Starting again also offers us a chance to compare the two directly, and, despite the fact the expansion pack picks up directly from the end of NWN2, they're very different beasts. A lot of things which Neverwinter Nights 2 got wrong, Mask of the Betrayer nails precisely. Oddly, some of the things which NWN2 got right are where MoTB goes a little awry. (Did you like that segue from "Neverwinter Nights 2" and "Mask of the Betrayer" to the clunkily acronymatic "NWN2" and "MoTB", by the way? That's how we're going to roll from here on in.)

As far as expansion packs go, MoTB is a hefty one. The centrepiece is the new campaign, where you can import your surviving character from the previous game, make a new level-18 one, or grab a pre-generated alternative. This means you can just jump straight in with no NWN2 experience, but...well, more on that later. The game's also improved in both interface and graphics speed.

What do Dark-elves say when you beat them up? DrOW.

Most importantly for the rules lawyers in the audience, there are a load of new classes, prestige classes and Dungeons & Dragons gubbins, which both integrate with the previous game (i.e. you can select one of the new races and classes and go back and play NWN2 with them) and expand it past level 20 into the Epic levels until 30, at the end of which you could punch out Gandalf and piss on his head and he wouldn't say a thing.

Of course, Neverwinter Nights' "thing" is the integrated level-creation system, and an attraction of the content is that you can use all of it in your own adventures. So, for people who just like new content, this add-on pack is attractive even if you never have to play. Also, the manual is much nicer than the one that came with NWN2, which counts for a lot in these lands of lore.

What's it like? Well, the new material's welcome and pretty damn neat. The two new classes are Favoured Soul and Spirit Shaman. The former is basically a Cleric who doesn't do the work - God Just Loves Them - and basically acts like Sorcerer to the Cleric's Mage. Those who don't know what polyhedral dice are will be a little lost by now, but not as lost as they'll be when I say that the Spirit Shamans are a bit like the Favoured Soul to the Druid's Shaman, except with digging spirits instead of trees.

The Shadow Realm plays with palettes for impressive atmospheric effects. Yes.

The Prestige classes are a similarly welcome bunch, such as the Stormlord, who comes from Divine magic classes who fancy turning the Call Lightning spell into a career option, or the Sacred Fists, who are Divine users who have been looking enviously at the monk's ability to punch right through people. The others - Arcane Scholar of Candlekeep, Invisible Blade and Red Wizard - specialise in really fancy Metamagic effects, daggers, and wearing red robes and getting ink done respectively. The six new races are Wild Elves (who you may know from the Elves Gone Wild series of videos), Half-Drow (who are half-bastards, however you cut it) and four sort of Gensai who are elemental forces of some kind. Frankly, the game doesn't really explain it particularly well.

Oh - and special mention for the new crafting system, which is considerably less fiddly than the original one, and involves lobbing essences into a bag, casting spells at it and BINGO! magic weapon. None of that messing around with ladies in lakes for you to get that Sword +3 Versus Scarabs you've always wanted.

And, yes, I could clearly go on like this until I hit my word-count. Lots of content, which is pretty nifty. Which leads us onto the add-on pack itself, to see how they put all this to bear.

It's immediately clear that Obsidian is a lot more at home with NWN2 than it was the first time out. Going back to the original campaign confirmed it, but it's a lot prettier than before, which deserves some applause. The developers are also doing, on average, much more imaginative stuff. NWN2's opening seemed like a well-executed slog through a lot of standard fantasy tropes. MoTB has a lot more personality, putting you in fantasy situations a little more interesting than "Orcs are angry!" Not wanting to give anything away, much of the game focuses on Spirits, which as well as introducing the Spirit Shaman (and explaining why they're not just Druids with a double-barrelled alliterative name) gives it a unique dreamlike timbre. Hell, there are bits which bring to mind things like Gaiman's Sandman graphic novels, which is high praise indeed.

Omikron: The Nomad Soul Review

Although Omikron is a good-looking game by most standards, its attempt to convey a seamless alternate reality falls flat. Its colorful 3D graphics are fairly detailed, and its populace looks distinct, but Omikron's lofty vision warrants a much better treatment. Most of the city looks like your usual postindustrial science-fiction cityscape - it has nothing you haven't seen before in some other science-fiction game or movie. Omikron's just lots of big buildings, shiny cars, droning civilians, and flying ships, and all these things quickly start to look alike and do nothing more than reduce your frame rate to a crawl whenever you're outside. In addition, the character animation is mostly stilted and unrealistic, and the game's hand-to-hand combat sequences look silly, especially compared with the 3D fighting games Omikron attempts to emulate.

Fortunately, there isn't too much fighting in Omikron; more often, you'll be investigating the city and talking to its denizens. These conversation sequences, which cut from the game's standard third-person perspective to first-person close-up shots, feature detailed 3D characters that look really good. They emote realistically and actually seem to act their parts, while their unblinking eyes and shifting facial features lend an unusual puppetlike appearance that isn't unattractive.

Good voice acting also helps bring Omikron's key characters to life. However, the game's much-ballyhooed soundtrack provided by legendary musician David Bowie and collaborator Reeves Gabrels isn't as good as you might expect. It lacks variety and matches the city's nondescript futuristic appearance with similarly forgettable techno. A few new Bowie songs are also part of Omikron's score and are effective if extraneous as Bowie's in-game alter ego performs them in concert, in-game. Regrettably, Omikron doesn't sound good at all notwithstanding its high-profile soundtrack. Its sound effects are either over-sampled, as with the main character's too-loud footsteps, or far too subdued, as with the game's irritating first-person shooter sequences.Unfortunately, that they sound bad isn't the biggest problem with these obligatory action scenes. Omikron will occasionally switch to a first-person view and invite you to gun down dozens of weak but annoyingly precise enemies as you navigate some mazelike environment. While the game's graphics engine doesn't do a bad job of rendering the enemies, weapon effects, and architecture of these sequences, they nonetheless feel amateurish and utterly disjointed. They're tedious, too long, and generally anticlimactic. In addition, your character moves sluggishly, and it's hard to aim your weapons. As such, these shooter scenes seem much like the fighting sequences, in that they not only feel clumsy but are also entirely inappropriate within what's essentially a slow-paced adventure game.

Whether or not it's admirable for a game to combine several genres is beside the point; Omikron's implementation of three totally unrelated types of gameplay is ineffective and completely arbitrary. It's as if the designers combined these genres for no other reason than that someone up top happened to like all three. Consequently, Omikron is like three mediocre games rolled into one: The fighting and shooting sequences drew the designers' attention from the rest of the game, and as a result, even the primary adventure elements are lacking. Omikron tries to be different by restricting not only when but also the number of times you can save your game; it also demands that you get used to using an exotic inventory system that limits how much you can carry for no discernible reason. In addition, although you can select from several responses during conversations with the game's many characters, you'll find that these choices are almost always inconsequential. Even controlling your character is difficult, as simple maneuvers like turns and back steps are far too slow to let you effectively navigate the city's small rooms and narrow alleyways.

Omikron does have an interesting premise - while it's supposed to be a mystery, even the back of the box gives away your ability to incarnate many different characters within the city. But even this feature is never put to good use, as every single character you can control seems exactly the same no matter what he or she looks like. Furthermore, the puzzles in the game are trivial or tedious and involve pattern matching, simple arithmetic, boring errands, and some guesswork. The puzzles are never difficult, but your objectives are almost always vague, which is why you'll often end up running around the city with nothing to do. Omikron is a long game, but none of its play elements are satisfying, and instead they all feel like they've been implemented to provide relief from one another, as when Omikron's illusory dialogue gives way to wandering, and when the wandering escalates into shooting, and when the overlong gunfight finally boils down to a simple one-on-one brawl.

Although Omikron seamlessly transitions between its various play styles, these unrefined play mechanics are as varied as they are unenjoyable. If you like adventure games, first-person shooters, and fighting games, then you'll count dozens of examples within each genre that beat Omikron handily. And if you don't prefer these sorts of games, you'll find that Omikron's action sequences ruin the pacing of and heighten the frustration with what would have been better off as a more traditional adventure game. In either event, you'll notice that Omikron's purported innovation and originality amount to nothing more than the senseless combination of unrelated but very familiar play styles. Ultimately, Omikron's interesting plot and good graphics won't save you from its misguided design.

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What starts in the city is settled in the canyons as Need for Speed
Carbon immerses you in the world's most dangerous and
adrenaline-filled form of street racing. You and your crew must race
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rivals' neighborhoods one block at a time. As the police turn up the
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Featuring exclusive content including three cars, six races, and a
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Need for Speed: ProStreet will take the Need for Speed series in a new direction of gameplay. Instead of an arcade style of gameplay which has dominated the series, ProStreet will focus much more on realism and move closer to, but not into, racing simulation, and still with options to use driving assistants to make driving easier and more arcade-like. Unlike its predecessors, all racing in ProStreet will take place on closed tracks, thus making it the first game in the series not animating illegal racing behaviour, hence there will not be any police in the game. Performance tuning will take up a large part of gameplay in a way that even a small adjustment of the shape of a car's body will impact its performance. Autosculpt is back from Carbon, but with much greater detail. According to an Electronic Arts employee, there will be thousands of aftermarket upgrades, visual and performance, from real performance brands.
In ProStreet there are four different game modes, called Drag, Grip, Speed, and Drift. Drag race is simply a 1/4-mile or 1/2-mile drag race, witih the first to cross the finish line wins. In grip races, which are circuit races of different modes (normal grip, class grip, sector shootout and time attack), the player can play rough, such as ramming, smashing, or blocking the opponent in order to win the race. In the speed challenge, players must pass checkpoints with the highest possible speed, and the racer with the highest total checkpoint speed wins. In drift, players drift to emerge as the driver with the most points scored in the event.
Drag racing comes with several new features. Firstly, the racers are given a 10 second time limit to perform a burnout where they must keep their revs in a "sweet spot" for as long as possible to get maximum grip in the race. There is also the presence of the traditional "Christmas tree" drag lights, and false starts are possible. Also, unlike previous games, you have free control of your steering, and you do not tap the arrow keys to change lanes one by one.
ProStreet features next-generation graphics for a more photo-realistic feel, and more advanced physics. It will also be the first Need for Speed game to include damage modelling since 2000's Need for Speed: Porsche Unleashed. The new damage system is said to be very accurate, as a collision with any object in the game world may render a car damaged or even useless.[3]
Also, in accordance to the fact that Autosculpting any body parts will impact performance, these changes can be tested in an enclosed chamber marked as the "Wind Tunnel". Your car is placed in the Wind Tunnel and artificial winds are created, giving you your performance on the track. You can use this to tune your car to your liking.
It is the first Need For Speed since Underground I not to include 'Free Roam' And also does not include the continous storyline through the last few games (continuing on from the other)

Intel Pentium 4 2.0 GHz / AMD 2100 +
memory: 256MB/512MB,
Video: 128MB, with support for DirectX 9.0c
Place on the disk (HDD): 4GB
Speed Internet (for network games): 256 kbit / s
Operating system: Microsoft Windows XP (32-bit), Windows Vista
Recommended system requirements:
_________________________________
Procesor: Intel Core 2 DUO
memory: 1GB/2GB
Video: 512MB, with support for DirectX 10.0 (only in Windows Vista)
Place on the disk (HDD): 4GB
Speed Internet (for network games): 512 kbit / s
Operating system: Microsoft Windows XP (32-bit), Windows Vista

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Providing an unrivaled level of authenticity, NBA LIVE 08
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Nemesis of the Roman Empire picks up where the award-winning Celtic Kings: Rage of War left off. In the height of its glory Carthage was the greatest power in the ancient world. With trade routes throughout the entire Mediterranean there was no other nation to dispute its strength. Goods, gold, and slaves poured in to the majestic city – the source of its might. Countless mercenary armies were constantly bought to ensure that all who threatened Carthage or its interest would be dealt with. However, another Empire was also on the rise. The city of Rome too had begun to gain strength. The Romans soon decided openly to challenge their Carthaginian rivals. The time of the Punic Wars had begun.

Large maps complete with neutral settlements and camps that present a threat to all players
Player controlled heroes that command armies of up to 50 units on their own, providing them with an additional bonus in battle
Military units have the ability to capture resource caravans, outposts, and even entire cities and settlements
Ships and shipyards providing for sea battles or transport of armies and resources from one shore to another
A single-player campaign featuring the development of the Roman Republic during the Punic wars the invasion of Sicily, the conquest of Hispania, the destruction of Carthage
A single-player campaign featuring the campaign of Hannibal Barca Sagunto battle, the crossing of the Alps, Cannas battle
Four sides to multiplay with: Roman, Gaul, Carthaginian and Iberians, complete with their own historical buildings and units
In-game scenario/adventure editor.

Estimated download time:
Cable/DSL: 46 minutes
Dial-up: 20h 41 minutes



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