Review: Call of Duty: Black Ops


The Bottom Line

We’ve left World War II behind, but we’re still a long way from what you might have come to expect from Modern Warfare.

Unfocused Ramblings

It wasn’t a love of Wold War II or shooters or tactical game-play or basically anything else that forced me to indulge in the Call of Duty franchise. It was the multi-player, and the necessity of playing with friends that initially sucked me in. Much like Halo, it seemed like I was on the outside looking in if I refused to play whatever the latest “hot” shooter was. As a person who is primarily interested in partaking of these games with friends, the particulars from shooter to shooter often don’t matter. I imagine there’s more than a few people reading this review who feel the same way.

Well, if the particulars of your shooter aren’t as important as playing the latest title with your friends then fear not; Call of Duty: Black Ops is a shooter. It’s more or less what you’ve come to expect, and your friends are going to play it anyway.

If you’re curious as to whether you’ll truly love this shooter, however, feel free to read on. It presents a significantly different experience than you are used to from Call of Duty: Modern Warfare 2. Some people are going to love the changes presented by Call of Duty: Black Ops, and some people are going to hate it. I earnestly suspect that few people will feel lukewarm about it.

The big differences? Well, Black Ops does its best to eliminate the practice of “quick scoping”, and reduces both the power and accessibility of kill streak rewards. Combined with faster access to the best weapons, and Black Ops basically wants its players to have the best of everything quicker, more easily, and to less ultimate effect than its predecessor. If you enjoyed the advantage of quick-scoping with your sniper rifle, or the fact that some of the strongest weapons were not available from the start, then you may have trouble adjusting to the new environment in Black Ops. Your sniper rifles aren’t going to be as strong, and your run-and-gun types are going to fare better. Submachineguns are going to be stronger than ever.

Interested yet? If so, buy the game, play with your friends, and love the fact that your franchise is going to churn out a game every year. Not everyone has that luxury!

The Big Question

Tell me how often we can re-play the same shooter before we get bored. I, personally, am tired of Halo. Is this inevitable for Call of Duty as well? The weapons are different, and the feel is earnestly different from Modern Warfare 2, but these games share so many themes that it’s inevitable that we ultimately tap this resource out. How do we proceed from here, and in what direction? Do the players prefer the Modern Wafare feel where the killstreaks actually diminish player importance (even as they make you feel like a badass) and low-profile sniping wins the day? Or do people prefer running and gunning with aging machine guns, destroying a host of foes on the move, while killstreak rewards, while powerful, are not always going to be game-changers?

Overall Game-Play: 8.5

Well, the control scheme for shooters has been established. We know that we have to learn what guns we’re best with, and what strategies counter dangerous weapons well. In other words, the formula for shooter controls is well-defined, and it’s not particularly wise to branch out. Maybe we differ on what button B and button X should control, but I think we’re going to agree on the function of the sticks.

Call of Duty: Black Ops is eminently predictable in terms of its control scheme, and you’ll have to work hard to convince me that’s a con. Why deviate from a scheme that has produced so many hours of pleasure?

Story 6.5

You won’t be astonished by the single-player campaign. Of course there are twists and turns in the story. Of course, it’s competently told. But if you’re looking for innovation in level design or game-play, then you are definitely looking in the wrong place. The game-play is tight, and the story is fine, but I can’t necessarily recommend Black Ops if you’re not intending to partake of the multiplayer modes.

The single player campaign follows the adventures of Alex Mason, a CIA Black Ops guy from the 1960s, and begins in no place other than Soviet-allied Cuba during the Bay of Pigs invasion. From there, you’ll battle through the typical assortment of urban and exotic environments while battling with a variety of (mostly) similar opponents. The game does throw a few curve balls in terms of the enemy selection, which is nice, but I doubt that you’ll be blown away by the foes you’re battling.

The story hook is, to my mind, significantly better than for some of the previous installments of Call of Duty, and it does use at least one significant character from World at War whom fans will remember. I have already heard rumblings that the game plays more like a rail shooter than a truly interactive experience. If you’re looking for an open-ended style of gameplay, then games like Far Cry 2 or Mass Effect (or even Battlefield: Bad Company) may suit you better. Call of Duty is a basically linear game where you’ll spend most of your time on foot or in vehicles following the lead of other characters, shooting a number of baddies before moving up to the next checkpoint. The major differences come in the fine details of these sequences, including the weapons at your disposal.

Graphics 8.0

The graphics are smooth and fluid, and the loading times extremely bearable. In a game that is perennially most anticipated for its multi-player mode, there’s not much else to ask. I compliment the level design in both the single and multi-player modes. Still, fans of the series (and, particularly,  Modern Wafare 2) are unlikely to be blown away by the graphics. They show the expected improvement on the same platform (in this case, the tangible differences are few), and not much in the way of unexpected innovation.

Sound 5.0

The score is as forgettable as the previous title in the series. But that’s not why the sound receives such an underwhelming score. The voice acting leaves much to be desired. Predictably, the lines are well-acted, and the accents are convincing, but whether by design or no, the game features far too few lines to comment on game-play. This is most notable in multi-player modes, where the game’s announcer fails to reveal critical information about game objectives anytime that it is even slightly inconvenient to do so. I can assure the developers at Treyarch that every single player in multiplayer modes would prefer to hear repetitive lines every few seconds if it meant an auditory acknowledgment that game objectives were in jeopardy. Considering that the voice actors obviously have lines recorded for any game-play situation, it seems like a debilitating oversight to simply [i]fail[/i] to play acknowledgments in key situations.

Multiplayer 9.0

Well, the game is built to be a multi-player juggernaut. From this vantage point, there’s not much to complain about. Did the match-making initially suffer serious problems? Yes. Could the game use a few more maps; particularly those geared toward one objective type or another? Absolutely. But we’re a few patches in by now, and most of the technical bugs in the match-making system seem to have been resolved. Still, since multi-player is one of the biggest points of contention on this title, let’s break things down, shall we?

Pros?

– The level design is tight and features few discernible bugs or exploits. Although we always hunger for more maps, the ones the game ships with provide a reasonable variety of terrain and encounter types.

– A new multiplayer feature, Contracts, provide yet another way to show your skills without interfering with level, prestige, or challenges. Completing contracts affords the player more in-game cash to spend on the latest equipment as well as aesthetics like emblems.

– Treyarch seems relatively responsive to potentially destructive multi-player issues so far.

– The kill-streaks, although noticeably less game-changing than in Modern Warfare 2, still manage to feel powerful and useful to the player.

– The performance of most kill-streak rewards shows some improvements. The attack helicopter is noticeably more lethal than before, the napalm strike provides an interesting and mostly-reliable option for map control, and the SR-71 (the natural evolution of the Spy Plane / UAV) is one of the most powerful kill-streak rewards we’ve seen yet, even if it lacks flash.

– Although the kill-streaks are powerful – and period specific – they lack the raw potency of the Modern Warfare 2 equivalents. There is no equivalent to the Tactical Nuke in Black Ops. In the main, I feel this is a positive step for the franchise. I always felt that the overwhelming power of the Modern Warfare 2 kill-streaks encouraged boosting and camping to a degree that diminished my enjoyment of the game. If you loved those aspects of Modern Warfare 2, then you will likely be unhappy with the high-end killstreaks available in Black Ops.

– The customisable emblems provide an endless opportunity to express yourself. This can sometimes be a con as well. 🙂

Cons?

Long-range combat is, for the most part, a thing of the past. The weapons, perks, styles, and maps all lend themselves toward a closer range of combat as compared to the Modern Warfare games.

Although the kill-streaks remain powerful, they definitely lack the allure and “badass quotient” of the kill-streak rewards available in Modern Warfare 2.

– While some players will relish the closer and more intimate combat, the game lacks quick-scoping and long-range weapons that define the modern firearm age.

– Despite some improvements, the multiplayer spawn system is still unacceptably flawed. Some of the spawn locations (particularly in objective-based games) are poorly chosen, and the spawn timing will sometimes have enemies spawning right behind you with no rhyme or reason.

– As mentioned before, the in-game announcer is mailing it in this time around. You should pay careful attention to the situation, because you can’t always rely on the audio to warn you about game developments.

Halo: Reach Finale


As Lisa marie correctly guessed I have been quite busy with some other  things to continue my level of blog posting these past couple weeks. This has been due to my heavy immersion in something called Halo: Reach. This game is the prequel to the mega-successful and extremely popular Xbox first-person shooter franchise which first came out in 2001. I’ve been with the franchise right from Day One and this latest game pulls me back into the franchise like all its predecessors before it.

Microsoft and Bungie (developers of the franchise) have always been in the forefront when it comes to promoting their latest Halo offering with some of the best tv spots and commercials. This particular one I’ve highlighted and chosen to post just for the fact that it thanks the 100,000-plus or so players who have finished the campaign part of the game and thus seen the aftermath of the game’s protagonist, Noble Six and the rest of his comrades in Noble Team.

The video may not show it but I am one of those hundred of thousands points light. 🙂

Halo: Reach Trailer E3 2010


E3 2010 is just a day away from starting but that doesn’t stop all the announcements from being made by all the gaming companies. These pre-E3 press conferences are usually the highlight of the Expo for those who cannot attend. Pretty much all the biggest news in gaming are done during these press conferences while the official E3 days are left for people able to attend to try out the games announced. One of these games happens to be Bungie Studios very final Halo game for Microsoft before 343 Studios takes over. The game is Halo: Reach and it looks to be Bungie Studios best offering to date.

The game just recently completed a massive multiplayer beta where millions participated and checked out the beta build of the game’s multiplayer. From how people have reacted to the multiplayer it looks to be mostly positive with Bungie building on the past mulitplayer success of previous Halo titles. This time around Bungie has finally shown what the single-player and co-op campaign looks like. The trailer above shows the game to be squad-based with different types of Spartans outfitted with varying weapon and armor types depending on their roles.

While this squad-based gameplay is not new to the shooter genre what looks to be very new is the fact that space combat looks to be part of the gameplay. SPACE COMBAT!

The space combat scenes showed in the trailer is part of the campaign, but Bungie and Microsoft hasn’t officially said that it won’t be part of the multiplayer. Multiplayer space combat would definitely make this game a fitting send-off for one of the bright stars in the Xbox franchise’s alpha franchise.

Halo Reach: Live-Action Trailer “Birth of a Spartan”


Gamers of the past 5 years pretty much have seen gaming publishers go all-out to advertise their AAA titles to the public whether one was a gamer or not. The first to do so was Microsoft and Bungie Studios to help market the third game in their very popular and blockbuster-selling first-person shooter franchise, Halo. It was in marketing Halo 3 where we see live-action short films that helps build the hype and buzz for the game. Halo 3 was going to sell millions whether these short films turned commercials were made or not, but the fact that they were and the gaming community love them shows that the gaming industry was starting to think of itself as akin to the film industry. These were literally live-action trailers for games.

Three of the Halo 3 live-action trailers were directed by a young South African bloke who calls himself Neill Blomkamp. Halo 3: ODST came out with a couple of live-action trailers with one lasting a whopping 2.5 minutes long. This particular trailer had a Saving Private Ryan vibe to it and was actually critically-acclaimed in the advertising and marketing industry. Now, we have the final Halo title from Bungie Studios and the first live-action trailer has popped up. This is not even the trailer for the full-game out later this fall, but a trailer for the multiplayer beta which will begin in May 2010. This live-action trailer is titled “Birth of a Spartan” and shows a glimpse at how the Spartans (super-soldiers in the Halo universe are created).

The trailer looks great. It has a very futuristic clean look to it and even brings to mind military sci-fi influences. With the game still months from seeing it’s initial release I hope they continue to make these live-action trailers. These really are some of the best game trailers out there. Below are some of the previous live-action trailers that had been made for the other titles in the franchise.

Halo Reach Multiplayer Trailer


May 3, 2010 marks the day of Bungie’s Halo Reach multiplayer beta. This game marks the final Halo title from the guys at Bungie for the forseeable future. It looks like they plan to go out with quite the bang. The game reaches back to the time before the first game when Spartans were not down to one.

The multiplayer trailer shows the tried-and-true Halo multiplayer action fans of the series have come to know and love, but it also seem to have had some changes to it. There now seems to be more players allowed to play against each other with vehicles and large-scale fights looking to become a huge aspect of multiplayer. I particularly liked the one labeled INVASION.

With Infinity Ward’s Modern Warfare 2 dominating console multiplayer FPS action this upcoming release from Bungie may just be something to take back the FPS multiplayer crown back to the Halo camp. If the multiplayer comes out in final release relatively bug and glitch-free then I wouldn’t be surprised if it does become the top multiplayer game on Xbox LIVE once again.

HD Trailer: Halo Reach Multiplayer Trailer HD

Review: District 9 (directed by Neill Blomkamp)


It is a rare feat that an unknown filmmaker is first introduced to the public to take control of the reins to major motion picture with legions of fans. Fans who have both high expectations and also equally high trepidation about hwo their favorite intellectual property will be handled and adapted to the big-screen. The year was 2007 and Peter Jackson (who had been given producing duties by Microsoft, Fox and Universal Pictures) announced to the world that he had selected a young South African filmmaker by the name of Neill Blomkamp to direct the film adaptation of Microsoft’s hugely popular sci-fi action shooter, Halo. The reaction to this news was bewilderment, grumblings and major headscratching from fans and studio executives alike.

Who was Neill Blomkamp and what has he done of note to be given the reins to one of the largest and most popular video game franchises?

Peter Jackson definitely saw something in this young South African. While fans of the Halo game wanted Jackson himself to direct the film he decided to let this unknown take the job. To give a glimpse of what he was capable of and to prove to both fans and executives that he was the right man for the job, Blomkamp filmed three short films depicting live-action scenes of Halo to be released as part of the Halo 3 media ad-campaign blitz for its 2007 release. All three short films were dynamic and had a grittiness to it which definitely showed the young man had talent, but in the end it wasn’t enough to save the Halo film from being declared postponed then cancelled. Studio executives from both Fox and Universal (both had licensed the rights to release the Halo film for domestic and international release. They were also to help put up the $150million stated budget) wanted a higher percentage of gross profits from the film. Microsoft who was putting up a large share of the budget refused and studio politicking literally ended the film while pre-production by Blomkamp, Jackson and his WETA team were five months in.

What had become a major blow to the beginning of Blomkamp’s filmmaking career might be the very thing which puts him on the map as one of the brightest and most inventive filmmakers of his generation. With $30million dollars of his own money, Peter Jackson gave Blomkamp a second chance to make another sci-fi actioner, but this time do so independently and away from the control and interference of major studios from Hollywood. The film Neill Blomkamp ended up making after the cancellation of his Halo might just turn out to be the best film of the summer of 2009 and one of the best of the year. The film is District 9.

Born and raised in South Africa, Blomkamp’s experience growing up in the final throes of apartheid and the societal chaos which succeeded the end of minority white rule could be seen in the basic foundations of District 9‘s story (screenplay co-written by Neill Blomkamp and Terri Tatchell). It is a story detailing an alternate historical event in world history when in the late 1980’s a massive alien spacecraft suddenly appears over Johannesburg, South Africa. This momentous event in human history soon turns into a worldwide “humanitarian” undertaking people soon discovered that the aliens who inhabited this spacecraft (numbering over a million) were not the all-conquering or benevolent beings as shown by Hollywood, but malnourish, sickly and aimless beings who appeared to be bipedal, barely humanoid looking crustaceans. Derogatively called “prawns” by the inhabitants of Johannesburg, these aliens spend the next 20 years of their existence on Earth housed in a heavily-policed and walled shanty tow and slum area in the city named District 9.

It is in this District 9 where most of the action of the film takes place as a plan by the government and it’s hired private corporation of Multi-National United to relocate these aliens to a more remote camp of District 10. A camp 200 kilometers away from the population center of the nation’s capital to the relief and delight of the population. In charge of this relocation program is one Wikus van der Merwe. A middling middle-manager within MNU who may have gotten this particular job for no reason other than being the husband to the daughter of MNU’s chief executive. Wikus van der Merwe appears in the early going of the film like a cross between Lumbergh of Office Space and Michael Scott of The Office. Wikus seems to relish and delight in his new-found authority leading MNU bureaucrats and their company private security teams in forcibly removing the aliens from their shanties. Wikus’ racist attitude towards the aliens is quite evident as he uses the derogatory name for the aliens (prawns) every chance he gets. It is during the inspection of a secret lab in one of the shanties where the film deftly switches from the first third of the film as a scifi allegorical study of South Africa’s (and most likely the world as a whole) racist apartheid past and into a Fugitive-like chase film which make’s up the middle third.

To say that what Wikus finds in the alien makeshift laboratory makes a profound impact on him is quite an understatement. Blomkamp shows not just Jackson’s influence as a director of horror, but also has quite a handle on the Cronenbergian aspects of the storyline. Blomkamp shows rather than tell through long-winded expositions what is happening to Wikus that suddenly made him the most wanted man in South Africa, if not the whole entirety of the planet. Wikus’ starts the final third of the film literally transforming from the nebbish and weasly character from the beginning into something of a reluctant hero, albeit for his own self-interest.

It is the final 20-30 minutes of the film where those audiences still on the fence about District 9 will probably end up finally getting hooked with the rest of the audience. Blomkamp has shown in the first two third of the film that he knows how to handle social commentary in a scifi story without being too heavy-handed and preachy. He’s also shown a knack for keeping a constant pace and adding to the tension which finally explodes in the last half hour of the film. It’s the pay off that action-flick fans had been waiting for and they won’t go away disappointed. Alien weaponry are finally put into play and we see just how effective they can be when used on humans. Bodies are literally blasted apart whether by lighting blasts or from high-powered rapid-fire guns.

Not lost from all the social and allegorical commentaries within the story and the rolelrcoaster ride of a finale is the fact that Neill Blomkamp has deft eye for creating a believable alternate reality for this film to inhabit. With the help of his cinematographer Trent Opaloch and a battery of Red One digital cameras, Blomkamp settles for a gritty and grainy look for the film. This gives the production a very documentary-like feel. They’ve also used to great effect the so-called “shaky-cam” technique to simulate a cinema verite look for the more chaotic scenes in the film. It is not a new way to film as films like Blair Witch Project, Cloverfield plus the Bourne Trilogy. What this film was able to do which those films failed to some extent was to allow the shaky-cam effect not to distract too much. This is shaky-cam as if being handled by a professional combat filmmaker taking in a battlezone as it happens. While the first half of the film relies mostly on patched together scenes from news reports, official MNU company videos and video interviews of select individuals, the second half moves away from this mockumentary-style and into a more traditional narrative technique. It is easy to nitpick this change in techniques after the fact but Blomkamp’s chief editor in Julian Clarke makes it possible for a near-seamless transition from one film-style to the next without skipping a beat.

The peformances from a literal cast of unknowns (at least to Hollywood and those outside of South Africa) could easily have been the main weakpoint in District 9 but it turns out to not be the cast. Headed by first time lead actor, Sharlto Copley as Wikus, the film’s cast does a very good job of lending an air of realism and credibility to a fantastical story. Their performanaces are mostly understated except for the role of MNU security-team leader Koobus Venter as played by David James. While James played the role in its early stages as the usual no-nonsense military veteran the character soon turns into a major villain to hound Wikus in his flight. While this transformation wouldn’t be such a bad thing the overreaching and over-the-top performance by James turned Koobus into a caricature of a villain. One almost expected the man to cackle (at times he almost did) and bellow out the classic evil laugh. In the end, Copley’s performance as Wikus was the highlight of the film’s cast performance. In the beginning it is quite easy to detest this bookish and sycophantic functionary, but as we follow him throughout the film we see his transformation into something of a coward who must turn into a reluctant hero to serve his needs. Finally, we see him make a sacrifice which redeems him in the eyes of the audience.

It is not often that a film comes along which makes a major impact on a genre, especially from a filmmaker making his debut feature film. While not a huge blockbuster in terms of budget District 9 manages to outdo the usual tentpole event films from the major studios this summer. Budget constraints doesn’t keep the film from becoming a sweeping epic not seen since another low-to-midbudget R-rated scifi actioner that went by the title of Robocop. Like that film from the late 80’s, Blomkamp’s film manages to find a balance between saying something about his home country’s past racial and societal problems, but also give the scifi genre a frenetic, action-packed, kick-ass of an action film that doesn’t turn out to be silly, contrived or stale. Not everyone will enjoy this film as the best ever or even as the best of recent years, but it is hard to argue or dismiss the fact that District 9 is film which refuses to be pigeonholed into a particular type of film. It’s a message film and a scifi film. It’s also a film of body horror and a study of the human condition both its darker and better natures.

District 9 is a film that lived up to the hype surrounding it and surpassed expectations. This film also makes a star out of first-time director Neill Blomkamp. He will certainly be flooded by offers from the very major studios who doubted him during his aborted attempt to turn a major pop culture franchise into a film. It also validates the notion that a summer blockbuster doesn’t have to be dumbed down or stripped of its thrills to have both. Or that it has to have a budget in the hundreds of millions to make it look like one. A near-perfect film and one that should be the driving influence for the scifi genre for years to come.