games news and review

An unnecessary blast from the past.
So this is how I think it went. After bringing their Amiga classic to PlayStation Mobile last year in honor of the 21st anniversary of the title (yes, it is that old), the guys over at Team17 Digital thought, what the heck, let's make a quick buck by polishing it up and porting it to PS3 and Vita as well.
Make no mistake, Alien Breed is every bit the 1991 title you may or may not have played over twenty years ago—for better or (predominantly) worse. If you've got some extra PSN credit burning a hole in your digital wallet, I suggest you look elsewhere, unless you have some sort of unnatural attachment to this now ancient piece of digital entertainment.


For those that aren't familiar with the series (and for whatever reason still find themselves reading this review), Alien Breed is a traditional top-down shooter that has you fending off aliens as you navigate through a series of what are essentially glorified mazes. As you might expect, there isn't a whole lot to the game. Simply walk and shoot. Needless to say, it gets rather repetitive, even after playing for a short amount of time. There are items scattered throughout the levels (cash, first-aid kits, keys, etc.) that give you something to hunt for in addition to each mission's endpoint, but a smattering of items doesn't really help keep things fresh for very long.
This is an old game.
Fortunately, Team17 did make a few adjustments that prevent it from being a complete rip-off of a port. The first and most notable change is the added ability to switch between "classic" and "enhanced" mode. This allows players to play the game with either its original graphics or an improved look, which to be completely honest, is rather underwhelming. Considering the power of the PS3 and Vita, there's plenty of wasted potential in this arena.

That said, I must applaud the studio for at least adding in the ability to fire independently from movement thanks to the benefits that come with a second analog stick. You can also pull up an in-game store anytime during play and purchase additional keys, ammo, weapons, etc. should you wish to spend some of that green you've been collecting.
If you've got a PlayStation 3 and a Vita, you'll be able to take advantage of cross-platform play, so if you want to move your save from one device to the other, you're more than welcome to do so. There's also local and online co-op play, so if you want to drag a friend along with you, you have the option. Unfortunately, you can't wander too far from each other, as both players must work together within the same confined window at all times.
Did I already mention that this is a really old game?
When I first booted up Alien Breed and heard its awesome retro title music, I was filled with optimism, but as soon as I jumped into the actual game, the endearing tunes faded away. I was forced to listen to little more than a handful of alien sounds and the banging of my gun, which cut into the otherwise audibly sterile experience. Like I said before, unless you have some sort of undying affinity for this series, I recommend you steer clear. Seriously, there are plenty of other titles on the PlayStation Store worth your hard-earned cash.

Copy provided by publisher. Review based on PS3 copy.
View the original article here

 It was reported that the development of Metal Gear Rising: Revengeance was contentious, which isn't surprising given the way fans have gravitated to lofty expectations of a perfect blend of stealth and action. A cyborg ninja that can slice and dice, while still providing plenty of opportunity for the franchise's signature stealth?

It sounds too good to be true, and that's because it is. Of course, Platinum Games took on the project, saving it from cancelation and giving fans at least one look at what a post-MGS4 Raiden game might be like. In the end, is Revengeance a title fans and curios alike should play?



Raiden starts in Africa, escorting a president through newly peaceful territory. Kojima Productions puts the usual spin on government intrigue, high-flying ideals, and a wide world of "comical" commentary on race. A band of mercenaries calling themselves Desperado attack, kill the president, and leave Raiden for dead. Of course, being a cyborg, Raiden returns with a few upgrades, notably to his sword-swinging arm.

Players will find that they regain health and fuel for their high-speed chopping needs, so long as the sword keeps slicing and dicing other cyborgs. Excitedly bashing away at one enemy will trigger a Zandatsu opportunity.

That's your chance to cut your foes apart all while hoping to grab their luminescent, blue cyborg spines. That's the gooey center you want. Getting to that is all that matters and you'll do what it takes because that completely refills your health and energy, all so you can turn to the next enemy and start again.

As for the story, Desperado continues to do evil stuff, and Raiden pursues like the good boy scout he is. It doesn't take long for Raiden's split-personality to appear and with it, insane difficulty walls insurmountable to laypeople like myself. Raiden's not able to dodge at the start like many other action-game heroes, but he can parry. [There's an unlockable dodge mechanic, but the game isn't worth the investment to get to that point.]
Unfortunately, to parry successfully in any difficulty above Easy, you also have to point the left analog stick in the appropriate direction. That's fine once you've memorized the attack animations in each level, but for a first playthrough, the parry system and lack of an all-purpose evasion move makes for stunted, fitful gameplay.
All of this comes to a head when players meet George, a Mexican orphan kidnapped and trafficked so that his organs could be harvested. Of course, Desperado only wants the children's brains for their own PMC uses. Remembering his past, Raiden pushes forward and chases the Desperado gang to Denver and onward around the globe.
I couldn't, though. Revengeance can border on masochistic, forcing players to question their dedication to this tightly dressed sword-swinger. After switching to Easy, the game bent to my will immediately, allowing Raiden to auto-parry whenever an unfriendly blade started its arc. So long as I mashed the attack button, Raiden would cover my ass.

It was disappointing, to say the least. I can imagine how it feels to parry successfully on normal or hard difficulty (glorious), but the rest of the game isn't entertaining enough for the commitment. New weapons unlock throughout the campaign, but there's little to no incentive to switch between them. What's more, Raiden cannot switch weapons while moving, so forget swapping the polearm for sais mid-fight. The camera can also get in the way, especially when Raiden is close to an enemy and when the camera is fighting against the sword controls with the left analog stick.

Every plot hole sprints in and awkwardly lands on its face thanks to the full acknowledgement of other characters. When Raiden starts fighting for his own ideals and not his contractor's, Raiden's boss Boris "officially condemns" him as "a pain in the ass hole."



In the end, Revengeance plainly represents the two competing ideals inherent in stealth and action games. A typical Platinum Games experience creates tension by overwhelming and throwing a ton of activity at the player. A typical Kojima game creates tension by forcing the player to fight the urge to move aggressively.

This conflict is no more apparent than in the stealth mechanics you're occasionally given the option of engaging in. Raiden moves like a nimble cyborg semi-truck. Turn on your visor and locate a red enemy. Lumber over and cautiously approach the enemy from behind or above. Press circle or B to see a fancy animation where you stab the poor bastards in your way. You have an even chance of goofily wandering in front of the cyborg before ultimately being successful or failing because the controls don't allow for precision.

As for replay, players can collect a million things and unlock VR missions, concept art, and more. Play through the game repeatedly and each time players will carry over stat increases and the like. Those increases might make the game easier on higher difficulties, but I didn't have the heart to try.

I love the gooey center of every cyborg PMC out there, but Revengeance fights the player every step of the way. What's more, reducing the difficulty ultimately boils down the combat to a button masher, leaving the experience hollow and draining all the same. Fans and masochists alike might find a lot to love, but even I can't stand the crunchy outside of a bug for the sweet gooey insides.

We've all heard the news that Aliens: Colonials Marines is bad, but how bad is it?
Meh. It's not that bad.
Aliens: Colonial Marines is a mix-mash of great design work and poor implementation. It's a Frankenstein of design decisions that are diametrically wonderfully planned out and carefully crafted while making no lick of sense to even the most oblivious layman. It certainly never rises to the height of Gearbox head-Randy Pitchford's demo video from 2011. So what is it?
First, in the campaign Aliens: Colonial Marines is a game that plays better with friends. Nothing makes you feel more like Vazquez or Hudson ("Game over, man! Game over!") than running around blowing the crap out of Xenomorphs with three buddies similarly decked out in combat gear. This is casual fun, not a game you play where the challenge demands a team but for the fun of going on a bug hunt through James Cameron's vision of the action world at breakneck speed while everyone flashes pulse-rifle fire willy-nilly.


This extends to the multiplayer, where you can level up your marine or Xenomorph unit with combat upgrades and where play is generally fun on either team. Playing as a marine highlights the need for cooperation, since a single xeno serves up a hot piping plate of tongue-mouthed death to a single marine in short order.
The game does a fine job making you feel like inhabiting the Aliens world, with some design work directly from Alien
—and a couple nods to Prometheus that look added at the last minute. But they have done their utmost to transport you to James Cameron's Aliens, fitting your team with another Bishop Unit (voiced by the movie's own Lance Henriksen) and having you dash through the (surprisingly intact) locations of the film and its predecessor. You use the auto-turrets (more on this later), the hip-swivel Smart Guns, and the pulse rifle, and you fight swarms of the generic grunts, lurkers, spitters, facehuggers, and a queen. It has been designed from the ground up to be Aliens, as much as a video game can be at least.
Unfortunately, Aliens: Colonial Marines is as ugly as the ballsack-like eggs that house a facehugger. There's no way around that. This is a huge shame because it's clear that the attention to detail in the design beneath the graphics is super-obsessive. One section sends you into the Derelict cruiser from the original Alien
overrun by the evil "Company" Weyland-Utani, and the mix of Syd Mead design style of Aliens and the creepy H.R. Giger-esque designs of Alien show an extreme level of dedication to the lore of the franchise.

But in implementation, in the lighting, texturing, character modeling, and animations, Aliens: Colonial Marines is either an unfinished product or just lazy; it looks like an HD-converted PS2 game with new textures but the exact same architecture. Everything looks chunky, jerky, flat; and on the Xbox 360 there was shearing right from the start. Its processor that by no means should have been taxed clearly was. Characters look ugly, poorly modeled and animated, and for the most part their dialogue in cinematics is delivered with affectless lip-moving with no facial animation.
On top of that, the design problems are generally idiosyncratic and inconsistent. In one area you have to retrieve and place an auto-turret. Up until this point, actions appropriately require pressing the "action button," but here for some reason, arming the auto-turret is done with the "fire" button. It makes no sense, and I had to look for the solution on Gearbox's forums, since the game would not let me progress until I had done so (and it did not offer player training on how to do it). The shooting sections where you face off against Weyland-Utani's PMCs are inconsistent, and the boss fights are just garbage; the endgame where you face off against a queen is particularly unsatisfying. Dialogue in some sections, especially from a conflict between two certain female characters is awful (this may be due to these female characters being a speculated late addition).
And yet you can see that a good game was clearly built in the planning stages of the project. Elements like the audio files that fill in the background are rich and clearly steeped in the lore. The inclusion of a special "marine hostage" from the series franchise in the plot (including the original actor providing the voice) adds a level of authenticity. The clear obsession with the movie's design underlying the poorly implemented graphics and the whirlwind tour through Aliens
and Alien (and Prometheus) locations are a bit of a dream for fans of the series. The planning of individual set pieces, from the early spaceship assault to the crash on Planet LV-426, to a survival horror section with no weapons in the sewers, to the Derelict, is strong enough that a little of the game actually shines through.

My immediate thought when I finished it was: "Damn, this game makes me want to play its sequel, where they'll have fixed all the problems!" Colonial Marines doesn't exactly have a cliffhanger, but it is clearly open for a continuation. While the Xbox 360, PS3, and PC versions are all available, the Wii U port has been delayed until March, with no firm release date. Perhaps Gearbox is scrambling to fix the problems inherent in the game, much as the one-time Wii U exclusive Ninja Gaiden 3: Razor's Edge was the version of the game that players actually wanted. Still, time will tell.
Aliens: Colonial Marines is not the bad game that most reviewers have made it out to be. With the reviews it's been getting, you would think it was unplayable! However, the hoax that Pitchford sold with his video demo two years ago has clearly poisoned the well. Everyone seems to want to know: Where is that game? With Colonial Marines supposedly outsourced, all the talent went to Borderlands 2, I guess.
Review based on X360 version. Copy provided by publisher.
View the original article here

I completed Crysis 3 in one long, sweaty-palmed sitting. I feel as though it's significant to mention this, not as some lazy way of critiquing its length-to-price ratio, but as a whole-hearted compliment. Sure, I've had to crunch long play sessions to keep up with my workload before (comes with the job), but this is the first time in far too long that I've rolled the credits after one continuous session. Crysis 3 isn't perfect; it's a tad too easy and the plot was more than a bit silly. But I simply couldn't stop playing it, and I can't wait to play it again.
The story begins over 20 years after the conclusion of Crysis 2, with Prophet, now the last living nanosuit soldier, being held in containment by Cell, the PMC-turned-conglomerate that was hunting him and his, uhhh..., host body throughout the last game. Your old pal and former subordinate, Psycho, comes to bust you out so you can help him and his band of scrappy resistance fighters overthrow Cell, who through the manipulation of alien power sources has leveraged a slave-like control over society.



The writing and voice work go a long way to sell this farce of a plot, but it's tolerable. It starts out ridiculous, then takes several turns for the implausible, only to plant its flag proudly on the chalky, dust-swept lands of the preposterous by game's end. Thankfully, the two characters in the thick of it all manage to show some real heart, grounding all the far-flung plot devices with a surprisingly human story, something the series has never been known for and never really attempted. Hammy though it can be, Psycho's struggle with his own mortality and Prophet's struggle with his lack thereof are the only things that elevate the tale beyond simply being a reason to go out and blow stuff up.

But the truth of the matter is that you won't need reasons, at least not any reasons beyond the stellar, insidiously addictive combat. Crysis 1 provided a wealth of neat abilities, but was set in a world so open that it was sometimes hard to find opportunities to use them all. Crysis 2 added even more sweet skills and attempted to create stages that housed more chances to apply them, though they dialed back the freedom a bit too much. Crysis 3 continues to build on Prophet's lethal toolset, while giving players back some of the the freedom they lost from 1 to 2. Fans of the original still won't be satisfied if they're looking for a return to the open-world format, but I'd still dare them to say that these levels feel limited or constricting.

From wide-open, sun-dappled fields of tall grass, to maze-like tangles of rain-slicked stairwells, Crysis 3 offers up a set of locales that look as diverse as they play. Even the smaller areas still feel like sandboxes because you can tackle them in so many different ways. To say you can “be stealthy or go guns blazing” is practically a rehearsed marketing line more than an impressive gameplay feature nowadays, and the phrase does little to describe the freeform way in which you can change up your tactics in Crysis 3. There simply isn't another shooter that gives you this many abilities, weapons, and gadgets, and each map is designed to be a playground that facilitates your every superhuman whim.

If there's a problem with the gameplay, it's how all that power can lead to lopsided encounters once you figure out how to make optimal use of your tools. Cloaking at will, stealth takedowns, hacking into sentry turrets—the list of expedient ways to elude and eliminate your foes is a long one, and none of them are more potent than the new tech bow. It's a silent, all-range, "one shot, one kill" death dealer with reusable ammo that can be fired while cloaked. You can blow through armor with thermite-tipped rounds, overload robotic or water-treading foes with shock arrows, or even circumvent cover with air-fragmenting shots, all without giving away your position.



Once you get comfortable with switching warheads and draw strength settings on the fly, which is as wonderfully seamless as all the weapon customization, you'll swear you've got cheat codes activated or something. But as empowering as it is, it sometimes threatens to trivialize the presence of all the other weapons, which is a shame because together, they offer a wide array of cool features as well.

By certain criteria, this makes Crysis 3 an easy game, but that really depends on what you think a challenge should be. If you want a reflex check or an exacting game of trial and error, you'll be disappointed on both fronts. Ultimately, Crysis 3 might be the world's most vicious puzzle game, one with a sizable number of pieces and a rule set that shifts depending upon how you move them. Sure, Call of Duty or Halo on their highest difficulty settings may demand more “skill”, but neither are as tactically engaging.

And here's the boring part of the review, the one where I tell you how achingly gorgeous CryEngine 3 looks with native DirectX 11 support right out of the gate (rather than being patched in like Crysis 2). Insert your hyperbole of choice folks, it still won't suffice. Surprising approximately nobody, Crysis 3's visuals defy description. Where Crysis 1 was an expression of technical wizardry and Crysis 2 was more a display of artistry, this one marries the two to create a look that will be nigh-impossible to emulate, let alone top, though I doubt that will stop others from trying.

Despite all the impressive effects and expansive vistas, I was surprised by how well it ran on my laptop after fiddling with the settings. I've got a lower-end second-generation i7 processor, 12GB of system memory, and a GTX 670m video card with 3GB of GDDR5, and at 1600x900 with texture resolution maxed and all other effects set to medium or high, I still blazed through at around 60fps even when things got hectic. At 1920x1080, I had to turn some effects to low in order to stay playable, but keep in mind that the 670m is a far cry from its desktop counterpart. Also keep in mind that Crytek literally goes out of their way to melt your computer, but the results are there on-screen if your rig can hang. Even if it can't and you have to tone it down a bit, the game is still a stunner, thanks to some great art direction.



And while I'm not usually a fan of competitive multiplayer (unless it involves dragon punches or fireballs), I actually found it enjoyable in Crysis 3 because of the way the campaign's best qualities carry over. It does sacrifice a tiny measure of eye candy in favor of performance, but it still looks gorgeous, and with all the same abilities at your disposal, the fights are frantic and fun. New modes like the infection-style Hunter shake things up a bit, but really, it's the mix of familiar genre features and unique mechanics that keep it enjoyable. If you like the ubiquitous perks and unlocks that come with the territory, but want something a little more dynamic, you'll find Crysis 3's multiplayer to be a pleasant diversion.

As this looks like the end for the franchise, I couldn't help but reflect upon it as the credits began to roll. Crysis truly is one of the most misunderstood and under-appreciated AAA franchises of the past several years. I think the fans it initially attracted had a lot to do with this. The only people who could even run the original, and hence, the only ones who could sing its praises, were folks with unimaginably powerful, custom-built gaming PCs. And when Crysis 2 shipped without DX 11 support and a more streamlined approach to level design, I think its original fan base all but deserted it, while its perceived status as being an exclusive club for the PC elite kept new potential fans at bay.

My advice is not to make that mistake with Crysis 3, because in terms of both graphics and gameplay, I honestly can't think of another shooter that does quite what it does. And despite the second-rate plot, Prophet possesses a surprising amount of pathos, especially compared to his voiceless, grunting contemporaries who enjoy near household recognition.

“My name is Laurence Barnes.” he says solemnly, as the screen fades to black. “Some called me Prophet. Remember me.”

I believe I will, Laurence, and I don't think I'll be the only one either.

In the past I’ve reviewed Telltale’s episodic games each time a new episode came out, but I don’t think that really makes sense considering most people buy the entire series as opposed to individual episodes. That said, I waited until all of the episodes were released so I could play them all in a row. Now, I’m a big fan of The Walking Dead
TV Show so when I heard that Telltale was going to make a game based on it, I was pretty stoked. After playing through it, I can say hands down that this was one of the best gaming experiences I’ve ever had!
Like the TV Show and Comic Book, the story of The Walking Dead
takes place in Georgia over the period of several months and is extremely emotional and not happy by any means. In fact, most of what takes place is incredibly sad with periodic intervals of intense action and survival instinct. You play as Lee Everett, a History Professor at a university who is on his way to jail for murdering the man he found sleeping with his wife. Due to Zombies running all over the place, Lee is able to escape from custody when he runs into a young girl named Clementine. Clementine’s parents were on a trip to Savannah and her babysitter turned into a Zombie, leaving her to fend for herself. While in the end, the story is about a struggle for the human race to survive, the real meat is in Lee’s interaction with Clementine and how he’s forced to become a father-like figure to her and they each utilize their strengths to stay alive.
The Walking Dead
is largely a story-based game. Its five episodes took me about 12 hours to complete, or roughly 2 to 3 hours each. Your choices throughout each episode affect how the remainder of the game is going to play out for you in pretty significant ways. Sometimes you’ll be forced to decide to save one person and let another die; and whom you choose to save will be the one that continues on with you. This alone gives the game a bit of replayability, but to me, that’s not what was important. The significant choices that Lee makes along the way made me feel like I was a part of the game. What would I do in this situation? How would I deal with these people? Do I tell the truth or lie to the group? Do I put Clementine in danger to keep her close to me, or let her stay behind and potentially be eaten by the Zombies? Some choices I made I wasn’t happy with but had to live with it. People die and I’m not always sure they had to.
The game plays out more like an interactive TV show than a video game. The mechanics are largely story and cut-scene based in that you probably only interact about 50% of the time. When you’re in control of Lee, the game is a standard Telltale Point and Click Adventure game with basic problem and puzzle solving elements. Quicktime sequences are mixed in during intense action moments and every now and then you’ll get to use guns and melee weapons to beat the crap out of Zombies. Unlike some other Telltale games, you can actually die in The Walking Dead
, though the game will reload itself right away from the last auto-save. Timed dialog sequences round out the game-play elements that also have a significant effect on how the others will continue to act around you.
Lee and Clementine will run into a large cast of characters in their adventure to stay alive including some from the TV Show including Glenn and Hershal, though they are only minor characters with a small impact on the story. Your humanity will be really tested each time Lee meets new characters and has to determine if they are trustworthy or not – and believe me, not everyone is what they seem. When the zombie apocalypse has begun and everything in the world we’ve taken for granted is gone, people’s true nature comes out and it’s ugly! That’s what this game is about. The final episode in particular is just loaded with really fucked up shit and has one of the most emotional endings I’ve played in any game.

At the beginning of each episode I noticed some performance drops, or stutters as the game changed scenes, but that resolved itself after a few minutes of play each time. The presentation overall I really enjoyed. The art style makes it feel like you’re watching a live-action comic book or something. The voice actors really give the characters life and overall, I really enjoyed most of them. There is also some funny dialog thrown in every now and then to keep things real. Some portions of the game don’t have any background music or ambient sounds, which kept things intense and scary. I’ve not noticed an effect like that since Dark Souls.

I very well could have played right through The Walking Dead
’s five episodes in a single sitting – it was that good. I forced myself to walk away and play one episode per day to let what happened each time set in. Overall, I absolutely loved this title and I can’t wait for Telltale to release another season of it. While the game-play elements should be familiar to adventure gamers, that’s not what made the game special. The story was fantastic and drew me in from the very beginning and didn’t let me go. This powerful and emotional story could bring tears to the eyes of even the manliest of gamers. If you haven’t played The Walking Dead yet, you really need to.



The Walking Dead Review (Game) – ZGR

Developer: Telltale Games
Publisher: Telltale Games
Platform: PC, Xbox 360, PS3
Price: $25
Release Date: November 21, 2012


Follow my LiveStream: http://www.ZeitgeistGameReview.com/zgr-live-stream

Commentated League of Legends and Dark Souls! http://www.youtube.com/ZGRWhyUDead

Review Video: http://www.youtube.com/ZeitgeistReview

Follow me on Twitter: http://www.twitter.com/ZeitgeistReview

Follow me on Facebook: http://www.facebook.com/ZeitgeistGameReview/

T-shirt provided by RiptApparel.com

Don’t forget to SUBSCRIBE!

PC Used:
Intel Core i7 920 @ 2.66ghz
6Gb DDR3 1600mhz
ATI 6970 2gb
2 7200rpm 500gb Hard Drives in Raid 0 – Gameplay
1 7200rpm 1Tb Hard Drive – Fraps
1920×1080 – Maxed Graphics – Vsync On – 60fps

 George Washington is a relatively sanctified figure in American History. We love him so much, we tell a dumb story about him cutting down a cherry tree and not lying about it (were cherry trees a big fucking deal in Colonial America?) as proof of his virtues, as if he were some sort of American Buddha or messiah whose childhood verity provides proof of his sainthood. In The Infamy, the first of three episodes of Assassin's Creed 3 DLC that make up a campaign set in an alternate history, Washington trades virtue for monarchal power: The Tyranny of King Washington.

The whole series of events of AC3 prior is rewritten by the Apple of Eden to place Washington in totalitarian power. You are awoken as Ratonhnhaké:ton—no Connor here, the Native American tradition holding sway—by your mother, Kaniehtí:io, still living, to face off against Washington's bands of villainous Bluecoats. This first chapter pits you against the first of Washington's two lieutenants, Benedict Arnold, after a long series of set-pieces leading to an unbeatable King George, showing off the powers and tactics he's sure to employ in later showdowns.



Stripped of your weapons and abilities by the history swap, you begin the game with only your Tomahawk and bow, but the game soon makes up for it with new spiritual powers. In Infamy, it's the abilities to call a pack of phantom wolves and turn invisible at the cost of your health over time.

Though powerful, the invisibility of the Wolf Cloak is almost game-breaking, making stealth incredibly easy. Though the game does introduce tracking dogs who can sniff through it, this power makes the rest of the game a quiet invisible dash from one set of bushes to the next, as you silently lay waste to a populace of American soldiers. It's as if you've turned into a cloaked Predator wearing The One Ring.



If you skip content outside of the primary missions, The Infamy can be completed in a relatively brief three hours or so. Once the intro of linear set pieces (about the first hour or so) gave way to the open world, I'd estimate there's probably a good four to five hours of content if you do absolutely everything—more, if you attempt to complete the optional mission objectives.

The Infamy isn't a half-bad DLC entry, with a lot of side mission content; an engaging, if at times bizarre, alternate history story (though it's hardly the most incendiary or silly alternate account of Washington). However, the invisibility feature is so overpowered that it heavily removes the challenge, and the first hour is so linear that it begs to be more open world, with you being able to explore more during that section of the game. Still, The Infamy a strong first addition in this new, additional campaign.