Xbox 360 games on playstation 3

Finally you also have to consider that other than normal exclusive games, a new generation of timed exclusives may also come into play, especially on Xbox This may influence some people, especially when they affect big titles such as Modern Warfare 2 and who knows what else in the future. So who knows, some future content or even a full game that you have been looking forward to, may be delayed before it is released on the other console.

Whatever console you choose for your gaming will come down to the exclusives and the style of game you wish to play. Sony and Microsoft do take a different approach. Many small details set The Last of Us apart from so many other post-apocalyptic and zombie-infested games, but the most immediate is the state of the world afterward.

As we see with any place civilization has built up and left behind, nature takes over quickly. The Last of Us is, without question, the most vibrant end of the world we've seen. The core of the game, though, is the relationship between Joel and Ellie, a girl immune to the spores that have infected so many other people, and the way that relationship develops as they travel west together. Joel never fully recovered from the loss of his daughter, and his method of coping with it in this new world is not a peaceful one by any means.

Ellie, on the other hand, is young enough to have no idea what the world looked like before everything went to hell, but just old enough to start understanding the kinds of things adults understand about the world and the people in it.

The interaction between the two and the other people they meet isn't just some of the best writing we've ever seen in a game, but some of the best dialogue we've seen anywhere. As the two go through hardship after hardship, we learn that Joel isn't exactly a good person — he might actually be a bad one — and that Ellie hardly needs protecting.

Their relationship transforms from protector and protectee to something more like father and daughter, only Joel watches his daughter grow from child to independent adult in just a few months. Many games, even great ones, fall apart at the ending, forcing a boss battle that doesn't tell a story but fits into a standard video game framework that many developers feel they need to adhere to.

The Last of Us , on the other hand, nails its ending. The final sequences of the game sell the relationships and themes that the other events have been building up to. The final shot of Ellie tells you everything you need to know about her state of mind and what she's been through. You and your closest friends are on a suicide mission deep behind enemy lines.

Bullets are whizzing past your heads, explosions are erupting in your face and a maniacal immortal being is inhabiting the bodies of fallen enemies and supercharging their abilities. Which ally do you trust the most? How well do you understand their natural talents? Who is best served fighting at your side and who would be best leading another squad?

How do you feel about possibly sending one to certain death? This is Mass Effect 2 , the highlight of the series and if I had to pick one, the greatest game of this past generation. The illusion of choice in video games never had as much weight as it did with this climax of the ages.

Taking down the Collectors one a time, trusted comrades likely to fall in battle with one lapse in judgment, the fate of the entire galaxy in your hands. Dozens of missions, deep RPG management, and an unrivaled level of world-building all worked together in creating this perfect game. BioWare entered this generation with a promise of delivering a science-fiction universe worthy of its strong storytelling roots, and it delivered on all fronts.

Perhaps more so than anything else though, it was the perfect characterization of this game's brilliant cast of characters that held the most weight. Who can forget Mordin Solus, Salarian Scientist and my favorite character of this last generation? Each member of Shepard's crew is a fleshed out and nearly living person that nobody would not to see die in battle, making loyalties and decisions just that much more important.

And then there is Shepard, you. BioWare's customizable avatar brought the fate of the universe into your vantage point. Your decisions, your style of play and progression, your appearance. Mass Effect was just that special because never before had any game made you feel so involved in evolving conflict around you.

BioWare had to skimp a little on its grand vision it had with the first Mass Effect to bring this streamlined game to the masses, but there isn't a nerve in my body that makes me think it wasn't worth it. Mass Effect 2 was in a class of its own this previous generation. As much as we gripe about not having Half-Life 3 or joke about how confirmed it is, we undeniably saw Valve's charm in this last generation, as well as their move to put their new games on consoles with Left 4 Dead and Portal.

Portal , especially, was a massive surprise. When The Orange Box came out, most gamers were picking it up for the collection of Half-Life 2 titles and Team Fortress 2 in one very nicely priced package. Then we all loaded up Portal and had our minds blown. It was some of the tightest, most fluid gameplay I've seen combined with some great acting and ambient storytelling.

GladOS was simultaneously hilarious and menacing, and her world, the Aperture Science laboratory, was artfully crafted to be believable, both sterile and decrepit, and always in service of the gameplay. Then a couple years later, Portal 2 comes along and shows us how much child's play the first was on all fronts. Valve somehow managed to stretch the game out to roughly ten times the length of the original without it getting tiring by thinking up new ways to approach the portal idea as well as creating some more non-murder guns that gave us new ways to play with levels.

Even more, the story is a great extension of the original's minimalist approach. GladOS, on her own, would've gotten stale in a few hours. But then we had the constantly frazzled AI known as Wheatley to guide us along and recordings created by Aperture Science's founder, Cave Johnson. The original game was a veritable meme factory in terms of memorable, quotable lines, and somehow the team behind the second one struck lightning again.

And we haven't even talked about one of the best cooperative modes we've seen in a long time in games. Often times, games assume or require a certain skill level for multiplayer, whether it be a matter of competition in an online shooter or just control dexterity to keep up in co-op, games expect that you and your partner, whether it's your parent, spouse, sibling, or possibly non-gaming friend, be at the same level.

Portal 2 gave us a fun, engrossing cooperative mode that was friendly to all skill levels without making it feel unchallenging for those with more experience. Platforming bliss. That's how I described Rayman Origins to a good friend of mine back when the game originally released.

Ubisoft was trying something a little different. They created an all new engine, the now famous UbiArt Framework, and they let Michel Ancel and a few others develop a wacky, 2D platformer with an emphasis on brutality and humor. Origins starts out easily enough.

A few worlds into the experience, though, and you'll find that collecting and beating everything the game has to offer will take an exceptional amount of skill and patience. That goes double when you unlock the final world and take on those stages. Brace yourself, friendo. Buttery smooth platforming, gorgeous art and a soundtrack that had me humming along through each of my playthroughs once on the Xbox and again on the PS Vita , Rayman Origins almost immediately won a spot on my list of favorite games ever made.

It's charming, and it still makes me smile. If this were a ranked list it's not, but let's pretend it is for a second , I'd push exceptionally hard for Red Dead Redemption to nab the number one spot. No other game from the past generation, in my opinion, achieved the same sense of grand scale, cohesion, desperation and life that this one managed to achieve.

Here we have a genre of film and media that's gone largely untouched by the gaming medium, and Red Dead Redemption services it oh so beautifully. On one hand, you have a world that feels completely alive. New Austin breathes, seemingly, regardless of whether or not you're there. Its citizens and wildlife all live amongst each other, and you're just a man trying to bring justice to an old familiar gang.

That life bleeds into the overall scope of the game. Red Dead Redemption is, at its core, is about the slow creep of the industrial age into the west. It's about the death of this lawless and lively land, and those components pile up to give the game's environment a feeling of fleeting adventure.

I'm not normally the type of gamer to replay open world titles again and again, but I've visited Red Dead Redemption more times than I can count. I'm in the middle of a play through right now, in fact. The game ages beautifully, and I imagine it will be one of my favorites from now on.

War is hell. Video games love to paint war as a patriotic action film or an online sport because it sells well, but in actuality, real people die in war. Soldiers make bigger decisions than just blindly pulling the trigger, and there is no respawning for the enemy soldiers and unarmed civilians who get caught in the crossfire.

It took a barrage of awful modern warfare games to cause us to forget that war is not a game, but a single storytelling masterpiece was all it took to bring us back down to Earth, Spec Ops: The Line. This haunting retelling of Heart of Darkness set amongst a sandstorm ravaged Dubai hits all the important notes of reminding just how awful war can be. Yager Entertainment has our protagonist make a single bad judgment call from the start of his mission, and from there, his mission collapses into one of unnecessary murder and tragedy.

Of course, none of this is realized to most gamers while playing, who go about linearly from gunfight to gunfight like its just another action game. Our protagonist keeps babbling about the sense of duty that pushes him on, and because we are so entrenched in the mindset of modern warfare games, we easily accept the horrible things he has done.

Not until the game's climax do we finally sit back and realize how horribly wrong we were for playing this game. Our protagonist didn't do all those horrible acts alone. We helped him do it. We controlled him and pushed him through it all. No we were never given the choice not to, as most AAA games would provide us with these days, but we still chose to continue his rampage, serviantly pressing on because that's just what you do in games.

When you are finally given a choice a single choice at the end of how to proceed, Spec Ops: The Line totally catches you off guard and how you react to the climax's concluding moments should speak a lot to the kind of person you are. Spec Ops: The Line 's story is genius enough to overcome the barebones third-person shooter gameplay. It sports some great graphics, especially the sand effects, and a few decent set pieces, but it is this haunting narrative which puts it worlds above the multimillion dollar AAA modern warfare scene.

It's a diamond in the rough and a sadly overlooked game of the last generation, calling out all of the nonsense the competition asks you to swallow. The gamble 2K Games took on publishing a risky, challenging game like this shows why it is the best of our AAA publishers from the last few years. For all my time with the Wii, one game stands tallest as the masterpiece on the console.

That game is Super Mario Galaxy 2. Nintendo took their fabled plumber and twisted his classic mechanics around the spheres of heavenly bodies for an adventure that provided some of the best platforming of the last decade. Levels are varied, sections are challenging and the game is lengthy enough to warrant full repeat playthroughs.

Now, Super Mario Galaxy certainly pioneered the style for this duo of games, but it was 2 that stood as the masterwork. Miyamoto honed in on what made the original game so strong, got rid of the fluff, added Yoshi and delivered a game that was somehow even better than an already astounding effort. I always hear rumblings of games that deserve new generation ports. One that I'll always say "yes" to is Super Mario Galaxy 2. It looked great on the less-than-HD Wii, but imagine an HD bundle that brings the first and second together with bonus content?

That sounds downright amazing to me. The blood, sweat, and tears Team Meat pumped into Super Meat Boy went miles in helping thousands of would-be game developers realize their dreams, and it put us on the path for the most exciting scene in video gaming: indies.

At its heart, Super Meat Boy is the most basic of 2D platformers. Running and jumping are the only abilities available to Meat Boy, and this simple approach lies at the core of designer Ed McMillen's design. Our hero never changes and never grows; he'll always be the same character. It is the world around him that changes, making his limited moveset capable of infinite possibilities. Each added element expands the level design exponentially, constantly building new and exciting new situations to slog through.

Missiles, salt, magnets, blades. Poor Meat Boy will pay the price of a hundred painful deaths while you learn the ins and outs of each new element and each level just to nail that perfect run. Best of all, he'll never be stuck because he has the wrong tool, and he'll never lose to a boss because he isn't high enough level. This simple philosophy, which we sadly see so little of these days, puts it on the player to improve his skills and rise to each occasion.

There is no greater feeling in gaming than finally achieving a goal after failing a hundred times. No game this generation delivered that better than Super Meat Boy. No game felt so rewarding for success, and no game did it with such basic game design. Even as far back as the first Ninja Gaiden game on NES, game designers have been chasing the ghost of Hollywood, trying to find ways to make games more cinematic, more emulative of the movies they grew up watching.

This has led to some pretty egregious developments, like quicktime events, but it's not all bad: We got Uncharted 2: Among Thieves. Uncharted 2 is, aside from a few thousand bullets, as close as we'll ever get the style and pacing of an Indiana Jones movie. Uncharted: Drake's Fortune was a fine game, but the sequel is where Naughty Dog cemented themselves as more than just a developer known for creating platformers.

The game started by improving on the ensemble cast that made the first one work, not only adding to the existing cast but improving on those originals as well. Drake is a charming character, but without Elena and Sully to balance him out, I think he might just seem like a bit of a sociopath. With those two along for the ride, though, Drake becomes one of the funniest and most charismatic characters in video games.

From there, though, we get a game filled with memorable set pieces, and that starts right at the beginning, when Drake wakes up, wounded, sitting on the seat of a train.

A train that happens to be hanging vertically off the side of a mountain. Another sequence involving that same train — later in the game but earlier in the story — has the train chugging up a mountainside railroad. Instead of condensing this into a couple cutscenes, the whole sequence is interactive.

As you work your way up the train, the background changes from jungle to mountainside to snowy crags. The sequence shows just how much care the team behind the game put into sequences like this.

The set pieces, though, never overshadow the people in them. Drake's relationships with Sully, Elena, and Tenzen are still the center of the game, something Uncharted 3: Drake's Deception lost sight of. The final boss battle is kind of a slog, but it doesn't diminish the gorgeous sets, excellent writing, and exciting climbing throughout the rest of the game. You might have noticed the discouraging lack of Japanese video games on our list.

Sadly, Microsoft's Xbox and the rise of the Activision and EA machines brought a very Western oriented focus to the industry, one very few companies in Japan were able to keep up with. Before this hostile takeover occurred and funds were diverted elsewhere though, SEGA's former Overworks team, recently reshuffled into SEGA at the time, pumped out Valkyria Chronicles , the generation's best game to encapsulate all that was once great about Japanese RPGs.

Backed with a full budget and the minds behind classics like Skies of Arcadia , SEGA set out to do what was once impossible. Its features include PlayStation Plus, a subscription service that gives early access to game betas, demos and premium downloadable content, the PlayStation Store, where players can buy downloadable content, and online gaming with other players. The Network has over 90 million registered users.

The Xbox uses Xbox Live, an online gaming service that is available both free and for a subscription. It allows users to join message boards and access the Marketplace to download purchased or promotional content.

Users can also download classic games from the Xbox Live Arcade. Xbox Live has over 40 million users, and players can connect using their high speed cable or DSL internet connection.

Bestselling games for the PS3 include Grand Turismo 5 7. Xbox also has Minecraft. Share this comparison:. If you read this far, you should follow us:. Diffen LLC, n. I've tried both. They're even for the most part.

My ps3 just gets used more. Xbox Better price, more of your friends probably have one. Ps3: Free internet multiplayer, plays blu rays. Funny how every xbox fanboy uses the fact that we got hacked big time.

I'm sorry that we got hacked by the same people who hacked into government databases. Xbox couldn't be hacked by those people could they? They didn't attempt. It's ignorant of you to say they couldn't hack xbox. I have both.