Mass Effect 2

By the end of BioWare's first Mass Effect game, regardless of the gender, facial features, moral alignment and sexual predilections of your own personal Commander Shepard (ours was a half-hearted moral fence-sitter with a tendency to try and screw anything that moved, despite the fact that he looked like an ageing sixth-form college lecturer), they were blasting into space as a fully-fledged Spectre agent, ready to kick off some serious intergalactic shenanigans. They were a pretty big wheel down at the cracker factory, in other words, but sometime soon after that - according to the sequel's enigmatic announcement trailer, at least - they promptly dropped dead.

Or did they? The answer to that one's a little bit confusing. BioWare used an E3 developer presentation to reveal that Shepard's definitely who you'll be playing as in Mass Effect 2, but they also wrapped things up by showing us his death - or at least one of them. Twisting through space as the Normandy explodes in the distance, Shepard's grappling with his punctured spacesuit as he's dragged down into a nearby planet's atmosphere. Things look bad, then, and it's his own stupid fault, too, having been given a choice to flee in a cosy shuttlepod or stay behind to aid in the evacuation as his ship is lanced apart from above. It's the sort of decision that, for a player character, almost always leads to a glorious last-minute rescue in videogames - a fake-out and a rousing hurrah as you cheerily wobble back from the edge of the impossible. But here there is no rescue, and not much wobbling, except if you count your lower lip: Shepard falls and struggles and then dies. The end.

It's one potential death out of many, apparently: deadly treats liberally sprinkled throughout the campaign, all of them much more than a simple 'game over' screen and option to restart, each one an elaborate cinematic and a strangely satisfying conclusion. So, to recap, Shepard isn't dead yet, but you'll have to work extra hard throughout Mass Effect 2 to keep him alive - and you'll be doing that in a game which the developer is promising will be a lot darker and meaner, and a lot more refined, than the first outing.

Mixed emotions watching the Normandy explode: always liked flying her, but I won't miss getting lost and ending up in the elevator by mistake.

Having taken on giant sentient spaceships bent on wiping out the galaxy on your last mission, for Mass Effect 2, things are a little more personal. All around the galaxy, humans are disappearing, and Shepard wants to know why, even if the answer is that they've just popped down to Bluewater for the afternoon to pick up some Crocs. They haven't, of course - everyone in the future wears Converse sandals - and Shepard soon finds himself joining up with the shadowy Cerberus organisation to dig a little deeper, and heading off on a suicide mission.

To do that, he'll need to gather together a gang of intergalactic hard nuts to race about the galaxy, occasionally riding around in a cheeky little tank and handing out brutal justice and vague, inter-species sexy-times. A noble venture, and one that our E3 demo illustrated by sending him into a glossy skyscraper city to track down a fishy-faced chap named Thane, who just happens to be the galaxy's greatest killer - outside of unattended step-ladders, naturally.

Metal Gear Solid 4

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. The story is both convoluted and compelling. 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. Shooting is always a viable option if you don't want to sneak. 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.

Grand Theft Auto IV

What is the American Dream? More specifically, what is your American Dream? Posing that question to a million people would likely net you a million unique answers, as the term (and the theory itself) means something different to everyone. Do you want a big house and a flashy car, or would a comfortable job and meaningful relationship do the trick? For some, just surviving on the mean streets while trying to keep their nose clean is enough. The very nature of the American Dream is the central theme in Rockstar Games' Grand Theft Auto IV, a gaming masterpiece that is a picture-perfect snapshot of the underworld of today's big cities. This is not only the finest title of the generation thus far, it is one of the best games of all-time. Like E.L. Doctorow's "Ragtime," GTA IV presents a number of characters that are all chasing that elusive dream, be it finding true love, building a successful business, or just staying one step ahead of the competition. While the game looks like a fairly run-of-the-mill crime drama at first glance, it won't take long for it to get under your skin and stick with you even while you're not playing. You'll quickly come to realize that the nuanced storytelling and presentation is on par with the finest films by directors like Martin Scorcese or Francis Ford Coppola, both of whom know a thing or two about the criminal element of society and their American Dreams. Although it may not change the minds of non-gamers (we're looking at you, Mr. Ebert), GTA4 should be labeled Exhibit A in the "Games as Art" debate. Grand Theft Auto IV tells the epic tale of one Niko Bellic, an illegal immigrant from an unnamed Eastern European country who arrives in Liberty City to join his cousin Roman. Things are rocky from the very start, as it's immediately obvious to Niko that his cousin has been less than truthful about his current lot in life. Still, our hero has no doubt that things in Liberty City are better than back home, where he's wanted by some shady characters for reasons known only to him. The story is more engaging and entertaining than any other in the franchise's storied history, mainly because it's impossible not to like Niko. While the heroes of the previous games in the GTA series were basically hitmen and thugs (well, aside from San Andreas star CJ), Niko is more of a product of his environment than a straight-up sociopath. As you get to know him through the impressively directed cut-scenes and listen to the banter between him and the people he comes in contact with, it quickly becomes obvious that Niko is actually a pretty stand-up guy. Sure, he kills people for money and aids drug dealers, but he still comes across as a lovable shlub that doesn't have a way out of the life he's living. Besides, as Niko himself says during a conversation, it's not like he really knows how to do anything else. The reason the game works so well is largely due to the fact that the writing is downright excellent, from the dialogue to the story to the expertly crafted cast of characters. Niko's character arc is so compelling that this is one of those rare games that is almost as fun to sit and watch as it is to play. The game is also loaded with quiet moments that help to flesh out the characters and unveil their motivations and histories. It's not a stretch to say that, were this a film, some of the "performances" would be Oscar-worthy. Yes, we're aware that the characters aren't real people, but they are still better actors than many of the people in the yearly crop of summer blockbusters. here are a bunch of memorable characters in Grand Theft Auto IV, some of whom might initially strike you as stereotypical caricatures. However, there's a lot more going on here than meets the eye, and spending time with Niko's acquaintances will help him (and, by extension, you) learn more about what makes them tick. The central relationship is between Niko and his cousin Roman, and it's one that is unlike any we've seen in a GTA game to date. Despite all of their macho posturing and verbal jabs, it's clear that these two men care deeply for each other. They even talk about their feelings from time to time, something that would have been unheard of in previous GTA games. This being a Grand Theft Auto title, the characters spout every racist, sexist, classist and homophobic thing you could imagine. Although there's no denying the fact that it's theoretically offensive on many levels, it's hard to be truly offended. This is due to the fact that there are really no sacred cows at all, meaning everything and everyone is fair game to be mocked. Basically, the writers are holding a mirror up to American society, at the same time both condemning and celebrating everything that makes Americans ugly (and, some might argue, interesting). Most developers would fail miserably at this, their attempts at humor and societal reflection coming off as mean-spirited. In GTA4 it's generally thought-provoking and amusing. As cliched as it might sound, the most important supporting character in the game is Liberty City itself. Never before has an urban environment been so painstakingly created from the ground up to feel like a living, breathing city. While it's not as massive as the game world in San Andreas, the level of detail is astounding. Not only does each neighborhood look different, every street you drive down looks unique. It's an impressive feat, though you'll definitely notice glitches here and there. Our only qualm with the game world (and it's a pretty small one) is that there aren't enough wooded areas. Middle Park looks great, and we can only imagine what the game's Rage engine could do with a full-on forest. What's perhaps most impressive about Liberty City are the "little things" you'll notice as you explore the environment. This may well be GTA4's most enduring legacy, as it's unlike anything ever seen in a videogame. You can spend countless hours simply walking the streets and listening in on conversations without hearing the same thing twice, as well as plenty of examples of life going on without Niko doing anything. Cops will chase thieves, pedestrians will bump into each other and argue, and fender benders will happen from time to time. There's a good chance that this will be the benchmark for all sandbox games from here on out. While the game's missions will be familiar to just about anyone who played the last couple of GTA games (following targets, killing enemies, racing from one location to another, and so on), there have been a number of major changes that make the game much more accessible. The ability to take taxi cabs everywhere might be the most important innovation of all, as it drastically cuts down on the amount of time you'll have to spend driving from one area to another. There's also a new mission replay mechanic that will reduce the backtracking that made the previous games feel tedious and repetitive for some people. If these were your biggest qualms with San Andreas or Vice City, you owe it to yourself to give GTA4 a shot. The game also features a new-and-improved targeting system that works quite well, especially when you take the time to use it properly. You can easily lock on to your enemies, then switch between them with a quick flick of the right analog stick, but it's the ability to fine-tune your aim to hit specific body parts that really makes all the difference. It works so well that it oftentimes feels like a straight-up action game, particularly during some of the larger firefights that populate the second half. The only problem with the combat pops up when you're duking it out with enemies in confined spaces, as it can be easy to get disoriented when the camera moves around. This can be easily remedied by forgoing the auto-lock and relying instead on the free-aim mechanic. There's also a new cover system that works almost as well as the ones seen in Gears of War and Rainbow Six: Vegas, although it's not nearly as essential to your success as it is in those games. Since the enemy AI is extremely aggressive, it pays to take your time and use both the cover system and the new gunplay mechanics intelligently, as simply rushing into battle will generally end with a trip to the hospital. The cover system isn't perfect, as there are times when attempting to take cover behind narrow objects (such as columns) will occasionally result in Niko attaching himself to the wrong side. It's rare enough that it's never a dealbreaker. There's a lot of combat, but it's unlikely that you'll ever get used to GTA4's particularly brutal brand of violence. This is mainly due to the fact that the Euphoria engine's use of procedural animation ensures that you won't see the same death animation over and over again. When this is combined with AI-controlled characters who value their virtual lives, it means you'll be seeing some pretty intense stuff. Cops will attempt to stop the blood flowing from their perforated necks (courtesy of one of the most realistic shotguns in gaming history), "killed" enemies will writhe in pain and beg for help while lying on the floor, and foes that were on the wrong end of a molotov cocktail will unleash agonizing screams while unsuccessfully attempting to stop, drop and roll. Although it's got a few problems that pop up from time to time, Grand Theft Auto IV is still an absolutely gorgeous game. Like the previous games in the series, it suffers from some texture pop-in and draw distance issues, although these should in no way affect your enjoyment of the game. It's easy to just consider those technical flaws the price you've got to pay for admission to the most impressive game world ever created. There's so much going on that you'll only really notice the flaws if you look for them, and if you're doing that there's a good chance you're missing out on something spectacular. The overall art design and visual aesthetics are extremely pleasing to the eye, and they aren't hurt by the technical issues. For those who have to decide between the Xbox 360 and PS3 versions, we should mention that these flaws are slightly less noticeable in the PS3 game. There are a few other minor differences as well, the biggest being the PS3 game's Sixaxis controls. You can use the controller's tilt feature to perform wheelies on motorbikes or control your helicopter, but it just ends up feeling forced. You're much better off just turning them off and sticking with the default control scheme. The Xbox 360 version, on the other hand, has Achievements and features a more intuitive controller (though that may just be this reviewer's personal opinion). Both versions are excellent, so you really can't go wrong. As was the case in the previous GTA titles, spending time in vehicles is a treat thanks to the wide range of musical choices. Whether you like reggae and hip-hop or rock and electronic music, there's something here for just about everyone. There's even a station that plays jazz and big band music for those time when your grandmother wants to hop behind the wheel of a Comet. We're a little disappointed that custom soundtracks are not available, as we figured that Niko would be able use his ubiquitous cell phone as an MP3 player. Between the music, the dialogue, and the ear-splitting gunfire effects, this should serve as a great excuse to pick up that surround sound system you've had your eye on. For the first time on a console, once you're done with the single-player campaign (a task that should take you anywhere from 25 hours to, well, infinity) you can head online for some good old-fashioned multiplayer action. The game runs surprisingly well online, even with 16 players running amok over the entire city, although we won't be surprised if there are some server issues right after the game launches. Still, there wasn't any lag to speak of during our playtests, even during the most intense firefights or multi-car pileups. Thankfully, the folks at Xbox Live have added a number of extra servers, and we can only hope that PSN follows suit. There's a nice variety of game modes available in the multiplayer arena, including old standards like Deathmatch and Team Deathmatch. Two modes, however, really stand out from the multiplayer offerings. The first is GTA Race, which is essentially a lap race with weapons. This ensures that it will quickly devolve into a group of people trying to finish the race and a bunch who just want to make life miserable for the racers. The other standout is Cops 'n Crooks, which could best be described as (you guessed it) a videogame version of cops and robbers. The team of crooks must get to an extraction point in order to win, while the cops must stop them. Since everyone's got weapons and vehicles at their disposal, this game type makes for some pretty memorable moments. What's most impressive about the game's multiplayer mode is the sheer number of options that are available. The party leader (yes, there's also a very good party system in place) can tweak everything from the weather and the time of day to the pedestrian and traffic density, as well as whether or not you can lock-on to targets or even see their indicators at all. You can really make whatever type of game you'd like, as you've even got the power to set the area in which you can fight to a few city blocks or the whole city itself. Although it may not be the best multiplayer game on the market, it's an absolute blast when the settings are just right. To be totally honest, it would be very easy to write another 2000-odd words on this game, as we haven't even delved into the hours of television you can watch, the amazingly detailed virtual Internet, the strip clubs that you can visit, the ultra-realistic vehicle physics, and so on. Suffice it to say that Grand Theft Auto 4 is a game that could keep anyone busy for a long, long time. Although its got plenty of excellent features, it's ultimately the storytelling that makes it an instant classic, a game unlike any we've played before. As is the case with many great books and movies, you'll want to know what happens to the characters after the game ends, and one can't help hoping that all of their American Dreams comes true.