Bad news, good video games

"Act of War: Direct Action" kicks off with videos of terrorist attacks, riots against high oil prices and slimy oil executives pow-wows.

Are we playing a game here, or watching the evening news? As the planet heads to hell in a hand basket, game developers, ever the optimists, are busily mining the bad news for game ideas. 

When this works, gamers reap the benefits of a thrilling story and more exotic locations than a Sports Illustrated swimsuit issue photo shot. When it doesn't, well, it's still not as depressing as the evening news.

Three recently released video games have the action bouncing from Lima to unknown urban streets populated by crooked cops. 

"Act of War: Direct Action"
As the title indicates, the energy crisis fueling the plot in this old-fashioned strategy game won't be solved with car-pooling. 

Like "Command and Conquer" and "Warcraft," "Act of War" is a real-time strategy game where play revolves around using available resources to build a military infrastructure, including things such as factories and oil refineries. You then use this infrastructure to create ant-like armies and tanks that you take to do battle against enemies assembling just beyond your field of view.

The enemies in the single-player version are the "Consortium," a shadowy army of terrorists who may or may not have a role in the energy crisis. Players assume the role of the U.S. Army or Task Force Talon, also U.S. military but in tighter clothes.

Good games, bad news "Act of War: Direct Action" Platform: PC Rated: T for Teen Price: $49.99 "Splinter Cell: Chaos Theory" Platform: PlayStation 2, Xbox, GameCube, PC Rated: M for Mature Price: $49.99 "Narc" Platform: Xbox, PlayStation 2 Rated: M for Mature Price: $19.99

The press release that accompanied my copy of "Act of War: Direct Action" boasted that Dale Brown, a "New York Times bestseller," wrote the original story.  I'm not familiar with Mr. Brown's work, but it's evident that the game makers believe they have a good story to tell.

Cinematic cut-scenes, some lasting longer than three minutes, are interspersed throughout the game. We see oil executives debating conservation, China's supply and the glories of drilling the hell out of the world. News bulletins report on riots and recent terrorist acts.

Cut-scenes break up video games and can often be as exciting as dirt. But "Act of War's" scenes are scarily relevant. 

Adding to the relevant factor are "Act of War's" finely detailed environments. Central London, for example, is a city of lush green parks and Georgian and Tudor buildings. Too bad it's gotta burn. As do parts of San Francisco, Berlin and half-a-dozen battlefields around the world. At least the cities look good as they slowly degrade into smoldering blocks.

The graphics are a main selling point, but "Act of War" also offers a couple novel features to the genre. Now players can be taken prisoner, or take prisoners of their own. It's also possible to occupy buildings and use them to direct fire. 

These improvements may mean little to anyone new to this type of game.  In fact "Art of War" appears almost hostile to the newbie players. Because games of this type offer the flexibility to control elements as large as a platoon and as small as a single sniper demand, it's required that they offer intuitive keyboard and mouse control.

"Act of War's" interface fails in easing the jump from large to small elements.  Expect to lose many, tiny army men as you stare, baffled, at the screen.

But what's a budding apocalypse without massive confusion?

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