Set several hundred years after the demise of GlaDOS, we find Chell alive and kept in suspended animation at the Aperture Science Extended Relaxation Center. Normally occupants would be awoken every few months to verify their physical and mental well-being, but due to technical difficulties of potentially apocalyptic significance, Chell has been kept under for significantly longer; only regaining consciousness when the facility’s systems begin to fail. Joining up with Wheatley, a neurotic personality sphere voiced by Stephen Merchant, and once again making use of the Aperture Science Dual Portal Device, Chell begins to make her escape through the bowels of the facility. While the basic premise of “have portal, will travel” may not have changed, Valve has placed a significantly higher focus on the story this time around, making it central to the experience, rather than a subtle background element. While it’s impossible to talk about any of the plot without spoiling it, I can say this is easily the most entertaining work Valve has delivered to date. It’s genuinely difficult to put the game down and stop playing.

Although most of Portal 2‘s gameplay remains relatively unchanged from it’s predecessor, there have been a several alterations and additions to help set it apart. By far most obvious change is the lack of portal friendly surfaces within the test chambers. Where before you could shoot a portal just about anywhere and fling yourself past an entire puzzle, now you can only place it exactly where Valve wants you to. This is kind of a double edged sword as it stifles creative problem solving, but it also makes sure you work for your solution and don’t skip past an important segment. Valve has also placed Material Emancipation Grids behind every door, preventing players from standing on the button, shooting a portal through the door and exiting the chamber without completing it. Once you get a few chambers in the game starts throwing a few new ideas your way. First up is the Aperture Science Discouragement Laser; a constant beam of light that replaces the energy orbs from the original game and can be redirected using a special cube. Though primarily used to activate switches, the laser can also set turrets on first and act as an on/off switch for certain elements of a puzzle. You’ll encounter light bridges; long solid beams of light that can be extended through portals to create temporary catwalks. If positioned properly they can also serve as a great way to block turret’s line-of-sight.

After about 2-3 hours the game boots you out of the familiar Aperture Science Enrichment Center and sends you hurtling down to the facility’s lowest levels. Here you’ll be treated not only to an explanation of the company’s history, as told by it’s founder Cave Johnson (voiced by J. K. Simmons), but you also be introduced to Gels. Based of the concepts established in the student game, Tag: The Power of Paint, Gels allow you to coat the surfaces of the game world; giving them special properties. Repulsion Gel, the first one you’ll encounter, causes a surface to rebound any object that comes in contact with it. Propulsion Gel, on the other hand, causes you to accelerate as you run, allowing you to move at incredible speeds. By creating a path where the two Gel intersect it’s possible to create a launcher that will rocket yourself skyward with enough forward momentum to clear massive gaps in a single bound. Lastly we have Conversion Gel, a mind-bogglingly useful substance that allows you make any surface portal friendly. By far the single most interesting addition to Portal 2, Gels can easily give you the same sense of awe you experienced when you first learned to think with portals.

Moving into the final act, the game throws one last play mechanic your way in the form of Excursion Funnels. Essentially these are giant tunnels of gravity that will suspend you in the air and push you along a path. Like the light bridges they can be extended through portals, however they also have a distinct advantage of allowing you to reverse their polarity and use them as a giant tractor beam.

Clocking in at around 6-9 hours, depending on your skill, Portal 2‘s single-player experience offers a great deal of exciting gameplay at a reasonable length. However all good things must come to an end and like the original, this is a game that leaves you hungry for more. Fortunately Valve was ready to address this need and has included second co-op based campaign to give you another 4-5 hours of fun. Although no new play mechanics are introduced, the availability of four discrete portals has allowed to developers to create some significantly more difficult and involving puzzles that you’ll rack your brain trying to solve. Voice communication is an absolute must for a properly enjoyable experience, but there is an option to tag locations and set a countdown timers, so vocally challenged players can participate, albeit not as easily as their microphoned counterparts. Cross platform play between the PC/Mac and PS3 is available via Steam, but Xbox 360 users get the short end of the stick and can only play with other Xbox 360 users. Despite the general complaints surrounding PSN regarding it being a slow and unpleasant network, I experienced no latency problems regardless of which combination of platforms was used. Voice Chat between PSN and Steam works flawlessly.

Portal 2 is an easy shoe-in for Game of the Year, but honestly we knew that before the game even launched. The real surprise come from how well put together the little things are, like the phenomenal voice work and little background hints at the true history of Aperture Science. The quality of support for the PS3 version is also quite staggering. Not only do you get full steam integration, including friends lists and cross-platform multiplayer, but you get a complete PC/Mac copy of the game for free simply by linking your Steam account to PSN. Aside from being completely broke there is literally no good reason not to go out and buy this one today.

Verdict: Sell Your Soul to Buy It

NOTE: Screenshots from PC version. 1200×800 with Maxed visual settings.

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Set three years after the events on Blood Edward Island, we find the now 16 year old Ashley Mizuki Robins struggling to build a relationship with her estranged father Richard. Although he was around for most of the intervening years, it’s been six months since he was last home and Ashley’s emotions are beginning to become strained. One day a package arrives from Richard containing an updated version of the Dual Another System (DAS), a DS shaped communication device, as well as an invitation to come camping for the weekend. Ashley is hesitant at first as she had planned to practice for an upcoming battle of the bands-style competition, but on the insistence of her Aunt Jessica she decides to go. Shortly after arriving things begin to take a downward turn as Ashley is not only stood up by Richard, but also has her bag stolen by an unknown assailant. When she finally tracks him down and explains what happened he seems more concerned with the safety of the DAS than with Ashley’s possessions. The leads a huge “teen drama” style argument that forces Richard to reveal his true intentions.

Shortly before starting his new job, Richard received an email informing him that the man who killed his wife, and Ashley’s mother, wasn’t acting alone. If he wanted to find out the truth behind Sayoko’s death he would need to investigate JC Valley. While pretending to work for the company Richard carried out his own investigation and discovered that 13 years ago, when Ashley was only three, her mother brought her here. She never told Richard about this, so he knew it had to be for something important. Since memories are often tied to familiar sights, Richard had hoped bringing Ashley here would prompt her to remember something. The two sit down and begin to reminisce about Sayoko, but Richard gets called away to work, leaving Ashley to her own devices. She soon meets a young boy named Matt who has run away from home and is looking for clues to the whereabouts of his missing father. The two agree to look for clues together and then the real game begins.

Despite the hook of a murder-mystery, the bulk of Another Code R‘s story focuses on Ashley’s developing interpersonal relationship with her father, as well as the bond she feels towards Matthew who shares a similar past to hers. While the story of a teen girl struggling with abandonment issues and trying to find her place in the world may not sound like the worlds most gripping story, it’s told with such honesty and authenticity that it’s becomes instantly relatable. Dialog between the characters feels incredibly natural and familiar to anyone who remembers what it’s like to be that age. When Ashley fights with her Dad you can see the same emotions being conveyed that you would have had and if you’re old enough you can also see her father’s side of the debate. This creates a rather interesting sensation and internal conflict within the player. On the one hand you know what’s right, on the other you know why they can’t agree. Conversations are presented in a split-screen style allowing you to see the body language of all characters involved, further expanding upon the emotion already conveyed via speech. The animations are smooth and fluid, make the entire experience once again feel very natural and authentic. This is hands down one of the most unique stories I’ve had the fortune to play and one of the first to tackle real-life issues rather than just a purely fantastical plot. Later on the focus of the story will begin to shift back towards finding out the truth about Sayoko’s death, but by this point you’re so heavily invested in the characters that the quest takes on a whole nother level of meaning.

From a gameplay standpoint Another Code R sees a number of improvements over it’s predecessor, but still falls short in some areas. Movement, originally guided from a top-down perspective on the DS, is now switched to a side-on view where you move alone rails between locations. When traveling between areas that require a load, the game enters a sort of hyperactive running animation where trees and buildings snap out of the ground with a sort of rubbery effect. It’s really hard to describe, but looks incredibly cool. Investigating areas is handled via the Wii Remote, using the pointer to mouse-over objects of interest. Items that look particularly useful can be picked up and stored in an inventory, however until you encounter a puzzle that requires an object you may not be able to retrieve it. As with the original, puzzles are heavily based around the use of the Wii’s unique abilities and will often require an extra level of thought. One puzzle involving a music box that makes notes when you rotate it had me confused at first as I couldn’t figure out how to get it to move. The solution was rather straight forward; rotate the Wii Remote. Unfortunately the puzzles are still on the easy side, but the expanded capabilities of the Wii makes figuring them out a lot more interesting.

Another Code R is one of the best adventure games to have been released on the Wii, but there are still a few areas that need improvement. If the puzzles were just a little more challenging I could call this a masterpiece, but as it stand this is just a really, really good game. The quality of the story is unmatched by anything else on the console and represents the first steps towards the medium tackling real world issues that can’t be expressed as bullet + skull = die. If you’re lucky enough to own an EU Wii or have a modded one, please go out and play this game. But make sure you buy a copy so Nintendo knows that these are the kinds of games that we want more of.

Verdict: Buy It

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Originally a fake trailer for Robert Rodriguez’ South by Southwest Grindhouse Trailer contest, Hobo with a Shotgun has been expanded into a full-length feature film staring Blade Runner‘s Rutger Hauer. It’s a violent and bloody tale that captures the best parts of grindhouse cinema and backs them up with an unusually strong story and solid character development. Some may decry the film for playing it straight rather than laughing at itself like Planet Terror, but honestly doing so would only serve to cheapen the experience.

As the opening credits roll we’re introduced to the eponymous Hobo; a lonely drifter who rode into Hopetown looking for a brighter future and a lawnmower to call his own. Unfortunately not everything is in a name and Hopetown turns out to be little more than a desolate slum where whores lines the streets, graffiti covers every surface and the populace live in fear of a vicious crime lord known as The Drake (Brian Downey, Lexx). At first the Hobo tries to ignore the plight of the city, but after a run in with one of The Drake’s sons he’s forced to take action. Arming himself with a pawnshop shotgun, he sets out to clean up the city, one shell at a time. It may not seem like an overly deep plot, but the real mastery comes from how Eisener and Davies create a bond between the characters and the audience. For the first time in an exploitation film you’re going to care about what happens. You’ll feel the Hobo’s anger and frustration at the world around him. When he meets and forms a bond with the prostitute Abby (Molly Dunsworth) you’ll share his pity and remorse. When she gets hurt, you’ll hurt. You want these characters to succeed and when something bad happens it’s a real kick to the gut. Similarly you’ll learn to hate the villains as the embodiments of true evil. The Drake is an utter monster and his sons are little better. Slick (Gregory Smith, Small Soldiers), the favoured son, commits one of the worst acts I’ve ever seen in a film and were it not for the brilliant use of the song Burn, Baby, Burn (perfectly synced on two old school ghetto blasters) the scene would be almost too much to watch. When they die you will feel satisfaction. Despite its overwhelming violence and brutality, the film is not with out a sense of humour. Ivan (Nick Bateman), The Drake’s other son, is like a bizarre combination of Tom Cruise and Ric Flair who spouts ridiculous statements like, “Woooo! It’s a nice day for a rape”. He is a hilariously bad and overacted character, yet it’s clear this is exactly what the director was looking for and it works. Violent acts are usually balanced out with a comedic counterpoint so as to be fun rather than truly horrifying.

Being an exploitation film it’s clear that there’s going to be a lot of blood and gore. As is to be expected the bulk of effects are cheesy, low-budget and obviously fake, but this works well with the film’s general presentation. There are a couple of scenes early on where the gore is just bad, such as a one involving a foot being smashed with a hammer. It just doesn’t feel like it belongs. Special attention also needs to be given to the film’s cinematography and lighting. In the beginning most scenes are filmed with normal camera angles and lighting, creating a sense of realness and familiarity. However as the plot progresses and begins to depart from what one would consider normal, the camera work also begins to change to fit the mood. More and more often you’ll find scenes shot at a slightly off camera angle or using strong red and purple shades of light to detach you from reality and create sense of surrealism. This allows you continue to enjoy the film with out being broken out of your immersion by a “too ridiculous to believe” moment. There even appears to be an homage to Sam Raimi towards the end of the film that fans of his work are sure to pick up on.

For a movie that began as a fake trailer, Hobo with a Shotgun does everything it can to exceed your expectations. I personally went into the film expecting an hour and half of cheesy dialog and gore, only to be completely blown away by the quality of the production. This is more than just a good exploitation film, it’s a good film. Period. It’s a real treat to know that this kind of quality production can come from my home province of Nova Scotia and hopefully this is only the beginning for the talented Eisener and Davies. Unless you have an incredibly weak stomach go see this film.

Verdict: Must Watch

Hobo with a Shotgun is currently playing at cinemas across Canada. If you love film and want to support a home grown production, please go check it out. You can find participating theaters here

Hobo with a Shotgun is also available On Demand in the US and will hit Theatres on May 6th. For details checkout Magnolia Pictures

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Taking control of Sissel, the aforementioned specter, it will be up to players to save lives, solve puzzles and track down the truth behind his untimely demise. While this may seem like a difficult task for one lacking a corporeal presence, Sissel has a number of unique ghost abilities or “tricks” at his disposal to make this possible. The first is the ability to posses certain inanimate objects and manipulate them. This allows you to not only create new paths of movement between objects, but it also allows you to interact with the world; startling characters, disrupting events and even eliminating a few bad guys. You can also enter the Ghost World, a place where time stands still and you’re free to move about without consequence. Of course none of this is particularly helpful if the person you want to help is already dead, so Sissel has one more trick up his sleeve; the ability to turn back time. If you leap into the body of a person who is recently deceased you will be able to travel back to four minutes before their death. If you can work your magic and prevent their death from occurring, then their fate will be altered and they will be alive when you return to the present. While you can’t use this ability to prevent your own death as that would create a paradox, you can use it to protect a number of key characters, as well as to find out more information about your previous life. Once you’ve made a connection with someone’s spirit you will be able to communicate with them when you return to the present.

Like all good adventure games, Ghost Trick is based around a series of puzzles, but instead of combining random object A with illogical piece of crap B as is tradition, you’ll be manipulating the components of what is essentially a giant Rube Goldberg machine. By knocking an item off a shelf you could startle a mouse, which causes a character to chase it with an object that you can leap into and use to get the the other side of the room, where you can open a door to make a donut go rolling, causing a dog to chase it, et cetera, et cetera, et cetera. It’s a simple system, but there are often multiple routes available, making choosing the correct order of events a bit of a challenge. Fortunately if you screw up you can always go back in time and start again. While this does reinforce trial-and-error gameplay, you’re failures are often hilarious (swap a bullet with a hardhat to see what I mean) so it’s a tolerable experience. The game usually provides you with enough hints that you won’t get too far off course.

Although the fun of solving puzzles is a strong selling point, it pales in comparison to gripping intrigue of Ghost Trick‘s story. Sissel’s case of Ghost-amnesia serves as the primary driving force behind the plot and while you’d think that’s a tired cliché that’s been done to death, it’s actually used effectively to create a sense of doubt and confusion. What you think you know at the end of one chapter can be, and regularly is, proven false by the end of the next one. This isn’t the kind of mystery where the answer is staring you in the face from the beginning of the game, but is buried and well hidden. Until the final moments of the game it’s quite unlikely that you’ll have figured out the truth. Surprisingly despite its many plot twists the story never becomes a convoluted mess and backs up even the most ridiculous leaps of logic with solid explanations. Like Takumi’s previous works, Ghost Trick features a cast of crazy and colourful characters and as with the plot your feelings towards them will change dramatically over the course of the game. It’s easy to go from hating a character to caring about their fate and even feeling sorry for them. While their quirks are often exaggerated to the point of farce, such as Det. Cabanela’s dancing, it all adds to the surreality of the world and helps draw you in. This is just an all round better put together experience than what we’ve seen from the Phoenix Wright games and those were damn good in their own right.

Ghost Trick: Phantom Detective is probably most gripping game I’ve played on the DS, finishing it in only two play sessions despite its 10 hour length. Like a good book, once you pick it up it’s hard to put it back down. If you’re a fan of adventure games then this is an obvious no-brainer, but even if you’re not I strongly recommend you give it a try. If there’s such a thing as a must play, this is it.

Verdict: BUY IT NOW

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