Lost Planet: Extreme Condition

There are other elements to the combat too, not least of which is the presence of the aforementioned thermal energy, and data posts. The former has probably been drilled into you sufficiently by the Xbox Live single-player demo - an ever-decreasing number in the top-left of the screen represents thermal energy; its decline hastens in cold conditions; and you need to top it up by topping enemies and nicking their orange juice.

Data posts also refill your thermal energy, and they also furnish you with map data to access through your PDA (press the Back button - you know, 'Select' for Xboxes - and you can view this along with current objectives), and checkpoint your progress. On occasion in our preview build you need to take over a data post controlled by the snow pirates. We imagine there'll be full-scale fighting over them later on - particularly given that activating them is a case of standing next to one and hammering the B button for several seconds to deploy the post's communication equipment in your colours.

There are nice touches throughout. As well as being able to pick up weapons (two maximum, mind), you can also dig things out of the snow by rapidly tapping B when you come across a telltale icon. Elsewhere there are little hidden spinning coins that can be shot, presumably to help obtain Achievements. And, still our favourite, there's the ability to pick up one of the mech weapons when you're on foot and use it yourself (the other helpful thing about picking them up being the ability to rip something rubbish off your mech's arm and replace it).

One thing we haven't mentioned much yet though is the grappling hook, or "anchor". Deployed with X, it allows you to hop to rooftops, gangways and platforms above you. There's been some suggestion that it doesn't play much of a role, and it's true that it feels a bit shoehorned at times - with an awkward sequence that involves climbing the inside of a dilapidated building not exactly inspiring confidence. But in actual fact it can be quite useful.

For a start, if you tumble off a ledge it catches you, and allows you to rappel down or pull yourself back up. Moreover, it plays a tactical role in combat, where the high ground can be invaluable. Enemies can do a bit of clambering, but as in the game's second main level, the ability to scale higher planes allows you to avoid direct combat and make use of ranged weapons like the rocket launcher, or the satisfying sniper rifle. Being able to change approach rather than simply bounce off the same problem is a healthy sign.

What's perhaps less so is a range of technical, control and AI issues that render our copy of the game more of a promising preview than a solid first impression.

Often spectacular and seldom afraid of throwing its weight around - with gorgeous snowy vistas and snowfall effects particularly worthy of note - the frame rate is however noticeably dodgy in places. It's also possible to get into inescapable situations - sandwiched up against a wall relentlessly clipping through the Green eye's icy attacks on the prologue level, for example.

It's also impossible to say anything authoritative about the quality of the combat at the moment because your enemies are often incredibly hapless and unfinished. Cautious players can sit at a distance and snipe enemies with the rifle or machine gun, as they refuse to move or pay attention to people dying right next to them. In one particularly silly section, it's possible to avoid death in a room full to the brim with nasty thrashing insects by simply standing on a crate, while another bridge-top battle saw a worryingly flighty mech enemy help us out considerably by simply leaping off into the abyss below.

There's an awkwardness to the controls at this stage, too. Landing from a jump halts your momentum, so you tend not to jump. You also have to turn Wayne to face the way you want him to jump; realistic, perhaps, but maddeningly out of tune with what Prince of Persia and co. have taught us about intuitive platform game design, and in a game that includes its fair share of jumpy platform bits.

Wayne also can't look up beyond a certain angle, and the turning system isn't quite right. Even upping the sensitivity, you find yourself falling back on the bumper right-angle turns, but it's the middle ground between slight turns and those right angles that are most useful and yet hard to find; it might be better if the LB/RB buttons spun you only 45 degrees. Annoyingly, it's also impossible, in this build of the game at least, to alter any of your options from inside the game - you need to exit out to its main menus to do so.

Then again all of these things can be tweaked before release, and the signs overall are far more encouraging than they are discouraging. There's a variety in Vital Suits that sees you transforming into a snow-speeder, skating across deserts at high speeds, hover-jumping and clashing in customisable forms. Combat takes on many forms, with many still elusive. Objectives vary and settings are full of intrigue and set-pieces worth experiencing.

And if all that's not enough, Wayne's dad is called Gale, suggesting that the family's a reference to Natural Born Killers. Plus, we're not sure Gale's dead. Oooommm.