“Come on, there’s no way he’s doing another Bioshock title. This is just to tell us it was from the people who made Bioshock… ahhhh crap.”
That was the first thing that went through my mind as I watched the Bioshock Infinite trailer this morning.
Don’t get me wrong, I loved the original Bioshock game. It had amazing visual style, fun gameplay, and a thought provoking plot. It was just a game that didn’t need have a sequel, much less turned into a franchise.
I applauded director Ken Levine’s decision to not be involved with the competent, but ultimately unnecessary Bioshock 2 released earlier this year. Good for Ken for preserving his integrity in not caving to publisher demands for a cash cow sequel.
My initial nerd rage reaction stemmed from the apparent betrayal of my self-created game designer integrity code. But then I watched Joystiq’s video interview with Levine.
It’s quite apparent that the Irrational Games crew is not cutting any corners with Bioshock Infinite. Brand new engine. No re-used assets. Nothing forced into the game from the previous entries in the franchise if it didn’t fit.
Levine made an interesting comparison to the Final Fantasy franchise in that each entry has some recognizable elements, but generally are completely original settings, characters, and plot.
This rang true with me. I think I can deal with “SkyoShock” or “MoonShock” games if they’re not glorified expansion packs utilizing the same characters and plot elements. There are actually some really cool moments in the trailer and the setting definitely hasn’t been explored too deeply (if it all). Color me cautiously pumped for this when it comes out in 2012.
My only concern now is if these Bioshock titles settle into a neat little checklist including some of the following:
Upgradeable Plasmid-like powers
Fantastical Steampunk setting with a questionable dictator making you think about a particular branch of philosophy or ideology
“Controversial” morality choice leading to different endings, but mainly just achievements
Mysterious protagonist who finds out who he really is via a plot twist in third act
Ok, this may all be a bit cynical, but the worry is legitimate. Fortunately, Ken Levine has gathered enough goodwill with me from his previous games that I’ll believe in him to create something wondrous with Bioshock Infinite.
Multiplayer-focused games are a tough animal to “review” since the experiences are so intertwined with the playerbases. At the same time, you can usually tell within the first 30 minutes or so if a game is going to be fun for you or not.
I had a chance to spend a couple of hours with Monday Night Combat today and I’m here to tell you it’s something worth looking into.
In a nutshell, Monday Night Combat is a 3rd person class-based multiplayer action game. You can choose to be one of various classes (such as a sniper, support, assassin etc.), each of which has its own unique powers, weapons, and playstyle. Additionally, anyone can build or upgrade turrets around the map. Think Team Fortress 2 meets <insert your favorite tower defense game here>. There’s two modes of play: Blitz and Crossfire.
I’ve really come around on the developer walkthrough video as my pre-game release promotional content consumption of choice.
It offers these two simple, yet crucial, elements:
1) Real gameplay footage without bullshots/cutscene smoke and mirrors.
2) Informative narration straight from the game creators on how the game plays.
Unfortunately, dev walkthrough videos tend to run on the long side, so you have to have a little interest in the title before you commit the time to view them.
Let’s take care of that little detail for Uber Entertainment’s first title, Monday Night Combat.
It’s a class-based third person shooter. Focus is obviously on the 6v6 multiplayer and creating a “Monday Night Football” feel to each match. There’s a rewards and upgrade system where you can level up certain skills in the middle of the match and also on a meta-level between games too. From the looks of things it could be to the Xbox 360 what Team Fortress 2 is to the PC/Mac, especially at the $15 price point.
Sound interesting? Check out the two developer walkthrough videos below:
While combing the E3 showfloor, I had a chance to play a decent amount of upcoming games. Here are some quick impressions from some of the Playstation 3 games I tried out:
Killzone 3:
Killzone 3 at E3 2010 was all about the 3D. I was surprised at how unintrusive the 3D glasses actually were. Combining a first person shooter with stereoscopic 3D glasses seems like a recipe for extreme motion sickness, but this didn’t end up being the case.
The demo was about 20 minutes long and started with an on rails helicopter turret sequence in the snow. Amusing, but nothing terribly original. The 3D was really impressive in the blizzard as I really got the sense of immersion of being pelted by snow.
Once I landed, the game became very familiar. If you’ve played Killzone 2, you’ll know exactly what I experienced. In fact, if it weren’t for the 3D and the fact that there was a “3” in the booth, I could have mistaken the game for Killzone 2. The graphics are incredible on a console, but underneath the glossy veneer is a typical, albeit very polished, cinematic shooter. I didn’t see any new weapons or gameplay mechanics during my time with the game.
Little Big Planet 2:
Most of the short Little Big Planet 2 demonstration was focused on the new game creation tools. Emphasis was placed on mini-game creation. Little Big Planet is no longer a platform to create platformer game levels, but one that can do many different game types.
Three mini-games were shown to show off some of the new possibilities. The first was a sort of fast-paced Simon Says button pressing game, kind of like competitive Quick Time Event pressing. We then played a bumper-boats game, evoking memories of the hilarious Mario Party minigame. The goal is to knock the other players off of the ring, with the use of a single button to boost. The final minigame was a competitive 2D shooter using rocket launchers. Think Smash Bros. level with little Sackmen toting rocket launchers.
The Sony rep also talked about making it easier to find and filter user-generated content. An improved search feature is planned, along with the ability to “follow” specific designers. There would also be Playstation Move integration, the details of which were not shown at the booth.
Overall, it sounds like if you’re an active LBP designer, you’ll want to pick this one up as it gives a lot more tools in the toolbox, so to speak. I’m on the fence, since I never really played the game much beyond the included campaign. There’ll be another Media Molecule designed campaign in this sequel, but I can’t help shake the feeling that LBP is a title that just didn’t work, despite its noble mission of empowering end users to be game designers.
Marvel vs. Capcom 3:
I absolutely despise the Xbox 360 controller for fighting games so I made sure to try out Marvel vs Capcom 3 on the Playstation 3. There’s not much to say about this title other than it controls tightly and looks amazing. The character select screen for each player creates a comic book cover from the selected characters using the actual template for a Marvel comic. I found this a very nice nod to detail on Capcom’s part.
Any concerns over the title losing any speed over the move to the 3d Street Fighter 4 engine were quickly laid to rest after one round with the game. The same ridiculous 32 hit laser super combos and tag team air combo action is back and as fun as ever.
I even held court for awhile, winning four consecutive matches before people started getting afraid to challenge me. Unfortunately, the demo didn’t have a single player arcade mode, so rather than twiddle my thumbs and wait for a new challenger, I left.
Yakuza 4:
At the Sega booth I was surprised to see Yakuza 4 on display. See, although I have always heard great things about the Yakuza franchise, it’s never quite taken off in the US. It’s a 3rd person fighter/adventure game hybrid with RPG elements set in modern day Japan. I’ve been told the writing in the game is exquisite, with comparisons to The Sopranos being made.
The very nature of the game doesn’t scream “MAINSTREAM APPEAL”, so I was surprised to see the fourth installment green lit fora US release. After speaking with the community manager in charge of evangelizing Yakuza 4, it became quite clear that this title is a labor of love from the localization team dedicated to the fans. One of the key features mentioned was the fact that you can now go into Japanese hostess clubs in the game and, well, interact with girls. Apparently the more vocal fanbase had cried foul over the hostess clubs’ omission from the US version of Yakuza 3, so they were re-added to the sequel. That’s listening to your customers, folks.
While I’m not sure if I can devote 30-40 hours to a single game anymore, I’d like to see Yakuza 4 succeed if only for the fact that it’s supposedly an authentic look into certain aspects of modern day Japanese culture. The game releases on the Playstation 3 in spring of 2011.
Invizimals:
Invizimals is an interesting take on the Monster Hunter/Pokemon genre of RPG collection games. Using the PSP camera attachment, you can find creatures “hidden” amongst everyday items lying around the house. Basically, anything with a distinct color is liable to be hiding a creature to capture. Once you find a monster, you can then train with it in RPG-style turn based battles to upgrade them ala Pokemon.
(please excuse the sudden cut off in the video, there was an unfortunate battery mishandling)
I’m a big fan of Augmented Reality and this seems like a really novel way for tweens and adults to play the genre. Battles take place on screen using a combination of game animations and live footage of whatever the camera is pointing at. You can even wager the creatures you’ve earned in multiplayer battles, kind of like the ultimate form of virtual cockfighting. YES!
Don’t get me wrong, I used to love the series. Most people had their formative video game experiences with Super Mario Bros. I had mine with Final Fantasy II on the SNES. I remember begging my parents to purchase an obscenely priced Final Fantasy III cartridge for $74.99 at a specialty shop. I even had my relatives pick up an import copy of Final Fantasy V from a trip to Japan even though I knew no Japanese whatsoever. Hell, I was determined to learn kanji as a 12 year old solely to play that game.
Final Fantasy used to be the reason I chose a particular console over another. It was why I wanted the Super Nintendo, Playstation, Playstation 2, and Playstation 3. Each new entry in the franchise was an event. I would spend every free moment lost in the world of Final Fantasy until the epic tale was over.
It took me nearly five months to finish Final Fantasy 13. There were stretches of multiple months where I didn’t even touch the game. I eventually finished the game, but it took a herculean feat of self-motivation to do so.
Twisted Metal was perhaps the biggest “surprise” of Sony’s E3 press conference in that it was probably the biggest first-party Sony title announced without being leaked in advance. However, it was only a matter of time as there have been Twisted Metal titles released for every Sony console generation prior to the Playstation 3.
David Jaffe’s (God of War) new Eat Sleep Play studio develops the latest installment in the franchise and I had a chance to play a quick deathmatch at the Sony booth.
The quickest way to describe Twisted Metal if you’ve never played a game in the series is that it’s a cross between Mario Kart battle mode and Unreal Tournament. You pilot a twisted character/car combination such as a homicidal clown’s ice cream truck and you’re pitted against equally colorful cast of characters’ cars in a deathmatch. Each car has its own special weapon that recharges over time and you can pick up assorted missiles and ordinance powerups on the map. Oh, and your battle arena is generally an expansive real-life setting like suburban housing tracts.
The original Twisted Metal on the Playstation was one of the launch highlights of the system and Jaffe’s PS3 version definitely captures the look and feel of that seminal title. It’s not for the controller-challenged, though, as it pretty much uses every button on the Dualshock 3 controller to some degree. I took one look at the loading screen picture of the controls and blanked out like I was watching C-Span.
Fortunately I pick up games fairly quickly and within a minute I had figured out how to drive and shoot. The demo included two new vehicles (a helicopter and a motorcycle) that haven’t been seen in the franchise before. I found the helicopter difficult to maneuver, but it does have the satisfying ability to pull enemy vehicles up with its magnet attachment and drop them in less than optimal places. The motorcycle dude’s special attack is to throw a boomerang chainsaw at enemies. It works as ridiculous as it sounds and does MASSIVE DAMAGE to enemies.
Twisted Metal was created to be played among a large number of players and it’s exciting to see the franchise arrive in a console generation where online play isn’t an afterthought. It’s not a franchise overhaul, but it doesn’t have to be. We’re in an era where car arena deathmatch titles number in the single digits. It’s an entertaining title that should be a blast to play with friends.
As long as Jaffe delivers a polished game, Sony should have a hit on its hands.
Twisted Metal is scheduled to be released in Spring 2011 exclusively on the Playstation 3
I think the my days of having the patience to sit through a 40 hour video game are through.
It took me almost 5 months to put in the 45 hours needed to finish Final Fantasy 13, with a lot of it feeling like an obligation to my sometimes misguided principle to always finish what i start. That’s not to say there weren’t some great moments in the experience, but by and large everything the Final Fantasy franchise stands for has become stale.
Final Fantasy 13 tries so very hard to advance the aging Japanese RPG genre and actually does succeed in doing so on some levels. I, for one, am actually glad they got rid of towns in this game. When you boil it down, the only thing towns are good for are a) buying items and equipment and b) fulfilling a required plot/character interaction in order to advance the storyline. Getting rid of them streamlines the gameplay. It’s much more convenient to be able to buy items at any save point instead of hunting for several buildings in a town to complete your shopping list.
It may be ultimately pointless and/or sadistic, but something about seeing professionals masquerade amongst the hoi polloi and utterly owning the unsuspecting public in their craft is absolutely enthralling to me.
As part of their Starcraft 2 release coverage last week, TeamLiquid (a professional-level Starcraft community) posted a video of a diamond-level Starcraft 2 player playing through his five mandatory placement matches. Don’t worry if you’re not familiar with the terminology – all you have to know that this guy is really good and the reason he’s matched up against these poor victims is because everyone has to go through this process in order to be placed into the correct skill-level league. Kind of like taking a placement test to see if you’re in the gifted kid class or the short bus class.
You’ll see entertaining things such as writing out “LOL” in Auto-Turret placement in the enemy base or spelling out his online handle in the middle of the map using carefully placed units. You will also see ridiculous strategies utilized such as using double offensive Planetary Fortresses.
Basically, it’s a much nerdier equivalent of Jewel doing undercover karaoke. Well, maybe with more embarrassment for the common man.
(You can start the video at 3:10 if you want to skip past the internet gamer humor introduction.)
They say that the 21st century belongs to the geeks. If that’s the case, then Scott Pilgrim Vs. The World may just be the film of the century.
Sound absurd? Maybe. But at the very least, this action-romance-comedy is the quintessential film of the geek generation.
Director Edgar Wright (Shaun of the Dead, Hot Fuzz) once described this movie as a cross between Say Anything and Kill Bill. It may sound ridiculous, but it’s an apt description for this deliciously fun movie based on Brian Lee O’Malley’s six volume graphic novel series.
Michael Cera plays Scott Pilgrim, a 22 year old Toronto slacker who is currently “in-between jobs.” He’s the bassist of a band with his friends and they have aspirations of signing a record label contract and making it big. On the personal front, Scott’s recently started dating high-schooler, Knives Chau (Ellen Wong), as his way of rebounding from a heart-wrenching breakup he had just gone through. Scott meets the girl of his dreams, Ramona Flowers (Mary Elizabeth Winstead), at a party and is immediately smitten by her. Unfortunately, Ramona comes with some heavy baggage in the form of “seven evil exes” which Scott must defeat in battle if he is to date her.
Sounds like a reasonable premise for a movie, right? If you can buy into that, you’re going to love this film. (If not, well, you’ll probably feel like this fuddy duddy did.)
What Scott Pilgrim Vs. The World does best is encapsulate all the things I liked about my childhood into one very nostalgic and fun film. References to video games, comic books, television, music, and pop culture naturally pepper the film throughout without seeming forced. Co-Screenwriter Michael Bacall explains the film’s secret in handling references as “…trying to make it punctuation as opposed to prose.”
Did I love every single one of the references the movie makes? Of course not. I didn’t particularly care for the pseudo Dance Dance Revolution-ninja game Scott and Knives play together, but it was a necessary plot device in the film to show a visceral video game rather than a couch/controller based one. There’s also a much ballyhooed Seinfeld reference that I didn’t LOL at personally, but I did respect the fact that they got the rights to Jonathan Wolff’s theme music from the show while also shooting the scene like an authentic Seinfeld scene.
That’s the key here – authenticity. See, the internet generation can smell a phony a mile away. A lot of the drek Hollywood has put out in the last decade reeks of cashing in (Gamer, anyone?) on what studio executives perceive as the “geek culture.”
One of the reasons why Scott Pilgrim works is because it’s crafted by geeks (Brian Lee O’Malley and Edgar Wright) who grew up with the very same things the film refers to. These people have played those video games, read those comics, watched those television shows, and listened to those bands. They just happen to be accomplished writers and filmmakers with the means and creativity to share highlights from their formative years.
Most of the video game references are general enough that people who aren’t avid video game players will enjoy them. Do you get the concept of receiving points for defeating an enemy? Ok, how about the concept of landing multiple punches in a row on an enemy constituting a “combo”? Not so obscure, right? Now, let’s take it a step further. What if defeating an enemy turns them into a bunch of coins that fall to the floor? I hope you see where the film goes with this.
For people who have played a lot of video games in their childhood, boy are you in for a treat. It starts with a smirk or maybe even a chuckle at the opening Universal logo ditty rendered completely in 8-bit sounds. Your ears will perk up when you hear the “finding a secret” sound from Zelda in the opening scene. You may even fist pump when the ethereal “choose your Zelda file” music plays during an early dream sequence. By the time you hear the announcer from Tekken exclaim “KO!” as Scott defeats the first evil Ex you’ll undoubtedly have a shit-eating grin on your face.
My personal favorite, though, was a scene in which Scott tries to deflect attention away from his girl issues by exclaiming to his band, “Hey guys, I learned the bass line from Final Fantasy II!” He then proceeds to play the battle theme from Final Fantasy II on his bass guitar!
Edgar Wright earns +999 geek credibility!
While Scott Pilgrim Vs The World’s video game references may receive the lion’s share of attention, music also plays a huge role in the film as well. Besides the core love story, the film is also about Scott’s band, Sex Bob-Omb (+200 points if you can name that reference), as it progresses through multiple battle-of-the-bands competitions in its quest to receive a lucrative label deal.
Sex Bob-Omb’s music is actually done by Beck and he hasn’t sounded this lo-fi and raw since 1994’s “Loser.” There’s no shortage of actual musical talent standing in for the other in-film “bands” either. Members of Broken Social Scene play Crash and the Boys’ music while Canadian indie rockers Metric stand in for the heavenly Clash at Demonhead. To top it all off, renowned producer Nigel Godrich (Radiohead’s “sixth member”) composes an 8-bit infused punk score for the film.
Eagle-eyed viewers will notice Scott Pilgrim wearing different band T-shirts throughout the film. Plumtree and The Smashing Pumpkins (with the apropos “SP” logo) come to mind. Hell, there’s even a Tragically Hip acknowledgement in the movie! (The movie is set in Canada, after all)
The film itself is a fantastic concert of grin-inducing visual and audio effects, endearing acting, and witty repartee. Edgar Wright’s previous two films have shown that he’s a master of quick edits, scene transitions, and comedic timing. These skills allow him take Scott Pilgrim’s visual panache to dizzying heights.
It may sound trite at this point to declare that a movie is like a comic book brought to life, but it’s truly appropriate for this film. This movie is like a comic book brought to life.
Seriously, no other film this side of Sin City has come this close to imagining what a comic book would look like with live on-screen characters. Verbs and phrases in stylized lettering slickly animate onto the screen when the action calls for it. Multiple split screens capture character reactions, evoking images of split comic panels. Scenes quickly cut from one to another seamlessly, giving the feeling of hurriedly flipping to find out what’s on the next page. The film’s style is just as much of a star as any of the actors and will quite probably be the focus of word-of-mouth buzz.
image courtesy of entertainment weekly
Scott Pilgrim’s cast is a veritable who’s who of a new generation of talented Hollywood actors. Many will talk about Kieran Culkin stealing the show as Scott’s gay roommate, Wallace, and deservedly so. His grounded wisdom and comedic chops would make even a straight man want to sleep in the same bed with him. Ellen Wong is an adorable manga character come to life as Knives Chau. It’s hard to imagine that this is her film debut, as she nails every scene she’s in.
Mary Elizabeth Winstead plays a confident and cool Ramona Flowers – I just wish there was more time to fall in love with her. The film clocks in at just about 2 hours, but between squeezing in 7 epic fight scenes and establishing Scott’s world, there’s not much time for Ramona’s character to breathe and develop fully. Anna Kendrick, Aubrey Plaza, Mark Webber, Alison Pill, and Johnny Webber round out Scott’s group of friends and they all lend their own charm to the film.
On the dark side of the room, Chris Evans, Brandon Routh, and Jason Schwartzman delight in tormenting our precious little Scott Pilgrim. Evans in particular is memorable as an over the top skateboarder/movie star whose voice can be only described as Gob Bluth mixed with Christian Bale’s Batman. Even “unknown” actor, Satya Bhabha, has an epic Bollywood-meets-mystical-internet-humor fight scene as Ramona’s first “Evil Ex,” Matthew Patel.
I realize that the Michael Cera backlash is out in full force, but please don’t let whatever feelings you may have on him stop you from seeing this film. His performance is decidedly Ceran, but he does do the Scott Pilgrim character justice. If you want to, you can even talk yourself into believing that Cera has increased his acting range to include nerd-rage and almost-asshole.
Plus, if you’re an Arrested Development fan you won’t want to miss the George Michael/Ann reunion during the film. Yes, Mae Whitman is in this movie and no, she’s not quite as…homely.
I’m 28 years old. I’ve seen movies in the past that I could partly relate to as a portrait of a generation. Cameron Crowe’s Say Anything comes to mind as a particular highlight. I just wasn’t born in the right era to call it my own.
With Scott Pilgrim Vs. The World, my generation finally has its Say Anything. That is, if Lloyd Dobler could wield a flaming sword and inflict a 64-hit air combo on Diane’s dad.
Scott Pilgrim Vs. The World opens in US theaters on August 13th.
It wasn’t due to deficient game playing skills on my part or any bugs or faults with the game’s programming. No, I had a tough time playing through Limbo because I was genuinely unsettled by the hauntingly melancholy game atmosphere with its grainy black and white visuals and sparse, yet disturbing ambient sounds and audio cues.
You may think I’m talking about a new survival horror game, but I’m not. Limbo is a 2D platforming puzzle game.
“How is this possible?” you may ask. Just watch this short trailer:
I found it appropriate that the protagonist of the game is a young boy because a lot of what disturbed me in Limbo scared me as a child. I have a ghastly fear of spiders, insects, and man eating plants that crystallized in my youth somewhere between the piranha plants in Super Mario Bros. and the insects in Daikatana.
Death in Limbo is also an infinitely more powerful on screen event because it is happening to a little boy. My first death happened via running into a bear trap on the ground. The trap chomped my boy into an aerial concerto of bloody body parts which then collapsed limply to the ground. It quickly became obvious that I wasn’t going to be playing Rayman.
One particular scene early in the game has you walk by a white butterfly on the ground who flies off towards a tree that is clearly harboring a giant black spider lurking in the branches above. I must have spent a good five minutes sitting in my chair, paralyzed. I saw no obvious route around the tree, yet there was no fucking way I wanted to walk under three giant spider legs. Given that the game had established a precedent for grisly deaths by that point, I especially did not want to see what this spider was going to do to the little boy.
Eventually, I excruciatingly faced my fears and found a way past the spider situation. The game may “just” be in black and white, but the realistic animations of the boy and the world combine with the game’s desolate atmosphere to create a completely immersive experience.
Who are you? Why are you here? Where are you?
These are questions Danish developer Playdead want you to wonder about while playing through Limbo. And they did, in fact, linger in the back of my mind throughout the game’s first half, especially with the appearance of other humanoids (dead and alive). However, as the game progressed, I found myself caring less and less about these things and just focusing on what my next destination was and how to reach it. In other words, gameplay became the driving motivational force, not the search for greater meaning in the story.
A word about the gameplay: much of it is based on a “die first, figure out why after you respawn” paradigm. During your first playthrough you should expect to die often and die unexpectedly. This may sound like a frustrating nightmare, but for the most part isn’t, because there are bountiful checkpoints that place you close to your place of death. However, there are a couple of places in the game where I repeatedly yelled “Come on!” at my screen because I could not discern a certain goal and the death checkpoint forced me to play through a previous section before I could take a crack at it again.
Comparisons to Jonathan Blow’s breakthrough “indie” game, Braid, are bound to pop up due to both games belonging to a similar genre. I’ll take a shot at declaring a “winner” by saying that Limbo doesn’t quite reach Braid from both a gameplay and narrative standpoint. Overall, Limbo’s puzzles aren’t as elegantly designed as Braid’s. Many of the more difficult ones require precision timing and button pressing dexterity to solve problems, rather than imaginative and cereberal solutions. That’s not to say Limbo is poorly designed – there are some wonderfully devious puzzles that give a real sense of fulfillment once you figure them out. It just doesn’t feel as naturally rewarding as Braid did.
Braid’s narrative benefited from the use of prose in its introductory and ending sequences. These words really tugged at me emotionally and provided context for the story it was trying to get across. Limbo, on the other hand, does not have one word of text within the game. It relies solely on its greatest strength, its visual and audio atmosphere, to convey its message. Limbo starts off strong in this regard, but the sense of uneasy wonderment slowly peters out until the ending is reached. It’s an ending which I feel tries to capture the same level of existential meaningfulness as Braid, but ultimately falls short.
Having said all of this, Limbo still comes highly recommended if you enjoy playing puzzle platformers and/or delight in immersive and unique art styles. It’s unquestionably the best downloadable game I have played in 2010 thus far. Just be warned if you have qualms about viewing gruesome child deaths or have fear of giant insects.
One final tip: Don’t read the game’s description on Xbox Live Marketplace if you can avoid doing so. I think the game’s ultimate meaning is far more interesting and thought provoking were I not to have read the short premise on the description. For me, it was a throwaway fact that served to only narrow the possibilities of the game’s conclusion.
Limbo costs 1200 Microsoft Points ($15) as a downloadable title from the Xbox Live Marketplace. There is a trial version that encompasses the first two game chapters.
