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You are here » articles » 2006 archive »  Electronic Theatre Special Report: E3 2006: Wii: Project H.A.M.M.E.R.
 
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Electronic Theatre

Project H.A.M.M.E.R.

            Project H.A.M.M.E.R. is one of the fabled new Intellectual Properties Nintendo has been promising us for their Wii. Playable at this years E3 was the Training Level Electronic Theatre Imagefrom the final game which reportedly is in the late stages of completion.

            Acting as a Level-based Third-Person Action title, Project H.A.M.M.E.R. offers both tried-and-tested exploration with intensive and unique combat. Comparable to the likes of Devil May Cry and Onimusha, the title racks-up combo-hits and kills in-order to grant the player Level-Ups in an as-yet un-revealed Levelling-System. Basic attacks are performed with the Remote’s A Button, whilst more complicated Special Attacks can be performed by flicking the Remote along the horizontal axis for a Ground-Slam or the vertical for a Spin-Attack. Through first-play it quickly became apparent that Electronic Articles journalists each had their own difficulties with the calibration of each move – some found the Spin-Attack unruly whilst others decided that the Ground Slam was a technique out-of-reach – proving that the title’s Control System was in-fact one of the most precise of the show, comparable to Super Mario Galaxy and The Legend Of Zelda: Twilight Princess, and with a small amount of practice would become second-nature.

            While progression through this Training Level appeared quite generic – obviously with the exception of the Control System – it’s promised that the title will feature many inventive set-pieces and Level constructs upon release. The title showed some graphical flair despite the basic urban Level design with the lead-character featuring Lighting-Effects akin to that of Too Human’s protagonist. Project H.A.M.M.E.R. was certainly one of the most complete and playable fully-realised games on Wii, and will no doubt split opinion on release.

Kev J

15/05/06

 

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 Each of these articles has been written either independently of Electronic Theatre or by an external viewer. The opinions discussed in these articles in no way reflects the opinions of Electronic Theatre.

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