Leedmees

Besides the obvious "your body is the controller" twist, Leedmees throws in a number of other challenges that make this more than just another Lemmings-style puzzle game. Every level has a time limit, usually no more than a couple of minutes, so the pace is much faster than what the methodical march of the Leedmees implies. Each level is sprinkled with bonus stars that you can have the Leedmees collect to earn you a higher performance ranking. There are environmental dangers too, like spikes, ghosts, button-activated platforms, and more. New challenges and gameplay twists are introduced every couple of levels; a late-game twist that switches your gestures to mirrored movement is especially devilish. After 40 or more levels with regular movement, something as simple as a mirrored switch can completely melt your mind.

The time limit, plus the never-ending march of the Leedmees, adds a sense of urgency to each level that works both for and against the game. On the plus side, you blow through levels quickly, and you're constantly scooping, hopping, and leaning to transport Leedmees--you rarely hold a pose longer than a few seconds. Because challenges come at you fast and frequently, you don't get the "this is starting to get old" feeling that you get with many motion-based games. On the downside, some levels have you moving too fast, and the Leedmees are exceptionally fragile. A quick arm swing can send them flying to their deaths, and a misplaced foot could result in LeedMee homicide. The threshold for level completion is generous--you need to save only half of the Leedmees to pass--but hitting that threshold on some of the later levels can be a pain, literally.

The relentless pace is fun for a while, but things start to break down when you need to make precise moves. Broad gestures, like spreading your arms to make a lazy bridge, or holding your hands up to create an impromptu transport cage, work great. But some challenges, particularly the levels that require you to hold down buttons, create more frustration than fun. Watching your Leedmees march to their deaths because the game failed to pick up your subtle movement can be infuriating, especially when your muscles are attempting to revolt against the unnatural contortion you're forcing them into. The further you get, the more you feel like you and the game are just barely keeping up with each other. The sense of accomplishment you feel when beating the early levels is replaced with a feeling of relief by the end.


In this level you need to press accordion buttons, wave away ghosts, and transport Leedmees. The real challenge is to do all that without falling or cursing.
Getting past the completion threshold for the 50 single-player levels can be done in two or three hours. The extremely flexible and overly patient can stretch this out longer, since most of the achievements are locked behind "S" Rank requirements. The co-op multiplayer is fun for a few levels but is ultimately too sloppy to play for long. You're often forced to stand very close to, or touch, your co-op partner. The Kinect isn't so hot at determining whose limb is whose when all it can see is one amorphous blob. The dreamy art style and generic music are bland, but at least the characters, obstacles, and enemies are all easily identifiable, which is helpful later in the game when you're keeping mental tabs on way too many things at once.

Leedmees is a game that's good for casual play; attempting 100 percent completion in this game is a great way to make you hate it. Using your body to solve puzzles can be fun, but pulling a muscle because you're trying to get that last impossible star is not. Leedmees sports the same $10 price tag as other Kinect games available on Xbox Live, while offering a decent amount of content and replay value. It's worth a look if you want unique Kinect content that doesn't involve minigames.

From Dust

We’ve been looking forward to Ubisoft’s From Dust for some time.  Not only is the concept unique compared to other games, but the art style is better than most downloadable games.  The focus that Ubisoft Montpellier has given to the visuals is ridiculously unreal; you’ll find yourself getting lost in the majesty as stuff you pick up settles into the terrain in real time.  That brings up an interesting question—is From Dust more than just a flashy presentation?  Is there actual depth when it comes to playing as a god?
Well, there is, but it would be in your best interest to pack some patience when you start this game.  Not only is being a god tricky when it comes to completing each part of the story (and the additional challenges), but the ineptitude of your tribesmen is equally as tricky.  They summoned you—a god known only as The Breath—to help them reach totem poles and expand their civilization.  Easier said than done, since they’re pretty helpless.  Each one has a description, but they come to a halt when it seems like anything gets in their way.  They’re even afraid to approach a body of water.
While it’s a slight letdown that these tribe-folk don’t help you over the course of each mission (even when you send them off, they can get lost or stuck), From Dust’s control scheme isn’t so bad.  You’ll manipulate pieces of a land in each stage, building bridges and guiding these lost souls to their next totem marker.  It takes a little getting used to at first (Actraiser this ain’t), but the controls work moderately well as you pick up objects and use them to interact with the earth. They aren’t the most precise in the world (and this may frustrate those with agile hands in later stages), but they’re functional enough with a game controller.
Now, about that real-time morphing effect we discussed earlier—it’s beautiful.  Not only does From Dust feature some crafty level design, but it also has some weather effects that shift into each one almost seamlessly.  Desert globs flow into the sand, right down to the tiniest of particles; water shifts when wet land forms beneath it; volcanoes explode with great ferocity.  Watching this as it happens is almost like taking in a terrific nature special, except that you get to play around with it.  Granted, you shouldn’t forget about your objectives, but being able to terraform these worlds as you see fit is a welcome delight.  If you ever built a sand castle as a kid, you may just say, “Screw the tribe,” and try your luck again here.
Along with From Dust’s main story mode, there are also 30 additional challenges in which to complete.  These range from downright infuriating (the most precise of controls are needed to keep your tribe from perishing) to cakewalks, particularly with the opening stages.  Still, the progression set-up is a welcome one, and the ability to record your best times on Xbox Live—through interactive leaderboards—works just fine by us.
Again, though, From Dust won’t be everyone’s speed.  There’s a steep learning curve here, and you’ll have to put up with some really stupid tribesmen in order to get the most mileage out of it; seriously—they’re afraid of frickin’ water!  Some might be abundantly bored within the first hour, but those who stick with it will be rewarded with some interesting challenges and even more beautiful terrain.  It’s up to you to decide if you’re up for the journey.
We do like how Ubisoft tried something different with From Dust, though.  It’s not often you see a major publisher take a flying leap like this with something really “out there”, if you will.  While the little flaws may have you wondering if it’s worth the trip, you at least owe it to yourself to try it—even if it’s only to see the terraforming effects.  Seriously, can you imagine how good these would look in a typical action game?  Ubisoft Montpellier should keep this on hand for their next project.a

The Baconing

Sometimes you can have too much of a good thing.  It’s one thing to release a game and then space out its sequels every two years or so, but it’s another to release a game, then follow it up every few months with a new adventure, to the point that we never really got to enjoy the previous one as we’re curious about venturing into new territory.  That’s the case with The Baconing, the third adventure to feature DeathSpank, the peculiarly named hero who last fought on Xbox Live Arcade and PlayStation Network in Thongs of Virtue a few months back.
It’s business as usual for DeathSpank.  He’s enjoying the thrill of justice, but is busy seeking out a new adversary after finally snagging the Thongs of Virtue.  Bored, he decides to put on all the thongs at once and throws the world into chaos, creating a new enemy – a robotic version of himself that’s known as the Antispank.  Before you know it, he’s off creating all kinds of terror, and DeathSpank finds himself having to burn the Thongs of Virtue in bacon fires in order to save it and stop the evil menace.  But nothing comes that easy – not for DeathSpank.
If you’re a fan of the first two games, you’ll feel right at home here.  Hothead Games continues to load up its franchise with all sorts of weirdness, whether you’re seeking justice for a mooing cow (because, hey, cows deserve great justice!) or dealing with the likes of such characters as Tankko and Bob From Marketing.  Hothead knows how to write a swell, Monty Python-esque tale, and the third time around, there are a few laughs digging through here.

So then, why the less than favorable score?  Because it’s mostly the same stuff that we’ve dealt with in the last two games.  While there are some interesting power-ups that tend to change the shift in battle every once in a while, most of The Baconing is spent beating up guys.  And beating up more guys.  Though you have a number of battle techniques and weapons that prove useful, results are about the same – you kill until you die, and then you’re brought back in an outhouse (of all places) to do it all over again.  Worse yet, Baconing seems a little more linear, as you’re following a guided path throughout most of the game.  As a result, exploration is cut even shorter here than it was in Thongs of Virtue.
The visuals are nothing spectacular for Baconing though they work for the most part, with plenty of cartoon-style animations and interesting locales, such as a retirement home for worn-out Gods.  However, there are times they can be a little fuzzy, due to a lack of polish that was apparent in the first two DeathSpank games.  It’s not a horrible game when it comes to appearance, but you can see marks of where Hothead was growing a little weary.  The dialogue is still humorous, with DeathSpank sounding like some kind of spin-off of The Tick.  We almost expect him to yell “SPOON!” at any given second.
As for extras, there aren’t much.  The game will take a few hours to get through, provided you can put up with the monotonous gameplay.  There is some co-op available, with you and a friend sharing a life bar as you take on enemies, but it can be mildly frustrating.  What’s more, you can’t play others online through Xbox Live or PlayStation Network.  What a bummer.
The Baconing is proof positive that if you push a franchise too soon and too fast, signs of wear begin to set in.  There are still moments of fun scattered in the game, but they’re hidden beneath slightly worn out gameplay and limited options.  Maybe Hothead ought to take some time off and wait a couple of years for the next DeathSpank game to make the rounds.  Otherwise, he and his Thongs of Virtue will wear out their welcome.