Prototype 2 Release Date April, 24 2012

Prototype 2 continues the shape-shifting, open-world action franchise, this time focusing on Sgt. James Heller and his mission to destroy Prototype's original anti-hero, Alex Mercer.

Dragonball Z For Kinect Release Date October 2012

Dragon Ball Z is an anime that isn’t for everyone, however thanks to it’s big muscly men, crazy hairstyles, and absolutely epic fights, it’s appeal to the mainstream is slightly bigger than that of other series.
Namco Bandai are now attempting to bridge that divide between the average gamer and a DBZ fan with a Kinect infused entry into the series.
We’ll be honest, whilst Budokai Tenkaichi 2 for the Wii was by far our favourite entry out of the lot, the prospect of gesturing out a Kamehameha, Spirit Bomb or even a Special Beam Cannon is extremely titillating.
Below are the first screens of the upcoming Kinect game, giving you an idea of what gestures and interface you can expect from the title.

Halo 4 Release Date November, 6 2012

                                         

Resident Evil: Raccoon City Review

ORC puts players behind the scenes of Resident Evil 2 and 3, particularly that disastrous outbreak in Raccoon City. You play as a member of the Umbrella Security Service, retrieving virus samples and destroying all evidence of Umbrella's involvement in the catastrophe. It's a brilliant concept, one that could have made for an extremely badass story and shed light on these well-known Resident Evil events. Unfortunately, all of this potential is squandered by some strange choices and truly terrible execution.

The AI of team members and enemies is simply atrocious. While it's preferable to play with friends, I was still stunned by how useless the computer-controlled teammates were. Not only are you unable to control their actions in any way, but their every move is unreasonable and downright idiotic. From running into empty rooms you've already cleared to constantly walking into obvious trip mines to finding surprising and frustrating ways to get themselves killed, your team offers no real backup or assistance, and there's very little incentive to even revive them when they fall. For a team-based shooter, this is absolutely unacceptable.

The enemy AI is no better. There were literally countless times where a Hunter would jump in front of me, wave its arms, then dash away or jump off the edge of something for seemingly no reason. When you have to chase down a Hunter and practically beg it to attack you, you know something's not quite right. And while dumb zombies are at least understandable if not preferable, the fact that BOWs and even human foes act like they have no blood flow to the brain just makes no sense.

As if that weren't enough, the aiming is downright spotty – blindfiring, at times, is completely broken and enemy damage is somewhat random. Sometimes you can unload an entire clip into a Licker's face and it won't flinch, other times a couple of bullets do the trick. The melee attack is also way overpowered. Sure, it's a fine mechanic for a normal shooter, but not for one set in the RE universe, where your knife is supposed to be a last resort to temporarily postpone death until you find more ammo. In ORC, you can practically hack and slash your way through parts of the game, killing that trademark RE suspense.

The game also implements an auto-cover mechanic, whereby you stick to any wall you go near. It's beyond annoying when you venture over to pick up an herb and end up sticking to the wall. In fact, it's downright frustrating and almost never actually useful. Having auto-cover in a cover-based shooter, especially one that's supposed to be tactical, makes no sense. Perhaps it could have been implemented in a way that was clever and useful - but it's not. It's just not.

Silent Hill HD Collection Review

Time has, as it often does, eroded important parts of the original foundations. Unclear objectives and out-there puzzles frequently left me at a complete loss. I wandered through empty hallways holding items with no apparent purpose for a long time before falling back on decade-old guides.

This is the nature of returning to old design. Age can be ugly. Imprecise melee combat leads to more flight than fight, for better or worse. Unwieldy control schemes don't cooperate with the camera, whose cinematic presentation means to give you an interesting perspective of each room. This often limits your view, which is a double-edged sword. On one hand, the camera makes navigation, combat, and escape difficult. On the other, it's a classic scare tactic that has an incredible effect in tight, too-dark spaces. Hearing something you can't see may lead to mistakes born out of panic.

Jump-scares are completely manufactured by players. Atmosphere, aesthetic, and haunting themes dictate the real horror of Silent Hill, a series that wants you to whimper rather than scream. It's worth enduring minor inconveniences for the otherwise incredible whole.

Gears of war 3 Review

At the former, Gears 3 ultimately succeeds, especially in its rich suite of multiplayer content. Even the singleplayer campaign somehow manages to feel fresh despite rather conservative changes and a palpable sense of deja-vu coloring the majority of the campaign. As for the latter? Shakespeare this ain't, and Gears 3 struggles at times with its forced attempts at heart-string pluckery, but I can forgive it as much; gore-starved guns adorned with toothy chainsaws easily atone for any cheesiness suffered along the way.

Destroyed beauty, hope runs deep, brothers; to the end. Part poetry, mostly marketing slang, the Gears 3 story continues with what amounts to a blood-drenched tale of woe, suffering, loss and absolution, cathartica that stands out in harsh relief when framed by the '80s era Schwarzenegger-ness of most of the dialogue. Cue the attendant grimaces, bro-vado and non-stop X-TREME one-liners. Translation: Gears 3 delivers exactly what you'd expect on the story side, ironically good news for longtime fans. For the rest of you, roll your eyes, chuckle and carry on. It's not Gears of War and Peace, people!

Things on Sera have gone from really sucky to really-really-sucky in Gears 3. The Coalition of Ordered Government, aka COG, has all but disbanded and fallen even farther out of favor with Stranded and survivors alike, if that were even possible. The action follows Marcus Fenix and Delta Squad's last stand against the Locust and every garden variety of Lambent, creatures that have become infected by Sera's yellow glowing Imulsion fuel.

Drama aplenty ensues, along with lots of surprises for all your favorite giant macho dudes. Dom sports a scruffy playoff beard and overalls, Cole faces a serious mid-life crisis, bad guys spurt out from the ground like Locust geysers (gone are the Emergence Holes, replaced by the aforementioned geyser action and troop-spewing stalks), there are more Carmines and wouldn't you know it, Marcus' dad is alive. WTF, Epic?

Everything about Gears 3 exudes polish. On the surface, it easily outperforms its two predecessors. Crisp visuals, fractured lighting and billowy smoke effects bring the world to life, giving this final and ever-decaying vision of Sera a tangible sense of place. The sound design creates one of the more cohesive combinations of music and sound effects in any game, fashioning an immediately recognizable experience.

At its heart, Gears tells a story of survival. Everything you do over the course of the five-act story revolves around endurance. You'll go from escaping ambushes to scrounging for supplies to scavenging fuel to using ammo-less Retro Lancers in nasty-ass bayonet fights. Everything feels solemnly desperate and dire, a motif the designers use to great effect throughout the campaign.