Top 10 PS3 Games of 2011

Honorable Mention

No matter your feelings towards the ever-popular Call of Duty franchise and the ridiculous amounts of green it manages to pull in year after year, beneath its money-hungry exterior lies a first-person shooter that is by far one of the best examples of its genre. For years the FPS genre has attempted to emulate the big budget polish of Hollywood action flicks with varying degrees of success. Leisure Suit Larry creator Al Lowe once said in an interview he realized that gamers wanted to play games that were like movies. For better or worse Infinity Ward went for broke with this idea almost a decade ago when the very first Call of Duty game debuted. While CoD is certainly the most recognizable catalyst for this particular style of shooter, it isn't the first to do it. The original Medal of Honor - the brainchild of director Steven Spielberg, no less - was arguably the first FPS to incorporate such shameless, over-the-top spectacle. No, Call of Duty didn't invent the summer blockbuster first-person shooter, but it is the first to be so richly rewarded/recognized for executing it so well.

As the series continues on in what have become annual holiday releases, it seems the more money and popularity it accrues, the number of long-time fans distancing themselves from the franchise increases. Disgustingly short five hour campaigns don't help matters, but most fans biggest complaint lobbied at these games is that four years after the release of the first Modern Warfare all further innovations have been scrapped for yearly regurgitations of the same formula. I would be lying to you if I said I wasn't one of these fans: hurling insults at Activision for having the unmitigated gall to charge consumers full price for nothing more than an expansion pack. Yes, I'll admit it, I'm a sucker for buying the series' newest installment every year then complaining about how much money it makes when it's still essentially Modern Warfare 1 with a few tweaks here and there.

But this is the situation I find myself in: the Call of Duty games are an absolute blast. They are pure, unadulterated fun. It doesn't matter how utterly derivative it's all become because, whether I'd like to recognize it or not, you'd still be hard pressed to find a shooter that delivers such an immaculate collection of single-player, cooperative, and multiplayer modes without sacrificing the quality of one for the other. And while the series as a whole hasn't evolved nearly as quickly as I'd have liked, I can't deny that the Call of Duty games - every year - provides an experience that supercedes (both online and offline) last year's iteration. If you've stuck with the series this long than you know exactly what you're going to get with Modern Warfare 3. If you like what you've been given for the past four years, Infinity Ward's latest isn't going to change your opinion any. At the rate the franchise is going it's hard to understate a shooter that knows exactly what it is and continues to one-up itself with every new release.

Take one-half Far Cry 2, one-half Left 4 Dead, sprinkle in liberal amounts of insanely gory melee combat, and add just a pinch of RPG-styled looting & character upgrading and you end up with Techland's long-awaited zombie opus Dead Island. Zombie killing co-op has become the current generation's equivalent to last-gen's oversaturation of open-world sandbox games post Grand Theft Auto III. Before the smash success of Valve's Left 4 Dead series, zombie-laden adventures were something of a rare breed. But once developers realized that the flesh-hungry undead would make them big bank it didn't take long at all for dozens more to hop on the bandwagon. Hell, even Call of Duty got in on the action with 2008's World at War with the infamous Nazi Zombie co-op campaign in what is otherwise a typical WWII shooter.

If the recent onslaught of zombie-themed games could be compared to similarly themed horror films, than Dead Island has more in common with cult classic Lucio Fulci film Zombi 2 than it does 28 Weeks Later or Zach Snyder's 2004 remake of Dawn of the Dead. Techland have pulled off such an awesome concept with admirable aplomb. Setting a zombie game - replete with story-driven co-op, no less - on an infected island resort as a group of vacationing survivors band together to escape is the zombie game concept to end all zombie game concepts. Main quests and sidequests are in abundance, as is the ability to craft your own unique weapons and update your character's attributes to fit your play style. And did I mention that the entire game is completely non-linear? If you dare explore it, the island of Banoi (and its accompanying army of undead) is wholly at your fingertips. Techland have created a marveously detailed, undoubtedly gorgeous world that has to be seen to be believed. The size of the island itself is staggering and gamers looking for a lengthy experience will find themselves immersed in a 20+ hour campaign. That's not even counting the vast amounts of sidequests and other various activities to indulge themselves in once the main game has been completed.

Here's hoping that Techland are finally given the attention they so rightfully deserve. Dead Island is, if nothing else, an ambitiously designed game that every gamer should play at least once. First-person shooters are a dime a dozen these days, but finding a first-person title that emphasizes melee combat, looting, exploration, and a Far Cry 2-esque sense of freedom all set within what could have amounted to little more than yet another interchangeable zombie title is a small miracle all its own. God knows Techland's oft-ignored Call of Juarez series hasn't netted them much of a fanbase. Perhaps now the gaming populace will start to take notice. Dead Island offers up such an eclectic mixture of genres and play styles that its amazing the Polish developer ever got them to operate so cohesively at all. But in short, they do. Oh, do they ever. If you've been brooding about your labrynth just waiting for the day a developer decided to make a zombie game that actively placed you right smack-dab in the middle of your own little undead infestation, Dead Island will more than satiate your need to feed.

By the end of the fifth console generation and over-saturation of the Mortal Kombat brand, the infamously gory fighting franchise was in drastic need of some new blood (no pun intended). By the end of the 90s - following increasingly lackluster sequels and spin-offs, and the waning popularity of one-on-one fighters (and that's not including the demise of dark and dingy arcades as a whole) - it seemed the end was near for the time-tested Mortal Kombat series. The sixth console generation saw three more Mortal Kombat games released and brought with them an entirely new game play aesthetic and a slew of new characters. The MK team's desire to add more technique and dimension to the fighting was a noble idea and sales indicated that fans agreed. But the problem with this shift in design is that the games no longer felt like Mortal Kombat, but simply just another competent, combo-driven 3D fighter that happened to have a handful of classic Mortal Kombat characters and sufficiently grisly Fatilities.

After a brief foray into mash-up territory with the interesting, albeit exponentially tamer Mortal Kombat vs DC Universe, word got around that Ed Boon and company were taking the series back to its roots. With that regression fans are given one of the best Mortal Kombat games in years. Gone is the useless 3D plane and overly complicated stance-switching aspect of the last-gen entries and in their place are the simple, gore-drenched characteristics that we'd fallen in love with almost two decades ago. Mortal Kombat is, essentially, one big love letter to the first three games with re-imagined character and stage designs, as well as a permeating nostalgia the games have been missing for almost 12 years. Despite being the ninth main entry in the franchise, Mortal Kombat's back-to-basics approach is positively refreshing. An intuitive, rewarding combo system, a huge roster of Mortal Kombat favorites, unlockable fighters, a vast array of game modes, fantastic DLC, and some of the best Fatalities ever officially placed into an MK game make this absolutely essential for long-time fans yearning for a much-welcomed return to glory. If this is Ed Boon's apology for the plethora of half-baked sequels and spin-offs, then apology accepted.

If you've been a gamer long enough to remember the initial rise of the first-person shooter and its subsequent evolution, then I'm more than positive you remember the first time you played Wolfenstein 3-D and/or Doom. Id Software got the FPS ball rolling with the former and then cemented its legitimacy as a video game genre to be reckoned with with the latter. As a development firm with over two decades of experience, it's shocking to see how few games they've actually made. Sequels to both the Wolfenstein and Quake franchises were developed by different companies, and the length of time between Doom 3's release in 2004 and RAGE's release at the beginning of October is something of a rarity in this generation's fixation with annual and bi-annual releases.

Disregarding all of the hype RAGE has accrued over the years, Id proves why they are still some of the best go-to guys for true unbridled FPS action. They were notoriously tight-lipped about the whole thing, only leaking small details here and there leading up to its showing at E3 2011. Upon purchasing and quickly falling in love with it, I can honestly say RAGE is one of the most innovative shooters in years. Inevitable comparisons to Fallout 3 and Borderlands have been drawn due in no small part to RAGE's setting, art style, and lite RPG elements. But fear not Id fans, these cosmetic similarities are minoot. RAGE - for all of its openness and item looting - is still first and foremost a first-person shooter.

While the shooting mechanics are, in true Id fashion, second to none, I think most gamers will end up falling in love with the unforgettable universe the game's unfolding events take place in. The post-apocalyptic Wasteland in RAGE is far lighter in tone than the aforementioned Fallout 3, brimming with fun, memorable characters and an assortment of imaginative weapons and gadgets. RAGE's RPG elements don't make up a large bulk of its design, but I would be remiss if I didn't mention how well-implemented the looting and item crafting is. Realistically speaking, the added bonus of these kinds of features is simply icing on the cake for a lot of us. We went into RAGE expecting an action-packed, visually beautiful Id shooter and that's exactly what we got.

The first Killzone debuted on the PS2 in late 2004 amidst a bevy of hype that it could never hope to live up to. Sony's biggest mistake? Labeling it the "Halo killer." The Halo series cemented Microsoft's newly released Xbox console's legitamacy almost single-handedly, turning what could have been a disaster of Dreamcast proportions into one of the biggest surprise successes of the decade. So right out of the gate Killzone was going to be placed under the proverbial microscope, and when saddled with such lofty expectations, became something of a joke upon its release. It was a rock-solid FPS and utilized the PS2's aging hardware to good effect but did little in the way of justifying the pre-release buzz and giving consumers the end-all be-all shooter they were so fervently expecting. Killzone has still managed to become a cult classic over the years with fans recognizing that underneath all of the empty promises was still a game well worth playing.

Although the critical reception was lukewarm, impressive sales meant a sequel may very well get made. Killzone 2 was finally released in February 2009 (more than five years after the first) on the PS3, also accompanied by tons of hype. It would seem, however, that fate had bigger plans in store for the series' second outing. So much bigger, in fact, it became one of the PS3's best-selling exclusives that year and was met with both great critical acclaim and an equally admirable reception from fans. Sony finally had the system seller they so desperately needed following increasingly lackluster sales, and Killzone fans finally got the game they were promised the first time around.

At this point, a second sequel was a must. Killzone 2 was an excellent FPS, deftly combining a sort of pseudo-realism with imaginative far-future weaponry and art design. It was a giant evolutionary step forward for the series but wasn't without its drawbacks. Stiff controls aside, Killzone 2's biggest faults were its insanely dark (but beautiful) graphics, a rather unspectacular handling of events that should have been otherwise exciting, and a handful of clichéd, terribly unlikeable characters. Killzone 3 remedies all of these minor niggles and then some, providing one of the best first-person shooters this generation. Few games can go blow-for-blow visually with Killzone 2 and Killzone 3's tweaking of an already impressive graphics engine delivers some of the most impressive console graphics we're likely to see for some time. Not only is Killzone 3 a beautiful game, but Guerrila have also tightened up the action sequences to allow for much bigger, bolder firefights and epic set pieces that the second was in such desperate need of.

Factor in Sony's inclusion of PlayStation Move motion control support and Killzone 3 becomes not only an engaging, visually beautiful, and exquistely polished sci-fi FPS, but one that maximizes the potential of the motion control phenomenon and incorporates it into game play in a way that truly re-defines the way you're likely to view first-person shooters from this point forward. Simply put, Killzone 3 is an awesome experience from beginning to end. It tightens up the slack leftover from Killzone 2 by fixing its few glaring flaws and giving fans more of what made that game such a memorable undertaking. Competing developers, do take note. Killzone 3 has ensured that the bar has been well and truly raised.

Saints Row started out as a game more or less riding Grand Theft Auto's coattails into the limelight. The first game was little more than an Xbox 360 exclusive that gave gamers a glimpse of what a next-gen GTA could be like. Interestingly enough, when Rockstar finally released Grand Theft Auto IV the overall opinion ended up quite divided. Some, like myself, really liked their attempt at moving it into a darker and more serious direction, while others hated it for losing the fun and outrageousness of the previous games. As GTA continues to leave behind its former identity for a far more grounded one, Saints Row developer Volition has taken this opportunity to fill a niche Rockstar has left wide open.

An evolution the caliber of the Saints Row sequels isn't something you get to witness very often in the video game world. What started off as a thinly veiled GTA clone has grown into a franchise utilizing its apparent love of old-school sandbox architecture (the type GTA popularized, ironically) and created a uniquely unhinged identity all its own. Saints Row 2 was definitely a step in the right direction for the series and gamers longing for that classic GTA flavor with a self-deprecating flair and a huge "I just don't give a fuck" attitude will find Saints Row: The Third is exactly what they've been waiting for. The game is so unapologetically silly and excessive that I was shocked to find hidden amidst all of that toilet humor and satire is game play that should be taken heart-attack serious.

No matter how funny/sick Saints Row: The Third gets, there's no disputing Volition's obvious dedication to giving gamers exectly what they wanted when GTA IV blatantly jumped the shark. If you didn't like the previous games than there really isn't anything here to change your mind. But on the other hand, if you liked what they delivered two games ago and can't get enough of it than you owe it to yourself to get lost in what is one big love letter to the seemingly forgotten art of tongue-in-cheek sandboxes. There's a lot of content here, as well as a metric ton of game play improvements and additions that really do warrant the $60 price tag. For a series that just five years ago seemed like nothing more than an obnoxious attempt at aping GTA's success become the posterchild for the very genre it was almost booed out of is positively mindblowing. The Saints Row series has finally found its own identity, and with it comes one of the most unforgettable games you'll ever play.

Who didn't froth at the mouth when L.A. Noire was first announced? Amidst a never-ending sea of regurgitated military shooters and annual re-hashes of successful IPs, something the calibre of Team Bondi's ambitious 1940s detective thriller came screaming out of left field. And L.A. Noire's distinct setting and game play weren't it's only attributes turning heads. The game is also backed by Team Bondi's groundbreaking facial recognition system which was designed from the ground up specifically for this game. Due to the nature of the game play - where successfully reading suspects' various reactions to your probing questions is key - a more sophisticated form of motion capture was absolutely essential. The facial recognition system allowed for each actor's most subtle facial nuances to be superimposed into the game, beautifully complementing L.A. Noire's impressively detailed re-creation of 1940s Los Angeles with the most realistic facial renders I have ever seen.

The game play itself is strikingly original. Publisher Rockstar Games is best known for its wrong-side-of-the-law Grand Theft Auto franchise, and because of this L.A. Noire's focus on enforcing the law creates an interesting dichotomy. Investigating various crime scenes all the while piecing together clues and questioning suspects provides the player an experience like no other. You feel as though the success of a case really does come down to your willingness to go the extra mile to connect evidence that will eventually lead to an arrest. Whether or not you've picked the right suspect, however, depends on just how thorough an investigator you choose to be.

There are various foot & car chases, fist fights, and shootouts interspersed throughout, but this is certainly not an action game. Gamers wanting something similar to Grand Theft Auto will have to look elsewhere. Despite Rockstar's logo on the box, this really is a beast of an entirely different species. And while the game as a whole is so brilliantly designed and gratifying, I would be remiss if I didn't mention L.A. Noire's one vexing flaw. If you play through the first half of the game you have pretty much seen all it has to offer. There's rarely a curveball thrown at you as Team Bondi seems quite content to offer the same basic investigate, question, and arrest scenarios over and over and over... and over again.

Thankfully the core game play is such an intriguing undertaking that when the game starts to wane during its last few hours you'll still feel rather compelled to see it through to completion. Immaculately designed as it may be, L.A. Noire is still more than likely far too repetitious and niche for many's taste. For me it offered up one of the year's most exceptional releases despite its one rather glaring shortcoming. As video game developers continually strive to make video games as compelling as feature films, Team Bondi's L.A. Noire is most certainly leading the charge.

There was a time when anyone who was anyone gamed on a PC. If a game wasn't released simultaneously for both consoles and the PC, rest assured it was only a matter of time before it was and left its console counterparts in the dust. Games like Half-Life and Half-Life 2, both Max Payne games, and the first Mafia were ported over for the console market to devour after huge success on the PC, but a lot of the original magic and luster was lost in the translation. It wasn't uncommon for blockbuster PC titles to be re-worked entirely for the consoles - a completely different game, in fact - that only shared the same title and general game play style. There was a time when, if you wanted to play the best games money could buy, you owned a PC.

How times have changed.

The original Crysis was the last beacon of hope PC gamers clung to as a dramatic increase in gaming consoles and console game sales had seriously begun to damage the PC gaming market by offering cheaper alternatives and fewer graphical differences between the two platforms. Crysis was being hailed as the one reason to be a PC gamer, and when finally released in November of 2007 to lukewarm sales (but glowing reviews), fans wondered what the future held for both Crysis and it's developer, Crytek. Fast forward three years later and rumors were swirling that Crysis 2 could very well go to consoles. Rabid PC gamer hate aside, Crysis 2 was, in fact, given a multi-platform release at the tail end of March, and its anticipated release nearly usurped by fervent haters and defenders alike.

Although not as expansive as it's predecessor, Crysis 2 nevertheless offers console gamers a chance to see what all of the hype was about. The beautiful CryEngine3 provides PC-level visuals without requiring an overpriced gaming PC in which to do it. Aside from the remarkable graphics, the NanoSuit and weapon customization features have been optimized beautifully for console owners. Adjusting your suit functions and weapon attachments on the fly provides a very quick, successive feel to the action. Sneaking and silently killing your way through a group of enemies only to abruptly enable the NanoSuit's armor and tear through a platoon-sized unit of adversaries in mere seconds - all the while sliding across floors and scaling ledges and rooftops with unparalleled agility - is as empowering a feeling as you're likely to get from a video game.

With a fully realized, alien-invaded, half-destroyed New York City as its backdrop, as well as open-ended level design, and numerous ways in which to tackle any given situation, Crysis 2 proves that first-person shooters can offer the spills and chills of a summer blockbuster without rigidly linear level progression. Crysis 2 is a truly breathtaking, heart-pounding, and revolutionary game. This is the kind of shooter we need more of. Each playthrough offers something new, and the ability to replay the game in a completely different way again and again is more than enough to warrant Crysis 2 a permanent place on your shelf. This is hands down the best FPS in years.

When critics and gamers alike unanimously cited Uncharted 2: Among Thieves as one of the best games of all time, that wasn't just hype. Uncharted 2 is the perfect example of how to meld various genres together into one fun, explosive whole. Equal parts puzzle-solving, platforming, and cover-based shooting, the Uncharted franchise has proved on a bi-yearly basis why it is, undoubtedly, the PS3's most celebrated series. So when Sony unveiled Uncharted 3: Drake's Deception's teaser trailer just before the 2011 New Year, my most permeative thought was, "How do you top a game that's already nearly perfect?"

The answer to that question is: you don't. Uncharted 2 was already so polished, finely-tuned, and jaw-droppingly beautiful that there is really nothing Naughty Dog could have done with a sequel other than touch up the series' existing formula, polish the mechanics further, and improve the visuals on what is already the best looking current-gen game. To be fair, Uncharted 3 not being as big a leap as Uncharted 2 was to the original game, Uncharted: Drake's Fortune, should come as no surprise. Among Thieves went so above and beyond so soon that utilizing the same formula for a sequel just wouldn't seem as revolutionary.

But despite Uncharted 3 not being better than Among Thieves, it being just as good is nothing to scoff at. The puzzles are more frequent in Drake's Deception and the set pieces are even more ridiculously over-the-top. In retrospect, Among Thieves' most frustrating flaw was something Drake's Fortune suffered from as well: too much trial-and-error platforming and poorly marked paths that slowed game play to a crawl. I can't count how many times I had absolutely no idea how to proceed in the first two games. Drake's Deception's level design is significantly more fluid and thus remedies long stretches of confusing pathfinding.

Top that off with what are undoubtedly this year's best graphics, as well as a compelling & emotional story, astounding set pieces, beautifully paced game play, and a fantastic score and you're left with such an incredible and fun experience that when the end credits begin to roll you truly hate to see it all end. Uncharted 3: Drake's Deception proves once again why this franchise is one of the most beloved this generation. Simply put, if you own a PS3, buy this game.

Bethesda - as a development firm - have released some of the most innovative, ambitious, and critically-acclaimed video games to ever hit the scene. Year in and year out these geniuses find ways to either revitalize once-dormant franchises (Fallout), push the interactivity and scope of the medium forward (the Elder Scrolls series), and even purchase design studio relics like Id Software and let them continue to etch their own legacies (RAGE) with their respective sets of adoring fans. Bethesda is the Michael Jordan of video game developers. Their name is both a seal of quality and a brand all its own. Gamers know that when these guys release a product, they mean business. And when rival developers hear they're readying a new game for release, they sit down and pay attention.

But as much as Bethesda has remained one of the true, unwavering fixtures of gaming culture, have churned out classic after classic, and been showered in more money for their troubles than I'm sure Donald Trump himself would know what to do with, there's one big problem that seems to plague nearly every single one of their self-developed games: bugs. And I don't mean a couple of worker ants and the mound matriarch sitting atop the pile, I'm talking Jeff Goldblum/Seth Brundle bugs. The kind that can crumble the hardest of foundations and leave nothing but a smouldering pile of ash in their wake.

Fortunately, this is Bethesda we're talking about. If you've played damn near any game they've done before, then you went into Skyrim knowing exactly what you were going to get. There's a reason gamers have taken to forums and blogs to voice their elation. Skyrim is the kind of game you can get lost in for months at a time. Placing this disc into your PS3's Blu-ray drive isn't just netting you a 10 hour experience. Starting up Skyrim - or any Bethesda game for that matter - is like entering a newly discovered world ripe for the picking. Overflowing with completely unpredictable NPC behavior, massive amounts of land to uncover, tons and tons of things to do, to see, and to experience, an amazing story to follow, and some of the most open-ended, incomprehensibly well-detailed environs to ever grace the virtual soils of infamously expansive video game worlds, Skyrim is the fantasy RPG to end all fantasy RPGs.

So why isn't this Game of the Year, I hear you ask? Remember those bugs I mentioned a few paragraphs above? Skyrim is as rewarding and gorgeous an undertaking as we were likely to find this generation. But all of the scope and spectacle can't be so generously consumed when game-breaking bugs threaten to bury the whole affair. When crafting a game like Skyrim - one that requires hundreds and hundreds of hours of dedication - having bugs that literally stop the game because of excessive play times and huge save files is so ironically counter-ituitive to Skyrim's entire reason for being it's almost funny. Funny, that is, if it wasn't so sad. Despite this vexing issue (and a myriad others as well), Skyrim is still an absolutely essential purchase. But because of this, I can't in my heart of hearts award this Game of the Year.

The original Deus Ex is a title that defined an entire generation of gamers. Just prior to its release the first-person shooter craze that begun in the early '90s was finally coming to a halt. Games like 1998's smash-hit Half-Life were evolving the FPS genre beyond the confines of dingy corridors and twitch game play. A new age in gaming was being birthed, an age where by-the-numbers Doom clones were being shunned and an insatiable hunger for deeper, brainier material was at the forefront. Enter Warren Spector's Eidos-published Deus Ex. The game of games. A God amongst mere mortals. If you were playing video games into the early 2000s, then you probably have a very good idea why Deus Ex is consistently heralded as one of the best games of all time from so many different walks of life.

So it comes as no surprise that when its 2003 sequel, Deus Ex: Invisible War was announced and eventually released, it was derided for its "dumbing down" of the first's open-ended game play and for striving to appeal to a wider audience. Despite the valid criticisms, Invisible War is still an excellent action RPG regardless of its adherance to then-contemporary shooter ideology and mechanics. In retrospect, however, any game labelling itself a sequel to the Deus Ex was going to face inevitable criticism for just being a sequel to a game that so many feel cannot or should not be tampered with. Enter Deus Ex: Human Revolution, years after a cryptic announce trailer and news of it being a prequel rather than a sequel, even the most cynical Deus Ex purists have to admit it: it doesn't suck.

Not only does it not suck, but during my first playthrough I couldn't put it down. Going through Human Revolution's beautifully realized near-future Detroit - in all its cyberpunk, sepia-tinged glory - Eidos Montreal has reminded me what it was I loved so much about the first game those 12 long years ago. It wasn't just its revolutionary design and infinite replayability, it was the entire world that original developers Ion Storm created and the mythology surrounding it. Human Revolution's story is astounding, brimming with memorable characters, an awesome stealth system, a staggering amount of game play options, multiple endings, and the list goes on. Human Revolution isn't a game you finish and put aside. That initial plathrough is really nothing more than learning the game's mechanics and understanding how differing your approach to its numerous open-ended scenarios nets you various outcomes, positive and/or negative consequences, and opens new avenues of game play, conversations/confronations, and endings.

Gamers yammer on and on about how $60 for a five hour campaign and casual-friendly multiplayer just isn't cutting it anymore. Deus Ex: Human Revolution is tailored made for these people. I can't remember the last time I played a game that reminded me why I fell in love with video games in the first place. Human Revolution doesn't jerk you around for a handful of hours only to send you on your merry way, wishing you well until next year. This is a game that rewards numerous playthroughs, breaking away from your comfort zone and trying new things, and playing through it all over again in a way completely opposite of how you did before. Something as simple as forgoing one set of augmentations for another will provide you with a completely different experience. Finally, after 12 years of waiting, the Deus Ex franchise has finally birthed a sequel worthy of its pedigree. Play this game. Buy this game. Hell, buy more than one copy of this game. I assure you, all of you, this is the revolution you've been waiting for.