Metal Gear Solid 4: Guns of the Patriots is the most technically stunning video game ever made. It’s also a fine example of storytelling prowess within its medium, combining gameplay and narrative so slickly and beautifully that it’s impossible to extricate one from the other. It’s likely you will emerge awestruck from your first play-through, wishing the experience would continue yet nonetheless satisfied with its conclusion. It’s difficult not to sound hyperbolic when discussing MGS4 because every part of its design seemingly fulfills its vision, without compromise. There is no halfway.

Fully realized, lengthy story sequences will come as no surprise to anyone who has played a Metal Gear game. You’ll spend a good half of MGS4 watching cinematics, but it would be a grave misinterpretation to assume that great gameplay takes a backseat to the story. Rather, these two elements are tightly intertwined, and this tapestry is held together by an important technical thread: Cutscenes that are rendered fully in real time within the game engine. It’s impressive enough that these scenes look as good as any prerendered cinematic you’ve ever watched. It’s even more amazing when those same scenes transition without pause into gameplay, and the same hulking mech you watched lumber about in the cinematic is looming above you. The subtle animations, the lush environments, and the rich textures are the same in and out of story sequences, and the effect is so seamless it may take your breath away. You can skip past the scenes if you prefer, but doing so would soften the experience. The story sequences carry more weight because of the intense gameplay that precedes them–and the gameplay feels more compelling because the story gives you powerful reasons to care about your mission. The high point of this fusion occurs in an exciting and memorable split-screen sequence that simply must be experienced.

Talking about what, exactly, is going on in the plot in the midst of MGS4’s grand sweeping gestures is to risk spoiling each little surprise as it emerges. Snake, suffering from the rapid onset of aging, now must cope with stiff joints in addition to the looming specter of Liquid Ocelot’s newest plans. This is Snake’s final hurrah; yet as the story reaches one height after another, the juxtaposition of huge set piece battles and formidable bosses with Snake’s deteriorating body creates tension and gravity even beyond the series’ usual pretensions. Some new plot strands emerge while others get tied up, and old friends (and enemies) refuse to be forgotten. You’ll also bear witness to a few reunions–some bloody, some teary, and some legitimately shocking. Parts of it are overblown, to be sure. The musical score gets heavy-handed and the voice acting and writing are frequently dogmatic, so while there are plenty of subtle moments, subtlety isn’t really MGS4’s strong suit. But it doesn’t need to be. After all, the fate of the world hangs in the balance, and judging from a few silly attempts at humor that don’t work, developer Kojima Productions was wise to err on the side of melodrama.

The gameplay proper is familiar to fans, but it’s been cleaned up and expanded, holding as many twists and surprises as the story. For starters, both gunplay and close-quarters combat are more satisfying. Regarding melee, the controls have been streamlined, making it less cumbersome to grab an enemy soldier or perform a stealthy blade kill. Shooting mechanics are even more improved, so much so that shooting your way out of a pickle is just as enjoyable as sneaking around it. There are a huge number of weapons to play with; so many that you’ll probably finish the campaign without using many of them. Yet, quality wasn’t sacrificed for quantity: Every weapon feels just right, from your handy operator sidearm (best when upgraded with a silencer) and standard issue assault rifles to a powerful railgun. The standard over-the-shoulder view is fine for the most part, but you can gaze down the sights from a first-person perspective. Both views can be further improved with various enhancements, such as laser sights and scopes.

Not that you don’t have all the tools for completely avoiding your enemies if you choose that route. Snake’s got the basics covered: crawling, hugging walls, peeking around corners, and hanging from ledges, for example. Cover mechanics are tighter than ever, so you can crouch and take potshots from behind cover with ease. There are also a number of important gadgets that will make your life easier in this regard. The most obvious of these is your OctoCamo suit, which takes on the texture of your surroundings when you’re prone or pressed against cover. Not only does this make it simpler to avoid watchful eyes, but it’s also a cool visual effect. Eventually, you’ll be able to camouflage Snake’s head, and a few of the available camo options are bound to stir some fans’ nostalgia. The Solid Eye is your other major tool, as it expands your compass into a sonic-sensitive radar and allows you to use night vision and a tactical first-person view. These are helpful gadgets indeed, even during boss fights, like a stirring encounter in a blinding blizzard.

Other gadgets, such as portable hiding places (cardboard boxes and rusty barrels) and the Metal Gear Mk. II (a stealthed robot that you can command as a scouting device), are useful to anyone who prefers the sneaky approach. Not every gadget is a welcome addition, though. For example, the much-ballyhooed iPod is a neat touch, but to use it, you cannot have another gadget equipped, so you’ll quickly forget the option even exists. But aside from these nitpicks, one of the things that makes the core gameplay so enjoyable is that you’re rarely strapped into a single style of play. Shooting your way through requires more thought and care than you’d put into a standard action game, but you never feel as though the gun mechanics are stuffed uncomfortably into a stealth game. If you’d rather sneak, you never have the impression that stealth was shoehorned into a game that’s meant to be played as a shooter. Sure, you’re Solid Snake–you’re not supposed to get caught. But if you’re stuck in a jam, breaking stealth isn’t a death sentence, and in fact, facing certain enemies head-on is often a heart-pounding, challenging experience. The few levels that do force you into one style, such as one in which you shadow your target through an Eastern European city, are still great, if not quite as impactful.

You’ll need to keep an eye on Snake’s stress levels and psyche. Though these aspects are more peripheral than health levels, they fit nicely within the plot. When Snake gets stressed (if he gets cold or encumbered, for example), his psyche gauge starts to deplete. The lower the gauge, the slower you will move and the less quickly you replenish health. Generally speaking, the psyche meter is rarely a factor, and should you notice Snake groaning a bit more, there are items like compresses you can use for a pick-me-up. Should the meter get too low, you won’t be able to hold up your weapon or rush for cover. This doesn’t happen often though, and while you’ll need to keep a close eye on your health for obvious reasons, you won’t need to pay too much heed to psyche.

The gameplay and story would, perhaps, not be as effective if Metal Gear Solid 4 did not look and sound so impressive, but truth be told, it’s an amazing piece of technology. From the gritty textures of concrete walls to the effective lighting and shadowing, there are few aspects you could reasonably fault. In the biggest battles, billows of smoke fill the screen and blood splatters against the camera–all while meticulously designed helicopters fly overhead and ad-hoc team members take potshots from behind grungy dilapidated vehicles. Yet in the midst of the visual drama, it’s the little things that are likely to provoke awe. Small details, such as how Snake rubs his sore back when his stress levels get high or the authentic manner in which he ascends staircases, create as much atmosphere as cluttered underground tunnels and war-torn Middle Eastern cities. You will have to wait through some scattered install periods (just under 20 minutes worth, in total) and the occasional loading screen, and you may find some frame rate drops and low-res textures here and there, but these aren’t issues in light of MGS4’s impressive graphical accomplishments.

The sound design comes together nearly as well. The soundtrack on its own is rather pompous, but in context, it works just fine to create the appropriate mood for any given cutscene or battle. The voice acting follows suit but succeeds far better. Because the growling voice of David Hayter’s Solid Snake is so good, the rare hamming from the mostly excellent supporting cast is easily forgotten. But the sound effects are unforgettable and excellent across the board. The Gekkos emit blood-curdling moos like gargantuan cows, explosions are outstandingly obnoxious, and everything from the clicks of the Solid Eye to the laughter and screams of the beastly bosses are top-notch.

On top of it all, Metal Gear Solid 4 offers some enjoyable online 16-player action to complement its superb single-player experience. Deathmatch and Team Deathmatch are represented, of course, and they play just fine, assuming you don’t approach the online component as a standard shooter. The maps are beautifully rendered and packed with detail, and while not every mechanic is as wonderful in multiplayer as it is in single-player (hiding in your cardboard box won’t usually get you far, for example), it’s all good fun once you adjust to the pace. The multiplayer star, however, is sneaking mode, a Team Deathmatch variant in which one player plays as Snake and another supports him as the Metal Gear Mk II. Shooting others is amusing–but sneaking enthusiasts will enjoy the violent, stealthy game of hide and seek you play as Snake. Playing support is equally entertaining because as Mk. II, you can go invisible, creep up on other players, and zap them with your electronic tentacle. It’s a blast. Other modes include base mission, in which teams compete to conquer bases; a capture and defend mode; and rescue mission, which is similar to the same mode in Metal Gear Solid 3: Subsistence. Unfortunately, the process of creating an online account is laborious, so expect to take a few minutes to enter a litany of information (a pain if you aren’t using a keyboard). Thankfully, the variety of customization options and sheer numbers of players online mean that this process is quickly forgotten.

If the story-heavy presentation of previous Metal Gear games taxed your patience, Metal Gear Solid 4 won’t change your mind. For anyone who appreciates games that rise above the simple act of pushing a few buttons and pulling a few triggers, Metal Gear Solid 4 is a stimulating ride that you won’t soon forget. You’ll want to see what happens next, yet when its long campaign draws to a close, you’ll wish it would continue. That’s not just because it’s a well-told tale, but because that tale is woven through a thoroughly impressive game that tops its predecessors.

When Mass Effect was originally released last November on the Xbox 360, it unveiled a vast, beautiful galaxy populated by diverse, fascinating alien races. Players stepped onto this stage as Commander Shepard, a hero at the vanguard of humanity’s ascension in the arena of galactic politics, and thus began an epic story bolstered by engaging characters and rich, branching dialogue. Exciting combat and robust skill management completed the package, but it was not without flaws. Many small issues have been addressed in the PC release, and the result is a more streamlined, more playable version of one of the best role-playing games in recent memory.

The bulk of Mass Effect remains the same, so for our thoughts on the story, character customization, dialogue, quest structure, and combat abilities, please read our review of the 360 version. This review will focus on the PC experience and how it differs from console play.

None of the changes are drastic overhauls, but they do have an appreciable effect on the gameplay. One of the biggest tweaks is to the combat system. In the 360 version, you have to temporarily pause the action to use any weapons or biotic/tech powers beyond the one you currently have equipped. On the PC, this pause is still available, but weapons and powers have been consolidated onto one screen, along with squad commands which you can now issue inidividually. Pressing the space bar will bring up a heads-up display where you can change weapons or powers and issue commands to your squad. Odds are you’ll use this pause very rarely, because your weapons are mapped to the function keys and your biotic/tech powers can be assigned to the number keys.

Without frequent pauses, Mass Effect further distances itself from the ponderous, tactical feel of combat in previous BioWare role-playing games. Instead, it feels like a bona fide third-person action title. Gunning down small groups of enemies while barely breaking a stride is still immensely satisfying, as is blasting your way out of larger pitched battles–only now you can unleash multiple tech or biotic attacks on the fly. You can dart out from cover, take down enemies’ shields, and explode their weapons–all while shooting them–and be back behind cover in a matter of seconds. The real reward of this faster, more fluid action is the sense of power it imbues. Wielding your formidable abilities with ease really makes you feel like the badass warrior you were meant to be, and it makes combat more exciting and fun.

Unfortunately, all those tech and biotic power animations flying around can cause the frame rate to suffer on less than godly computers. This will really only happen during battles with numerous foes, and though it isn’t much more than a brief stumble, it’s distracting. Slightly more distracting are the frequent in-game load screens. Masked by long elevator rides on the 360, load times have actually decreased in length but increased in frequency for the PC version. Elevator rides are shorter, but you’ll often be ambushed by a two- to four-second pause (the screen dims and a small “loading” icon appears) when you’re coming up on a battle or entering a new area. Again, these pauses are brief enough that they don’t bring things to a screeching halt, but they are a bit of a nuisance.

A few other tweaks have positive effects on the game. The inventory system is much easier to manage with a mouse and keyboard, and long lists of items won’t reset to the top every time you sell something near the bottom. The Mako vehicle sequences are easier to manage thanks to the implementation of dedicated forward and reverse buttons in place of the 360 version’s viewpoint-dependent controls. A new hacking and decrypting minigame, in place of the old button-matching one, is both more interesting and more suited to the game: You must move a small arrow through concentric circles to reach the core while avoiding stationary and rotating barriers. It’s generally easy to accomplish once you get the hang of it, but the time limit and tricky perspective shifting help keep it entertaining. Keyboard hotkeys allow quick access to the map and squad upgrade screens, and the quicksave button is a great way to ensure you won’t have to do too much backtracking. They aren’t big changes, but the aggregate benefit is definitely noticeable.

All the things that made Mass Effect great on the 360–the story, the conversations, the galaxy, the combat, the soundtrack, and the characters–are still great on the PC. The changes that have been implemented don’t radically alter the game in any way, but they have enough of a positive impact to make it easy to recommend the PC version over the 360 version. On top of that, BioWare is offering the downloadable expansion “Bring Down the Sky” free to PC players, though at the time of this review that content was not yet available. Whether you’re a seasoned Spectre looking to suit up again, or a newcomer who has never set foot on the Normandy, the refined PC version is your best choice for experiencing this excellent game.

We at the Game Druid Give it a 9/10

So after watching Iron Man the movie, there was just 1 thought in my head: Blockbuster summer film hits theaters. Mediocre video game tie-in hitches along for the ride.

The Game Plot: Weapons mogul Tony Stark is kidnapped by militants in the Middle East and forced to build a superweapon. Instead, Stark creates the Iron Man armor and escapes. After returning home, Stark decides to cease weapons production and destroy the remaining remnants of his arsenal. (read LAME)

Sega handles the game’s star pretty well. The armor glimmers brightly. His three main weapons — hand repulsors, missiles and a unibeam from his chest — are fun to use. The first time you grab an oncoming missile and thrust it back is gratifying. Manipulating Iron Man in the air is tricky, especially when switching between flying and hovering, but becomes easier to grasp as you advance.

Unfortunately, the ‘one-man army’ wastes his capabilities fighting in shoddy landscapes against buffoons for enemies. Every level looks awful. Mountain ranges have no depth, while city skyscrapers resemble miniature models.

Opponents are easy targets. Rarely do they maneuver away from your line of fire. The lock-on feature only exacerbates the issue, allowing you to mindlessly hold down your fire button while zipping around enemies as the reticle automatically flips to your next target.

Missions are absolutely lame. Here’s your basic breakdown: Destroy x number of targets, then annihilate a larger, more difficult entity.

At the end of one level, for example, Iron Man must destroy a heavily armored Stark tank. After firing a barrage of missiles, the tanks rumbles down a desert path and eventually just stops in front of a wall. From there, you can stand on the tank and punch out the power core until it’s defeated.

As you conquer levels, you’ll earn cash rewards to go toward armor upgrades. But when you consider the quality of opponent, you don’t really need them. Additional armors are available in One-Man Army mode, in which Iron Man must defeat a series of foes within a specific timeframe.

What sucks is that when you’re not getting 15 missiles up the ass, it can actually be pretty cool to be Iron Man. The shoulder buttons control flight, hover, repulsors and your unibeam, while the face buttons are your secondary weapons and melee commands. Once you get into a game, the scheme feels like second nature and it’s pretty cool to see Iron Man with his arms at his side flying through the air as the sun reflects off his suit. When you’re sitting down to play in a world built around a superhero who can fly all over the place, there’s always that fear you’re going to slam into the edge of the “battle zone” or something equally as lame. For me, that didn’t happen with Iron Man. Sure, there are ends to the maps, but they’re not close to where you’ll be playing, so you’ll actually have the feeling that you’re part of a massive world.

The problem with Iron Man is that at some point someone sat down and said “You know what would be fun? Drop players into situations where they have to do repetitive, meaningless tasks and then add respawning, overwhelming douchebags.” That’s a shame. Flying is fun, the upgrades are neat, and the game can look good. However, these pros are outweighed by the aforementioned frustration, crappy storyline and lame cutscenes. You never feel like Iron Man in this game, and if you’re like me, you never feel like you’re having fun.

We at The Game Druid give it a 4/10

A superb single-player story mode and online support for up to 16 players make this the best Grand Theft Auto game yet

The Good

* Superb character-driven story
* Liberty City really does feel alive
* Multiplayer modes that let 16 players go wild across the entire city
* Genuinely funny radio and TV shows, comedy acts, and character dialogue
* Controls are much improved over previous games.

The Bad

* Occasional problems with friendly AI
* Some minor visual quirks.

In case you haven’t guessed already, Grand Theft Auto IV is a game that you simply have to play. The single-player game, which you can still play long after you complete the story, is the series’ best by far, and the multiplayer features are good enough that you’ll likely have no problem finding people to play with for many months to come. The minor flaws that you’ll experience are no more difficult to overlook than those in previous GTA games, and they’re greatly outnumbered by the features that will impress and surprise you anytime you think you’ve already seen everything that the game has to offer. There’s lots to see in Liberty City, so you’d best get started.

Yes ! it’s official…SmackDown! vs Raw ‘09 is coming soon!! THQ will be releasing editions of the game on nearly every current platform, including the Xbox 360, PlayStation 3, PlayStation 2, PlayStation Portable, Nintendo DS, Wii, and mobile.

What we do know is the new game will unleash a brand new tag team experience, allowing players to build momentum and attributes, eliminate opponents with high impact double teams and finishers, as well as get the “hot tag” for the win. Also Co-op play for the storyline mode along with downloadable content! It’s also going be making its debut on the Nintendo Wii this time around! yay Wii!

Stay tuned for more of this.