PlayMessiah’s Generation NEX

($59.99; playmessiah.com)

(five stars)

The patent for the original Nintendo Entertainment System has expired.

(For all of you that don’t know, the NES was the system that put gaming back on the map and gave students every excuse in the world for never turning in homework on time. )

I know some of you remember the good old days when graphics were in only two dimensions, to go along with only two buttons on the controller. Youngsters today have no appreciation of finding the “Minus World” in “Super Mario Bros.” or seeing if they can beat “Contra” in under 15 minutes.

All that is about to change. Now that the patent is up, everybody in their mother wants to make a system capable of playing games that are twenty years old. But I’m here to tell you that PlayMessiah’s Generation NEX is the only one you will want to take a look at.

Not only does the NEX manage to play almost all old NES cartridges exactly as old fogies, like myself, remember them, but they managed to shrink the console down to just a tad larger than an NES game. Even cooler: the NEX bears a striking resemblance the counsel of yore, but also has the ability to play Japanese-only Famicom titles (the NES is what the Famicom became when it hit state-side in ’85).

Though the NEX comes with its own controller that is modeled after the original NES gamepad, the controller inputs accept all old-school NES controllers including the NES Advantage and Zapper. So, if you’ve got the NES PowerGlove sitting in the back of your closet somewhere- break it out, you’re cool again.

Wait… strike that, no you’re not. You never were.

Additionally awesome is that the NEX pipes previously monaural sound into stereo for modern receivers, and is wireless ready. Additional wireless controllers, that can be purchased through PlayMessiah.com, mean you can rock “Kid Icarus” from across the room without tripping up the dog, kid, or spouse.

Mark Ecko’s Getting Up: Contents Under Pressure

(Xbox, PS2; $49.99, limited edition- $59.99; Rated M for Blood/Language/Violence; atari.com/gettingup)

(four stars)

Beneath one of the most bloated titles in the history of videogaming, lies a brand new idea from the mind of “urban” clothing designer Mark Ecko. Ecko’s story follows the subculture of graffiti artists in the not-too-distant future, and their struggle against the oppressive corporation/government that has stuffed out all freedom of speech from society. Protagonist, “TRANE,” is about to expose the corruption the only way he knows how- with a can of paint.

People who are turned off by the awkward title will never know the great qualities of “Getting Up.” The game isn’t nearly the urban-actioneer one would expect. Instead, the game plays out like a modern-day “Prince of Persia,” requiring intellect and problem-solving skills throughout the environmental platform puzzles. Sure, TRANE may have to ultimately slap his tag on a freeway sign, but getting across traffic, shimmying across pipes, and making death-defying leaps to get to the sign is all part of the challenge.

Like “Prince of Persia,” “Getting Up” has combat against rival gang members and those squares working for The Man. The combat feels clumsy, as the response between pressing a button and TRANE throwing a punch feels way too delayed. Although TRANE can grapple, spin kick, and even use a lighted spray can as a flamethrower, the combat is the weakest part of the game- a disappointment, especially coming from developers such as The Collective who have made their names on action/combat titles (“Indiana Jones” and “Buffy the Vampire Slayer,” for those of you playing at home).

One of the best aspects of the game is its soundtrack that is licensed up the wazoo with hip-hop to suit every situation. An all-star cast featuring, among others, George Hamilton and Adam “Batman” West is nothing to sniff at, either.

The biggest irony of the game- yes, bigger than doing an “urban” story with George Hamilton and Adam West- is the restrictiveness of the graffiti that players can choose to use. Tags are set to a select number, and more can be unlocked as players proceed through the game, but oddly, there is no option to create your own tag. It would seem the developers should have allowed gamers to release their inner-vandal. After all, shouldn’t a game based on free speech allow gamers to unleash theirs against the game? If nothing more, it would help the player “become” the rebel protagonist, rather than filling the shoes of some guy named “TRANE.”

At any rate, if a chilled-out vibe is what you need after all those shooters out there, pick up “Getting Up” for a fresh feel. While you’re at it, grab the “limited edition” which comes in a way cool metal tin, DVD soundtrack, and a silver Sharpie for your own self-expression outside the game.

Review: Full Auto

(X360; $59.99; Rated T for Violence; segalabs.com)

(Three and a half stars)

After the initial rush of release titles, the catalog of new games for the Xbox 360 has been as sparse as the supply of 360 units in stores. “Full Auto” was released to quench our thirsts for new experiences. But instead of being a frosty mug of ale on a hot, summer day, it’s more room temperature- still satisfying, but not quite as good as it could be.

“Full Auto” combines the mad-dash racing of “Burnout,” the bullet-ridden carnage of “Twisted Metal,” with the time-control of “Prince of Persia.” Surely the combination of these three stellar franchises would produce a game so action-packed, so competitive, that it would revolutionize gaming as we know it.

Not Quite.

What “Full Auto” has going for it, are fully destructible environments. Nearly every building, structure, vehicle, or sign can be blown up, obliterated, or fashioned into a makeshift roadblock for opponents. Not only does it behoove racers to use their forward and rear weapons to take out enemies, but causing rampant destruction also adds points which help determine whether racers get the gold, silver, or bronze. It’s not always about finishing first, sometimes it’s about being the last man standing.

Literally.

With as much action going on in the game, there is very little slow-down, but there are portions of each track that feel graphically tighter than others. From a graphics standpoint, “Full Auto” still doesn’t feel like a next-generation title. Closer, but not quite there.

Players get to pick from good selection of cars, and then drop heavy firearms on the front and back of their racers in order to blow up anything or anyone in race to 1^st, but the game stumbles with uninspired racetracks, and restrictive weapon combinations. There just isn’t enough variety here to keep players interested throughout the single-player experience. Because all the vehicle types and weapons are instantly available in multiplayer, there’s not much incentive, beyond unlocking 360 “Achievements,” to spend time in the solo campaign.

Although online racing is one of the most rewarding aspects of the game, the “Unwreck” feature- the ability to rewind time in order to avoid certain collision- is unavailable in multiplayer. This means players have to be more cautious racers online in a game built around the risky motorist, again holding back the ultimate fun that could be had if the time-manipulation was creatively handled for multiple players.

The game is wonderfully fun, but the fun wears thin after a short while. Tweaks, tightening, and time could make a “Full Auto” follow-up the must-have title that “Full Auto” should have been.

Still- do experience this game- if only as a rental.