. It’s then up to the Prince to get the situation under control in a plot reminiscent of Sands of Time. The story is simple and episodic, which lends well to the Arabian Nights feel, but the content never really soars to the heights of Sands of Time. At least the Prince’s one-liners are well-timed nuggets of hilarity.

The series’ signature platforming is once again the star, and in that respect Forgotten Sands marks a new high point for Prince of Persia. The Prince regains the power to reverse time, but more impressive is his control over water and other elements. At the press of a button the Prince can freeze cascading water into place to perform sweet parkour maneuvers. The new twist on acrobatics adds a surprising amount of depth to game, especially because it could have been pure rehash. It also looks completely awesome.

Insert "Ice, Ice Baby" cliché here

Ever since Sands of Time, which had a fighting system I loved, Ubisoft has reinvented the combat mechanics with each new iteration of the series. Forgotten Sands is no exception. In sharp contrast to the last Prince of Persia’s one-on-one duels, Forgotten Sands introduces combat with anywhere from 10 to 100 enemies at once. The mechanics aren’t bad, as is the case with the other Prince games, but the combat is pretty simplistic even when compared with Sands of Time. I will say that Forgotten Sands does a fantastic job of integrating its melee component into the game: Combat is less frequent than in previous entries, and the transition between it and the platforming is seamless. Players can even jump from one enemy to the next a la Dead Rising. So while fighting is a fun diversion, Prince of Persia fans aren’t expected to buy these games for the combat alone.

Furthermore, while I have a deep respect for the folks at Ubisoft Montreal because their sequels often address the predecessor’s issues, sometimes the studio overdoes it. Overhauling combat for the umpteenth time was unnecessary, and I can’t help but feel like Ubisoft lost its nerve and gave-in to the incessant demands for a new Sands of Time game. And while Forgotten Sands is an enjoyable throwback to its predecessors, the ending practically screams sequel, whereas I want to see the series move in a new direction.

Forgotten Sands doesn’t feel like a cheap cash-in that coincides with the release of the movie. And though my experience with the game has been positive, it does feel like a substantial concession to a fan base that wanted more of the same. Thankfully the gameplay is made fresh by the new elemental powers and clever level design, which is ultimately what I — and presumably most of the fans – were hoping for anyway. If you like Prince of Persia, you owe it to yourself to check out Forgotten Sands.

The Holidays approach. For some that means quality time with family members not seen for a year — maybe more. Others, well…can I get a “what what” if at some point during your life you hid away in the midst of celebrations to finish Earthbound (or, insert other game reference here). However, my adult years have made me more personable when it comes to the holidays; I’m now infinitely more interested in the going-ons of my kin.

Still, I won’t lie that this year I’d prefer to mow down more of Left 4 Dead 2′s cajunized zombies with a giant plate of delicious turkey and fixins on my lap. I’m thankful for me.

We’re back on track for backlogs, and this week is mega-sized to make up for our absence. To summarize: Nick informs us he essentially played everything ever released this month, Doug gushes about his beloved Forza 3 between study sessions, and I write about why two wonderful November-born titles should be played on the PC.

Do the Mario!

Nick:

Life served up a particularly hellish week for me, so it was fortunate that I had a slew of excellent games to escape with.

I spent a few fantastic hours in New Super Mario Bros. Wii in its fantastic cooperative/competitive mode earlier this week. What Jerry Holkins said about this game’s debilitating effects on a relationship is true, to a point; while we were able to help each other out for the most part, there were times where my attempts to “take the lead” or “get us through this tough spot” often led to one or both of us being killed, prompting my girlfriend to say some things about me that are rarely included in the same sentences used to talk about a Mario game. But it was all in good fun — something this game has in ample supply. It’s Mario in his best form ever, and anyone who grew up playing these games should purchase it without hesitation.

This week also brought another sequel to a game I adored: Assassin’s Creed 2. Transporting the game to Renaissance Italy is perhaps the most significant shift in story and setting that I’ve seen in a franchise in quite some time, and Ubisoft Montreal deserves some commendation for crafting an incredible sequel to an already ambitious debut title. There’s so much I could say about how things were improved — combat, economy, actions and consequences, exploration, story — but I’ll lay it out like this instead. If you loved Assassin’s Creed, you’ll love Assassin’s Creed 2. And if you hated the original? You’ll probably love Assassin’s Creed 2 anyway.

Having completed all five campaigns in Left 4 Dead 2, I’m happy to pronounce myself an official fan of the series. Although I bought the first game and had my fair share of fun with it, I always felt a little uneasy playing it. And it wasn’t because of the game’s tension, or horror-film veneer, or anything like that; it was just that the game sent a constant message that your survival was entirely at the game director’s mercy. In the sequel, the tone has changed significantly for the better. If Left 4 Dead was Valve’s attempt to make an interactive zombie movie like Dawn of the Dead, Left 4 Dead 2 is Valve making a balls-out Zombieland-style game. Melee weapons encourage close combat, lending a sense of strength and confidence to the survivors that was sorely missing from the first. All four of the characters in the sequel have stronger personalities than the first game’s survivors, and their determination on getting to New Orleans to be rescued encourages the player to keep slogging it out through hell and high water. It’s one of the most improved sequels of the year, without a doubt.

And when you consider that Left 4 Dead 2 was developed in just one year, it’s disappointing that Call of Duty: Modern Warfare 2 didn’t shape up to be more substantial. To be fair, Infinity Ward’s last game, Call of Duty 4: Modern Warfare, not only reinvented the series — it raised the bar significantly for what an online multiplayer experience can be. I sank a “mere” 40 hours into COD4′s multiplayer mode, which pales in comparison to most of the people on my friends list. Multiplayer in Modern Warfare 2 is technically just as good as COD4′s, but after a solid six hours online in a variety of modes I’m struggling to stay interested. The mantra in developing this sequel seems to have been “more options in every aspect of play,” which is a good thing, but the core sensation of Call of Duty 4 has dulled for me. I was hoping lightning would strike twice, and I suppose it did, but I was hoping for a more risky and adventurous update to multiplayer — not a mere iteration. If I wanted that, I’d have bought last year’s Call of Duty: World at War. If there is one area that received a substantial improvement, though, it’s the single player. Rather than attempt to keep things within the bounds of reality, Infinity Ward opted to create an over-the-top global conflict that was flawlessly paced from start to finish. It’s ludicrous, but it’s so, so much fun. At about six hours to complete, it’s shorter than COD4′s — but considering how tedious replaying that game’s campaign was for me, I’m much happier with the new game’s approach.

I’m still slogging through Dragon Age: Origins with my city elf rogue. Steam says I’ve played for quite a long time, but I’m only at about 15% completion. Maybe it’s because I love reading every entry in the admirably written codex, or because I can’t help but talk to every NPC, but I’m getting an astronomically entertaining experience for my money with this game. I’m really struggling to fathom just how Mass Effect 2 could top the quality of this experience once it hits in January.

I also sank a few rounds in with the Battlefield: Bad Company 2 beta. I’d been hoping for a return to the glory days of Battlefield 2, and instead what I got was Bad Company with a moderate graphical upgrade; it’s good, but there are better options available. Looks like I’ll still be holding out for Battlefield 3 after all.

Doug sums up his feelings on this picture with an articulate "WEEEEEEE!"

Doug:

While I’ve been way too busy finishing up the majority of my grad school quarter, I’ve still found time to play a little bit of…erm…Forza Motorsport 3. And nothing else.

But it’s so good! I still love pretty much everything about it, even if I haven’t been able to play online with my friends at all. The rewind button is a godsend — it erases single-player frustration with the ease of control-z functionality. The selection of cars and tuning options are superb; I’ve made an old-school Volkswagen Rabbit into a fire-breathing, turbocharged four-wheel-drive monster that could eat a Ferrari for lunch and spit out its bones.

It’s been said that Microsoft and Turn 10 gets things right in the third iteration, and this particular game is a great example of that. It’s almost strange to think that all three Forza Motosport games have been released since Sony and Polyphony released Gran Turismo 4 on the PlayStation 2. It’s scary to think how much Forza has moved ahead certain aspects of console racing games.

Along with Forza, I’ve tried out a few of the Xbox Live improvements from this week’s update — namely the implementation of Facebook and Twitter. And that’s really the extent of my interaction; they’re there, they work just as advertised, but I feel like I’m kind of missing the point. It’s nice to have both services everywhere at all times, but until a real killer use for either blooms on the 360 they’re going to feel like tacked-on additions.

I don't think James Brown had this in mind when he wanted to take us to "the bridge."

Aaron:

Let’s get down to it. Left 4 Dead 2 and Dragon Age: Origins are two amazing games that deserve to be played on the PC only.

Now, I love consoles. This isn’t a fanboy thing. And I fully understand that not everyone has a modern computer capable of playing the latest releases — Boot Camp Macs included. So, let’s assume you’re a lucky gamer who has the following: a home console of the PS3 or Xbox 360 variety, and a gaming PC. Let’s also assume you enjoy co-op zombie shooting and in-depth fantasy RPGs. You’re excited about the aforementioned titles, but you’re hesitant to commit to a particular platform. Here’s the answer: Play those games on the PC, or you’re not getting your money’s worth.

That may be a blatantly ignorant statement to some, but these words come from a person who, before this month, more or less abandoned PC gaming over the past year (aside from Dawn of War II and Left 4 Dead 1). PCs get the short end of the doomsday stick these days. People say the PC as a gaming device is dead, no one makes money off of the games anymore, and pirating is ruining developers left and right. Controversies aren’t helping the perception of PC gamers amongst the general gaming populace either. So that’s why I’m glad to see Electronic Arts promoting the platform with a definitive version Dragon Age, and Valve doing their thing by releasing such a quality computer title as L4D2.

Dragon Age works best on PC because of the following: the overall better performance (higher frame rate, less glitching, faster loading), a more sensible control/camera mechanic, and a BioWare community toolset that paves the way for future user mods. If Neverwinter Nights is an example to go by, expect years of free, quality content flowing from the collective mind of an invested fan base.

Now, Left 4 Dead 2 deserves to be experienced on the PC because it’s a Valve title first, console port second — plain and simple. The Steam service is consistent in its ability to match like minded players and bring friends together promptly. PC gamers are spoiled when it comes to online play. Thanks, dedicated servers.

I’d also wager the community on Steam is better than Xbox Live’s. Actually, it is better. Left 4 Dead 2 even has a section specifically for add-ons, and it’s exciting to think of the campaigns an active community will create using the sequel’s assets. The original’s user-made maps were generally great, so expect a longer lifespan if you pick up L4D2 on the PC.

Oh, and PC versions are cheaper than their console counterparts. That’s a plus.

Based purely on what’s been shown today, and assuming things go to plan:

The Sure-fire Big Winner: Xbox Live

Direct download capability for 1080p movies and Xbox 360 games; an expanded Netflix lineup; Facebook, Last.fm and Twitter tie-ins to come in the fall; and a whole host of exclusive downloads and DLC content for games coming this year. That $50 a year spent on an Xbox Live gold account keeps looking better and better, and regardless how the games turn out, what you’ll be able to do with the system grows and grows.

Most Important Announcement: Microsoft’s Project Natal

It's waggle, Jim, but not how we're used to: Microsoft's Project Natal could well be the biggest announcement at E3 2009.

We knew it was coming. It may even have been shown a year ago, before Microsoft acquired the company responsible for the technology. But actually seeing Project Natal — Microsoft’s code name for its controller-less motion control device — was very stunning. Sure, some of the tech demos displayed (a ball kicking/punching/heading game, motion to control the Xbox dashboard) were a bit hokey…but they showed a level of motion-recognition that was very tight and reactive. The big deal was Lionhead Studios (publishers of Fable 2, Black and White and many other games) and the tech demo they created where players could interact with a schoolboy named Milo. To say it encroached on the uncanny valley is an understatement; if it’s what the video demonstration billed it to be, it’s less a game and more interacting with a legitimate AI character. Absolutely stunning.

To say that Microsoft could capitalize on the market the Nintendo Wii has pioneered while also pushing the boundaries of what’s possible as an interactive activity with Project Natal is an understatement. The potential is there; whether it comes to fruition in the final form will be interesting to see.

Nothing’s Shocking: The surprises that…well…didn’t.

• Hideo Kojima taking the stage during the Microsoft press conference (accompanied by a “!”) to announce Metal Gear Solid: Rising, which will feature Raiden.
• Bungie is working on something other than Halo 3: ODST in the Halo universe — Halo: Reach.
• EA Sports is adding a mixed martial-arts game, EA Sports MMA, to its roster.
• Brütal Legend is going to kick everybody’s ass. Hard.
• Sequel-tastic: Left 4 Dead 2, Crackdown 2, Metal Gear Solid…and plenty more from EA and Ubi.

The Day and Date Club: Games that made a great first impression.

Here comes the sun: The Beatles: Rock Band broke cover brilliantly today at E3.

• The Beatles: Rock Band. After months of speculation, teases and being under wraps, the game was finally revealed today. It was a hell of a start to Microsoft’s press conference.
• Forza Motorsport 3. Another game that had lived under cover until now showing its head, and it is looking good as well. Especially innovative could be the game’s replay editor – if the Turn 10 spokesman was being truthful during the demonstration today, it could yield spectacular results.
• Tom Clancy’s Splinter Cell: Conviction. Site editor Aaron Thayer was particularly enamored with this game’s combination of stealth and action. The lighting system and revamped hide-in-the-shadows gameplay along with the extremely visceral action is a tantalizing prospect for this fall.
• Brütal Legend. The metal Zelda. Tim Schafer’s (well deserved) golden ticket-in-waiting.
• Honorable mentions: Assassin’s Creed 2, Mass Effect 2, Alan Wake.

We’ll be sure to have more for you tomorrow after Nintendo, Sony and a host of others make their presentations and the show floor opens.

Just as Assassin's Creed protagonist Altaïr overlooks the city below, we take a landscape look at the game

Editor’s note: We here at Silicon Sasquatch don’t think new games deserve all the attention. To illustrate that point we’re introducing our new Retrospective features: articles that focus an analytical eye on older releases in a non-review format. Our inaugural Retrospective takes a fresh look at Ubisoft Entertainment’s 2007 action-adventure game, Assassin’s Creed. This particular title made games press headlines at release — for reasons both good and bad. Scant details about Assassin’s Creed II have trickled out over the last month, and considering the goodly amount of time since the original was released, it seems like a perfect opportunity to look over Altaïr’s adventures with 20/20 hindsight. Enjoy.

Assassin’s Creed is confusing.

Developer Ubisoft Montreal manages to simultaneously offer a graphically beautiful game with very good, fluid controls while presenting an experience with enough frustrating pacing and banal mission structures to mire the player’s enjoyment in the muck.

I had never played the game until a few weeks ago, but being an astute follower of the gaming press and culture I know that the game’s reputation precedes it. From the barely hidden initial plot twist (SPOILER: It’s about two storylines, one modern and one during the Third Crusade) to the innovative free running exploration style and the controversy surrounding the game’s review scores — yes, I know about Assassin’s Creed.

Even so I’m surprised by how much I enjoy the game. The controls seem daunting at first, but fall into place quickly for experienced gamers. Further, the usage of the controls — holding down a button to switch between “high-visibility” activities like fighting and “low-visibility” ones like blending into the crowd — meshes well with the assassin, Altaïr, and his need slither about undetected while being ready to strike at a moment’s notice.

The game shines when the player must stay in the shadows — stealth kills are a rush, rewarding the player's patience

The problem I have with the game, though, is that it takes one fun idea and rubber-stamps it into a 12-plus-hour experience. You climb towers to fill out your map and ascertain your next investigation; from there you pickpocket, eavesdrop, intimidate or help out a fellow assassin to get the info you need. Gather enough information and you can attempt an assassination on the area’s boss. It sounds fine, but repeat the process nine times and it all becomes very…average. These activities in and of themselves are fun, but no remodeling of the established pattern causes the eyelids to droop — something that happens during the course of Assassin’s Creed’s plot, too.

The protagonist slot is shared between Altaïr, the Crusades-era assassin cover boy, and his 21st-century descendant Desmond, a lab-rat for a shadowy pharmaceutical company called Abstergo Industries. Both Altaïr and Desmond are tasked with completing their missions without knowing any of the background information or, really a reason why. Only as they untangle the mysteries do they begin to feel manipulated.

But as a whole it all feels a bit flat, and the motivations for both characters aren’t believable enough to prove too interesting. However, the way the distant relatives intertwine and mirror one another over the course of the game is very impressive.

I kept playing, though mostly because of my in-game wanderlust. Exploring the ancient cities of Jerusalem, Acre and Damascus is quite visually enjoyable. The graphics and game engine for Assassin’s Creed have aged well — the game looks gorgeous, there’s still a great rush from climbing a city’s high tower and taking a Leap of Faith swan dive. Even the combat engine is reliable. Fighting is hardly a highlight, though — the swordplay is a little stiff, and ranges wildly from making the player feel like a badass to feeling cornered and hopeless.

The animations used to bring Altaïr's climbing antics to life are impressive without relying on demanding control schemes

But taking a look back at Assassin’s Creed means looking at its spotty critical reception as well. The now-defunct Electronic Gaming Monthly famously panned the game with a three score-average rating of a 5 out of 10. Just above mediocre. IGN gave the game a 77 out of 100, which, when run through the IGN score filter, is also patently average. Edge gave the game a 7 out of 10.

One of the harshest critiques came from Destructoid, which gave it a 55/100 and called it “a disappointing, repetitive game.” However the review goes on to add, “Once you get past all that…there’s absolutely no reason why you shouldn’t be able to have a hell of a fun time with it.”

Accusations at the time were whispers that claimed reviews which scored the game over a certain mark let the accompanying websites break the non-disclosure agreement’s review street date. It sounds good for Ubisoft in theory — if  all the pre-launch impressions of your game are positive, strong sales will likely follow. But it’s bad ethics in terms of principle, and the supposed pressure for “good” reviews backfired as other sites ran their own less-than-glowing reviews. Ubisoft was pushed into a corner: Would they admit they allowed positive reviews out first, or alternatively stay quiet and allow their NDA to be thoroughly abused?

In all honesty, the scores of 7s and the like seem about right. For all that Assassin’s Creed does right in terms of its gameplay, engine, graphics and design, it comes up short in a lot of other areas. Sometimes it tries too hard (the story), and sometimes it’s just uninspired (the lack of mission variety). The glowing reviews clearly came from individuals captivated by the scenery, while the negative reviews seem, to me at least, to strike a sort of middle ground.

Assassin’s Creed is neither groundbreaking nor a once-in-a-lifetime gaming experience. It’s certainly not a Game of the Year contender. Truly, it’s more akin to a movie like last summer’s Iron Man: A popcorn flick with artistic credentials that happens to do a damn good job of setting up the sequel.

If Assassin’s Creed II mends the shortcomings of the first game while keeping its solid fundamentals, Ubisoft may put out a title that won’t need manufactured positive press — it’ll make its own.

[viddler id=72981230&w=545&h=349]

On the one hand, Guitar Hero: Smash Hits is reviving some of the best songs with full-band bravado from the earlier, better days of Guitar Hero. Ozzy Osbourne’s Bark at the Moon is getting its due. So is Killer Queen, and Free Bird, and Carry On Wayward Son…which was already in Rock Band 2, and…Through the Fire and Flames?

Yep. It’s Neversoft.

Bioshock 2 footage emerged from the depths. While it’s far too early to make any judgment calls on the game, it’s safe to say the sequel perfectly retains the look and feel of the landmark original game. Whether that’ll ultimately be to its detriment or benefit is, at this point, anyone’s guess.

Meet Ezio Auditore de Firenze, Desmond's next nightmare-bed buddy

The slow trickle of Assassin’s Creed 2 details has accelerated. Just earlier this week, Ubisoft launched a teaser site for Assassin’s Creed 2, complete with a clever webcam metagame that revealed images of the game’s new protagonist. Ezio Auditore de Firenze, a Florentine nobleman in the year 1476, is another one of Desmond’s ancestors and presumably the next persona he’ll pull a Being John Malkovich on in the sequel.