With a summer videogame line-up of nothing more than a weekly tie-in for the latest kid's CG animation flick, the annual game summer drought is finally over, and in it's place, a series of fantastic releases all the way to Christmas and then beyond. But forget that, there's plenty of fantastic games this month.

Skate-
With excessive play of the already released demo, the best thing about this game -obviously- is finally being able to break away from that lone, sparse skatepark and riding into the city, all on the hunt for kickers verts and rails. It's a surprisingly all-encompassing quest however, something you realise as soon as you reach the bottom of the first hill- this city is f**king huge. Throwing in the reference again for shits and giggles, unlike the Tony Hawk games here there is no pre-determined or designated areas and sections, with the city and geography flowing into itself naturally, as you'll notice when riding from Downtown to Oldtown.

The main focus of the game then is a roll around the gameworld completing objectives and doing tricks, which generally works well, though, as with the city, it is very easy to get a little overwhelmed, as well as perhaps frustrated, thanks to the increasing dexterity required to pull off many of the tricks and goals. But as with the demo, that sense of accomplishment and relief, as well as joy once you do pull off a successful trick is immense, with the tight physics and realism meaning this is more than mere button presses- this is an achievement. As with other EA games, the presentation is tight and the loading screens are many, but with mountains of goals and the somewhat infinite appeal of freeskating, this is one game that certainly doesn't need a yearly sequel.

Stranglehold-
The spiritual predecessor of the 1992 John Woo/Chow Yun Fat collaboration Hard Boiled, Stranglehold is, as you'd expect, a gun-laden playthrough with a bodycount of epic proportions. With obvious influences ranging from Max Payne to Devil May Cry, the game keeps sending enemies your way with only the sole goal of the game being to neutralise them with any means necessary. Aside from the obvious functions of the game's arsenal however, the game also features a surprisingly robust physics engine, allowing for the scenery, and thus the objects within it to your advantage. Swinging from lanterns, sliding down handrails and wall springing, all with the use of slow-motion "Tequila Time", as well as some arcade-based power-ups and abilities, including Precision Aim, Health Boosts and more.

They're needed of course, and are completely integral to the game, as you'll discover when playing through many of the set pieces and levels. On the normal difficulty alone things can get pretty hectic at times with an almost un-relentless assault from the enemies, but bosses at the end of stages do help break up the flow of the game, and provide a somewhat, though not always obvious, breathing moment and rest. Additionally the game also packs an online multiplayer, lifting many of the settings and abilities from the main game. As a mode it's perhaps limited in it's appeal, never anything more than a fun diversion. A co-op mode for the main game, would perhaps have been better implemented somehow.

Halo 3-
As one of the leading franchises for the X360 and the conclusion to one of videogaming's best trilogies, there's a lot of pressure and anticipation for Halo 3 to live up to. Touted by many as the videogame event of the decade (and thus overhyped to hell), it's easy to dismiss Halo simply for that alone. Thankfully however, the game lives up to all expectation, and perhaps embodies the Xbox 360 culture and mantra perfectly.

Providing more than just a solo campaign mode to plow through, the game allows you and three others to work together as a team through the story, all with voice chat and the same missions as in solo-player. Naturally if you don't like the notion of even working co-operatively with someone else a multitude of deathmatch variations are also included, with the longevity stretched even further by allowing fully-customisable matches and even if you so wish, the geography and play areas. Forge mode allows user-customisation over the environment, allowing you to place extra vehicles and objects within the game -similar to the Create-A-Park mode made famous by a certain skating game- meaning that, more so than normal, every game will be unique. The online activity continues further with leaderboards and player rankings, as well as the ability to upload footage of shots from the game to dedicated Bungie.net servers, creating something very web 2.0.

Visually, the game is good. On graphical first impressions it may not match Bioshock or Gears of War for presentation, but when you're waiting to respawn and you see your character gently flowing down stream, lying face down before getting caught on the rocks, it's hard not to appreciate the game aesthetically. The little things such as this, shadows, textures, the wind breeze affecting blades of grass, while perhaps minor in the game overall, are certainly nice additions that help to create believable play areas, reinforced with the epic surroundings of both the landscape and backgrounds. For depth and immersion, it's certainly successful. As a game, it seems endless- with it's predecessor retaining the top spot on Xbox live for three years, there is certainly no reason that this follow-up can gap that distance and more.

Revision's going well. The lone notion of October the 11th still seems miles away, but it's surprisingly close. It's one of those things that's perhaps not worth dwelling on, in fact, i'm positive that's pretty true.


I'm back to Delacroix again though. Again, with the overlying theme of Romanticism, or rather this time, his unique variation of it. I'm currently looking at Liberty Leading The People, certainly one of those paintings that keeps appearing in my studies, or perhaps, one of those paintings I keep going back to on my own free will.

It is, rather obviously Delacroix' commemoration to The French Revolution, and the painting was first exhibited at the Salon in May 1831. Academically it's wrong, but the painting captures perfectly the unique painting and style characteristics of Delacroix himself, standing in between the borders of Classicism and Romanticism like many of his other works. It was frowned upon at the time naturally, but the painting is fortunate in that it has the best of both worlds. Founded on the notion of Classicism with it's logic, perspective and line, Delacroix' works are given colour, shadow and highlights, with the figures a lot more dramatic and lifelike than the statue-esque style of classicism before it. Visually, it is, in essence, the precursor of Impressionism.

The exam's different this year in that we've been told loosely what subjects we need to revise. Obviously the questions haven't been revealed, but knowing the themes and texts included in the questions is making things a little easier, especially when it comes to revision. Eugéne Delacroix is the focus of just one question however out of the three, and by that, presumably it means his portfolio, background and perhaps method of painting- unfortunately, beyond the mention of his name, nothing else is included. It's multiple choice as well, and even with a list of subjects i've yet to fully decide on what to pick for the last question, though hopefully(!) that will soon be resolved.

After months of wondering why, earlier this week I canceled my Facebook account.

Like MySpace previously, I had registered simply out of curiosity and media buzz (honest), but again, like MySpace, the site is a horrible mess of popularity and pointlessness. Sure, the site says it's a "social utility that connects you with the people around you", but I don't need that anyway- i've already got email, a phone, the internet, it's basically just adding another step to what should already be a completely easy process. Finding old friends i've lost touch with similarly is also of no real benefit- hence the very reason they're not my friends anymore, something that should be blindingly obvious. Eh, I don't even know why i'm justifying myself.

Facebook's growing in popularity every day, but if anyone wants me, i'll be here. I know already that Blogging has provided me with a far more social experience than Facebook could ever provide.

Tonight, I watched 28 Weeks Later. On DVD as always, naturally with less chatter and more toilet breaks than the cinema can provide. Not enjoying the first film in the series perhaps as much as majority opinion suggested I should, I went into the viewing of it's sequel with some anxiety, though all the same, excitement.

Taking place (as the title suggests) 28 Weeks Later from the events of the first film, the setting is once again a disrupted and socially torn London, where after the extinction of the zombies we all knew and loved in the first film, the city is rebuilding both population and indeed society. With a different producer, director and writer, the film also features an entirely new cast and roster of characters, which, while a little alienating in concept, is a refreshing change that helps add to the notion that this isn't a direct run-of-the-mill sequel, and perhaps, one of the few sequels in cinematic history which not only lives up to it's predecessor, but eclipses it completely. But beyond the new cast and creative forces, this film is also radically different in several areas.

Firstly, 28 Weeks Later is a lot more character driven than it's predecessor, with a lot more time spent at the beginning of the film to allow for exposition and analysis, merged at some points with a reminder of the first film through dialogue. Interestingly however, at several points throughout the film, it's established there is no obvious protagonist within the film. On the surface, this story is one about a family with the latter half of the film dedicated to the children, while the first about their parents. Going deeper however there are times where it feels like there is no main character, and that this is not one individual's story, but rather, a collective societal effort, helped in parts largely due to the involvement of the NATO forces and the scenes that take place within their command centre.

Elsewhere, and interestingly, the film is a lot more dark than I expected. That's not to say physically or merely by content, but certain scenes and themes within 28 Weeks Later are noticable as being devoid of ethics, including, the most horrific scene in the film- five minutes and beyond of terror that is simply US forces mowing down London citizens who are, known to the command, unaffected. Taking it's lead from the original title, the aerial views of both the city and surrounding countryside are once again used to devastating effect, where it's implied and reinforced over and over, that there is no hope, signaled frequently by vast empty city streets, and finalised as a notion by the ending itself, while still leaving the series open for further exploration.

As a zombie film, 28 Weeks Later is surprisingly optimistic to break free from both convention and cliché, adding unexpected depth and characterisation in the process through the use of a family as the central plot. Again, the film surprises by being more than just a zombie flick, ultimately more concerned about the thoughts and feelings of these characters presented, as well as a commentary on both humanity and society in general. With the events of the first film pretty much established within minutes, 28 Weeks Later is free from past characters and memorable scenes, allowing for the creation of new ones, and a film sequel that goes far beyond that of the original title.

Via Digital Spy-

The cast of hit US TV show Frasier have agreed to reunite together as a family once more for an upcoming episode of The Simpsons.

Actor Kelsey Grammer, who plays Frasier in the sit-com, will make an animated appearance on the 19th season of the hit show as his recurring character Sideshow Bob, alongside his father and brother in the programme, John Mahoney and David Hyde Pierce.

I'm a huge fan of Frasier, and I think that the character of Sideshow Bob within The Simpsons is fantastic, sadly (and noticeably) absent from the recent feature length film. So naturally i'm all for the idea, and the expansion of the Brother from Another Series episode, but still, going by recent episodes (and indeed seasons), i'm not expecting much.

With the right execution however, this could be one episode that finally delivers something pleasant, instead of one big horrible mess normally associated with The Simpsons and celebrity guests in recent years.

With a string of disappointing albums in recent years, the Foo Fighters return at the end of the month with their newest effort, Echoes, Silence, Patience & Grace.

I think it's undoubtedly true that the band nowadays are a mere shadow of their former selves. Sure, they can still rock, but recent singles have been far from iconic and ruined completely with guitar blandness and commercial overhype. While the latter still applies for the current single, The Pretender, I think it's a great opening single, and hey, it works for me, though an album purchase will still be pretty elusive. Naturally, the song's nowhere near as good as say, Everlong or Monkey Wrench, but as the years pass, well, that's becoming a more difficult feat anyway.

The episode of Heroes to be shown this coming Wednesday on BBC Two is Homecoming. I first saw it a few months ago, but more recently watched it on BBC Three earlier this week, and I think for me, it pretty much defines the first season, and indeed, the concept of the show in it's entirity. Knowing what's yet to come for UK viewers, i'd even go as far as to say it is the best episode of the season.

With the episodes prior to Homecoming all building towards that moment and mythology, "save the cheerleader, save the world", it's this episode where that thought turns into action, and the heroes become, well, heroes. Much like 24 and it's mid-season climaxes, this is the episode where everything pays off for that one hour of television where the story-arc is resolved, and the next stage of the show can begin. Most noticeably, this is where where Issac's paintings become the present, and the clairvoyant thoughts of previous episodes have fully-blossomed into actual events and scenarios, that are taking place now, right in front of your eyes to personal satisfaction and tension. After hours of introductory backstory and scenes of establishment and yet, awe, this is the pay-off, and a reminder if any was needed, why you're a fan of the show in the first place.

*spoilers*

The promise of death, the first of many battles between Peter and Sylar, and the impending doom from the notion that if Claire dies it's over, all with added crossover lunacy and time/space continuum scenes so satisfyingly confusing, it's the end of the first part of the season and the beginning of something far bigger, establishing plotlines for both the rest of the season, and indeed, the series as a whole thanks to added backstory revelations. But best of all, it's the coming together of these scenes that makes the episode work. For just one episode it truly seems as if this entire fictional universe is connected, as previously hinted in earlier episodes, and the new found importance placed on these characters is overwhelming. This episode is the one that separates them from being everyday people, into the superheroes that they'll become, and you do witness that first hand during a lot of the utterly tense yet compelling scenes set in the high school- an utter geekfest if you've been paying attention thus far.

The execution and concept of Heroes cannot be faulted, a show where proving it's worth is rarely needed to begin with going on previous episodes, and yet, Homecoming achieves this well, providing a more than satisfying climax to the first story arc, while leaving you wanting more through just a teaser of what this show is capable of. Things slow down and naturally pick up again like life itself, but for me, this is the highlight of the first season.

Halo 3, Skate. and Stranglehold. All preordered late last month, they'll be arriving sporadically over the next few weeks.