The Incredible Adventures of Van Helsing

The player begins this journey as the “young Van Helsing,” son of the famous Abraham Van Helsing from the fictional universe of Bram Stroker’s Dracula. Van Helsing is tasked with hunting monsters across the land, accompanied by his ghost/pet, Katrina. Set in fictional Borgovia, players jump between the real world and “The Ink,” an alternate dimension between the land of the living and the land of the dead.

Developed by Neocore Games – a small, Hungarian production company - Van Helsing is an un-incredible, completely typical action-RPG. Players start in a small village, which serves as a base to acquire missions, sell loot, and buy new weapons. Outside of town there are plenty of generic-looking “dungeons” chock-full of generic-looking baddies that swarm the player and hack away at his HP orb in a totally generic fashion.

While the design is mostly forgettable, the graphics are competent and on par with what a player expects in this day and age. The world doesn’t have that sheen we’ve come to expect from Blizzard or Runic Games, but considering the size of this developer I walked away somewhat impressed. The mechanics and gameplay are tight and well done, but players will find nothing out of the ordinary in terms of play style.

With nothing being out of the ordinary, I wish that Neocore would have done something to set themselves apart from the rest of the pack. Full-blown story-driven cinematics, a new approach to combat, or even a different crafting system (to be fair, I did not have extensive time to get into that sort of minutia) would work for me.

All this being said, what is extremely incredible about this adventure is the price tag. For a measly $15, players can get access to the world of Borgovia and all of the werewolves, mech soldiers, and creepy crawlies one could ever ask for.

The Incredible Adventures of Van Helsing

While the maps in the preview lack uniqueness, there is plenty to explore. Each map consists of sprawling terrain with plenty of trees, hills, swamps, and so forth. Random missions pop up throughout the map, encouraging players to explore every inch of the world. One particular mission that sticks out is an escort mission where the player brings a ghost to his dead body, only to be attacked by the ghost. The sidequest is an interesting diversion from the main mission, and serves as a great look into how much content this game could potentially have.

One of the most enjoyable parts of this adventure are the characters. Bursting at the seams with charming wit, the characters all have quirky personalities voiced by perfectly adequate actors. The fun dialogue is only held back by the lack of a true dialogue text box. Instead of the typical lower text box with animated character head, the spoken words are written out in an ugly text right over the character who is speaking. This approach to showcasing dialogue is one of the only amateur moves made by Neocore.

Of course, what most action-RPG fans clamor for is loot. And boy, there is plenty of loot. Most battles take place when a mob of 10+ creatures bum-rush the player, chipping away at HP until he can left-click, right-click, left-click all the enemies to death. After each battle, tons of loot drops, all with varying degrees of helpfulness. The amount of customization will be a delight for any statistician.

Some of the best loot players will find in Borgovia come from “The Ink,” the alternate dimension in the game. Players access The Ink through various means: the well in the town center, from items on the map outlined in purple, and after fighting certain enemies. The Ink provides a fun sidestep in the action, even if its presence isn’t completely necessary.

The Incredible Adventures of Van Helsing

What’s an adventure without a protagonist? Van Helsing is a likable protagonist, even if he is a stereotypical “stranger in town.” The premise surrounding his story is cool enough, with a sort of The Witcher vibe, but nothing about his plot stands out. That’s not a problem, though, because what I’m looking for in an aRPG is character customization. Van Helsing’s skill tree is mind-numbingly customizable in a very good way. Each attack can be individually leveled up with a couple of secondary attacks attached to each. By filling the rage meter, the player can use these secondary attacks to help when Van Helsing is surrounded by throngs of creatures. The player can also quickly switch between melee weapons and long-range weapons to customize how he’ll demolish the thousands of bad guys he’ll run up against.

Van Helsing’s friend Katrina, a snarky ghost who supplements his attacks, doesn’t do much to add to the experience, but definitely doesn’t subtract. She is fully customizable as she levels up, and can be outfitted with armor and weapons. Katrina is a welcome addition, although she feels like the typical pet, as opposed to something greater. Like almost everything else in the preview build, Katrina is just another piece of the necessary puzzle, as opposed to being a great hook for the game.

The Incredible Adventures of Van Helsing appears to be a completely competent game, but I’m left looking for some sort of hook to set it apart from the Diablos and Torchlights in the genre. While being a clone of these famous aRPGs can be a strength for Van Helsing, it may also be a weakness. The game looks to tackle the genre well, but may do absolutely nothing to improve it. With a tiny price tag, aRPGs fans will have a lot to love in the world of Borgovia, but shouldn’t expect the polish and individuality of genre leaders.

Replete with a slimmer build and black, short hair, Dante 2.0 caused quite a stir among die-hard franchise fans. “Where’s the white hairs!?” and other such things have been lamented regarding our hero’s redesign. Regardless, playing through the demo, this new kid is nothing but Dante, white hair or no.

Designed by Ninja Theory, the development studio behind Heavenly Sword and Enslaved: Odyssey to the West, DmC takes place in an alternative universe. When it starts, Dante wake up in Limbo City, where he meets Kat. Kat is part of a demon-hunting group called The Order that has since been labeled a terrorist organization. Kat introduces Dante to his twin brother and leader of the Order, Vergil, who is no longer the antagonistic  human-hating curmudgeon we saw in DMC 3. He’s welcoming, extroverted and British. He tells Dante that the two of them are Nephilim, a mix of half-angel, half-demon creatures with the ability to stop Mundus, the Demon King.

Fast forward, Dante and Kat walk through the streets of Limbo City when a heavy man passes by with an energy drink. (An advertisement of a muscular male chugging the very same beverage is displayed behind them.) Dante slaps the drink out of the man’s hand. “It’ll kill ya,” he says. As he does this, a security camera notices and sets off an alarm. Limbo City stirs awake, vibrant oranges and blues pop out of the architecture. Demons are coming. Time to fight.

The gameplay mechanics have been streamlined. Regular attacks with Dante’s sword are mapped as usual, but the animations are rougher and more garish.  Ebony and Ivory, Dante’s loyal handguns, make their return as well. Populating the shoulder buttons of the controller are Dante’s angel and demon weapons, a scythe named Osiris and a hammer named Arbiter, respectively. Holding down a trigger transforms Dante’s sword, Rebellion, into one of the weapons. Osiris lays out quick, flashy combos, twirling and juggling enemies. Arbiter is a mammoth, trouncing and slamming through sluggish swings.

The two special weapons also replace the handguns with more direct attacks. Osiris pulls Dante toward enemies, allowing for snappy, tactical movement around the battle. Arbiter pulls enemies toward Dante, giving a great defense through a disarming offense. Shields are yanked to the side, leaving more brutish enemies exposed for the slicing.

The heart of the game is combat, and it feels polished. The accessibly of weapon cycling is something Devil May Cry has yet to master. Ninja Theory seems to be on the right track by keeping things clean and simple. Hold this down, do this. Hold that down, do that. Time will tell how the system holds up as more weapons are integrated.

There is also a second, boss battle segment that pits Dante against a large, larva-like demon. The fight itself illustrates the dynamic nature of Devil May Cry’s infamous boss segments. Dante enters a tomb where the larva demon is restrained and supported by cables. As the fight ensues, Dante uses the Osiris ability to swing from platform to platform, avoiding the demon’s acidic spit. It’s an introductory battle spiced with some crass — but humorous– opening dialogue.

What’s more is the social commentary the game hints at in the demo. The opening scene involves a member of The Order, cloaked in knock-off Guy Fawkes mask (Ninja Theory is British after all), delivering a speech via viral video. Also, the idea that demons identify Dante through video cameras that then have to be destroyed is telling. What will this amount to? Will Vergil raise his katana against his brooding brother once again? What will The Order’s role be in the larger story? What does Dante have against energy drinks?

Emo hair, white hair, red coat, black coat, either way, DmC is back. Look for it on sale starting January 15, 2013.

ZombiU doesn’t give me a crate full of ammo though, and while I’m flicking through my inventory I can see your leathery face creeping closer and closer. What is this I feel? My, I think it might be fright, urgency…actual horror. Desperately I switch to my last weapon, but there are more of you than there are bullets in the barrel. I’m starting to realize why you zombies can scare me in the first place. You put me under pressure. You force me to my wits ends to stay ahead. Living is no longer a given, but a game that’s all too easy to lose.

Zombie games have all seemed to miss this point as of late. Zombies aren’t there for fodder; they’re there to push us into desperate situations. Telltale’s phenomenal The Walking Dead episodes task players with dealing with the end of the world by negotiating the relationships of your fellow survivors, while ZombiU moves the emphasis on environmental traversal, exploration, and survival instead. Think of this as Nintendo’s bid to make the Wii U seem as credible as possible towards core audience, and it looks like it could work. With a laser-like focus on realism and survival, and liberal use of the consoles dual-screens, ZombiU is shaping up to be the game that proves the Wii U.

ZombiU attempts to use the second screen to complement and enhance a kind of game that could have been done elsewhere. Crouched in a corner I rifle through my inventory, which is shown to me on the gamepad. All the while I find my eyes darting from my inventory to the screen. Enemies could appear at any time, and I don’t have the health to take another hit. There’s not enough ammo around either. Two more pistol bullets and I’ll need to fall back on my cricket bat. Suddenly I realise that I’m stressed, and suddenly I realise that ZombiU has begun to work. Pause menus, inherently immersion breaking, are gone leaving real-time scenarios where danger is a constant threat. It’s horrific. It’s what I want from a zombie game.

ZombiU makes plenty more use of the GamePad. I can hold up the pad to the TV and use it to scan for points of interest around me, or even as a scope for my ranged weapons. Having two screens to pay attention to felt like a powerful simulation, and despite the bustle and noise of the show floor around me, there were moments of tension that came from the interplay of the two screens in a way that feels unique to the Wii U.

While ZombiU looks to be a great demonstration of the Wii U as a console, it’s also shaping up to be a successful game on its own merits. Part of this is an apparent understanding of horror, something recent games could do with relearning. While many games are happy to stuff your pockets with weapons, ZombiU displays a respect of one of the oldest tenants of survival horror: make every shot count. If horror can only flourish when we feel vulnerable, then expect ZombiU to deliver scares in spades. When my character wades through water in a dark basement, I’m vulnerable, with my bag held over my head to keep my items safe. If a zombie rears its head while I’m in such a situation, then there’s no fighting back. It makes perfect sense, and yet this game, a humble launch title for Nintendo’s bizarre new console, is one of the few to pay such reverence to realism.

Rooting itself further still as a persistent, realistic world is ZombiU’s system of respawning. When one survivor runs out of ammo and inevitably succumbs to the shambling dead, I restart the segment as a new survivor, complete with a new name, age, and occupation. The zombies I had defeated before are dead, but my bag is empty. To get my items back I need to make my way back to the place of my death, and fight the zombified version of the person that, up until a few minutes ago, had been me. It’s a sadistic way of going about item retrieval, especially if I end up getting attached to any one survivor. Once defeated, my ex-avatar can be looted for my old items.

‘Dark Souls but with guns’ isn’t too wild a comparison to make, one which I can only hope ZombiU lives up to.

Not just another first-person zombie game, I’m intrigued about ZombiU simply because it’s playing to the strengths of the Wii U and harnessing its features in ways that complement the horror experience. If the zombie apocalypse ever should come true, I’d expect it to feel like ZombiU. If it doesn’t (and let’s go with that, shall we?) then get your fix when ZombiU and the Wii U both launch in North America on November 18 and Europe on November 30.

The demo begins with Dante entering a large area encased within stone cylindrical walls. Hanging out within (literally) is Poison, the demon hunter’s target. This brown, fleshy monstrosity’s form is reminiscent of a slug or caterpillar, but with the face and arms of a human. It doesn’t take long for Dante to start threatening the villain’s life, with several insults and f-bombs exchanged between the two. Yep, this Dante still gets a rise out of teasing the hell out of his enemies before, during, and after ripping them to shreds.

The ensuing conflict consisted of mechanics, methods, and strategies reminiscent of the old PS2 Devil May Cry. Poison has a limited variety of attacks that he will use to lash out at Dante, each with a distinct “tell” or action that gives Dante a second or two warning to dodge. A horizontal arm swing and vertical arm slam are performed with the intention to bash the player; while a projectile vomit attack will leave the acidic fluid across the platform, forcing Dante to move on to one of the other two.

Moving from one section of this map to the next involves precise use of Dante’s Angel Lift ability on nearby hanging structures. It isn’t as easy and forgiving as any normal action or platform game, something that series fans will be happy to hear. Getting to safety will involve precise timing and proper use of the left analog stick for aiming the next grapple. This principle also applies to Dante’s Demon Pull, which is used to forcibly liberate the two tubes keeping Poison elevated above the torrent of yellow liquid that fills the bottom of the level. Doing so can’t be accomplished, however, until Poison’s health is rendered to zero for each tube. Taking down the ugly slug’s vitality bar is accomplished in two ways familiar to DMC fans: slicing and shooting.

The long method is to just pound away on Poison’s arms in between the demon’s attacks. It’s effective, but will take forever. A more efficient way to take this meat sack down a peg or ten is to wait for him to reveal his glowing-red forehead from beneath the rolls that cover it, a weak spot where any quick combo will take out a massive chunk of health.

Once Poison’s health is depleted and his tubes removed, Dante takes the battle to be over after drop-kicking the demon into the mysterious liquid below. But we all know better, and of course Poison reemerges and tries to drag Dante down with him. What ensues isn’t anything as challenging as the actual battle that just concluded, merely some more Angel Lifting and Demon Pulling to put Poison in place for the killing blow. When that finishing move does take place though, it’s an over-the-top gorefest that fans have come to expect.

Despite Poison’s limited attacks, my encounter with him did prove to be challenging. Thankfully the demo allowed for instant revivals; otherwise I could have been fighting him for far longer than I did. Hopefully this demo help put to rest any doubts critics of the new look have on the game’s difficulty. If not, they can find out for themselves when DmC: Devil May Cry releases for the PlayStation 3 and Xbox 360 on January 15, 2013.

Expanding on the customization options of Halo: Reach, Halo 4 gives players more freedom with their weapon loadouts. Instead of just choosing from a list of predetermined weapon and armor ability sets, gamers will be able to pick a primary weapon, secondary weapon, grenade type, armor ability, tactical package, and support upgrade. It’s essentially the Call of Duty format in Mjolnir Mark VI armor. There will be limitations, however, as each player will get only five loadouts to customize. Furthermore, most weapons, armor abilities, and perks will need to be unlocked through playing matches. Of course, every other shooter game needs to unlock weapons and perks as well, so there won’t be a need for too much adjustment.

As for my loadout, I chose the DMR, magnum, extra ammo, mobility for a constant sprint, and the hardlight shield. The shield acts in a similar fashion to the ones used by Jackals in previous games, being deployed for an extra bit of cover while trying to survive. As implied by the mobility perk, sprinting is now available from the start (another idea brought over from CoD) and no longer relegated to an armor ability. Score one for progress!

As my match started, I quickly identified with the map I would be fighting in: formerly known as Valhalla in Halo 2, which itself was the remake of Halo: Combat Evolved‘s Blood Gulch, I fought in a long valley with two bases known as Ragnarok. It’s been given a visual facelift, but the arena is basically the same. Once I got my bearings, I took to the side of my base to find a vehicle (because everyone knows there are vehicles outside of the base) and discovered something…quite surprising waiting for me. I feasted my eyes upon the Mantis: a bipedal mech with a machine gun, rockets, and a foot-stomp move I could use to tear into and flatten foes. Unfortunately durability is not its strong suit, as other Mantises and Covenant vehicles can tear it to shreds fairly quickly, not to mention the possibility of being hijacked by enemies and blown useless via grenade a la Scorpion tanks.

When I finally engaged the enemy, the action got intense. Every gun screams its presence across the map thanks to the sound design, while recoil and reloading animations have a feeling of weight and power. It creates a visceral experience unmatched in any Halo game to date, which says a lot given the series’ history.

Significantly absent on the map was the presence of predictable power weapon locations due to the inclusion of Ordnance. These will drop power weapons randomly, eliminating the franchise-long problem of one team camping these locations for an easier win. Ordnance also acts as a call-in reward for players who accrue a certain number of points during a match. These points, like other top FPS properties, can be gained through a variety of means and aren’t limited to kills.

Despite all the changes, additions, and improvements that seem to move away from a traditional Halo experience and towards that of Call of Duty or Battlefield, my demo session still felt distinctly Halo. The pacing, animations, and other mechanics still stick to the roots that made this FPS franchise the giant it is today. So long as 343 keeps that going, it should have a winner on its hands come November 6 when Halo 4 launches exclusively on the Xbox 360.

The best thing about All-Stars’ maps is the fact that they pay homage to not just one, but two games from PlayStation past and present thanks to their ability to change over the course of a contest. The two maps I had the pleasure to fight in showcased intense action enveloping their backgrounds all while a four-way beat down went on in the foreground. The Dojo map, for example, begins in the famous location from Parappa the Rapper, but eventually the walls and roof are blown off by the four-legged mech from Killzone 3 as it brings about destruction and disaster to Parappa’s hometown.

Meanwhile in the Stowaways map, inspired by the famous cargo plane scene from Uncharted 3, it’s not Nathan Drake who inadvertently causes the opening of the cargo ramp and damage to the plane itself. Upon making your way to the ramp and cargo that hangs from the plane’s rear to continue the battle, you discover that the aircraft has stumbled upon BioShock Infinite’s Columbia and is caught right in the middle of a fight between the Songbird and a blimp run by the Vox Populi. All of this background action and the high level of detail in which it is displayed made every brawl I partook in a more exciting and visually stimulating affair than previously experienced.

As engrossing as the maps and their aesthetic spectacles can be, they merely play a secondary role to the game’s roster of characters. Taking a favorite PlayStation hero or villain and making them a part of a virtual thrashing is a dream come true, and I was able to put four of these big-time names to the test. First was Dante, Devil May Cry’s wise-cracking demon killer. Living up to his reputation, the son of Sparda is a very well-rounded and fast-paced fighter. Several of Dante’s attacks involve being up close and dealing long combos both on the ground and in the air. His level three special will transform Dante into demon form, freezing enemies in place for a free kill. Given his nature, Dante proves to be an easy-to-pick-up fighter who will no doubt be a favorite of button mashers.

The more I played with other characters, the more I noticed that All-Stars seems to have grouped up characters into certain archetypes that play in a similar fashion. Nariko of Heavenly Sword plays like Dante, while Jak is a long-range specialist much in the vein of Nathan Drake and Colonel Radec. Two other characters, Heihachi and Raiden, also play a style similar to one-another: the up-close brute with slow yet strong attacks. It was fitting to see Tekken’s main baddie have this style, but for Raiden it was a disappointing surprise.

I was similarly disappointed with both Good and Evil Cole. The two versions play exactly the same, with the exception of the color of their energy attacks and outward appearance. Perhaps it wouldn’t have been such a major letdown if they both took up a single character slot, but the fact they each have their own creates the possibility that some other member of the PlayStation library missed out for the sake of Mr. MacGrath getting special treatment.

The separation of characters into certain specialties means that players will need to know which of these archetypes the chosen character fits; simply, there is a slight learning curve. However, should those gamers decide to sit down and learn each character’s skill set, they will no doubt hold their own against any opponent.

For those who want to test that theory, the chance will come when PlayStation All-Stars Battle Royale is released for the PlayStation 3 and PlayStation Vita on November 20.

There’s not a lot of background knowledge needed before jumping into The Wonderful 101. The Earth is under attack from giant aliens and it’s up to a conglomeration of heroes to recruit citizens to the cause to take down the menace together. Players will encounter citizens in shock of the destruction and then turn the collective fear to determination by drawing a circle around them on the Wii U’s gamepad. This action will inspire these citizens, give them domino masks, and allow them to join your group… just like Pikmin. The larger the group of citizens, the stronger they become… just like Pikmin. Wonderful 101 also sports unique morph powers that will rise in power depending on how many heroes are attacking. The sword morph attack, for example, will have a longer reach and be able to hit enemies from a great distance with a bigger group.

Defense will be key in maintaining a high number of heroes, as taking damage will cause your citizens to be knocked unconscious and leave the group. They aren’t lost forever, however, as running up to these dazed protectors will wake them up and bring them back to the battle.  This can turn into a distraction that leaves an opening for additional attacks, so be sure to pick and choose when to revive fallen mates. The dodge and guard buttons will be a huge factor in keeping the group alive, so use them freely.

When on the attack, The Wonderful 101 offers solid options for different situations and employs a system that prevents the overuse of special attacks. A battery meter determines how many times players can use these morph abilities, and it can only be recharged with the standard rush attack.

To properly morph, players will need to make the appropriate shape on the GamePad or with the right analog stick and press the A button to activate.There are three choices when it comes to these abilities. The first is a fist meant for up-close encounters and the turning of nobs for doors and puzzles. Second comes the aforementioned sword, which seems to excel at mid-range and area-of-effect damage. The third and final morph, the gun, takes skill in precision and will provide a long-range option should players need to maintain their distance.

Morph abilities and hero recruitment aren’t the only ways Wonderful 101 is looking to capitalize on the Wii U’s capabilities. At one point, my heroes had to enter into a warehouse to solve a puzzle, and while the TV screen remained on the exterior of the building, my GamePad screen changed to an interior view. My attention then shifted on the screen in my hands as I matched numbers on the inside to those shown on the outside. Upon solving the puzzle and leaving the warehouse, the action returned to the TV.

Another interesting use of the Wii U GamePad occurred at the end of the demo, where my heroes came across a movie-monster-sized robot. Having jacked a ride on the behemoth’s arm, vulnerable bubbles emerged from the boss’ metal carapace. After destroying enough of them, my heroes then had to do the same to the opposite arm, which could only be reached by drawing a chain on the GamePad that connected the two. If more moments like this are included in the final product, players will be forced to stay on their toes.

While I wasn’t able to slay the giant tin can destroying the city, I still walked away impressed with The Wonderful 101. The intelligent use of the GamePad and diversity in the game’s combat options give Wonderful 101 a strong and fun design, even with obvious similarities to Pikmin. The game should not be overlooked when it launches exclusively for the Wii U sometime during the new console’s launch window.

GamerNode was happy to kick it with the jovial and inspiring game designer, and was able to capture the entire presentation on video for your viewing pleasure. Spector’s excitement for the projects was infectious, and we can’t wait to try both games for ourselves on November 18.

Click here to view the embedded video.

One of the biggest differences players will notice right away in this addition to the Marvel Universe is that the heroes who fans have grown to know and love don’t just have cameos, they are the players. Instead of playing the role of the sidekick, everyone in Marvel Heroes will be Thor, Iron Man, Captain America, and at least 23 other heroes from under the brand’s banner. That number also isn’t the cap, as Gazillion Entertainment informed me that they will indeed continue to add more characters to the game post-launch.

Unfortunately, that full roster wasn’t available in my playable version of the game. With access to just a handful, I decided to take on goons and super villains as Tony Stark himself. I was thrust into Hell’s Kitchen, one of the game’s open world zones and home to Matt Murdock a.k.a. Daredevil. It’s one of three different zone types, the others being instanced dungeons and social town hubs. Bad guys aplenty roamed the streets. Controls eschewed the traditional WASD for point-and-click.

The camera showed a top-down view, not the traditional behind-the-back of most MMOs. During combat, enemies would have loot burst out of them as they lay sprawled upon the ground (instead of just popping up on their corpses). Skills were also relegated differently. Players only have access to a low number, but can put additional points into them later to make them stronger. These abilities can then be used by assigning them to either the left mouse button, right mouse button, A, S, D, or F.

With my surroundings and controls understood, I took off through the streets. I made quick work of the mere muggers and mafiosos that challenged me, like a true superhero. I found destructible boxes that would drop health kits and chests that would gift me a random item. These are scattered throughout all maps and can help with getting decent loot for stat boosts or sale to merchants in the hub zones.

While making my way to the instanced subway for my dungeon quest, I was instructed to wait on the road I roamed. Soon after, Electro dropped from the skies and began assaulting any hero within sight. This served as an example of how in the open world, certain bosses act on a timed-spawn period to allow for some spontaneous action. Unlike previous MMOs that might grant all goodies to whoever hit first, everyone who assisted in taking down Electro got their own drops and experience.

As the electric menace lay beaten on the concrete, waiting for S.H.I.E.L.D. to take him away, I pushed onwards and into the subway to find another member of the Sinister Six: Shocker. Going into the subway I found a more traditional dungeon-crawl map. Since I went into the zone alone I was on my own, but had I partied up with some of the other heroes back in Hell’s Kitchen we would have taken on this classic Spider-Man foe together.

The dungeon was rather straight forward, with no side paths for exploration or goodies. It was, however, filled with plenty of lowlifes for my repulsor blasts to lay into. At the end, Shocker appeared in the dungeon’s big boss showdown. He used strong, charged up punches while up close and shockwaves to break rubble from the ceiling. Getting used to his tactics, I adjusted by keeping my distance, throwing up Iron Man’s shield ability to reduce damage, and blasted away. Had he gotten close, I utilized a rush skill that would throw Shocker off-balance and interrupt whatever ability he hoped to use upon me.

After a decent struggle, my final energy-filled blast put Shocker down, who then told us that he would give S.H.I.E.L.D. whatever information they needed so long as they gave him back his old cell at the Raft. I then proceeded to pick up my loot, which included a medal that can be worn as gear and is dropped by every boss in the game regardless of location. With the deed finished, I returned to Daredevil, Shocker’s initial pursuer, who thanked me for my efforts.

Once I walked away from the demo station, I realized that I hadn’t just played a typical MMO. Marvel Heroes didn’t feel like World of Warcraft, City of Heroes, or even The Old Republic. In fact, it reminded me a lot of Diablo, which makes perfect sense given that Gazillion’s president is none other than David Brevik, creator of the classic series. The game also felt similar to other popular Marvel game franchises that have come before and featured Diablo-like mechanics, X-Men Legends and Marvel Ultimate Alliance. It will be interesting to see if Gazillion can take that winning formula from titles past and translate it successfully into the MMO scene. From what I played, it’s assembling quite well.

So what makes a Hitman game? What elements does Absolution need to retain, and where is it free to innovate? To me, Hitman is a murderous sandbox where the engagement comes less from the execution (if you’ll pardon my phrasing) but from the contemplation. It’s less about the end result and more about the journey, made all the sweeter if that journey is taken over nine separate attempts as I try to unlock that coveted Silent Assassin rank. I want to be able to replay Hitman’s levels again and again, finding new and inventive ways to finish the task at hand

Luckily IO Interactive appears to know this, and Hitman: Absolution appears to be every bit the contemplative murder-puzzle that fans of the franchise know and love.

The setting is Chinatown and the target is its self-proclaimed king, a suited man who struts around a guarded pagoda, itself in the middle of a crowded marketplace. Occasionally the king of Chinatown will admit a local cocaine dealer to his fortress, and then swing by his European convertible to powder his nose. Incidentally, the drug dealer’s apartment has a fetching view of that same pretty pagoda, and the man would appear to fancy himself as a marksman if that sniper rifle on his table is anything to go by. Sprinkle about detonable bombs, electrical fuse boxes, and some profoundly poisonous fish, and frankly it’s a miracle that the ‘king of Chinatown’ hasn’t killed himself yet.

In a relatively small area, crammed with NPCs who mull around buying from market stalls, this means Agent 47 has options, just as always. He also has some new toys. Back in the days of Hitman: Blood Money, 47 had to make do with a magical map that relayed to him the exact movements of NPC’s and listed relevant points of interest. All of these features are still available to our humorless killer, but now they’re embedded within the world. Replacing the frantic back-and-forth of the map is 47’s Intuition Mode. Hold the button and time slows a little, the color fades, and the screen goes grainy. Points of interest and guards are highlighted, and on lower difficulties their patrol routes glitter on the ground. The impression isn’t one of reduced challenge, as some have feared, but of contextualization. Scoping out security movements has become more natural.

Hitman: Absolution still feels like a stealth game primarily, but of course people will always be tempted to do it the wrong way. IO Interactive is quick to point out the legitimacy of run-and-gunning any level you want, but to do so is to remove all of those painstakingly laid-out tools that litter the environment. Still, I must agree that it’s at least possible to play Hitman this way, and while Absolution pays more attention to gunplay, that doesn’t mean that this approach is any easier.

In past games you were free to commit violent atrocities and would only have to answer to the security payroll of the one theatre 47 was currently shooting up. Perform similarly in Absolution and your actions drag in SWAT forces with more than enough armament to make you think twice about this approach. You may now be able to pop in and out of cover like Marcus Fenix, but Absolution still demands you scope out the situation and carefully formulate a plan if you’d like to get the best scores.

In my time with Hitman: Absoloution, the most important thing to take away was that it’s still Hitman. IO Interactive may have learned and applied a lot of what game design has become in the five years since Hitman: Blood Money, but Absolution still appears to be a stealth game at heart. Why brazenly gun down a man, like I’ve done in so many games to date, when you can drop a chandelier on him? Nobody will even know it was you, and therein comes the joy in stealth: outwitting and evading. Hitman: Absolution looks, in every way, quintessentially Hitman, but now it looks and feels better. Time will tell if Absolution can live up to the best moments in the series’ history, but for now there’s no reason not to think it will.

That is, as long as there’s a chicken costume stowed away in one of the levels. I guess we’ll find out when Hitman: Absolution launches on November 20 for PC, Xbox 360, and PS3.