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Remarkably free of convention It is rare that one experiences a series of incredible titles over the space of the past six months. While the much-touted Doom 3 ultimately failed to deliver in the gameplay stakes, other big-name offerings such as Half-Life 2 proceeded to add a new dimension to the first person shooter genre. Thus it comes as a welcome surprise that The Chronicles of Riddick: Escape from Butcher Bay maintains, and even improves on the fine state of the genre. The first game created by the studio Starbreeze, The Chronicles of Riddick (COR) succeeds on all fronts, from its visceral hand-to-hand combat using fists, shivs and screwdrivers to its more traditional shooter elements. While predominantly a shooter, COR breaks convention by the inclusion to several truly innovative additions, all of which transcend the genre. The opening is impressively cinematic, with the camera tracking Riddick as he is led into the notorious triple-max prison, Butcher Bay. As in a film, the names of actors scroll across the screen, with Vin Diesel and Ron Perlman adding considerable voice talent to the mix. The score is remarkable, ranging from brooding and melancholy to moments of thumping action, worthy of any film. In combat sequences the music accelerates in pace, before slowly subsiding. Graphically, the game is amazing. Though there is little in the way of scenery (The game takes place in a prison, after all), the levels are unbelievably detailed, from the rust on the walls and lavatories to the patterning on the guards' armor. Lighting effects are well implemented, with realistic shadows. While not as precise as Half Life 2, the facial features of the main characters are well rendered and more than adequate. The gameplay is equally astounding. Within the prison Riddick can interact with other prisoners, each with their own voice and personality, and it is here that the innovative gameplay elements truly excel. Riddick can choose to fight his way through a brutal competition, to steal from his fellow prisoners, to bribe, and to trick his way through the prison. By providing the player with different conversation options, the game changes into an adventure-fighting game rather than a shooter. Stealth elements also play a major role in the game, with Riddick frequently having to shrink back into the shadows to escape detection. As a shooter, COR is also refreshingly different. Unlike other games of this ilk, there is no Heads Up Display (HUD) for health and ammo. Rather, the gamer must read the ammo remaining from the glow of the gun, and the health appears in small white squares at the top of the screen when Riddick takes damage. In this way the game becomes far more visceral than any other offering to date. During the game, Riddick also gains his notorious "eye-shine" ability, adding yet another dimension to the game. This gives a distinct advantage when the lights are disabled. The plot is simple but effective. Captured by the mercenary Johns, Riddick is taken to the seemingly inescapable prison Butcher Bay. The game revolved around his efforts to escape from this hellish jail. In conclusion, COR is a thoroughly entertaining game. The incorporation of other elements not found in other games of this ilk is both innovative and refreshing, and accompanied by a fine score, great voice talent and crisp, detailed graphics, COR is destined to be a classic, far better than its abysmal film counterpart. Please note, however that the game is abundant with expletives.