Eyes-On: Kirby's Epic Yarn

Kirby has always been one of those secondary Nintendo characters, playing the lead role behind the likes of Mario, Link and Samus Aran. But he’s also always been the more unique fellow of the bunch, and individuality as they say will get you far. So far in fact that after nearly twenty years and as many games he’s still going strong, and still playing second fiddle to other Nintendo heroes.

Some things never change, though with Kirby that should be re-written to some things always change, given the character’s unique shape-shifting abilities and power to use these multiple forms in the most unlikeliest of ways. The culmination then is with Kirby’s Epic yarn, a highly stylised platform adventure that is perhaps on first impressions almost as magical as the wondrous Super Mario Galaxy.


But let’s not get ahead of ourselves here. This is still a Kirby game, and in many ways closely follows the blueprint laid down for the series way back in Kirby’s Adventure on the NES. However Epic Yarn also looks like becoming one of the most imaginative straight up platform titles to date, which is something that is undeniably represented by the game’s unique art style and all round bubbly, happy feel.

Everything from Kirby himself, to the various foes he meets, the colourful vistas in the background, and the whole environment is covered in a fabric-like look. This look is initially somewhat similar to the paintbrush effect found in Okami, or the hand-sketched appearance of the world found in Yoshi’s Story on the N64. However, rather than being soaked in a lavishly painted or pencil drawn style everything looks like its been created from various types of fabric; a blend of cotton, wool, and other various textiles from cross stitch patterns to knitted designs all make up every single piece of the game’s unique visual appearance.

But this isn’t just an artsy graphical effect, instead this is something that is completely interwoven with the foundations of the gameplay and make up of Kirby’s world. As our squishy little friend bounces around the environment, platforms contract and expand, just like when you sit down on your sofa, or rest on a cushion in real life. This gives the game a kind of floaty feel to it - something that connects the art style to what we experience in reality, and in turn sucks us deeper into the experience.


Another nice touch is the how the use of zips, when pulled, reveals pathways to new areas throughout the stage, or how tugging on a thread dislodged from a piece of the background scenery opens up a door allowing Kirby to teleport into other parts of the level. You can also find openings which seem to take you behind the scenery itself, leading to concealed loot and other stuff to collect. It’s pure genius and just what you’d expect from the minds at Nintendo.

These elements shown off so quaintly in the gameplay footage I’ve witnessed so far really adds to the tangibility of a world made from various fabrics, with everything reacting as you’d expect, but also creating a real vibrancy and magical touch to things. Seeing Kirby transforming into a car for example, and watching him bounce across the screen in a completely un-realistic fashion but in a way so inexplicably natural in the context of the game world that it immediately takes hold of you, makes you almost fall in love with the concept on offer here, even if some of it isn’t particularly original.

Outside of the bouncy environment and beautifully realised fabric-inspired world, Kirby himself also has some neat little textile touches of his own, such as when he attacks enemies by whipping them with an arm made from what appears to be a woollen thread, or how instead he latches onto them before rolling them up into a little ball ready for throwing.

These little abilities make Kirby feel like he is part of the fabric nature of the world itself, and also allows the developers to try out new things in unexpected ways making the your time spent with him equally refreshing. It’s undeniably cool, and is just one of the many inspiring elements the game has to offer.


Like in previous titles Kirby can also once again transform into various objects, changing both shape and size gaining new abilities as he does so. However, unlike before he does this without needing to gobble up the various enemies he encounters instead having these abilities from the get go.

In Epic Yarn these powers are activated with either a single touch of the attack button when in certain areas - such as when Kirby is immersed in water thus immediately turning into a pink submarine - or in others by simply tapping a combination of the d-pad plus the attack button on the Wii Remote when in the air or on the ground. Doing this I’ve seen Kirby change into a car and a helicopter, each providing our pink friend with the means to complete his quest and unlock new areas and secret passages.

Simplicity is the key here, and according to Nintendo all the main actions can be performed by using just the d-pad plus the 1 and 2 buttons on the Wii Remote, with motion control being used just for specific abilities and not as the main way of doing things.


What’s cool about the way this is done is that you now have far more choice as to how you approach certain situations, and how you avoid potentially fatal encounters. Of course, some of Kirby’s abilities are restricted to when he is in certain areas of the environment; for example he can only change into a submarine when immersed in water, or turn into a parachute when falling in the air from a ledge rather than when jumping up off the ground.

Also to make things easier still (though hopefully not too easy) Kirby’s Epic Yarn is said to take a more relaxed approach to difficulty, being more of a smoothly calm challenge than a mountainous struggle for survival. I guess you could say that it is rather soft like its fabric-inspired exterior, which is both pleasing to hear but also faithful to what fans of the series myself might expect.

However, for those looking for something extra to keep yourselves occupied whilst playing through the game – just in case you find it a bit too pedestrian – there should be plenty of hidden areas and secret pathways to find throughout many of the colourful stages, along with lots of cool stuff to collect on the way.


So far it certainly seems like Nintendo, and the guys and gals over at the appropriately named Good Feel Inc are ticking all the right boxes with Kirby’s Epic Yarn, especially with regards to all the subtle touches being added throughout every facet of the game world and all of its characters. It definitely looks like quickly becoming one of the most exciting, and charming titles on Nintendo’s release calendar, whilst also being a fitting follow up to the character’s last home console excursion, Kirby 64: The Crystal Shards, which debuted nearly ten years ago.

Kirby’s Epic Yarn is due for release on the Nintendo Wii early next year, and as already stated, looks set to be another superb adventure featuring our favourite squishy pink blob. We look forward to hopefully get our first hands-on with the game in the near future, and certainly can’t wait for the final copy to arrive for us to review. In the meantime take a look at the inspiringly cute and rather lovely trailer for the game.

250gb Xbox 360 Kinect Package Sighted

Just when you thought that Microsoft were done announcing new Xbox 360 consoles, and launch day Kinect bundles, another one comes right along.

According to Joystiq the company are planning to release a 250gb Xbox 360 S Kinect bundle to run alongside the existing 4gb package announced last month. The 4gb model plus Kinect is set to retail for £250 in the UK, making it competitive against Sony’s PS3 plus PS Move deal (expected to be more expensive) whilst also shaving £30 off the price of Kinect compared to buying both the 360 console and the motion sensing device on its own.


No word was given on how much more the 250gb pack will retail for. However, if going by the price of the 4gb package something around the £300 mark sound reasonably accurate to me. This would still keep the machine competitive against a PS3 plus PS Move pack, whilst also giving users an expected reduction on the stand-alone Kinect price. Though non of these pricing plans for the 250gb bundle have yet been confirmed, and all the information that has been uncovered so far has come solely from a picture located on the outside of a 4gb 360 + Kinect hardware box.

No other details were revealed, other than the fact that a bundle with the higher-end Xbox 360 and Kinect was forthcoming. However it is believed that the bundle will at least include some demos of Kinect software, and assumingly a copy of Kinect Adventures like with the 4gb console bundle. Joystiq seem to belive that these demos may well be included as an aditional DVD on top of any existing software pre-loaded on the hard drive.

At present Microsoft have not given a response to the leak, although we expect an official announcement on the subject shortly.

The Kinect and 4gb 360 + Kinect package is due for a release on November 4th in North America, with confirmed details of a European launch yet to be announced.

Eyes-On: Donkey Kong Country Returns (Wii)

The Donkey Kong Country series of games were some of my all-time favourite when growing up. The beautifully rendered 2D sprites based off lush 3D imagery, and the truly moody sound effects and music meticulously complemented the incredibly smooth gameplay mechanics - something which bared more than just a small resemblance to the ‘perfect path’ methodology first found in Sega’s Sonic The Hedgehog 2.

Yessss sir, the DKC franchise was indeed some of the sweetest slices of gaming action I have ever encountered to this day, and now Nintendo, in conjunction with Retro Studios are hopefully bringing it back in style for 2010. Lets go bananas!


After seeing Donkey Kong Country Returns at E3 earlier this year, I’ll admit it; I didn’t really like the new direction the game was heading in at all. For me it lacked some of the charm of the three Super NES instalments, along with failing to completely replicate those games simple but highly addictive gameplay mechanics. There was also no sign of any Kremlins to be found, just a bunch of goofy and angry looking animals reminiscent of some of the poorer critters in DKC 3, and an overall blocky attempt at matching the style of the first game in the series.

If anything I felt that Donkey Kong Jungle Beat better represented where the series should be going, seeing as it not only maintained the series trademark curvy and smooth graphical look, but also some of its magic.


However after an extended exposure to DKCR my views have relaxed somewhat. Maybe it’s the fact that you can’t very well expect a linear continuation of the past, or that when looking back at DKC3, you can easily see a dramatic shifting of art styles in the subtle changes made to the series by original creators, Rare. In fact, I will probably say that DKCR is pretty faithful as a continuation of that game, just set on the original jungle paradise of the first DKC, and without those pesky Kremlins.

Either way I’m more than happy to receive another proper entry in the series even if it feels more like a New Super Mario Bros homage style title. Though that in it self is no bad thing, and we might just actually get the most exciting one of those yet with this latest DK outing.


As already mentioned the familiar faces of the Kremlins are officially out - or so it seems with no sign of K Rool and the old crew of crocodile-esque creatures anywhere to be found. Instead DK and the rest of the gang – in this case Diddy – must contend with the Tikki’s; another bunch of rabid critters who have only gone and stolen our favourite ape’s much loved banana horde. He must really hate this sort of thing, since this will have been the second time that it has actually happened.

Both Donkey Kong and Diddy Kong return to the fray in pursuit of said banana horde, with a range of new and familiar set of moves, and a brand-new real-time two-player mode to replace the old tag-team mechanic. This time around you control both characters simultaneously rather than as separate entities.

Our heroes also have most of their old moves from the first two games. DK can still barrel roll over enemies using the attack button, along with gaining extra jumping height and length by using for non-offensive purposes. Diddy does much the same thing, although with a cartwheel rather than a roll. The two friends can also team up once again, with DK being able to throw Diddy up onto usually unreachable platforms to gain access to secret areas and hidden items. Diddy also has use of a little jet pack this time around, in which he can use to briefly hover above the ground, or give a small-extended lift to any jumps DK does when he holds onto his back.


According to Nintendo when playing in single player the two characters are always teamed-up, with Diddy providing his additional skills at all times. When in played in two-player mode however, each player controls just one of the two characters for a more unique experience. This also means that due to the way the level design seems to work from in the trailer, it means than there also has to be some crossover in terms of moves between both Donkey and Diddy. In DKCR the ground pound move for example is no longer exclusive to DK alone, instead Diddy can also use a variant of the very same move.

This streamlined single-player design, with full individual control for two separate players means that the gameplay although very similar to the Super NES games, also has some pretty substantial differences. One of which is how the game’s health system works. In DKCR as you no longer constantly switch between both characters your health is now governed by a series of red hearts at the top of the screen; a return of the traditional energy meter not at all characteristic of the series.

Another, is that if one player manages to die in two-player mode, he or she then can come back if the other player bursts open a floating DK barrel on screen, much like the system seen for multiple players in NSMB Wii. Also, like in that aforementioned title the second player can choose to climb onto DK and take a backseat ride whilst the more skilled of the two players takes full control. After which, or even during, the second player can make a break back to freedom again.


Like with previous games in the series players are once again tasked with collecting bananas along with the four K O N G letters that appear in each level. Hidden bonus areas also make an appearance, but so far from what we’ve seen they remain rather inconspicuous unlike in the second and third DKC games, in which they where marked with a large ‘B’ indicating, yep you guessed it, a bonus area of sorts. Here in DKCR they seem to appear more as a natural part of the environment or as a disguised barrel, rather than the “here I am” type inclusions in later instalments.

In terms of level design and gameplay outside of the various move sets and team-up features, DK’s latest appears to be a direct extension of the classic gameplay featured in his first three games, but with some massive changes and enhancements. Along with the usual platform jumping and banana and item collecting, the game also sees you hop between areas to and from the background scenery adding in an extra depth to the experience. It looks very much like a faster-paced variant on the mechanic used so imaginatively in Sony’s Little Big Planet, with DK getting the same treatment here.

From the trailer we can see that mine cart stages make a triumphant return, as does the vine swinging and barrel blasting sections from previous games. The barrel blasting in particular looks far crazier than before, with both DK and Diddy being shot out at even higher speeds than ever expected. Some of the barrels also feature jet propulsion, whilst also moving backwards and forwards, and up and down, making things even harder to comprehend. And this is along with some moving and rotating at the same time.


It certainly looks a little too OTT at times, although it also fits in with the slightly funkier, more energetic look Retro Studios have created for the game. And it’s this look that both sets it apart from previous games in the series whilst also tying it in together nicely. What we have here is a return to natural jungle paths, dark caves, and lost cities type stages of the first DKC, but filled with creatures that are generally more suitable to populating the world than the heavy reptile influences of the past.

However it is also noticeable that the game has lost a little bit of the series distinctive feel about too, especially when you compare it with the Super NES games. That’s not to say that it’s particularily bad or anything. But I definitely think at present that it fails to live up to being a true DKC sequel, instead appearing to be something more a long the lines of a New Super Mario Bros Wii style reinvention. Then again, the game also looks like being lots of fun too, and Retro Studios have a solid track record behind them.


Visually, DKCR also runs into a few issues. Though it still looks reasonably nice, and represents a good attempt at recreating the style and feel of the original trilogy, whilst updating it for a new audience without alienating too many old fans such as myself. It also looks rather blocky too, and suffers from some ugly jagged edges where the Wii fails to provide any kind of anti-aliasing.

The actual characters themselves – both DK and Diddy, and some of the enemies – lack the smooth curved finish, and impressive fur shading effects from DK Jungle Beat, which is a shame, and sadly the environments don’t fare so well either. Although solid enough in artistic terms, technically they don’t share the same sparkle as the likes of DK Jungle Beat and Super Mario Galaxy, with much of the game currently looking slightly angular in places and a little blocky overall.


Coming from the powerhouse that produced the stunning Metroid Prime series, what we’ve seen so far is a little disappointing and not quite as smooth and polished as it could have been. At least the game does run at 60fps though, whereas all the trailers we’ve seen have been encoded at 30fps highlighting the rough edges slightly more than you’d actually see when seeing it first-hand.

Thankfully the animation itself is first-class, and is full of subtle little nuances packed full of personality. This really gives the characters and environments an organic, living feel to them. It also helps glaze over some of the less impressive parts of the game’s visual make up.


Of course, all this talk of slightly disappointing graphics and more outrageous gameplay mechanics may not make all that much of a difference as long as the game is really fun to play. And case in point, although I rather dislike some of the enemy designs in DKC 3, and found the soundtrack to be nowhere near as engrossing as the first two, I did still find myself having a massively enjoyable experience with plenty of little magical touches to be found along the way.

With DKCR it’s pretty clear that Nintendo and Retro Studios are taking a leaf out from Rare’s book in expanding the formula whilst not loosing sight of where it originally came from. And whilst I don’t like all of the changes, there’s no doubt that every facet of the game looks far better than the mediocre travesty that was DK64, and also appears very much in-keeping with the original DKC games when you start to scratch under the surface. Plus much of DKCR is strictly under wraps at this point.

Despite seeing so much new stuff in the E3 trailer for the game, there are still a few things that go unanswered; such as whether or not we’ll see the return of the map screen and hub world overview from past titles; how the save system will work; and if any of DK’s charismatic buddies will return. So far nothing has been confirmed with regards as to if any of the rideable animal friends will make an appearance, or whether members of Kong’s extended family will play some part in the overall grand scheme of things. Hopefully they will, but please, leave out any of those sorry souls from DK64.


We should hopefully find out about these things, and more, if we get a chance to go hands-on with game, and if not, then Nintendo will certainly drip-feed us with more essential info.

In the end I’ve loosened up quite bit to the game's change of direction and overall art design on offer here, along with the spiced up gameplay adjustments. And well, to be honest, simply appreciate another 2D instalment in the series regardless whether or not it is quite the way it would have been imagined back in the day. If anything DKCR is shaping up to be exactly what DK64 should have been - slight issues and personal disagreements aside, and minus that god-awful DK rap.

An Updated Look At The Visuals Of SSFIV 3DS

More of a quick update than anything else today, but still a decent one at that, concerning the delightful port of Super Street Fighter IV for the 3DS.

A few days ago Capcom released a few new screenshots showing the game in action. These new screens revealed not only a few characters not seen in earlier shots of the 3DS version, but also significant graphical improvements finally putting the game over and above anything the PSP could possibly do. It’s rather impressive!


First on the agenda today is the observation that none of the new screens feature that ink-shading effect seen in the earlier shots released at E3. Previous screens only showed off the game using this effect, which in turn made things look rather flat, albeit also very stylish. It now appears that, like in the PC version of SFIV and in the PS3 and 360 update Super SFIV, that you can turn on and turn off the ink shading as you see fit.



Visually the new shots definitely look more in keeping with the console versions of the game. In particular with the ink shading off the characters display noticeably more in the way of subtle details, and an increase in bump-mapping giving them a greater sense of depth compared to before.


The backgrounds have also been given a subtle overhaul, with a greater use of geometry being visible making things seem even more impressive. But to really appreciate just how good it looks overall you have to see the game being displayed side-by-side with its bigger brother in order to gauge just how close it is.


3DS


PS3/360

It’s pretty clear from the above screenshot comparison that Capcom have managed to get the game looking incredibly similar whilst using only a fraction the polygon power available to them with both the PS3 and Xbox 360. The developers also appear to be using the exact same character models as the two console versions of the game, just scaled back in geometry counts, and using a greater amount of normal mapping to replicate a similar level of detail.

And against the iPhone version of SFIV:


3DS


iPhone

Moving on, in the latest shots of the 3DS game self-shadowing is also still visible, which is nice, along with what looks like some kind of soft shadow filtering giving a smoother appearance to shadow edges.



As to be expected there is no anti-aliasing of any kind to be found in the 3DS version so far, and to be fair it is unlikely that there will be in the future either. Certainly, with the reasonably high geometry counts we are seeing, along with some advanced shader effects, normal mapping, and soft shadowing, it’s going to be hard enough maintaining that essential 60fps update as it is without trying to implement an AA solution in on top of that.

But to the honest they don’t really need to. The sharpness of the visuals, the detail, and the impressive use of various visual effects is outstanding for a first-generation title. It’s also way ahead of the now meagre looking iPhone version of SFIV (which failed to even feature true polygon backgrounds). The only disappointing thing is that we may well have to wait a little longer for the game than expected - Capcom are now saying that it is unlikely that it will be out in time for the 3DS’ launch.

Either way, we’re definitely looking forward to seeing it in action.

Tech Analysis: Singularity (PS3 vs 360)

Singularity is another one of those games which sits directly in between being distinctly average and almost underrated, perhaps veering more towards the former rather than the later. But anyway, Raven Games’ cold war era scientific and supernatural FPS throws around a few interesting ideas, and a cool time dilating mechanic which seemingly should be making a stronger appearance than it does here.

When talking about the game it’s hard not to mention other similar titles such as Bioshock, and Wolfenstien, both of which Singularity seems to take influence from, especially with regards to its dark and gloomy atmosphere and use of warped human-engineered technology. You can also feel touches of Valve’s masterpiece Half-Life 2 flowing through some of the experience too, mostly arriving whenever that time-dilation device is in hand.



Using the popular Unreal Engine 3, Raven games have actually created a technically competent release, one that actually fairs extremely well on both platforms. Usually the PS3 is the one to suffer with titles using the Unreal Engine, often having significant cuts in rendering resolution and alpha buffer size for transparencies and other such graphical effects. But not so with Singularity, which demonstrates that it is possible to almost achieve parity when taking the time and care to do so.

In motion both versions look pretty much identical. Or rather, most of the time they ‘do’ look identical. It’s hard to tell them apart other than from the occasional slightly more jagged edges on PS3, and the loss of a few specular effects in areas with lots of water. That and some performance issues are the only things separating the two versions apart.


Singularity is rendered in 720p (1280x720) on both Xbox 360 and on PS3. As per usual with games released for both formats, and those using the UE3, 360 owners get 2xMSAA while the PS3 gets no anti-aliasing of any kind.

However this isn’t quite as bigger deal as you might think. When in motion the use of 2xMSAA on 360 does very little if anything to set it apart from the PS3 game. The reason behind this is that the AA used in the 360 version is selective. It’s only applied on certain objects and in certain areas in specific conditions, meaning that most of the time it’s barely there at all. We’ve seen the same thing before with the UE3 on both Gears Of War 1&2 which only apply AA on objects without movement, or when you are standing still.

Seeing as the game features very little in the way of high contrasting edges the PS3 version rarely looks to display any more jaggies than the 360 game, and any differences are only really visible when both versions are put side by side in screenshots. So whilst 360 owners can boast about having AA included, in reality it’s more of a checkbox feature here than a real benefit to the graphical quality of the game.



Moving on we can see that texture detail is like for like across both platforms, as is the game’s use of texture filtering. AF levels appear reasonably good, though not exceptional, and just seem to get the job done of displaying clean-ish textures in the distance. Usually it’s the PS3 which commands the advantage in this area with RSX’s larger amount of texturing units, but this is clearly not the case here. In fact it’s the 360 which shows a greater level of AF than usually seen with many multiplatform titles, normally satisfied with going in for a bilinear or trilinear approach.

One area in which the PS3 version does edge ahead of the 360 build however, is with regards to the game’s lighting and shadowing system, which looks slightly more refined. Texture details and certain graphical effects tend to be accentuated, standing out almost like there is some kind of subtle AO going on, even though we know that there isn’t. Shadows are also subtly more defined, creating an added sense of depth to the image.


In terms of particle effects and alpha buffers both versions seem to look identical, with no lower resolution discrepancies to be found anywhere in the PS3 version. The striking similarity between the two can be seen in the screenshot above, where even when a large part of the screen is filled with effects the PS3 still manages to stay par the course along with the 360 every step of the way.

This is in start contrast to Bioshock 2 in which the PS3 build featured lower resolution effects for smoke, fire, water, and electricity, noticeably reducing the game’s overall image quality. Thankfully, for the most part, the same thing doesn’t happen here.


Interestingly the same cannot be said for the use of specular effects and normal maps. Here it’s the 360 build that commands a small but visible lead over the PS3 game. All normal maps in areas that feature water or wet surfaces are dialled back on PS3, and in turn lack the same levels of depth and intensity compared to what you can see on 360. Some areas feature lower resolution normal maps too, further reducing overall quality.

The above screenshots clearly shows off the differences between the two versions. Notice how on the walls in particular the normal mapping is less obvious on PS3, and that the effects creating their shiny wetness are clearly in a slightly lower resolution compared to the rest of the scene.

This is perhaps the biggest difference between the two outside of the PS3’s better use of lighting and shadowing, and the 360’s small commanding lead in overall performance.


So far nether version has really come out on top, with the PS3’s superior lighting being countered by the higher resolution normal mapping found in the 360 game. Instead it’s down to performance to perhaps provide us with the clearest look as to which version is technically superior. After all, frame rate issues and screen tear tend to have far more of an impact during gameplay than some cutback visual effects.

Not so surprisingly the differences apparent here aren’t all that noticeable. In the end the PS3 game does demonstrate more in the way of both screen tear and framerate drops, but also does so more subtly than you might think. Most of the extra tearing that occurs in the Sony version is only really present in the overscan area of the screen, meaning that most people will never see it. Another thing is that although the PS3 game does indeed fare slightly worse than the 360 one overall, the same issues are also present in that version too, just to a lesser extent.

Both versions start off running at 30fps and try to attempt to remain v-synced for the duration. However it is clear that the PS3 losses v-sync more often than the 360 casuing a small increase in screen tear. Surprisingly, even when the PS3 build does lose its command of this, the effect has no bearing on framerate whatsoever. Usually the way it seems to work is that the PS3 version substitutes a consistent framerate in order to maintain v-sync and in turn suffer from less screen tearing as a result. Whilst on 360 most developers favour the approach of dropping v-sync in order to keep a higher framerate.

Here we have a situation where we get more tearing and greater framerate drops on PS3 and less on 360. However, despite this there is very little in between the two when simply playing the game without looking for these things. Yes, some differences are subtly noticeable, but at the same time they are not game breaking or at all intrusive for that matter. Arguably the 360 does maintain a small lead in terms of performance, a lead that in the grand scale of things does very little in making it definitively superior overall; much like the build’s inclusion of anti-aliasing.


In conclusion Singularity is pretty much equal on both platforms. The PS3 game benefits from having slightly better lighting and shadowing, whilst 360 owners get better normal mapping and a small lead in commanding performance. When it comes down to it though, in motion you’d be hard pressed to tell them apart, and many of the things pointed out here I could only see when lining up the games side by side when standing still – not something you’d normally be doing when playing.

Your purchasing decision then solely comes down to which controller layout you prefer, and which of the two systems you like to use the most. Anyone looking to try out the game shouldn’t have any concerns as to which version they choose to buy, as it’s pretty much identical across the board.

Hands-On: Kane & Lynch 2: Dog Days (PS3)

You know the original Kane & Lynch was another one of those titles I’d rather forget, a game which not only failed to live up to its potential but also seemed oblivious to its failings, almost like it was content with merely being an idea, a proof of concept without proper execution. Coming from the developers of the successful, but slowly fading Hitman series we should have expected something much better, a title that maybe wasn’t so filled with sloppy control issues, poor AI, and repetitive online play.

Perhaps what is so surprising about this sequel, is that it manages to rectify a whole lot of problems found in the original creating a vastly more polished experience overall. Playing the brief demo for Kane & Lynch 2: Dog Days is quite an eye-opener when you look at just how much has been changed, and that what you have standing right in front of you is a largely different game on the whole.


Rather than resting on their laurels IO Interactive have managed to address many of the issues and concerns we had about K&L whilst also expanding on the atmosphere which worked so well the last time around with a new unique look that is as gritty and grimy as the game’s two lead protagonists. Set deep within the chaos of the Hong Kong underground, the developers have created a more tightly controlled, intense kind of game; a fast-paced third-person shooter reminiscent of a good John Woo actioner, making things all the more enjoyable as a result.

One of the main improvements with this sequel is that it runs a staggering 60 frames per-second most of the time, with only a few expected bouts of slowdown. The use of having such a high frame rate goes beyond making the game look reasonably impressive compared to the original, instead also improving the controller responsiveness and providing faster paced action overall. Upon booting up K&L2 this is immediately obvious; running around and swiftly getting that first headshot is faster and more immediate than before. Your level of control is improved not only in how quickly you can react, but also how accurate you can become at high speed.


Changes to the cover system also help in maintaining this fluidity. It is now possible to quickly move in and out of cover by pushing the ‘Cross’ button, or to move out by pushing on the analogue stick in the opposite direction to whatever your wedged hard up against. The system works pretty well, and is an improvement over the first Kane & Lynch, although isn’t as responsive or as manoeuvrable as the one found in Gears of War and Uncharted 2. I didn’t have any problems getting into cover, and then popping out and blasting a few enemies in the face before running towards the next suitable spot after a few minutes of play. Although things could be improved as there were times when I’d become stuck for a brief second or so in cover after pushing the required button to dislodge myself.

Gameplay-wise K&L2 is a much faster paced affair than the original. It really feels like the developers at IO Interactive have taken a leaf from Call Of Duty’s rulebook, specifically Modern Warfare’s. The way enemies pop up from behind cover and move between areas in order to flank you appears much like in Infinity Ward’s title. The same thing applies when they accurately take aim and attempt to gun you down with varying degrees of success, with foes constantly bestowing damage upon you if you get too careless, adding even more to the game's atmosphere and attempt at realism. Surprisingly, the constant duck and cover, run and gun nature of the game works very well, never feeling tired or strained throughout the limited time offered in the demo.

The action isn’t quite as furious as it is in Infinity Ward’s title, although is very smooth, and incredibly polished at the same time. Originality though is the one thing the game lacks, and in this case there’s very little outside the YouTube style presentation to set it apart from other comparable titles. Except perhaps the framerate, which improves things to no end, fully justifying the steep graphics cutbacks that have occurred in making this possible.


If there is one major complaint to be found however, then it’s with regards to the enemy AI. During various points throughout the demo I had several enemies jump out from behind cover and begin to run circles around Kane, while at the same time I could stay in my current cover position gunning them down as they did so. Not only that, when going around in circles they effectively failed to attack either me or my partner, instead looking like they had gone a little bit mad in the process.

This definitely needs to be cleaned up before release as not only does it make the game look a bit silly, it also breaks some of the atmosphere in the process. What they need to do is keep in some of the cool stuff; like how enemies pop in and out of cover, quickly moving to different spots trying to flush you out, whilst getting rid of the annoying glitches that break the illusion of a intensely staged gunfight.

Some of the NPC’s also suffer from quite stilted and stiff animations. These look rather outdated and much like the kind found in various on-rails arcade shooters. However, both lead characters move with much greater fluidity and rarely suffer from the same problems, with only occasional animations that appear out of place, or a little odd.


Visually, K&L2 looks reasonably impressive with regards to its smooth framerate but also has issues in other areas, mostly surrounding the game’s incredibly soft, and often fuzzy look. It is apparent that in order to achieve 60fps that the developers have sacrificed overall screen resolution, and in that respect the game falls down. K&L2 is decidedly sub-HD, with upscale artefacts being visible at most times and jaggies crawling the many clean lines on display. The varying inclusion of different filters used to create a security camera style look to the game, although a pretty nice touch adding even more atmosphere to the game, also do little to hide the low rendering resolution, and instead make things appear even softer and more undefined.

That said the grimy, understated, YouTube-esque screen presentation of the title fits in well with the characters and world that the developers are trying to create. The shady underworld of Kong Kong isn’t meant to look vivid, saturated and full of colour, its tone instead balanced against two unattractive and vile lead protagonists who would do equally as well at playing the role of the bad guys in this experience. Another cool touch is the ‘buffering’ message displayed when the game is loading, again adding that sense of being in a live surveillance feed of sorts.


So far, Kane & Lynch 2: Dog Days is shaping up to be a huge improvement over the first game, and seems like a largely enjoyable experience from the small sample offered up to us in the demo. The much faster-paced gameplay reminiscent of a third-person Call Of Duty makes the whole package feel tighter and far more exciting than before. While the unexpected decision to target 60fps makes for a smoother, more graphically impressive and responsive game as a result.

A few flaws still remain, such as the dodgy enemy AI, and the stiff animations of the NPC’s, which feel rather outdated. But if both of these issues were ironed out by the time of the game’s release in late August, then there shouldn’t be all that much to complain about. Bar perhaps the low-resolution nature of the game, and the fact that the two lead characters are still initially as unlikeable as ever, spouting a myriad of abuse whilst keeping their stark moral indifference to the world intact.

Hopefully, IO Interactive will surprise us with that last one. This is supposed to be Lynch’s story after all - something far more personal, so we expect to see some kind of humanity to be brought to the surface of the character at some point. After all he isn’t a militarily trained killer like Kane, instead being a far more wild and uncontrolled type. Dare I say more emotional, and arguably this provides at least a good starting point to get underneath and into the inner workings driving him to this kind of lifestyle.

That is of course, if the script writing and characterisation is as good as the gameplay. But I guess we’ll just have to wait in order to find out.