Playstation 2 Reviews Sa-Sm

Salt Lake 2002 does a fine job of conveying the pageantry and spirit of the Winter Olympic games, although the scale feels a lot smaller. Its opening ceremony showcases a huge flame platform being lit as snow and fireworks fill the sky. Throughout the competition you get all kinds of nifty camera angles of the crowds, production scaffoldings, and winter scenery. I love how the snowflakes really stand out against the lights at night. There are six events: downhill skiing, ski jumping, snowboarding, freestyle aerials, slalom skiing, and two-man bobsleigh. You may have noticed a complete lack of any skating events. It's a pretty glaring omission! The load screens display the controls for each upcoming event, so pay attention! The first event, Downhill skiing, is moderately fun as you glide over rolling hills with breathtaking views of mountains in the distance. Unfortunately, missing a single flag abruptly disqualifies you from the entire event - no second try! That's pretty unforgiving for the beginner skill level! It's bad enough my hopes and dreams were dashed, but then you get the commentators piling on: "This is an absolute disaster for this young man". As you can imagine, multiplayer didn't go over very well. Repeatedly seeing DNF (Did Not Finish) really demoralized my friends! One time I completed what appeared to be a perfect run and still didn't qualify! The next few events are a mess. The ski jump controls are confusing and the snowboarding has an unappealing "parallel slalom" format. Freestyle aerials is the one event with music, and the band sounds like an Offspring knock-off. Tricks are executed by pressing buttons sliding across the bottom of the screen, not unlike a musical game. In slalom you rapidly zig-zag between flags, and unlike the other events you can screw up as many times as you want; the game immediately places you back on track. The final event, two-man bobsleigh, provides an exciting first-person perspective as you careen through the icy tube. The uneven quality of events means you tend to end up with a gold medal or a DNF - there's no middle ground. The good news is, you can complete the entire Olympics in about 15 minutes. You can select your events and I like how records and players profiles are auto-saved. Salt Lake 2002 may have been a rush job. It doesn't look bad but its events could used a lot more fine-tuning. © Copyright 2018 The Video Game Critic.

Sega Classics Collection is a deceptive title. Instead of offering arcade hits from the 1980's you get their new 3D remakes - for better or worse. I suspect this is basically a hodgepodge of ill-fated Dreamcast projects. You can tell the games were developed by separate teams by their wildly dissimilar user interfaces. Ten games are included so let's begin with Alien Syndrome. This overhead maze shooter was inspired by the Alien films. Its dual-stick controls let you run and gun independently, making it a worthy upgrade to the original Alien Syndrome (Sega Master System, 1988). Unfortunately your firepower is seriously lacking, so turning a flamethrower on an acid-spitting alien is about as effective as throwing a hot dog on a grill. The next game, Columns, is an unlikely entry. Its gem-stacking puzzle gameplay doesn't really benefit from 3D. That said, the crystal clear visuals and classy orchestrated score do convey a zen-like experience that helped me achieve inner peace (about F-ing time). I was never a huge fan of the whimsical side shooter Fantasy Zone (Sega Master System, 1986) but dag - these graphics looks so sharp! Is this HD? I also like those new 3D bonus stages. Space Harrier is third-person shooter that also benefits from its visual overhaul. The scaling is now super smooth, allowing you to skillfully weave around obstacles as you zoom into the horizon. Monaco GP is a far cry from the first-person Genesis racer, employing an overhead view reminiscent of Auto Racing (Intellivision, 1979). The fact that you need to tap the shoulder buttons to make 45-degree turns is bizarre. Outrun is clearly the highlight of the disc. This arcade racer offers gorgeous scenery, toe-tapping music, and plays like a dream. Love it! Virtua Racing isn't much different than its Saturn counterpart except its framerate is smoother. Golden Axe is a major disappointment. This side-scrolling brawler offers semi-realistic scenery but also poor control and horrible collision detection. I couldn't play this mess for more than two minutes. Rounding out the package are throwaway titles Tant R and Bonanza Bros. I wish Sega had included the original games or at least some background material. As it stands, Sega Classics Collection is a curious hodgepodge, but if you don't mind sifting through the junk you're bound to find something you like. © Copyright 2017 The Video Game Critic.

Say what you will about Sega's recent track record, but in the 16-bit era, they were on fire. This disk truly shines with its collection of easy-to-play games from a simpler age. The graphics may be pixelated and the sound effects scratchy, but in a way, that just makes them more appealing. It's called old school charm. The Genesis emulation is the best I've seen, and only the most anal-retentive Sega aficionados will be able to detect any difference at all. I thought the Sonic "ring" sound effect was slightly off, but that's about it. For the first time, you can now save games in progress and high scores, and you get a degree of visual clarity not possible on the original Genesis console. I can't review all 28 games here, but I'll at least extend the courtesy of mentioning what titles are included (since most other reviews don't even bother). The collection is jam-packed with quality platformers, including Sonic the Hedgehog 1&2, Vectorman 1&2, Shinobi 3, Altered Beast, Shadow Dancer, Kid Chameleon, Decap Attack, and the underrated Ristar. The remarkable (but unforgiving) Comix Zone will blow your mind as you forge your way through the cells of an interactive comic book. The Golden Axe trilogy is included, but I found the third chapter (never before available in the US) to be a bit of a let down. The three Ecco the Dolphin games tend to be slow, but represent some of the most beautiful and thoughtfully designed games for the system. Another gem is Columns, with its addictive Tetris-style gameplay and relaxing organ music. RPG fans will appreciate the inclusion of Phantasy Stars 2-4 and Sword of Vermillion, especially since the batteries in the cartridge versions are probably long dead by now. The remaining titles have limited appeal, like the mediocre Alex Kid in the Enchanted Castle, the forgettable Flicky, the mildly-amusing Bonanza Bros., the tedious Gain Ground, the ill-advised 2D version of Virtua Fighter 2, and the shallow Super Thunder Blade with its antiquated scaling sprites. Bonuses include insightful interviews with the developers and arcade versions of Altered Beast, Future Spy, Tac-Scan, Zaxxon (!), and Zektor. All things considered, I am absolutely thrilled with this collection. No question about it, Sega Genesis Collection has enough material to keep a gamer busy for a very long time. Back in the day, I would have sold a kidney for this one. See my Sega Genesis section for individual reviews of many of these titles. © Copyright 2007 The Video Game Critic.

Not your usual gladiator hack-n-slash, Shadow of Rome is surprisingly ambitious, incorporating epic battles, stealth missions, chariot racing, and a storyline that nicely ties everything together. The main character is Agrippa, a former Roman soldier forced to become a gladiator to save his father, who's been wrongly accused of murdering Julius Caesar. Realistic in its portrayal of ancient Rome, the game uses real historical figures in a storyline that's both interesting and easy to follow. Despite the highbrow premise, the heart of the game is its brutal gladiator combat stages. Each features slightly different objectives, but all involve dismembering hordes of enemies and smashing them into bloody pulps. There are free-for-alls, team battles, trap filled arenas, fearsome animals, hostages to rescue, and forts to assault. The violence is unflinching, so much so that it's actually possible to beat a foe with his own severed arm! The awesome weapon selection includes swords, maces, bows, slings, spears, and morning stars. Some stages even contain catapults. The battles are pretty intense and a few caused me to work up a sweat. Shadow of Rome uses an innovative system to discourage the player from using the same attacks over and over. Demonstrating a wide variety of attacks fills your "excite meter". When fully charged, waving the crowd's attention causes them to toss out food and special weapons. The problem is, waving is done by pressing X and square simultaneously, and these are also your main two attack buttons. As a consequence, there were numerous times when I accidentally stopped and waved to the crowd with six barbarians bearing down on me (arghh!!). Another issue is the camera, adjustable with the right joystick. During battles you need to keep it in constant motion just to keep your main target in sight. In contrast to the bloody battles, quiet stealth missions slow down the tempo and help flesh out the storyline. These usually involve sneaking past guards, wearing disguises, and eavesdropping on conversations. Although thoughtfully designed, these stages feel contrived and after the first few I really got tired of them. Still, there are some genuinely heart-pounding moments, especially when you're incognito and questioned by guards. Shadow of Rome also includes chariot races, but unfortunately they don't appear until very late in the game (about 10 hours in!). That's a shame because they provide a nice change of pace. Graphically, Shadow of Rome's graphics are first-rate, with the most realistic faces and facial expressions I've ever seen in a video game. The well-crafted scenery features convincing stone textures and shiny marble floors. As a bonus, there's a mega-hottie named Claudia with a truly devastating figure (holy cow!). Shadow of Rome's dialogue quality is generally good, and a dramatic orchestrated soundtrack gives the game a cinematic quality. The skill level is fair and it never took me more than a few attempts to clear any stage. I wasn't a fan of the stealth stages, but I found the gory battles very satisfying. If you enjoy history and appreciate games with some variety, Shadow of Rome will not disappoint. © Copyright 2005 The Video Game Critic.

Being the jaded gamer that I am, few titles have a strong impact on me, but Shadow of the Colossus rocked my world. This epic adventure is one of the most ambitious and original titles I've played in years. The unofficial sequel to the critically acclaimed Ico (Sony 2001), Shadow puts you in the role of a young warrior, armed with a sword and bow, trying to take down a series of gargantuan rock creatures. Each stage begins with a brief journey to a titan's lair, and when the creature reveals itself, it's usually pretty dramatic. Some of these mythological behemoths tower well over 100 feet in height, and their massive scale is depicted very convincingly. When one of these giants looks down at you, it's actually quite alarming, and you're tempted to run. It doesn't take long to realize, however, that your miniscule size and considerable agility gives you a marked advantage over these slow, lumbering beasts. Each colossus requires a different approach to defeat, and determining the proper strategy for each one is half the battle. Although each titan is composed of stone, most have patches of "hair" which you can cling to and crawl around while searching for "weak points" to stab. Although you can simply climb up the leg of the first colossus, subsequent foes are not nearly that straightforward. Even when you do manage to latch onto a titan's body and begin climbing around, they will attempt to shake you off, and your "grip strength" will gradually diminish in the process. While Shadow of the Colossus boils down to a series of boss battles, locating each one requires a little bit of horse riding, exploration, and platform jumping. Each colossus is unique, and while some are more imposing than others, it's always interesting to see what form the next foe will take. The production values are top-shelf, with awe-inspiring landscapes, brilliant art direction, and lifelike animation that elevate the far-fetched premise to epic proportions. Visually the game is a work of art, and the musical score is one of the best I've heard in any video game. While Shadow is a landmark title in many regards, a few major flaws prevent it from living up to its potential. First, the camera system is a serious liability. The developers apparently couldn't decide whether to make the camera control automatic or manual, so they implemented an awkward, and often conflicting, combination of both. I swear I spent more time fighting with the camera than the monsters. Next, while the control scheme is well designed, its responsiveness is erratic to say the least. Simply trying to mount your horse requires considerable effort, and performing simple platform jumps can be needlessly difficult. I also encountered a nasty glitch that locked up my game. Still, in an age where every new title is either a sequel or derivation, Shadow of the Colossus stands tall as an original and unforgettable journey. © Copyright 2005 The Video Game Critic.

With so few new snowboarding games to choose from, I'm forced to go back in time (a la Michael J. Fox) to find new action on the slopes. In this case I went all the way back to 2001 for Shaun Palmer's Pro Snowboarder, and I have to admit I'm digging this. The game's wide, scenic runs encourage exploration yet are grounded in reality. The Tony Hawk-ish controls are forgiving, making it easy to grind, transition between tricks, and land on your feet. If you've played any snowboarding (or even skateboarding) games in the last ten years, you'll pick up on this immediately. The character selection includes a lot of big names, including a young, Opie-looking Shaun White. What's the deal with that goofy photo of Shaun Palmer? I really enjoyed the game's realistic courses (including Aspen and Lake Tahoe) with plenty of ski lifts, snow-covered cabins, fallen trees, and maintenance facilities. You can even shatter glass and slide right through the lodge. I love the digitized scenery that fills the distance, but it could be sharper. The attention to detail is nice, like the way your windbreaker flutters in the wind and sparks fly when you grind. The career mode presents you with a list of challenges that allow you to unlock new locations. Unfortunately, many objectives are ambiguous, and just unlocking the second course is a headache. One objective, "Bonk the gondola", isn't something I'd normally do, but if it means unlocking some of these awesome courses, count me in! I quickly became addicted to this game. The runs are short, so you keep hitting the retry option. As for performing tricks, you can go crazy with the buttons in mid-air, as long as you leave yourself a second to land with your board pointed forward (no points for wiping out). One cheap but effective technique is to land with a grind whenever possible, since it automatically repositions your body perfectly. The game lacks of breakneck sense of speed (due to its emphasis on tricks perhaps), but the two-player split-screen mode is surprisingly good. The abrasive soundtrack is typical of "extreme" games, but the "I hate everything" vibe can get a little old. Still, if you can deal with some obnoxious music and vaguely sexual objectives, you'll find Shaun Palmer's Pro Snowboarder to be quite habit-forming. © Copyright 2014 The Video Game Critic.

Silent Hill 3 kicks off with a stylish music video showing brief glimpses of hellish beasts and a teenage girl in distress. It's a nice preview, and the edgy music is so good that the soundtrack is actually included on a separate CD! It's a terrific bonus, loaded with depressing melodies and freaky, otherworldly beats. Silent Hill 3 plays much like previous Silent Hills, but this time you play a young girl whose trip to a shopping mall turns into a surreal nightmare. The empty shopping mall is creepy in a Dawn of the Dead sort of way, and the haunted amusement park is also fascinating. Other locations like the subway, sewers, and office building are less compelling but still eerie. The graphics look less grainy than Silent Hill 2, making it easy to see details in the scenery. As par for the series, there's not a clean toilet in sight. Like the previous chapters, most doors are locked, and thankfully the map marks them appropriately. Silent Hill 3's gameplay is quite stressful and frightening. Deformed creatures patrol dark hallways, although you can usually dash by them if you know where you're going. In terms of creature design, Konami went a little overboard this time. Most of these shambling freaks look like misshapen hunks of raw meat, although their ear-splitting screams do make them more frightening. The human models are nicely rendered with amazing lifelike faces. On the downside, the dialogue is uneven in quality and the voice acting often sounds stilted. But my main issue with Silent Hill 3 is the clumsy camera. Not only is it hard to see where you're heading, but it's often hard to keep the monsters you fight in view. A shoulder button lets you center the camera behind you, but the transition is slow and disorienting. Regardless, Silent Hill 3 is a great looking game that will keep you on the edge of your seat. © Copyright 2004 The Video Game Critic.

The original Silent Hill (Playstation, 2000) was a terrifying horror classic that spawned a series of compelling sequels. But as with movies, when a franchise runs low on ideas they fall back on a prequel. Silent Hill Origins rewinds the timeline of the series and harkens back to the feel of the original game. In fact, the opening hospital stage (with psychotic nurses) could have been lifted directly from the first game. Thankfully the action soon moves to more original locations including a theater, butcher shop, motel, and sprawling sanitarium. You can freely roam the streets of town which are shrouded with fog and crawling with freakish monsters. Origins creates an intense atmosphere using the same devices that made previous Silent Hills so unnerving. The graphics are so purposely grainy that I thought there was a problem with my TV! Limited (and sometimes disorienting) camera angles convey a sense of paranoia, and the bizarre creatures move in a jerky, unnatural manner. But the most potent aspect of the game is its audio. I don't know where they came up with these spine-chilling sound effects, but they are genuinely alarming. A selection of freaky new creatures includes giant frozen chickens, shadows with floating head harnesses, and puppets on strings. Yes, puppets are inherently creepy, but these are positively terrifying! You can move between alternate realities via mirrors, but both worlds are pretty dark and twisted. The combat is straightforward, but some of the puzzles are too hard - especially in the early stages. Sometimes a very simple action is required (like flushing a toilet) in order to progress. I also dislike how your character can't run very far without becoming winded and slowing down. It's absolutely critical to obtain a map for each new area, because while there are hundreds of doors, about 90 percent of them are locked! The handy map marks everything for you, and you can bring it up at the touch of a button. Better yet, you can hold an unlimited supply of items, which is good considering you'll need to haul drip stands, typewriters, toasters, and even file cabinets! I didn't find Silent Hill Origins quite as scary as some of the previous games, but that may be because the formula has become so familiar. Even so, this dark adventure is definitely a thrill and the price is right. © Copyright 2008 The Video Game Critic.

I don't know too many fans of the Silent Scope series, but my friend Scott and I are into them big time. The critics routinely trash these games, but I enjoy them because they're simple and fun. This third edition is really two games in one. In addition to Silent Scope 3, you also get Silent Scope EX, and both offer a unique set of stages. The gameplay appears to have been tweaked slightly since Silent Scope 2. For one thing, your scope seems to "follow" moving bad guys, making it easier to get a bead on them. Some encounters require you to use the shoulder buttons to get a 360 degree view of your surroundings (a la Panzer Dragoon). Silent Scope EX offers several "single shot" challenges (take out the terrorist holding the hostage at gunpoint), that feature a camera that follows the bullet to its target - pretty wild. I have to admit that the graphics are pretty mediocre, but the game moves so fast you'll barely notice. The stages are a mixed bag. Some shootout locations like loading docks and factories aren't very imaginative, but others like the cruise liner stage and the speedboat chase are very exciting. You can select the order in which you play the stages, and there are plenty of them to choose from. With constantly changing scenery and non-stop action, Silent Scope 3 will keep you on your toes. Some targets are close enough that you don't even need to use your scope, while others are so far away that you'll actually need to "lead" your shots. The bosses are tough to hit, often being inside an enclosed vehicle, and their weak spot is always their head. These battles can last a few minutes, but sometimes you'll get lucky and take them out with one shot! Like the previous Silent Scope games, there are sexy babes you can zoom in on, which lighten the mood while earning you bonuses. I just wish they were indicated on the screen, because even with the sound cue, I can never find them. If you're looking for something substantial with a lot of replay value, Silent Scope 3 isn't your best choice. But it you like arcade shooting action, give it a try. © Copyright 2003 The Video Game Critic.

Siren is one of those genuinely creepy horror experiences that will make the hairs stand up on the back of your neck. It's a lot like Silent Hill, only set in Japan. The dreary, murky stages tend to take place over rainy countrysides with sparse villages. Unsettling noises and a minimal soundtrack instill feelings of paranoia and isolation. I'd recommend playing Siren in the dark, preferably by candlelight. The character models are some of the best I've seen on the PS2. Their faces look photographic up close, expressing emotions very effectively. Cut-scenes are rendered with the grainy look of old movie footage, making them all the more mysterious. You play the role of various characters as you embark on third-person missions that typically involve solving a puzzle or escorting a young girl to safety. Patrolling the areas are short, gnarled ghouls wearing hoodies or big hats. Many are armed with guns, and some can snipe from a distance. Once they grab hold of you, death is imminent. A stealth approach works best, especially since you have the ability to "mind jack" creatures in the area, allowing you to see the world through their eyes. You do this by holding down the left trigger and aiming the thumbstick their direction. In theory you can wait for snipers to look the other way, but more often than not you can't even tell what the heck they're looking at. A creature's viewpoint is also flashed if you enter his view, and that's your cue to move and lay low. You can consult a map, but the fact that it doesn't indicate your position is just stupid. Avoiding confrontation is recommended because the combat aspect of this game is wretched. Swinging a weapon is clumsy, and the shotgun aiming mechanism is atrocious. After death you'll restart at a distant checkpoint - if you're lucky! The checkpoints seem extra far apart because it takes forever to get from point A to point B. After several deaths you'll be tempted to rush through the stage, leading to a vicious cycle of death and futility. Siren has enough atmosphere to cut with a knife, but I prefer my games to be a little more playable. © Copyright 2013 The Video Game Critic.

If you're in the mood for some wintry fun, Snow X Racing offers realistic and challenging snowmobile action. The courses are somewhat sparse but generally appealing with their snow-covered evergreens and quaint cabins nestled into the hills. The snow itself looks very real, appearing smooth and shiny in packed sections, yet soft and fluffy in deeper areas. The sun flares are another nice touch. Ski-Doo's physics modeling is exceptionally realistic - too realistic according to some of my friends. You have just the right degree of control over your snowmobile, and with practice you can execute controlled slides around sharp turns. The challenging career mode pits you against three CPU opponents, and these guys are out for blood, constantly trying to bump you off the course. During a crash it's fun to watch your character bounce around in the snow like a rag doll. The main problem with Snow X Racing is that it's sometimes hard to follow the tracks. Even when using the high viewing angle, certain sections tend to be very poorly marked, requiring a lot of trial and error to master each course. That's too bad, because the first-person view is rather exciting and immersive. Ski-Doo's career mode is fun for a while, but tends to wear out its welcome, especially since you can't adjust the number of laps. It's especially demoralizing when you finish a long race and miss first place by one-hundredth of a second (which happened to me, believe it or not). An impressive two-player split-screen mode is also available. Ski-Doo's audio isn't anything to write home about, and you'll want to turn off the grinding guitar music from the options menu. Snow X Racing is a not spectacular by any stretch, but this budget-priced title is good enough to satisfy your winter sports craving. © Copyright 2008 The Video Game Critic.

Despite being a 3D polygon shooter, one popular video game magazine had the nerve to refer to Skygunner as "old school". Apparently some reviewers think any game with simple objectives (ie: shoot stuff) must be some kind of throwback to the 16-bit days. Well, as it turns out, that reviewer didn't know what he was talking about. Skygunner combines elements of Star Wars Starfighter (PS2, Xbox) and Panzer Dragoon (Saturn, Xbox), and has an interesting retro-futuristic motif. You fly freely around each stage, targeting enemies and viewing the action from behind your plane. Most targets are squadrons of planes and large, cannon-equipped airships. To destroy the big boys, you'll need to make multiple runs to wear down their defenses. Your plane is equipped with machine guns and imaginative special weapons like the crowd-pleasing "fireworks missiles", life-draining "cross missiles", and guided "bat missiles". Like Panzer Dragoon, you can "lock-on" to multiple enemies at a time before unleashing your missiles. The explosion effects are terrific, but the visuals are subject to slowdown and even pixelation. When your plane is gunned down, a nifty "recovery" meter allows you to pound buttons to regain control before you crash. Skygunner has a few major issues, mainly involving its unwieldy controls and hypersensitive aiming. The "easy" control mode isn't too bad, but I really had to wrestle with the "normal" controls, and I never felt comfortable with them. Missiles are tricky to lock-on due to the squirrelly crosshairs, and you often can't even see your missiles being fired and the subsequent damage. Skygunner is also bogged down with an excessive amount of exposition in the form of verbose anime cut-scenes. While these are certainly done with style and artistic integrity, I just wanted to get on with the game already! Likewise your heads-up-display is loaded with elaborate gauges that look great but are confusing to read. On the bright side, Skygunner's clean, crisp, graphics are refreshing, with inviting blue skies and scenic towns below. The orchestrated musical score is majestic, and the voice dialogue may be set to either English or Japanese. I had high hopes for Skygunner, but despite all the fancy window dressing, I found its gameplay to be less than engaging. © Copyright 2004 The Video Game Critic.

The original Sled Storm (Playstation, 1999) was a real winner with its undisturbed natural environments and wild four-player split-screen action. Sled Storm for the PS2 offers a very different brand of snowmobile racing. This one was developed by the same people who brought you SSX (EA Big), and it shows. This new Sled Storm tosses realism out the window in favor of big air, topsy-turvy tracks, and colorful spectacle. Most courses wind through icy caverns that resemble snow-covered amusement parks! The trails are not particularly well marked as you careen through tunnels, around banked curves, and over strategically-placed ramps. You can perform tricks for points using the trigger buttons - just be sure to complete your move before you hit the ground. I like how you're free to explore blocked-off areas - at your own risk, of course. Sometimes you can take the unmarked high road, only to drop back onto the main track ahead of your opponents. The sense of speed is good, and when trailing others the visual effect of having snow kicked up into your face is convincing. The courses are clearly designed to be over-the-top, but I found the scenery more confusing than entertaining. Another problem is the ridiculous "rubber-band" AI. The races are pretty long, but no matter how well (or poorly) you perform, it always comes down to that final stretch to determine the winner. That's because CPU riders tend to bunch up, making it easy to go from last-to-first and vice versa. Sled Storm's audio is pretty weak with its blaring techno tunes and annoying voice samples ("life is good!") The time trial and championship modes provide ample replay value, and the split-screen mode comes in handy for when a friend drops by. Sled Storm is a little artificial for my taste, but if you're up for some winter racing fun, it serves its purpose. © Copyright 2011 The Video Game Critic.

Sly Cooper reminds me of a cell-shaded Crash Bandicoot with its smooth animation, lush graphics, and pinpoint control. You play a raccoon who's a professional thief out to collect the stolen pages of an old family book, the Thievius Raccoonus. As you might guess, you'll spend most of the time in "stealth mode", sneaking past guards and searchlights, trying not to trip alarms. It might not sound very original, but Sly has a few tricks up his sleeve. For one thing, he can climb along ropes or pipes, and it's especially fun to crawl just over the heads of unsuspecting guards on patrol. Sly also brandishes a hook that can be used to hang from things or slam doors closed. The game offers a fine degree of control, which is necessary because you'll need to walk some tight ledges and jump between small platforms. A user-friendly control scheme allows you to simply hold down "O" to engage in most stealth actions. The worlds are separated into short stages where you try to collect all of the bottled "clues" before reaching the key at the end. The shadowy scenery has character, but there isn't anything here you haven't seen in other games. There are a few "vehicle" stages thrown in to spice things up, but I wasn't too impressed with these. Sly Cooper is a good game for gamers who like their platform games slow and deliberate. You can't question the quality of the game - the levels are thoughtfully designed and the production values are sky high. I found the detective music to be outstanding and quite appropriate. A turtle "nerd" guides you on your quest, and his verbose dialogue is very funny. The difficulty ramps gradually, and only once or twice did I find myself asking "what do I do now?" Overall, I didn't find Sly Cooper to be overly exciting or addictive, but there's not much to criticize about it. © Copyright 2004 The Video Game Critic.

The first Smuggler's Run game, released at the PS2 launch (November 2000), was a surprise hit thanks to its straightforward gameplay and exciting two-player action. Unfortunately, Smuggler's Run 2 (SR2) feels like a step in the wrong direction. Like its predecessor, you blaze through wide-open wilderness settings in an off-road vehicle while attempting to snatch and deliver cargo. Pick-up and drop-off points are marked by rising, colored smoke that's visible from a far distance. A host of competitors have the same mission, and they can steal your loot by colliding with you. The two-player split screen mode was the best part of the original game, so I was pretty excited to see how it had been improved. Unfortunately, I was in for a series of disappointments. First of all, only ONE lousy vehicle is available at first, and there's really no excuse for that. Next, while setting up the game I realized that all the vehicles involved HAD to be assigned to one of two teams. Yes, this even includes the CPU-controlled cars! In other words, you can forget about the every-man-for-himself action that made the first game such a blast. What a shame! When the action finally got underway, all the vehicles inexplicably kept getting blown into the air by hidden land mines! Ugh! It's as if Rockstar had set out to suck every last ounce of fun out of a once-great franchise. There are other issues as well. The repetitive, irritating "music" is the WORST I've ever had to endure in a video game. And much like the first Smuggler's Run, you'll be spending a lot of time staring at loading screens. In fairness, SR2 does have a few things going for it. You have a wide selection of expansive environments to choose from, despite the fact that most tend to be pretty ugly. The vehicles are faster and there are higher cliffs to plunge over. Nevertheless, this sequel doesn't come close to capturing the raw thrills of the first game, and the lack of a four-player mode is also unforgivable. The one-player mode is okay, but the missions all start to feel the same after a while. If you've never played Smuggler's Run, I'd highly recommend the original game, but steer clear of this uninspired sequel. © Copyright 2004 The Video Game Critic.