The 12 Games of Xbox

What we said then:

Halo 1: 'Halo is very much a game of two halves. The first half is fast, exciting, beautifully designed and constantly full of surprises. The second half is festooned with gob smacking plot twists and great cinematics but let down by repetitive paint by numbers level design.'

Halo 2: 'It's a much more consistent, more exciting game than the original with far less of the moody tedium that blighted the middle section of the original.'

What we say now:

Kristan: Every console needs a truly great launch title, and Halo was every inch the classic system seller that inspired millions of gamers to put their money down on Microsoft's console. Building on the majesty of PC FPS classics like Half-Life and Unreal, it took the sci-fi atmosphere of the latter, the subtle narrative and AI of the former and delivered something that the console audiences had never seen before. And with superb co-op play, or competitive multiplayer over split screen or (far preferable) system link, it became one of the most enduring games of this console generation. The expectations surrounding the sequel were, understandably, sky high, and in terms of delivering the ultimate online multiplayer shooter for consoles, Bungie delivered. But Halo 2's single player offering had far less long-term impact, despite being initially an exciting new episode -and fans still haven't forgiven Bungie's decision to chop out the final third of the game in order to ship it on time. Nevertheless, the Halo series is still by far the Xbox's biggest and most important gaming franchise, and there's no question that the success of the console would have been very different without it.

Halo there.

Rob: Halo made the Xbox - without it, Microsoft would have had a much tougher struggle in the console market, and it's really telling that five years on, almost everyone would still rate the first game as one of its top titles. Unsurprisingly, Halo spawned countless imitators, and the market is awash with the corpses of space-marine-shoots-aliens games which simply didn't resonate with the gaming audience in the same way. The reason is clear; Halo wasn't just a success because people want to be a space marine and shoot aliens. The game was the complete package; it had stirring narrative, great characters, epic, sweeping scale, and absolutely fantastic, haunting music. It may not have brought much to the table in terms of gameplay innovation, and many PC FPS fans turned their noses up at it for that reason - but the production values and the understanding of how to create an involving, cinematic experience which Bungie brought to bear were unmatched. The sequel was disappointing and unfinished, and the focus on multiplayer ignored a large part of what made the first game so astonishingly successful - but there's no question in my mind that the franchise as a whole is a high point not just of the Xbox, but of the last five years of videogames.

How well has it aged?

First person shooters are constantly evolving, but it's quite a shock to see just how laughable some of the first Halo looks nowadays, with bland texture detail and some ropey character models leaping out at you right from the start. It's not all bad, though, with AI that still delights in comparison to some of the rubbish we've seen in some major league games this year, and some brilliant moments to enjoy. It's still worth digging out to experience that incredible first half all over again.

The second is definitely one of the nicest looking games from Xbox 1, with production values that, frankly, embarrass most of the games that currently claim to be 'next gen' - and looks better still running on the 360 on a big wide-screen HDTV if you've got the kit. Unsurprisingly, it's still the 360's most popular Live game, and still leaves most console online games for dust for the sheer flexibility on offer.

What we said then:

PGR1 'Devotees of Metropolis Street Racer will lap the game up interminably, and even a hardened GT and Ridge Racer nut like [Tom] found it hard not to be impaled by this Dark Knight's sceptre of entertainment'

PGR2 'This is a vast challenge. [It's] the best reason to subscribe to Xbox Live bar none, and, if you give it a chance, it still hooks in you faster than a fishing rod mounted on an Enzo Ferrari. PGR may be better in some senses, but any racing fan who doesn't buy this one is beyond redemption.'

What we say now:

Still great.

Kristan: For all of the sci-fi glamour of Halo, the game I actually played more than all the others when the Xbox came out was Bizarre Creation's wonderful update of Dreamcast title Metropolis Street Racer. It was definitely Microsoft's gain when SEGA dropped out of the console hardware market in 2001, because it meant that it could sign up an already proven title, rebadge it, buff up the visuals, add an extra city and ensure that one of the best racing games ever was exclusive to its new system. With arguably the best visuals seen on a racing game and the extra allure of racing around real-life cities, it was playing tourist in some of the world's most desirable cars. With well-judged handling and the finely balanced Kudos system, it was simultaneously one of the most challenging and addictive racing games ever made -but maybe a little too hardcore for some tastes. The sequel, predictably, tweaked the progression system to make it easier for everyone to blitz through the game, but was nevertheless essential thanks to its incredible Xbox Live online play and vastly improved visual sheen.

Rob: Racing games never age well, and going back to PGR - or indeed to Metropolis Street Racer - is a sobering experience now, because in my mind, they looked so much better! Regardless, Bizarre Creations' games are truly fantastic - they stand head and shoulders above almost everything else in the racing genre, because they're involved and realistic enough to satisfy the hardcore market, while simultaneously being fun and visually appealing enough to be accessible for casual racing fans like me. It's a tough line to balance on but PGR makes it look effortless.

Tom: I've never actually crashed a car in real life, but the closest I've ever come was when I discovered that the turning circle at the end of my little cul-de-sac was iced over. I spent about five minutes doing donuts with the indicator going "clickclickclickclick" until the neighbours told me off. All three PGRs are ideal for me, whatever sort of mood I'm in - whether I want the stage by stage hunt for perfection; the traction-trashing fun of trying to skate around a track in one long kudos chain; the thrill of a massive online race; or just the aimless entertainment that one finds in wrestling a playful Ferrari around London with a manual transmission. It's been bettered in some senses by games released since (Test Drive Unlimited, in particular, presents an online world that PGR could have done with), but even so the Xbox originals remain playable today, and despite overlapping elements remain distinctive enough to be worth playing individually, too. As Rob sometimes points out, I was left so shell-like when I realised I'd finished the most recent one that I ended up smoking again, by which token PGR is the only series where I've actually had to resort to self-harm in order to maintain a buzz once the credits roll. Please invite me round to play number four, Bizarre - I won't tell anyone!

How well has it aged?

Unspectacularly. Five years on from PGR 1, it's hardly surprising that it has been surpassed in every sense, but it was built on pretty solid foundations so is perfectly acceptable. PGR 2 was a decent leap forward but did seem to stress the system rather too much, with some frame rate issues spoiling the fluidity at times. We're still slightly suspicious that Microsoft hasn't managed to make either of these games compatible with the 360 -especially as it's the second best-selling series on the system.

What we said then:

'There's a moral obligation to at least try [this]out. For a licensed game to end up being one of the best released [in 2004] is something to celebrate, and other publishers should take note - there really is no excuse for licensed rubbish any more. Riddick deserves to mark the pivotal moment when movie games changed forever.'

What we say now:

He'll see what he can do.

Rob: Actually, the Riddick movie was a bit of a guilty pleasure for me - epic scale science fiction schlock gets me every time. However, the game's pleasures are in no way guilty. Reducing the scale of the action to a prison break-out, Escape from Butcher Bay delivered a visceral, gritty, and absolutely stunning game that chopped up elements of first-person shooter, brawler and stealth games and mixed them together perfectly. Dark, moody, violent and claustrophobic, it's like Halo's evil twin - and makes us very excited indeed about the next thing that developers Starbreeze do.

Tom: I still have fond memories of creeping around the prison shanking people, dodging weird dreadnought mech things out of Warhammer and then playing nice in front of the guards whistling. Plus, restoring health involved sticking needles in Vin Diesel: excellent.

How well has it aged?

Given how new some of the techniques Starbreeze used at the time, very well. Buzzwords like 'Normal Mapping' are now well and truly part of the gaming lexicon, and as a result the environments still look fantastic, with excellent lighting and some decent character modeling going on. It's a real shame we can't see it in its full glory on 360 yet, but we'd happily play through it again once Microsoft's BC boys work their magic.

What we said then:

'This ought to take its rightful place alongside Halo and Knights of the Old Republic as part of a key troika of influential fantasy titles on Xbox. We know you'll get more enjoyment out of this than virtually every game due this side of Christmas...you've never played a game that's simultaneously as gorgeous, entertaining, inviting and downright hardcore as Ninja Gaiden. No other game manages to deliver on the potential of controlling a ninja with this much flair and authority - it is one of the finest action games ever made.'

What we say now:

Rob: Yes, it's difficult - indeed, its name is almost a byword for difficulty. However, it's also one of the most rewarding games I've ever played; its difficulty level never really became frustrating, because there was a real sense that the more you played, the more honed your skills became. With the exception of the first boss, the difficulty level was almost perfectly honed so that you made slow but steady progress, and going back to play the early stages again after finishing the game was a real eye-opener to just how much the game was teaching you. Not to mention, of course, that the game was utterly gorgeous - a real showcase for the system. Now if only Itagaki and the rest of Team Ninja would stop breathing heavily over Dead or Alive XBV2, maybe they could get to work making a proper sequel for us...

In Ninja Gaiden, timing needed to be perfect. Ironically, it wasn't released here for ages.

Tom: The only thing that I don't like about Ninja Gaiden is that I'm no longer any good at it. But it still creeps along the walls of my imagination, prancing away from them every so often to remove some lesser game's head in one gorgeous sweeping arc of swishy death. If only Itagaki spent more time doing things like this...

Kristan: Unfortunately, Ninja Gaiden was perhaps one of the most hardcore games ever released, and it's no great surprise that it sold to a select few -we're all too chicken! If I wasn't so busy reviewing current games, I'd definitely invest the time to play it. It's like the hackandslash badge of honour to say you've finished this.

How well has it aged?

Amazingly. It's still technically one of the most impressive games ever made on any system, and scrubs up well in terms of scenery, character models and animation against any current title. In fact, running it on a 360 even now makes you realise what a capable machine the Xbox was when developers really pushed it. It's a shame we didn't see this level of performance too often from the big black box.

What we said then:

'The best Star Wars game since X-Wing and/or Tie Fighter, if not ever. Unless something entirely unbelievable descends from the heavens, it's the RPG of the year. If the remaining major players fumble even slightly, it's game of the year. Along with Halo, it's the reason to invite Bill Gates into your house.'

What we say now:

Ronan:Of all the games on this list, you could argue that KOTOR took the biggest step forward. It reinvigorated a genre once associated with cliquey groups of anorak boys into an acceptable form of entertainment. And that's just Star Wars. After this, we could never go back to the overtly pen-and-paper inspired RPGs of yesteryear, nor would we want to. KOTOR took the underlying depth of Baldur's Gate an and clothed it in one of the most cinematic storytelling systems seen in games to date. In years to come, when games become more comparable to TV shows, KOTOR - and its spiritual successor Mass Effect, if its showing at X06 is anything to judge by - will be considered the pioneers.

Rob: Star Wars is the exception to the rule when it comes to those sci-fi epic adventures I love so much. This game looked great, but I couldn't bring myself to care, sadly. Kristan: My copy's still sitting on my shelf waiting for when I magically get some extra time to play it. Apparently it's really good.

How well has it aged:

In a gameplay sense, it hasn't aged at all. It's still regarded by most fans as one of the best Western RPGs around. Technically it was never the best looking game on Xbox, so you could argue it hasn't fared brilliantly in that respect, but BioWare still has a style of its own that makes you forget about the slightly rough edges.

What we said then:

'It's beautiful game - and stands as a landmark 3D shoot 'em up; a refined, well-designed and intelligent title and marks a real progression in the genre. If strategic blasting sounds like your idea of gaming nirvana then look no further.'

What we say now:

Kristan: In early 2003, perhaps the last thing the Xbox needed was a hardcore shoot 'em up for gaming purists, so it no surprise that the game's distributor, Infogrames, elected to push Sega's game out into stores with zero fanfare. Bleh. Marketing spend be damned, this was a game that had serious crossover potential, thanks to some of the most beautiful visuals ever seen before or since, and gameplay to die for that makes it one of the genuine Xbox classics that every serious gamer should own. Combining Rez's on-rails shoot 'em up gameplay with somewhat more traditional bosses, it delivered a rare intensity that demanded precise aiming and the right selection of weapons at any one time. Initially fiddly, it was one of those games that rewarded persistence and patience with one spectacular level after another. Even now, it's simply one of the best traditional shooters ever, and we pray that one day Microsoft will make it compatible with the 360.

Rob didn't like this after a while, but we didn't like him instantly, so it balances out.

Rob: Looked absolutely lovely, but after one playthrough I was done with Orta. Great graphics couldn't turn this on-rails shooter into anything more than the sum of its parts - beautiful, but only skin deep. Without the synesthesia-like hook which made Rez into an instant cult hit, Orta just didn't have much to recommend it to me - and I'm constantly surprised at how highly other people seem to rate a game which was basically just a tarted up but less well balanced Starfox.

How well has it aged?

Visually, incredibly well. Like many Japanese games developed exclusively for the Xbox, it was a poster child for the system -only a poster that remained rolled up in the back of the publisher's cupboard. Built around glorious scrolling 3D environments, the deliberately on-rails nature of the gameplay allowed Smilebit to really push the system -and with few games employing the same technique, it feels very different to pretty much any other game on the console.

What we said then:

'Fable is, essentially, a Christmas Tree of a game. It uses the solid Action RPG as a frame to hand every random, glorious, playful bauble Lionhead and Big Blue Box could construct off. It'll certainly gain the ire of the sort of person who furiously states that the vast majority of the decisions don't "matter" in games like Knights of the Old Republic or Deus Ex. For those of us who understand that while true non-linear storytelling is never going to happen, personalising a linear narrative in meaningful ways according to your own inclinations is far from inconsequential, then it's another significant step into the future.'

What we say now:

Rob: Yes, Molyneux' famous promises regarding the game didn't come true, and features he clearly made up on the spot in interviews had to be dropped just to get the damn thing onto the market - but if you looked past the controversy and the hype, Fable was an absolute stunner. Completely unlike anything which had come before it in the RPG genre, it gave players the opportunity to really influence both their character and the world he inhabited - a degree of freedom which, despite the disappointingly linear storyline at the heart of the game, makes it into a real gem.

Kristan: Another games that's 'too good to trade in'. I'm sure one day I'll play it and see what the fuss is about.

How well has it aged?

A Fabled screenshot.

Rob: Nobody has really done what Fable did since, so many aspects of the game still feel as fresh as ever - and in places, the graphics are truly stunning, with Lionhead's decision to go with stylised characters rather than aiming for realism really paying off. There's some dodgy texturing about, but overall it's a great looking game even now - and little touches like the Danny Elfman penned theme tune really push the production values of the game. If it were made now, we expect there'd be more options available to show off your character online, and so on - but aside from that, there's little here which has really dated.

What we said then:

'Forza succeeds by being one of the very few racing games that has the potential to appeal to all driving game fans...its a quite staggering achievement for a first attempt and is a must have for any driving game fan - even if that means buying an Xbox in order to play it.'

What we say now:

Kristan: The Xbox's answer to Gran Turismo took a far more exciting, accessible approach to simulating racing than Polyphony ever managed. Upping the ante in just about every way that matters, Forza was like a racing fan's wish list, complete with such holy grails as online play, proper damage modeling and a deep and entertaining career mode. The sequel can't come soon enough.

Rob: It's probably just too hardcore for me - I like going fast as much as the next man, and things like Ridge Racer and Burnout get my blood pumping, but Forza just seemed dull and a bit ponderous, frankly. Most people I know who like this game also like arrogant right-wing tossbag Jeremy Clarkson, which probably explains a lot.

How well has it aged?

Not bad. Looks especially lovely on the 360 with a succession of detailed tracks and a great array of cars. The only limiting factor is the 30fps cap - something the upcoming sequel will apparently do away with.

What we said then:

'Honestly, if you come away unimpressed from playing RSC 2, we'd advise you to seek medical attention... no other title comes close to its startlingly lifelike environments, its impressively realistic yet fun handling system nor the overwhelming sense of fun that permeates the single player and most of all the multiplayer. Just buy it; it's as simple as that.'

What we say now:

The challenge these days is finding a copy.

Kristan: The Xbox graveyard is littered with overlooked gems like this one. It's really hard to fathom why the public consistently thumbed their nose at such obviously brilliant games like Rallisport Challenge and it incredible system-pushing sequel, but it comes down to timing. With competing rally games like Colin McRae and WRC already well established, it was a case of genre fatigue. Shame, because DICE's excellent take on the muddy branch of driving games trumped the lot of them in every sense, with the sequel boasting by far the best visuals, an accessible handling model, great damage system and excellent online play. Pick it up cheap and enjoy the best rally game on any system, ever.

Rob: I'm constantly surprised by how few people know about these games. They're absolutely fantastic fun, look gorgeous, and are the definitive rally games on any console - and they're dirt cheap now, too. Definitely one for the collection.

How well has it aged?

Simply put, RSC2 was one of the finest looking driving games ever made when it launched in 2004, and still looks the part thanks to the incredible attention to detail and stunning environments. Even the 2002 original looks great, and has the added benefit of being playable in cleaned up form on the 360.

What we said then:

'There's something so pleasingly honed about the overall structure of Deadly Shadows and how that integrates with the gameplay mechanic - and in terms of getting your money's worth, there are few games that suck you in quite as much. Playing for long periods never felt like an obligation - there was rarely a time when we were playing just to see what came next, but more because we wanted to. Deadly Shadows is the kind of console game you could have only dreamed of a few years back... it's almost the complete package.'

What we say now:

Kristan: The biggest tribute I can pay Deadly Shadows is that when I was enjoying Oblivion earlier this year, much of it reminded me of the opulent visual style and intense atmosphere that made Deadly Shadows such an engrossing game back in the day. Clearly Ion Storm overstretched the Xbox at times with trying to make the game look as beautiful as it does, but it's such a deliciously slow-paced pure stealth game that it matters little. Best played at night behind shut curtains and with a whole evening to spare, Deadly Shadows isn't just about great design, it feels crafted. One of the great lost Xbox games, no question.

Rob: I loved the Thief series, but this was probably the high point for me - intelligent, involving and amazingly atmospheric, it really did have everything going for it. It demanded a huge investment of time and concentration, which made it one for the long winter nights (a real January or February kind of game, if that makes any sense), but if you were willing to put the effort into the game, it was more than willing to reward you richly.

Tom: I bought this after much pestering, started playing it and then had to do some boring work or something, only to discover I couldn't find the disc again afterwards. To this day I believe it is simply hiding. Touché, Garrett.

How well has it aged?

So-so. You could argue that we wouldn't put up with such poor frame rates these days, but the trade-off then was staggering levels of detail that seem pretty normal now. In truth, some of the interface issues like the rubbish in-game map spoil it a little, but measured against the other stealth games around, it still ranks as one of my favourites.

What we said then:

'Role-playing on a truly epic scale, with an involving if mostly predictable storyline, hundreds of characters to talk to, dozens of tasks to carry out and several square miles of terrain to explore. If you want to lose yourself for a few months, Vvardenfell could be your holiday destination of choice.'

What we say now:

The Morrow of this story is Oblivion. Athankyou.

Ronan:Morrowind is broken. Anyone who has played the game knows this. Not only is it weighed down with bugs, but it's full of contradictions in gameplay too. It gives you unparalleled freedom to explore, but often punishes you for doing just that. It has monotonous, zombie-drone NPCs, yet they are strangely memorable for that very reason. Its combat lacks realism and action, but is utterly compelling nonetheless. In the days of hand-holding tutorials and pop-up advice bubbles, Morrowind's flawed freedom is a joy. Its alien landscape is perhaps the greatest example of a gaming world that isn't tailored to the player at every step, far more so than its brother Oblivion. So yes, Morrowind is broken - but we love it anyway.

Kristan: As is now well documented, Oblivion is my favourite game of the year. A true 10 out of 10 -yet many people bitterly insist that, in fact, Morrowind was the better game. I'm staying out of this one for now, but what I will say is that there are few Western RPGs with the scope and ambition of Bethesda's third Elder Scrolls epic, and what this game demonstrated beyond doubt was how important it was to have the hard disk in the Xbox. It gave developers the chance to developer (and port) the kind of games that up until that point had only been accessible to people with an expensive PC - and if this game did anything at all, it was to act as a stepping stone to preparing the console buying public for Oblivion.

How well has it aged?

If you're coming to it having played Oblivion, then the answer in technical terms isn't hugely positive. It's still a gorgeous and thrilling experience, and stands up as a great achievement, but it was every bit as buggy as the PC version that gave birth to it. But don't let that put you off if you haven't yet moved onto the 360.

What we said then:

'It's constantly surprising the gamer and reinventing itself with a seamless adventure that is as memorable an FPS as there has ever been. This continual evolution is consistently underpinned by Valve's masterfully understated storytelling techniques, wry, self-referential humour, warm characterisation and some of the most epic scenarios gamers have ever been pitted against. Despite some of its flaws, Half-Life 2 remains a thrilling sci-fi road trip that provides a tantalising glimpse of the possibilities of gaming.'

What we say now:

Antlions forever!

Kristan: Half-Life 2 still stands out as the benchmark shooter to beat. Not because it's the best looking, or the longest, or the most innovative, or has the best AI. Break down each element and you'll probably now find a game that has inched ahead in some small way, but put the whole thing together and it somehow towers above all the single player shooters. It's the way Valve manages to stitch together so many memorable set pieces and hugely contrasting sequences that initially beguiles. And then it backs up the whole thing by always remembering to give you new toys to play with, new enemies to topple and wrapping the whole thing up with great characters, a wonderful atmosphere and the usual subtle storytelling techniques. It's a game everybody ought to play. Putting a version on the humble Xbox seemed a ridiculous thing to do, but it just goes to show how brilliantly scalable the Source engine really was. There were very few compromises made in the end, and in many senses this maxed out what the Xbox was capable of, and will probably never be topped.

How well has it aged?

Despite the fact that we're drowning under the weight of high def shooters released lately, revisiting Half-Life 2 on Xbox is a surprisingly pleasant experience. As long as you don't play it on a giant TV, it's a wonderful looking game. Truly an immensely impressive demonstration of what the Xbox could do, visually. The lack of multiplayer didn't help its long-term appeal, and Valve was a bit mean not giving Xbox owners the freebies it was happy to dish out to PC players -especially given that they actually ended up charging more for this.