Activision has just released a new Modern Warfare 3 behind the scenes video showcasing “Kill Confirmed and Team Defender, two of the all-new multiplayer modes in Modern Warfare 3. Learn how MW3 takes multiplayer customization to a whole new level: Private matches have been significantly enhanced to allow players to create new, fully customizable game modes and share those newly created game modes with friends and the community.”

www.youtube.com/watch?v=jRA0cjr02OA

Countless titles have incorporated Team Deathmatch into their online component, and it has become requisite in most popular shooters. With a slew of shooter series now vying for the biggest piece of the online game pie, we gamers have the chance to compare and evaluate each title and its Team Deathmatch component. Which modern franchise pulls off the best Team Deathmatch experience?

Halo

The Halo series has been hosting Team Deathmatch (dubbed “Team Slayer”) matches for ten years now; while the goal of the game is the same as it was in the previous decade, Halo’s superb map design and weapon placement placed an emphasis on teamwork and map control. Power weapons and vehicles could make or break a match, and it was imperative that a team was working together. Now, that’s not to say that a lone wolf couldn’t turn the tide of battle, but even a lone wolf will have trouble facing a team wielding a rocket launcher and a Warthog. Two teams of 4 compete in an attempt to reach the 50-kill limit first; Halo 2 introduced Big Team Battles, which require the teams of 8 to reach 100 kills. Halo offers an incredibly balanced Team Deathmatch scene, and it’s hard to find fault in its mechanics. That being said, power weapons can affect the balance at times, especially on the asymmetrical maps.

Call of Duty

Call of Duty offers a glut of gametypes, and Team Deathmatch is one of the most popular. While its mechanics are similar to Halo’s, the core Call of Duty game elements turn it into a different beast altogether. Killstreaks, perks, and loadouts create a dynamic battlefield, and one map may never be played the same twice. While there are natural chokepoints, there are no power weapons or pickups, so teams won’t be instinctively battling over a specific location or weapon. Killstreaks reward two types of players: the really good ones, and the ones patient enough to wait for the prime killing time instead of running around aimlessly. Killstreaks are what differentiate CoD’s Team Deathmatch from pretty much every other iteration out there. Yes, they can be seemingly cheap and unbalanced at times, but it creates a unique playing field that is incomparable to its competition.

Battlefield

Battlefield 3 is the first installment in the long-running franchise that offers Team Deathmatch, and while the series is new to the gametype, it is a more than serviceable offering. For a game known for its huge battlefields and in-depth vehicle support, its Team Deathmatch mode is surprisingly bare-bones. That’s a good thing. With no vehicle support, and no map-specific weapon pickups, the game is all about a team and its guns; no killstreaks, armor boosts, or invisibility boxes are to be found. The maps are the same as the Conquest and Rush maps, but feature barriers so that the playing field is small and personal; you won’t have to walk too far to find a kill (or death). The real flaw of Battefield’s Team Deathmatch experience is the spawning; with such small maps, and such quick respawn timers, it’s common to spawn right behind an enemy, and get insta-killed, or to have an enemy spawn directly in front of you, giving you a cheap kill and them a cheap death. Hopefully in future DLC and installments this flaw will be remedied.

Gears of War

Gears of War is also relatively new to the Team Deathmatch scene; while past installments have featured “kill or be killed” scenarios, the third game is the first to include a standard Team Deathmatch mode. It’s standard in most respects, but still takes a creative approach to scoring. Instead of a team winning by reaching a certain amount of kills, a team wins by draining the respawns of the opposition. This creates a normal Team Deathmatch scenario for the first half of the game, but once a team has less than 5 respawns left, the tactics change. Then a team has to hunker down and play even more cautiously; there will be no backup or reinforcements if the team incurs another death. Akin to Halo, Gears of War features map-specific power weapons that are fought over. A team brandishing the One Shot or the Mulcher can make quick work of its foes. While this would seem to imbalance the gameplay, the emphasis on cover and the tight-knit maps help players avoid many of the enemies’ powerful super weapons.

Which is the best? Well, it’s hard to say (apologies for the cop-out). Much of it comes down to personal preference. It’s hard to directly compare, say, CoD’s Team Deathmatch, with its killstreaks and loadouts, to Battlefield’s stripped-down version.

Last week in London, Capcom held their annual press event and Mweb’s GameZone was fortunate enough to go and check it out.

One of the biggest games we took a look at was Resident Evil: Operation Raccoon City. It’s a 4 player Third Person Shooter in the Resident Evil universe, set during Resident Evil 2 and 3. You play as Umbrella Secret Service, tasked with ‘taking care’ of Umbrella Corporation’s insidious evidence at all cost. That means taking out all witnesses and victims of the viral outbreak and recovering the G-Virus before it gets into the ‘wrong’ hands. Basically you play as evil badasses.

First up, producer Mike Jones showed us the 6 playable characters, each a class unto themselves: Bertha, Spectre, Beltway, Vector, Four Eyes and Lupo. Each character (or class) has their own ability and class-specific melee kills. This makes working as a team imperative and gives it some more replay time as you’ll want to try out each of them. For instance, Vector acts as the ninja component of the game with extremely silent footsteps and a motion detector, while Bertha is the team medic and can carry more than one first aid spray at a time.

Each character has 4 equipment slots which can be customized depending on the class selected. A cool feature they dipped their toes into was the new 360 degree CQC melee system. In the zombie survival horror genre this is more or less an untapped opportunity. How it works is you can use the analog sticks to aim in a direction around you while using the melee button. This comes in handy when you’re being swarmed from all directions by the undead and should be stock-standard for any TPS.

The game is not specifically a horror title and revolves more around the action, having more or less the genetic structure of Resident Evil 5. To add that Resident Evil fear layer they’ve tweaked the traditional action TPS gameplay to add more suspense. One of my favourite tweaks is the ability to dive away from danger. In other cover-based TPS’ of this nature, like Gears of War, rolling out of harms way is a core component of the gameplay. But in Operation Raccoon City, this has been replaced with a dive that has some recovery time. As well as charging up the suspense, it also makes you more reliant your squad to help cover you while you’re getting up. It’s those kinds of details that really make the gameplay in RE:ORC feel so refined.

There is the traditional Resident Evil ranking system at the conclusion of every level, giving you XP to purchase weapons for your team or handout skill points to any unit on your squad, something other titles like Gears of War have really missed out on.

Resident Evil: Operation Raccoon City is being released on March 20, 2012 on Xbox 360 and Playstation 3, with a PC version following shortly afterwards. Get excited about this one: It’s already looking extremely promising.

Warner Bros. Interactive Entertainment and DC Entertainment today announced that the highly anticipated videogame Batman: Arkham City will step out of the shadows and onto store shelves in Europe on the 21st, Australia on the 19th and United States on the 18th for the Xbox 360 video game and entertainment system from Microsoft, Games for Windows PC and the PlayStation3 computer entertainment system. Developed by Rocksteady Studios, Batman: Arkham City is the follow-up to the award-winning hit video game Batman: Arkham Asylum and delivers an authentic and gritty Batman experience.

Batman: Arkham City builds upon the intense, atmospheric foundation of Batman: Arkham Asylum, sending players soaring into Arkham City – five times larger than the game world in Batman: Arkham Asylum – and the new maximum security “home” for all of Gotham City’s thugs, gangsters and insane criminal masterminds. Set inside the heavily fortified walls of a sprawling district in the heart of Gotham City, this highly anticipated sequel introduces a brand-new story that draws together a new, all-star cast of classic characters and murderous villains from the Batman universe, as well as a vast range of new and enhanced gameplay features to deliver the ultimate experience as the Dark Knight.

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Batman: Arkham City is based on DC Comics’ core Batman license. Fans canvisit www.batmanarkhamcity.com to sign up to receive updates regarding the game and join the discussion on the recently launched community site at http://community.batmanarkhamcity.com to participate in forums, read upcoming developer diaries and stay abreast of all the latest Batman: Arkham City news.

Every article about Diablo 3 begins with an establishing paragraph about how the game was something gamers had looked forward to for close to a decade. Ten years is a long time to wait, especially for a game–but gamers were willing to make an exception for this one, especially if it means getting the Diablo 3 we want to play. It has to be perfect, or as close to perfect as it can get.

I don’t need to tell you how much of a disappointment the game would be if it turned out to be a clone of the originals, and not a successor.

With more than just its PC audience in mind, Blizzard has hinted at plans to bring the game to consoles, expanding its reach beyond the desktop market to that of the TV. There’s no sure guarantee that they will do this, but there is little doubt that the head honchos at Activision are breathing down their necks to make a game that will be as much of a success on consoles as it will be on the PC.

Knowing this might make you angry, but it might just make you pause to consider the thought of sitting on your sofa as you slay Diablo for the nth time. It doesn’t sound too bad when I put it like that.

It can’t be denied that a Diablo game on consoles would have a larger outreach than anything the PC/Mac version could ever have. The game would potentially reach the millions of Call of Duty and Halo players and expand the game’s audience to include the millions of gamers who do not have the privilege of owning an expensive Mac or a gaming PC, without having to sacrifice good visuals or audio.

The enormity of its potential success would make the likelihood of expansions ever more likely. A cynic would argue that the game’s success on consoles would cause Blizzard to shift its focus away from PCs and Macs, but the company’s past dedication to its core audience cannot be denied. More Diablo can only be a good thing, even if it sometimes results in failed spinoffs like “Hellfire”.

The strongest argument against “Diablo III” appearing on consoles is the fear that the game’s core mechanics may be lost in translation. Porting is never an easy task–it can be difficult to find a middle ground between the PC and the console. The experience of playing “Dragon Age” on the console reflects poorly on the original game for the PC, for instance.

In truth, a game like “Diablo III” doesn’t face the same hurdles as a PC FPS or a tactics-based real time RPG like “Dragon Age.” Games like “Baldur’s Gate: Dark Alliance” have in the past delivered solid action RPG experiences that bringing “Diablo III” to the console platform may not be as unwieldy as you might imagine.

The Diablo games aren’t exactly complex. You click on things and they die. And every so often you use skills. Blizzard showed off a new context-sensitive action button in “Diablo III” at last year’s BlizzCon, which if applied to a console version of the game, would ease the burden of choosing between a dozen skills to use. It’s no stretch of the imagination that the experience would be that much different on the console where a context-sensitive button would allow players to use most of their active skills. It would still be a button mash, but that’s not exactly a complaint.

It would be a disservice to gamers–including myself–to say that simple games attract simple minds, but you can’t deny that a simple game like Diablo would attract players looking for simple, satisfying experiences. A game like that would undoubtedly attract the legions of teenagers–much like ourselves at that age, when we still played on Battle.net–who grace Xbox Live with their loud, obnoxious presences. But we needn’t worry. Microsoft isn’t very likely to allow Blizzard to build cross platform compatibility into the game. Whatever happens on Xbox Live would stay on Xbox Live, and that’s probably a good thing.

Really, the concept is just too fun not to play around with, something Capcom know. Bashing zombies with blunt objects; pelting a zombie with plates; dicing a zombie with a sword: these are all activities you could relish in Dead Rising. There was a survival story in there, sure, but the game was about gratuitous violence against the flesh-hungry undead. Blue Castle Games ups the ante in the cult hit’s sequel, but by focusing on more ways to dispatch the mall creepers, Dead Rising 2 is just as shameless in glossing over its problems as it is in its gory spectacle.

Despite its ordinal title, the Dead Rising 2 experience is best thought of as expansion on the first game. Aside from a hackneyed online multiplayer full of Fusion Frenzy style mini-games, the option to bust brainless zombie heads with a friend via co-op play, and the “Tape it or Die” weapon philosophy, DR2 doesn’t mess with the series’ formula. Within a time limit, it’s up to Chuck Greene to keep his daughter from becoming a slow-shuffling spawn, uncover the mystery of “Who Let the Zombies Out” (Jinkies!), and save others under the glitz of Fortune City’s money-grubbing aura.

There might be some underlying theme in DR2 somewhere, but as a pithy and patched together story it only works in giving a thin veil of reason to dishing out pain against the undead. Blue Castle missed an opportunity to elevate the series past a zombie-killing simulator by sidestepping Chuck and Katie’s struggle. Where as you might have felt like you were fighting for your daughter in Case Zero, Katie’s plight turns into a tertiary nuisance while you hit on an overly sexual investigative reporter in DR2. As you search out Zombrex in Fortune City you’re more street fighter than father.

Perhaps the only redemptive aspect to the game’s storytelling is the resurgence of the campy psychos. Brilliantly envisioned, conceived and portrayed, all of the humanly menaces Chuck confronts expertly straddle a line between comical and sadistically frightening. If they weren’t insanely unbalanced from a gameplay perspective, their inclusion would be spotless.

But whether you’re playing to save Katie or just experiment with weaponizing everyday objects, DR2 is a technical catastrophe. Hordes of the dimwitted zombies inhabit portions of Fortune City’s arcades and casino floors, believably setting the survival scene with models reflecting various locales in the environment (hardhat zombies in construction sites; card dealers and show girls in casinos; etc.). However, the tradeoff for this sense of rotting claustrophobia are load times between areas that utterly destroy the entire pace of the game. That 72-hour in-game time limit feels like a real measure as you transfer between parts of the open world.

The necessity to load Fortune City in chunks is apparent with the sheer number of characters on-screen at any given time. The problem is in the mission structure. In a fetch quest setup, Chuck is often forced to travel between multiple zones of the city to save other survivors and continue with the story. Thus, actually completing the game effectively turns into an exhaustive battle with boredom. Dead Rising 2 isn’t so much about surviving a zombie infection as it is the prevailing stagnant loading screens. Situating more missions within common areas would have been a simple solution.

An antiquated save feature only adds to the game’s design woes. The phrase “Save, and save often” is appropriately applicable with Dead Rising 2. Fighting just to get to a save point (in this case bathroom stalls) may create tension and adds to that preservative model the series aims for, but when you die in an unexpected and convoluted boss battle two zones and half an hour out from your last save, having to once again wade through zombie thickets and passively sit through bogs of load screens (again) doesn’t make for a trilling experience: it’s tedium.

As a sequel, DR2 doesn’t do anything to visually or aurally separate itself from the first game either. While there are still plenty of different outfits to dress Chuck in and a myriad of ways to kill throngs of flesh-gnawers, animations and textures aren’t particularly enticing. Gliding up stairs, enemies caught in repetitive motions, and chugging frame rates shouldn’t be a series standard. Furthermore, escorting survivors has a Sims: Zombie feel to it as you skip through texts and relish in their “Thank You” moments composed of a single spoken phrase and interpretive gesture. Cut scenes offer some sort of acting, but with the confused story, it’s no wonder they’re more obligatory than compelling.

Along with the ability to combine items to kill zombies in more entertaining ways, DR2 tries to switch things up with a multiplayer aspect. While the “Terror is Reality” mini-games aren’t completely half-baked despite their simplicity, they’re only a successful competitive solution when they actually work. Connection issues and bugs are plagues that prevent you from earning money to use in the single-player game. Teaming up with a partner cooperatively in the story is a more accomplished endeavor, even if having two Chucks is perplexing and coordinating with random players is hit or miss.

Without a doubt, Blue Castle Games and Capcom continue to show us abuse of the undead makes for good gaming—it’s just unfortunate Dead Rising 2 accomplishes little else. As a series that’s supposed to become the publisher’s leading property, the Dead Rising formula is in need of an overhaul to round it out as a whole package. Killing zombies is one thing; killing our downtime with a poorly designed, nonsensical and patchwork game is another.

Treyarch, formerly a sort of second-string provider of Call of Duty content, has swung for the fences this time around now that the creative force behind the series has exited Infinity Ward. Trading in spectacular set-pieces and a jigsaw puzzle story for a slightly more coherent narrative, Black Ops’ single-player campaign is where the game has clearly tried to innovate and differentiate itself from earlier entries in the series.

In a break from past CoD titles, there is a central character around whom the story unfolds, spanning historical events in Cuba, Russia, Vietnam, and America. A few more vehicle driving sequences aside, the action is the typical run-and-gun fare we’ve come to expect from the series, though the locations are rendered with great attention to atmosphere and detail. Pacing is slightly less breakneck than that of the uber-frenetic Modern Warfare 2.

So, props to Treyarch for trying to weave a little bit more story through the usual CoD crazy quilt of disparate locations; unfortunately, the seven-hour single-player game is burdened by a cliche-heavy script and some licensed music choices that are less than inspired. “Ride of the Valkyries” in a Vietnam firefight? Not quite that obvious, but close. Voice work—some of it by big-time Hollywood talent—trumps the ham-fisted writing.

Opening with a torture sequence, unsurprisingly the game is a violent, M-rated tour through the hellish realms of war, with gore and severed limbs filling the screen at every turn. Graphically, Black Ops doesn’t make any huge strides over its more recent relatives. While the level design is outstanding, and the lighting evocative, keeping the frame rate up has obviously taken precedence over gratuitous eye-candy or special effects.

Of course, in the fast and furious multiplayer modes, no one has time to take in the scenery anyway.

For most fans of Call of Duty, the online modes are why they queue up at the neighborhood Best Buy at midnight. No one will be disappointed in the generous—and generally unchanged—Modern Warfare-established selection of game modes, perks, unlocks, and extras, though the small tweaks this time around are generally improvements on the formula. Though you now have to spend money for perks and upgrades, they’re all pretty much available at the start, ready to unlock in any order you want as long as you have the cash. Focus on a single weapon type, though, and you can be nearly maxed out midway up the 50-level ladder.

Though you can’t gun through the single-player campaign with a buddy, co-op play returns in the popular Zombies mode. New to Black Ops is the Theater, where you can splice and dice gameplay footage into some incredible mini-movies. Contracts are challenges you can buy, which in turn earn added Achievements and currency.

Though it sold millions of copies on release, and it’s an entertaining, entirely competent game, Call of Duty: Black Ops would benefit from a little more ambition and outside-the-killing box thinking. Will the entire franchise go the way of Tony Hawk or Guitar Hero, where irrelevant annual sequels are squeezed out to satisfy a diminishing, hardcore audience? Good as it is, let’s hope Treyarch or Infinity Ward break the CoD template after this one, crack open the window, and let some good fresh air into the series.

Think about it this way: Are you familiar with the phrase “Size Matters”? Because when Ready at Dawn Studios and SCE’s Santa Monica Studios collaborate, they obviously don’t. It wasn’t too long ago both camps teamed up and cranked out the highest aggregate-rated PSP game to date, God of War: Chains of Olympus. In a series known for visceral combat with grand set pieces, the two somehow managed to corral Kratos and all of his godly angst into a pocket portion. Two years after this last mini-epic undertaking, the Californian studios scratch each others’ backs once again for a new interquel in the God of War saga. By sticking to their guns—or Blades of Athena, as it were—the formula for this UMD(less) release has changed little, but that certainly doesn’t make it a demigod of a game.

With a series wherein the central theme is one of revenge enacted through fits of growls and unquestionable bloodlust, Ghost of Sparta carries on tradition. Taking place after Kratos assumes the mantle of the new god of war in the first game, and before he sets foot in Rhodes in the second, Ghost of Sparta depicts a Kratos tormented by nightmares of the brother he couldn’t protect, Deimos. It’s not an unfamiliar plot for fans, switching in Kratos’ brother to take the place of his wronged familial unit for which to fights to save. But even with that well-trodden concept, when put in context of the series’ entirety, it better elaborates on Kratos’ transition from humanly to godly both in power and character. The games might not cater to a wide range of emotion, but it’s easy to experience at least some bit empathy this time around.

This extension is only made easier by the sensory onslaught GoS offers. Chains of Olympus may have looked great for a PSP or handheld game in general, but Ready at Dawn have somehow outdone themselves. Subjectively speaking, not only does this second portable game look better than the first, it also rivals the depth of even the first two console outings. Whether you’re slashing your way through Atlantis, hacking on the snow drifts leading into Sparta, or getting all wizardy in Thanatos’ realm of death, GoS plays bigger than its relatively small disc would let on. There is some screen taring here and there in moments of quick transition, but when passageways open up to large scenery, you can’t help but gawk at what you’re playing on the bus, at work, or right before lights out.

A more diverse set of scripted, quick-time events mixed in with more multi-step boss battles and adventuring also adds to the visual appeal. While the camera is nearly spot-on throughout the whole in-game search for Deimos, changes in point of view for both cutscenes and playable moments give it a more dynamic presentation not only for a God of War game, but a handheld.

Consistency is also upheld on the audio front. You’ll want and need a good pair of headphones to escape the underwhelmingly hollow speakers of the hardware, for in your fingertips is a full-fledged orchestral arrangement with pounding percussion and choral chanting rounded out with strong brass to set every moment. There is some fidelity lost in the tiny format, but it’s more than acceptable considering what some games present as a ‘soundtrack’ A recognizable cast also reprise their roles for the usual theatrically dramatic performances. Again, they aren’t readings with great range, since there’s little deviance from Kratos’ harshness or Athena’s gentility, but it’s compelling dialogue in a gaming landscape devoid of anything grander.

For all of its unbelievable presentation despite its pint size, Ghost of Sparta’s arguable detracting quality is its one-track gameplay. Like past games in the series, the focus here is on racking up the hit counter from combination melee interspersed with magical powers. There are items to collect, with a necessity to replay the story to even use them, and there is some adventuring mixed with context sensitive events (press “X” now), but for both the main game and extra unlockable challenges, the focus here is mostly about the violence. It’s done through well-executed controls, and smooth transitions between attack strategies as you clash with a varying host of enemies, but puzzle solving takes a backseat this time around. Just swing your swords or throw your spear (near the end of the game), and move on to the next encounter.

Ghost of Sparta may not deviate from the usual God of War experience, but it certainly presents those core concepts which made the series a standard exceptionally well and with nearly untouchable graphical and auditory prowess on the handheld format. Sure, the game may feel a bit short or single-minded, but that’s only because it delivers like its Blu-ray relatives. It’s been quite a year for Kratos fans, full of high-definition, and Ghost of Sparta is simply a cherry-on-top experience.

The majority of games currently available on Facebook are simple. In fact, some of them lack any depth of any kind and aren’t fun to play for more than few minutes — if that. Now a group of developers who worked on games like EverQuest, Planetside, and Free Realms is planning to deliver what may seem impossible – a true MMORPG on Facebook that will appear to both the hardcore and casual audience, and that game is called City of Eternals.

What Is It?
An MMORPG set in a world of vampires, where the undead can battle zombies, customize their homes, and form their own covens.

Why It Matters
It will be the first game to bring a real MMORPG experience into the Facebook platform, which is challenging, not only from a technical standpoint, but also from a user standpoint. With the majority of Facebook game players being non-gamers, there may be obstacles in getting them to venture into a more complex game than they’re used to.

How to Play
The game is still in Alpha, so we didn’t get to see all that it has to offer, but it appears City of Eternals plays similarly to most other MMORPGs. You take control of a character who has just recently become a member of the undead. But the other vampires don’t quite trust you yet, so you’re sent on a series of quests to prove your worth. Once you’re done with those quests you get your own home, which can be customized to your liking, and the ability to run around the world at will.

Certain characters will have errands for you to do, including delivering messages or fetching objects, but there is real-time combat in the game as well.

Will Anyone Play?
Remains to be seen. While the idea of more advanced games on Facebook is a tantalizing one, but I’m not sure most of those who love Farmville or Café World are ready to take the next step.

Interested in Trying Out The Game?
The developer has given us 100 free invites for our readers to get a sneak peek at the game. These are first come, first served and you go here to get them. If you play the game, let us know what you think, but keep in mind, it’s still in Alpha so there are kinks that still need working out.

I’m not sure how many people are interested, but it looks like those wishing to lead a Federation Starship or Klingon Battlecruiser don’t need an Alienware superduper glowing computer of death to play Star Trek Online. Those with a fairly modern graphics card and 1GB of RAM will be able to enjoy this game.

A great move by Atari and Cryptic, as that is part of what makes WoW so successful. Even with Wrath of the Lich King, my Acer Aspire One Netbook is capable of running WoW flawlessly with the graphics set to minimum. Stormwind gets a little laggy, if it’s heavily populated, but other than that it’s quite nice. I preordered my collector’s edition (thanks for the heads up, GV) last week. Once the open beta starts on the 12th, I will try this on my Netbook as well and report back on my progress. The need for a core duo may stifle that, however.

Anyone else planning on getting this game? I would love to explore strange new worlds with the GV crew.

Unrelated: Some stuff I’m working on. I’ll have a review of Tools of Destruction soon (even though it’s a 2007 game). I’ll also have impressions of the Bayonetta Demo and Dante’s Inferno demo later today. I’m playing Size Matters, another “ancient” Ratchet and Clank game, and will have a review of that as well.

Here are the requirements:

System Requirements
OS: Windows XP SP2 / Windows Vista / Windows 7 (32 or 64-bit)
CPU: Intel Core 2 Duo 1.8 Ghz or AMD Athlon X2 3800+
Memory: 1GB RAM
Video: NVIDIA GeForce 7950 / ATI Radeon X1800 / Intel HD Graphics
Sound: DirectX 9.0c Compatible Soundcard
DirectX: Version 9.0c or Higher
HDD: 8GB Free Disk Space
Network: Internet Broadband Connection Required
Disc: 6X DVD-ROM

Recommended System Configuration
OS: Windows XP SP2 / Windows Vista / Windows 7 (32 or 64-bit)
CPU: Intel E8400 Core 2 Duo or AMD Athlon X2 5600+
Memory: 2GB RAM+
Video: NVIDIA GeForce 8800 / ATI Radeon HD 3850+
Sound: DirectX 9.0c Compatible Soundcard
DirectX: Version 9.0c or Higher
HDD: 8GB Free Disk Space
Network: Internet Broadband Connection Required
Disc: 6X DVD-ROM