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As first-person shooter campaigns go, it's definitely in the 95th percentile of enjoyable shooting galleries. But it's also a campaign that worries me. While playing through the brief solo mode (roughly five hours), I couldn't help but be reminded of the stereotypical Bay film: Things blow up, uber-macho soldiers shout, the player performs wild stunts (like jumping into a helicopter for the umpteenth time), and loud orchestral music plays. It doesn't seem to matter that the plot is poorly paced, makes very little sense, and no characters are developed. If I'm a typical M-rated gamer, all I'm supposed to care about is that I shot people and stuff blew up real purty.

Stephen Totilo of Kotaku provided a fascinating look at Zach Gage's Lose/Lose, a curious statement-game (I would call it an "art game," but that label comes with its own baggage and may obfuscate the analysis below) that posits players in a pretty lousy situation:  Get "killed" in the game, and the application running the program is deleted from the computer. Destroy "enemies," however, and a file on your computer—represented graphically in the game as a blurry mess of pixels scrolling down the screen in true Galaga fashion—gets deleted. That's right. The game deletes your files. Of course, that's only if you choose to play the game as a game... and not experience it as a question of will and complicity.

Over the past few weeks I've been eagerly awaiting Left 4 Dead 2, and in the meantime I've been digging through my collection of old games, giving in to a sudden and inexplicable wave of nostalgia. There were the old pleasures to be sure, but I was amazed at how many of these games just didn't do anything for me anymore. I remember spending countless hours with these titles, but for some of them it was like looking in the basement for that old toy or comic book you loved so much, only to realize that maybe it wasn't all that great to begin with.

Always one to support smaller development houses and those exploring the downloadable space, I was fortunate enough to get the chance to have a brief exchange with Max Wagner, one of the co-founders of brand-spanking (sort-of) new Signal Studios. The studio's first game, Toy Soldiers, was just revealed at the most recent Tokyo Game Show and will be leading the assault on Microsoft's Xbox Live Arcade service in the very near future.

I wrote the headline to this story not really thinking—and only now does it dawn on me that "gets a street date" make it sound like Silent Hill: Shattered Memories went out and picked up a hooker…

That's not what happened, though. Instead, Konami has announced the release date for the title (or, the date the game will "hit the streets"). Wii owners can experience an updated version of one of Survival Horror's most revered titles on December 8th. PlayStation 2 and PlayStation Portable owners will have to wait longer as no date has been set for either of those platforms.

Early demos for the game have been impressive and I'm excited to check out the Wii version of the game—if for no other reason than because it will actually give me an excuse to turn on my Wii…

Jump past the break for a character breakdown from Konami's press release.

In my review of Call of Duty: Modern Warfare 2, I disagree with my peers that the game is not a compelling example for games as art, rather it's perfect for a sports argument. Take 36-year-old David Dague of Chicago. When interviewed by The Associated Press, he said the game's launch is like the start of football season for a sports fan, and the comparison couldn't be more fitting. But there's another, more obvious landmark the game reaches in the form of its controversial level, "No Russian."

First up, news from Electronic Arts (courtesy of Kotaku) concerning the release date for the game's official demo. PS3 and XBox 360 owners will be able to try out the first level of the title sometime next month. EA hasn't been more specific than that but you can at least sleep easy tonight knowing that you'll be guiding Dante through Hades sooner rather than later.

If that wasn't enough to satiate your need for all things Inferno, here's another developer diary on the game. This newest segment covers level six, better known as "Heresy". This new level finds Dante going deeper into Hell–and it's the first area in the game that really portrays a fire-and-brimstone Hell that many of us recognize from the Bible. One of the producers mentions that by this stage, we're "in Satan's backyard".

Dante's Inferno continues to impress me with each new diary they reveal (which means EA's marketing plan is working). We'll all get a chance to experience the finished product when it hits retailers everywhere on February 9th of next year.

As is somewhat apparent, I've been spending some time (a lot of time, actually) with BioWare's Dragon Age: Origins. Although it's got a few issues, it's a great Adventure-RPG if you like the style as much as I do, and it's had no trouble keeping my interest. However, there has been something that's been bothering me about it—the character Shale.

For those that don't know, Shale is an extra character that can be recruited into the player's party. A powerful wrecking-ball of a golem with a witty personality, he's a very attractive prospect. The issue? He's only available via DLC.

We continue debunking The Myths of Game Criticism in the second half of our two-part series. Do we live in constant fear of Twitter putting us out of business? Are games so spectacular now that the average score really is 8 out of 10? Do publishers send strike teams to our homes and force us to change scores? We set the record straight. With Chi Kong Lui, Brad Gallaway, Mike Bracken, and Tim "Five Point Scale" Spaeth.

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For your reference, the eight myths we discuss are:

1. Critics should be required to finish games before writing a review.
2. The goal of a "proper" game review should be to inform the reader as to whether they should or should not buy a game.
3. Those who write about games are not journalists, rather, should be considered "enthusiast press" or simply "games writer."
4. There is no difference between a "review" and a "critique".
5. The explosion of blogs, podcasts, and Twitter has rendered formal game reviews obsolete.
6. Individual game critics and review sites are under constant, unrelenting pressure from publishers to change scores.
7. Game scores are often purposefully tweaked to either generate controversy or avoid it.
8. A reader should not need to be familiar with the author of a review in order to derive value from it.
9. NINE? There's a ninth myth?! Listen and find out!!

Topic and Game References:

• Feedback from Brad's Drinking Coffeecola Blog
• Feedback from GC Forums
• Borderlands Review
• GTA 3 Second Opinion
• Disaster Report Review
• FFFXI: Lu Shang's Fishing Rod
• WoW: Delicious Chocolate Cake Recipe
• GoldenEye 007: Invincibility Cheat

Please send feedback and mailbag questions to podcast (at) gamecritics (dot) com.

So, now that it's here I've been able to log some hours with it and at this point all I'll say is that despite some of the big talk BioWare was putting out, Dragon Age = KOTOR/Jade Empire/Mass Effect in a Medieval-ish/Lord of the Rings skin. Frankly, it's the same game they've put out a couple times now, so everyone's mileage may vary. In my case, this is one of my favorite game types and BioWare does them best, so I'm digging it. However, I'm under no illusions that the game pushes any boundaries or explores new territory. This is firmly-established boilerplate.