Brink

Set in a nearby future, Brink attempts to do something different with multiplayer gaming by focusing on free-running and parkour. With some good ideas, Brink borders on fun, but its repetition, lack of depth, and graphical problems keep it from being a real contender.

Brink is set atop a floating city called The Ark that has been isolated for over twenty years. A bastion for surviving humans, the Ark is split into two zones, one guarded by security forces, the other by rebels. Brink immediately asks you to choose a side, but, you can take your persistent character through both sides of the bland story, making it pointless. In fact, during character creation, the only permanent choice is a character's facial appearance and their tattoos. Beyond that, you can change your size, look, weapons, class, and faction on a whim. This makes starting multiple characters almost irrelevant, except that experience maxes out at level 20.
There are four classes in Brink, but there's a disappointing lack of definition between them. Due to the nature of Brink's maps, classes require constant changing. One objective might need repairs from an Engineer, while another might have a Medic heal a VIP. But classes don't really play differently. I was often confused when I couldn't drop a turret only to remember I was a Soldier, a class with a different set of skills. There's not much of a chance to pick and master a favorite class.

Brink's one shining aspect is SMART (Smooth Movement Across Random Terrain). Using SMART, holding a single button lets you navigate up walls, over obstacles, and through the game world. Depending on your body size, you can do more or less with movement, but overall this finesse is fantastic. Nothing in Brink feels quite as good as sliding under gunfire into someone, taking them out with a shotgun.

However, it's easy to forget which size your character is in first-person perspective, as movement abilities don't change dramatically. While the Large size allows miniguns and shotguns, they still move only slightly slower than the Medium size. Only Small characters can really burst through levels, leaping off of walls and finding clever passageways. 
Brink offers 50 skills to unlock, but only 20 are assigned to a specific character. While some high-level skills can really augment how the game is played, such as the Cortex Bomb or firing while incapacitated, a first level player can generally compete with a twentieth level player if they know FPS games. No skill choice is set in stone, so the ability to reassign points at any given time is available.

Brink gives experience upon completing objectives, killing enemies, and helping the team. There is no incentive to become a lone wolf -- there are more points for reviving a teammate than going it alone. Brink's lack of stat tracking is glaring, though. The official website will launch a stats page, but otherwise level, kills, deaths, and successes are hidden -- those of other players too.

While Brink's campaign explains both sides of story, the missions don't need to be played in order. Brink's entire campaign can be played solo or online. Any gaps in a match's player count are filled in with bots, which can't really compete with the real thing. The AI always makes a full team push to their objective at the last second, so you always know where to be.

Slide your way to victory.

You can jump sides at any point outside of a mission, and even general multiplayer just presents the same set of missions, shuffled like a deck of cards. Cut-scenes vaguely indicate a reason to fight. Each faction has a leader and a goal, but neither is very interesting, and the player merely shows up as a background character as other NPCs discuss mission plans and story details.

There are eight maps in Brink, and depending on the faction, the goals are slightly different. Teams either place explosives, hack devices, escort a VIP, or operate machinery on one side, or simply do the opposite for the other faction. Unfortunately, there are only so many ways to tackle these same objectives time and time again on a small number of maps.

Brink's objectives are repetitive, but the level design is better. Because different sizes of characters allow access to different areas, discovering the full breadth of a map will take quite a while. But again, since objective locations never change, I realized there are a finite number of ways to get things done, and grew weary of certain maps. With a game dedicated to the online experience, there truly needs to be more content in this department.
Time plays a huge factor in every match of Brink. While a bomb timer makes sense, there are some truly odd design choices based on an arbitrary ticking clock. For example, when one team needs to save a VIP, the other team's job is to stop them. But when downing the VIP, the team must guard the body lying on the ground for up to ten minutes, just keeping the enemy at bay and waiting for the clock to run out like it's the end of their shift. The waiting is frustrating, especially when dominating a match or if stuck helplessly battling a talented team.

At least the visual design of the overall package looks cool. Brink's elongated characters have a style all their own and leveling up unlocks new clothing options. However, while the art design is cool, the graphical execution isn't on par. During play, Brink suffers from pixelated lines and a murky look, making for a downright ugly game at times. Textures often fail to load properly, and with colored outlines on your teammates and the enemy, the detail in everyone's dress is obscured most of the time.

Closing Comments

An online shooter needs variety, depth, and addictiveness to succeed over the long term. Brink might find a niche with some hardcore fans, but it isn’t for everyone. I'd love to see more of the parkour gameplay, but one mechanic isn't enough to carry an entire game. Brink has heart, but the overall package is lacking.

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Killzone 3

With its soldier banter and incredible level of violence, “Killzone 3” plays not unlike an outer space edition of “Call of Duty.” Like those games, most of “Killzone 3” is not about finesse. It’s about complete destruction, finding cover, and blowing up the enemy. The more firepower, the better. You will kill hundreds of Helghast and fire millions of bullets to do so. And you will die over and over and over again, often after being shot by an enemy so far behind cover that you can’t even see them. “Killzone 3” can be frustrating, especially in the early chapters when it feels sometimes like little more than chaos for the sake of chaos, but the game improves significantly after the second hour and the way it delivers in both single-player and multi-player arenas is notable. We have played many a game that got one or the other right but titles that appeal to both single-player and multi-player audiences are rare. “Killzone 3” is such a game.

Killzone 3 Photo credit: Sony

Technically, “Killzone 3” is stunning. It is the best-looking game of this kind ever made. The graphics are breathtaking, even if most of the backgrounds are variations on the same “war-torn industrial” look. The animation in the cut-scenes is stunning, brought to life through voice work by great actors like McDowell and Winstone. Sadly, the game is kind of like a summer blockbuster in that it’s technically marvelous but the script is pretty thin. Most of the dialogue seems cribbed from a war game textbook and the banter can be somewhat laughable. I swear the last three chapters all start with something like “Let’s finish this.” Again?
The game can also get pretty repetitive. Don’t expect a lot of variety in enemy types even if some Helghast are a bit faster and some carry missile launchers. As for your weaponry, the addition of an Arc Cannon late in the game allows for a bit of variety, but this is one of those games where most of the weapons needed for the specific situation will be sitting in a nice holder waiting for you when you get there. If you want to challenge yourself with a pistol, feel free, but your assault rifle will become your primary weapon of choice.
As for AI, it’s not bad even if it’s sometimes a little omniscient. Except for one chapter built around stealth, the enemy always seems to know exactly where you are, even if you sneak into a room and grab cover. I would pop my head up and it would come off. I wished I had the map/radar that they did. But that’s not unusual in a game like this where gunfire is the key, not strategy. As for variety, there are a few flying missions, one where you use a jetpack, and another with a mech, and most are very well-designed (the mech could have used a little more work and was my least favorite chapter).

Killzone 3 Photo credit: Sony

The story of “Killzone 3” is relatively brief but intense enough that you won’t feel ripped off by its brevity. I wish there was a bit more emotional involvement — a reason to care beyond saving Earth from total destruction. And I wished for one more unique environment. After the stealth/nature level, it’s all strikingly similar — climb the stairs, find cover, dispense your entire ammo load.
Many of the key settings of the game have been transferred to the multi-player arena, in which Sony offers numerous game types and an impressive amount of unlocking depth. Whether you want to be a Tactician, Field Medic, or Infiltrator, you can play a typical deathmatch mode or, more interestingly, a series of operations like holding certain locations, planting bombs, or even assassinating a certain player on the other team. The multi-player is great, an addiction that could replace your love for “Call of Duty: Black Ops.”
As for the maps, once again, they feel a bit repetitive, but what’s most notable is their size. These things are HUGE, offering an immense variety every time you play them. If two teams hunker down in a certain area, other parts of the map aren’t really going to even be used until, possibly, the next time you play. The spawn points can be a bit frustrating in that a quality squad can lurk near them and really destroy, but this is still a great multi-player title that one hopes will only be enriched by future maps and possibly even game types.
Played purely with a Dualshock 3, which is what I did first because that’s still the way most PS3 players will experience the title, “Killzone 3” is a fantastic game, but one of the more hyped aspects of its release has been the ability to use your Playstation Move to shoot in both the single-player and multi-player portions of the game. I have to admit, I was deeply skeptical. The Move has not fully delivered for this critic and I wondered how a game could keep up the intensity with two controllers (one to navigate and the Move to shoot).
Briefly, it’s not perfect but it’s such an evolutionary step in what we’ve seen before (and what I expected) that this could be the most influential game of the year. Quick movement is still difficult with two controllers but the aiming is seamless. In other words, if you want to play with the Move, adopt a sniper pose because if you’re in the think of it, you’re going to get shot from behind. It’s not yet the way I would choose to play a game like “Killzone 3” but it’s getting there. Motion controls aren’t purely for rail shooters and sports games any more. Will motion controllers be a fad or the future? “Killzone 3” makes the case for the latter. Don’t miss this bandwagon.

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Crysis 2

Crysis 2 bears the weight of heavy expectations on its shoulders. PC gamers want a new system-crushing game to show off their hardware, and console players were promised the "best-looking game ever." In the wake of Modern Warfare's ascension, Crysis fans worried that the series' expansion to consoles would lead to a narrow, dumbed-down experience.
Thankfully, Crysis 2 sidesteps the excessive simplification of recent shooters with Nanosuited grace. It mixes destruction with beauty, and manages to deliver a more focused experience than its predecessor while retaining the building blocks of what made the original Crysis unique. Crysis 2 is the kind of game that speaks in superlatives -- and even when it stumbles, it's quick to recover, always pushing forward to another amazing moment.
Set in a 2024 that seems more like the day after tomorrow, Crysis 2 depicts New York City, under assault from all directions. A bizarre virus is devouring entire boroughs; the city is under uneasy martial law, brought about by a strained partnership between the military and private security conglomerate Crynet. Then the alien invasion begins, and things fall apart. As a marine named Alcatraz (Callsign? Codename? Rude parents? Crysis 2 never says), you arrive amidst devastation and chaos, sporting Crysis' trademark Nanosuit -- a semi-living suit of combat armor with advanced AI.
The Nanosuit is the lens through which you view Crysis 2, and it adds a great sense of cohesiveness to the game. Once you hit the Start button, everything you see and do -- save for load screens -- occurs in first-person view. Instead of wading through weapon- and power-selection menus, you're presented with in medias res overlays and subtle visual effects, which indicate the Nanosuit's status. The Nanosuit has three modes: Stealth imparts near-invisibility; strength grants more powerful melee attacks, greatly increased movement speed, and jump height; and armor makes you something of a walking tank. Each power drains your suit's energy to varying degrees -- and Crysis 2's foundation lies in juggling these powers, finding new ways to combine them, and using them in unexpected ways.
It's great, then, that Crytek presents such a varied playground in its torn and broken New York City. Crysis 2 shines most when you push the Nanosuit to the limits of what you think it can do, and the best moments come from points where you stop and ask "did I really just pull that off?" Crysis 2 is a collection of sandboxes, some enormous in size, all laid out to provide multiple options for tackling your objectives. Your suit's AI identifies strategic points of interest if you choose, allowing you to mark tactical points or elements, like weapon caches and enemy locations. After that, it's up to you: Will you crank up your armor, tear a mounted machine gun off its hinges, and walk through the front door? Or will you sneak in to flank an enemy position, silently murdering foe after foe?
Crysis 2's enemy AI is smart, yet believable. Sure, you can set enemies up for ambushes, but carelessness often provokes massive coordinated responses that require quick thinking to deal with. Combat usually spirals out from the initial encounter randomly, and most fights unfold differently each time you play them. Thank Crysis 2's environments, which aren't just wide, but also tall -- you can always find a way up and over, a way to come crashing down. When you fight Crynet's paramilitary forces, the ability to strike from on high and disorient your opponents is empowering and predatory. During encounters with the alien Ceph, the balance shifts; your attention isn't just on where you can go, it's where your more mobile foes can cut you off and ambush you. While you're the cliched one-man army, the tools at your disposal are primed to enable clever play more than brute force. The free-wheeling weapon customization from the original Crysis has returned, which allowed you to modify weapons with scopes, silencers, undercarriage attachments and such, and it's been joined by Nanosuit upgrades. The suit upgrade menu is actually your hand - twitching each finger selects a different subset of upgrades, and only one of each subset can be active at once.
This adds to Crysis 2's replayability, since the abilities you earn and the weapon modifications you find are available in all previously completed chapters, on any difficulty level. It's a sort of new game plus situation, without explicitly naming it as such. This makes up for Crysis 2's smaller playground.
You won't find quite as much space for random wandering this time out. New York isn't Lingshan Island, and the sense of urgency and forward momentum is that much greater in Crysis 2. But that shift leads to a game that feels more focused than the original, while avoiding some of Crysis: Warhead's more bizarrely funneled sections. Crysis 2's occasional narrow, tunneled areas are almost never combat scenarios; instead, they feel like deliberate moments of respite, to let you take in the catastrophe around you, and to build on the story.
Written by sci-fi novelist Richard K. Morgan (of Altered Carbon and Black Man/Thirteen), Crysis 2's story deals with sophisticated themes like transhumanism and the corporatization of power. The story is slow to get going, and once it does, it sometimes seems like some pretty important moments of exposition got cut. Plot holes notwithstanding, Crysis 2 tells an interesting (if uneven) story that doesn't talk down to you. You just need to pay attention (and discover at least a few of the hidden e-mail collectibles) to be clear on what's going on.
You may have trouble paying attention to the story, though, given Crysis 2's constant sensory assault. This is the best-looking console game to date. It eschews the dark, hyper-filtered visual style of games like Killzone and Gears of War for beautiful, ubiquitous light. Light isn't directed in Crysis 2, it cascades -- over buildings, through trees and glass, reflecting and bouncing around levels in a way you haven't seen in a game before. It's a stark contrast to the constant, screen-shaking destruction of one of the world's most distinctive centers of popular culture. It's difficult not to get caught up watching the FDR Drive ripple and fall to pieces in a roar of shifting concrete and a cloud of debris, or making your way past other shattered landmarks. The soundtrack complements this well, and Crysis 2 features loud, clear, aggressive positional audio for those with 5.1 setups. Gunfire echoes down city streets like Michael Mann directed them.

More Crysis 2 Videos

So, where does Crysis 2 stumble? It has a checkpoint system that ranges from passable to unforgiving, as if it was designed to supplement the habitual PC quick-saving of the first game. Moreover, the free-thinking strategy that Crysis 2 fosters gets discarded completely at a few points, and the game demands a course of action without properly explaining what it is -- or where to go. This can result in rare moments of exasperation or outright confusion. Then there are the glitches.
Remember that "smart" AI I mentioned? It isn't always turned on, and there are weird moments where enemies will walk in circles, or headfirst into their teammates without end. Other times, enemies human and otherwise will remain completely oblivious to the shrieking firefight inches away from them. It's... distracting. Crysis 2's experience is often such a well integrated whole that watching the game's facade fall for a moment hurts when it happens. Crytek are lucky that the game picks itself back up again so well that these are minor complaints.
For those looking beyond the campaign, Crysis 2 offers the de riguer persistent multiplayer experience. Much like Call of Duty, you can unlock an ever escalating series of weapons and suit upgrades (think: perks). While Crysis 2's progression resembles Black Ops and its forbears, its moment to moment play remains purely Crysis. Every player has access to the standard Nanosuit abilities, and the superhuman showdowns can be unpredictable fun.
At first, anyway. After several months of beta play on Xbox 360 and PC (and about four hours of play with the review build), I can safely say that it has some balance issues. Sniper fire, cloaks, and Nanovision rule the field, and cut down on the Nanosuit physicality and traversal that make Crysis 2 feel different from other online shooters. It's difficult to say whether a strong, long-term community will rally around the game.

Check out our Crysis 2 platform comparison.

Closing Comments

Despite those complaints, Crysis 2 succeeds. It’s a beautiful, engrossing experience that avoids the anemic, scripted playbook made law by the 500 pound shooter gorilla. It plays well, encourages creative problem-solving, and confidently delivers a series of escalating and changing encounters and scenarios that will push you to think in a way few shooters have in an era of increasingly funneled experiences. While Crysis 2 loses its footing during a few odd moments, Crytek more than delivers on the promise of their previous games. 

Article Source:  http://ps3.ign.com 

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Splinter Cell: Conviction Review

Sam Fisher is back, and he is not in a good mood. Of all the smart decisions made in crafting a new Splinter Cell title, this might be the best one developer Ubisoft Montreal made. Sam's angry and you hear it in every grunted line of dialogue, can see it in the brutal takedowns and interrogation moves and feel it pulsating through Sam with every step. That anger, that aggressiveness is built not only into the story but the gameplay changes as well. It was a huge risk deviating from the trial-and-error style that made the series famous, but it paid off. Splinter Cell Conviction is awesome.

The story takes place a few years after the end of Splinter Cell: Double Agent. Don't worry, if you never finished that game, you'll get caught up quickly as to what's going on. Sam's daughter was killed, he murdered his best friend Lambert, and he split from Third Echelon, the government agency he'd called home for years. With new evidence leading to his daughter's killer, a tormented and semi-retired Sam Fisher is called back into action. Turns out the people responsible for his daughter's fate are planning a major terrorist attack on Washington D.C. This is going to be one long day for Jack Bauer Sam Fisher.
Conviction sets itself apart from its predecessors with its pacing. You're always being pushed forward, so much so that I played through the entire single-player campaign in one sitting without even realizing I'd been up all night. Ubisoft pulled off a few magic tricks to make this happen.

There are no in-game loading screens unless you die. From the moment the game starts, you never sit around waiting for something to happen. Levels are loaded while you're watching slickly presented cutscenes. Fancy new projection technology integrates text into the scenery to point you towards your goal, and back story is shown with movies playing out on walls as you progress through a level. These things aid in keeping players immersed in the world, but the real reason things feel so fluid is the change in approach to stealth.

In Conviction, stealth is about speed.

Sam moves fast. Really fast. He can get in and out of cover quickly, shimmy across ledges faster than the Prince of Persia and beat a hasty retreat if he gets into trouble. Sam's codename used by Third Echelon is "panther," and that's fitting. In past Splinter Cell games, enemies were meant to be avoided; in Conviction, Sam is a hunter. He isn't avoiding enemies, he's stalking them.

Sam lurks in the shadows, finds his moment to pounce and strikes with deadly efficiency. There may be a dozen men, fully armed and with extensive combat training closing in, but they're the ones who should be worried. You feel like the ultimate badass thanks to some generous aiming assists that let you easily put bullets into approaching enemy noggins.
Rather than force players to eyeball a variety of meters to determine their level of stealth, Ubisoft made things very obvious. If you're in the shadows and impossible to see, the color bleeds out and things go black and white. The minute you're in the light, the color comes back. This easy sense of whether you are hidden or exposed enables you to move quickly through the environment and plan your route of attack on the fly.

Shadows and light are just half the stealth equation. The other half is the cover system. The cover is not at all like Gears of War, where you're sucked against a wall. Squeeze the left trigger and if you are near an object, you'll take cover behind it. Release the trigger and you immediately disengage, or you can hold down the trigger and move away from cover with no problem. You're never attached to a surface. In fact, you can hold down the trigger when out in the open and Sam will crouch, doing his best to minimize his visibility.

This is the best cover system I've ever used. Every other game needs to change, because I can't go back.
Should you be spotted, the best thing to do is retreat. Get out of sight and a white silhouette appears, marking your Last Known Position. The AI will focus on this spot, because it's where they think you're hiding. They'll unload some shots, maybe toss a grenade and then make their way towards the spot to see if they got you. On Realistic difficulty -- the only way you should play Conviction -- the AI is very sharp and won't be fooled for long. You can use the Last Known Position to your advantage. Flank your enemies when their attention is on your silhouette, then take them out before they realize what's going on.

Using shadows and cover, you stalk your prey, and when you're close enough, you can perform a hand-to-hand takedown. There are dozens (probably more than a hundred) of these. They're an excellent reward for being sneaky. My favorite is shooting a guy in the leg and as he crumples downward, popping him in the chin with my silenced pistol. But the system isn't perfect. You bash in a door with the same button as a hand-to-hand takedown. Attempt to quietly kill an enemy near a door and you may end up kicking in the door and causing a ruckus. Occasional glitches aside, stealth kills look cool, avoid attracting attention and earn you the ability to execute.

The Mark & Execute system is probably the most controversial change to the Splinter Cell series. You can tag or "mark" enemies, putting a big arrow over their heads and then executing them with the press of a button. So long as the mark is red, you are guaranteed a kill. As it's described, this would seem like a "win" button that would make Splinter Cell too easy. Far from it. You have to work to earn the right to execute. Use it once and you must perform another stealth takedown to activate the execution option again. More importantly, executing does not equal "stealthily execute." If you aren't careful, you can easily expose yourself to enemies when you enter execution mode. There are often more enemies than you could ever mark, so it's not as if you run through tagging and killing with ease.

Article Source:  http://ps3.ign.com

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God of War III

After three years of development and three very long years of waiting, the end is finally upon us. God of War III marks the finale to Kratos' search for revenge and properly caps off a trilogy that ranks near the very top of the best action games ever list. Yes indeed, everything does come to a complete and decisive close by the end, and though it may not be the last that we've seen of the franchise, this really is the end of this tale.

Well, probably.

Taking the old "if it ain't broke, don't fix it" rule at face value, Sony Santa Monica has done very little to alter how things work, though there's been a bit of welcome polish on nearly every facet of gameplay. That is, if you were expecting a revolution in terms of design, you'll be sorely disappointed. But, if you simply wanted more of what has made the series so great up to this point, you're going to be quite happy indeed.
What has worked in the past largely still holds true here in great fashion. God of War III practically redefines what the word "scale" means with regards to videogames, as it throws you into scenes with Titans that are larger than entire levels in some other games. The scope of some of these sequences is nothing short of astounding, with playable sequences that take place on creatures the size of a skyscraper. Sony Santa Monica has been promising this all along, but even when you know what sort of experience you're in for, you'll still be blown away by the immensity of some scenes.

While size is a hugely impressive aspect of the game, more than anything else, God of War III is a tour-de-force in terms of its visuals, and it's even more brutal than any of its predecessors. Yes, this is a very M-rated game, one filled with blood, gore and detached limbs, but what's important is that it all makes sense. Greek mythology was filled with violence, and Kratos' latest doesn't hold back in all the right ways.

The combat is just as responsive as ever with big, massive combos that you'll always feel completely in control of. You can cancel out of almost anything and go into a block or roll, making defensive maneuvers a strong (and very necessary) part of your arsenal. One subtle tweak this time around is that the old Square-Square-Triangle combo that ends with Kratos whipping down the Blades in a big overhand motion isn't as easily abused as it once was. This is partly due to the fact that you'll find yourself surrounded by more enemies than ever before, requiring that you utilize your area attacks more often, but it's also because enemies can be more aggressive. If you're in their sights, they're probably attacking, which makes the combat a little more balanced between blocking, rolling and attacking; that's great. It's not a huge change, but it's certainly very welcome.

 

Kratos looks incredible (and deadly).

One problem with past God of War titles was that despite the fact that you'd pick up a handful of other weapons along the way, in large part they weren't very useful as your blades seemed to almost always be more effective. That's been fixed this time, and all three of the other weapons you acquire are good in almost any situation. That's even more true thanks to the fact that you can now switch between them on the fly, mid-combo, allowing you to string together big sequences will all four weapons in use.

My only complaint here is that two of the three additional weapons that you'll earn are extremely similar to your blades. They have unique powers and slightly different moves, but by and large, they're more of the same. The Cestus (the pair of big metal gloves that you've no doubt seen previously) is really the only weapon that's truly unique, and fortunately those are both useful and great fun to take into battle, but it's hard to not wish that your other pickups were as different at the Cestus.
Article Source:  http://ps3.ign.com

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Killzone 3

With its soldier banter and incredible level of violence, “Killzone 3” plays not unlike an outer space edition of “Call of Duty.” Like those games, most of “Killzone 3” is not about finesse. It’s about complete destruction, finding cover, and blowing up the enemy. The more firepower, the better. You will kill hundreds of Helghast and fire millions of bullets to do so. And you will die over and over and over again, often after being shot by an enemy so far behind cover that you can’t even see them. “Killzone 3” can be frustrating, especially in the early chapters when it feels sometimes like little more than chaos for the sake of chaos, but the game improves significantly after the second hour and the way it delivers in both single-player and multi-player arenas is notable. We have played many a game that got one or the other right but titles that appeal to both single-player and multi-player audiences are rare. “Killzone 3” is such a game.

Killzone 3 Photo credit: Sony

Technically, “Killzone 3” is stunning. It is the best-looking game of this kind ever made. The graphics are breathtaking, even if most of the backgrounds are variations on the same “war-torn industrial” look. The animation in the cut-scenes is stunning, brought to life through voice work by great actors like McDowell and Winstone. Sadly, the game is kind of like a summer blockbuster in that it’s technically marvelous but the script is pretty thin. Most of the dialogue seems cribbed from a war game textbook and the banter can be somewhat laughable. I swear the last three chapters all start with something like “Let’s finish this.” Again?
The game can also get pretty repetitive. Don’t expect a lot of variety in enemy types even if some Helghast are a bit faster and some carry missile launchers. As for your weaponry, the addition of an Arc Cannon late in the game allows for a bit of variety, but this is one of those games where most of the weapons needed for the specific situation will be sitting in a nice holder waiting for you when you get there. If you want to challenge yourself with a pistol, feel free, but your assault rifle will become your primary weapon of choice.
As for AI, it’s not bad even if it’s sometimes a little omniscient. Except for one chapter built around stealth, the enemy always seems to know exactly where you are, even if you sneak into a room and grab cover. I would pop my head up and it would come off. I wished I had the map/radar that they did. But that’s not unusual in a game like this where gunfire is the key, not strategy. As for variety, there are a few flying missions, one where you use a jetpack, and another with a mech, and most are very well-designed (the mech could have used a little more work and was my least favorite chapter).

Killzone 3 Photo credit: Sony

The story of “Killzone 3” is relatively brief but intense enough that you won’t feel ripped off by its brevity. I wish there was a bit more emotional involvement — a reason to care beyond saving Earth from total destruction. And I wished for one more unique environment. After the stealth/nature level, it’s all strikingly similar — climb the stairs, find cover, dispense your entire ammo load.
Many of the key settings of the game have been transferred to the multi-player arena, in which Sony offers numerous game types and an impressive amount of unlocking depth. Whether you want to be a Tactician, Field Medic, or Infiltrator, you can play a typical deathmatch mode or, more interestingly, a series of operations like holding certain locations, planting bombs, or even assassinating a certain player on the other team. The multi-player is great, an addiction that could replace your love for “Call of Duty: Black Ops.”
As for the maps, once again, they feel a bit repetitive, but what’s most notable is their size. These things are HUGE, offering an immense variety every time you play them. If two teams hunker down in a certain area, other parts of the map aren’t really going to even be used until, possibly, the next time you play. The spawn points can be a bit frustrating in that a quality squad can lurk near them and really destroy, but this is still a great multi-player title that one hopes will only be enriched by future maps and possibly even game types.
Played purely with a Dualshock 3, which is what I did first because that’s still the way most PS3 players will experience the title, “Killzone 3” is a fantastic game, but one of the more hyped aspects of its release has been the ability to use your Playstation Move to shoot in both the single-player and multi-player portions of the game. I have to admit, I was deeply skeptical. The Move has not fully delivered for this critic and I wondered how a game could keep up the intensity with two controllers (one to navigate and the Move to shoot).
Briefly, it’s not perfect but it’s such an evolutionary step in what we’ve seen before (and what I expected) that this could be the most influential game of the year. Quick movement is still difficult with two controllers but the aiming is seamless. In other words, if you want to play with the Move, adopt a sniper pose because if you’re in the think of it, you’re going to get shot from behind. It’s not yet the way I would choose to play a game like “Killzone 3” but it’s getting there. Motion controls aren’t purely for rail shooters and sports games any more. Will motion controllers be a fad or the future? “Killzone 3” makes the case for the latter. Don’t miss this bandwagon.

Article Source: http//www.hollywoodchicago.com 

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Posted in: Games

Prince of Persia: The Forgotten Sands

CHICAGO – I’m nervous that future generations will remember “Prince of Persia” more for the awful Jake Gyllenhaal movie than the massively-influential and beloved video games on which it was based. To combat this possibility, Ubisoft has released the trilogy that really turned the franchise into a phenomenon in the mid-’00s in one value-packed release called “Prince of Persia Trilogy HD,” now available in stores exclusively for the PS3.

Video Game Rating: 4.0/5.0

As Sony did with the excellent value release of “God of War” and “God of War II” in one package, Ubisoft has gone back and upconverted three of their best PS2 games for the PS3 generation — 2003’s “Prince of Persia: The Sands of Time,” 2004’s “Prince of Persia: The Warrior Within,” and 2005’s “Prince of Persia: The Two Thrones.” With over 30 hours of gameplay, the triple-pack is one of the best values you’ll find this season. And it’s easy to see why these games became such a phenomenon and the influence they’ve had in the years since. HD (and the advancements of gaming in the last few years) has the ability to amplify the flaws of these titles but they still feature high-quality, sometimes-addictive entertainment for your video gaming dollar


Naturally, “The Sands of Time” looks the most dated (it’s actually kind of remarkable to appreciate the games as a sort of history lesson in the progression of video game development in the mid-’00s…it came out just two years later but “The Two Thrones” looks nowhere near as dated. Two years is a lifetime in the world of video games.) It may be a little too retro for some players, but “The Sands of Time” set the foundation for this successful series by bringing the hero into a third dimension and setting the stage for the basics of the gameplay — acrobatic movement, sword fighting, and a bit of time manipulation. If you’ve never played these games, it’s clearly the place to start as it gives you a solid sense of what to expect not just for this entire release but the 2008 “Prince of Persia” reboot (a beautiful game that I love but most people were lukewarm on) and the disappointing “Prince of Persia: The Forgotten Sands” from last year.

Prince of Persia Photo credit: Ubisoft

The story of the trilogy of “Prince of Persia” is arguably its weakest element (and that could explain why it was never quite a good fit for a Hollywood blockbuster where story matters more than with a controller in your hands). You play a Prince who falls from power, battles the undead, finds a dagger that can manipulate time by backing it up a few seconds (most often to save your ass), and eventually returns to the role of the hero after going through some dark times in the mid-section of the series.
You don’t have to play the whole series in order. You can jump right into any of the three games and I found it fun to actually bounce back and forth between the titles. Many of the fighting controls are the same and it’s interesting to appreciate the synergy between the games. Oddly enough, you do have to restart every time you want a new game. There’s no menu to bounce back to after you pick which of the three you want to play. It seems like a mistake.
Of course, all three games have been upconverted for HD and they look spectacular. They have also been reconfigured to support 3D televisions. As for the graphics, there are times when the HD conversion looks amazing but other times where it feels like the effect may be to amplify the glitches of the game. When the game looks like a 2011 title but still features camera issues more common in 2003 then it can be even more jarring. The fact is that all three of the “PoP” games have frustrating camera issues, some odd control discrepancies, and even the occasional glitch. Just recently I killed an enemy in “Two Thrones”, went to pick up his weapon, and watched as said weapon came to life as if my enemy was still alive and carrying it. I had to kill Mr. Invisible.
Combat was never the biggest strength of “Prince of Persia” and what really matters about the series hasn’t changed — the acrobatic navigation of areas that basically play like three-dimensional puzzles. When the games are at their best, they have a fluid beauty as your prince bounces back, forth, up, and down to get from point A to point B. I wish more games appreciated the beauty of movement in the same way.
As video game history grows by the day, there’s going to be more and more releases like “Prince of Persia Trilogy HD,” packages that try to capitalize on already-released product. Some will be mere compilations — “Greatest Hits” of video game history — and some will be more accomplished at introducing classics to a new generation. Despite some glitches and camera issues that are simply more frustrating in 2011 than they were in 2003-05, “Prince of Persia Trilogy HD” is a solid release, a collection of three excellent games at a price lower than most new ones.
“Prince of Persia Trilogy HD” was released by Ubisoft on April 19th, 2011, exclusively for the PS3.
Article Source: http//www.hollywoodchicago.com

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Posted in: Games

Asus Lamborghini VX7 gets Intel Sandy Bridge CPU

 Sports quad-core Intel CPU, Nvidia GeForce GTX 460M graphics and USB 3.0 port







Asus has refreshed its Asus-Automobili Lamborghini VX7 laptop with new Intel Sandy Bridge processor. The co-branding joint venture laptop Lamborghini VX7 now sports a quad-core Intel processor, has Nvidia GeForce GTX 460M graphics and also gets SuperSpeed USB 3.0 ports. This time, this massive laptop will be made available in Orange, Black and Carbon Fiber color options. Just in case you have a heart to hear the price then it is $3,000 (Rs. 1,32,000 approx.) for this ultra-lux Italian supercar like laptop.

Beastly Italian sports car like Asus Lamborghini VX7 packs quad-core Intel Core i7-2630QM mobile processor coupled with Intel HM65 Express chipset. New VX7 has 15.6-inch LED Backlit display that supports full HD (1920x1080) in 16:9 aspect ratio. On this display, the full HD multimedia and gaming is powered by the Nvidia GeForce GTX 460M graphics with 3GB video memory. One can beef up to 16GB DDR3 1333Mhz RAM in four slots. 

For storage, Asus provides a hybrid option that can hold up to 1.25TB of data storage with combination of SSDs and HDDs. Asus has also added a Blu-ray reader/writer so that you can enjoy your Blu-ray collection on it. This monstrous laptop accommodates USB 3.0 that provides ten times faster transfer speed compared to the USB 2.0 port.

At the side, Lamborghini VX7 has Bluetooth 2.1 sensor, Wi-Fi (802.11 b/g/n), 8-in-1 card reader, Gigabit LAN, one USB 3.0 port, HDMI port, and a VGA Port. To make this huge laptop long for hours, ASUS has incorporated 8-cell 75WHr battery. The laptop weighs around 3.82kg.  Read More ...

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Posted in: Computers,Technology

2011 Yamaha FZ8 First Look

Yamaha’s sporting line of motorcycles grows with the introduction of the new 2011 Yamaha FZ8 street bike; a streetfighter-style machine that offers European styling and a conventional riding position with a sporting engine and chassis character. At an MSRP of $8490, it slots in directly between the FZ1 and FZ6R, Yamaha’s two current streetfighters.

Beneath the 4.5-gallon fuel tank lies a liquid-cooled and fuel-injected 779cc Inline-Four. The engine uses the same cases as the pre-crossplane crankshaft-equipped Yamaha YZF-R1, but gets an entirely new crankshaft and top end. The engine operates with a conventional engine firing order, unlike the current R1, while the powerband has been specifically tuned for the rigors of urban riding with more low-to-mid rpm torque output.

Each piston slides within a cylinder that features a 68.0 x 53.6mm bore and stroke. Fuel is squeezed at a 12.0:1 ratio and the bike uses a 16-valve cylinder head, actuated by dual overhead camshafts. Power is transferred back to the rear tire through a manual cable-actuated clutch, 6-speed transmission and chain final drive.
The engine is suspended within a black cast aluminum frame mated to a swingarm of the same composition, with its handling emphasis put on moderate-speed agility. Front-to-rear weight bias is claimed to be 51/49; suspension includes a 43mm inverted fork and a spring preload-adjustable shock absorber.

The FZ8 rolls on 17-inch cast aluminum wheels that feature a 5-spoke design. The wheels are paired to Bridgestone Battlax BT-021 sport touring tire in sizes 120/70 front and 180/55 rear. Braking components consist of a pair of 310mm discs clamped by 4-piston calipers up front and 267mm rear disc with a double-piston caliper out back.

The cockpit of the FZ8 is similar to the FZ1 and is designed to be a balance between sport and comfort. It makes use of a standard, upright aluminum handlebar that is said to be positioned 4mm forward as compared to its elder sibling. The footpegs have also been positioned down 10mm and back 15mm. Seat height is measured at 32.1 inches off the ground and with a full load of fuel the bike is claimed to weigh 480 pounds.

Visually all of the bikes major components are painted black and the engine is hung out in the open without any fairings or plastic body panels covering it. The FZ8 is available in one color, Raven, and will be available in dealers December of this year.

Engine: 779cc liquid-cooled Inline-Four, 16-valve
Bore x Stroke: 68.0 x 53.6mm
Compression Ratio: 12.0:1
Fuel Delivery: Fuel-injection
Clutch: Wet multi-plate, cable actuation
Transmission: 6-Speed
Front Suspension: Soqi 43mm inverted fork, 5.1 in. travel
Rear Suspension: Soqi shock absorber with adjustable spring preload; 5.1 in. travel
Front Brake: 310mm disc, 4-piston caliper
Rear Brake: 267mm disc, 2-piston caliper
Front Tire: Bridgestone 120/70-17
Rear Tire: Bridgestone 180/55-17
Curb Weight: 470 lbs.
Wheelbase: 57.5 in. Length: 84.3 in. Width: 30.3 in.
Rake / Trail: 25 deg. / 4.5 in.
Seat Height: 32.1 in.
Fuel Capacity: 4.5 gal.
MSRP: $8490, Raven 

Article Source: http://www.motorcycle-usa.com

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Posted in: Automotive,motorcycle,Yamaha

2011 Victory Vision Tour Comparison

Victory’s 106/6 Freedom V-Twin provides plenty of usable power early in the rev range, registering just shy of 80 lb-ft at 1900 rpm on the dyno. All it takes is a good twist of the throttle to realize the four-valve, SOHC 50-degree V-Twin has a revvier nature than the Harley’s pushrod-operated mill. Even with the Twin Cam 103, the Harley doesn’t match up to the 92.17 lb-ft of torque the Victory Vision  put out at 2700 rpm on the dyno. Topping the horsepower and torque charts helped the Victory Vision Tour win our 0-60 test by 0.06 seconds. Both bikes produced similar power curves during the 0-60 runs with the biggest gains in miles-per-hour coming in between one-two seconds. The Vision did top our scales, though, weighing in at a portly curb weight of 909 pounds with the Road Glide Ultra no featherweight itself at 875 pounds. The 34-pound weight difference is all up front as the rear of both bikes weighed an identical 490 pounds.

The Victory Vision’s counter-balanced engine is much more sedate at idle than the heavy dose of vibrations the Harley doles out, but vibes do creep in at higher rpm and the front fairing rattles as a result. The air/oil cooled engine also produces quite a bit of heat, most noticeably on the inside of the left leg. The Road Glide Ultra put out its own share of

For 2011, the Vision Tour got a major overhaul on its transmission, ABS is now a standard feature and on cold morning rides you will enjoy the addition of heated seats and grips.

heat, but has an Engine Idle Temperature Management System that automatically cuts fuel and fire from the rear cylinder at idle making it more bearable when stuck in LA freeway traffic. The Victory Vision Tour lost the mpg battle by 3.14 miles, 36.9 to 33.86. The 1731cc engine provides a broad spread of power but its throttle wasn’t as snappy as at it built revs a little slower, chugging a bit at times at low rpm. Our Vision test unit’s fuel delivery could have been a bit more refined.

The main improvement to the 2011 Vision is its transmission which now features helical gears in all but fifth. The lower gears are noticeably quieter and engage smoother. When you click the constant mesh transmission into its overdrive sixth, the engine drops about 500 rpm as it settles nicely into highway cruising mode. When we took the Vision to get dynoed, Speed Shop owner Mickey Cohen commented on the noticeable improvement to the Vision’s tranny.

But while the transmission is notably smoother than before, it was more difficult to modulate the Vision’s clutch because it engages later in the lever release and made low speed maneuvers challenging. The bike feels longer and top heavy at slow speeds, requiring a wider birth in tight maneuvering than the Road Glide Ultra. The Vision’s tank is placed high on the frame and its large six-gallon capacity adds to the top heavy feel. This is when the extra 34 forward-biased pounds become most noticeable. Get the Vision up to speed though and the bike tracks well and is very stable when leaned over. Its floorboards are situated high enough to allow for generous lean angles before hard parts scrape.
The 2011 Victory Vision Tour utilizes big dual 300mm floating rotors with 4-piston calipers on the front and a single 300mm rotor with twin-calipers on the back. It’s a linked braking system, back to front. We found the front brakes to be a bit soft and lacking a strong initial bit. You’re better off using the back on quick stops because the linked system will also engage the front. The Vision’s ABS, now a standard feature, helps out when you need it most though.

(R) The big dials, blue backlights and gear indicator make the Victory Vision's cockpit very rider-friendly. (M) The Vision tracks true and steady in the twisty stuff. (R) The Victory Vision Tour has a low 26.5-inch seat height and plenty of storage space for long hauls.

In the saddle, there’s not much that differentiates the two. The seat on the Victory Vision Tour provides four inches of foam padding and lumbar support. The Road Glide Ultra meanwhile is equipped with the new Ultra Classic seat which has a narrower width than before, a deeper bucket and a great shape. Riding positions are almost identical in an upright position with rider’s arms comfortably below shoulder level.

The Vision offers more creature comforts – a windscreen that adjusts at a push of a button to go along with heated seats and grips. The Road Glide Ultra has a taller, more touring-friendly windscreen than the standard Road Glide but it isn’t adjustable at the push of a button. The Victory Vision Tour’s cockpit is rider-friendly with an easy-to-read analog speedo and tach and a big digital gear indicator. Blue backlights really highlight the gauges at night. The Road Glide Ultra features a cockpit-style instrument layout, with an analog speedo and tachometer mounted front-and center and smaller dials like a fuel gauge and oil pressure gauge on the perimeter. It also has an H-D Smart Security System, whereas the Victory comes with none. We love the huge topcases on both bikes and found the Vision’s push button system to be more convenient than the Harley’s latches. But the saddlebags on the Harley are much better because the width of Vision’s side compartments are a little shallow and more challenging to load.


Article Source: http://www.motorcycle-usa.com 

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Posted in: Automotive,motorcycle,Victory

Kymco Scoot 2 TX Ride Picture 12 of 25

The third day of our Scoot2TX trip was a rain day. It wasn’t a nuisance rain, but a multi-hour downpour that soaked us all and caused flooding in many of the low laying areas here in southern Louisiana.

The inclement weather was Mother Nature’s fault of course, but Robert, Justin and Guido were a bit at fault, too. You see, this morning they caused a delay when they decided to visit Mobile’s Battleship Memorial Park to tour the USS Alabama battleship, USS Drum submarine and dozens of decommissioned airplanes, helicopters and tanks. They brought back some great pictures, though!

The entire group ultimately hit the road at around 10:30 am, followed by two and a half hours riding stoplight to stoplight on the coast road leading from Mobile to where we had lunch beachside in Biloxi. Twenty minutes after lunch, in Gulfport, the rain started … and didn’t let up for four hours (or until we were on the outskirts of Baton Rouge).
Guido Ebert rode the 2011 Downtown 300i today and here's his impression of the new bike: "I rode the bike once before – six months ago during KYMCO USA’s 2010 product introduction at the Biltmore Estate in Asheville, N.C. Climbing aboard the Downtown today, I immediately recalled what I liked about this bike on my first jaunt: it’s light and quick, which equates to responsive. In fact, so responsive, I had no problem smoking Justin’s more powerful - but 106-lb. heavier - Xciting 500Ri from stoplights.

"Sure the 500Ri is faster at the top end, trumping the 300’s top speed by about 30 mph, and its weight makes it a bit more stable at highway speeds, but for real-world, legal speed use, the Downtown would be my bike of choice for urban commuting that takes a rider through busy metropolitan areas, on surface streets and freeways." An added bonus: the bike’s a fuel miser, too, delivering approximately 75 mpg during today’s 220-mile trip that saw speeds up to 70 mph.

Sold in Europe for the past six months, the Downtown 300i is expected to become available in the U.S. late this summer. Going to be at Amerivespa? Stop by the KYMCO demo truck and take a look at the bike for yourself.

Article Source: http://www.motorcycle-usa.com 

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Posted in: Automotive,Kymco,motorcycle

2011 KTM RC8R Superbike First Look

Cylinder head changes to the KTM RC8R Twin churn out more horsepower and torque, for a claimed 175 ponies and 93.7 lb-ft of torque.
KTM brings more power to the table with its 2011 RC8R Superbike. The Austrian marque had previously announced a race-ready version of its Twin-powered superbike, dubbed the 1190 RC8R Track, at the earlier INTERMOT show in Cologne. For Milan, the Orange and Black announces changes to the base RC8R with  horsepower up to a claimed 175.

The structural architecture of the 1195cc 75-degree Twin is unchanged, including the 105mm bore and 69mm stroke. Internal modifications to the four-valve heads feature a “newly developed dual-plug ignition.” Other changes includes a new crankshaft spinning in the crankcase. The mods add up to an impressive 10 horsepower leap over the previous generation RC8R, with 175 horsepower and 93.7 lb-ft of torque (previous version claimed 165 horsepower and 90.7 lb-ft torque).

The chassis features “a completely new suspension and damping set-up” for the suspension. A revision to the rear shock linkage is also touted, along with a wider array of suspension adjustment settings. Other tweaks include a new gear shift linkage and LED running lights.

Visually the RC8R benefits from a stunning new paint scheme. Stay tuned for more technical details as they are made available.

Article Source: http://www.motorcycle-usa.com 

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Posted in: Automotive,KTM,motorcycle

2011 Honda CBR1000RR Street Comparison

When Honda set out to build the latest generation CBR1000RR, who knew that it would become one of best sportbikes ever made? Not only is Honda’s $13,399 liter-bike a two-time Superbike Smackdown Track and Street champ, it’s reputedly one of the primary benchmarks used when BMW engineered its own S1000RR. Although it’s been a few years since the bike received any major technical updates the 2011 Honda CBR1000RR continues to make an impression on us.

Physically the CBR appears to be one of the more compact motorcycles in this group, however, when you jump into the saddle the cockpit layout isn’t unusually tight. In fact, next to the RC8R, the CBR offers the most accommodating ergonomics package in this test, which is surprising considering it lacks any sort of control surface adjustability. Even though the seat is a little higher at 32.3 inches than the rest, with exception of the Ducati and Yamaha, it doesn’t feel that lofty. The seat also offers a reasonable degree of comfort, though it isn’t quite as good as the GSX-R’s seat. The rearview mirrors are shaped well and provide a clean view but the windshield could be a little taller. Lastly, we liked how slim the Honda is despite its Inline-Four engine configuration. On the scales the CBR1000RR weighs in at 443 pounds —four more than the class-lightweight Kawasaki ZX-10R. This combination of light weight and low center of gravity makes the Honda feel like one of the lightest bikes in this test too.

The 2011 Honda CBR1000RR is an excellent street bike. It has an ultra-stable chassis that is well balanced and the engine has the mid-range punch that always seems ready for action. Some folks complain about the looks but we think it has a very Honda feel with its smooth lines, flat front cowling and wide, flat body panels. The exhaust is ugly though.

“The Honda is one of the easiest bikes to ride,” comments Dawes. “Not only is it comfortable, it feels really small and compact. It’s really light too. In fact, there isn’t much I don’t like about the bike besides the styling.”

The Instrumentation/Electronics category is one area where the CBR came up a little short. For sure it’s mixed analog/digital display is easy to read, but it lacks some of the features including gear position indicator and electronic amenities like adjustable engine power maps or traction control. To be fair, however, the bike is so user-friendly and non-intimidating that it really doesn’t need them. But in this day and age technology helps lure buyers into the dealerships.

Getting underway from a stop on the CBR is easy due to a rather low first gear, responsive cable-actuated clutch and one-finger-easy lever pull. Final drive gearing is 16/42, more reasonable for street use than some of the other bikes’ final drive because it helps maximize engine power.

Speaking of power, or a lack there of, the Honda didn’t really astound us with its mid-pack outright horsepower output. You can argue that 153.08 hp @ 10,800 rpm isn’t anything to scoff at, but it does leave the CBR1000RR three horsepower down on the GSX-R1000 and about a half pony up on the RC8R. That’s not real impressive on paper. What saves the CBR is its fat, and class-leading, mid-range engine performance that outshines the rest of the Inline-Fours. The dyno graph shows how the CBR stays above the rest of the Fours from five to ten-grand. This, combined with the shorter gearing, makes it a real torque-monster on the street. Its maximum torque rings in at 77.79 lb-ft at 9700 revs, which is just a single lb-ft shy of the S1000RR – roughly 10 down to the Twins. This helps the Honda accelerate harder than some of the other bikes during the majority of riding scenarios.

With its strong mid-range engine performance always on tap, the Honda offers the best fuel economy figure observing an average of 36.7 mpg. The CBR also benefited from having the second-largest fuel capacity at 4.7 gallons which gives it a range of 158.9 miles between fill-ups.

In the acceleration tests the Honda achieved the third-fastest 0-to-60 mph time of 2.90 seconds, two tenths behind the class leading S1000RR and a mere hundredth off of the GSX-R. In the quarter mile the CBR ripped off a 10.07-second run at a speed of 143.4 mph. The excellent feel and smooth light action provided by the cable-activated clutch also played a significant part during launch, as did its more street-oriented final drive gearing. Without a doubt a 9-second run would have been possible, but we were only giving each bike three attempts at the strip to keep things fair. The six-speed transmission performed flawlessly and all of our testers were pleased with the calibration of the slipper-clutch during hard charging corner entry maneuvers.

While the Honda’s powerband impressed us, its overall character, including sound, was lacking. When the engine is loaded it doesn’t really deliver the same sensation of speed as the other superbikes. The roar of the engine seems muted which doesn’t make it quite as exciting. The results from the sound test show that the CBR equaled the BMW’s decibel rating of 82 dB at both idle and 100 dB at half maximum engine speed, which really came as a surprise considering how quiet it seems on the road. We also noticed that the engine vibrated more than some of the other Inlines, including the silky-smooth ZX-10R and Yamaha R1.

“For the street the Honda has the best engine,” explains Steeves. “It doesn’t have the top-end pull of the BMW or Kawi or Suzuki for that matter—but for the majority of situations you’re in on the street it doesn’t really matter. What does matter though is how hard it pulls between seven and 10,000 rpm.”

The 2011 Honda CBR1000RR seems to be destined to play bridesmaid to the BMW. We think that is an acceptable role considering how well it was represented in our shootout.

Once again Honda’s chassis has impressed us after we ride it back to back with the rest of the pack. Out on the road it delivers a level of agility comparable to the Ninja ZX-10R, making it one of the best –handling four-cylinders in the shootout. Corner entry requires minimal effort but it still doesn’t maneuver from side-to-side as quickly as the KTM—it is close though. Similar to the BMW and Kawasaki, the Honda delivers a smooth supple ride without compromising its sporting ability. The suspension is balanced and performs well on virtually any road surface and was rated at the top of our Handling & Suspension category.

“Of all the bikes in this test the Honda is probably the easiest for me to ride in the twisties,” comments Gauger. “You don’t need to put a lot of input into the bike to make it change directions it just kind of does it by itself… at least it feels that way. In my opinion there isn’t a better handling bike out there.”

The CBR continued to receive high marks in the Brake category where it was ranked second behind the technologically-superior BMW, but ahead of the fashionable Brembo-equipped Twins. Even though the radial-mount Tokico brakes look amateur compared to the sturdy monoblocs employed on the Ducati and KTM, the Honda’s set-up

Waheed tests the wheelie ability of the 2011 Honda CBR1000RR. He says it passes...

is more than enough to get the job done. Initial bite from the front brakes wasn’t quite as sharp as we remember, but power and feel progressively ramps up as you tug harder on the lever. The rear brake worked flawlessly too and is comparable to the rest of the Inline bikes. In our braking test the Honda was able to stop in a distance of 134 feet from 60 mph, good enough for second best behind the ZX-10R and S1000RR which tied for top honors at 129 feet.

If you’re seeking the easiest and most affordable liter-class sportbike for 2011 than strongly consider the CBR1000RR. Its powertrain is perfectly suited for the street and its chassis is still one of the best on the market today. The bike is comfortable, easy to ride and gets excellent gas mileage, so what’s not to like about it? Even though it doesn’t feature all the electronic bells and whistles that are becoming more common on some of the other bikes, the 2011 Honda CBR1000RR works so well that you’ll probably not miss them. If it wasn’t for the high-tech rocket ship from Germany, the CBR would be a four-time Superbike Smackdown champion and that is very impressive.
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Article Source: http://www.motorcycle-usa.com

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Posted in: Automotive,Honda MC,motorcycle

2011 BMW S1000RR Street Comparison

It’s hard to imagine, but up until a couple years ago the words BMW and Superbike were about as relevant as Ferrari and station wagon… oh, how the times have changed. Today, the German brand has established itself as an omnipresent force with its 2011 BMW S1000RR. This technological masterpiece, with its surprising MSRP of $16,630 as tested here, features optional Dynamic Traction Control, Race ABS, Gear Shift Assist and Motorsports colorway.

Throw a leg over it and the BMW S1000RR cockpit feels remarkably similar to the Kawasaki and Suzuki. The 32-inch seat height is identical to the ZX and it offers adequate levels of sportbike comfort. However, it is not quite as luxurious as the GSX-R1000 seat. Reach to the controls and the handlebars are placed a bit low, equating to a more track-oriented feel than the Japanese bikes, yet it is still reasonable for the street. Likewise the foot controls place the rider in a more track-oriented attitude, which isn’t quite as comfortable either. Unfortunately, the position of the foot controls is fixed like the Honda and Ducati. The windshield is on the small side too, which works for riders of average height, but we wish it was a little taller. The rearview mirrors offer a clear view of everyone that you just smoked off the line too.

Considering its horizontal Inline-Four layout, this Beemer is a narrow motorcycle – maybe not quite as slim as the Honda but definitely close. With a full 4.5-gallon fuel load the S1000RR weighs in at 459 pounds, one pound less than the Suzuki but still 20 pounds heavier than the class-leading Kawasaki. Yet somehow BMW engineers managed to hide the weight well because you’ll be hard pressed to feel the difference when riding.
“It’s funny because the BMW feels a lot like the Japanese bikes,” reflects Gauger. “It’s pretty obvious what they were going after and I like what they’ve done. For me the ergonomics are comfortable, though they are a hair more aggressive than the Japanese bikes.”

In the Instrumentation/Electronics scoring category the BMW was rated highly— second to only the Kawasaki. The mixed analog/digital display is easy-to-use and read but the real bonus is its user-adjustable engine management system highlighted by an engine power/throttle mode selection with settings for Rain, Sport, Race and Slick (as in slick tires for the track). The system is a blend of the adjustable power mode set-ups employed in the Kawasaki and Suzuki with the addition of throttle sensitivity settings like the Yamaha. For street riding most of us preferred the ‘Sport’ setting as it made the throttle less-sensitive (like the Yamaha R1’s ‘B’ mode), which made the bike easier to control.

The optional $1480 Dynamic Traction Control and Race ABS adds functionality to the power mode selection with traction/wheelie control and ABS. The traction control performs better than the standard equipment found on the Ducati; however, it is a bit more restrictive-feeling than the set-up employed by the Kawasaki. Furthermore the wheelie control element does not feel refined, which can actually make the bike more difficult to control in an experienced rider’s hands so we left it turned off. No sense in dumbing down those 183 ponies because we love what that brings to the table.

“The BMW’s electronics package is hard to beat,” explains Steeves. “I love the adjustable power modes and even the TC works great too, but the wheelie control has got to go. It’s just way too jerky. You’ll start doing a wheelie and everything feels good than in an instant the front wheel slams back to the ground. Then a second later when the engine gets on the pipe again it wheelies again just to slam down. It’s so bad that I had to turn the TC off.”

Without a doubt the highlight of the BMW is its phenomenal engine. While it doesn’t have the bottom-end power of the Suzuki, or the mid-range of the Honda, bury the tach needle above 10,000 rpm mark and the BMW engine pumps out authentic World Superbike-grade levels of power – some 20-30 horsepower more than the competition! At 13,100 rpm the BMW cranks out 183.37 horsepower giving it title as most powerful bike in this test. It also churns out the most torque amongst the four-cylinders with 78.79 lb-ft @ 10,800 rpm. To our surprise, observed fuel mileage was the second-best too at 35.3 mpg, which also netted the second-farthest range of 158.8 miles between fuel stops. High horsepower and great fuel economy: Need we say more?

In spite of its mid-pack bottom-end and mid-range power, on paper the BMW shot from zero to 60 mph in just 2.70 seconds – 0.19 seconds faster than the runner-up GSX-R1000. In the quarter mile the German bike was the only one to break into the nines with a seriously fast time of 9.93 seconds. It also had the highest trap speed of 149.8 mph, 4.3 mph faster than the Kawasaki ZX-10R.

One of the features that helped it achieve such a blistering fast time was its Gear Shift Assist option (quick-shifter), which allows the rider to up-shift through the six-speed gearbox without letting off the throttle. Shorter final drive gearing of 17/44 didn’t hurt things, and its cable-actuated slipper-clutch has terrific feel as well as action during launch and, of course, on corner-entry, though it requires a little more lever pull.

The engine’s overall character also impressed us. In the sound test the S1000RR registered 82 dB at idle and 100 dB at 7000 rpm, identical to the Honda. Once the engine spins upwards of 10-grand, it emits a high-rpm shriek unlike anything else on the road. It feels like you’re at the controls of a two-wheeled Formula-1 race car. The sound of the S1000RR howling at high rpm has to be experienced to be believed. And it does all of this with very little engine vibration. 

BMW shocked the sportbike world with its S1000RR. See how it performed in this year’s shootout in the 2011 BMW S1000RR Street Comparison Video.

It’s hard to imagine, but up until a couple years ago the words BMW and Superbike were about as relevant as Ferrari and station wagon… oh, how the times have changed. Today, the German brand has established itself as an omnipresent force with its 2011 BMW S1000RR. This technological masterpiece, with its surprising MSRP of $16,630 as tested here, features optional Dynamic Traction Control, Race ABS, Gear Shift Assist and Motorsports colorway.

Throw a leg over it and the BMW S1000RR cockpit feels remarkably similar to the Kawasaki and Suzuki. The 32-inch seat height is identical to the ZX and it offers adequate levels of sportbike comfort. However, it is not quite as luxurious as the GSX-R1000 seat. Reach to the controls and the handlebars are placed a bit low, equating to a more track-oriented feel than the Japanese bikes, yet it is still reasonable for the street. Likewise the foot controls place the rider in a more track-oriented attitude, which isn’t quite as comfortable either. Unfortunately, the position of the foot controls is fixed like the Honda and Ducati. The windshield is on the small side too, which works for riders of average height, but we wish it was a little taller. The rearview mirrors offer a clear view of everyone that you just smoked off the line too.

Considering its horizontal Inline-Four layout, this Beemer is a narrow motorcycle – maybe not quite as slim as the Honda but definitely close. With a full 4.5-gallon fuel load the S1000RR weighs in at 459 pounds, one pound less than the Suzuki but still 20 pounds heavier than the class-leading Kawasaki. Yet somehow BMW engineers managed to hide the weight well because you’ll be hard pressed to feel the difference when riding.

(Above) Although it isn’t the lightest bike out there you’d be hard pressed to tell as the BMW S1000RR is very maneuverable bike. (Below) The BMW’s multi-mode engine power map and traction control system performs well and is easy-to-use.

“It’s funny because the BMW feels a lot like the Japanese bikes,” reflects Gauger. “It’s pretty obvious what they were going after and I like what they’ve done. For me the ergonomics are comfortable, though they are a hair more aggressive than the Japanese bikes.”

In the Instrumentation/Electronics scoring category the BMW was rated highly— second to only the Kawasaki. The mixed analog/digital display is easy-to-use and read but the real bonus is its user-adjustable engine management system highlighted by an engine power/throttle mode selection with settings for Rain, Sport, Race and Slick (as in slick tires for the track). The system is a blend of the adjustable power mode set-ups employed in the Kawasaki and Suzuki with the addition of throttle sensitivity settings like the Yamaha. For street riding most of us preferred the ‘Sport’ setting as it made the throttle less-sensitive (like the Yamaha R1’s ‘B’ mode), which made the bike easier to control.

The optional $1480 Dynamic Traction Control and Race ABS adds functionality to the power mode selection with traction/wheelie control and ABS. The traction control performs better than the standard equipment found on the Ducati; however, it is a bit more restrictive-feeling than the set-up employed by the Kawasaki. Furthermore the wheelie control element does not feel refined, which can actually make the bike more difficult to control in an experienced rider’s hands so we left it turned off. No sense in dumbing down those 183 ponies because we love what that brings to the table.

“The BMW’s electronics package is hard to beat,” explains Steeves. “I love the adjustable power modes and even the TC works great too, but the wheelie control has got to go. It’s just way too jerky. You’ll start doing a wheelie and everything feels good than in an instant the front wheel slams back to the ground. Then a second later when the engine gets on the pipe again it wheelies again just to slam down. It’s so bad that I had to turn the TC off.”

Without a doubt the highlight of the BMW is its phenomenal engine. While it doesn’t have the bottom-end power of the Suzuki, or the mid-range of the Honda, bury the tach needle above 10,000 rpm mark and the BMW engine pumps out authentic World Superbike-grade levels of power – some 20-30 horsepower more than the competition! At 13,100 rpm the BMW cranks out 183.37 horsepower giving it title as most powerful bike in this test. It also churns out the most torque amongst the four-cylinders with 78.79 lb-ft @ 10,800 rpm. To our surprise, observed fuel mileage was the second-best too at 35.3 mpg, which also netted the second-farthest range of 158.8 miles between fuel stops. High horsepower and great fuel economy: Need we say more?

In spite of its mid-pack bottom-end and mid-range power, on paper the BMW shot from zero to 60 mph in just 2.70 seconds – 0.19 seconds faster than the runner-up GSX-R1000. In the quarter mile the German bike was the only one to break into the nines with a seriously fast time of 9.93 seconds. It also had the highest trap speed of 149.8 mph, 4.3 mph faster than the Kawasaki ZX-10R.

One of the features that helped it achieve such a blistering fast time was its Gear Shift Assist option (quick-shifter), which allows the rider to up-shift through the six-speed gearbox without letting off the throttle. Shorter final drive gearing of 17/44 didn’t hurt things, and its cable-actuated slipper-clutch has terrific feel as well as action during launch and, of course, on corner-entry, though it requires a little more lever pull.

The engine’s overall character also impressed us. In the sound test the S1000RR registered 82 dB at idle and 100 dB at 7000 rpm, identical to the Honda. Once the engine spins upwards of 10-grand, it emits a high-rpm shriek unlike anything else on the road. It feels like you’re at the controls of a two-wheeled Formula-1 race car. The sound of the S1000RR howling at high rpm has to be experienced to be believed. And it does all of this with very little engine vibration.

“I love the BMW’s motor,” notes Dawes. “If you’re looking for the fastest superbike on the road then you need this bike. I can’t believe that you can even by something this fast—it’s incredible. I also like that the engine’s got some character. When you get the revs up it makes all the right noises which makes it more fun to ride than some of the others.”

In terms of handling, the BMW feels quite similar to the Honda and Kawasaki. It doesn’t steer with as much agility as those bikes, but it is close. In fact, it feels eerily similar to the GSX-R1000 and that is a good thing for street riders. The suspension does a good job of soaking up bumps on the tore up Southern California highways, yet still delivers a sporty ride in the canyons. It’s also a very stable bike, resisting the urge to
headshake or get out of control, which is a feat in itself considering how much power it puts to the back tire.

With all that power and velocity at your disposal, it’s nice to know that S1000RR front brakes are superior to the competition as well. We find that strange considering they are the lesser-grade two-piece cast 4-piston calipers as opposed to the more expensive monoblocs on the other Euro machines. In our braking performance test, the BMW tied the Kawasaki for first-place with a stopping distance of 129 feet from 60 mph performed in ‘Sport’ mode, which enables both front and rear ABS. This proves the effectiveness of its ABS, despite carrying 20 pounds more weight than the ZX-10R.

When the dust settled and the pink-slips tallied there was no denying the outcome of this test. For the second year in a row the BMW S1000RR proves that it offers motorcyclists the finest road-going Superbike. It continues to wow us with the extreme performance combination of its wicked-fast engine, more than capable chassis and awesome brakes. Furthermore, its sophisticated electronics package makes that performance more accessible to a wider range of riders. Say hello to the 2011 Superbike Smackdown VIII Street champion, the 2011 BMW S1000RR. 

Article Source: http://www.motorcycle-usa.com

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