007 Game Rankings: Number 5: From Russia with Love (Ps2, GameCube)

Of all the Sean Connery Bond films to adapt to video game form, at first, From Russia with Love seemed like an odd choice. While the film did have some of the franchise's best action scenes and iconic villains, the film mainly worked as a slow-moving dialogue-heavy thriller with some camp value. To be fair, I don't see how most of Connery's films could become video games. The movies have characters and action set pieces that could make it into a video game, though adapting them seems rather tricky. Dr. No is more mystery based than it is with action, much like From Russia with Love. Goldfinger could work as a game, except the first half mainly involves Bond and Goldfinger battling each other's wits in social environments, while the second half has Bond captured. Thunderball can undoubtedly become a video game, but most likely a tedious bore as a good chunk of the game would contain underwater levels. And Diamonds are Forever...well, if I were a company trying to adapt a classic Bond film to video game form after the recent failure Goldeneye: Rogue Agent, I wouldn't use the worst of the Connery era. 

The only Connery Bond film I can see working perfectly as a video game is You Only Live Twice. The film is loaded with gadgets that would make for exciting gameplay, including the baby rocket cigarettes and the Little Nellie. Plenty of secret hideouts, such as the underground tunnel and the Ninja camp. And enough action scenes to fill up a game. I can picture Bond sneaking around Osato chemicals as a stealth mission. Or the fight on the docks and the rooftop as a thrilling fast-paced action-heavy level. The film's climax occurs at Blofeld's Volcano lair, one of the most iconic villain lairs in the movie. I suppose EA didn't choose to adapt the film because their last game had Spectre, the Octopus, and the volcano lair. But that didn't stop EA from having Spectre the Octopus and creating another volcano lair for this game. Besides, Rogue Agent didn't take full advantage of its volcano lair setting.

Maybe part of the reason EA chose not to use the movie is for having Bond in his infamous Japanese disguise. Fair enough, as it is not one of the franchise's finest moments on film, but that doesn't mean EA can't take some liberties. And I'm not saying EA wouldn't take liberties when adapting any of the other Connery Bond films to fit the video game format, including with the title they chose to adapt. I'm saying You Only Live Twice wouldn't need as many tweaks to become a playable video game compared to the others. And as this was Connery's second to last Bond film from the official series, there are so many gadgets and vehicles from the previous films that to have them appear in a video game wouldn't seem out of place. However, accepting that From Russia with Love is the game EA decided to adapt, what we get is a fun overblown Bond game paying tribute to its 60s golden era. 

In recent rewatch of the film, plenty of set-pieces and action sequences could make for some compelling gameplay. The pre-title sequence with Bond versing the main henchman, Red Grant, may not be an official duel since Bond, during that fight, is a Spectre agent wearing a mask to resemble Grant's foe for training, but it could make for a good tutorial level. And the game delivers. The most significant action scene in the movie is the Russians' attack on the Gypsy Camp (or more accurately Romani Camp), which lends itself perfectly to video-game form by having tasks with Bond rescuing hostages and protecting his Turkish ally Kerim Bey. The same can be said about how the game turns a short scene with Bond stealing the Lektor at the Russian Consulate by having Kerim create an explosion into a long, non-stop, action-packed level. Bond has to use every gadget and weapon available to make stealing the game's macGuffin more challenging than it was in the film. The only action-heavy vehicle chase in the movie is the boat chase with Bond behind the wheel, giving the game an opportunity for a driving level. While the game does offer some driving levels, surprisingly, the boat chase is an on-rails shooter with Bond firing at enemy boats with a turret gun, which Bond never did in the film, nor did the boat have a machine gun. The level could have been like the driving levels in Blood Stone, where the action comes from escaping and doing stunts rather than shooting, but it is still a welcoming change for the video game format.

Another change is having Bond kill the assassin Krilencu instead of Kerim pulling the trigger. Kerim still seeks revenge against Krilencu, and Bond uses a snipper to protect his ally from Krilencu's troops, which is a bit redundant since the previous mission had an objective with Bond protecting him with a sniper rifle. The level ends with Kerim captured by Krilencu, who both show up inside the mouth of the billboard of Anita Ekberg, forcing the player to pull the trigger without harming Bond's friend. I do love being the one to kill Krilencu for his jaw-dropping death, but the reason for the billboard to have a secret exit makes no sense. In the movie, it was for Krilencu to escape from two of Kerim's sons disguised as cops who were waiting at his door. In the game, after Bond kills all of Krilencu's men, he just opens the secret exit with his hostage, showing no attempts to escape with him or toss him over. In either case, he's better off using a backdoor or window because if I saw all the guards killed out front, I would not head in the direction where my opponent lies, primarily through a conspicuous secret passageway. His escape plan is dumb but a little more subtle than Bond and Kerim blowing away Russian soldiers patrolling an underground reservoir to spy on a crucial meeting close by. I do like how the game takes a distinctive location from the film and uses it for an action-based level. Using on-rails shooting through the tunnels is amusing and atmospheric. But logically, after blasting away so many soldiers, I'm surprised none of them alert the Russian officials at the meeting about a nearby massacre. But then again, there are plenty of times in the Bond games where a mission should have led to failure for stirring up the guards. 

I'm more bothered by how the game handles Bond's confrontation with the villains Red Grant and Rosa Klebb. The fight scenes in the film were suspenseful and iconic, which would be hard to replicate in a video game where there is no gunplay. Liberties are welcome to make the fights playable, and the game certainly does so by having Bond get into a firefight with Red Grant at a train station. The game features the famous (and best action scene in the movie) train brawl, but it is in the form of a cutscene that I would rather play than watch...again. I shouldn't complain since I can pull the trigger on Grant outside the cutscene. With Rosa Klebb, I do nothing but watch a cutscene of Bond's fight with her. I know I have not been the kindest to later Bond games that heavily rely on quick time for boss battles, but these fights deserve this kind of treatment. What Bond fan would not want to play some of the famous fights in the franchise? 

Regardless of if I fight them or not, in the famous scenes in the movie, Grant, Rosa, and Krilencu are given dignified and threatening representations in video game form. However, it does disappoint me to see some of the other foes not make it into the game. One of my favorite Bond masterminds Kronsteen, the slimy chess player who organized the whole scheme, plays no part in the story mode. It is, instead, Rosa who comes up with the plan. Kronsteen is still in the game as a playable character in multiplayer, making me I'm glad to see this underrated strategist get some recognition. But the head of Spectre Blofeld is nowhere to be found in the game. Just like the previous game, because of licensing issues, Spectre is still called the Octopus, which I guess EA did not want to bother featuring a legally safe version of Blofeld as they did in the prior game since his face was hidden in the film. I can understand the reasoning for eliminating Kronsteen and Blofeld from the story because, unlike Rosa Klebb, who encounters Bond, none of them do. Kronsteen's plan with Blofeld's approval and organization are the characters who set up the plot, but Rosa Klebb is the one who is in charge of making sure everything goes according to plan. And for Klebb serving as a schemer and a foe Bond fights, it makes sense to make her the criminal mastermind in the context of the game. 

One of the reasons I found From Russia with Love hard to adapt to video games is its plot. The story in From Russia with Love is vague and complicated that does not come to full circle until Bond gets an exposition dump from his encounter with Red Grant on the train near the climax. In the game, after Grant's training, Klebb briefs him on the mission to clarify the organization's motives and goals to the gamer. I know it takes away the suspense and mystery, which is part of what made the film appealing, but since the game's focus is more on action than mystery, having Klebb's entire plan spelled out in the beginning, works for what the game sets out to do. 

Bond does learn about Spectre's the Octopus' plan on the train from Red Grant, but it is not reduced to one encounter. He finds out the organization is after the Lecktor and that Tatiana thinks she's working for "Mother Russia" on the train like in the film. But later Bond figures out that the whole plan was for him to deliver the Lecktor on "a plate" to Spectre the Octopus when fighting Red Grant at the train station, where Red Grant plans to now slowly injure him until he kisses his foot after failing to strangle him on the train. Moving the conversation to different parts of the level creates an interactive experience where one does not have to wait ages to pick up a controller to hear what the gamer already knows. We see Grant kill Kerim on-screen instead of off, but the soviet agent that follows Bond's trail and is later caught by Kerim and dyeing with him is removed from the game. Like eliminating Kronsteen and Blofeld, it would have been cool to include him as a villain, and I can certainly picture a level of Bond and Kerim encountering him since he does have an active role in the film than just planning. But his active presence of stalking Bond in the movie is not needed in the game since he does little in the film and really exists to add to the film's tension. During Bond's fistfight with Grant, which the scene builds up to, Tatiana is not drugged, just sitting in the train cabin. Why does she not assist Bond during the fight since it took place in the cabin in the film, because the fight is relocated to the dining car, with Bond hitting Grant with a menu instead of tricking him into opening his booby-trapped briefcase. These narrative changes are not as impactful as how the film handled the scene and are rushed in the game. So rushed that Bond shows no suspicion toward Grant posing as an agent he's supposed to rendezvous with on the train, but since the game is focused on action instead of creating suspense, the changes fit the game fine.  

The romance between Bond and Tatiana has been shortened as well. I don't want to make it sound like the film was perfect for capturing Bond and Tatina's relationship, but they were given time to develop a connection, with a few little sweet moments that made their chemistry so charming. In the game, all the time it took for Bond and Tatiana to fall in each other's arms is condensed into the scene when he first meets her in his bed. After that, it's just Bond protecting and rescuing Tatiana. Bond has better chemistry with Kerim in the game than with Tatiana because they always fight and watch each other's backs. I can't act like I should get too mad over the shortened romance between Bond and Tatiana. Bond games based on films always left the romantic elements from the movie as an afterthought. In The World is Not Enough games, Bond's attraction towards Elektra for his sympathy is absent, and mission briefings get in the way of showing Vesper and Bond's love relationship in the Quantum of Solace games. The exclusion of the essential details showing why Bond would fall for the women in those games are not handled well either, but I can understand the reasons for cutting them short since we're here to shoot people and use gadgets. 

As the game does a fair job of following the story from the film and adding extra action in scenes for the key events, the game occasionally derails itself entirely from the source material to feature a few missions that are bigger in spectacle and concept than any of the action sequences from the picture. The game has a pre-title mission, but it is surprisingly not in the hedge maze on Spectre Octopus Island. The game's first level begins in London with a mission that feels like the climax to another adventure. Bond is in his signature white tux rescuing the prime minister's daughter from assassins working for Spectre the Octopus at a party that ends with Bond gunning them down and their helicopter with a jetpack in front of Big Ben. It's as crazy and overblown as it sounds, yet it is one of the best pre-title missions in any Bond game, for how it builds up the lead and the organization and captures all of Bond's mannerisms in an original and creative rescue mission. Toward the end of the game, Bond visits a few locations owned by Spectre the Octopus, which he never did in the film. Bond retrieves the Lektor at a factory and escapes through a tunnel with an armored vehicle before an explosion ignites. The game's final mission is at the Spectre Octopus base. Bond has a showdown with Grant, who somehow survived his supposed death and currently controls a mechanical octopus-like device with different weapons for each tentacle. Like the first level, it's ridiculously over the top, with Grant using a weapon that could be part of a toy set loosely based on the Bond films. Nonetheless, it is a challenging grand finale that gives Bond a chance to properly grieve and avenge the death of his friend, with Red Grant's video game counterpart having more time to shine as an assassin as deadly and nearly unstoppable as Jaws and OddJob. 

The game adds in a few new characters who have very little significance in the overall game. The prime minister's daughter is only in the first level as a typical whiny damsel in distress for Bond to save. The game tries to compensate for the lack of female antagonists by having a henchwoman named Eva, who just enters the story right out of nowhere with no proper introduction during the train mission. There are much more forgettable and weaker female Bond antagonists like her in other games, but there's nothing that stands out about her. Her design is boring, she has a wooden personality, and hardly stands as a worthy foe against Bond. She knocks out Tatiana and orders the destruction of the tunnel Bond is in. But in terms of serving as a force as physically as skilled as Grant, not so much. She can hardly run without tripping when escaping with the Lektor. And when Bond does have a showdown with her, she's sitting comfortably inside an air jet firing missiles and is somehow easier to kill than any level featuring Grant. Based on the levels having no connection to the source material and the addition of two pointless characters, it almost feels like there was going to be an original Bond story set in the 60s. EA probably changed their intention with a familiar story since their last attempt at telling a new one failed. Perhaps in another game, Eva could have been a better foe, but as it stands, her character is so unneeded and weak that it might as well be Rosa Klebb fighting Bond in her place. The game takes so many liberties, I can picture Klebb escaping the hotel when failing to poison Bond from Tatiana intervening (Without killing her), leading for Bond to fight her in the streets of Russia or at the Spectre Octopus base. 

The most significant appeal of the game is its love for the 60s Bond. Despite the film serving as a second installment in the franchise, the use of the classic Bond story does not prevent EA from incorporating elements, locations, and moments from future 60s Bond films. The jetpack Bond uses in the game a few times is modeled after the one used in Thunderball, except this one comes with a machine gun. There has been a jetpack feature used in Agent Under Fire, except it just serves as a boost to jump onto high platforms instead gaining the ability to freely fly around. The game primarily has Bond drive his famous Aston Martin DB5, which was not the first and last time the vehicle was featured in the games but does perfectly fit the 60s era in which the game is set. Another feature from Goldfinger, used in other games, is the famous laser. Instead of Goldfinger using the laser, Grant uses a laser similar to his in the final boss battle. It is not thee laser, but still a nod to a classic 60s Bond weapon. And when Bond finally kills Grant in the game, it plays out as a classic cold-blooded kill calling back to how Bond dispatched Dent in Dr. No. What could have been cut from the game and not missed is Spectre's the Octopus' motives to kill Bond to avenge the death of Dr. No. Even if the detail does not fit the game's self-contained story, it's still a neat call back to Bond's first adventure. Further providing the game's 60s feel is having locations from the films. The levels based on From Russia with Love are an immense contribution to bringing that 60s nostalgia, but a few original levels do the same. The octopus base resembles Blofeld's volcano lair (with no monorail for me to travel), and an exotic-looking control room in the factory with a giant globe and a fountain resembling a classic lair Ken Adam's would be proud to design. My favorite location is walking around 60s MI6 headquarters for the briefing, one of the top-selling points to make a player feel emersed in a 60s Bond adventure.

But the game's real selling point to make players feel like 60s Bond is not the story, environment, car, jetpack, and tiny references to other Bond films; it is having Sean Connery coming back to voice Bond for the final time in his career. It's incredible they brought him back, though there is a slight awkwardness to having his voice lent to the game. The Bond model is not Sean Connery's Bond looking old; he appears as young and handsome as he did during the 60s. When hearing his aged voice coming out of a younger Bond mouth does feel jarring. What's even odder is Connery is not even trying to put on a British accent. For those who like to point out how Connery's Scottish accent can be heard in the films, it sounds more British than his performance in the video game. 

Despite how obvious that Connery is too old to voice his character, I'm not that distracted by it. Since video games are more interactive than film, I tend to overlook specific details that I would care more about in another medium. For a movie-based game, despite hiring actors who have aged since their release, like the cast in The Godfather or The Warriors, I always appreciate hearing the actors bring their performance to a different form of entertainment. The casting decision feels like an attempt to create an authentic (and obviously marketable) experience, even if it doesn't always save the game. And as someone who loves Connery's Bond and wants to play him in a video game, while pleased to play a model resembling him, it feels all the more special to play as the character with Connery's voice attached to the character rather than an impersonation. I do find his aged Scottish voice distracting at times and don't blame others who can't see past it, but I also know this is the best and only way I can play as Connery's Bond with an original performance from the actor, and what I hear is what I get. And overall, I'm thrilled to have this rare opportunity, especially knowing how hard Connery tried to distance himself from the franchise. Furthermore, I still think he gives a very charismatic performance while still delivering the hardcore edge that made him stand out as one of the best Bonds. Like his performances in Highlander or The Untouchables, if you can get past his phony accent or refusal to create an accent for characters of different ethnicities, he overall gives a stellar performance with many layers of personality.

Unlike how Goldeneye: Rogue Agent reverts to first-person shooter after EA proves that Bond games can have a future in third person with Everything or Nothing, From Russia with Love continues with EA's second and successful attempt. I suppose the decision to have the game as a third-person shooter was partly not to have the game resemble their latest flop but to show Connery's Bond model as much as possible. If you have the actor as the interactive main character, you might as well flaunt him. EA did that when they finally had Pierce Brosnan voice Bond in one of their games. And to make playing Sean Connery's Bond in the third person more distinguishable is allowing the choice of different outfits for him to wear. We don't just have the option to see Connery in the suit he wears from the film or his white tux from Goldfinger. Further alternations in wardrobe include a stealth suit, a snowsuit, a Russian uniform (required for when Bond and Kerim have to disguise themselves), and a black tux. I honestly love how the game gives Bond players the option to choose what Bond should wear because the other games rarely do it. And when they do, it's usually in a first-person shooter, where I can only appreciate changing Bond's wardrobe through a cutscene, looking at his sleeves, or looking at my opponents' screen when I attack them in multiplayer.

The game mechanics are not too different from Everything or Nothing. I can lock on when shooting enemies or aim the bullet where I want the bullet to go. By using an aim mode called "Bond focus" I can point my gun at enemies' weak spots to instantly kill or destroy their bulletproof vests. If a player wants to playthings stealthy, aiming for the radio on a guard will help prevent them from altering others. But if you're like me and want to shoot numerous guards, a cleaner and more fun way are shooting off a grenade a guard carries and watching him blow up. Hand-to-hand combat is also optional, as it can be used to knock out a guard from behind or use quick time when fighting an enemy face-to-face. I enjoy punching out guards and using quick-time on them, however, I do miss coming up with combo moves that made the fighting in Everything or Nothing more exciting than any previous Bond game that had him fight with his hands. I would expect the simplicity of fighting an opponent to start in Everything or Nothing than in a sequel building off its success. But as someone who grew up with The Godfather games that EA also made, should I be that shocked by going a bit backward? The first Godfather game focused a great deal on the mechanics of using fits to kill and intimidate people, while the sequel does the bare minimum with an essential feature.

The gun selection in the game is solid, just nothing memorable, even with the special ammo feature, especially compared to the gadgets supplied by Q. These are some of the best gadgets to appear in any Bond game. The classic laser watch makes an appearance to unlock sealed rooms and safes, as well as designed to kill enemies (that is, after waiting for a few moments to recharge before giving them the final blow). Instead of a rappel gun, Bond wears a rappel belt to climb walls, which is amusing, if not having the same sense of weight and freedom of movement as how Bond used a rappel in Everything or Nothing. Gas masks are equipped to make it through areas filled with deadly gas. The mini copters designed to shoot and blow-up players in NightFire's multiplayer are now reduced to a flying version of the Q-Spider from Everything or Nothing that can blow-up enemies rather than also shooting them. Bond is also given special cufflinks disguised as sonic boom grenades that can stun multiple guards in one location. My favorite gadget is a dart gun containing serum that can make a guard go insane and kill other guards in the area for a short period. A gadget like this is more suitable for a Pierce Brosnan-era game than a Connery game. Regardless of whether it belongs in the Connery era, I have little to complain about since it is entertaining to have guards work for you for a short time. Bond's first ever Q-gadget, the booby-trapped briefcase that carries concealed ammo, a hidden throwing knife, a folding snipper's rifle, and fifty gold sovereigns, does not make it into the game. Instead, all the features in the briefcase are replaced with a turret gun, making it not a bad trade-off. Besides, gameplaywise, aside from the tear gas feature, I don't see how the other items should be limited to the briefcase since Bond (before the Craig games) carries various weapons on him all the time. It would be as foolish to limit his weapon compacity to a briefcase as having Bond's gadgets only exist on his phone in other games.

The film may have no car chases, but that does not prevent EA from inventing driving missions or giving Bond's car gadgets. The Aston Martin DB5 comes with essential machine guns and rocket launchers when taking down enemy vehicles. Its most unique feature is a tire puncher that doesn't slash enemy's tires but pushes their cars, causing them to fly off course and explode. The levels are too extreme for a Connery adventure, but I'm having a blast with this feature, and I expect Bond video games to take extreme liberties like these. It would be boring and pointless to play if they did not amp up the action to the extreme of later Bond films. The Bond fan in me loves driving the Aston Martin DB5 in the 60s era with Connery behind the wheel and one of my favorite allies, Kerim, or Bond girl Tatiana as a passenger. While I'm geeking out over these levels, I sincerely wish I could say these driving levels were up there with the greats, including Agent Under Fire, NightFire, and Everything or Nothing. The steering is so jerky that I find myself crashing many times (though the other car Bond uses strangely didn't give me as many problems as the Aston Martin DB5). The gadgets the car has are loads of fun, but it feels like it could use a few more prominent features, like an oil slick or metal needles. It's nowhere near low tier with 007 Legends or 007 Racing because these driving levels are less frustrating and are always enjoyable to play for the endless number of cars I can destroy despite its odd steering mechanics.

Another feature the game has is to provide players the ability to search through cabinets and draws, defuse bombs, and use keys by holding down a button until the bar above Bond fully loads. Defusing bombs and unlocking doors exist to appropriately add to the urgency of the situation that is thankfully not annoying to the point where it makes the level drag or needlessly tricky. Unless instructed to do so to move along, searching is beneficial to unlock suits, find ammo, or gain points to purchase unlockables. Most of the game's unlockables are intriguing behind-the-scenes material (including an interview with Sean Connery), trailers, and concept art. I love supplemental material for movies, shows, and games, and I always appreciate seeing EA's movie-licensed games (The Godfather, Lord of the Rings, and Batman Begins) include bonus features surrounding the movie it's based on and the development of the game that is always fascinating to watch and learn whether the game itself was good or disastrous. The unlockables also contain character skins for the multiplayer mode, which is not uncommon for many Bond games, and are rewarding (at least for a few characters). 

I was able to play multiplayer for the first time with a few friends, and one of my brothers during Christmas time. Just as I felt like I was missing out on a great experience during my youth when playing the N64's The World is Not Enough multiplayer, the same can be said about the multiplayer mode in this game. Some of the pros and cons from Goldeneye: Rogue Agents multiplayer transferred over to this game. The con is that there are more henchpeople to play than the iconic characters. The multiplayer further excludes any of the game's heroes, including Bond, which is a downgrade. There are, however, enough appealing villains to play as, including Red Grant, Krilencu, Goldfinger, and Dr. No. And I'm happy not just happy to see Kronsteen make it the multiplayer, but the head trainer for Spectre the Octopus, Morzeny, whom I forgot all about, was in the film until I looked him up when looking at the character skins. He was the first person to wear the shoe blade before Rosa Klebb did. Disappointingly Klebb does not make it into the multiplayer despite her place as one of the main Bond villains in the story.

The pro transferred from Goldeneye: Rogue Agent is allowing players to set off special booby traps for most of the maps. At the Octopus Depot, I can have a train run over my opponent, trap them through a trap door hidden by a fountain in Piazza San Carlo, turn on deadly gas in Istanbul Head Quarters, and set the hedge maze on fire. Every map has an appealing design with its own unique features including jetpacks and turret guns. A feature that's found on any map is a mysterious green box that will give the player who opens it an advantage or disadvantage. Sometimes the box can supply a one-shot kill or have their marker hidden to approach their opponent stealthily, while other times, the package can be a booby-trap that harms the player who opens it. I particularly love the spontaneous nature of the item for how it can make or break a player. Unlike other Bond games, finding an opponent and killing them is too easy for how small most of the maps are, and the addition of a lock-on feature makes it less of a challenge. For that reason, I always make the stock count high, which is more than I can say when playing other Bond multiplayers. The most extensive and interactive map in the whole game is Missile Silo, which is easily my go-to every time I play it. The map has at least three floors, and every floor has a variety of weapons such as jetpacks, a turret gun, and even vehicles with guns which is rare for most Bond multiplayers. The map also has the best booby trap, which takes more than a simple push of a button. After finding a launch code and punching it into three different controls can set off the missile to kill anyone who has not rushed behind a locked-down blast shield.           

For adapting a film that could not translate well to video game form, EA did a better job than expected. The thrills and mystery are gone, and the character development is simplified, making the story not handled as strongly as the film. But as an interactive experience, it keeps most of the essential scenes and plot elements from the film and usually takes creative licensing for appropriate occasions. The best changes come from the levels that divert from the story, making me wish we had a new adventure with Connery. Although the mechanics are limited compared to Everything or Nothing, it does not take away from the amusement. The same applies to the driving levels. I wish the steering was better and I could use at least one more gadget; however, I'm still enjoying myself. The use of gadgets never bores. And the game's multiplayer is so different from the other games that it's a great alternative to playing first-person shooter multiplayer. The best aspects of the game are its nostalgic tribute to 60s Bond, and above all, having Sean Connery playing Bond for the last time, who gives a dignified performance despite his age and accent. The game was tragically EA's last Bond game, making it the end of the era of Bond games that were not so focused on heavy realism compared to Activision's games. As sad as it was, I'm glad the era ended on a solid note, compared to how the Call of Duty era of Bond ended so disastrous that it destroyed the future of Bond games (for now).

                                         Least Favorite Mission: Istanbul, Part II

I enjoy all the levels in the game so much that picking the least favorite was an arduous task. Despite my issues with the steering and the need for one more gadget, I did not even want to choose one of the driving levels for how much enjoyment I get out of them. When compared to this level, Istanbul, Part III is the most pointless mission with little connection to the story regarding objectives. Still, I never get bored of randomly destroying a certain number of enemy vehicles before time runs out. This driving level may have more relevance to the story as Bond and Kerim are driving out to get disguises to access a boat through a Russian military base, but I find it the most forgettable outside of the story. Aside from chasing a vehicle, nothing that exciting happens. There's not much to explore and do in the Russian military base. And when trying to lower the boat in the water while fighting guards, the level introduces the henchperson that's as annoying as the tanks and helicopters in Goldeneye: Rogue Agent, a giant brute with a minigun. Every time this character appears, I get aggravated because I know it will take ages to kill him, which takes some of my enjoyment, and I have this mission to thank for.  

                                             Favorite Mission: Hedge maze

Hedge Maze is my favorite mission, but not for the hedge maze portion. There is nothing wrong with the hedge maze portion because it has many cool things going for it. Of all the levels based on the film, this one strays the least from the source material. The hedge maze training ground on Spectre the Octopus' Island looks as foreboding as the film. What makes it equally ominous is how Red Grant appears and quickly runs off-screen, laughing menacingly before players can get a good look at him. And while players are looking at Bond's image, in a twist, the players were playing as an assassin wearing a mask to resemble Bond's face the whole time. I especially love how the game foreshadows this reveal for players who have not seen the movie, with a Russian on the radio briefing him on the objective (who could have been an ally at first thought) and that Bond never talks. 

There are a ton of things to enjoy, even from a storytelling standpoint, but what makes it my favorite is how the second half of the level has Bond in 60s MI6 headquarters. That doesn't sound as awesome as Bond jetpacking in front of Big Ben or fighting an Octopus machine controlled by Red Grant, but it's just as special and unique as the gambling mission in The World is Not Enough for the Ps1. The only time players were allowed to interact in MI6 headquarters was when it was under attack in the N64 version of The World is Not Enough. Usually, Bond gets his briefings from dossiers, slideshows, or through a gadget. When Bond gets an in-person briefing or a trip to the Q-lab, it's all shown in a cutscene. This game allows players to explore 60s MI6 headquarters and interact with its key figures. Players can flirt with Miss Moneypenny, watch a slideshow of the briefing while standing by M, and gaze at Q's faulty gadgets and do some training under his guidance. I rarely have to hold still or put the controller down for a few when engaging the characters, I'm usually in motion, making the experience feel realer. And the game's recreation of the essential rooms looks just as on par. The training in the level is not inadequate either, as I'm fighting against machinegun-wielding robots to make my way to defuse a bomb. I don't expect to see the use of robots in 60s Bond, but like many of the liberties, it fits the game fine. I also enjoy the contrast between how MI6 and Spectre the Octopus train their spies. Spectre The Octopus would rather have Grant kill their other agents instead of using robots like MI6 because it's the survival of the fittest, and they recruit only those who are fit. Having two missions rolled into one level that complements each other from their setting and magnificently sets up the story with a few rare privileges starts the actual From Russia with Love portion of the game on the best note.

007 Game Rankings: Number 7-6: The World is Not Enough Part 2 (PS1)

When I started this list, I mentioned that the Bond games introduced me to the franchise, hence why I'm ranking the games. Well, here's an essential piece of nostalgia I had with this game. I was too young to be part of the Goldeneye craze when it was popular, and I haven't played any first-person shooter games during my childhood. The only T-rated game I was able to play that involved guns was Tomb Raider, except that was a third-person shooter game. Not to say third-person shooters don't receive the same controversy for violence (Grand Theft Auto anyone). Still, for me, there was nothing more extraordinary than looking through the eyes of the protagonist. When I was in third grade, I went to hang out with my best friend at the time, who had access to adult-rated material. I usually refused to play and view media beyond my age. Not because I didn't want to. Actually, I was excitingly curious to taste the forbidden fruit. I simply didn't want to find myself grounded if my mom found out. One of the few times I caved in was when he showed me his Ps1 copy of The World is Not Enough.

Before the game, despite seeing Bond's face, I had no idea who he was, nor did I recognize him. My friend suggested we play the game. At first, I was hesitant about it, but having a chance to play a teen-rated first-person shooter that I had been deprived of all my life seemed like a one-time opportunity. Hyping me up to play the game was the footage of the gun-barrel sequence. Seeing Bond walking in a gun barrel and firing at the screen that causes blood to drip and cover the entire image was one of the most fantastic images I've ever seen. As soon as I heard the theme song itself; I was sucked in even further to its cool and catchy tune that screamed danger, class, and excitement. I played the first mission of the game, and despite never finishing it (or making it to the second floor), I enjoyed every second of it. I mostly stunned guards as they fired at me and had trouble opening doors. My friend would shout  "circle," but it sounded like he said suckle, which confused me more. Occasionally my friend would unlock the gun game option for me to experience the authentic first-person experience. I died more times than I remember, finding myself anxious to move forward but was amused at seeing blood trickle down the screen to provide my death with some style. With the experience, gun-barrel sequence, and the trailer in mind, I became fascinated with exploring the Bond franchise that my dad and fearful mom helped make it happen by renting me movies and buying one of the games. My friend later gave me his game copy, and I became addicted to its first-person shooting mechanics, level design, gadgets, and storyline with the aid of film clips from the movie. I used to play the game so often that I would spend half of my playtime finishing it in one sitting. And since I knew how to beat every level with the film clips giving the game a bit of a cinematic feel, I would play this for my friends and brothers to make it seem like they were watching the film only with me playing as Bond. 

For serving as my first introduction to the Bond franchise, my first rated T first-person shooter, and a game I spent hours of my youth replaying it, I obviously hold this game close to my heart. It's a childhood staple and my gateway to new and exciting things. Having lived passed that point of my life with more experience of playing Bond games under my belt, how does it hold up, especially when compared to its N64 counterpart?

For starters, it is terrific that EA took the first-person shooter form to their Ps1 consoles to make up for the failure of Tomorrow Never Dies with a better control system and alternate ways of accomplishing objectives. Yet compared to the previous N64 Bond games, they're just as limited as their first attempt at creating one. Since EA was working again with the same company that made Tomorrow Never Dies, Black Ops Entertainment, for the Ps1 version, many flaws from their first Bond game collaboration transferred to their second attempt. It has one mission more as opposed to having ten missions in Tomorrow Never Dies, which would be fine if the N64 didn't technically have fourteen. As changing the difficulty would add new objectives in previous N64 Bond games to make them feel challenging and rewarding, this game does the bare minimum by only having two settings with nothing unique to make the experience different and exciting. There are cheats to unlock and would be worth unlocking if they were anything worth playing for. There were all kinds of cheats to unlock before this, including new levels and character skins for multiplayer. The cheats are standard (invincibility, all weapons, and infinite ammo) and wouldn't matter as much after finishing the game. The levels don't have a sandbox environment, nor will the game let you keep playing if you fail the mission.

Above all, the reasons why unlockables are worthless are primarily because there is no multiplayer! One of the biggest reasons Tomorrow Never Dies tanked so hard was for having no options to allow friends to challenge against friends in a death match! Multiplayer mode was such an essential ingredient to Goldeneye's success that Eurocom's involvement with the second Bond N64 game not only created a mutliplayer but also made it an ahead of its time upgrade. Half of the criticisms I fault this Bond game for (so far) did appear in later games. What made them replayable was that they had larger-scale levels and multiplayer worth replaying over and over again. EA and Black Ops seemed so focused on getting the levels and controls right in first-person that they overlooked or didn't have time or money to create a key factor to the game franchise's success. 

In Tomorrow Never Dies, most of the storytelling consists of mission briefings, movie footage, and non-cinematic looking cutscenes during the mission. The Ps1 version of The World is Not Enough uses this method of storytelling as well, with a few slight differences. As most of the cutscenes were MI6 interface briefings in the previous game, the briefings are treated similarly to those from Goldeneye and the N64 port. M provides the briefing, R gives Bond the gadgets, and Moneypenny gives flirtatious advice. Instead of reading them, their voices are heard while occasional footage from the film, maps, character designs and gadgets appear on the screen. It already felt more immersive to hear M's voice in the first PS1 Bond game to feel like Bond getting ready for a mission. And while I do miss the computer cutscene briefings, having an updated version of the N64 games briefing is satisfying. It's a joy to hear John Cleese's voice R sounding as frustrated as Q, and Moneypenny never letting down her attraction towards Bond.

Footage of the movie was hardly ever used in Tomorrow Never Dies, where here the clips are fully utilized as bookends for each mission. Realistically speaking, the clips are used because they're cheaper than animating cutscenes. The best way to sell gamers into seeing the movie is, of course, by using clips as a preview to get gamers interested. I'd rather have pixelated cutscenes telling the story like the N64 game, but I still enjoy seeing clips of a movie featured in the game. The reason (for this game's case) is partly because the game never uses any special camera work or fancy editing to make the in-between mission cutscenes look cinematic. I'm mostly staring into the dead eyes of stiff pixelated figures who master ventriloquism. It's a bit creepy. When ignoring that, I always feel the archive footage help bring some authenticity to feeling a part of the film's world. The game is already marketing the film for serving as a tie-in, and unlike how Tomorrow Never Dies uses clips at random moments, the film footage helps move the story forward. Just like the N64 game, the story and characters are clear and accurate enough to the source material to entertain gamers who have not seen the film. 

There were only a few times the story didn't make sense. During an animated cutscene, how Lachaise dies becomes baffling. We just see his secretary move her arm, and he suddenly collapses. We know she kills him, but how? The N64 game may have handled the scene backward while taking liberties, but it still made it clear how the Swiss banker dies. If the makers can't animate a knife, why not take the same liberty as Eurocom's involvement by having her use a gun? The editing for the archive footage typically does a seamless job of shortening the scenes from the movie. The only time it's questionable is when Zukovsky interrupts Bond's torture. In the film, he's taking down some of Elektra's thugs before interrogating her. In the game's edited version, he just casually enters the room walking past a random dead body on the floor. I know he kills Bullion in the scene which would remove the liberty to have Bond fight him. But they could've edited this moment out. It always felt weird to me to watch him appear in Elektra's hideout out of nowhere as if anyone can enter.

Despite having fewer levels than the N64 game, they still have similar objectives and layouts. There's a ski simulation level involving gunning down Parahawks. A stealth mission in Elekra's mansion. A level having the player walk as a civilian before fighting against the terrorists in Kazakhstan. And even the subway mission where Bond has to defuse a bomb (Which was never in the movie). Like both Quantum of Solace games, they share the same story, similar features, and levels but still have their significant differences. As Quantum of Solace for the Ps2 condensed two levels into one, this game does the same thing. Instead of two separate missions of searching Elektra's estate and killing Davidov in the next, the Ps1 game places them in one level, except Bond kills Davidov within the compounds of the manor than in the forest. The game mercifully turns the pointless two-part City of Walkways levels into one, creating an experience that doesn't overstay its welcome. Chasing the Cigar girl, however, only happens for one level, and there's no subway station to save while pursuing her. That part of the mission is moved near the end of the game with a different foe instead of a little after the beginning. 

One of the improvements the Ps1 game has over the N64 game and the film itself is the handlings of standard, non-threatening, or forgettable henchmen. I'm not referring to the Cigar Girl. I'm more so referring to Bullion, Davidov, and Gabor. Henchmen who just exist in both media who you know Bond, or his allies can quickly kill, and do so. The Ps1 version doesn't treat them so lightly. The villain replacing the Cigar Girl for placing a deadly gas in the subway is Bullion right after attempting to kill Bond, Christmas Jones, and his "boss" Zukovsky. For a henchman who's not a physical match for Bond, an easy pushover, and a wimp than a laid-back intimidating looking foe who is always in control, the game certainly makes him the badass he should be. He has a bigger plan, is always one step ahead of Bond, has a stricter design, and sounds smooth and confident when threatening Bond. Davidov, who was just a disposable villain to move the plot along, in the game asserts his authority as head of security in a very Bond villain-like manner. I miss the mission where I can kill him my way but having him as the first boss fight villain is a fair and memorable trade-off. While these villains have been improved, they don't get challenging boss fights, but Gabor does. Personality-wise, I think he's better in the N64 game. He barely shows up in any of the levels or cutscenes in the PS1 game making his appearance feel random. Yet he's so heavily armed that bullets can't kill him, unlike the previous bosses Bond fights. Players must use the pipe bombs he throws to kill him as his guards come storming in to kill Bond. That's way better than stunning and punching him in the N64 game. It's so cool to have the Ps1 version improve upon the henchmen, just as how the Ps2 Quantum of Solace game improved the villains from the source material. Too bad the only villain that doesn't get fully utilize is Renard. Two versions of the game, and Renard does not serve as a near unstoppable game boss when he's begging to be one.

Another upgrade the game offers is two additional levels. The N64 game never had a level involving Bond and Christmas making their way to the pipeline to stop a bomb. It included M's capture and the command center as a multiplayer map. But that's it. The Ps1 game only mentions M capture through a briefing, but the command center does become a mission in itself. It's one of the more exciting levels involving rescuing hostages, fighting in the dark with special night goggles, and protecting Christmas before riding through the pipeline to stop the bomb. The other level takes place at Zukovsky's Casino, the only level where there is no firearm use. It's a direction as different as the Casino Poison level in Quantum, where the goal is to bribe Zukovsky with money by playing Blackjack. I think gamers would agree that playing blackjack is a better break from gunning down assassins than playing a drunk simulation level (not that I ever minded it).

For its new content and ungraded enemies, half of what made the levels in the N64 game unique and give variety have been eliminated or changed for the worst. As difficult as it was to swim underwater in a maze to find and stop Renard, I still enjoyed the challenge as it brought some variety to the game. The Ps1 port ultimately eliminates that concept resulting in players fighting their way through the sub to kill Renard. A level design that the N64 game could've easily done. It's not as much of a sin as not translating the attack on MI6 mission to the Ps1 port. At least the sub level offers some unsuspected twists to make the last level feel rewarding. Renard occasionally pops up to shoot Bond, there's a radiation room where you have to get out at a certain time before getting an instant death, and a climax of destroying the computer core as Renard is about to start the meltdown. It's a better level change than Cold Reception. Eurocom invented the on-rails shooting for the Bond game franchise, probably knowing how needlessly clunky it would be to control Bond on skis in its first-person design. You'd think Black Ops would do the same after its clunky fighting and steering mechanics for skiing in Tomorrow Never Dies, but they don't. The controls for this game are easier to grasp, except for when Bond is on skis. Since the controls and gameplay are still designed as first-person mechanics for the level, it's easy to forget Bond is on skis until you start moving him. He never stays still or responds to the controls accurately. Instead, he's sliding all over the map, making it hard to pursue enemies or go to your destination. It's just as easy to get stuck in places since the controls don't contain the use of breaks. On the bright side however, it's the only level where the controls are as bad as Tomorrow Never Dies.

For what its worth there are some levels I prefer over the N64 game. The most obvious is the City of Walkways. Not to act like it's one of my all-time favorite levels from the game or that I don't miss some of the features from the original (the collapsing dock and riding on the conveyor belt). But the goons are easier to spot, blowing up the helicopters isn't a hassle, and the level lets players recreate how Bond destroyed the last helicopter. The Courier mission doesn't start with Bond casually picking up items and ends with an all-out firefight when Lachaise gets killed. Players have to make their way past security to get to his office. The situation creates more choices for the players, whether they want to sneak past guards and security cameras or just run in shooting up the place. I appreciate the level more for the freedoms it allows for different gamers than having it function one way. My favorite level from the N64 game Fallen Angel has some upgrades too. I can use a gadget to free M, I have to protect her at one point, and I get a proper boss battle with Gabor. What keeps it from being my favorite are a few things. Players can't take their time to kill Elektra. There is no poison gas room to escape. And I don't have the choice to let Zukovsky live a little longer at least (I still like to think he survived in the N64 game if I don't grab his gun). 

Also, what this level and all the other levels lack (that briefly mentioned earlier) is giving their locations a large scale. In the N64 game, the environments were massively huge to explore, get lost, and allow players to do a little more creative thinking outside the box. There are so many places to go to kill Davidov that killing him will never always be the same. While searching for clues in Elektra's mansion, the environment is so spacious that it means Gabor and Davidov can roam freely around, and I can't be seen by them or harm them. Having these open environments, even within closed buildings, made the N64 game feel as big as the film. In the Ps1 version, all the maps are small, easy to navigate, and sometimes claustrophobic. The small scale of these levels can't allow as much unpredictability as the previous version, making the replay value of the game feel like an exact repeat. 

But what the levels do have that the N64 version doesn't are the designs. As open as the levels were in the original, there was less time to give them personality. Some stand out in the other version, such as the MI6 building and Maiden's Tower. But usually, their designs were very standard. Those details were easy to overlook thanks to having various objectives and an atmospheric score. But since Black Ops most likely knew they couldn't make their levels as big as Eurocom's, they may as well give them more personality. If they didn't have the budget to have Bond avoid subways in the station, they had him mainly fight inside different train cars to pursue Bullion. If players can't swim to Renard, they give the submarine control rooms vibrant colors, cabins to find weapons, a lounge where the crew would relax, and a radiation room to survive. When chasing the Cigar Girl, the city may feel as tight as cities from a German Expressionism film, but at least has a pub with a picture of Winston Churchill and a launch area for the balloon. My favorite is Elektra's mansion. As the halls and rooms felt the same in the N64 game, each room now has a distinct environment. It has a TV room, a kitchen, a game room, a closet, and Elektra's bedroom with a piano playing the Bond theme. It feels more like a place I would love to hang around rather than feeling like I'm in a typically armed fortress. And adding the flair of each level is the score, whether it raises the excitement, gives a corporate vibe for formal locations, or sounds ominous. 

I praised Eurocom's achievement for improving Bond gadgets for first-person after Rare's Goldeneye. With this game, I applaud the gadgets for having more variety than in the N64 game. Make no mistake. I miss using Bond's awesome watch that has multiple features. All this game gives for his watch is a grapplehook that he takes off, so he's never shown wearing it. With that said, some of the items from Eurocom's game make a return. These items include a micro camera, night vision goggles (with one setting), and an exploding pen. Others have been reinvented. I'm not using my watch to stun guards. I have the phone from Tomorrow Never Dies that can do it and scan fingerprints like in the film. Some of the gadgets have been either turned into weapons or vice versa. I now have a regular dart gun than having my watch fire darts, but I also have a rocket launcher disguised as a video camera. The newer features include a credit card lock pick and a VLF disruptor disguised as a pen. My personal favorite new additions involve mini flashlights disguised as Flash Bang grenades and a Satchel Charge. Realistically, I could play the game without ever using them. But I still take pleasure blinding my enemies and blowing them up.                         

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

                                               Least Favorite Mission: Masquerade 

Cold Reception is the worst level to control Bond, which is enough to make it my least favorite. But for me, it's the level where Bond has to pose as a doctor at the nuclear base to get to Renard. I'm usually a fan of levels that allow players to explore before pulling out a gun. The level delivers by having me show ID badges to guards, cutting the power to get past them, and stealing other badges to get elsewhere. I especially like how you can't shoot or stun the guards, but you can use your fists if you want to playthings the violent way. I'll most likely be dead, but it's fun to try. My problem with the level is when the action does happen. Compared to the other version, the level perfectly recaptured every detail during Bond's encounter at the nuclear base in the film and still made it a playable level. I'm okay with liberties', but the level only does the bare minimum. It just covers basic check marks with no unique challenge. I take that back. There are challenges but not fun or exciting ones, more so annoying. When it comes to protecting people, I have more problems defending Dr. Jones than I do Natalya in Goldeneye. She doesn't move as much as Natalya, but she walks into danger or just stands there to be killed by terrorists who keep popping up. I have no idea where each terrorist is going to appear. I'm just praying I get to them before they get to her. On numerous gameplays (including this one), when I thought the area was clear of terrorists as I made my way into the next room, it was a mission fail a few steps later. There were still terrorists in the room where I left Christmas Jones, and they killed her. If I'm lucky to kill them all and not have a single one respawn as I make my exit, I still have to use my grapple hook watch to escape the explosion. It should be easy, but there are times when the watch does not latch onto the cable. It becomes a challenge in itself to figure out the proper positioning when there are only a few seconds before detonation. Since using it is typically a leap of fate in this scenario (unlike the watch in the N64 version), I would wind up half of the time dead. And the worst part of all this is there's no checkpoint. So, if I die from failing to spot all terrorists or if I'm not aiming my grapple hook a proper way, I will have to start all over again. Meaning I would spend 3 or 4 minutes showing my ID cards to get back to the action. Compared to Cold Reception, I figured out the controls and knew how to get through the level more painlessly than I do here. Plus, riding down the mountain is fun if you don't bother stopping and shooting at the goons.  

                                              Favorite Mission: Russian Roulette 

I speak so highly about The Courier mission, especially when having such an essential nostalgia for it that it wouldn't be shocking if it were my favorite mission. And out of all the action-packed levels, I pick the one with no action. But that's what I like about it. This mission offers an integral part of Bond that no other games have, gambling. We all remember him firing guns, charming the ladies, using gadgets, and making amusing quips. But gambling is another iconic part of Bond's identity. He's a man who takes chances, hence why gambling would be one of his hobbies. The first time Bond from the EON series ever appears on screen is when he's gambling. I get that gamers want to just shoot and use unique gadgets, but I personally would love to gamble in the games every now and then, even if it's just a bonus level. Walking around Zukovsky's colorful casino as I talk to women (who have a strange tick of moving their arms backward at random times), meet my favorite ally, and play cards as soothing music plays makes me feel as much like Bond as carrying his signature gun. This level also introduced me to blackjack when I was a kid. Knowing I was underage to bet on money at the time, my friends and I would play for special snacks in the cafeteria at Middle School. So, the mission plays a personal significance to my youth as the first mission did. It's a shame gambling hasn't been incorporated elsewhere in the Bond game franchise. And to me, that's what makes this mission unique and my favorite. 

                                                  Closing Thoughts on Both Games

Unlike the Quantum of Solace games, objectively speaking, I can't pretend one is not better than the other. As crucial as the Ps1 port was to me, the N64 version is the superior game. It has a cinematic feel, it's less repetitive, it has an incredible multiplayer experience, and it invents and reestablishes certain game elements that would become staples in future Bond games. That doesn't mean the Ps1 version doesn't exceed in other areas because it does with its portrayal of key henchmen, level designs, extensive collection of gadgets, and occasional missions that either outdo the N64 game or are one of a kind. Similarities aside, the reason why these two titles are close together in my rankings is for nostalgia appeal. Not that I grew up playing the N64 game, but for how one is nostalgic, and one makes me feel nostalgic. I still cherish the memories I have of playing the Ps1 game as a kid and how it helped make me a Bond fan. I may not have grown up with the original N64 game, but it feels so similar to many of the other Bond games I played during my childhood that it makes me feel like a kid again. Had I owned an N64 as a kid, I would have played it as often as the others I had including the Ps1 game. 

                                             My Official Ranking for These Two Games

                                             Number 7: The World is Not Enough (Ps1)

                                             Number 6: The World is Not Enough (N64)