007 Game Rankings: Number 7-6: The World is Not Enough Part 1 (N64 Version)

I'm probably one of the few Bond fans with an unapologetic love for the third Brosnan Bond film; The World is Not Enough. Not to imply it's flawless, but I never viewed it as an invalid or forgettable entry to the series compared to others. Regardless of the film's quality among the Bond community, it indeed transferred over to video game form just as well as Quantum of Solace did. Unlike the previous section where I tied both games together, here I'm going to do something a little unconventional. I intend to review both games separately, however, I do think one is better than the other. And considering how I rank them close to one another that share plenty of similarities, it would make sense for me to compare and contrast both games and give a final result. So, consider these two posts as me breaking down on which game is better.

The only video game version of The World is Not Enough that I knew about when I was a kid was the PlayStation version. The first time I heard of the N64 game was spotting a trailer for it from a VHS copy of the film during the previews (and all the special features it crams in at the start). The promo did not announce what system it was for, so when I saw footage of the game, I was bewildered at how different it looked compared to the game I played. It looked similar from its first-person layout and familiar locations, yet had more expansive spaces, new areas and gadgets, and henchmen with different models. In contrast, the game looked way more exciting than the version I was playing at the time. But having no idea, it was for another system; I just shrugged it off as demo footage of an earlier version of the game that hasn't been finished. Eventually, I discovered the truth behind the promo and would have loved to play it if I had an N64. I received an N64 console during my mid-20s, bought a copy of the game, and when I finished playing it, I wished I could've played it at the time I was playing Bond games religiously. The game was EA's second effort at creating a Bond game after the failed Tomorrow Never Dies. As gamers were displeased by its third-person presentation, terrible controls, limited levels, and no multiplayer, EA decided to return the game franchise to form. This time they acquired help from the gaming company that would both make (Nightfire) and tragically breaks the franchise (007 Legends) Eurocom. 

For players to understand the story for previous Bond games, they were given a mission briefing, whether from dossiers or a cutscene of M explaining the situation. There were occasional cutscenes or written text from the characters in a few places, but they were usually placed in the middle or end of the level. Without reading or watching the briefings, players will most likely be confused when trying to make sense of what is going on. The World is Not Enough contains mission briefings similar to Goldeneye's file design, with M setting up the mission, Robinson giving more details, and R explaining how the gadgets work (I was disappointed not to read Moneypenny's flirtatious advice). The briefings include images and descriptions of the villains, allies, and civilians Bond will encounter in the level; making it helpful for the player to identify who to kill and what role they play in the story. What separates the game's storytelling from the previous two is the game relies heavily on telling the story through its cutscenes. Instead of a cutscene of Bond entering a level or M explaining what to do in the briefings, the game recreates scenes from the movie to make the story feel a little more cinematic. The briefings are helpful and give more details to the storyline, but they're not required to understand what's happening. The cutscenes set up the level (sometimes having M or R give information to Bond during the cutscenes, which kind of makes the text briefings pointless), show the characters' interactions and provide some action, which would become a common form of storytelling in further installments. However, since this is the first Bond game to take that approach to the story, the graphics have yet to appear as cinematic as the following games. The movements are stiff, the characters still appear blocky, and the voice acting sounds robotic. That's not to say there haven't been some improvements in the graphics. Compared to Tomorrow Never Dies, there is still a little more detail in the designs, and the characters have a little more movement. The camera work itself saves plenty of the cutscenes limitations by using a variety of different shots and angles to have the action, locations, and conversations taking place appear dramatically prominent as the film. 

As far as accuracy goes when recapturing the source material, the majority of action scenes and critical plot points are present. If a person playing this game has yet to see the film, it's based on; they would not be lost when trying to understand the plot and characters. Most of the key plot points are addressed, the characters are identifiable, and the majority of action scenes are recreated. It's pretty amazing how much the game stays faithful to its source material as it uses a flowing narrative to prevent the missions from seeming like just a collection of crucial action scenes from the movie tied with an exposition dump. There's time with James bonding with Elektra before the player has to ski to kill goons. And there's a cutscene with Bond confronting Renard while gaining a clue he's in cahoots with Elektra King before shooting up the terrorists in the base. I was impressed with how some of the missions closely resemble scenes from the movie. The mission at the nuclear base covers every action from the film, from using the grapple watch to escape the pit, to pushing a mine car for cover while killing terrorists, to ending with the player running from an explosion. One of the original ideas of the Tomorrow Never Dies game was going to have an underwater level that never made it to the final game. The idea for an underwater level is reused for the game's last mission to mirror the film for how Bond has to swim to Renard in a damaged sunken submarine when it could have easily just taken the liberty to have the climax take place on foot. Before the final level, when entering the submarine, the player is even allowed to kill an assassin at the bottom while entering to mimic the film, similar to how Goldeneye 64 mimics the bathroom scene from the film. It's not one hundred percent accurate, but a nice little touch for those familiar with the movie. 

For everything, the game does well to recreate the film for Bond fans to appreciate and gamers to grasp the story and characters without seeing the film; the liberties the game does take are pretty much welcomed. Many movie games tend to create new levels that have little to do with connecting to the film's plot to create an interactive experience. However, The World is Not Enough doesn't take as many detours from the story as one would think. Most levels created specifically for the game come from small scenes from the film that the game decides to expand upon. After the bomb placed by Bullion goes off, rather than Bond getting instantly captured, players chase him on the rooftops and through the apartments while fighting against Elektra's goons. To make up for not having a playable boat chase against the Cigar Girl, Bond chases her on land before trying to make her escape on the balloon. My personal favorite out of the levels that elaborate on small scenes from the film is the blowing up of the MI6 building. It's not typical in Bond games to have Bond walkaround MI6 headquarters. Usually, a cutscene takes place to move players right into the action quickly. So, to have the privilege to explore this important location while the action is happening makes for a particularly unique setting for Bond fans. It was quite a big deal at the time to see some destruction take place at a sacred area mainly used for exposition on film. The game makes the situation more intense by having assassins breaking in. Depending on the difficulty, players are given more to do than just fighting their way to find Robert King through a burning building. Players have to seal the building from any more intruders, protect M, bring Dr. Molly Warmflash to a wounded victim, and receive an exploding pen from Moneypenny (Q, who does not at all resemble Desmond Llewelyn, is too busy finishing up his fishing boat). 

I'm not saying all the added levels are based on small moments or don't take serious liberties that differ from the film. For those from the pre No Time to Die days who felt the pre-title sequence was the longest, the game not only has three but four levels before the story gets moving. I understand having a level dedicated to finding King in MI6 headquarters and a chase with the Cigar Girl, but in the fourth level, the Cigar Girl somehow has the time to set a bomb in a subway station that Bond has to defuse before time runs out. I'm not saying the level itself isn't one of the game's highlights for its setting, tension, and unsuspected obstacles. But it is quite a significant detour from the story when other levels knew how much to keep from the film and alter for the gaming experience without losing focus of the story. Midnight Departure is an excellent example of it. When facing the main villains, and the Cigar Girl (the only memorable foes in the film), the game doesn't take any liberties. They die precisely how they did in the movie. Standard henchmen like Bullion, Davidov, and Gabor receive a different demise. When killing Davidov during the Midnight Departure mission, rather than having a cutscene of Bond killing him in the trunk of his vehicle, players have an opportunity to assassinate him at any time. It could be on the road, in a military truck, or on the airfield, allowing the players to think like Bond about how to eliminate him. While finding the right moment, Bond still has to take the right items to allow access on the plane (including the duffle bag) to prevent it from feeling like a drawn-out level that could be finished from the start and have Bond making his way to the final checkpoint. 

My only real gripes with the changes to the film (more so nitpicks) are not in the gameplay but in the cutscenes themselves, mainly from the viewpoint of someone who has seen the film. Take the first level, for example. In the movie, Swiss Banker Lachaise refuses to give Bond information threatening him with his bodyguards. Bond retaliates by setting off his flash bang gun on the bodyguards, takes them out, and holds Lachaise at gunpoint, only for him to get killed by the Cigar girl before he can tell Bond the information he seeks. In the game, it's all backward. The Cigar girl kills Lachaise while he's threatening Bond, and Bond uses his gadget on one guard after the assassin (and one of the bodyguards, for some reason) is out of sight. Later in the game, R mentions the inflatable jacket to protect Bond from avalanches when fighting against assassins in the snowy mountains. You'd think the game would recreate the climatic avalanche, only for it to end with Bond and Elektra escaping through a helicopter, making the mention of this gadget pointless. Zukovsky's demise is the dumbest change for me that applies to both crowds. In the film Elektra kills him by hiding a gun behind his late nephew's cap when asked to bring it to him after finding out he's dead. Here, the gun is sitting in plain sight next to the cap in the game, and he never notices it. A flaw that could've easily been fixed by having Elektra suddenly materializing a gun, suggesting she's carrying a concealed weapon. 

The biggest gripe I have with the game when connecting it to the source material is how it does nothing new with Elektra's henchman Renard. The concept for Renard is that he's a terrorist who feels no pain after surviving a bullet to the brain. As foes like Oddjob and JAWS are superhuman for no reason, the film gives Renard a reason to be an unstoppable force. And aside from taking a few punches from Bond, holding a piece of burning coal, and breaking a table, his invincible ability to withstand pain is never fully utilized. A terrific concept that's disappointingly wasted but at least is saved by Robert Carlyle's performance, which makes him one of Bond's few tragic foes. You'd think the video game would take full advantage of his inhuman ability to keep on fighting Bond without holding back by having a few boss fights, but it never delivers. Renard is always hidden behind bulletproof glass, leaving no possibilities for a proper boss fight. The only time a player can ever harm him in story mode is by impaling him with the plutonium rod, like in the film. Could there be some proper firefight to weaken him before finishing him with a plutonium rod? Bond and Renard did get into a brawl beforehand in the film; unquestionably, the makers could've come up with something better than just swimming to the finish before time runs out. Giving a villain who would fit a Bond video game perfectly the same limitations the film provides him for accuracy is on the same level of dumb laziness as having no gadgets in most Daniel Craig games. Just because it's accurate to the film doesn't mean it will translate well to the video game medium. 

Gameplaywise it's very similar to Rare's Goldeneye. It's in first person, has new objectives for each difficulty setting, has unlockables, and grants players the freedom of how to make their way to the mission objective. The game goes as far as to allow the player to proceed to interact in a level after failing a mission instead of throwing them out. The game's a solid duplication of Goldeneye's gameplay and mechanics though it doesn't mean it's one hundred percent up to par either. Coming from a person who never really advances the difficulties when playing video games, Goldeneye 64 was one of those exceptions. Part of that was because of the rewards, but the main reason was how the game would give me new things to do besides having more guards, lower health, and less ammo. These additions in objectives told casual gamers there's more to see and do in the levels if you want to be challenged and will receive a special surprise when finished. At first, the change of difficulty delivers in The World is Not Enough. Some of the guards shooting at you are civilians, and additional tasks are added to complete during the MI6 Headquarters mission than just fighting your way to Sir Robert King. But most of the changes after those levels involve the player rescuing more hostages rather than contacting new people or finding different items. The rewards are good enough to want to raise the stakes in difficulty but lack variety to make it more adventurous. To still be playing a level after failing doesn't feel as free as Goldeneye either. Instead of pausing to see if the player failed or checked off every objective, The World is Not Enough contains a flashing sign in the middle of the screen telling players to "Abort Mission." I can't act like I don't understand this change since Goldeneye hardly tells the player to abort unless they check their status, which can get annoying and confusing. But to always stare at flashing signs as I'm taking more liberties than Bond would ever do does get distracting. Some levels don't even allow the player to stay after failing an objective; it either shows a cutscene or fades to black, making this special privilege less consistent. Considering Bond games after this would mainly abandon these concepts to move with the times, I can't say it isn't still lovely to have them in some form. 

For everything the game does to mimic most of what made Goldeneye 64 successfully, Eurocom's involvement helped make a few improvements that I dare say, may even rival Goldeneye. Gadget-wise, there have been a few upgrades, mainly towards Bond's watch. Trying to improve upon this gadget sounded like a difficult task as it can fire lasers, detonate explosives, pull metal items with its magnetic force, and make for an excellent pause screen. Apart from keeping the laser part of Bond's watch, all the other features have been discontinued. It sounds like a downgrade to such an iconic part of Goldeneye until discovering the new features it has. Bond's watch now has an electric stunner, tranquilizer darts, and a grappling hook that can be used multiple times in the game instead of every once in and while. As old gadgets like the bugs and a mini camera make a reappearance, Bond is equipped with a couple of new ones from R's lab, including an exploding pen and a bomb disposal kit. The glasses Bond wears for most of the game are the most practical out of the newer items. Players are allowed to see better in the dark when setting the glasses to night vision and can use ex-ray vision simultaneously to see their opponents through the walls to have a stealthy upper hand. It certainly makes fighting the guards under the radar easier than Goldeneye. The only gadget I wish I could use is the flash bang gun. The only time the device appears is during the first level, which is handed to Bond and can be used before meeting Lachaise but will only lead me to a mission fail for starting trouble. Maybe the player can use the flash-bang gun at any point during the meeting, however a cutscene does all the work for the player. If the game is going to supply players with a weapon that they can use, wouldn't it be appropriate for them to use it when it's needed or have it in any other level during story mode? 

While using these gadgets, I couldn't help but think of later Bond games that would use similar methods. While Bond gamers may have fond memories of playing critical stealth levels such as Bad Diplomacy from Agent Under Fire and Night Shift from Nightfire, the level Night Watch was the first to set the standard for those types of levels. Players can't kill the guards but can knock them out with their fists or a dart gun. Must avoid the guards from sounding the alarms, or else it will lead to an instant game over. And use gadgets to hack and bug electronic devices to gain information in the middle of the night. I was surprised to discover that the game mechanics even includes the guards waking up after being tranquilized where the only efficient way to keep them out is by punching them, just like in Nightfire. I was just as in awe by its familiar game mechanics as Nightfire when I found the ability to take away a guard's firearm from behind and hold them at gunpoint at my mercy. It was one of my favorite stealth tactics from NightFire that I could not believe was predated by this game. A level where I was chasing after Bullion gave me some moments of déjà vu when thinking back to the later released Quantum of Solace game. The second mission in Quantum involves chasing a traitor who failed a hit at a secret base. So what, big deal that happened in the film it's based on. However, where the similarities to this game start to take form involve the settings the chase takes place. Not so much the country but on the rooftops, the apartments and through the marketplace. And playing the level on the main game in first-person shooting certainly adds to the familiarity with playing the second Bond N64 game. 

Bond games indeed take influence from other Bond games all the time, which isn't a shock considering this game is not even trying to hide from mimicking Rare's Goldeneye. But how often does one play a Bond game retrospectively and think of a scene from a Bond movie that would not come out at least a decade after the game's release? While playing the subway mission, I thought of my favorite Craig-era Bond film Skyfall. The idea of rushing through a subway station, sliding down an escalator, and dodging a train to get through a door as an assassin is on the loose reminded me so much of the train station scene from the film that, without those classic N64 graphics I would have forgotten I was playing Brosnan era game. At any moment, I'm expecting a train to nearly collapse on me after an explosion. There's no evidence that the level inspired the scene for the film, which could be coincidental. Then again, the infamous 007 Legends game chose not to release the Skyfall levels until after the film was released. Considering that both the game and the film Skyfall were meant to celebrate the franchise's 50th anniversary, it wouldn't seem far-fetched to think that in early development for the film, somebody played through some of the best of the Bond games for inspiration of what to add to the film and game.  Perhaps this level happened to be one of the few keepers that made the film and was scrapped from the video game because of the rushed production. It's most likely not what actually happened. Still, I can't help but think the level must have served as some inspiration for the scene in the film someway. 

Diving into the history of the Bond games, it was pretty underwhelming that the driving levels originated from the series' weaker games. I was relieved that it wasn't the case with the first on-rails shooting level in the series. The mechanic gets introduced through the level in the mountains as goons are in pursuit of Bond. What could've been either a generic level of Bond walking through the snow or sliding and gliding with little to no control (we'll get to that in part 2) becomes an exciting thrill ride. Multiple enemies keep popping up, turning at the right moment leads to different routes, and players can choose the speed of this chase. It's my favorite of the on-rail levels in Bond games for its variety and freedom compared to future levels of its kind. Nightfire would use a similar environment for its second on-rails level, complete with goons on snowmobiles and towers to blow up but wouldn't give the player as many choices. 007 Legends would provide gamers with options to choose their speed and move a bit freely, only for it to fail by throwing in so much at such a small period with no time to get a feel of the controls or focus on the objective. 

The multiplayer itself is ahead of its time. As someone who used to often play Nightfire's multiplayer mode, half of the reasons I loved playing it stemmed from here. Playing against friends will always remain fun but fighting against A.I. Bots doubles the stakes. Most of the character skins outside of the characters from The World is Not Enough would become playable in Nightfire as well, including Oddjob, Baron Samedi, Jaws, Max Zorin, Francisco Scaramanga, May Day, and Wai Lin. Players can also choose different wardrobes for some of the characters, just like in Nightfire. But the game has the dumb rule that good characters can't fight one another, meaning players would have to split up into teams or give one player the advantage to play a non-villain skin. As someone who usually loves playing villains, it never really bothered me, not to say it's not an unnecessary limitation. It's just more fun climbing into a skin of a Bond villain after fighting against them during the story mode. 

Of all the things in multiplayer that would translate to Nightfire, the biggest surprise was finding an early version of the Skyrail map. The Skyrail map in Nightfire was always my go-to in multiplayer, so to play the original version of it before the later game would perfect made my attempts of finishing the level Cold Reception at a new record time to unlock it was rewarding. The other maps the multiplayer includes are just as amusing as the Skyrail. Many are taken straight from story mode with a few minor alterations, such as the bank, MI6 headquarters, the forest, and Istanbul. Some maps allow players to fight in places that were only shown through the cutscenes, like Elektra King's command center, where she captures M, and MI6 headquarters in Scotland. Most of my favorite levels are the ones that aren't playable in story mode. Not to say I don't like fighting my friends or A.I. Bots in the main MI6 building; how often do Bond games allow that? But I also know I don't need to play multiplayer to visit it when story mode makes it one of the highlights in the game. I'd likely rather fight in the hedge mazes of Spectre's training base or fight by the flames of the Devil's Breath when Renard first appears in the film. A unique level that is an extension of one of the levels is the one based on Cold Reception. As that level functioned as an on-rails shooting, it's nice to freely fight in the middle of the mountains through ice caverns and a lone cabin (reminiscent of the one in The Spy Who Loved Me). The level I hope to someday unlock upon recent discovery is Air Raid. I'm currently happy to unlock a map where I can kill people on cable cars just like old times, but I'm also ready to fight on top of two flying planes where I could fall to my doom. It's pretty much a claustrophobic version of Skyrail, with danger lurking at every corner.

 I don't typically talk too much about weapons in Bond games, as many of them are primarily used in most games. But there were a few that really caught my attention when playing this game, especially when knowing they're part of the early stages of EA's Bond games. The Frenesi shotgun and the Raptor Magnum are weapons I would recognize in later Bond games, while others I wished became more commonplace in the EA games. Spear guns are one of the many iconic weapons that come to mind when I think back to 007 films, and The World is Not Enough is the only Bond game that allows players to use it when you think it would transfer over to future Bond games. The later games would have a MAC-10, except they would never bring back the silencer for this incredible gun. And compared to the games that followed after it, it's the coolest, fastest, and deadliest this gun has ever been. One of my favorite weapons in Agent Under Fire, the Viper, was already perfected in this game known as Mustang 44. It's not only as fast and more powerful than the latter. But it contains a sniper scope for an assured kill and reload animation reminiscent of a western. The only weapon in the game that's still in its crude stages is the guided missile rocket launcher. Nightfire would improve the mechanics for the weapon so much that using it in multiplayer would be considered just as much cheating as playing Oddjob in Goldeneye 64. The controls for guiding the rockets are as hard to steer as the cars and the same weapon in 007 Racing, and staring at a small screen instead of playing through the missile's point-of-view doesn't make it any easier to navigate. 

It's a real shame the N64 game of The World is Not Enough gets overshadowed by so many other Bond games. The reasons are valid; otherwise, why isn't this game on the top of my list? But I hardly ever hear Bond fans mention this as one of the important games. It not only captures the source material more accurately than most Bond games, but its liberties don't feel out of place or lose focus of the story, making it pleasing for both audiences. When improving upon the games, the game takes more steps forwards than it does backward, making the experience as playable here as it will later be in future installments. Of all the games from EA during the pre-Agent Under Fire period after Goldeneye, this is simply the best. Does the Ps1 version measure up to it? Stay tuned for part 2. 

                                    Least Favorite Mission: City of Walkways Part I & II 

Fighting Elektra's henchmen in Zukovsky's caviar factory while I'm riding on conveyor belts and making my way past collapsing docks as I'm avoiding the buzzsaw helicopters is exciting, with some incredible moments that make me appreciate playing the levels. However, the number of times I died is almost as high as dying in the skiing level in 007 Legends, especially on the Secret Agent difficulty setting. It's already hard enough that I have limited ammo and body armor with twice as many goons. Except now I have to also watch out for helicopters slicing me from out of nowhere if they don't try to blast me first. Then again, I'm less likely to die from an unseen helicopter missile than I am from a henchman firing a rocket launcher at me in the fog. I died so many times from not seeing my opponent that I had to start wasting my ammo by blindly shooting, praying I hit him and kill the other person with a grenade launcher. I tried using the night vision goggles to improve my vision, only to discover that they can see through anything except for the fog. The final straw was fighting against a helicopter with a primitive missile-guided rocket launcher, where standing underneath it becomes just as much of an unnecessary challenge. On the lowest difficulty, the level is a little more fun and bearable, but that doesn't mean it's easy to survive. To ask which City of Walkways level is the least frustrating, is like asking which twin in Agent Under Fire has more personality. They're both so alike in many ways it's not worth ruling one out. 

                                                   Favorite Mission: Fallen Angel 

The level throws as many obstacles and objectives as it possibly can when trying to apprehend Elektra. I have to fight against her top henchmen Bullion, and Gabor. Use my gadgets to get into certain rooms or escape from a death trap. And free M from her cell. All while I'm exploring the docks and different rooms in Madien's Tower with various surprises. Then when the time comes for me to finally kill Elektra rather than the game rushing me to kill her by her holding a gun towards M, or having a countdown before the submarine launch, I have the time to take in a few moments before proving that Bond never misses. Wait too long however she'll call the sub to launch, and miss, and M is "everywhere." So, I like the game doesn't awkwardly wait for me to kill her either. In fact, at the start of the level I can choose the fate of Zukovsky. If I take his gun (that isn't his cane gun) he tells me to avenge his nephew before passing on. If I don't, he lies there wounded. Knowing one of his guards are still present, I'd like to think that he is rescued by him as I pursue Elektra. It's wishful thinking, but I at least rather give my favorite Bond ally a few more moments to live, especially after freeing me. There are some things the Ps1 version does better with this level in comparison, such as a challenging boss battle, and freeing M with a gadget and protecting her. A part of me feels I should pick a level the Ps1 version either doesn't have (King's Ransom) or does better here (Cold Reception). But this will be my favorite for its non-stop obstacles, atmosphere, and having more freedom taking on important objectives. It's a far more exciting level than the game's actual last level.

007 Game Rankings: Number 8: Quantum of Solace Part 2 (Ps2 version)

                                                                     

If you had to ask me which version of the Quantum of Solace video game feels the most traditional to a Bond game, the Ps2 version has the full advantage. I still stand by the Ps3 game as the best Bond game to combine its Call of Duty elements, but the Ps2 version hits a little closer to home. I love the Ps3's unique combination of first-person and third-person, but it still falls into the shadow of the game franchise it's trying to copy. The game functions entirely as a third-person cover shooter, so there's never a moment when the game does not feel like another without Bond on the screen. The game does not limit the fun with Bond's weapon compacity either. Players are now allowed to carry an unlimited weapon supply to take down enemies instead of having only three. The game still relies on a health regenerator which will most likely make die-hard body armor-seeking traditionalists unhappy. Personally, I am happy that the feature is kept in the Ps2 port. 

What I do miss are the driving levels to give the game more variety, which this game, like its Ps3 counterpart, does not include. And if one is expecting cool gadgets to complete the package deal with carrying an unlimited weapon supply, remember the game still has to cater to the franchise's dark "realistic" modern approach. Most of the gadgets from the main game are not featured in this version, which isn't good or bad as they just exist in the game with no actual use. The only gadget to transfer to the Ps2 game is hacking the locks. In the Ps3 game they were a slight annoyance for breaking the pace of the action; in the Ps2 game, they're even worse here, now that I'm beating a timer. I find myself at least trying it more than once because I have to click the right arrows that glows green before time runs out, which the time given is usually short. Should I press the wrong arrow, I lose more of my already brief time span. Sometimes by the time I see a green arrow form, it would be too late when I press it. 

The series' use of quick time is still incorporated in the game, but it does one thing better than the Ps3 version, it's not overused as the only way to kill a boss. That's not to say the Ps3 game didn't have a few boss battles outside of quick time; there were two. However, since those battles were killing henchmen before giving the leader a final blow, they were nothing special. I spent the whole game killing henchmen. Why do I need a boss battle doing the same thing, and not so much as firing a bullet at the main villain to weaken him before killing him? The boss battles here are a little more traditional, requiring on strategy than just endlessly shooting goons hoping for it to end, or just a simple quick-time fight. When taking on Henry Mitchell in the first boss battle, I'm required to shoot explosives a few times to have debris fall on him before ending with a quick-time fight. In the original game, it's just a quick-time brawl. Dimitrios doesn't hang back to let his goons fight me, he joins in the battle, and I have to use every resource I have to kill him. These strategies include shooting down objects to crush him, firing at his body, and finding chances to fight him in quick time while also avoiding and taking down his goons. 

Compared to the Ps3 game's controlling mechanics, it takes a little time to adjust but becomes manageable reasonably quickly. The only gripe I have is killing an enemy. The best Bond games, including the Ps3 version, give a sense of a bullet's impact when contacting the other enemy. Guards will either react from getting hit by a bullet or have different difficulties based on how long it takes them to die. Here, all I'm doing is aiming at enemies and firing away, unsure when they're going to die or if my bullets are even hitting them. I can understand the unpredictability of a foe's downfall during a boss battle. That's part of the challenge. On the other hand, with the average henchmen, damaging their health should not feel as unpredictable. That said, I still enjoy shooting them as I roll around and attempt to get a good shot at their heads, making this flaw not a massive distraction in the fun factor, but I can't exactly call it an improvement either. 

Like the Ps3 game, there are opportunities to apply stealth than just running through the level blowing away goons. The most significant difference with stealth between both games is that there are points where it is more critical than optional. Admittedly, though I love that the Ps3 versions allow the player to choose how to go about specific missions, I do miss the thrill of not failing a mission by staying hidden. Since getting spotted in the main game doesn't lead to an automatic failure, I might as well shoot down guards. Because the game requires me to remain undetected, I was able to experience the stealth mechanics more than the main version. And whenever I had to, I never found myself bored with distracting and knocking out guards in various ways.

The game offers an entirely new level on the Haitian docks during the Quantum portion of the game. The mission plays out the same as the Opera House level that follows after. The first half involves critical stealth, while the second half has all guns a-blazing. Despite functioning as the only new level in the game, it's not my favorite, but indeed would be welcomed in the Ps3 main game for two significant reasons. With a game titled Quantum of Solace, I would expect most of the levels based on the movie than its predecessor Casino Royale. I find it disappointing that the main game has fewer Quantum of Solace levels than its Ps2 port. Moreover, this level properly introduces three of its characters, Dominic Greene, Camille, and General Luiz Medrano, as Bond is sneaking about. All the main game does is give them an MI6 briefing with no real introduction. With all the MI6 briefings in both games, I'll take any visuals outside of them to tell its story. 

It's great that the game delivers more with its Quantum of Solace adaptation (even if it is by one level). There are more levels in the Ps2 game based on Quantum than Casino Royale. The Ps2 version may offer a new level but condensed a few into one level (the Science Center) or sacrificed a few. Those who don't want to experience any motion sickness will be pleased to see that the Casino Poison level is one of those causalities. However, those who enjoyed the Ps3's pointlessly fun recreation of the train level from Goldeneye 64 will be let down that the only existence of the level is a cutscene with Bond meeting Vesper (eliminating all ties to the terrorist on the train). I can understand these cuts (if not agree), but then you have the Miami Airport level eliminated. After killing Dimitrios at the Science Center, the level suddenly ends with the Carlos getting away and a briefing explaining what happened. The Ps3 version has the player stop him from accomplishing his destructive goal. Compared to the other two levels that were cut, this seems unnecessary but not as tragic as eliminating the Venice mission. The last Casino Royale level revolves around the event leading up to Vesper's death, an essential plot point for Quantum's story for existing. The Ps2 doesn't bother to show her death. It's all covered by a (you guessed it) MI6 briefing. 

The levels the game does keep are similar, though they do have some significant differences. The most obvious are the changes in level design. The locations are the same; only there are different routes and areas. I don't mind the Ps2 fiddling around with the level design; it does a fine job of knowing what areas are essential and what to change to make it more exciting and less predictable. The only real downside is its lack of detail. Now obviously, the Ps2 graphics will not match the latest in technology and would be unfair to compare. As far as Ps2 graphics go, it's adequate, though not the best looking compared to previous Bond games. More than plenty of Ps2 Bond games had plenty of detail in their environments to explore and play around. The Ps2 game is more fundamental with its environment than taking it an extra mile. I will happily say the Sink Hole level is nicer looking than the original game for its design, colors, and lightning. However, the music for the Opera House level is degraded to one operatic piece and stops playing when the fight begins.

The first noticeable change in Casino Royale happens in the first level. I'm still chasing Mollaka through the Shanty Town, and although I'm also gunning down henchmen in the way, the chase thankfully doesn't come to a halt. In the Ps3 game, the pursuit stops for a needless trench war-zone-like shoot-out, breaking the pace for the level. The Barge level throws a few more unexpected curve balls too. As the original level felt as standard as the other levels, the Ps2 game puts players to the test, combining everything learned from the use of stealth (not critical though) and gunplay. And when in pursuit of Kratt, the game gives the player a puzzle to solve, objects to destroy to get further while up against henchmen, and a compelling boss fight. The level even shows Bond getting tortured (except that his balls are left alone) and Le Chiffre's demise on-screen. A crucial moment in the story that needs to be shown visually than explained through an MI6 briefing with little footage.

For the other changes regarding the Quantum portion (less detailed graphics aside), the level at Mr. White's Estate starts out promising as I'm still exploring some parts of the mansion's exteriors with Bond wearing the accurate suit he wore in the film when in the Ps3 game he doesn't. When inside the estate, the game only has Bond hack a safe, run downstairs, and capture White. As overblown as the Ps3 version was with Bond finding a secret room, a booby trap destroying the mansion, and Bond firing Mr. White in a helicopter, it had more to offer than the Ps2's recreation of it. That, for me, is the dumbest choice gameplay-wise involving Quantum, whereas cutscene wise, is how Bond gets spotted at the opera house. Bond takes pictures of the people at the private meeting he's spying on before making his presence known in the original game. Like an idiot in the Ps2 game, Bond doesn't take photos of the criminals he's after and tells them he's there. All this sneaking around just to stop a meeting without documenting who is there, might as well not require any critical stealth. For its faults, there are changes and inclusions that make more sense here than in the main game. In the opening of the Sink Hole level, Bond and Camille are seen parachuting together, when in the original game, it was implied through dialogue. Another cutscene shows Bond taking on the agents in the elevator, whereas the main game refuses to show it. I'm pretty amazed how a game with limited graphics offers more in its cutscenes than the version used on most consoles.

I will give my overall thoughts on both games, after covering my favorite and least favorite missions.

                                        Least Favorite Mission: White's Estate

This is the game's first mission, and to rank this as my least favorite mission could imply that it's the worst first mission to a Bond game. That title easily goes to first Tomorrow Never Dies. White's Estate is a nicely designed, action-packed, and helpful first level. Judging the mission on its own merits, there's nothing bad about it. However, compared to the main game, it's the least impressive recreation for having less detail in design and removing objectives. On top of it, the first half of it keeps Bond restraint. I know that this is a tutorial, and games have to slow the player down to allow them to grasp the controls. The tutorial mission in Nightfire is one the best first levels to a Bond game, and it restrains the player more than this level does. But given that I could control Bond freely in the main game while given some helpful tips visually, having the Ps2 game forcefully stop me to follow M's orders breaks the flow and excitement of the action. Usually, this does not bother me and wouldn't if the Ps3 game didn't already exist. But if my least favorite mission in a game I love is just the tutorial (and not a bad one), the game is doing something right with the rest of its missions.

                                                   Favorite Mission: Eco Hotel

The game starts out promising and ends strong with its final level. The Opera House (once again) was a pinch away from landing as my favorite mission for its entertaining stealth mechanics. What prevented it from landing as my favorite is its dumb change in story and tampering with an already magnificent sound design. The Eco Hotel mission has a downgrade in changes, as there is little room to explore and absorb the hotel's environment. But since it is the game's final level, I would expect tensions and stakes to feel at their highest, leaving no room for dilly dally. Like the last level in the main game, killing Greene's men and avoiding the flames function similarly. Only this time, the level keeps the player a bit more on their toes for not just anticipating for the next few guards to come, but from when a deadly explosion may occur. The flames and explosions in the original game felt like background special effects instead of a danger. Here they are more spontaneous and a more significant threat to Bond's health. I must have died at least twice from the explosions thinking I could just run past it in this level. The biggest improvement over the original mission is the boss battle with Greene for having more going on. First, I have to kill his henchman Elvis while avoiding Greene's sniper fire. Then I have to shoot at the beams holding the balcony he stands on. Afterward, I had to shoot at Greene multiple times to kill him. And as all this is happening, I have an endless swarm of goons to take on too. It's really one of the greatest boss fights I ever played in a Bond game, and the game certainly saves its best for last. Given how little of an impression Greene and Elvis make in the film, the way they are used in the Ps2 game is the most threatening and memorable either of them will ever be. Just when I think I'm done, I still have to stop Medrano from escaping by fighting off guards and getting to him in time to get a good aim before he reaches the helicopter. As my reward for my hard work, I get to see the game's version of the deleted Quantum of Solace ending.

                                         Closing thoughts on both games

While both versions of Quantum of Solace have their own set of pros and cons, they both do two of the best things when adapting a movie into a game. The Casino Royale levels do justice to the source material while still creating an appropriately fun interactive experience. In contrast, the Quantum levels turn a dull mess of a film into a memorable action-packed extravaganza. From a story and character standpoint regarding Quantum, nothing is improved. Thankfully the gaming experience is more engaging than the portentous arthouse style and choppily edited action sequences from the movie. To have a movie-based game that's better than one movie is quite an accomplishment. And to have two versions of the game that are different in so many ways and similar in many others with a bit of an anthology presentation makes for plenty of replay value.

007 Game Rankings: Number 8: Quantum of Solace Part 1 (Ps3 version)

We've officially come to part of the list of the Bond games I love. The Bond games I can play anytime in whatever mood I'm in and have absolute enjoyment playing from start to finish. These games have also helped grow my love for the franchise and become the Bond fan I am today. Whenever I think of the Bond games, these are the titles that come to mind!              

I cannot put the Ps3 and Ps2 versions of Quantum of Solace in separate numbers, not just for how they are alike in terms of story, objectives, and gameplay (to an extent), but for how they hit and miss they both are. Since I am giving a close analysis of both games, I'm going to split this portion into parts, starting with the main game for the Ps3.

                       

The film Quantum of Solace is heavily regarded as one of the worst films from the franchise, and I do consider it the worst Bond film (though not unwatchable, I have yet to see an official Bond film achieve that). The idea to have a movie tie-in game based on it is not shocking, but to have a movie tie-in that's better than the movie is a rare accomplishment. To be fair, the game does not revolve entirely around the Quantum of Solace plot. It starts and ends with it, but at the center of the game, the levels are based on the previous Craig film Casino Royale. In fact, there are more levels based on Casino Royale than Quantum of Solace. The reason for the game piggybacking on a previous successful Bond film was because the game was in development while the film was in production. Due to the 2008 writer's strike that catered to the film's production problems, the makers were never given a final script, therefore incorporated Casino Royale in the game to have a familiar and finished story, and to add more levels. In essence, the game is Casino Royale, just under the title of the newest movie to promote it. 

Having two of Bond's adventures combined into one game is not as needlessly cluttered as it sounds. Quantum was ambitiously designed as the second part to Casino Royale, picking up directly after the first film ended. I can't say I'm happy that Quantum is supposed to be Casino Royale's second act and grand finale, but the idea does work in the game's favor as an excuse for tying in the two. In retrospect, the game does something better than a later Bond game can't, and that's giving it a bit of an anthology presentation. As 007 Legends just threw in random adventures, there's a reason that these two different adventures are together since the stories do relate as one. Sometimes I would play this game within' the chronology of the two films to follow the plot from the beginning as if I were marathoning the franchise in order.

The only major issue with the combination of the two films is how the game ties them together. If one is expecting to see cinematic cutscenes to tell the story visually, you'll see very few. Most of the cutscenes are all told through MI6 briefings showing the maps and photos as we hear the characters talk about the action than showing it. It feels like as I'm back to Ps1 era of Bond games, which isn't a good thing. I became more lost when the Casino Royale bits are told through Bond's flashback as he's opening up to Camille in the sinkhole. Expecting the mission briefing narrative to take a backseat, it's still there. Just when I think the game's narrative couldn't get more confusing and inconsistent, I suddenly discover that two people off-screen are watching the briefings based on their comments and ability to rewind the footage. If we're in Bond's memories, why are we suddenly introduced to two mysterious characters tampering with the footage? The game has no consistency with storytelling and for barely having cutscenes of the events happening, newcomers who have not seen the films will be most likely lost and confused. 

The only exciting element with any of the tie-ins to the story is the reveal that two men watching the briefings are the villains, Mr. White and Guy Haines, who Bond is about to attack. This scene was originally supposed to be the film's end until it was changed for a lighter ending. But since the developers were working with the script they had and could not catch up with the constant rewrites, the original ending made it into the game. As no footage of the scene can be found, this is the closest we'll ever get to a visual representation of the ending, making the conclusion rewarding. The game's way of tying the stories together is all over the map when it should be effortless to do. However, when compared to 007 Legends, there is more of a narrative and reason for the two stories to exist in one game. What tied the stories in Legends was fever dreams of a past that may not have ever happened when going off the continuity of Specter in retrospect.

In many of the other Craig games, I constantly criticized the first-person shooters for pointlessly taking on as a bland Call of Duty clone. As much as I love Quantum, I can't overlook that it was the first game to start that trend. The first one with a limited weapon supply goes to Goldeneye: Rogue Agent. Nonetheless, Call of Duty's popularity with the limited weapons compacity trope doesn't precisely prevent the game from reusing it. Quantum is also the first Bond game to foolishly eliminate gadgets out of the equation as well, placing all of Bond's needs on his smartphone in the most boring way possible. I barely find myself using it for directions or hacking camera to see how many guards are in sight. I don't even pick up the random cellphones giving me information for how useless they are. I can play fine without any of these features. There are points where the game insists players hack certain locks to move along, that slow down the action and pace levels moving at faster action-pack rate. 

I'll give the rest of the Daniel Craig games this, although there were hardly any driving missions or that many good ones, all the games had at least one. Like Goldeneye: Rogue Agent, Quantum doesn't provide one in the slightest. Just as 007: Goldeneye Reloaded would tease players into a driving mission that would hardly ever happen, this game feels the need to do all the work for the player. It would have been exciting to drive a car with Mr. White in Bond's trunk while escaping goons in pursuit, but instead, the game gives a cutscene serving as the game's opening credits. In the film Casino Royale, Vesper gets kidnapped and Bond races after the car she's in to save her, only to lead to his car crashing, ending with him getting kidnapped too. This idea is practically gift-wrapped as a mission for the game, but we only hear about his failed pursuit through a mission briefing. 

Quantum's greatest sin is starting the franchise's Call of Duty clone, and most of the elements that took out most of the fun in later ones are incorporated here. That said, out of all the Call of Duty imitations in the series, this game does better than the following. Goldeneye 007: Reloaded looked too much like a combat war game. Legends features the classic look and characters from the franchise but sloppily combines them with Bond's modern era and its Call of Duty style. The game set in the present based on two Bond films from the time creates an authentic experience that prevents the Call of Duty copy from overshadowing the Bond identity. 

A significant contributor is how the game uniquely combines first- and third-person shooters. This is not the first Bond game, mind you, to combine two different shooter sub-genres. Tomorrow Never Dies was the first in the franchise to try it, having most of it in third-person and only using first-person to aim at enemies and objects. What made it fail was the wonky controls. And when you count sniping enemies as first-person shooting in third-person Bond games, it's not all that unique. That's where
Quantum chooses the total opposite approach. The game primarily functions as a first-person shooter with basic mechanics, except for one or two alterations. When using cover from enemy fire or using stealth, gamers can see the Craig model in third-person to keep on him and the target. There are points in the game where Bond is required to walk across platforms to keep balance from falling, where his model can also be seen. Sometimes they'll be two images of the model at once when he's walking across, showing his front and back, so the player does not let his presence become known to the guards. And if the game can't reveal any more of Bond during combat, when knocking-out an enemy, players engage in a bit of quick-time. 

Seeing Bond for half of the gameplay does distract from its Call of Duty feel, and the mission areas don't disappoint either. I thoroughly enjoy exploring and seeing more of the locations in the game that were featured in the film, and strangely most of my favorites are in the Quantum of Solace portion of the game. During the Quantum levels, I'm given the luxury to explore Mr. White's estate from the gardens to his greenhouse, the wine cellar, and the kitchen as I get to playfully shoot up barrels of wine, appliances, and dishes. I may be checking into the (stupidly isolated) Eco Hotel as it's in ruins, but I still enjoy visiting the guest rooms. While pursuing Henry Mitchell in Siena, I start running through the catacombs with bats in my face, fighting goons and destroying fruit stands at a street market, and frightening women in the apartment when the chase takes to the rooftops. There's simply plenty to do and see. My favorite level regarding the atmosphere, hands down, is the Opera House. It's the perfect location to explore when acting stealthily due to its low purple and blue lighting, moving stage backdrop, and grand operatic score creating a gigantically eerie classy rich environment. It's soothing while at the time building anticipation when sneaking up behind guards, climbing up ladders, and crawling underneath the stage to not get spotted. I also love how the time alters the mood for the level, starting out at sunset during the stealth portion and the darkness nearly consuming the sky when a firefight ensues. 

For all my praise for the levels based on Quantum, that's not to say the Casino Royale based levels look bad or don't marvelously recapture the film. It has its fair share of amusing locations to play around or explore. There are times when I can fool around causing needless destruction by shooting up desks and luggage at the Miami Airport for instance. Like any good Bond game, there are objects in certain areas that work to Bond's advantage to take out goons; one of my favorites is the hotel's ballroom with falling chandeliers and fuel tanks (for some reason). Previous installments gave Bond some time to walk around and explore the social environment before non-stop chaos takes off. The train level starts the same way as Bond sees people socializing in the first car before taking the fight to the rest of the train. I always admire when Bond games can take the time to build on the atmosphere in public places before pulling out a gun, it's part of the franchise's charm.

Like most Craig games, for all its tasteless decisions to limit the fun, it still has enough of the Bond game tropes to keep it exciting and familiar. There are alternative routes to take in some of the levels, the player is given a choice to either use stealth or fight, and blood trickles down the screen when it's game over. As someone who has never minded using a health regenerator, the game does something different with it compared to later installments. Typically, the screen would gradually turn bloody red to signal danger regarding Bond's health. This game artistically has the gun barrel slowly form an image from every hit Bond takes as the scenery turns grey. Gamers did not exactly like this choice as it only made the situation harder to find cover, which is understandable, but I suppose I'm one of those few who didn't have much of a problem with it. Maybe because I never played the game on its hardest difficulty setting. 

Having mentioned that the game was made while constant rewrites to the scripts were happening during the shooting for the film, it's not surprising that the game takes a ton of liberties. Even the Casino Royale portions of the game have their fair share. Though Quantum has the most changes, Casino Royale is primarily accurate to the source material. Most of the recreation of crucial action scenes (when the game decides to show them, given how a lot of story is told through mission briefings) are played through quick-time fights and chase levels. Sometimes, the player receives a one-time special weapon or ability when the level is wrapping up to recreate a moment. These moments include firing a nail gun to kill Gettler and briefly controlling Vesper during a quick-time fight to aid Bond. The game goes as far as to have a whole level of rushing a poisoned and distorted Bond to his Aston Martin before dying. Opinions, among others, are usually mixed with this particular level. Personally, I enjoy this odd change of pace. I find it fun walking through this beautiful hotel with trippy visuals, bumping into people and knocking over bags, while at the same time intense due to the time limit, Bond's view getting worse, and the feeling of his heartbeat through the vibration of the controller. I wish this weren't the only level in the game with something different than shooting. I would've loved to play against Le Chiffre a bit, or I don't know...DRIVE! 

I should also note that to help bring the game's authenticity of feeling like a Bond game, and the movies they're based on is by acquiring most of the original actors. The cast includes the voices and likenesses of Joesph Milson, Mathieu Amalric, Olga Kurylenko, Eva Green, Mads Mikkelsen, Judi Dench, and Daniel Craig himself, each turning in a performance as up to par with their film performance. In other words, the supporting cast from Casino Royale are as enjoyably memorable, whereas the cast of Quantum mainly doesn't leave much of an impression here. I'm not implying that having an actor from the movie lending their voice to a game adaptation doesn't automatically make it a good game. Still, I always admire when developers are able to get some of the stars involved in their video game project. It's a shame the game doesn't use half of the cast more than what we are given, especially when some of their dialogue is audio ripped straight from Casino Royale. 

As far as changes to the source material goes, I can't say there were any that felt as out of place or insulting as 007 Legends. I enjoyed the game's new twist and turns. I love how the first level occurs between the ending of Casino Royale and the opening car chase in Quantum of Solace. Rather than Bond capturing Mr. White after he approaches him, Bond has to fight off his henchmen to catch him after wounding him, ending with Bond shooting him down on his helicopter to apprehend him. It's over the top but no different from the franchise's overblown action, which is welcomed to the game. The game goes big with another non-action scene in the film, by having Bond chase after a criminal (resembling Quantum's director Marc Forster) on the train after rendezvousing with Vesper. This level was designed as a knock-off to the train level from Goldeneye 64, having nothing to further the game's plot. But it still makes for an exciting detour carrying the same adrenaline level as the mission it was inspired by.

The game is limited to mainly quick-time fights to recreate scenes from the films when it comes to boss battles (another annoying trope in the Craig games that this one started). The only time the game goes out of its way to provide something new and different with Bond's foes are the fights involving Dimitrios and Dominic Greene. Dimitrios still dies in a museum; only it isn't with a subtle knife kill in public. Bond and Dimitrios get into an all-at-war shoot-out in the museum during after-hours. Dominic Greene does not suffer a slow, painful death either; Bond and he confront each other in the game's final mission where Bond kills a bunch of henchmen and blows him up by shooting at two fuel tanks. Compared to the films, these deaths are standard (Dominic Greene's death in the movie is the only thing I remember about him). When judging it from a gameplay perspective on the other hand, they're fine. 

Among all of the game's improvements to the Quantum film, the biggest surprise was the theme song. Alicia Keys and Jack White's song Another Way to Die (like the film itself) is one of the worst themes for a Bond film. They are both real talented singers, but their combination creates a loud and clunky mess that's not well sung, nor do their styles and talents in music mash well in the slightest. The game does not feature the song at all. Instead, a new song by Kerli called When Nobody Loves You takes its place. The Bond songs designed for the games were always something special to behold to the ears. They were hidden gems regarding the franchise as a whole. What makes Kerli song's particularly special is this was made to replace the film's actual theme song and do everything that Another Way to Die fails to do. It's better structured with its sense of rhythm and beat; sounds big, seductive, and exciting with a touch of melancholy; and Kerli's vocals are a delight to listen to. I don't know if it would be up there with other Bond songs if the film used the song. I'm just saying it would have been a better alternative for the film. Although, there were already some good alternative songs for the film before Kerli's song, including one from recurring Bond artist Shirley Bassey. I suppose when you have a collaboration of two well-known artists doing a Bond song instead of one; logically, it's going to gain more attention. 

Tune in for part 2 to see hear my thoughts on the Ps2 version of Quantum, and my overview on both games. For now, I present you my favorite and least favorite missions from the Ps3 version. 

                                                 Least Favorite Mission: Sink Hole 

I've talked about how the Quantum of Solace based level designs are usually the best areas to explore and cause mindless destruction. I pointed out to all of them, all of them except for one and that's the Sink Hole. There's nothing wrong with it in terms of excitement. The level has nothing but shooting armies of henchmen and a helicopter with a turret and sniper, like Call of Duty. Maybe a little too reminiscent to Call of Duty. Of all the Bond levels, this is the least one to have a Bond feel, even with seeing the Craig and Camille models. There's nothing about the environment that's visually distinct, and when the level is all about killing soldier like henchmen, it's easy to forget for a few moments that this is a Bond game. 

                                          Favorite Mission: Montenegro Train

Now that we are at my favorite Bond games of all time picking a favorite level is a real challenge. I love the Opera House for its heavy atmosphere, but I also admire Casino Poison for its insane change in gameplay. It wasn't until I thought hard about the Montenegro Train mission. Yes, it's very reminiscent of the train level from Goldeneye 64 by having Bond rush through cars killing goons to pursue a villain. Yet as familiar as the level is with concept, there are plenty of new twists and turns to make it more compelling. Bond doesn't just fight his way through cars; he also has to climb on top of the roof, jump across an enemy freight train, to jumping back on the Montenegro train ending with a quick-time boss fight. Having the level not mostly taking place inside the train leads to new challenges of getting across and staying aboard without falling, avoiding enemy fire and railway signals. Just as I felt the weight of the Hovercraft level in Blood Stone, standing on top of the Montenegro train has the same effect of feeling the train's speed with the rain flying towards the screen and the wind slowing Bond down. And while making it through its difficult environment, eliminating enemies is joyfully destructive. Stealth plays little role here, so blasting enemies through sunroofs or blowing them up by shooting at tanks is the best way to go. It surprises me that for a level to start out quiet and atmospheric, grounding in the reality of the film, that in a matter of minutes its loaded with non-stop chaos. Chaos that's so far-fetched that one would wonder why the train never stops or takes any damage from all those explosions. But when implying nonsensical video game logic in a Bond game where this sort of unrealistic action exploitation is welcomed, it's not entirely out of place. Yet giving Bond gadgets and too many weapons is for some reason. Familiar, atmospheric, exciting, thrilling, and insane, this level has all the elements that make the game one of my favorites in the franchise. Who would ever think that a Quantum of Solace video game train level would have more of the spirit of Goldeneye 64 than Goldeneye 007: Reloaded? Perhaps because this recreation improved so much, the makers didn't think there was any way to top it in the next game.