Well, our regular subscribers will have surely noticed that it’s been a little quiet in GR land the past few weeks.  But fear not, we have not forgotten you, our loyal minions of return minionness.  It5’s gotten back to that time of year when everyone, even we, your review writing lords, have a lot to deal with.

At present, our duties consist of :

1) Shouting at the TV

2) Shouting at each other

3) Shouting at ourselves

4) Eating cake

And E) Sleeping in the garden

However, come the other side of the new year, bot the Reaper and I will return with an impressive line up of both new and old games for you to sink your teeth into.  I don’t want to go into too much detail about our little secret project, but I can assure you it is something on a scale not previously considered.  Something that has been made possible only now through the keen application of Ebay, an old CRT Television and a lama called Steve.

We will also be briinging you Fallout 3 for both Playstation 3 and PC, Siren Blood Curse, Rainbow Six Vegas and several more titles that you may still be uhming and ahhing about that we can, perchance, inform you correctly about.  Both the good and the bad aspects.  Watch this space my loyal minions, thine faith shall be rewarded.

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IN 2001 TEAM Ico wowed us with their first foray into the gaming market (see below). Four years later they returned in top notch form with their second. Interesting pattern emerging as their next game is due for 2009, but I digress. Once again, they pushed the Playstation 2 to a whole different level. Where their first offering had wowed us with a phenomenal scale and outstanding use of colour, Shadow pushed us even further. The sheer scale of the environment is staggering, with a draw distance that would put many companies to shame, and a quality of animation that stands up to even the best offerings from our current generation of gaming. Look back recently, I’m increasingly excited to see how they will utilise the Playstation 3 and it’s eight processors. That’s right, the Playstation 3 has eight processors. Though only seven are used for gaming, whilst the last is reserved to run the console itself (this is why we can still access the menu and messages and suchlike whilst a game is running). So, bearing in mind that your average computer only has two, it should give you some idea of just how much they now have to play around with.

But for the moment, let us focus on their last generation games. Considering the phenomenal showing we have from them, and noting just how much they were able to improve for this sequel, perhaps you will become as excited as I am. However, despite the technical achievements, I have to say that, personally, I prefer Ico. Not because Shadow is in any way flawed (far from it) but I enjoyed the style of the game more. Leading Yorda around by the hand, solving puzzles, keeping her safe from the shadow creatures, all that kind of thing. It made the game feel less lonely because you always had some company. And that physical contact, though it was only witnessed on screen, was comforting. Giving the game a very fairytale feel.

Shadow of the Colossus, on the other hand, takes that same fairytale basis, and twists it round to something much darker. Even the opening cinematic shows the oppressive nature of the experience, which is prevalent throughout. The original tag line for the game “how far will you go for love?” warns us ahead of time to expect something far more tragic. And in this, we are certainly not disappointed. The most interesting thing about this, is the apparent lack of intimacy between our unnamed hero (though in Japan he was named as Wander, in the rest of the world not definite name is given for the protagonist, leading many to suspect that it was poor translation) and the young woman he brings to the valley of the Dorminn in hopes of resurrecting her.

Though it is clear he obviously cares deeply for the woman because he goes to extreme lengths to revive her, the “love” he has for her seems to be very much that of someone watching from afar. Bur, again, Fumito Ueda-sama reminds us that the specifics of the plot are left intentionally open ended, allowing us to, again, take our own impressions from the game. One thing we know for certain, is that Shadow is a direct prequel to the events of Ico, and the events at the very end show us a clear indication of exactly how the two are related. But beyond that, it’s all very subjective, and the conclusions I have drawn may differ from your own. This is the true beauty of Shadow. It’s lack of clearly defined plot developments lead us through a very personal, and truly outstanding dark fairytale.

And the colossi themselves are truly staggering things to behold. The smallest of them makes up for its apparent size disadvantage (compared to the others at least, as it is still considerably larger than our erstwhile hero) by it’s aggressive nature. Whilst the largest is huge. Larger in itself than the entirety of some past games. Yes, it really is that big, especially when considering the colossus itself, and the area surrounding it which allows access. Another major thing to consider is the masterful use of the camera. Whereas in some games, having the camera suddenly shift to show a different angle can be a real nuisance, the way it has been utilised in Shadow is often not just to give us a breathtaking view, but also to allow us the most convenient line of sight for what must be done next. Namely, to find the colossus’ weak points, and plunge your sword into it. This seems to release some kind of magical energy in a great rush that looks something similar to a spurt of oil from the ground. But getting to those tender areas is no mean feat, leading to the colossi themselves being immense, free roaming environments to explore.

All in all, this second game from the outstanding people at Team Ico is certainly amongst the very best released on the Playstation 2, and quite possibly one of the best games at all. It has a lot of diversity of gameplay ranging from horse riding, to climbing, to archery and much more besides. And the sheer scale of not only the colossi, but the entire, beautifully rendered valley, with it’s hills, and forests, and deserts and lakes, leaves us wondering how on earth they managed to fit it all in. Especially when we consider that the colossi themselves have not suffered from a lack of AI. Those which we find to be a bit dumb have clearly been intentionally programmed that way. I mean, consider it, if you were six hundred feet tall, would you really be too concerned about some guy who’s barely five feet in his stockinged feet?

I think not.

Graphics: 9.5/10
Gameplay: 9/10
Audio/Music: 9/10
Plot/Scripting: 8.5/10
Overall: 9.5/10

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A HORNED BOY.

A girl in white.

Welcome to the fairytale world of Ico.

Now seven years old, the fact that Team Ico have produced only one other game since, and are currently in production of their third, should go a long way towards proving just how phenomenal it must have been. And still is. Featuring arguably the most impressive visuals of any game this far produced, and a haunting soundtrack that as all the more poignant for the fact that the game relies far more on a distinct lack of music to create mood.

The basic premise is fairly simple. You play a young boy of approximately ten years of age who was born with a set of horns growing from the sides of his head. This seems to be some form of taboo in his local village, for reasons which are never really explained. The game opens with a group of men on horseback walking up a winding path through some woods to an immense fortress which has clearly seen better days, and is on it’s own island accessible only via a large bridge, or by boat. The decrepit nature of the architecture is important to the plot, as it is a combination of this and the young boys ingenuity which allow him, and the young girl Yorda, to ultimately find their way to freedom.

When I first heard about the game, specifically the focus on leading the young girl (approximately fourteen or so), barefoot and dressed all in white, by the hand, I was more than a little dubious. The symbolism of it all seemed just a little too strong, and I was concerned that the focus would be far too suggestive in nature. However, unlike many Japanese productions, this was simply not the case. Innocence and corruption are far more important themes than simple sexual innuendo. Or rather, that was the impression I took from it all. And as Fumito Ueda-sama (the Director and Lead Designer) has said, he intentionally left the specifics to be somewhat vague. Arguing that it should be a unique experience for each player, and that it should be left to us, as individuals, to take from it what we will. Something which I and many other fans of the game, agree that he has succeeding in creating.

There are a number of factors which combine to make this game such an outstanding experience. Not least of which is the animation style. Utterly mind blowing for the previous generation of gaming (when it was released) and still a major contender in the High Definition era. Rather than focusing on a push for photo-realism, the environments are rendered purely to be as stunningly beautiful as possible. Lush colouring, beautiful clear water and glare from the sun being only some of the things which combine to make this a truly breathtaking game to behold.

This game really was the first time when I played it again simply for the joy of pausing to look around me. Either to watch the water lapping against the shore, or to see the high peaks of mountains or other parts of the island fort in the distance. Almost everything you see along your journey can be reached at some point, which means you have the opportunity to think about potential obstacles and work out solutions far before actually being confronted with them. And this is extremely useful because the puzzle solving side of the game is far more integral to progression than bashing away at the strange shadowy creatures which will attempt to drag Yorda away.

If you should happen to ever find yourself struggling to work out what you need to do next, then turn to Yorda herself. She’s a smart girl and will often be able to work out what needs to be done to move on quickly. Though she will rely very much on the player to do much of the work. Such as moving weights onto pressure pads and climbing chains to reach areas that are otherwise inaccessible. It could be argued that Yorda’s apparent infirmity is sexist and degrading, but when you consider you first find her dangling hundreds of feet above the ground in a cage, perhaps it’s not so surprising that she seems to be a little lethargic at times. After completing the game for the first time, there’s even the option of changing to a two player mode which is nice, but would probably have been better if added as an option from the start.

Still, the game is a true joy to play, and though short, there’s so much symbolism in there that each time you play through it there will always be something else to think about. Though it would have been nice if there were alternate methods of solving puzzles or multiple paths to explore. It’s not a game for everyone, especially those who prefer a far more action packed experience, but for the people who are interested in an engrossing, thought provoking, completely beautiful experience, Ico is about as close as you can come, and firmly proves that you don’t need amazingly advanced technology to produce stunning visuals.

Graphics: 9.5/10
Gameplay: 8/10
Audio/Music: 9.5/10
Plot/Scripting: 9.5/10
Overall: 9.5/10

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Also check out Avatar: The Last Airbender-Into the Inferno, Avatar: The Burning Earth and Avatar The Last Airbender!

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1 player action/adventure
Publisher: Eidos Interactive
Developer: Crystal Dynamics, Buzz Monkey Software
Release: June 5, 2007
ESRB: T (mild suggestive themes, violence)

“LIVING IN THE PAST ISN’T USUALLY A GOOD THING”

Unless you happen to be Lara Croft, of course. Lara’s back, reliving her first adventure in celebration of the original game’s ten year anniversary. The folks at Crystal Dynamics threw her one hell of a party too, plucking the best moments from the first game and combining them with some new features spawned over the decade. The result is one impressive combination of nostalgia and innovation, even on a platform that’s been dwindling away in the shadow of its successor.

So how are these two elements balanced in Anniversary? The plot is parallel to the first game: Lara is contacted by Jacqueline Natla to recover one of three pieces that comprise the lost Scion of Atlantis. Lara accepts, prompted by the research she and her father had done on the Scion, and sets off for Peru.

As the story unfolds, Lara travels to the other three original levels; Greece, Egypt and the Lost Island of Atlantis. The sub-levels remain almost identical to the original’s layout, with the only exception being that the Cistern and the Tomb of Tihocan are now merged together in the Greece levels. There are also some very minor changes in the titles of a few of the sub-levels, but it’s doubtful that anyone except the hardcore Tomb Raider fans would notice them.

To get the full scope of how much the game has evolved from its humble beginnings, you don’t need to look much further than the legendary Croft Manor. We saw a stunning overhaul to the Manor in Legend, yet Crystal Dynamics felt the need to do it again for Anniversary.

It’s gone way beyond being just the training level, even though it is advised to give it a quick run-through before diving into the real game. It’s packed with enough puzzles and gymnastic feats to keep the hardened Tomb Raider fan busy for at least an hour. It’s a delightful sneak peek of what’s to come in the game.

And the game does deliver. With the addition of a few new moves, the developers expanded upon the levels in a way we could only dream of while playing the original. Lara can now perch on top of poles, and the grappling hook made a comeback from Legend.

If you wished you could able to swing along a wall with a great view of the Sphinx in 1997, it may have taken a decade, but your dream has come true. The introduction of the adrenaline dodge system is interesting, but takes some getting used to. It’s a fantastic device to use against bosses; however against regular enemies it seems rather pointless.

The levels themselves are shorter than the original’s, but you rarely see games the length of the ones released in the late 90’s anymore. It’s a lot longer than Legend though (a reason for rejoicing for those who felt Legend ripped them off a bit). The most notable levels of the first game—St. Francis’ Folly and Midas’ Palace—were completely revamped, yet still inspire the same breathtaking moments of the original’s.

The best example of this is the fire room in Midas’ Palace. What used to be a room that required well timed jumps on top of igniting pillars has become a truly hellish environment that pushes Lara to the full extent of her physical capabilities. Even though some things were left out for the sake of streamlining gameplay, you’ll be hard pressed to find a level that disappoints.

What the game boasts in content however, it lacks somewhat in visuals. There’s no getting around the fact that the PS2 is a last-gen console, and it’s just not up to what the PS3 or XBOX 360 can do. That being said, the graphics aren’t horrible, it just feels at times that they could be better. Quite often they feel muted, almost as if a slight haze is hanging around.

The camera is also an issue with quite a few people. While the camera angles felt smooth and updated in Legend, it feels as if they have taken a step backwards in Anniversary, feeling shifty at times, and being way to close to Lara at others. It’s nothing that a few seconds of adjustment won’t fix, but you have to stop and wonder why the option to have it fix itself like it would in Legend was left out. Luckily, after a level or two you will have adjusted to it.

People who like nitpicking games might notice that some of the textures and floor and wall tiles are a bit repetitive at times, though it’s doubtful if this will affect anyone’s overall opinion of the game. The one area where graphics have improved without question though is Lara herself.

Ms. Croft has come a long way since we first met our favorite video game heroine, leaving behind her polygonal body in Angel of Darkness and never looking back, and with good reason too; she’s never looked better.

Even though the game isn’t perfect, it’s simultaneously a huge step in the right direction for the Tomb Raider series, as well as a great tribute to its groundbreaking past. People who have played the series since its debut and newcomers alike will enjoy this game for months to come after purchasing it since the levels are so interactive there are many ways to get to point A to point B.

Tomb Raider: Anniversary has given a bit of new life to the aging workhorse that is the Playstation 2, a nice thing for both the series and the console.

Final score: 8.5

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