A 3D fighting game by Konami (the Osaka division) released exclusively for the Nintendo 64, back when games console shad their own exclusive fighting game franchises. PlayStation had Tekken, Sega Saturn had Fighting Vipers and Virtua Fighter and the Nintendo 64 had Killer Instinct, and G.A.S.P. Released in 1998 when Tekken 2 and Virtua Fighter 2 had already established themselves within the home console market.
Gameplay revolves around arena-based 3D fights inspired by titles like Virtua Fighter, with scoring based on move quality and combos rather than just depleting health. Although this only appears to matter when the round time has expired, instead of awarding the match point to the player that’s the most health remaining, the game calculated the score based on remaining health (which weights heavily) along with technique.
You select from 8-9 playable fighters (plus unlockable like a cat-masked wrestler Gouriki and boss Reiji Ogami, who transforms into forms like Hikari and Yami), each with unique moves, punches, kicks, throws, and evades. Modes include single-player tournament/duel, versus (1v1 or tag-team), training, and a notable create-a-fighter system where you customize appearance (hairstyles, body types, faces) and steal moves from defeated opponents. This is one of the few fighting games that does let you create and customize your own fighter, something that is more commonly seen win the wresting game genre.
Unfortunately the game failed to capture the audience that Tekken and Virtua Fighter had, and the game itself wasn’t very well received both in Japan and Internationally. One of the main criticism’s was the overall pacing and speed of the game, giving a fell that the characters were fighting underwater. I’m not sure if this was a design consideration from Konami, as they possibly wanted to implement a more strategic fighting system that gives the player opportunity to counter and plan their next fighting move, or it this was more so of the technical limitations of the Nintendo 64. Many of the stages have destroyable objects that break as your chapter slams into them, but the physics processing could have an impact of the games overall speed as a result. Running on an actual N64, expect to get a frame rate of 20-30FPS.
The moves of the characters is also rather limited, with many moves just being a various of the same punch/kick. This might be due to the ability to create custom fights, which affects how the character’s moveset would flow, and how the animations execute across different character models and meshes without clipping or looking unnatural. This is often difficult to pull off and is why we often don’t see customisation in fighting games.
Still, the game reward you give a nice Techno-inspired soundtrack that has dark elements to it. If you have already admired Tekken for it’s soundtrack, you won’t be disappointed considering sound isn’t one of the N64’s strong points.
The Nintendo 64 instalment of the Destruction Derby series of games that were popular on the PlayStation, PC and Sega Saturn. The N64 version isn’t a straight port, but rather a spin off title which you would see often with racing games, with the N64 getting specialized ports of Ridge Racer and Wipeout.
Destruction Derby 64 is played as a vehicular combat racer where you pilot one of 24 cars (stock cars, hot rods, ambulances, taxis, etc.—12 start unlocked, others via progression/Time Trials) across 8 tracks and 4 circular bowls (arenas). The core loop is to race to checkpoints/finish while ramming opponents to rack up destruction points, wreck them (explode/disable), and survive as damage affects your handling/speed, so balance aggression with caution.
Single-player in Destruction Derby 64 (World Championship mode, plus Arcade and Time Trial) revolves around scoring the highest points via destruction + racing progression, not just pure placement. Races end when all opponents are wrecked, your damage meter fills (you explode), or you miss a timed checkpoint. Up to 12 AI cars split into 2-3 groups for head-on chaos from the start (opposing groups reverse direction), no lapping system.
The multiplayer takes advantage of the four controller ports the N64 provided. You have access to 4 player split screen with has the game modes Deathmatch, Destruction Race, Tomb Tag and Capture The Flag, Unlike the console versions you don’t need to have two consoles linked up via the serial cable, all of this can run on one N64 console.
There is a nice variety of track in the game, Seascape Sprint has a costal/beachside appearance to its and make me thinks it takes some inspiration from the costal track from Rage Racer. Metro Challenge is a more urban environment set in a more built up area, whilst Terminal Impact is set on a Airport terminal with plenty of obstacles that you will need to avoid. Destruction Junction is a figure-8 designed track that can be tricky to navigate as it’s easy to make a wrong turn.
Destruction Derby 64 follows the same soundtrack theme as the PlayStation original with a techno/electronica inspired soundtrack that keeps pace with the games racing theme. However I feel a more industrial/grunge inspired theme would suit the destruction part of the game better.
The sequel to the original Perfect Dark game, released as a launch title for the Xbox 360 in 2005.
First off, Perfect Dark Zero is trying to tell the origin story of Joanna Dark, our badass spy chick, in this futuristic 2020 where corporations are running the show (similar to your typical futuristic SciFI story, like Unreal and Deus Ex). You’re out here doing bounty hunter gigs with your father, Jack, before things turn bad with dataDyne and some alien artifact. The story is a lot more hard to follow compared to the N64 original, even with the HD cut scenes. The original had this tight, mysterious vibe with Area 51 and Skedar aliens—felt like X-Files meets GoldenEye. This one’s got a convoluted plot. The N64 game’s story wasn’t perfect, but it had charm and focus. Zero feels like it’s trying too hard to be epic and just trips over itself, which is usually a sign a game was rushed to reach a console launch deadline.
PDZ’s 2020 setting depicts a world where corporations like dataDyne dominate global affairs, overshadowing governments. This theme critiques unchecked corporate greed and the ethical dangers of profit-driven science, as dataDyne’s pursuit of the Graal prioritizes power over humanity’s safety. It reflects fears of real-world corporate overreach, a staple of cyberpunk stories. Sound Familiar? Corporations in 2020, like Amazon, Google, and Microsoft, arguably hold significant economic and cultural influence but didn’t supplant governments – well not as we know of yet.
Windows Media Player Visualizations in the Nightclub level
Another key element is Betrayal, that drives much of the plot. Chandra’s double-cross, Mai Hem’s ruthlessness, and dataDyne’s manipulation of allies like Killian. Joanna’s journey tests her trust in others, contrasted by her growing loyalty to the Carrington Institute, which represents a moral counterpoint to dataDyne’s amorality. This theme explores personal and ideological conflicts in a world of shifting allegiances.
Texture’s give off a plastic look
Gameplay-wise, it’s got that FPS core, but it’s leaning into tactical stuff—cover system, dodge rolls, stealth objectives. You can hack terminals with a Datathief gadget or sneak past guards, which is cool but it isn’t as smooth as the original. The N64 Perfect Dark had those tight controls, even on that wonky controller, and missions felt varied with objectives that changed per difficulty. Zero’s campaign is alright—14 missions, playable solo or co-op. The co-op’s is dynamic, like one guy hacks while the other covers which an interesting way to implement multiplayer into a single player campaign.
The multiplayer is where Perfect Dark built its throne. The N64 version had us glued to four-way split-screen with bots, proxy mines, and Laptop Guns—pure chaos in the best way. Zero steps it up with 32-player Xbox Live matches, which was mind-blowing in ’05. You got DeathMatch, Capture the Flag, and this DarkOps mode where you’re buying weapons with credits like it’s Counter-Strike. The bots are still varied, with personalities like “Judge” who hunts the top player. Problem is, the maps feel less inspired than the N64’s tight arenas like Facility or Complex.
This game was a showcase for what the 360 could do. We’re talking 720p, widescreen, HDR lighting that makes neon-lit Hong Kong levels pop like a music video. The parallax mapping gives textures this 3D depth, and ambient occlusion makes shadows look real as hell—stuff we weren’t seeing on PS2 or Xbox. Joanna’s character model, with her red hair and tactical gear, looks slick, even if her anime-inspired design feels less iconic than the N64’s gritty vibe. Environments like dataDyne’s skyscraper or the Peruvian ruins are massive and detailed, a huge leap from the N64’s blocky polygons. But sometimes the framerate chugs, especially in big multiplayer matches, and animations feel stiff, like Rare was rushing to hit that launch deadline. Compared to Halo or later 360 games, it’s not quite top-tier, but for 2005, it was showing off what next-gen could be.
Waterfall in the Jungle level
Compared to the N64 Perfect Dark, which wove its conspiracy with tighter pacing and a more cohesive blend of sci-fi and spy thriller, Zero’s story feels fragmented due to its rushed development. The themes are ambitious but often superficially explored, with weak dialogue and voice acting diluting their impact. Still, the corporate dystopia and tech-driven paranoia align with cyberpunk classics, while the personal revenge angle adds relatability. Overall, Perfect Dark Zero is a solid launch title, but it’s living in the shadow of a giant.
A
Nearly 20 years alter and Microsoft has yet to follow up with a sequel, and it’s unlikely they will at this point. A reboot was greenlit in 2020 but has since been cancelled with very little to show for, and that’s the last we will probably see of Perfect Dark.
The third expansion released for The Sims 2, that added the ability to create and run business from their own home, or from a community lot. This expansion also included the concept of badges, business perks. OFB gives sims more options on how to make money, instead of having to have a career.
A sims sweatshop
Business can vary from selling goods purchased from buy mode to their own produce like cakes/robots/flowers/etc that the sim has produced. Items from other expansion packs can be sold or monetized into a service. By default, the shipped Shopping district (Bluewater Village) comes with a few premade business like a florist, a cake shop and a Toy shop, A few ideas are:
Fish: With the Seasons expansion, You can have your sim catch fish from a nearby lake and then sell it other sims, since the types of fish is dependent on their talent badge and access to a lake, this could be a useful way for sims to buy and cook fish if they have no access to a lake on their own lot. Also remember that sims cannot increase their skills and badges on a community lot, so it’s impossible to catch more expensive fish without cheats unless they have a lake on their own lot
Cakes/Food: Sims with a high cooking skill can produce food that can be sold for other sims. Things like pizza and Chinese food still cannot be produced which I think was a missed opportunity with this expansion, you could have had sims create their own fast food place.
Beauty Salon: Freetime introduced a hair salon chair which allows sims to give makeovers to other sims, also serves as a nice opportunity to change the appearance of NPC’s and townies
Boxing Gym: The punching bag normally cannot be purchased as its an career reward for the military, however a sim that has unlocked this can use it to set up their own gym. It’s a bit tricky to set up as sims wont autonomously use it, instead you have to have your sim offer lessons to them.
Art Studio: Sims can produce their own paintings and sell them to other sims. Having them to do portraits for other sims can be tricky as they will reject this if the relationship is low. Also the painting’s the sims produce are done at random.
Farm: Sims that can grow crops can also sell their produce, useful for sims that do not have enough land to grow their own. This best way to do this is to grow their own produce at home, then sell it off at a community lot they own.
Robot/Electronics: With the Robot station, sims can product electronic items like drones and full on Servo’s than can be brought and activated. Dones can be for security or food (The munchies bot brings either Pizza or Chinese Food). These tend to malfunction often and are more trouble than they are worth.
Textiles: With the Freetime expansion, sims can craft and sell their own fabrics. With a high enough talent badge, you can create your own clothing.
Pottery Shop: Also included with the Freetime expansion, Sims can sell a range of pottery.
Car Showroom: You can purchase the craftable car, have your sim fix and complete it and sell it. This one is best suited for a home lot, as I ran into a few issues trying to attempt this on a community lot. First is vehicles cannot be purchased in Buy mode whilst on a community lot, and storing them in the inventory caused issues when placing them on the driveway.
Fighting in a pottery shop, You break it you pay it
There is a bit of micromanagement needed when running a business, as you are expected to manually assign your employees roles to ensure the business remains functional. Over time, they will need to be assigned on break, otherwise they will quit.
Craftables are a new concept introduced in the game, and are made by purchasing the correct workbench. This is where the skill badges comes in, as the type of items the sim can make Is dependent on how good their badge is for that talent.
Robots are one of the new objects that can be crafted. You start of by making simple toy’s, then onto sentry drones (which are quite useful, like the Munchie bot that will deliver food every so often) to eventually a Servo. Some of the robots have a tendency to break down often, like the hoover bot. When this happens it will just spew trash all over the lot, and it will happen quite frequently regardless of the sims talent or mechanical skill. Personally I would avoid these and just stick with the gardener or maid, or install a mod to reduce the chance of breakage.
The Servos, when powered up become their own sims. They can be controlled, get a job and do most tasks a sim would normally do. They have and have a different set of motives comparted to a human sim, relying on sunlight for power. Servos will always have a desire to clean up, and will often do chores automatically. This is in contrast to the Servo that was introduced in Livin Large, where they had to be manually activated by the sim,
Shopping districts are introduced in the game, these are subhood’s that had can be added to an existing neighborhood. They can also be used if you run out of space on your current neighborhood. There is no hard limit on the amount of sub hoods that can be added, and sims can travel between different subhoods.
Bluewater village ships with the game and adds a few families to the game, these serve as examples of the different buisness that can be used with Open For buisness.
Tinker: Stephen, Wanda and their daughter Melody, they are currently in the toy making business and are operating it from home.
Delarosa: Florence operates a flower shop from her lot
Jacquet: Denise, with her son Gilbert who are owners of a local bakery.
Landgrabb: Malcom Landgrabb lives here, who is no stranger to The Sims having previously appeard in the console games (Bustin Out). Dudley and Mimi do not appear and there is no mention of them in the family tree.
Ramirez: Checo, Lisa and their daughter Tessa, live on a fairly typical household lot. There is a lemonade stand outside which Tessa can use to sell lemonade. Both parents are unemployed, so Tessa must be shitfing some Lemonade to pay the bills
Gieke: Family bin sim, can be moved onto any lot he can afford.
Larson: Twins Jason and Jodie, who currently do not have a business (or a lot) of their own.
Conclusion
Open For Business adds a lot of new features to the game, but the implementation is not without flaws. NPC/Townie sims will constantly try to interact with your employees which can cause then to be unassigned from their tasks, leaning into the micromanagement element of the game. NPC sims also tend to hang around on lots even after they have finished shopping, often getting into fights with other sims which can affect the business ranking (which is unfair). Often you will have to manually dismiss these sims off the lot to prevent your rating from tanking, or so the game will actually spawn sims that will buy items. A quirk of The Sims 2 is that the game will only spawn so many sims on a lot according to your systems capabilities and after a while, will stop spawning sims because the existing sims are wandering around the lot or are playing outside.
The employee system could have been implemented better as its not always easy to tell when they need to go on a break, and they often quit for no reason even whilst on break. Thankfully there are mods that can fix this.
A tower defense game with a South park flavor, released in 2009 exclusively on the Xbox 360.
With these sort of games you would expect them to be a simple cash grab by reskinning an existing tower survival engine and apply the South Park theme over it. Trey Parker and Matt Stone were hands-on, making sure this thing feels like you’re playing an episode straight out of Comedy Central. The story’s a glorious middle finger to Japanese game tropes—South Park’s glitched into a video game world, and the boys are stuck fighting waves of enemies to save the town. The big bad? A Japanese announcer dude who’s like the lovechild of a Street Fighter narrator and Mr. Garrison on a bender. It’s absurd, it’s meta, and it’s peak South Park roasting gaming clichés.
There are a lot of reference to event sand charicters from ther TV show. You’re fighting classic enemies pulled straight from the series: hippies from “Die Hippie, Die,” crab people from that one episode where they’re plotting under the town, Jakovasaurs from those annoying dino-things nobody liked, and even the Christmas Critters from the “Woodland Critter Christmas” blood orgy episode. Every level’s a love letter to fans—locations like the school or downtown South Park are ripped from the show’s paper-cutout aesthetic, complete with that janky, sloppy charm Trey and Matt insisted on. You’ll hear iconic lines, like Cartman screaming “Respect my authoritah!” when you trigger his slam move, or Kenny’s muffled grunts when he bites it (spoiler: he dies a lot). There’s even unlockable show clips as rewards, which is like finding Randy’s secret stash of Tegridy Weed—pure fan service.
You build towers like snow forts, fiery Christmas trees (called Fiery-Works, because of course), or fridges to slow enemies down. Each has upgrades, but you gotta hustle to collect coins from dead enemies to afford ‘em. The twist is the action element: you’re not a passive god; you’re in the trenches, switching between kids to sling snowballs or use special moves. Cartman’s Fatass slam is like dropping a nuke, Kyle’s got a Jew-jitsu kick, and Timmy’s wheelchair charge is comedy gold. It’s tower defence with ADHD, and I’m here for it.
Levels get nuts fast. Early stages ease you in, but by the end, you’re fending off waves of enemies coming from multiple paths, with bosses like the Japanese announcer who shrug off your towers like Randy ignoring Sharon’s complaints. Single-player’s a grind—you’re constantly swapping characters, building, and throwing snowballs. But co-op? Up to four players can each control a kid, and it’s a blast coordinating who’s building and who’s sniping enemies. It’s the kind of chaos where you’re yelling at your buddy to “stop sucking, Kyle!” while laughing your ass off. If you have four controller’s to hand, it’s pure splitscreen fun.
South Park Let’s Go Tower Defense Play was only ever released for the Xbox 360, no PS3 or Wii ports were ever developed. It wasn’t even released or made compatible with the Xbox One, and since was only ever released digitally on Xbox Live it could now be considered abandoned media.
The PS2 instalment for Sony’s Wipeout series of futuristic racers, which gave us the first 60fps Wipeout experience. It was released late for a first party PS2 title, coming out in 2002. It is set in the year 2160 during the F9000 Anti-Gravity Racing League and sees the return of ship pilots that can be selected by the player.
Wipeout Fusion builds on the series’ evolving combat system, which started simple in the original game and grew more complex. The F9000 league’s focus on aggression leads to more weapons (26 vs. 10-15 in priors), greater emphasis on elimination, and modifications like backward-firing options. Your ship has limited energy that can be depleted, which must be replenished by passing through a energy recharge station located adjacent to the finish line. Because of how vicious the enemy players can be, you will often find yourself having to pass through this to keep your ship in the game.
Track design is a bit of a mixed bag, here you are treated to much more detailed environments with a lot more elements on the track. But this can be very distracting and often confusion, occasionally I have took a wrong turn or have even got lost as there are twits and turns and pathways that appear to be deadened. It does not help the the frame rate tends to tank when there are a lot of ships onscreen, in addition to the article effects when you are either in a sandy or snowy area. Some of the tracks are quite visually busy it can very distracting to play. Some of the track sections are just too dark, like when you enter a tunnel. With the tracks themselves, Wipeout Fusion took the approach of reusing the design over different tracks, kind of like the Ridge Racer games where certain tracks are variations of others. Temtesh bay is a rocky desert mining region set in Australia and features sections that are quite open. Alca Venus as a rainforest feel to it with dense vegetation temples and waterfalls. Cubiss Flat is set in the Alpine glaciers and features snowy mountains and blizzards.
The music’s amazing as to be expected for a Wipeout game, you have a mix of electro, trance and drum & bass that was popular from the era with some standout artists like Utah Saints and Future Sound Of London. Music appears to play sequently, or you can switch it to random play.
Already we have more opponents on the race than was possible on the PS1 versions, with 16 opponents.
What’s disappointing is for a first party exclusive game, Wipeout Fusion does not take much advantage of the PS2 functionality like the i.Link port. The PS1 Wipeout games often made use of the link cable to allow two player gameplay with two consoles which was a nice feature as it allowed for two players to play without having to use split screen. The Namco NeGcon controller is still supported for analogue control, but is redundant since the PS2 comes with the DualShock as standard.
The game’s loading times are also pretty terrible, expect to wait upto one minute for a typical race to load.
Wipeout Fusion faced completion from other futuristic racing games of the era, Quantum Redshift which was exclusive to the original Xbox was released in the same year and features ships racing on planetary tracks, with character-driven pilots (similar to F-Zero) who have rivalries and unique abilities, contrasting Fusion’s pilot team-based approach. Both games share core mechanics like weapon pickups, upgrades, and high-speed chaos but Quantium Redshift has more refined combat system with the concept of homing weapons, non-homing weapons and a deployable shield. They types of weapons are dictated by the ship you choose, while Wipeout Fusion is based on what has randomly been selected when you fly over a weapon pad.
Still, Wipeout Fusion was considered a weak entry in the series, and it wasn’t until 2005 with the release of Wipeout Pure which saw a reboot of the series mechanics.
Street Racing Syndicate is like the mixture of The Fast and the Furious and a Hot Import Nights car show. Released in 2004 by Eutechnyx and Namco (who developed Ridge Racer), it’s you against the underground racing scene in cities like LA, Miami, and Philly. Your goal? Stack cash, earn respect, trick out your ride, and—get this—charm virtual models with your sick drifts. It has that weird 2000s vibe where winning races unlocks videos of real-life models. It’s cheesy as hell but you have to love it.
Gameplay’s where this game revs its engine. You’re dropped into an open-world hub—way ahead of its time for 2004—cruisin’ between races, respect challenges, and pink slip bets where you can win or lose your car. The Street Mode is the meat of it: race through city streets, day or night, dodging traffic and pulling stunts like drifts or two-wheel driving to rack up respect points. The damage system is legit—smash your ride too hard, and it handles like a shopping cart, plus repairs hit your wallet like a bad night at the casino. It’s not just “go fast, turn left”; you gotta think about not wrecking your bankroll. Arcade Mode’s got quick races, checkpoint runs, and speed trials if you just wanna jump in, and the console versions had online multiplayer back in the day—though good luck finding a server now, unless you’re time-traveling to 2004.
The car roster? Solid. Over 50 licensed rides from Nissan, Toyota, Mitsubishi, Subaru, and more. You’re tuning up Skyline GT-Rs, Supras, and RX-7s with real-world parts from brands like AEM and Sparco. Customisations deep for the time—think engine swaps, body kits, and neon lights that scream “I watched Tokyo Drift too many times.” It’s not quite Need for Speed: Underground’s level of polish, but it’s got enough to make you feel like a street mod god. The controls are arcadey but tight, with a weighty feel that makes drifts satisfying, though it ain’t as forgiving as Underground or as sim-heavy as Juiced.
Visually, SRS holds up… kinda. The cities look alive with neon glow and traffic, but the graphics are a bit rough compared to Underground’s slick sheen. Cars look dope, especially when you’re rocking custom paint and rims, but the environments can feel blocky, like someone forgot to polish the backstreets. The soundtrack’s got that early 2000s energy—think Chingy, Xzibit, and some generic hip-hop beats. Sound effects are decent—engine roars and tire screeches do the job, though they don’t quite pop like Forza or even Midnight Club.
SRS is unapologetically 2000s. It’s got that Fast and Furious swagger, complete with the cringey girlfriend mechanic that’s so dated it’s almost charming. But that’s the appeal—it’s raw, it’s gritty, it doesn’t pretend to be high art. Compared to Need for Speed: Underground, it’s less polished but has a unique edge with the damage system and open-world cruising. Juiced feels more serious with its crew management, but SRS is just about living the street life without overthinking it.
Downsides? It’s not perfect. The AI can get in your way at time, and will either rubberbanding like crazy or drive like they’re on their learner’s permit. And while the open world was cool for 2004, it feels small compared to modern racers like Forza Horizon.
Versions
Gamecube: The NGC release is pretty basic, there no online or custom sound support that you would find on the other console releases but it does run at a stable framerate.
PlayStation 2: This version make basic use of the PS2’s capabilities, and lacks support for it’s progressive scan mode which would have been much welcomed for a racing game. There was online support if you had the required Network Adapter, or a PS2 slim that featured built in Ethernet. The online servers have since been shut down and there does not appear to be a community project to bring it back online.
Xbox: This port included support for custom soundtracks, so any music that you had saved to the Xbox hard drive could be played back in game.
Microsoft Windows: Street Racing Syndicate was also released for the PC, back in the Windows XP era, and appears to work fine all the way to Windows 10. You can even purchase It digitally online. Online play hs workable if you use OpenSpy
Ridge Racer—the granddaddy of drift-happy arcade racers—gets dusted off and slapped onto modern consoles like the Switch 2, PS5, and Xbox Series X|S. For 16.99, you’re getting the original arcade game—think one track, one car (that red Mazda MX-5 lookalike), and a whole lot of techno beats. No frills, or DLC’s, just pure arcade racing. We have seen a slight resurgance of Ridge Racer games with Type 4 and the PSP Ridge Racers 2 being rereleased on the PS4/5, making use of the consoles emulation, and as a fan of the aracde original I’m excited to see Ridge Racer ported to the home consoles… again.
Ridge Racer on the Xbox Series X
The game takes full advantage of the analogue controlls offered by the modern consoles, The drifting feels good—tight, responsive, and satisfying when you nail that perfect slide through Ridge City’s bends. You’ve got four modes: Novice, Intermediate, Advanced, and Time Trial, each tweaking the speed and lap count. Time Trial’s the real MVP, pitting you against a rival car in a one-on-one showdown. Two ROMs are offered, with the DX version using an H-shifter and clutch. It’s cool, but good luck finding a controller that makes it feel natural.
Hamster didn’t just add the arcade ROM and call it a day. They included in some extra goodies: A proper Time Attack Mode, High Score and Caravan Modes for leaderboard chasers, and a rewind feature for when you make a mistake on that hairpin turn. Multiple save slots are nice, and the redesigned UI’s slicker than the old Arcade Archives setup. PS5 and Xbox players get trophies and achievements. The extra modes make use of save states which are transparent tot he user, and stats are recorder and shared online with other users.
But here’s the kicker: no multiplayer, no extra tracks, no car selection, and no third-person view like the PlayStation version had. It’s the arcade original, which is both its charm and its biggest middle finger. There isn’t enough content to justify the price, even if the game is accurate to the original ROM.
Still it’s a nice charming game, and a nice tribute to Ridge Racer. Hopefully we will see further System 22 releases ported to home console, mainly Rave Racer and Ace Driver in their glorious 60fps.
Another FPS game released November 2010 and developed by Treyarch. Considered to be a sequel to World At War.
The game’s set in the 1960s, at the height of the Cold War, where the U.S. and Soviet Union are locked in a global pissing match. The campaign’s core conflict revolves around covert U.S. operations to counter Soviet influence, from Cuba to Vietnam to Arctic outposts. It’s all about proxy wars and espionage, reflecting the real-world fear of mutually assured destruction. You’re playing as CIA operative Alex Mason, running black ops to stick it to the commies, which screams “America, hell yeah” but also shows the shady lengths the U.S. went to for dominance.
The Bay of Pigs Invasion (1961) kicks things off, with Mason involved in a botched CIA-backed attempt to overthrow Castro’s regime in Cuba. It’s a direct nod to U.S. anti-communist policies and the failure of covert intervention, showing the messy reality of regime change. The game doesn’t shy away from portraying Castro (or at least his double) and the Cuban Revolution as key pieces of the geopolitical chessboard. Vietnam War missions, like those in Khe Sanh and Hue City, highlight the U.S.’s military quagmire against the Viet Cong and North Vietnamese. Black Ops captures the chaos and moral ambiguity of the war, with soldiers like Woods griping about the pointlessness of it all, echoing real-world anti-war sentiments.
Numbers are a common occurance within the game campaign and play a large role int he story. The “Numbers” program, where Mason’s brainwashed by the Soviets, is a big metaphor for psychological warfare and propaganda. The idea of a sleeper agent programmed to kill on command plays into Cold War fears of ideological control—both sides were paranoid about the other “corrupting” their people. It’s less about left vs. right and more about how far governments (U.S. or Soviet) will go to manipulate minds for their agendas.
Nova 6, the fictional chemical weapon, is a plot driver, with the Soviets planning to unleash it on the West. It’s a stand-in for real Cold War anxieties about WMDs, like nerve gas or nukes. The game doesn’t preach, but it shows the U.S. and Soviets both playing dirty—testing weapons, running unethical experiments (like Reznov’s backstory)—which raises questions about the moral cost of “winning” a war.
The game leans hard into the U.S. as the “good guys” fighting Soviet evil, with characters like Dragovich and Kravchenko painted as cartoonishly vile. This mirrors the era’s anti-communist propaganda, where the Red Scare was still a thing. That said, it’s not totally one-sided—Mason’s team isn’t exactly saintly, and the CIA’s methods (torture, assassination) get a side-eye, hinting at the hypocrisy of both superpowers.
Multiplayer
This is where Black Ops earned its stripes. You’ had a selection of 14 maps at launch, classics like Nuketown, Firing Range, and Jungle. Black Ops saw the introduction of COD Points, so you could flex your wallet and unlock that shiny new gun without grinding for days.
Nuketown: A tiny ‘50s suburb with two houses, a couple of buses, and a whole lot of carnage due to it’s small size. The nuke shelter and mannequins give it that creepy Cold War charm.
Firing Range: A military training ground with shacks, towers, and tight corners. Think of it as Nuketown’s slightly bigger cousin. Fast-paced but with just enough room to breathe. You can flank, hold a rooftop, or go Rambo in the middle. The central tower’s a death magnet, but controlling it feels like you’re the king of the lobby.
Jungle: A dense Vietnam jungle with rivers, huts, and elevated paths. It’s humid and hostile, like you’re actually in ‘Nam. Slower-paced, with sneaky flanks and sniper perches. The foliage lets you play Predator, but one wrong move and you’re eating an AK-47 burst. Perfect for tactical players who like a bit of stealth. Snipers and assault rifles shine, but watch for flankers with SMGs. Claymores are your best friend.
Launch: A Soviet cosmodrome with a rocket that actually launches mid-match. Big, open, and industrial. That rocket launch is a cool gimmick, shaking up sightlines. It’s a sniper’s dream with long lanes, but the side paths let rushers flank. Feels epic, like you’re storming Area 51. The rocket’s a distraction however, don’t get caught gawking.
Cracked: A war-torn Middle Eastern city with rubble, markets, and a big statue. Urban chaos at its finest. There lots of cover, destructible bits, and verticality. You can climb buildings or sneak through alleys. Feels like a real battlefield, but the layout’s forgiving for newbies.
Grid: A Soviet industrial complex with warehouses and open yards. Snowy and tactical. Great for objective modes—lots of choke points and a central building that’s a killzone. It’s balanced but rewards map knowledge.
Villa: A swanky Cuban estate with courtyards, a pool, and tight indoor areas. Fancy but deadly. It’s like crashing a drug lord’s party with an M16. The open courtyard’s a sniper’s playground, but indoors is a shotgun fest. Feels unique compared to the military vibes elsewhere.
Crisis: A Cuban military base with jungle edges and a central bunker. It’s got a good flow—open areas for firefights, jungle for stealth. The bunker’s a hotspot, but the map’s not as iconic as Nuketown or Firing Range. Solid, not spectacular.
Havana: Cuban city streets with colorful buildings, alleys, and a central plaza. Feels like a mini “Operation 40” from the campaign. Tight corners and rooftop routes make it a flankers’ paradise. The cars add cover but can explode GTA San Andreas style, so don’t get cozy around them.
Radiation: A Soviet nuclear plant with tunnels, conveyor belts, and an eerie glow. Creepy and industrial. The underground tunnels are a wild card—perfect for sneaky kills or getting ambushed. The open reactor area’s great for big team fights.
WMD: A snowy Soviet weapons facility, tied to the campaign mission. Big, with hangars and open fields. The snow adds atmosphere, but it’s a sniper’s map at heart. Feels epic but can drag if your team’s not coordinated.
Array: A massive Soviet radar base in the snow, with a giant dish and scattered buildings. It’s one of the biggest maps, built for snipers and vehicle cover. The dish is a cool landmark, but the map’s too spread out for my taste—feels like running a marathon to find a fight.
Zombie
Zombies mode was one of the more popular modes of the multiplayer. “Kino der Toten” is set in an abandoned cinema, with you and other players trying to hold the line at the theater while zombies swarmed like Black Friday shoppers. Then you got “Five,” where you’re playing as JFK and Nixon mowing down the undead in the Pentagon. Very absurd. “Dead Ops Arcade” was this weird top-down fever dream, like if Smash TV and a zombie apocalypse had a lovechild. Additional DLCs like Rezurrection just poured gas on the fire with more maps.
Versions
Xbox 360: The 360 version runs at 1040×608 but manages to maintain its 60fps framerate. This version is playable on the Xbox One, although It’s not enhanced to take advantage of the more capable hardware. A co-operative mode is supported with two controllers, allowing for split-screen play for multiplayer.
Multiplayer is still active on Xbox Live, and for the deathmatch and free-for all playlists you can often jump into a match, or wait a few minutes for matchmaking to assemble a team of players. You might run into hackers every now and then, sometime I’ve even landed on a mod menu by chance, you can often just leave the match and wait a few minutes before matchmaking again.
PlayStation 3: Compared to the 360 version, the PS3 runs at a lower resolution at 960×544 which makes it closer to an SD resolution. Like the 360 version, you can also have two players off the same console with split screen mode. Online play is still supported and is free, but there is an issue with stats not saving for newer PSN profiles, stats have also been reported to reset when your PSN profile name is amended.
Microsoft Windows: The Windows version uses dedicated servers via Game Servers, a which was much preferred over Modern Warfare 2’s peer-to-peer. This means better connection stability and less host migration grief, though server quality varies. You get mod tools and a developer console, letting you tweak settings or create custom content (especially for Zombies).
Mac OS X: The Mac version was ported by Aspyr and was released a few years later. The game was previously sold on Steam, although it was a separate product/licence to the Windows version. It also used different servers, which meant it was more difficult to find multiplayer games. Since it was a 32bit application, it’s no longer compatible with modern versions of macOS which can only run 64bit applications.
The port itself is semi decent, it ran OK on low setting for an iMac 2011 (with a Radeon 6750) though expect to see a lot of ‘Shader Warming’ messages.
Nintendo Wii: The Wii version is a lot more compromised for it to run on its less capable hardware. You do have the benefit of motion controlled aiming but this can be awkward to get used to, thankfully there is support for the Wii Classic Controller (Not the Gamecube controller) for those that prefer the traditional experience. Online play was previously supported but the official servers were discontinued. You can use Wiimmfi to restore online play, but the online populations are tiny and is often difficult to find a match. Sadly a lot of people wanting to play Black ops online will just use the more popular 360 or PS3 versions.
Still its an impressive port, but the motion controls can be an issue for some players.
Conclusion
Black Ops is a popcorn shooter with a side of political spice. The Cold War backdrop gives it that gritty “us vs. them” vibe, but it’s not afraid to show the U.S. getting its hands dirty. You’re not just fighting for freedom; you’re knee-deep in the CIA’s sketchy playbook, which makes you wonder who the real bad guy is.
Man of Medan—first game in this anthology series from Supermassive Games, dropped in 2019. You’re following these five college-age knuckleheads—Alex, Brad, Julia, Conrad, and Fliss—who are out on a dive boat in the South Pacific, chasing a WWII plane wreck. Things soon go south, Pirates show up, a storm hits, and boom, they’re stuck on an abandoned freighter, the SS Ourang Medan. Supposedly based on a real ghost ship legend.
Gameplay-wise, it’s classic Supermassive. You’re making choices, hitting quick-time events (QTEs), and praying you don’t get your favorite character killed The story branches like crazy—every choice feels like it could kill someone or save ‘em. You’re picking dialogue with this “head or heart” compass thing, which sounds cheesy but actually works for those clutch “do I trust this sketchy dude?” moments and is a new concept that has followed onto the other Dark Pictures games. The QTEs can be tense as hell. Miss one, and your character might die. They added some accessibility stuff later, like QTE warnings and easier controls, which is nice for folks who don’t have the reflexes or prefer for a more casual gameplay. The game pushes its branching narrative hard, but some choices don’t impact the story as much as you’d expect. You’ll stress over a decision, only to find it loops back to the same outcome or has minor consequences.
Still, the relationships the charicters have with each other is affected by your decisisions and reactions to certain events, Stronger relationships can mean characters are more likely to save each other in clutch moments. For example, if Alex and Julia’s romance is solid, Julia might risk her neck to pull Alex out of a bad spot. But if you’ve been a jerk, like making Fliss and Conrad beef over dumb decisions, they might not lift a finger when the other’s in trouble, leading to some brutal deaths. It’s a little silly since I doubt once character would abandon them over an argument they had earlier, but this is horror movie logic.
Multiplayer is where this game gets wild. You got Shared Story mode, where you and a buddy play online, controlling different characters, and you can totally screw each other over without knowing it. Then there’s Movie Night mode, where you pass the controller around with your crew.
The ghost ship’s got this grimy, claustrophobic vibe—think Dead Space but wetter and with more jump scares. The character models are pretty good, especially since they’re motion-captured by legit actors like Shawn Ashmore, who was previously in the Quantum Break game. The atmosphere’s on point, with flickering lights and creepy noises that’ll make you check over your shoulder. But, man, the pacing? It’s slower than me trying to get through a 5K. The first half drags like a bad PKA tangent about crypto—takes forever to get to the spooky stuff. Without spoiling, the big narrative reveals lean on horror tropes that feel recycled if you’ve seen movies like Ghost Ship or Event Horizon. The supernatural elements and the “is it real or not?” angle aren’t as clever as they think they are.
Overall, Man of Medan is a fun, spooky ride with your boys, especially in multiplayer, but it’s not topping Until Dawn. If you’re into interactive horror and want something to play while arguing with your friends, it’s worth grabbing on sale
Drew1440: Blog 