Tag Archives: Xbox 360

Perfect Dark Zero

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.

At least Aliens are still fictional

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.

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.

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.

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.

South Park Let’s Go Tower Defense Play!

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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.

Halo 3 ODST

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A first-person shooter developed by Bungie and published by Microsoft Game Studios, released on September 22, 2009, for the Xbox 360. Unlike the main Halo series, which focuses on the super-soldier Master Chief, ODST puts you in the boots of Orbital Drop Shock Troopers (ODSTs), elite but human soldiers in the Halo universe.

For the campaign you play as The Rookie, a faceless ODST grunt dropped into New Mombasa, which looks like a city planner had a stroke and then got glassed by aliens. There are a lot of closed off area’s, and parts of the city are blocked off with huge doors. It’s likely the city was designed around the Xbox 360’s memory limitations, as the city is divided into sections that can fit into the console’s limited memory. The vibe is dark, rainy, and lonely and could also pass for a horror game with its atmosphere. You wander around this semi-open-world hub, picking up clues to trigger flashback missions where you play as other squad members.

The game makes a departure from previous Halo games where you typically play as the MasterChief. With Halo 3 OST, you play as the ODSTs, or Orbital Drop Shock Troopers, are an elite special forces unit of the United Nations SpaceCommand (UNSC) military. They play vital role in the war against the constant and whilst not as powerful as the Spartans (MaterChief), they are still pretty capable compared to the Marines.

There are also collectibles in the form of audio logs about a woman named Sadie, who was present at the time of the attack. You can hear the screams and the panic of the public as the convenient attack whilst Sadie is screaming to get to safety. It’s kind of like listening to a podcast whilst you are wondering around the streets of Mombasa.

A few of the main characters are:

The Rookie: The main person you play as, pretty much silent protagonist since its intended to be a stand-in your the player.
Gunnery Sergeant Edward “Buck” – Voiced by Nathan Fillion, this guy’s got the charm of Mal from Firefly but with a better haircut. Buck’s the guy you want runnin’ your team: tough, loyal, and droppin’ one-liners that make you wanna high-five your TV.
Corporal Taylor “Dutch” Miles – Dutch, voiced by Adam Baldwin—yep, another Firefly alum—is the squad’s heavy weapons guy, like if you gave a tank a personality and a Bible. He’s all about blowing stuff up with rockets or drivin’ Warthogs.
Lance Corporal Kojo “Romeo” Agu – Romeo, voiced by Nolan North—aka every video game character ever—is the squad’s sniper.
Private First Class Michael “Mickey” Crespo – Mickey’s the explosives nerd, voiced by Alan Tudyk, who’s basically Wash from Firefly.
Captain Veronica Dare – voiced by Tricia Helfer, She’s not an ODST but tags along for some secret spy project involving an alien Engineer and the city’s AI. She’s got history with Buck, which is like watching a soap opera with more explosions.

You will play as these characters at various points during the campaign, each will have their own weapon set.

Firefight is a cooperative survival mode introduced in Halo 3: ODST (2009) for the Xbox 360, designed for up to four players (local or online via Xbox Live). In Firefight, you and your teammates play as ODSTs defending against endless waves of Covenant enemies (Grunts, Jackals, Brutes, etc.) on specific maps based on the campaign’s environments. Enemies come in waves (five waves per round, three rounds per set), with difficulty escalating as you progress. Each wave introduces tougher enemies or new enemy types (e.g., Brute Chieftains or Hunters in later rounds). After each set, “Skulls” (game modifiers) activate, increasing difficulty by adding challenges like tougher enemies (Tough Luck Skull), reduced player health (Iron Skull), or faster enemy movement (Catch Skull).

2009 saw many multiplayer game incorporate this co-op PvE mechanic, like Horde mode in Gears Of War 2, and the Zombie Mode in Call Of Duty World At War.

ODST started as a “mini-campaign” idea, like a quick DLC to keep fans busy after Halo 3 dropped in 2007. Bungie had a small team—about 70 folks, with a core design crew of five—working with the Halo 3 engine, so they didn’t have to build from scratch. They reused assets, tweaked the gameplay for squishy ODSTs instead of tanky Spartans, and added cool stuff like VISR mode and silenced weapons. The big hook was the noir vibe, with New Mombasa as a semi-open hub. Bungie had a ready-made engine from Halo 3, so they didn’t need to redesign a new physics engine for the gameplay, and may assets from Halo 3 could be reused. They had a small, experienced team, not the 500+ you see on modern blockbusters. The scope was tight: a short campaign, a new co-op mode (Firefight), and recycled Halo 3 multiplayer maps. They also leaned hard on existing lore, so no need to dream up a whole new universe. Compared to today, where it can take up to 5 years for a new mainline Halo title.

Call Of Duty – Black Ops

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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.

Call Of Duty – World At War

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A first person shooter released as a followup to Modern Warfare (Call Of Duty 4), here we return to history. World at War hits different in comparison to the previous titles in the series, taking on a more gritty undertone with the games campaign, which can carry over to it’s multiplayer maps.

The game is set during World War II, depicting intense battles such as Peleliu, Okinawa, Stalingrado, and Berlin. It emphasizes the gritty and brutal nature of the conflict, including unique enemies like Kamikaze fighters and Banzai chargers. The single-player campaign is split into two perspectives. The American campaign follows US Marine Raider Private C. Miller in the Pacific Theater, covering battles like Makin Atoll, Peleliu, and Okinawa. A mission featuring US Navy Petty Officer Locke as a gunner during Okinawa is also include. The Soviet Campiagn centers on Soviet soldier Private Dimitri Petrenko, alongside Sergeant Viktor Reznov, from Stalingrado to the Battle of Berlin, culminating in planting the Soviet flag on the Reichstag.

The game’s campaign touches on a few political elements, specifically with patriotism and Nation Duty. While not overt, the game subtly critiques the dehumanizing nature of war through its graphic violence and grim tone, showing the cost of militaristic ideologies. The campaign doesn’t shy away from war’s horrors—flamethrowers burn enemies alive, civilians are caught in crossfire (e.g., “Vendetta”), and missions like “Eviction” depict urban devastation. This contrasts with the patriotic heroism, suggesting war’s toll on all sides, though it’s less critical of Allied actions. The game’s mature rating and gritty aesthetic (dismemberment, blood effects) aim to portray WWII’s brutality authentically, unlike earlier, sanitized WWII games. However, it stops short of questioning the Allies’ moral framework, focusing on Axis aggression.

The game reflects WWII’s propaganda-driven narratives, with each side’s campaign reinforcing their ideological stance—American democracy vs. Japanese imperialism, Soviet communism vs. Nazi fascism. Soviet missions use rhetoric like “For the Motherland!” to evoke communist unity, while American missions emphasize liberating the Pacific. The game doesn’t explore internal political tensions (e.g., Soviet purges, U.S. segregation) but mirrors wartime propaganda’s black-and-white framing. This reflects how WWII media shaped public perception, with clear heroes and villains. The game’s Zombies mode, while fictional, uses Nazi zombies as a shorthand for evil, reinforcing this narrative.

The Pacific campaign subtly touches on imperialism, as the U.S. fights to reclaim territories from Japanese control, but it doesn’t critique American expansionism. Missions like “Semper Fi” and “Black Cats” focus on retaking islands like Makin and Okinawa, framing the U.S. as liberators. The game sidesteps the Pacific’s colonial history (e.g., U.S. control of the Philippines) and Japan’s imperialist ambitions are villainized without nuance.

This reflects a Western-centric view, where Allied actions are heroic, and Japanese motivations (e.g., resource-driven expansion) are reduced to fanatical aggression.

Multiplayer

There are six multiplayer modes, including Team Deathmatch and Capture the Flag, with a ranking system up to level 65. You can unlock weapons, perks, and grenades as they progress, with a Prestige mode resetting rank for additional class slots. Killstreaks are rewarded following several consecutive kills In a row without dying, the rewards Includes three killstreak rewards: Recon Plane (3 kills), Artillery Strike (5 kills), and Attack Dogs (7 kills). There are 13 maps included, with additional maps added as DLC.

Zombies Mode

This was the first in the series to include a Zombies modes, which is a PVE mode where a team of players have to face off against computer controlled zombies whilst scoring enough points to spend on weapons, ammunition and barriers. The vibe is spooky, the teamwork is clutch, and it’s got that “one more game” energy that keeps you up ‘til 3 a.m. The later DLC zombie maps, like Verrückt, just crank the insanity up. This mode basically birthed a whole subgenre for Call of Duty and has become a common staple of the series. It can be best thought as a competitor to the Horde mode from Gears Of War 2, Firefight from Halo Reach, or survival from Left 4 Dead.

Versions

Xbox 360: The only version that has support for achievements, along with standard Xbox Live features like matchmaking and leaderboards. You do need to subscribe to play on Xbox Live unlike the other versions but is playable on the Xbox one and the Series consoles.

PlayStation 3: Compared to the 360 version, there is a noticeable frame drop when the game gets busy.Trophies were added following an update.

Wii: The Wii version is a tailored adaptation of the game for Nintendo’s console, offering unique benefits despite hardware limitations compared to the PS3, Xbox 360, and PC versions. While it sacrifices some graphical fidelity and features (e.g., no online co-op, fewer maps), it leverages the Wii’s motion controls and accessibility to deliver a different experience. I cant say the motion controls are good for aiming, sometimes you get a benefit of accuracy if the Wii Remote is playing nice, but most times it s awkward to correctly aim which makes the game more clunky to play.

Windows: Avaliable on Steam, but appears to lack achievement support since Steam did not support this at the time. This version still works on modern systems and the servicers are still online. But various security expoits make this version risky to play.

Conclusion

Call of Duty: World at War is a straight-up classic. The campaign’s a wild ride, multiplayer’s got that addictive grind, and Zombies? It’s not perfect—grenade spam and some repetitive missions can be a buzzkill—but this game’s got heart, guts, and a legacy that kicked off the Black Ops series of games.

Unreal Tournament 3

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The last major release of Unreal Tournament…

UT3 is primarily focused on online multiplayer action, continuing the fast-paced, competitive tradition of its predecessors. It offers eight game modes, including classics like Deathmatch and Capture the Flag, alongside newer additions such as Duel, Warfare, Betrayal, and Greed. The game emphasizes close-quarters combat and projectile-based weaponry, with increased gravity and the removal of dodge-jumping (though dodging, double jumps, and wall-dodging remain) to create a more grounded and intense experience compared to earlier entries.

The single-player campaign diverges from the traditional tournament ladder format of previous games. Instead, it follows a five-act storyline centred on James “Reaper” Hawkins, a mercenary seeking revenge for his clan’s slaughter by the Necris forces. The campaign integrates cinematic elements and cooperative play options, pitting players against AI-controlled bots in a narrative-driven conflict.

The story kicks off in the Unreal universe, post-Unreal Championship 2, with humanity locked in a messy war against the Necris—a race of pale, nanotech-enhanced freaks who’ve been a thorn in everyone’s side since the original Unreal. You play as James “Reaper” Hawkins, a grizzled soldier in the Ronin squad, a tight-knit crew of mercenaries working for the Izanagi Corporation. The campaign’s set against a backdrop of corporate warfare and alien invasion, with planets getting trashed and colonies caught in the crossfire. It’s dark, it’s chaotic, and it’s got that Unreal edge—think industrial wastelands, glowing tech, and a whole lotta bloodshed. Malcom and Lauren make a return, but Brock seems to be missing.

One thing that stands out is the characters design, taking cues for the Gears of War series with the make characters sporting powerlifter physique, yet they are still quite nimble in game. This does contrast with UT’s gameplay style, as it has always promoted fast and twitch area movements, whilst Gears is a lot more slowed paced where characters go into cover more often and make use of melee (or chainsaw-lancer) attacks. It does feel these character designs were Gears rejects as they were a departure from the previous games.

Comparison to previous titles in the series

UT99 set the gold standard—fast, brutal, and pure. It was all about twitch reflexes, with tight maps like DM-Deck and weapons that felt like extensions of your soul. UT2003 cranked up the pace, added dodge-jumping, and leaned into a floatier vibe, though it stumbled with a weaker weapon lineup and less memorable maps. UT2004 fixed that, doubling down with Onslaught mode, vehicles, and a massive content drop—peak variety, peak chaos. Enter UT3: it dials back the floatiness with higher gravity, cuts dodge-jumping, and refocuses on close-quarters intensity. It’s snappier than UT2003/2004 but doesn’t hit UT99’s raw simplicity. New modes like Warfare (Onslaught’s evolution) and Greed add flavor, but they don’t land as hard as UT2004’s sprawl. UT3 feels like a compromise—tight and polished, but missing some of that unhinged freedom.

UT99’s arsenal—Shock Rifle combos, Flak Cannon gibs—was untouchable, perfectly balanced chaos. UT2003 tweaked it, nerfed some classics (Lightning Gun), and felt off. UT2004 brought back the hits, added the Avril, and kept the sandbox wild. UT3? It sticks close to the classics—Rocket Launcher, Flak, Shock Rifle all feel beefy—but tweaks like slower projectiles and a beefier Impact Hammer shift the rhythm. PhysX on PC adds flair (explosions kick up debris), but it’s cosmetic, not game-changing. It’s solid, but UT99’s purity and UT2004’s variety edge it out slightly.

UT99’s multiplayer was a juggernaut—LAN parties, Facing Worlds sniping, pure bliss. UT2003 stumbled with matchmaking woes but had potential. UT2004 was the king—huge servers, modded chaos, and Assault’s return. UT3? It launched strong with crisp netcode and PhysX flair, but the community split over its grounded shift, and Epic’s focus waned fast following the success of Gears of War. The official master server died in 2023, while UT99 and UT2004 still have diehards running custom games. UT3’s Titan Pack tried to juice it up, but it couldn’t match the staying power of previous titles in the series.

Other 2007 shooters, like Halo 3 (released September 25) and Team Fortress 2 (October 10), fell somewhere in between. Halo 3 blended arena-style combat with slower pacing and a focus on teamwork, while Team Fortress 2 leaned into class-based chaos with a lighter tone.

Versions

Microsoft Windows: The best way to play the game, although it has since been delisted by Epic and is no longer sold on Steam. There was a retail version of the game, but even those copies are limited to offline bot matches unless you modify the games ini files to use a custom master server. Still this version will run well on most modern PC’s and Epic even takes advantage of Nvidia PhysX technology if you have a supported graphics card, and the PhysX pack that adds a few exclusive maps to take advantage of the technology.

Nvidia did remove 32bit PhysX support recently with the latest version of their drivers (for the RTX5000 series), so it might be useful to keep an old Nvidia rig going for the older PhysX game, or simply dual boot with a version of Windows that has the older Nvidia drivers installed.

With PhysX enabled, the game turned into a playground of dynamic eye candy with debris flying everywhere, glass shattering into a million jagged pieces, and explosions. Performance-wise, though? It was a mixed bag. If you had a high-end Nvidia card—like a GeForce 8800 GTX or better—you were golden, soaking in 60 FPS with all that PhysX goodness cranked up. But if your GPU was Mid—tier, you would see performance impact. PhysX was a resource hog, and without a dedicated card or a beefy GPU, you’d see frame drops during the crazier moments. Epic patched it over time—by version 1.2 or so, it ran smoother—but early adopters definitely felt the growing pains. Back then it was recommended to have a second Nvidia card dedicated for the PhysX processing, something like the GT8600 series was advised.

Was it game-changing? Not really—UT3 was still about skill and speed, not physics gimmicks. But it was a hell of a flex for its time, a taste of what next-gen destruction could be. By 2025, it’s a cool footnote—modern engines like Unreal 5 do this stuff natively—but back then, PhysX in UT3 was like strapping a jet engine to an already wild ride.

PlayStation 3: A very interesting console adaptation, this version is a very well designed port that takes advantage if the S3’s hardware, but is still a bit too early to take advantage of the Cell processor, so expect a few frame-drops during a lot of action.

What is really interesting is how Epic tried to bring as much of the PC as possible to the console version of the game. Keyboard and Mouse controls are supported by plugging them into the USB ports of your PS3, and you can possibly even use Blueooth keyboard and mouse, althroug I’ve not tested the BT keyboard since I don’t have one to hand. This makes the game play very close to the PC versions since you benefit formt he accuray that mouse aiming provides, but you are segregated from controller only players. When setting up a game server, you are givern the option to allow both or just either controller or KB/M players.

Where Epic went beyond was with its mod support, you can install third party maps and skins for the game the have been compiled specifically for the PS3 version of the game. There are some limits however, Trophies are disabled when anything custom is loaded, possibly to prevent trophy exploits. Ways of installing mods were through the ingame browser, or importing it through a USB drive that awas FAT32 formatted.

Lastly you can also install this version of the game to the HDD, which is optional but useful to speed up loading times and to reduce wear and tear off the Bluray drive.

Xbox 360: This version feels like an after throught since it lacks the titan pack that both the PS3 and PC versions received, due to Microsoft’s policies regarding free DLC. However this prison is still playable online, and is compatible with the Xbox One and Series Console. In fact you can still purchase this version of the game digitally for use on the Xbox One and Series consoles.

Conclusion

In 2007, UT3 represented the pinnacle of the arena shooter—a genre rooted in the ‘90s with Quake and Unreal Tournament ’99. It was a love letter to veterans who craved speed and skill, but its timing was unfortunate. The industry was shifting toward narrative-driven and progression-based shooters, a trend Call of Duty 4 epitomized. CoD4’s influence reshaped multiplayer gaming, spawning countless imitators, while UT3 struggled to maintain relevance, with its online scene dwindling over time.

That said, UT3 wasn’t without impact. Its engine technology powered countless games, and its modding community kept it alive on PC.

Binary Domain

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A third person shooter games related in 2012 by Sega, set in the future where global warming have causes robots to become the main labour force, followed by a series of conspiracies. However the game is well known for its use of speech input mechanics that can be used to give commands and reactions to the characters. It’s heavily driven by its shoot and cover mechanics that give it close similarities to Gears Of War.

A key mechanic is the “Consequence System,” where player actions and dialogue choices affect squadmates’ trust in Dan, influencing their behaviour and the story’s progression. Players can issue commands to teammates either via controller inputs or voice recognition (using a headset or Kinect on Xbox 360), though the voice feature was often criticised for inconsistency. Personally I gave up with it after 20 minutes of use, since you often have to shout the commands to the game for it to pickup, its easier and more convenient to press the corresponding button on the controller instead.

Combat involves fighting highly detailed robots that react dynamically to damage—shoot off a leg, and they’ll hobble; remove their head, and they might turn on their allies. Boss fights take advantage of this also, requiring you to find the enemy’s weak spot to attack it.

The main characters in the game are Dan Marshall, also known as ‘The Survivor’ due to his lucky history. Dan is a brash, cocky American with a sarcastic edge and a never-say-die attitude. He’s a natural leader but often hides his deeper emotions behind quips and bravado—like calling himself “The Survivor” after narrowly escaping death repeatedly. He’s loyal to his team but can clash with authority, showing a rebellious streak.

Additional characters you will meet no the way can be selected as team-mates, and your trust can increase as you react to certain dialogue lines or how well or quickly you shoot an enemies. Be careful though, friendly fire or picking the wrong dialog option can reduce their trust in you. In a way it’s similar to mass Effect 2 where your relationship with your squamates has an ultimate effect to the game’s ending.

Charles Gregory: Charlie is the calm, intellectual Brit of the group—think of him as the squad’s brain. He’s composed, methodical, and speaks with a dry wit, often playing the straight man to Dan’s chaos. He’s a stickler for protocol but isn’t above bending rules if the mission demands it. Beneath his cool exterior, he’s driven by a quiet sense of duty and a need to protect his team. He has a very professional demeanour, which means its best to respond with ‘yeah’ for most of his dialogue.

Cain Delaunay: Cain is a suave, charming French robot—yes, a robot on a team hunting robots, which is peak irony. He’s polite, witty, and unflappably cool, with a refined accent and a knack for dry one-liners. He’s programmed for loyalty and efficiency but shows glimmers of personality beyond his code, hinting at deeper self-awareness. He’s the squad’s optimist, balancing their human squabbles with calm logic.

Roy Boating: Big Bo is the loud, brash muscle of the group—think a jock with a heart of gold with a physique that could makes Ronnie Coleman look small. He’s got a frat-boy vibe but a strong sense of camaraderie, often hyping up the team, which makes me think he based based off Cole from Gears of War.

Faye Lee: Faye is cool-headed, reserved, and deadly precise—a Chinese operative with a stoic exterior. She’s professional to a fault, rarely cracking a smile, but shows hints of warmth as she bonds with Dan. She’s driven by duty and a buried personal vendetta, making her a wildcard in the squad’s dynamic.

Rachael Townsend: Rachael is tough, fiery, and no-nonsense—a classic strong female archetype with a British edge. She’s quick to call out stupidity and has a sharp temper, but she’s fiercely loyal once you earn her trust, and becomes more compassionate towards the end of the game.

Getting more involved with the story, it’s set in Tokyo in the year 2080, Binary Domain takes place in a world reshaped by global warming and rising sea levels, where robots have become a dominant labor force. The story follows Dan Marshall, leader of an international squad called the “Rust Crew,” tasked with infiltrating Japan to investigate Amada, a corporation suspected of creating “Hollow Children”—robots indistinguishable from humans, violating global laws. Binary Domain explores themes of artificial intelligence, transhumanism, and the essence of life, unfolding in a futuristic Tokyo divided between derelict slums and pristine upper-city towers. If you’re a fan of Battlestar Galatica, the story should interest you as it questions the liens between AI and humanity.

At the heart of Binary Domain is the New Geneva Convention, a global treaty banning the creation of robots indistinguishable from humans (like the “Hollow Children”). This reflects a political debate about controlling advanced technology—think AI ethics or genetic engineering in our world. The game pits the Amada Corporation, which secretly violates this law, against international forces like the Rust Crew, sent to enforce it. It raises questions about who gets to set technological boundaries, how those rules are policed, and what happens when profit-driven entities (Amada) defy them for power or innovation. The Hollow Children themselves—robots unaware they’re artificial—force players to grapple with the moral cost of such laws: is it right to destroy sentient beings to maintain human supremacy?

The game’s vision of Tokyo starkly illustrates class divides, a classic political theme. After global warming floods the world, Japan builds a new upper city for the elite—gleaming, robotic, and exclusive—while the lower city remains a derelict slum for the marginalised. Robots, built by companies like Amada, replace human labor, leaving the working class obsolete and resentful. This mirrors real-world anxieties about automation and economic disparity, asking how societies manage when technology benefits the few at the expense of the many. Characters like the resistance fighters you meet highlight this tension, fighting against a system that priorities robotic efficiency over human livelihoods.

The Hollow Children introduce a philosophical-political angle: if something acts and feels human, does it deserve rights? The game’s twist—that some characters, and even Dan’s potential offspring, might be hybrids—blurs the line between human and machine, echoing debates about citizenship, personhood, and exclusion. In 2080, humans cling to their dominance by denying robots agency, a policy enforced through violence. This mirrors historical struggles over who gets to be “human” in political systems—slaves, immigrants, or marginalised groups—and critiques rigid definitions of identity upheld by power structures.

Versions

Windows: Available on Steam. For this version ic recommend to test and check the microphone settings in Windows before you play if you’re insisted, since the game will default to the selected input device in Windows.

PlayStation 3: Runs at a lower frame rate compared to the 360 version, but still fun to play.

Xbox 360: This version has the ability to use the gamepad’s headset or the microphone on the Kinect Sensor to give voice commands. The headset seems to be the more reliable way of doing this, though its still hit or miss if the commands get registered in time.This version can also be played not he Xbox one, and even benefits fromFPS Boost on the Xbox Series X.

Binary Domain was not considered a success, so it has yet to be rereleased onto a modern platform. A such, the Xbox One/Series X remains the better way to play, or the PC version since it benefits from higher resolution textures on modern hardware.

Dead or Alive 4

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Dead or Alive’s HD debut

The games story picks up from Dead Or Alive 3, only with Helena at the center of the campaign as she inherits DOATEC from her mother who was assassinated in Dead Or Alive 2 but learns the corruption within the company is deep within. Other characters have their own storyline, some which interleave with the main plot with Kasumi/Ayane resolving their conflict to take down DOATEC. These are shown in the cutscenes when you play the characters respective story mode and will culminate with an ending FMV.

A few of the new characters introduced in the game:

Eliot: A young martial artist and a disciple of Gen Fu, and is on a quest for strength.
Kokoro: Bastard daughter of Fame Douglas, who is unaware of her true heritage.
La Mariposa /Lisa Hamilton: An American masked wrestler who also works as a scientist for DOATEC, entering the tournament to investigate or escape from her employers.
Alpha 152: The boss of the game, a clone of Kasumi in energy form
SPARTAN-458: A non-canon fighter inspired by the Spartans from the Halo franchise, A nod to the exclusivity of the game to the Xbox family of consoles.

A lot of the fighters from the previous installments return, including Kasumi, Tina, Jan Lee, Bayman and Helena.

There isn’t much different with the game modes, though they are refined for online play. You do have the story mode which combines the games cutscenes with the fighting rounds, which are rendered within the game engine allowing for characters to use the costume you have chosen which can lead to some funny moments. Returning modes include Time Attack, Survival mode and Team Battle.

The main issue with the game is its difficulty. Dead or Alive 4 lacks an easy mode, with the default difficulty setting being quite challenging, even for seasoned players. The AI was too aggressive and seemed to cheat by countering player moves almost instantly or executing combos that were difficult to break out of. This was particularly highlighted in discussions where players felt the game required near-perfect timing and execution to succeed, which could be frustrating for newcomers or less experienced players. This is the case with the final battle between the boss (Alpha) who is difficult to beat even on the standard difficulty. There were certain rounds where she completely spammed attack moves repeatedly, leading to an instant defeat.
I honestly wonder if the AI is flawed in some way? A lot of matches are won on the basis of luck.

The game remains exclusive to the Xbox 360, but was ported to the Xbox One and Series consoles as part of Microsoft’s backward compatibility program. This also means the game can be purchased digitally online.

Call of Duty 4 Modern Warfare

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The first in the memorable Modern Warfare series, and one that would take the Call Of Duty franchise to new levels. Not to be confused with the modern 2019 remake

Released in 2007, Call of Duty 4: Modern Warfare marked a significant shift for the franchise by moving away from the World War II setting to a contemporary military conflict. Modern Warfare features a single-player campaign where players experience the story from the perspectives of both a U.S. Marine Force Recon sergeant and a British SAS commando. The narrative unfolds across various global locales, offering a cinematic experience that was groundbreaking for its time.
Set in 2011, the game’s plot revolves around a radical leader executing a Middle Eastern president, which leads to a movement in Russia sparking a civil war. This backdrop provided a rich, albeit fictional, narrative involving geopolitical tensions, terrorism, and military intervention.

The game begins with the player assuming the role of Private Allen, undergoing training with the U.S. Marine Force Recon. This serves as a tutorial level and will instruct you on how to use your weapons and grenades, as well as tactical advice. The story quickly shifts to the Middle East, where U.S. forces, including the player’s character, are tasked with capturing or killing a terrorist leader. This mission goes awry when the terrorist leader, Khaled Al-Asad, executes the president of an unnamed Middle Eastern country on live television, inciting chaos. Here, the conflict escalates as both the SAS and the U.S. Marines engage in heavier combat. The narrative focus shifts towards locating and dealing with Al-Asad, while also hinting at a larger conspiracy involving nuclear weapons.

All Ghillied Up & One Shot, One Kill are pivotal missions flashback missions that explain the backstory of Captain Price with Imran Zakhaev, setting up the personal stakes for the characters involved. They are considered to the landmark missions in the Call Of Duty franchise due to their reliance on stealth mechanics, and the decisions the player has to make which will affect the outcome of the missions. Sometimes it’s easier to not take the shot, rather than to just sneak around the enemy and remain in stealth.
The later missions wrap up the game storyline, The SAS and Marines work together to thwart a nuclear threat. These missions include intense battles, the revelation of betrayal, and the pursuit of Zakhaev.

There is also an epilogue mission where you must rescue a VIP from a hijacked airplane. This mission is particularly challenging and not directly connected to the main storyline but serves as post campaign fun.

Political Themes

As a military focused game, Modern Warfare isn’t afraid to delve into several political themes, embedding them into tits narrative. The game begins with the coup in an unnamed Middle Eastern country, where a terrorist leader, Khaled Al-Asad, overthrows the government. This theme reflects real-world concerns about state stability in regions prone to radicalism. The use of a nuclear device by Al-Asad to prevent his capture mirrors fears of non-state actors or rogue states obtaining nuclear capabilities.
The game shows various Western forces, particularly American and British, intervening in Middle Eastern conflicts, which echoes real-world military engagements like the War on Terror. The collaboration between different nations’ special forces (e.g., U.S. Marine Force Recon, British SAS) highlights the theme of international military coalitions, reflecting NATO-like operations, these are detailed in the opening movies that play before the mission begins.

Ethical Dilemmas in Modern Warfare are also presented, The game occasionally presents scenarios where civilian casualties are a risk, exploring the moral impact on soldiers and the strategic considerations of warfare. In many missions you can fail by attacking innocent civilians, or by not reacting to events as quickly as possible. Decisions about when and how to engage enemies, especially in densely populated areas, touch on themes of proportionality in military action and the impact on civilian populations.
In terms of Globalization of Conflict, The game illustrates how modern warfare transcends borders, with characters and conflicts spanning multiple continents, reflecting a globalized world where threats are not confined by national boundaries, but also how there is a reliance on these different nations, due to production.

Lastly, While not directly discussed, the backdrop of the game, especially with its focus on terrorism and response, echoes the post-9/11 world where security measures often clash with individual liberties and international law.

Multiplayer

The game is very well known for its multiplayer mode, which became exceptionally popular, introducing perks, killstreaks, and a more dynamic gameplay experience with various maps set in modern contexts.
A few of the game modes consist of Team Deathmatch (TDM), Players are divided into two teams. The objective is to kill opponents, with each team’s score incrementing for each kill. The team with the most kills at the end of the match wins.

Search and Destroy (S&D) was possibly one of the most intense game modes. Players are divided into two teams of attackers and defenders. Attackers must plant a bomb at one of two bomb sites, while defenders must prevent the bomb from being planted or defuse it if it is. Each round is one life; if all players of one team die, the other team wins the round. The first team to win a set number of rounds wins the game.

Domination is where teams compete to capture and hold three objectives (A, B, C) scattered across the map. Holding zones gives the team points over time, and the team with the most points at the end wins. The strategic element involves capturing and defending zones while preventing the enemy from doing the same. If your familiar with the Domination game mode from Unreal Tournament, it’s pretty much the same gameplay.

Versions

Xbox 360: The most popular release of the game, and the one with the most active multiplayer population due to ongoing Xbox Live support, and the game being made compatible with the Xbox One and Series consoles. You still need to pay for Xbox Live Gold Gamepass.

PlayStation 3: Still has a respectable online population and is free to play online. Performance wise it does suffer from tearing and a few frame drops compared to the 360 version. It does lack trophy support since this was released before Sony had standardized Trophy support for PS3 games.

Microsoft Windows: This version is still sold online through Steam, along with its DLC. There are a few security issues with it’s online multiplayer, mainly with CVE exploits that can occur. Its not recommenced to play the multiplayer on Windows for this reason.

Mac OS X: Modern Warfare was ported to macOS shortly after the PC release, but was only made available for 32bit Intel Mac’s. Modern macOS version’s from Catalina onward are unable to play the game since they dropped support for 32bit Intel apps, and no 64bit release was made. You might be better off playing the Windows versions using Parrells instead.

Wii: This version is known as the Reflex Editon, and makes use of the console motion controls. It’s very scaled down graphically compared to the other console versions due to the limited processing power of the Wii but it still regarded as a faithful port.
There is no support for the Classic controller or the Gamecube controller, instead the game can only be played with the Wii remote and Num-chuk since it is reliant on motion control aiming. This will take some getting used to, but once you adjust the sensitivity settings to get the sweet spot, you will find it’s quite precise to aim and shoot.
Multiplayer was also supported but has since been shut down officially following the Gamespy shutdown of 2013 which saw many Nintendo Wii services discontinued.

Jumper: Griffin’s Story

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A videogame based of the movie of the same name, which was also based off the book of the same name.

The game focuses on Griffin O’Conner, a character who has a minor but significant role in the movie. While David Rice (who was played by Hayden Christensen in the film) is the main protagonist of “Jumper,” Griffin’s story runs parallel to David’s, expanding on his character and his own vendetta against the Paladins. The game extends the film’s universe by focusing on Griffin, a character with a backstory involving the murder of his parents by Paladins, an organization against Jumpers. However, the narrative execution in the game was seen as weak, with little to no story explanation or development. It kind of requires you to watch the movie first before you can understand the premise of the game, or the overall plot.

The core mechanic revolves around the teleportation or “jumping” ability of the protagonist, Griffin. You can instantly teleport to different locations around enemies to perform surprise attacks or to escape danger. This includes jumping behind foes, above them, or to nearby ledges to gain tactical advantages However, the gameplay has been criticized for being repetitive and simplistic, essentially boiling down to a basic beat ’em up with limited depth or innovation in combat. The mechanics of jumping around enemies to attack from different angles was a novel idea but was not enough to save the game from its repetitive nature.

Still, there were flaws with the game. One being the missions and combat being very repetitive with you fighting the same horde of enemies over and over again. For movie tie in games, you can’t really expect much since they are usually designed to cash in on the movie’s released, though you still expect some advanced form of gameplay.

Versions

Playstation 2: Was release for the console, which was still going strong in 2008. Oddly this was not released for the PS3, either in ported or emulated form.

Wii: This version makes use of the motion controls for executing the jumping or special attacks, though this can be frustrating since the game often does not pick up specific moves, or is a little too sensitive.

Xbox 360: The best port of the game it terms of graphics quality, and you get achievements.

Overall, Jumper: Griffin’s Story fails to capture the potential of its source material, resulting in a game that feels rushed and underdeveloped. It’s seen as a cash-in on the movie’s release rather than a thoughtful addition to the Jumper universe, The game might only appeal to those who are extremely fond of the movie.