Review: XIII (XBX)

Every great game, irrespective of genre, should provide a 'hook'; a gameplay device that actively snags players and keeps them coming back for more. On face value alone, XIII's cel-shaded exterior could be construed as its USP, but venture a little farther beneath the day-glo visuals and you'll be hooked - literally - by the grapnel; a portable grappling device that fundamentally alters the face of FPS games. Not that XIII's face particularly needed altering.

Which is an oxymoron, because the player-character otherwise referred to as Steve Rowland, the Thirteenth Conspirator (ie, XIII), has in fact surgically altered his appearance; yet another concession that thematically hooks the player. Control issues aside, the operation has been a resounding success.

On the face of it (pun exhausted), nobody can critically accuse the game of being derivative, of being a cookie-cutter clone of the FPS ilk (its high art body art sees to that), but organically, questions have been raised (and noses put out of joint) by the somewhat 'limp' structure of its control aorta. Basically, there are only four presets provided (each limiting movement to the left analogue; looking around to the right). So, if you're an FPS aficionado who hankers for custom settings, feel free to deduct a point (of contention) from Gamestyle's praise. Of things equally querulous, strike also the notion of Auto-saving from your list of preferred options. The game provides checkpoints (and allows you to quit and save at these), but it's entirely inorganic and a conscientious affair.

So much for the grief, but disappointment is invariably allayed by satisfaction - in so many comically astringent ways. For one, the game absolutely revels in its 'comic book' origins. From its front end and menus, through the loading screens and cinemas; to the accompanying captions and in-game windows, everything is commensurate, seamless and captivating. Your first encounter with aide-de-camp Jones (voiced by rap musical artist, Eve) has you getting to grips with the aforementioned grapnel; initially fiddly (and somewhat disconcerting for an FPS game), this momentary intrusion to the action soon uplifts it - literally - and thereafter your enjoyment. High atop the rooftops of Brooklyn, you dangle precariously, the animated textures upon buildings and the traffickable streets below soon speaking to the venerability of the UnrealTM engine (licensed for XIII). Needless to say, things only get better.

While missions are a pot-pourri of expectation (the conspiratorial paper trail leading to far-flung corners of the globe; the player essentially strung along by its predetermined path), it's the range and breadth of your actions that compel. From clandestine missions aboard submarines and full-scale seaports, to face-offs with helicopters and unhinged military generals; to the inner sanctums of government facilities and remote cliff-top sanctuaries, XIII lacks naught in variety. Ah, but some of the missions...some of the stand-offs (nb, there are something like 19 boss encounters). As the noose tightens around Steve Rowland's - or is it Jason Fly's? - neck, his incursion into the SSH1 Military Complex almost becomes his (and the player's) undoing. Somewhat at odds with the "freedom" that brought him here, progress is strictly relegated to learning the route (ie, rote repetition). It's a stifling, maddening chorus that barks incessantly in the player's cerebrum...but it leads to denouement, and a postcard-perfect epilogue (notwithstanding the 'hook' of a cliff-hanger ending).

Make no mistake, XIII is a graphical tour-de-force; a surreal journey that rewards and stymies with unparalleled elegance. It offers full Xbox Live support (albeit weapon sets are restricted to default categories), link-up play and offline multiplayer. Whereas Rainbow Six 3 and Ghost Recon favour stealth, large levels and teamplay, there exists a gulf between these and the likes of Unreal Championship. For its online functions, XIII does not look forward - but rather back; to the likes of Goldeneye and Quake for inspiration.

Gamestyle wishes to avoid such terms as 'old-skool', but this description fits ideally. The twenty-one levels offer a variety of locales and maps to suit most styles of play, however there is no option to download further updates - which is bizarre, given Ubisoft's staunch support of the service. Certainly the XIII servers are rarely full of games outside of the ever-popular deathmatch mode. Accordingly, Capture The flag, Sabotage and Team Deathmatch suffer due to the lack of take-up amongst cultured gamers (who are more likely to be instigating team tactics on Rainbow Six 3; they are sorely missed).

XIII's take-no-prisoners gunplay is enjoyably refreshing on the Xbox Live service, where kills and missions can take forever. Technical issues do exist, with the occasional framerate judder (which is more distracting than detrimental), and the game shares some of those (old-skool) problems exhibited by Goldeneye and Quake - namely, first to the largest weapon wins. Nevertheless, weapons and power-ups exist in abundant quantities, which can bring an almost 'supermarket' feel to the proceedings as players rush around topping up their collection. Just like its offline counterpart, the game's online persona is entirely distinctive.

XIII may not 'revolutionise' the genre, but it certainly tips its hat to some revolutionary (FPS) elements, including the platformesque addition of the grapnel and...an obeisance to singing soldiers. Yep, you heard it right. In the still of night, in the isolation of the mountains, under the fluorescent floodlight of the guard tower, Joe Schmoe bangs on. It's a capella, it's precious, it's priceless. It's...XIII

Rating: 9 / 10

Words by Steven Wrangell