Gaming Today

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• Wal-Mart and Amazon Fight Over Who Can Sell More PS3s
• Lara Croft and the Guardian of Light iOS Review
• Sackboy’s Prehistoric Moves Review
• Dead Rising 2: Case West Achievements
• GameFront 2010: The Year’s Best Games
• This One Guy Has Played WoW: Cataclysm Way Too Much
• Most Violent Games of 2010
• Is This a Troll or an Awkward Homebody Playing TF2? (VIDEO)
• Fallout: New Vegas Unique Armor
• Bulletstorm Final Exports Trailer
• Walkthrough Weekend: Infinity Blade, Tron: Evolution, Epic Mickey and More!
• Infinity Blade Walkthrough
• The Witcher 2 Offers Permadeath Difficulty
• Knights Contract Character Trailer
• Crysis 2 Be The Weapon Trailer

Wal-Mart and Amazon Fight Over Who Can Sell More PS3s Posted: 18 Dec 2010 12:48 AM PST OK, so you remember how Amazon was giving away $75 gift cards with the purchase of a 160gb PS3? Yeah, well Walmart saw that and was like, “Go f–k yourself, Amazon,” and starting offering a $100 gift card with the purchase of that same 160gb PS3. And then Amazon heard about that and matched it. But now the Amazon promotion has come and gone, and so now if you want to recoup a third of the cost of a game console that you’re undoubtedly buying for some bitchy kid, you want to head over to Wal-Mart. And you’ll actually have to head over there, because the assholes are out of stock online. That depreciates the value of the gift card a little, seeing as how you’ll be paying a wad of sales tax, but it’s still pretty good. Be sure to take a camera with you so you and go in the middle of the night so you’ll get the best pictures of weirdos wandering drunkenly through the store. Note: the gift cards only come with the non-bundled edition of the PS3. So if you’re looking at one that comes with Singstar or Ratchet and Clank Future: A Crack in Time, know that those are gift card-free.

Lara Croft and the Guardian of Light iOS Review Posted: 18 Dec 2010 12:35 AM PST Last summer, Lara Croft and the Guardian of Light dropped on Xbox Live Arcade and the Playstation Network, and turned out to be a great top-down dungeon crawling experience, packed with intuitive two-stick combat and a phenomenal cooperative mode. Six months later, Square Enix has ported Guardian of Light to Apple’s iPhone and iPad, with a crazy degree of faithfulness to the original release. The iOS version is, in fact, almost exactly the same game, and although it has scaled-back graphics and virtual touchscreen controls, it plays just as well as it did on an Xbox 360 or Playstation 3. A quick rundown for anyone who missed the review last time around: Lara Croft, you know, the tomb-raider, stars in this installment that’s in many ways a simplified version of her other exploits. It involves an artifact that contains an ancient evil, which evil guys have released, leaving it up to Lara and the titular Guardian of Light to recapture said evil. The game features a full single-player mode, in which you’ll use virtual controls on the touchscreen to run around temples and jungles, climbing, jumping and shooting away at various evil monster-type enemies. Meanwhile, you’ll be collecting new guns and weapons, as well as a host of other objects. Guardian of Light includes some arcade elements, like a points scoring system, and is packed full of collectibles to find that increase your abilities and outfit you with new weapons. Each level of the game includes several different challenges that take you beyond just solving the story-driven puzzles in each stage. You’ll be asked to hit a high score, or find a certain number of objects, or destroy certain enemies, or solve puzzles in certain ways. All of those things add a whole lot of replay value and depth to an already engaging game. Whenever you’re not in combat — and sometimes when you are — you’ll be solving some creative and challenging puzzles, although they never get all that difficult. The iPhone and iPad ports of the game are pretty solid, despite the fact that you don’t use a controller to play them. I’m usually not a big fan of virtual controls, but Guardian of Light works well at managing the two-stick system, as well as various other buttons for changing weapons, rolling and the like. It definitely takes some getting used to in order to get around and not get massacred in fights, but once you’re familiar, the iPhone and iPad setup works just fine. Playing the game on iPad is best, because the iPhone’s limited real estate means your thumbs cover more of the action, but both versions are generally problem-free. Guardian of Light’s single-player campaign is great, but where the original downloadable title shone brightest was with its co-op mode. While you can solve all the game’s puzzles in single-player modes with various tools, when you add in a second player, all those same puzzles require teamwork and creative thinking to solve. The iOS versions of Guardian of Light support co-op, too, but it’s all based online. Unfortunately, it still seems a bit hincky — connecting takes a long time, and match-ups struggle with lag and crashing. All of these seem to be issues that could be fixed with a title update, and given how well the rest of game works, the co-op issues seem forgivable for the time being, provided they get fixed. When it comes to porting games from consoles to iOS devices, Guardian of Light sets a new standard, bringing a pretty much perfect version to another platform, and adapting it to work just as well. Just as long as Square Enix irons out the kinks with co-op, Guardian of Light will represent one of the stronger and more complete gaming experiences on the iPhone and iPad. Pros: Pretty much an exact port of the XBLA and PSN title Quality, responsive virtual control scheme All the achievements, collectibles, challenges and exploration of the original Lots of intuitive and challenging, though not too difficult, puzzles to solve Great single-player campaign; better co-op version Cons: iPhone’s small screen occasionally puts action under your thumbs on virtual controls Lag and crash issues with co-op that need fixing Virtual controls take some getting used to Final Score: 85

Sackboy’s Prehistoric Moves Review Posted: 17 Dec 2010 10:33 PM PST So LittleBigPlanet 2, huh. I guess people are pretty excited about that, and the fact that it’s going to include support for Playstation Move. That excitement is part of the reason Media Molecule slapped together Sackboy’s Prehistoric Moves, a downloadable cooperative spin-off that showcases how Move and LBP might work together. Unfortunately, Prehistoric Moves isn’t much more than an underwhelming tech demo that you have to pay to play — unless you’re a member of Playstation Plus, in which case you can impose on a friend to play it with you for free. That’s an important part of Prehistoric Moves: it’s co-op only. The game will support up to four Dual Shock controllers along with one Move controller, but there’s barely enough to do here for two people, let alone five. You’ll experience everything this download has to offer in under an hour with two decent players — a little more if you’re playing it with a small child or people who don’t like video games. The latter audience seems to be who Prehistoric Moves was designed for, and it is necessarily easy and simplistic. One player handles the Dual Shock controller and commands Sackboy through the kind of platforming levels you’d expect. The other uses the motion controller to support the Dual Shock player, chiefly by moving things out of Sackboy’s way. All of the puzzles in the game, including the boss fight at the end of the demo, require cooperation between both players. Sackboy runs around the stage until he comes to a dead end or a gap he can’t cross, at which point the player with the Move controller has to create a bridge, lift something up, activate a spring, or any of several other interactions. But the game’s not very deep. For one, the Move portion is thin and not too engaging. Nearly every single thing that involves the Move controller boils down to gripping an item and moving it, which clears the way for the player who is actually playing a game. It’s more like the Move player is doing a support job to facilitate someone else’s fun. But things aren’t that great for the player with the Dual Shock controller, either. Prehistoric Moves isn’t bad, but it certainly doesn’t feel indicative of what LittleBigPlanet or its impending sequel will be like. The level design is okay, but not especially amazing — no part of Prehistoric Moves has the standout ingenuity or creativity that many portions of LBP do. This shouldn’t be expected to satiate your LBP hunger in the wait for the sequel. The problem is the requirement for cooperative play without really providing  enough to do to keep everyone engaged. The game shows off the possibilities of Move in LBP, but it’s not very innovative. It’s much more probable that when LBP 2 shows up with Move support, it’ll be a lot deeper and more interesting than the more superficial motion control involvement going on here. Working the Move controller feels a lot like helping a little kid play a video game, even with experienced players. And even with experienced players, your little Sackboy will get crushed, roasted and otherwise murdered by insufficiently patient block manipulation quite a bit. Charging $4.99 for players to wander through Sackboy’s Prehistoric Moves seems like a little much, especially because there’s so little to do here. After you’ve unlocked all the content, dedicated players might squeeze a second playthrough out of it in order to acquire all the available trophies, but that’s really about all there is to offer here. For Playstation Plus members, okay — go for it, it’s free. But don’t waste $5 on this one, because it’s far overpriced. Pros: Bright, colorful LittleBigPlanet style New trophies and decent platforming Some fun to be had with cooperative Move play Cons: Pretty lacking in any sort of LBP 2 experience Extremely short — not much more than a demo Playing with the Move controller feels a lot like work Not very imaginative for an LBP title Overpriced for non-Playstation Plus members Final Score: 60

Dead Rising 2: Case West Achievements Posted: 17 Dec 2010 08:40 PM PST Frank West, photojournalist is back in this inaugural Dead Rising 2 DLC installment, which sees him team up with his blonder contemporary Chuck Greene to get to the bottom of some stuff — including beer bottles, as above. There are 12 delightfully-annotated new achievements to correspond with the new content, which are listed below. Zombie Hunter – You killer 1000 zombies. Is that it? – 20G Handy Man – You created all the new combo weapons in Dead Rising 2: CASE WEST. Duct tape, to the max! – 20G Fantastic – You completed Dead Rising 2: CASE WEST. Frank West would be proud. – 20G Amateur Photography – You took your first picture. Ain’t it pretty. – 10G Professional Photography – You took a picture of all the PP Stickers. You’ve got a good eye. – 20G Phenotrans Sabotage – You killed 5 Hazard Units. Looks like working there was hazardous to their health. – 10G Petty Vandal – You destroyed all security cameras in a single playthrough. Lights out for Phenotrans. – 20G Phenotrans Nuisance – You killed 20 Security Guards. What did they ever do to you? – 10G Phenotrans Bubble Burster – You killed 10 Zombie Handlers. Looks like they couldn’t handle you. – 10G Savior – You saved all the survivors in a single playthrough. Really? Even after all Phenotrans did to you. – 20G Double the Fun – You completed Dead Rising 2: CASE WEST with a co-op friend. Must be nice to have a friend. – 20G Ultimate Power! – You got to level 50. Can you feel the power? – 20G

GameFront 2010: The Year’s Best Games Posted: 17 Dec 2010 08:34 PM PST This is it — the year is over and we’re looking back at the absolute greatest video games the industry had to offer us. Some of this you’ve heard before — it will likely surprise no one that Red Dead Redemption is featured prominently on this list. The best games have come up more than once on our other lists, but here you’ll find the games that were the standouts of the year, and the ones we couldn’t stop playing all year. Red Dead Redemption Phil Owen’s pick Rockstar is king in the realm of video game world-building. We were treated to some stunning worlds this year in gaming, but none came close to matching that of Rockstar's vision of the Old West. New Austin is simply a thrilling place to exist in, and on top of that we get one of the best told stories in gaming in the tale of John Marston's, yes, redemption. It's an epic tale the likes of which is the next step in the evolution of video game storytelling; this is perhaps gaming's first example of literature, although one could make that claim about GTA IV as well. But, above all, what sets Red Dead apart from everything else this year is its epilogue. It has probably never even occurred to most developers to try to include true falling action, but Rockstar included it and f–king nailed it. Appreciate this, gaming community. And Mark Burnham’s pick, too I sort of hate that I’m agreeing with the Spike VGAs on this, but whatever. I’ve had this in mind for a while. Here’s why. More than any other game this year, Red Dead Redemption invited me to completely lose myself. I forgot there were “gamey” things like goals, rewards, consequences, cutscenes, etc. Rockstar gives the player so much breathing room that the game just sort of unfolds, rather than making you play it. I mean, this isn’t the first time we’ve heard words like “open world,” or “sandbox.” But what Rockstar proved with RDR is they are masters at crafting the scope of that world, so that it’s neither too constrictive (Mafia 2), nor too empty (Mass Effect 2. Yeah, I said it. Too empty). RDR is right on the money. Everything is enjoyable, from shooting rabbits and coyotes, to finding flowers, to flushing out gang hideouts in ghost towns, to just walking down the main drag of a town and watching drunks stumble out of saloons. I’m not even bringing up the great cast of characters, the refreshing humor, all the other great things about the game. It’s enough for me that the game nailed that balanced sense of place so well. Mass Effect 2 Ben Richardson’s pick I spent a lot of my young life ogling screenshots. As a child of the eighties, my video game upbringing often focused itself on the drive for visual realism — each successive issue of GamePro seemed to mark a milestone along the way. 2D gave way to 3D, bit numbers continued their geometric march toward infinity, and all seemed right and good in the world. The first time I saw an Xbox 360 being played, it didn't really dawn on me. But over the course of the last 5 years or so, it became crushingly obvious: the realism race was run. Sure, there are still plenty of kinks to be ironed out, but I am nevertheless no longer willing to buy a game simply based on its incredible graphical fidelity, something that I would have done gladly a decade ago. Instead, the technical detente has created a new hierarchy, based on a quality I often glossed over in my puerile search for the newest and brightest eye-candy: writing. As much as fancy pixel-counts and vertex shaders can inspire temporary awe, they don't often evince emotions, and they certainly don't stick with you for very long after you put the controller down. Writing — along with its handmaidens, story and character — does. In this new era, there is one undisputed king of writing: Bioware. Though their roots in the nineties demonstrate obvious bona fides, it wasn't until Mass Effect hit the market that the company's full potential was made clear to a wide audience. The quality of the writing — expressed through the characters, the story, and the world itself — was what made the game a hit. The sequel, Mass Effect 2, is a love letter to writing, and the gamers who love it. There is no silly MacGuffin, no captured princess, no unassailable keep. The game, all 30-odd hours of it, consists entirely of character development. The designers created fascinating characters and let their writing staff run wild, crafting a panoply of stories that are engrossing, affecting, and "mature" in a way that has absolutely nothing to do with the ESRB. Of course, you have a choice: you can pursue these character developing side-missions, or you can choose not to. The introduction of choice and consequence (initially developed in pen-and-paper RPG's) has been the other big triumph of writing in the modern gaming era. If there's anything more empowering than giving a player a gun that can clear out an entire room in one shot, its giving him the option of bypassing that room altogether, or making a choice during an earlier dialogue to avoid the entire planet entirely. For these reasons and more, Mass Effect 2 is my pick for the best game of the year; the series as a whole will merit serious consideration when I get around to picking the best games of the last quarter-century. Unless Mass Effect 3 is successful in turning my brain into gibbering, elated mush. As it stands, there's about a 50% chance of that happening. Heavy Rain Phil Hornshaw’s pick At the risk of being mocked mercilessly by Phil Owen (and probably everyone else), I have to go with Heavy Rain. Yes, I loved Mass Effect 2, but Ben Richardson has already richly explained what was great about it. Yes, I had a great time in Red Dead Redemption. Yes, Alan Wake was a finely made, scary game. But when it comes to a purely engrossing experience, it has to be Heavy Rain. Say what you will about the writing — I know it was bad, in a lot of respects. It was also great in a lot of respects. Sure, the plot’s a bit porous, but the characters are powerful, even if there are moments that are a bit contrived, and the game pulls you in. There are incredible moments in Heavy Rain. Most of them concern Ethan’s plotline, but I was hard-pressed to find a game that created more tense moments, using controls and play methods that go against the grain of punch, kick, run and jump. Heavy Rain’s downloadable content is a pitch-perfect example of how great the title could be when it was on its game. Madison Paige, serial killer-hunting journalist, runs down a lead on the trail to the Origami Killer, breaks into a house, and starts investigating. She finds bodies set in plaster. And then the killer comes home. In the next 10 minutes, you have to sneak Madison out of the house without getting caught by the killer — who knows you’re in the house. The tension is ridiculous, and Heavy Rain challenges you not only to get yourself out of the situation by being a master of its control scheme, but also by being smart enough to think it through. Heavy Rain might be a series of set pieces with some interesting characters, but they were some damned engaging set pieces, and characters whose stories were kept me intrigued. And I didn’t have to scan planets for minerals or ride a horse all over Mexico. For a purely intense and complete experience — it was Heavy Rain. Battlefield: Bad Company 2 Ron Whitaker’s pick For my money, there wasn't a better game in 2010 than DICE's return to PC.  Since Battlefield 1942 landed on the scene in 2004, the series has defined first-person shooter multiplayer on PC.  It was a great relief to see it come back to the platform this year.  Sure, the singleplayer wasn't the greatest around, but if you are buying Battlefield games for the singleplayer, well, you're doing it wrong. Nearly everything about Bad Company 2 was well-executed.  There is a tight balance of classes, weapons, and vehicles.  Maps routinely provide advantages to both teams, and player skill matters more than spamming explosives.  All in all, it's a clinic in how to create a multiplayer shooter, and one I wish some other popular titles would attend. Great game modes, great maps, a slew of unlocks for each class, and now a Vietnam expansion before the end of the year.  I've put well over 100 hours into BC2 so far, and you can pretty much plan on me getting a bunch more in the Vietnam expansion. While I'd love to see Dice design another game based around the PC with 64 player servers and all the trappings of the classic Battlefield games, Bad Company 2 is as close as gamers have had in a long time to a great multiplayer shooter.  If you haven't played it yet, shame on you.

This One Guy Has Played WoW: Cataclysm Way Too Much Posted: 17 Dec 2010 07:47 PM PST I love video game stats sites, because they often uncover the most hilariously embarrassing data. Raptr is one such site, and they mined some fun World of Warcraft data after the epic release of Cataclysm last week. Note that because of the way Raptr works, you have to be registered with them before they can track your data. That said, they still came up with some quite amusing information. 1. The top player in the week after Cataclysm hit logged 149 hours. There are 168 hours in a week. That guy spends more time playing WoW than you spend being awake. 2. In an amusing parallel to the real world financial situation, the top 11% of WoWers are responsible for 50% of playtime in the game. The rest you can check out over on the Raptr blog. via Eurogamer

Most Violent Games of 2010 Posted: 17 Dec 2010 05:57 PM PST Since the beginning of time, gamers have loved violence, and game designers have loved giving it to them. Since the advent of modern hardware and software, that violence has been more realistic than ever, serving up immaculate HD limbs, blood splatters, and giblets flying in every direction. We at GameFront take a certain ghoulish glee in all the carnage, and we’ve put our heads together to bring you the most violent games of 2010. Fallout: New Vegas Ben Richardson’s Pick Fallout: New Vegas certainly can’t touch some of the games on this list when it comes to inventiveness, or when it comes to volume of blood spilled. Played a certain way, however, Obsidian’s offering can be violent with the best of them. Disregarding the game’s extensive questing and exploration sections, and focusing on the action, the violence is about VATS. I don’t know what the breakdown of players is — some may love it, others hate it — but I use the targeting system extensively, because it reminds me of the first two Fallout games’ awesome turn-based combat. And when I walk into a room filled with hostiles and I start cuing up headshots, I know what’s about to ensue: a solid minute or two of melting, frying, reduced-to-ashes, all-the-limbs-flying-off-and-bouncing-off-the-ceiling abattoir action. Sure, almost all of the animations were present in Fallout 3 also, and the game engine doesn’t make them look particularly convincing, but let’s be honest — is there another 2010 release that features a “decapitated head cam?” Yakuza 3 Phil Owen’s Pick This game is not violent in the "oh s–t there is blood and guts errwhere" kind of way — I think maybe three people die in the whole game, even though you'll probably fight 10,000 different people. No, this game is just violent in the "I can't walk ten feet down this crowded street in the middle of the day without somebody trying to kick my ass for no reason" kind of way. Yakuza 3 is an open-world game, and you can wander around the streets of whatever fictionalized Japanese city you find yourself in. But walking down the street is perilous, because no matter where you go, there is some guy standing on every street corner who will chase your ass down and awkwardly tell you to put up your dukes because he doesn't like that I'm older than he is or for some other equally stupid reason. So if you play the game for a while, you'll discover that probably 90% of the fights in the entire game are like that, which means 90% of the fights in the entire game don't even figure into the plot, — not even a little bit — because at no point does Kazuma consider moving his orphanage someplace less violent. God of War 3 Ron Whitaker’s Pick Kratos has always been a violent sort.  He's killed gods, titans, and innocents with equal abandon, and God of War 3 allows him to continue his bloody rampage. This time, he's methodically wiping out the gods of Olympus. He eliminates Poseidon from the back of a titan and rips off the head of Helios to use as a freakin' flashlight. He even returns to the caverns of Hell to eliminate Hades, and while he's there he kills Hephaestus, after he's scored with his wife. Kratos also kills Hera, indirectly killing off all plant life in Olympus itself. To traverse chasms, he grabs onto harpies and repeatedly stabs them to get them to fly his way. Large trolls and minotaurs are controlled by stabbing them — the spray of blood forces the monsters to do his bidding. All in all, Kratos' trail of blood and destruction in 2010 is wider (and bloodier) than it has ever been before. Mark Burnham’s Two Cents Ron already pretty much nailed it here, so I’ll just add a few of my standout GoW 3 moments of brutal violence. I'm never really fazed by violence in games, but these moments in particular were pretty rough: When Kratos punches Hercules in the face so many times his face gets all gnawed down to a gaping hole, and his teeth are all shattered and stuff. When Kratos gouges out Poseidon’s eyes. Whenever Kratos rips out a Troll’s eye. When Kratos rips off that water horse’s jaw in the beginning. When Kratos tears off Hermes’ legs. LIMBO Phil Hornshaw’s Pick I got to play Splatterhouse this year, and if you're looking for cartoon violence and buckets of stylized monster blood, go directly to your nearest Best Buy and buy that game. If you want your violence to be pixelated and meaningless, with all the purpose and realism of a plastic model kit, Splatterhouse is also your best bet. Meanwhile, when I think of games that were violent and it freaked me out a little bit, I have to go with Limbo. Like Splatterhouse, Limbo is often merciless in its violence, with characters getting crushed, liquefied, dismembered, run through, and hung. But the similarities end in the banality of method. Where other games revel in violence, Limbo uses its intensely painful-looking deaths as a way of adding additional disquiet to an already spooky f–king world. Walking along in the forest, accidentally stepping in a bear trap, and suddenly seeing your head go flying as the steel jaws snap closed wasn't just violent — it was disturbing. In all the right ways. For me, the best use of violence in a game is for throwing the player off his or her axis. Sure, tearing arms off guys and beating them with them can be fun once in a while, but it's not as shocking as it was when, say, Scorpion tore off his own face in order to finish his opponents with a burst of flaming breath. Limbo touches a nerve by contrasting youth, innocence and beauty with really morbid, painful-looking deaths. Nothing this year was as delightfully creepy as watching a Limbo character, brain slug attached to his skull, throw himself into a lake and drown — except for knowing that you had the same fate in store. And while making enemies bleed profusely and die horribly is fun, dragging a body out of a pool of water and using it to solve a puzzle, and feeling your skin crawl as you do it, is much, much cooler. Splatterhouse Phil Hornshaw’s OTHER Pick Okay, okay — it's a gimme, I know, but you can't talk violence this year without Splatterhouse, and as I mentioned under Limbo, there's a ton to go around. The game is conceived in violence, and it does get pretty imaginative in its eviscerations. Most of the time, you're just punching things into a pulp, and that's fine, but every so often you get to perform Splatterkills, and they are all….absolutely…ridiculous. The Splatterkills are quicktime events, and they all end horribly for whatever monster you're committing them against. A common one has you ripping off an enemy's arms while you press your foot into his back. In one you crush a skull between your palms. There's even a Splatterkill where you punch a monster in the ass, reach in there and tear out its intestines. The whole time, the enemies are spraying fountains of blood in every direction, all spiffed out and cartooned up to give it more than just a campy horror movie vibe — and there's a truckload of that — but also a bit of super-bright cel-shaded style. You know, looking back on Splatterhouse, I'd come to think the violence in it wasn't all that interesting, but as I write this up I realize that it does touch a nerve, being over-the-top and hilarious in many ways. Prying open the jaws of a evil little monkey-sized reptile-gremlin and ripping its lungs out has a certain…panache, maybe. At the very least, it speaks to something kind of primal that makes me grin uncontrollably when thinking about dismembering hellish monsters. And then using those cut-off chunks to kill other monsters.

Is This a Troll or an Awkward Homebody Playing TF2? (VIDEO) Posted: 17 Dec 2010 05:50 PM PST Awkwardness is quite hilarious (as you can see above), and this Team Fortress 2 vid is full of it. It features an awkward guy with a lisp relentlessly trying to get some girl to be his Steam friend and play some Left 4 Dead with him and everybody else trying to get him to leave her alone. Some folks seem to think awkward guy is a troll who has been doing this kind of thing for a while in many a game of TF2, but even if that is the case, this video is still quite amusing just for how uncomfortable he seems to be making everyone. Creepy Nerd Hits on Girl in TF2 – Watch more Game Trailers

Fallout: New Vegas Unique Armor Posted: 17 Dec 2010 03:00 PM PST RPG’s are all about finding cool stuff, and the scavenging nature of Fallout’s post-apocalyptic milieu makes finding that stuff even more enticing. There’s so much out there, though, that it can sometimes be hard to separate the wheat from the chaff. Use this list of Unique Armors to decide what’s worth sussing out and what isn’t! Remnants Power Helmet/Armor - The helmet can be acquired individually in the Silver Peak Mine (beware the Legendary Cazador!). The armor is found individually on the Deathclaw Promontory, on a dead body, surrounded by Deathclaws. You can get the full suit of armor by completing the quest “Auld Lang Syne” (kill Orion Moreno and take it, or convince him to stay and get it from Daisy or kill Cannibal Johnson and take it from him when he storms out). Gannon Family Tesla Armor/Helmet – Complete the Side Quest “Auld Lang Syne,” and either convince Arcade Gannon not to fight (he gives it to you) or fail to convince him and then kill him for it. Papa Khan’s Helmet – Worn by Papa Khan. If you want it, you’ll have to kill him. Adventurer’s Pack – Inside Nopah Cave. Worn by a skeleton in the Southwest section. Vance’s Lucky Hat – Worn by Sammy Win, inside the Win’s hideout. Vikki’s Bonnet – Worn by Pauline Win, inside the Win’s hideout. Bounty Hunter Duster – Worn by Red Lucky in The Thorn, Beatrix Russell in the Old Mormon Fort, and Caleb McCaffery at the Atomic Wrangler. Explorer’s Gear – Available from Orion Moreno, just south of the Gun Runners. Follower’s Lab Coat – Worn by Julie Farkas in the Old Mormon Fort. Naughty Nightwear – In Mick’s hidden cache of weapons and items. Viva Las Vegas – Worn by The King. Caleb McCaffery’s Hat – Worn by McCaffery at the Atomic Wrangler. Van Graff Tesla Armor – Rewarded during the Side Quest “Birds of a Feather.” Benny’s Suit – Worn by Benny in the Tops Casino; perhaps retrieved from his lifeless body. Ambassador Crocker’s Suit – Worn by Ambassador Crocker in the NCR Embassy. Caesar’s Armor – Worn by Caesar. Jessup’s Bandana – Worn by Jessup. President Kimball’s Suit – Worn by President Aaron Kimball. Chinese Stealth Armor – Inside the Hoover Dam offices, inside the radioactive barrel storage area. General Lee Oliver’s Cap/Outfit – Worn by General Lee Oliver. Legate’s Helmet – Worn by Legate Lanius. Regulator’s Duster – Worn by the Lonesome Drifter. Brotherhood Elder’s Robe – Worn by Elder McNamara inside the Brotherhood Bunker. Party Hat – Scattered all over the REPCONN Test Site. Space Helmet/Suit – At the REPCONN Test Site, Inside the basement (B2) rocket viewing chamber. Boone’s Beret – Give to you by Craig Boone in NOVAC after completing his quest.

Bulletstorm Final Exports Trailer Posted: 17 Dec 2010 02:32 PM PST The “Final Exports” video is the first in a series that features Epic Games Producer, Tanya Jessen and the game’s lead writer, Rick Remender. The video takes a deeper look at the story and characters from the Bulletstorm world. You can download this video here or watch it below.

Walkthrough Weekend: Infinity Blade, Tron: Evolution, Epic Mickey and More! Posted: 17 Dec 2010 02:20 PM PST We’re leading off this weekend with a guide to Infinity Blade, the Unreal-powered iPhone game that’s been turning heads recently. As for Tron, the mega-budget Disney movie comes out today! Put on your 3D glasses! Twice the Jeff Bridges, twice the fun, as I always say. You can also get your Tron fix here with our full walkthrough — learn to dominate the virtual virtual gameworld! We also have lists of collectibles, and below, you’ll also find information on other recent big releases. Walkthrough Weekends is a recurring feature, so check back every Friday to read all the most useful hints, tips, guides and lists from the previous week. That way, you’ll be prepared when work ends and fun begins. Don’t spend your free time staring at loading screens! Infinity Blade Game Guide   Tron: Evolution Walkthrough Tron Files Abraxas Shards   Epic Mickey Walkthrough Pins Film Reels   Splatterhouse Walkthrough   Donkey Kong Country Returns Walkthrough   Assassin’s Creed: Brotherhood Walkthrough Rift Locations and Puzzle Solutions Follower’s Lairs Side Quests and Rewards Cheat Codes Metagame and Shop Quest Rewards Unlockable Outfits and Capes Paintings and Portraits Artifacts Feather Locations   Call of Duty: Black Ops Walkthrough Intel Codes   James Bond 007: Blood Stone Walkthrough Intelligence   God of War: Ghost of Sparta Walkthrough  >/p> The Force Unleashed II Walkthrough   Fable III Walkthrough

Infinity Blade Walkthrough Posted: 17 Dec 2010 02:16 PM PST Infinity Blade, ChAIR Entertainment’s powerhouse app on Apple’s iPhone and iPad, has easily the greatest graphics on the platform. It breaks down into two simple elements — one-on-one sword-fighting combat with a variety of enemies, and RPG-style character building and equipment management. But those two simple elements create an easy to pick up, hard to master game perfect for short stints or addicting marathons. It seems simple at first: point and click navigation from one room to the next, where you fight an enemy. But there are a lot of subtleties to Infinity Blade. Some paths are more complete, and offer more treasure, than others. Some enemies have different fighting styles than others. And some portions of combat aren’t outlined by the app’s in-game tutorial — at all. So we’ve put together a point-by-point guide to make you an instant champion at Infinity Blade. You’ll have to master the skills, like attack and defense timing and mastering equipment. But we’ll show you how to do the most intense combos, nail the toughest achievements, and eventually bring down the all-powerful God-King himself. Table of Contents Mastering Combat Blocking Dodging Parrying Breaks Combo Strikes Magic Equipment Navigating the Tower The Walkthrough Approaching the Tower The Front Door Tower Hall The Tower Bridge The Long Staircase Elevator Chamber The God-King’s Chamber The God-King Mastering Combat Infinity Blade starts you out with something of an introduction to each of your abilities — blocking, dodging and parrying — within the first minutes of the game. But there’s little or no briefing about your offensive capabilities, and the game has achievements tied to those. Here’s a little bit about fighting your way through the God-King’s tower. Blocking Blocking is your easiest, and weakest, defensive ability, and when you start to climb into later bloodlines, it might fall away as a strength you go back to very often. You can effectively block some attacks, but the harder the enemy, the more of your shield you’ll lose with each strike. Before long, your shield will break for the battle and become mostly useless. When fighting super-hard enemies like the God-King and later foes, your shield will barely protect you. The God-King hits for something like five notches off your shield with each of his super-fast strikes. Use it if you’re in trouble, but learn not to rely on your shield. If an enemy winds up a big hit, or a strong overhead strike, you could very well have your shield broken, and you’ll take the damage anyway. It’s usually better to get good at the timing of the dodge. Dodging This is your bread-and-butter defensive move. Learn to anticipate the timing of attacks — they usually take a little longer than you think — so that you can dodge most everything. More often than not, you’ll want to dodge toward an attack rather than away from it. This means if your attacker’s swing is coming from your left (and moving to your right), you’ll generally want to dodge left, so as to go under it. The opposite logic is true if your attacker is coming in with a low horizontal attack (the logic being that you can’t get under it, so you want it to come over you). If he starts with his blade low and to your right, dodge left — the blade will cross upward and fly over your head. When dealing with vertical attacks, you can generally dodge whichever way you want. The best defense is to learn your opponents tactics: when they start to spin around, for example, pay attention. You might take a hit this time without being to anticipate the direction or speed of the move, but you’ll know for next time how to avoid it. Be careful about dodging too early. It’s going to take some time for you to learn the timing behind different enemies’ attacks, and if you pull a dodge too early, you’ll roll back into the line of fire before the blow falls and take the damage. Once you’re hit, it takes a second to recover as well, making dodging the next attack harder. Parrying Parrying is the toughest skill to learn, but it’s also the most rewarding. You execute a parry by swiping the screen like you would with a regular attack, but the direction of your strike must match and be opposite of the incoming attack. So if your opponent is swinging at horizontally from your left (and moving to the right), you need to swipe in the opposite direction but horizontally. You’ll want to make parrying your least-used counter move, even though it’s probably the most fun and challenging way to play. The problem is, it’s easy to parry incorrectly, or too soon, leaving you open to attack. Enemy attacks usually come in groups of at least three: try dodging early, parrying later. Big attacks can be really difficult to parry. Overhead strikes (especially the jumping ones) and attacks from big enemies like Trolls generally move too fast to parry consistently. Dodge or block instead. ACHIEVEMENT: The “Don’t Back down” Achievement unlocks if you can win a fight without blocking or dodging — that means parries. Get good at them (and bring a Heal spell) and you’ll be able to unlock this one. Breaks If you successfully block, dodge or parry the last strike in an opponent’s set of moves, you’ll break his defenses, allowing you the opportunity to swing away and deal some damage. The amount of time an enemy is vulnerable is dependent on the way you dealt with that last move: blocking leaves the shortest amount of attack time, then dodging, then parrying. A handy trick, then, is to dodge or block early moves, which is easier, and try to parry the last one. This will give you the maximum amount of time available to get your own attacks in. After you’ve fought a few battles, you’ll start to see enemies with pulsating circles on different parts of their bodies during certain attacks or breaks. If you can tap those circles fast, you’ll execute a stab — it does a bunch of damage, plus triggers a long break that you can use to deal a ton of damage. The charged-up supermove, which is executed with the button in the top left corner of the screen, also creates a break. This can be very handy if you’re in trouble, or if an enemy is preparing a move you suspect will break your shield but you don’t know how to dodge. Magic, also, can interrupt an attack sequence, but it doesn’t constitute a full break. However, if you’re having trouble dealing with a set of attacks and can (very) quickly rattle off a magic spell, you’ll do damage or heal while also stopping the attack. Combo Strikes When it comes your time to attack, you can just swing away and do damage, but you’re better off executing combo attacks. These often result in additional damage, and a few of them have achievements tied to them. Combos are sets of swipes that seem to flow together: left, right, left, for example, is a three-hit combo that will earn you “huge hit,” which does bonus damage. The best available four-hit combo is left, left, right, right. That triggers a “mega hit,” the highest amount of damage you can pull down with four hits You can combo as much as five hits, but these are the most difficult. Left, right, up, down, left will unleash an “ultra hit,” as well as nab you an achievement. Magic Equipping various rings to your character gives you the ability to activate magic spells once you’ve charged up the magic icon in the top right of your screen. Time, dealing damage and taking damage all charge your magic faster. You’ll get a tutorial in-game about executing magic spells by tracing your finger over the screen. Get good at this: the faster you can cast a spell, the better off you’ll be when you’re in a pinch and need to heal or do massive damage. You can only use magic in battles, and this is important to remember when you start running around with a ton of HP and using strong healing spells to keep yourself going during fights. Plan to drop a heal spell right before the end of a battle and you’ll be ready for the next one. It’s also handy to keep multiple different kinds of rings on-hand, even after you master them. This way, if you run into a Fire Paladin, for example, you can switch to an Ice ring, or one that carries Heal and Shield. The ability to change strategy is helpful. ACHIEVEMENT: If you can win a fight without swinging your sword — and therefore, using only magic — you’ll unlock “The Pen is Mightier” Achievement. It helps to have a higher-level of magic spells, like Fire 2 or Shock 3, when attempting this, but it’s not hard. Your magic will refill over time, so just dodge away. Equipment After every battle, you’ll receive experience points, but they only go toward leveling you up if you also have unmastered equipment. Experience points fill into equipment just like they do into your character, and when an object tops out, you stop receiving the experience points alloted to that piece of equipment. Therefore, it’s best to swap out your equipment frequently. After every fight, you can enter the store through the pause menu screen and buy new stuff. Mastered equipment sells for double, so unless an item is something you really want to have on-hand, like certain magic rings, it’s usually best to just ditch it. Use low-level equipment early in the game. You might earn enough money to jump up to higher level equipment, which will give you an edge with the God-King and other bosses, but in later bloodlines you’ll find that you’ll want to keep growing your character, but are running out of equipment to do so. Buy the cheap, crappier stuff early so you don’t have to downgrade. If you do have certain extra weapons, like ones with fire or ice elements attached, it always pays to check out an enemy before you fight it. You can click the “i” button in the bottom right corner of the screen before any battle to get an idea of what you’re facing — plan accordingly. Always have the best healing ring you are able to get on-hand for when you reach the top of the tower. When it comes to the God-King, no magic is nearly as important as Heal, especially Heal 2 or Heal 3. They will make or break your bid to take down the final boss. Navigating the Tower It’s tempting to skip over the transitions between battles as your character walks through the tower, or do something else until your next battle: resist the urge. Scattered through almost every screen are bags of gold and healing potions that you can snag by tapping them. The achievement for getting all treasure in a playthrough can’t be unlocked without snagging all these tappable treasures, and some of them only give one shot. Every time you stop, you can swipe the screen to move the camera around and check the area around you. Do this every single time — look for bags of gold and potions, but also for alternate paths. There are two or three divergences from the main footpath through the tower, and they all lead to treasure chests. On the early bloodlines especially, try to make mental notes of where you frequently see bags of gold, because although they’re randomly added to each screen, the spots in which they appear are usually the same. There are a few places where you’ll see treasure chests. Note that if you’re hoping to take them, you’re almost always going to have to earn the opportunity by winning a fight first. While there are divergent paths through the tower, you’ll always end up in the same place. Mostly, there’s a right path, which takes you to all the available battles and treasure chests, and the wrong path, which will skip portions of the tower and get you to the end faster. We’ll outline all the divergences, treasure chests, and fights in the Walkthrough portion below. ACHIEVEMENT: You can only unlock the “Waste Not, Want…” Achievement by taking the path outlined in the walkthrough below. You need to get all treasure chests, plus every item you can tap in the world. It’s tough to do, so pay close attention. The Walkthrough Approaching the Tower As you start the bloodline, your character will cross the field just in front of the tower. Look for gold bags on the approach, especially to the right of your character. Your first battle will be just ahead. Infinity Blade’s enemies break down into three types: small and fast, medium sized, and big and slow. Your first contender is a medium-sized enemy, which tend to be the easiest to handle. Adjust your loadout ahead of your battle so you’re ready to deal with your first enemy, which will often be a Storm Paladin or other kind of elemental enemy. Bring weapons and magic to deal with them. When the fight’s over, make the most of your Finishing Bonus. Go nuts, because every hit you get in before the end earns you more experience. The Front Door After your first fight, check the area for items on the ground and tap the door ahead to move up. As you cross the bridge, check the area near the river for gold, a well as when you approach the drawbridge further up. Your second enemy is another middle-sized bruiser, like a paladin or a brute. Be sure to swing the camera around before you tap the door — there’s a treasure chest near the tree to the right you won’t want to pass up. Check for gold around as well. Tower Hall As you enter the tower for the first time, you’ll see your first 12-foot big enemy up ahead. When you stop, pan around and look for treasure. Don’t engage the troll yet — there’s actually another path. Swing the camera right and you’ll see a door you can tap. Go that way instead. You’ll walk out onto an overlook that has a chest at the end, and is often populated with gold bags. To get the chest, you’ll be forced to battle a small enemy, usually an Assassin or Hedge Knight. Small enemies are lighter and faster than their larger counterparts. They’ll attack you relentlessly, but they wear less armor, so you can strike back and deal a lot of damage for your part. Adjust your strategy to be heavy on blocking and dodging. Small enemies strike fast, so if you have trouble getting out of the way, a block can save you pretty effectively. Parrying is a lot tougher against these guys because they move more quickly than the other enemies. Once you’ve finished off the bad guy, pan around to check for extra stuff, then grab the chest. You’ll head back to the main entrance of the hall right afterward. Now you’ll have to take on the big guy, probably a Feral Troll or something similar. These guys are strong, but slow — you’ll be able to dodge just about everything in this fight. The biggest enemies telegraph their moves extensively. Watch for your opponent to slam his weapon on the ground before swinging at you. If he slams it on the left, dodge left; right, dodge right. It’s pretty simple. If your enemy jumps back, then forward, try to time your dodge with his landing. Occasionally, the big guys will throw in kicks, or try to bunt you with their big weapons. If it looks like your enemy is shifting his grip on his weapon to bunt you, it’s time to block. You can’t dodge, and he’ll hit you three or four times before the end. The rest of your strategies are the same. Parrying is tough to do here, but dodging and blocking are easy. Try to avoid blocks for your enemy’s overhead attacks — those will often break your block and hurt you anyway. After the fight, swing the camera to check the area, and make sure you swing WAY to the right to find a chest. It’s easy to miss. The Tower Bridge Keep your eyes open! This is an area where you can miss pickups easily, especially on the wide shots — look on the far left, on the edges of the building, for money bags. The entire walk up to your battle can potentially have items scattered through it, so pay attention. You’ll face another small, fast enemy here — a Hedge Knight or Assassin, likely. Remember that these guys like to quickly string attacks together. After the fight, when you finish with the experience allocation screen, be ready to tap at items — the game will give you a flyover shot of the bridge leading to your character, and sometimes items are hidden there that you can’t get a view of after that shot. The path up ahead is tricky — you’ll see a door and also a spot you can tap at the stairs. Tap the door first. We’ll go to the stairs eventually, but first there’s a hidden chest to grab. Approaching the door triggers a battle with some kind of big 12-foot enemy, like a troll or golem. By now you should be getting the point of how to deal with these guys. Once you’ve finished the fight, check the area, specifically looking to the left. You’ll see a treasure chest — head over and empty it out. You still have the two paths ahead of you: through the door or up the stairs. Note that the door is a shortcut — if you go through, you’re only two battles away from the God-King. The stairs have an extra pair of battles, plus a treasure chest and more treasure in general along the way. To get the most out of your path as far as experience and gold, take the stairs. NOTE: If you decide to go through the door, you can skip “The Long Staircase” and go directly to “Elevator Chamber.” The Long Staircase As soon as you navigate to the stairs, you’ll be accosted by a medium-size enemy like a Paladin. You’ll fight him all the way up to the top of the steps. We won’t talk strategy much — you’re probably fine at this point. Pound this guy until you get to the top of the stairs. Before you move on to the next location after the battle, pan around and look for items. When you click the travel button, you’re going to need to be quick to grab anything that’s on the rooftops you’re about to traverse. Money bags will often appear on the roof after you jump over the balcony railing — check the far left, the middle of the roof during the running portion, and the far right near the wall. When you climb up, there often is money around the edges of the balcony at the end of the path. There’s another treasure chest here, but to get it, you’ll have to defeat an Assassin or similar faster, small enemy. You can also bypass him and go directly through the door, but you miss out on the chest. Remember that fast enemies can be tough because the play some pretty sharp defense. They don’t stay staggered for long. Claim your chest (or don’t) and head through the door. Elevator Chamber Be careful as you enter to scour the room for items as the camera pans around. It’ll eventually settle behind you, masking your view of several places in the room. The game likes to hide things on the sides of the chains that face away from you, so you’ll miss your chance if you wait too long. Your only option is to click the navigation icon in the center of the room. It triggers the lowering of an elevator. On that elevator is another large-type enemy like an Executioner. After the fight, the camera angle will present you with a very obvious treasure chest below you on the spiral stairs. Snag it, then board the elevator to reach the God-King’s Chamber. The God-King’s Chamber These are the last two fights of the bloodline. Watch as you come in for pickups lining the walls — some of them can be out of reach once you’re further into the room. Your first battle is with The Dark Knight. Not that one. A different one. He’s a bit of a hybrid — he fights like a medium-sized enemy, but he’s tougher and moves a little faster. Despite hitting harder, the Dark Knight seems to be easier to read than a lot of other enemies. He’ll often breaks out a move where he claps his sword against his shield and steps back. When he does this, it means he’s about to rush forward and hit you with his shield. Dodge out of the way as the Dark Knight charges and you’ll usually get an opportunity to stab his exposed midsection. If not, immediately throw up your shield to block his next slash, which is undodge-able. Following that move, he’ll usually swing overhead — dodge that, and you should get to stab him in the face. Following the stab breaks, you can lay into the Dark Knight pretty well. He also seems pretty susceptible to magic attacks. Keep hammering away at the Dark Knight and he should fall without much trouble. Enjoy that, because you’re about to face your true test: The God-King. First off, you’ll have to approach his throne. Pan the camera around when you arrive and check around the railings for objects. Before you tap the God-King, there’s also a chest at the foot of his throne you get to open before proceeding. The God-King Let’s do some pre-flight checks before this battle. You’re going to need a few important pieces of equipment: 1.) decent strength magic ring with Heal, ideally; 2.) strong sword; 3.) strong shield. Everything else is whatever you want, but you’ll prefer a shield that holds up at least a little while. You should also equip weapons and items that can handle a lot of experience relative to your level. If you use things that are going to top out right away, you’ll rob yourself of the considerable experience you’ll get off the God-King if you beat him. Don’t expect to win your first few times in this battle, however. ACHIEVEMENT: If you bring the Steel Sword, your very first weapon, into this fight and defeat the God-King, you’ll unlock a secret achievement. Now you can start the fight. Forget parrying almost altogether — get ready to test your dodging skills. The God-King technically falls into the small, fast enemy category, except he’s much faster than anything you’ve dealt with. In fact, he’s designed to be faster than you can physically be, unless you’re right on your game. That means that if the God-King hits you with a combo, be prepared to be hit with all of it. Try to get your shield up if that happens to at least lessen the fallout. This is also the reason you’ll want your Heal spell — you’ll need it, repeatedly. The God-King starts at Level 50, and as you grow, he spikes even higher. Around your Level 15 or 20, the God-King will spike to 100. Once you reach around 35, he’ll jump to 150. The trick to beating him is to outlast him. Work on being good at dodging his attacks, because if you over-rely on the shield, he’ll break it and you’ll be out of luck. All the God-King’s attacks are things you’ve seen before, so use what you know to defeat him. TIP: Use your super-moves and magic almost as soon as they become available. You and the God-King will trade so many blows during the fight that these will recharge very fast. You’ll probably need the heal spells anyway, but if you think you can spare it, you can sometimes hurt him badly with high-ranking magic. Generally, though, the fight’s fairly elementary. The God-King battles you just like anyone else. The key is to be quick enough at reading him and avoiding him to win the battle, because you can heal and he can’t. ACHIEVEMENT: When you’ve taken out the first third of the God-King’s health, he’ll offer you the chance to join him. If you take it, you won’t advance to the next bloodline, but you will access an alternate ending and unlock the “Not in Kansas” Achievement. Afterward, you’ll be brought back to just before the God-King fight to do it all over again. The second portion of the fight has the God-King stepping up his game in anger. You’ll see him kicking more, and you should get more opportunities to throw a stab in. Keep dodging and healing, attacking when you can, to wear the God-King down. After you hack through another third of his health, you’ll really have him on the ropes. Try not to get flustered and keep doing what you’re doing. The God-King will throw in more complex moves — if you see him moving back, it means he’s about to pummel you with short slashes. Block them with your shield or use a super-move to break him out of the animation. Heal! Heal whenever you get a break and you need health. Don’t put it off because you will likely get caught in a combo and die. Whenever you can restore yourself to full health, you should do so. Tap all your skills and you may come out victorious, with a little luck. If not, you’ll get bounced back to the beginning, which just means you’ll come back stronger and better equipped. ACHIEVEMENT: If you manage to defeat the God-King, however, you get the “Now Stay Down!” Achievement.

The Witcher 2 Offers Permadeath Difficulty Posted: 17 Dec 2010 01:50 PM PST We’ve talked about some games that were the hardest of 2010, but next year, the champ may be The Witcher 2. In the upcoming RPG, you’ll have the option of playing on “Insane” difficulty. If you choose to do so, that means that once you die, you’ll have to restart the game from the beginning. In an interview with Eurogamer, CD Projekt lead gameplay designer Mateusz Kanik said of the new mode, You can save the game, but when you die the saves are disabled. Of course we plan to have a resurrection scroll, maybe DLC or something. You’ll see. He also said that the game won’t allow you to simply avoid confrontations. It won’t be easy to not fight the monsters. We fixed that by giving all opponents special abilities which allow them to catch the Witcher. Undead can dig into the ground and get up near the player. So when you run he will dig up in front of you and grab you. It will be harder to just run and avoid the fight. CD Projekt says they were inspired to create this mode by 2009′s cult hit Demon Souls, a game that their team greatly admired. When asked if there would be a reward for completing the game on this difficulty, CD Projekt said, “There will be an achievement for that, for sure.” From what we’ve seen, this is going to be a long, involved game. Beating it on “Insane” difficulty could be an enormous challenge. The achievement had better be well worth it.

Knights Contract Character Trailer Posted: 17 Dec 2010 01:42 PM PST Armed with a razor sharp scythe and explosive witchcraft, players will use these tools to return civility to the land. As players succeed in their journey, they can deal tremendous damage onto their tormentors or unleash a gruesome finisher by coordinating the efforts of Heinrich and Gretchen. However, players must also keep a close eye on Gretchen as her magical prowess and mortality is the key to the duo’s survival. You can download this video here or watch it below.

Crysis 2 Be The Weapon Trailer Posted: 17 Dec 2010 12:50 PM PST Beside the gorgeous visuals, what sets Crysis apart from other shooters is one piece of equipment: the Nanosuit. Besides granting you super strength, super speed and a ridiculous amount of armor, it can also allow you to go into a stealth mode that basically renders you invisible. Crytek is giving us a closer look at all the awesomeness contained in the new Nanosuit in Crysis 2 in this new trailer. Check it out below, or head on over and download it.

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