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The Mystery of the Mummy is fundamentally a pretty unoriginal adventure game.
In Frogware's new graphical adventure game The Mystery of the Mummy, you play as Sir Arthur Conan Doyle's renowned inspector Sherlock Holmes, and you must investigate the mysteriously abandoned mansion of a British archeologist. But the setting is basically an excuse to send you through a series of enclosed areas, solving some pretty unoriginal puzzles along the way, because Mystery of the Mummy is fundamentally a pretty unoriginal adventure game--the kind that essentially consists of several puzzles separated by some brief cinematic cutscenes and a whole lot of backtracking. As such, you might find it hard to appreciate Mystery of the Mummy unless you already consider yourself to be a great fan of adventure games.
Yeah. No shinola, Sherlock.
Mystery of the Mummy is played from a first-person view in pseudo-3D environments that you can look through and pan about as you go. Occasionally, you'll happen upon an item that you can pick up and add to your inventory, then later use to solve one of the game's puzzles. The game's story--that Holmes is on a case to investigate the spooky home of an Egyptologist who has mysteriously vanished--unfolds in cinematic cutscenes that play each time you solve major puzzles.
Unfortunately, like with so many adventure games in the past few years, Mystery of the Mummy's puzzles are often unintuitive and even nonsensical; it makes no sense at all that the world's greatest sleuth would be spending his time using a fork on a painting to reveal a scepter to use on a fan to shatter a vase to recover an ankh, or that he'd be trying to complete a slider puzzle with a picture of a sarcophagus on it. These puzzles generally aren't too challenging, either; you can actually solve most of them by experimenting with every item in your inventory, though you occasionally have to perform the traditional adventure-game pixel hunt by carefully moving your pointer across the screen until you find the hidden piece of the next puzzle.
The puzzles might seem appealing to longtime fans of traditional adventure games, but unfortunately, the game's graphics probably won't seem appealing to anyone other than adventure-game die-hards. Mystery of the Mummy runs at a fixed resolution of 640x480, though from the looks of it, the game itself was designed at an even lower resolution, because nearly everything in Mystery of the Mummy looks blurry and unfocused.
It doesn't help matters that Mystery of the Mummy's color palette is generally dark and drab--especially when some of the game's puzzles require you to hunt for hidden items and switches. Considering that most modern computer games have begun to use 3D graphics, it's safe to say that Mystery of the Mummy would have, and should have, looked better with a fully 3D graphics engine.
How about a scepter behind a painting you have to use a fork on?
Mystery of the Mummy also doesn't really sound like much--Sherlock Holmes himself often makes loud remarks that serve as hints when you uncover clues and important items, and while Holmes' lines sometimes seem as though they're delivered a bit too enthusiastically, his dialogue is appropriate enough. Other than a few canned sound effects that signal a completed puzzle, Mystery of the Mummy has no other sound besides its subdued music soundtrack, which isn't all that great but really isn't especially noticeable. Strangely, the game has absolutely no music when you first start the game, and no title screen either--you just end up staring at a menu screen full of icons in complete silence.
The opening menu serves as a good indication of how substandard Mystery of the Mummy's production values are and how stripped-down the entire game seems as a result. The game's blurry graphics, sparse sound, and unimaginative puzzles probably won't impress anyone, though true-blue adventure-game fans will at least appreciate the fact that Mystery of the Mummy is a fairly lengthy game that sells for a budget price of just $20 at retail. Unfortunately, it's also completely linear and offers no real replay value. While it's true that new PC adventure games are getting more and more scarce, it's also true that much better adventure games than this have come along in recent years.
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The real shame of it is there is a fine, fine flight simulator at the core of Aggressor.
Sometimes when I'm cleaning my ears I push the Q-tip just a little too far in, and it hits something that hurts like hell. It kind of hums for a while and then settles into a dull ache. The thing is, I can experience this sensation all I want for about a quarter cent per tip, whereas Bethesda would have me pay upwards of $40 for relatively the same sensation. That throbbing in the brain, that jabbing pain in the head: That's about what I took away from Bethesda's first attempt at a flight simulation, F-16 Aggressor.
British flight sims are like the British: They may have one or two good bits, but it always goes to hell when you get to the teeth. In the case of British sims, things always go to hell when you get to the controls. They wind up assigning simple commands like "fire guns" to Alt + Ctrl + ~ and so forth. Let's face it: There has never been a British sim that was worth a damn out of the box. DID took two years to get EF2000 up to par, and Total Air War still isn't exactly burnin' 'em up. Rowan seems to assign controls by having a chicken pick at three successive keys and binding all three to a common command like "raise flaps." And now we have GSI, composed of former employees of DID, and their brainchild F-16 Aggressor. Their key assignments aren't as baroque as in other games, but they've managed to commit the Unholy Trinity of sim no-nos: no key mapping, no joystick configuration, and, stunningly, no keycard included in the packaging. It's almost like they want to make your brain hurt.
F-16 Aggressor has puzzling aspirations. The designers actually set out to re-create Strike Commander. Remember Strike Commander? It was going to be Origin's flight sim version of the Wing Commander format, a narrative-driven mercenary flight simulation. Unfortunately, it didn't turn out quite right. It was incredibly late, pretty buggy, and just not all that impressive. So of course it makes perfect sense to emulate it. And then, to really nail the lid down, GSI emulates it badly.
The real shame of it is there is a fine, fine flight simulator at the core of Aggressor. GSI has modeled the F-16's flight properties with commendable detail. The funky handling of the rudders at certain speeds, tough landings, speed bleeding, and other things related to flight are all smack on. It's a flight model worthy of the best F-16 sims, poised to offer the hard-core crowd everything it could demand... until you get to the systems modeling. These are more on par with a Novalogic game. The complex instrument modeling of Falcon 4.0 and other true hard-core sims is only hinted at in Aggressor.
This is not a problem for a midlevel sim, but Aggressor has pretensions of hard-core greatness - pretensions that crash to the ground due to grossly simplified radar controls. A sim has two prime components: the modeling of the flight of the plane and the modeling of the systems. On one count, the developers succeed at realism, and on the other, they fail. In the end, they scuttle all their good programming by failing to offer any realism or difficulty switches whatsoever. The flight model is set to its full realism level at all times. When you have a very realistic flight model, an unrealistic set of sensors, and no ability to change the complexity of anything, you have some truly schizoid problems.
Graphically, while F-16 is quite good, if at times mind-blowing, it's true that there are better-looking, better-performing sims out there. The terrain is a bit patchy, but object modeling is good. Cockpits look very good and have effective dynamic animations for throttle and stick. HUD overlays and quick-view keys provide excellent perspectives on the instruments. In another stunning lapse, however, GSI has failed to include a padlock view. This makes situational awareness well nigh impossible and deals another serious blow to the sim.
Possibly the most baffling aspect of F-16 is its alleged "mercenary flight sim" nature. You would expect to have to fly missions to earn money to pay for weapons and upkeep on your planes. That was the plan in early specs for this game, and there are traces of it left. You still fly for money, but the money is merely used to rate your performance. It has no other function. As for the "mercenary" element, it's mainly limited to mission structure and some cursory background info. Missions range across Africa and include a fair selection of strike and dogfighting action. Without any in-game mission statements or target priorities, it's often hard to remember just what you're supposed to be doing. The quick-start missions allow for some custom dogfighting configurations, but there's no mission editor. As for the AI, it's OK, but nothing special. Wingmen (when you have them, which is rarely) aren't much help, and enemy pilots aren't all that aggressive. At least Aggressor has multiplayer, which compensates for these failings only slightly.
Aside from a very good flight model, there really isn't a lot for which to recommend F-16 Aggressor. For a company to create a sim with not only no key mapping, but also no key assignment card, is just mind-blowing. (You can find the key assignments buried in a 200-page manual.) This feels like a game that started out really good, with some strong elements and good design intentions. But then it got delayed over and over, features were dropped, sections removed, and finally it just shipped. You know, like most computer games.
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Evil Days of Luckless John is a comic style 3D action/adventure game from Akella that features
a non-linear storyline.
Evil Days of Luckless John is one of those games that are hard to fit neatly into a particular category. It is definitely not your typical adventure game, with its integration of elements normally found in other, more action-packed genres. In fact, its working title of "Raiders of the Lost Casino" is perhaps more indicative of the kind of "adventure" it seeks to be. Wherever it falls on genre lines, however, we do know for sure that this new game by Czech developer Centauri Production and Russian publisher Akella is shaping up to be a lighthearted 1930s gangster tale with stylized visuals -- one that, despite having more action than usual, also promises to bring enough story and puzzles to appeal to adventure gamers.
In this game, you will be playing Johnny, a handsome young man who often finds himself down on his luck. Coming from a poor New York family, he lives out on the street and owns next to nothing -- that is, until he inherits a small, forlorn casino out in the countryside from his recently-deceased uncle, by dint of being his only living relative.
Unfortunately for our protagonist, the casino is shaping up to be big trouble. A pair of somewhat inept yet fearsome gangsters named Soft and Rock has been ordered by the big boss to expropriate the place. Johnny's task, therefore, is to stop them -- a difficult-enough job made even harder by one detail: the town Sheriff just so happens to work for the Mafia, and Johnny quickly finds himself thrown in prison.
When Akella demonstrated this work-in-progress to us at E3, we were immediately greeted by a cinematic opening video introducing us to the game's plot and setting. This was our first taste of Luckless John's atmosphere and visual style: cartoon-like, and yet gritty at the same time -- we are in the prohibition-era United States after all. All this is rendered beautifully in real-time 3D in the style of a black-and-white hard-boiled detective film from the '30s, complete with a jazzy Big Band soundtrack playing in the background.
Following the intro movie, we saw the first playable segment of the game, this time in colour. As mentioned earlier, Johnny is stuck in a dingy jail cell, and your first task is to get him out of there. Being a purely 3D game, a third-person, direct control interface is favoured over a point and click one. You use your keyboard to move Johnny around, and your mouse to rotate the camera and interact with surrounding items and supporting characters.
Now, remember when I mentioned that Evil Days of Luckless John wasn't your typical adventure game? Well, by that I meant that if you're thinking the game's going to be one that solely relies on the "use X on Y" type of puzzles, you're definitely wrong. Thanks to the help of a physics engine, Johnny can run, jump, drive cars, and even shoot things, which the developers hope will immerse the player more completely into the fast-paced world of gangsters.
However, for those who derive more enjoyment from game activities that actually require thinking, rest assured that such puzzles do exist in Luckless John's thirty different locations, which include a museum, a farm, and a cemetery, among others. Some of them take advantage of the game's physics engine, having you move boxes around and knock heavy things off of shelves. Others have you finding your way through various mazes. Still others have you talking to the game's wide cast of colourful, comic book-style characters, finding answers to your questions and helping you advance in your quest to save the casino. During our E3 demonstration, the portion of the gameplay that we saw consisted of very traditional adventure game elements of Johnny trying to find items to help him escape from jail.
System Requirement :
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The Destruction of the EvilDracula finally makes an appearance in the third and final chapter of Dracula Series.f you’ve stuck around this long, this is the moment you’ve been waiting for: the first and final confrontation between Father Arno Moriani and Dracula himself. As the concluding chapter in the Dracula Series trilogy, The Destruction of Evil wraps up the storyline with the much anticipated appearance of Dracula, though the final sequence of the game is somewhat disappointing and the ultimate conclusion is a little confusing. Still, the third chapter is easily the best, so if you already played through the previous two games, The Destruction of Evil ends the trilogy on a relatively high note.
Even if the ending isn’t all that satisfying.The game begins, just like the previous one, with Father Moriani on a train, returning to the Transylvanian town of Vladoviste. Only this time around, he’s convinced that he must continue to follow the “path of the dragon,” and find Dracula once and for all.
As his investigation continues, the Father will learn that several characters are not quite who they originally appeared to be. He’ll also have to undergo a series of trials, namely making his way through a winding maze, before finally reaching Dracula’s castle.This final confrontation starts off scary enough--Dracula looks terrifying and his ability to magically disappear and reappear constantly will put you on edge--but, instead of an exciting final battle, it ends up being a war of words.
Dracula will ask you a series of questions and you simply need to answer correctly to please him. The final few scenes up the excitement level somewhat, but overall the ending of the series isn’t very satisfying and somewhat confusing. It’s worth watching if you’ve already played through the rest of the series but, if not, you’re not missing much.In addition to the interview with the vampire, you’ll also have to make your way through a maze and solve a number of other puzzles. But really, the gameplay remains unchanged from the previous games.
It’s still the same blend of traditional point-and-click gameplay and casual sensibilities, that makes it very easy to get into but also eliminates virtually any challenge. Likewise, the voice acting and visuals are the same, aside from the addition of Dracula himself. The infamous vampire actually features a pretty unique design, and his look and way of speaking are unlike most of the draculas you’ve seen before.
He’s dirty, angry, and looks like he’ll bite at any moment.Chances are, if you’re reading this, you’ve already played through chapters one and two. If that’s the case, The Destruction of Evil is definitely worth a play, if only to finally get a look at Dracula. But if you’ve been on the fence about the series, the final chapter will do little to change your opinion for the better. It features the same simplified gameplay and the ending will likely disappoint. Unless you’re dieing to quench your thirst for a vampire themed adventure game, you may want to give the Dracula Series the stake.
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In this Game “Driver” you play the wheel man for hire in various missions around cities such as Miami and San Francisco. An expansive free roam map lets you drive around the city causing destruction and mayhem at will, but watch out because the police will soon be on your tail. Driver is reminiscent of Grand Theft Auto in the early years but focuses on the driving aspect only.Several Thuggish Game ModesDriver offers several ways to experience the game such as missions, free play, or undercover (the story mode). In mission mode you are allowed to select from a variety of missions including pursuit, getaway, and destruction.
In destruction mode your goal is to cause as much damage to the surroundings as you can in the allowed time. Missions are received on your answering machine in story mode and can be accepted or saved for later.If you just want to drive around causing havoc then free play is the choice for you. Free play allows you to pick a city and just roam the streets at will without timers or missions. In all modes your car does have a limit to how much damage it can take before you must start over so keep that in mind when you're deciding whether or not to ram the car in front of you.It's a Challenge Outrunning the CopsThe large size and variety of maps mean there will be plenty of exploring for you to do in free play.
Running from the police can be a game in itself. Using high speed maneuvers in an effort to “lose your tail” is one of the most challenging aspects of this game. In addition to practicing your getaway skills, you can also become better acquainted with the map. Knowing the map can make missions easier during the story mode.Lack of Instructions are a BummerDriver does have a few drawbacks.
The game doesn't make this clear, but the first screen you come to is the main menu and has the options tab to make any adjustments to controls, sound, video and so on.At first the game can be frustratingly difficult if you are unfamiliar with the terms used (slalom, speed, brake check) . You are given a list of actions to perform with your car before you can continue and a one minute timer in which to complete them. No other instructions are given so the player is left to their own devices to figure out what to do. Once you have completed the assigned tasks in your one minute timer you can be assured that you are now a professional driver worthy of any of the game's challenges.
Conclusion - Story and Freeplay are Where It's AtDriver offers an experience full of high speed chases, precision driving techniques and lots of destruction. Storyline missions and free roam play make a winning combination. So as long as you stick to a combination of storyline and free play this game will provide nearly unlimited entertainment.
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