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Digital Cowboys: Episode 166Digital Cowboys: Episode 166 Alternate Reality Gaming This week we’re very proud to welcome Michael Andersen, owner and senior editor at ARGnet: the internet’s premier news resource for Alternate Reality Games. For the...

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Gonzo Gaming 10: A Warrior's DilemmaGonzo Gaming 10: A Warrior's Dilemma This week defense minister for Britain Liam Fox called for a ban on the forthcoming Medal of Honour game because players get to play as the Taliban in the multiplayer mode. This prompted quite...

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Digital Cowboys: Greatest Hits - Part 2Digital Cowboys: Greatest Hits - Part 2 This is the best moments from our second year of podcasting; episodes 52-104. The first part was published in April 2008 and we recommend going back and listening to that one as well so you...

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Digital Cowboys: Greatest Hits - Part 1Digital Cowboys: Greatest Hits - Part 1 This is the best moments from episodes 1-51 of Digital Cowboys. The follow-up charting episodes 52 -104 is now close to completion and we want to ensure you guys have heard the whole shebang. This...

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Digital Cowboys: Episode 165Digital Cowboys: Episode 165 Exploring Spiffworld This week we are very proud to have on the show, Mike 'Spiffworld' Booth. Mike works in computer programming and in his spare time works Machima videos for Jonathan Coulton using...

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Rock Band DLC for 3 June

Posted on : 31-05-2008 | By : Alex Shaw | In : Site News

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Harmonix have announced the Rock Band DLC that will be available on Xbox Live on 3 June. That list in full:

"Margaritaville" by Jimmy Buffett (master – new original recording)

"Cheeseburger in Paradise" by Jimmy Buffett (master – new original recording)

"Volcano" by Jimmy Buffett (master – new original recording)

"Indestructible" by Disturbed (master)

"Inside the Fire" by Disturbed (master)

"Perfect Insanity" by Disturbed (master)

Those who have already played Guitar Hero III: Legends of Rock will no doubt already be familiar with Disturbed, as their track "Stricken" featured in that game.

However, you may be asking yourself (as I was): "Who the f*** is Jimmy Buffett?".  Well, you can find out all about him over at Wikipedia.

Ciao for now.

Paul.

Digital Cowboys: Episode 57

Posted on : 29-05-2008 | By : Alex Shaw | In : Podcasts

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Rock Band/Indy IV

In this bumper-sized episode, we finally get to own Rock Band and after having played the hell out of it for the past few days in solo, online and local multiplayer we can give you our first impressions.

Was it worth the wait, can it live up to the hype and most importantly is it worth Â180?

We also review the fourth Indiana Jones film. Nearly two decades in the making, the Kingdom of the Crystal Skull sees an aging Harrison Ford take up the hat and whip once more.

Was it worth the wait, can it live up to the hype and most importantly can we review it without spoiling the ending?

Of course we can. Which is why you should listen out for the warning music which signals the secrets-filled finale of this absolutely kickass episode. Turn us off if you’ve not seen Indy yet when you hear the Ark of the Covenant theme.

Then come back to us when you’ve seen it.

Rock on!

Digital Cowboys: Episode 56

Posted on : 21-05-2008 | By : Alex Shaw | In : Podcasts

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The 10 Greatest Movies Ever

If you are searching for something different from The Godfather,
Citizen Kane and Lawrence of Arabia, we have provided an alternative
lineup. After a lifetime of lists full of the same films, vaunted as the greatest works of cinema ever, we decided to redress the balance and do our own. That’s not to say we don’t recognise them as fantastic films, but let’s face it, the same list over and over is getting boring and we need some new blood. Each co-host cites their ten entries and at the end the ten we most agree on make it onto the final list.

This week we also discuss the future contenders for our Rock Band money;: namely Activision’s Guitar Hero IV and Rock Revolution from Konami.

Digital Cowboys: Episode 55

Posted on : 15-05-2008 | By : Alex Shaw | In : Podcasts

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Grand Theft Auto IV Review

It’s not all gushing praise, in fact some of us get downright angry at times over the game mechanics and other gripes about GTA. It is, however one of the biggest reviews for one of the biggest games we’ve done and definitely worth a listen. Besides which, this is the truth about our experience with one of the most hyped and celebrated games in history.
 
Also discussed at the beginning: new content for Guitar Hero III and some other games Tony’s been playing.

Grand Theft Auto IV Review

Posted on : 15-05-2008 | By : Alex Shaw | In : Site News

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Game: Grand Theft Auto IV
Format: XBOX 360

This review sits beneath a landslide of amassed praise and
hyperbole surrounding this game. A title has not received such unanimously
vaunting praise since Ocarina of Time on the N64. I could just repeat what everybody
else has said and state that this is a strong contender for game of the year
and virtually flawless, but in all honesty my experience seems to have varied.
In the interests of journalistic integrity I canât just say itâs perfect. Itâs
not and thatâs fine, nothing really is. So if you need validation for your
purchase or a collection of how many incredible new features there are then
look elsewhere. If, however you would like to know what ânot without its flawsâ
means (and it has been said by many) then read on.

Before I start, may I first echo the praise for GTA IVâs
central character Niko Bellic. He is a prime example of depth in a central
protagonist and I never felt frustrated with the way he acted. In fact, his
forthright strength of character actively left me discouraged to go on the
usual killing sprees, unlike the callous Tommy Vercetti from Vice City. Niko is
definitely likable and compelling and many of the characters he meets
(especially at the front end of the game) are multi-dimensional and interesting
and only a little clichÃd. The polish on the format is definitely apparent on
start-up. The weight of the character and the vehicles he drives is apparent.
The impact of hitting someone with a car or shooting them is amped up and the
people behave a little more realistically. You can play for ages and still
notice new things. It was only after about twenty hours that I started to see
repetition, which gave way to cracks and flaws in the gameplay and eventually
full-blown frustration at what eventually became apparent; polish is all that
distinguishes this game from the previous iterations.

This is not to say that GTA III, Vice City and San Andreas
are not superb games, but they were all based around the same engine, pioneered
on the previous generationâs consoles and significantly here not
replaced with a new one. This is GTA as we know and love it, but also (if
applicable) as we hate it. The old problems are still there. The refined
mission system means that if you are (unfairly?) slaughtered on a first attempt
you can reload the current task. What it doesnât counter for are the often
monumentally long and boring drives between the islands that you often have to
take. The Taxi system is a masterstroke, allowing you to skip many of these for
a small fee, but all too often a specific vehicle is needed, necessitating you
sitting for five minutes each attempt, having the same (or at least similar)
conversations with the same characters who quickly reveal their lack of
dimension through the repetition of the odious things they say. Hearing it once
would be fine, twice or six times is unbearable. Maybe I wasnât a sharp enough
player. Maybe I shouldnât have died so often or lost track of my fleeing
quarry, but many missions are so trial and error based that you need several
attempts just to know whatâs around each corner.

In the interests of constructive criticism, rather than
picking at the holes in this (admittedly fantastically presented and well
planned) game, I will suggest what Iâd like to see in the next instalment. For
instance I would genuinely like to see the old engine scrapped. It was great
for the PS2, functional and fun, but for current gen consoles, with responsive
and intuitive characters like Assassinâs Creedâs Altair stalking the
bustling streets, we need a model that knows when not to plummet off a
rooftop because the camera whipped round to an awkward angle at an inopportune
moment. We need a man who knows to lock onto and shoot the thug who is three
feet away and emptying a shotgun into him and not stubbornly keep aiming at the
one three rooms away behind a crate despite numerous frantic button taps. These
are simple things that Rockstar surely will contend with someday. I just wish
it had been for this game.

A save system that would allow you to start at the warehouse
full of goons at the end of a long drive, not before it, would be nice,
along with the ability to get people to be quiet in the car so you can listen
to the music. Speaking of which, the soundtrack needs a mention. Over a dozen
radio stations and only one or two with anything good on: perhaps a little too
much like real life. This is only remarkable because the previous two games
have had two of the most outstanding collections of 80âs and 90âs period music
in any video game ever, and whatâs assembled here seems a little too much like
the eclectic mix that would play in a smoky record shop run by a music elitist
who loathes anything popular. Perhaps Iâve been spoiled by Guitar Hero, but a
handful of rock songs just isnât good enough when swamped by a deluge of
reggae, electro, funk and obscure hip hop. Hell, one station is entirely
dedicated to Bob Marley and the Wailers. This saddens me as I was genuinely
excited about the soundtrack, but the Chatterbox equivalent talk shows always
seemed to be playing the same three segments, which meant that by hour thirty,
I was switching off the radio and listening to the soundtrack to Layer Cake on
my iPod. Next time, Rockstar, donât be afraid to put on more songs that people
know and/or like. Obscure is ok, but nostalgia has more power than novelty.

It was around this thirty-hour mark that the weight of the
game began to press down on me. I knew I wasnât far from the end but it just
seemed to be going on forever, with each gruelling mission advancing my
percentage of completion a fraction at a time. The fun began to ebb and a cold
determination to finish rather than enjoy it began to set in. Again, perhaps if
I had taken my time, it would have been better, but the repetitious waltz of
chase/hide/shoot took such a hold that I could barely tell one mission from the
next. Itâs not just that all the missions in this single game follow the same
handful of themes, itâs that this is all GTA has ever done and once
again, to be constructive, perhaps the next should include more variation, even
if this sacrifices the playing time of the core story. There is still plenty to
do once you finish the final mission (indeed, this is the gameâs key strength)
with dozens of Taxi, vigilante and assassination missions, coupled with the
usual treasure hunt. But once again, though they have swapped hidden packages
for pigeons, itâs the same as it always was: drive/find (/shoot if necessary).
The shooting system itself has indeed been refined, but after a time every
single shootout became the same. Hide behind a wall or a box, wait for the
hoods to show their faces, blast, repeat. Iâd have appreciated either variation
or simply less of the same. Five standout set pieces would stay with me longer
than twenty identikit scuffles.

The much vaunted strong point of the game is the story.
True, it starts out great with a thought-provoking series of tangled
relationships, and much in the way of exposing the hypocrisy behind championing
the American dream whilst despising outsiders who wish to join the party. There
is musing on the nature of revenge and starting over and it truly holds your
attention, but again it is only to a point. At some undetermined moment the
clichÃs begin to appear until you find yourself sitting in a car with
foul-mouthed Mafiosi thinking, âI have so done this before.â Rockstar
run out of steam and leave you stranded in a limp reproduction of the Sopranos
all too early. Once again, if they have to shorten the story for the next
instalment in favour of consistent quality and depth then I certainly wonât be
complaining.

The friend system initially is great fun. Spending time with
your buddies shooting pool and the like is entertaining, but eventually you
find yourself with twelve people calling up and badgering you to go to a strip
club with them when itâs (really) three in the morning and all you want to do
is sleep. Eventually you realise that the limp bonuses that keeping everybody
happy offers simply isnât worth the hours of your time and the ignore
button becomes your new best friend.

Finally the real killer of this game for me, beyond the
repetition, beyond the lame back-end characters and forgiving it the engine
which still canât seem to manage to keep the frame rate consistent and a
far-off vehicle visible from moment to moment, no, the real killshot for my
enjoyment of this game was the frustration factor. I lost count of the number
of times I roared at the screen and writhed in my chair as Nikoâs speeding car
clipped a lamp-post and ground to a halt allowing whoever he was pursuing to
escape within five seconds meaning I would have to jump through many hoops
again just to get back to that same place and perhaps catch him. The illusion
of freedom was never so present in a game. You may be able to go anywhere and
do anything (weathering the consequences each time, usually involving a tedious
police chase) but you still have to do a hell of a lot of things to the letter
if you wish to actually play the game. You canât cunningly set a trap for the
dim-witted hoods you know are going to emerge from a certain door, you have to
go in the front way and hit a certain spot. You often canât shoot an enemy off
the back of a motorbike because you must get to a certain place and kill him
there and you certainly canât let any of the core characters die, much less
kill them. This leaves you prey to occasionally retarded A.I. both for allies
and enemies, and performing the same tasks in the same ways to appease the game
mechanic. When the cries of protest at an unfair death outweigh the smiles of
joy at the clever digs at American culture and the occasional original mission
you have to start questioning the validity of those multiple perfect scores. So
this is the tallest order to Rockstar and requires them to go back to the
drawing board. How about an open-world game where you really are free?

The saddest thing for me is that of course they wonât do
this. The engine they polished may be from the last generation but it keeps the
current gen happy. The next instalment will use the same one, the same problems
will be present and of course I will buy it on day one, because Iâm like that.

I donât regret buying this. In fact despite the seeming
negative tone of this review I would urge everybody with the corresponding
console to go out, buy this and play it to death. It is more of an experience
than most other games. I have barely mentioned the incredibly fun multiplayer
setup, the pure joy of just cruising around the city on free mode with your two
best mates in the car seeing what you can jump over and the mysterious
downloadable content weâve been promised for later this year. It is genuinely
worth every penny of its price tag. Itâs not perfect. We should not demand
perfection from our games. But it could be better and to that end Rockstar can
take on board what many people have said, and perhaps next time I can truly say
that this timeâ it was different.

Rating: ****

Digital Cowboys: Episode 54

Posted on : 07-05-2008 | By : Alex Shaw | In : Podcasts

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Iron Man

This episode is entirely focused on the new Iron Man film. Alex, Paul and Tony discuss every riveting detail of the new Marvel blockbuster. Also check out Alex’s written review on the blog.

Coming very soon: GTA IV.

Iron Man: Movie Review

Posted on : 07-05-2008 | By : Alex Shaw | In : Site News

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Synopsis:



Multimillionaire arms dealer Tony Stark is taken hostage by mercenaries while supplying U.S. troops in Afghanistan with new hardware. Mortally wounded and kept alive by a jerry-rigged heart operation, he is threatened into constructing similar weapons for his captors. Instead he fashions a crude suit of armour kitted out with flamethrowers and rockets and makes a daring escape bid.

Back home in L.A. Tony suffers a crisis of conscience and decides to make an improved suit and track down all of the weapons he has supplied in the past and also take out the armies of fanatics and despots lording over many troubled war zones across the world. However a dangerous business rival has other plans.


Review:



Itâs been nearly half a century since Stan Lee and the other creators at Marvel started churning out dozens of highly popular superheroes onto the pages of longstanding comic series, and yet itâs only been the past decade when weâve seen them appear on our cinema screens. Iron Man marks the first of these that Marvel is financing themselves, and it shows. Right from the off, two things are abundantly clear; firstly that the people who put this together know their comic, its characters and scenarios, and secondly that they are all aware of how to translate the values and themes of a 1960s introductory story into a modern-day setting and make it relevant and entertaining. If every one of their previous efforts had been as good as this, then misfires like the clumsy Daredevil would have brought them truly excellent films as well as gateways to new franchises. Not that they havenât been able to push most of their licences into sequel territory, regardless of film quality: Fantastic 4 spawned a silver spin-off and even the lumbering, misunderstood Hulk is getting an imminent pseudo-sequel.



Like the best comic book movies, Iron Man takes for granted that its audience is going to be relatively intelligent and spends little time explaining things in detail. In fact, its whip-quick pacing is one of its deadliest weapons, along with a tight script and confident delivery by all. It doesnât pander to kids or hold back on grim moments, of which there are a surprising number. This is a superhero film set in a more real world than most of its peers. The enemies are by and large tyrannical mercenaries and fanatics in the Middle East, and the film is unflinching in prodding at several touchy issues regarding war and the shameful truth of the arms industry. It shares much with the 2005 film Lord of War in this dispassionate statement of chilling facts, yet like that film never stoops so low as to preach about the evils that are apparent to all who are looking. This is a film for adults and mature kids. The classic rock of the soundtrack makes this clear; if youâre old enough to appreciate AC/DC then youâll get the best out of this film.

It is a movie of two halves, the first an uneasy war piece with the gritty, sun bleached flavour of David OâRussellâs Three Kings. Downeyâs Tony Stark is confronted with the reality of what his weapons do, something he appears to have been ignoring, and the understanding that he has indirectly caused terrible harm. This segueways explosively to the second part where Stark harnesses his techno-genius abilities and channels them into something protective and impossible to ignore. What is interesting is that there is no morality play of right or wrong at work here. Itâs not that his weapons have ended up in the wrong hands; he simply realises that they will be used by the strong to take from the weak and this deeply affects him. He does what any man would when facing the dark night of the soul; he builds a kickass suit of flying armour and goes to make amends with awe-inspiring firepower.

The iron suit scenes are all shot with the grace of a concept car show-reel with flawless and seamless CGI effects from ILM, working the impossible so that you forget what youâre watching isnât real â or at least you donât query it until you leave the cinema. It culminates in a mech suit clash of the titans that most have compared favourably with Transformers, but which reaches even greater heights of impact because you know there are two men in there being pummelled with motorbikes.

Despite eye-popping effects and edge-of-the-seat flight sequences it is the script and acting that carry the film the most. All too often, big budget effects movies fall back on what could be knocked together from several rejected drafts and the actors donât seem to engage with the characters, but there is an ease here that is delightfully out of character for a blockbuster. Downey Jr was born to play the role of Stark; his troubled past, drug and alcohol addiction serve him well to characterise this flawed master of technology. Always perfectly timed with a quip or a charming one-liner he is every bit as compelling as Baleâs Batman or Perlmanâs Hellboy. He plays him brash and lonely, more at home with machines than other people, with the exception of the spunky Pepper Potts, played just on the wire of damsel in distress by Ms Paltrow. Terrence Howard also makes a welcome turn as Starkâs friend Jim Rhodes, immediately making him likable and frequently exasperated by Starkâs attitude, so that when he glances at a spare suit of silver armour and War Machine fans grip their seats, thoughts of a sequel flash through everybodyâs minds. Bridgesâ Obadiah Stane starts off as an obvious villain complete with hirsute chin and shiny pate, but eventually surprises in his cold-hearted greed and vicious ability to do anything for an edge in the market. Ending up like Donald Trump meets Megatron, he is a true avatar for iron-hearted corporate greed.

To conclude, as the first of ten planned films funded by Marvel themselves, this is the perfect piece to open the second renaissance of comic-book movies. While not distinctly different in tone from Spider-Man or Batman Begins, this is without doubt a triumph of new attitude. We now know almost all of Marvelâs key characters and they can commence upping the ante with faithful renditions of comic fans favourites and introductions to the uninitiated. The Hulk is set to explode back onto our screens in a few months time and Captain America and Thor are waiting in the wings. However, unlike the past decadeâs worth of Marvel films, where one of the key aspects of their universe was impossible due to different distribution rights; i.e. the crossover characters from one book to the other. The next few films look set to break that trend at long last. Downeyâs Tony Stark may be appearing in The Incredible Hulk, and there is a scene after the credits in (some screenings of) Iron Man featuring Samuel L. Jacksonâs Nick Fury appearing at Tonyâs house with a cryptic message about forming a new super-team. I walked out before I could catch this Easter egg, but itâs quite possible that as a long-time Avengers fan, Iâd have cheered like a maniac. Instead I left the cinema with a massive grin on my face and Black Sabbathâs âIron Man? grinding in my ears. For the end credits, it couldnât really have been anything else.

Rating: *****



Alex Shaw