CONTESTS: See An Advance Screening of The World's End, The Grandmaster & You're Next

By Paul Hunter

Howdy everyone! It's time for another contest here on NextGen Player. We've received lots of double pass advance screening tickets to give away for three movies courtesy of eOne Films. That's right, THREE movies!

The screenings will be taking place in Toronto this week. See below for details:

Movie #1: The World's End

Wednesday, August 21, 2013
Show Time: 7:00 PM
Cineplex Odeon Yonge & Dundas Cinemas 

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Movie #2: The Grandmaster

Thursday, August 22, 2013
Show Time: 7:00 PM
Scotiabank Theatre

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Movie #3: You're Next

Thursday, August 22, 2013
Show Time: 7:00 PM
Scotiabank Theatre

To have a chance to win tickets simply "Like" our Facebook page and check our wall for promo codes and instructions. Codes will be posted Tuesday (Aug 20) and Wednesday (Aug 21) - 2 chances to win!

Visit our Facebook page -- http://www.facebook.com/NextGenPlayer

The tickets are sure to go fast to be sure to check our Facebook page for details!

Here are the official trailers for the three movies:

The World's End
 

The Grandmaster


You're Next


Good luck everyone!
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Giving Away Advance Screening Tickets For 2 Guns

By Paul Hunter

Hey everyone! It's time for another contest giveaway here on NextGen Player. I've been lucky enough to receive double pass movie tickets to see an advance screening of 2 Guns, courtesy of eOne Films. The tickets are for Ottawa, Toronto, Halifax, Calgary & Edmonton on July 29th.

To have a chance to win tickets simply "Like" our Facebook page and check our wall for promo codes and instructions. Tickets will be posted today and tomorrow - 2 chances to win!

Facebook page -- http://www.facebook.com/NextGenPlayer

First come, first serve! Act fast if you want tickets!

Here's the official movie trailer for 2 Guns:


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Review: Assassin's Creed III Liberation

Paul Hunter

Assassin’s Creed III: Liberation is the most ambitious Assassin’s Creed handheld game ever attempted – and it’s also the best. Fitting a console-quality Assassin’s Creed game into a tiny game cartridge is no easy task, and while Liberation has its faults, the overall package is quite impressive.

There have been plenty of attempts in the past to create portable Assassin’s Creed experiences, such as the many Nintendo DS and iOS spin-offs, and the PSP-exclusive Bloodlines, but none of them have the ambition or scope of Liberation. The PS Vita-exclusive game is the first full-fledged Assassin’s Creed game, designed from the ground-up to be as large and as deep as any of the main console entries. All the series staples are here including a historical open-world setting, free-roaming movement, rich graphics and voice acting, and a fluid combat system.

Despite retaining the fundamentals of the Assassin’s Creed series, Liberation takes strides to separate itself from the pack. Most notably, the game stars the series’ first female protagonist, Aveline de Grandpré, born from a wealthy French business man and an African slave mother, in 18th century New Orleans. Just like Assassin’s Creed III on consoles, the story of Liberation takes place as the American Revolution is heating up in the north, though the focus of Aveline’s story is heavily placed on historical events in Louisiana where Spanish forces are posing a new rule.

Aveline’s set-up is interesting and engaging: having lost her mother to the slave trade at an early age, she enters the Assassin’s Brotherhood aided by her mentor Agaté, an escaped slave, in attempt to free her people and her land from the invading Spanish forces. Aveline leads a fascinating double life as a stealthily trained assassin in the Brotherhood while also maintaining a highly visible position in society as the daughter of a wealthy merchant. Aveline's affluent upbringing plays a central part in her story, as she takes full advantage of her privileged status to mingle with high society to gather intelligence or assassinate key players.

Story Trailer:


Further differentiating Liberation from past Assassin's Creed console games is that this is the first to eschew the story of Desmond Miles, who has tied all previous games together, in favour of a story told from the perspective of Abstergo Industries, the organization that serves as a front for the Knights Templar (the sworn enemy of the Assassin's Brotherhood).  The Liberation story is, in essence, a propaganda training tool used to educate Abstergo trainees, which recounts the life of Aveline yet purposely distorts her history to show the positive aspects of the Templar movement, while also depicting a disorganized Assassin’s Brotherhood. The concept is fresh and opens up some interesting possibilities for future Assassin's Creed titles beyond the formulaic Desmond bloodline titles.

Throughout the ten chapters of Liberation, which takes 10-15 hours to complete, Aveline will visit a range of historical locations such as a gorgeous, recreated 18th century New Orleans, the swampy Louisiana Bayou, some ancient Mayan ruins, and she even has a cross-over with Assassin's Creed III's Connor Kenway (but I won't give away any spoilers).  Each location has its own visual flair, from the tall New Orleans' cathedrals and coastal shipping docks, to the Bayou treetop hideouts and smuggler camps, and graphically it's all very impressive.

The standout new feature in Liberation is Aveline's ability to don different personas depending on the specific situation at-hand.  She can use her high society upbringing to transform into the "Lady", outfitted in flowing dress and a feathered wide-brimmed hat, to charm guards or work her way into high class affairs.  Using her "Slave" persona, Aveline can blend in with street workers by carrying boxes or sweeping with a broom, and at times she can also incite riots.  Finally, the familiar "Assassin" persona controls exactly like Altair, Ezio, or Connor, giving Aveline the ability to free-run/climb, use of all weapons and perform her full range of combat moves.  The persona mechanic does add variety to the gameplay; however, it is a bit disappointing that far too often, especially early on, the game forces you to choose a particular persona in order to complete the mission, taking away the opportunity to strategically approach situations from different personas.

Another differentiating factor between the three personas is that each has their own notoriety meter, and each gain notoriety in different ways.  The Assassin persona is very quick to gain the attention of nearby guards, and it's more difficult to reduce notoriety once gained (nearly the whole game my Assassin has some level of notoriety).  On the other hand, the Lady gains notoriety very slowly and has to kill eyewitnesses if caught performing a suspicious act.  The Slave is a balance of the two, gaining a medium amount of notoriety for questionable acts, with notoriety reduced through the tearing down of "Wanted" posters.

Gameplay in Liberation is a slick as you'd expect from a full Assassin's Creed game.  With the PS Vita dual-analog sticks, the console controls translate very well, from the free-running to vertical climbing to hand-to-hand combat, everything controls as you'd expect.  There was the odd time that I missed a landing or had Aveline perform an unintended move, but these rare blunders happen at about the same frequency as they have in any previous Assassin's Creed game (so not very often).  Liberation incorporates the new Tree Navigation system, also seen in Assassin's Creed III, which allows Aveline the ability to effortlessly hop along the treetops, which is especially fun to do during the heavily forested Bayou missions.

Aveline has a wide range of weapons to choose from, from the common Assassin hidden blade and sword, to the new sugarcane machete, poison-dart blowpipe and whip.  Weapons are selected using an easy-to-navigate weapon wheel, and can be done using manual controls or the PS Vita touch screen.  There are some new motion controls moves, that range from the intuitive slow-motion chain killing (think Splinter Cell marking) to the imprecise and downright aggravating pickpocketing (done using a swiping motion on the rear motion pad).  Thankfully, most of the motion control moves can be done using the regular input buttons, so you rarely have to swipe the touch screens.

Gameplay Trailer:


Missions in Liberation are the usual type: investigatory, escort, stalk, rescue, and assassinations.  Sure we've done it all before, but at least Liberation varies the objectives enough that they don't feel repetitive like in the original Assassin's Creed.  There is plenty to see and do beyond the assigned mission, such as completing challenges of the "defeat in under 90 seconds" type, along with numerous side missions such as freeing slaves or reviving fevered civilians with medicinal mushrooms. Gaining money is always an important element in Assassin's Creed games, and in Liberation there's a surprisingly enjoyable "trade shipping business" mini-game that has you load ships with cargo and trade the goods for cash at different ports.  It's a big deviation from the usual securing districts to acquire money at intervals as in past games, but I found the money-making system in Liberation to be even more fun.

No review would be complete without mentioning the asynchronous multiplayer game, however it really wasn't my cup of tea. The premise is bit like the boardgame Risk, with opposing Assassin/Templar teams attacking and defending nodes on a real-world map.  You don't actually control any of the action, but rather make strategic decisions to dispatch your Agents to war or home defense.  Once deployed, battles take place in real-time, over the course of many hours, with the team who sent the more powerful force after time runs out winning the node.  I can see the multiplayer being the occasional diversion, but long-time appeal seems limited.

For the most part, I thoroughly enjoyed my time with Liberation, but there are a few bleak spots. By the conclusion of the game I was disappointed with how little of Aveline's backstory was given (the timeline jumps from her as a child to full-grown adult without much about her evolution as an Assassin).  There's also some draw distance graphical problems, with far away buildings covered in slight haze, which is especially noticeably when Aveline climbs up the panoramic View Points to perform the signature Assassin's leap of faith.  Also, in very rare situations I noticed a drop in the framerate, mostly when Aveline is dashing through crowded city streets or in combat with multiple enemies.

Assassin's Creed III: Liberation is a superb attempt by Ubisoft to squeeze every bit of quality of a console game into a handheld experience.  The small number of technical faults are not enough to detract from the hours of enjoyment that are contained in the lengthy campaign.  With plenty of hidden items, side quests and mission challenges, there is plenty of replayability with Liberation.  Assassin's Creed III: Liberation is a great addition to the PS Vita library and will keep you entertained for as many hours as its big console brethren.



Assassin's Creed III: Liberation is available now, exclusively for PS Vita.  The game was developed by Ubisoft Sofia and published by Ubisoft Entertainment.

Assassin's Creed III: Liberation is rated M for Mature by the ESRB.

[This article originally appeared on the Future Shop Tech Blog]
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Review: Gravity Rush

By Paul Hunter

Over the last ten months, the PS Vita has been slowly gathering a quality line-up of software titles, and with recent hit games such as LittleBigPlanet and Sound Shapes it might be easy to forget some of the great games that released earlier in the year.  One of my absolute favourites is Gravity Rush, and if you’re a new PS Vita owner, or surprising a loved one with a PS Vita this holiday season, I definitely encourage you take a look at this exceptional title.

Gravity Rush is the brainchild of Keiichiro Toyama, best known for his work on the Silent Hill and Siren franchises, who had been toying with the idea of creating a game with a gravity-bending core mechanic for more than ten years.  While Gravity Rush is a big departure, in terms of genre, from Toyama’s usual work, it’s certainly among his best.

The game stars Kat, a cheerful blonde girl who finds herself awoken in a strange floating city named Hekseville, with no recollection of how she got there.  Adding to the mystery is her new astral cat companion named Dusty that follows her every move, imbuing Kat with the power to bend gravity at will.  Like a true superhero origin story, Kat initially wrestles to gain control of her new special ability, which allows her to shift gravity (essentially which direction is “down”) and perform previously impossible feats such as walking up walls and across ceilings.



Kat learns the basics of her gravity altering abilities by accident as she attempts to rescue civilians caught in a mysterious "gravity storm" that is pulling entire chucks of Hekseville into its black hole.  At the same time, amorphous, inky creatures named "Nevi" are invading the city and nobody is quite sure why. If all this sounds like a great superhero origin story, it's because it is, and the strong lead character in Gravity Rush is one of the most compelling reasons to play.

Further adding to the superhero vibe, like how individuals in comic books who gain sudden superhuman abilities are often mistrusted by the general public, Kate too is initially suspect by the Hekseville locals. Over the course of the adventure, Kat must not only try to piece together her past, but also attempt to gain acceptance from the townfolks in her home – neither of which are easy tasks.

What’s great about Gravity Rush is how you can identify with Kat as a player throughout the adventure.  Perhaps because bending gravity is so rarely used in gaming (and none which implement the feature so effectively), learning how to manipulate the space around you at first can be disorienting.  With a simple tap of the R button, gravity can be shifted and suddenly what was up becomes down, and what was down becomes up, so you have to get used to a constantly changing perspective.  Reversing the effects of gravity alteration is just as simple, with a tap of the L button causing gravity to right itself, often sending Kat plummeting downward.  As Kat becomes acquainted with her new ability, so too did I as the game unfolds, and within the first hour I was already quite adept as shifting perspective.



The 21 episodes in Gravity Rush will have you explore multiple districts in Hekseville, which range from sci-fi looking city streets to sprawling university campuses.  The graphics are beautifully cel-shaded, resembling an animated comic book, though at times to oft dark hues of the cityscape get a bit tiring.  Hekseville is a semi-open world environment and plenty to see and explore in each district, and I use the word semi because each area isn't very big, and districts are separated by large spacial gaps requiring trains or airboat liners in order to cross.

There are moments in Gravity Rush where Kat ventures into alternative dimensions that are often filled with gigantic mushrooms or odd-looking geometric shapes.  Inside these words Kat may experience fluctuations in her powers, such as a reduced ability to alter gravity, or she may even outright lose her gravity shifting power.

To increase Kat's reputation with the cityfolks, she can collect pink gems that can be traded in to repair parts of the city, such as mending a broken bridge.  With each successful city repair, a Challenge Mission is unlocked, which is typically a short objective-based mini-game such as speed runs through checkpoints or defeating enemies within a specified time.  Successful completion of Challenge Missions will result in more pink gems and submit your scores on the global leaderboards.



Pink gems aren't just used to unlock extra missions, they're also the in-game currency used to upgrade Kat's abilities.  There are several types of upgrades, including her Core Powers such Health or Shifting Speed, and you can also upgrade Combat Powers including her basic Kick and more advanced Gravity Kick.  After certain milestones in the game, Kat will learn Special Attacks, ranging from the basic Spiraling Claw to the more powerful Gravity Typhoon and Micro Black Hole.

Gravity Rush includes motion control, and thankfully it's implemented quite well.  Swiping the front touch screen will make Kat perform a dodge roll, and is quite useful to chain attacks or escape from battle.  It's simple to perform, and while it requires taking your thumb off the analog stick, I felt it didn't hamper the gameplay in any way.  There are also sections requiring you to place two fingers on the touch screen which initiates Kat's gravity slide, and then tilting the PS Vita will cause directional shifts.  While the gravity slide moments are far and few between, they are enjoyable while they last.  The most satisfying uses of touch controls has to be during boss battles as you're required to tap the screen to execute the final blow, which is surprisingly satisfying.

Enemy Nevi range is size from small and sluggish to (later in the game) massive creatures that can fill your entire screen.  Each Nevi creature has a weak spot, identified by a bright red spot on their body, and this is the only area in which attacks will register damage.  While it's an intuitive system, combat can occasionally be quite frustrating as you constantly shift gravity while trying to pinpoint enemy weakness, which for the largest of Nevi can be quite the chore.



Cutscenes in Gravity Rushare presented a la comic book panel style, very similar to say inFAMOUS or the classic Sega Genesis game Comix Zone.  What's more, the comic book panels have a pseudo-3D effect, allowing you to use the PS Vita gyroscope to look around and in behind the objects within each panel.

Gravity Rush is great new IP from Sony and with the inclusion of Kat in the recently release PlayStation All-Stars Battle Royale, and murmurs of a sequel, it seems like Sony intends on keeping this franchise alive.  Considering how much fun I had with Gravity Rush, and how easy it is to recommend (despite some minor flaws), it's great to think Kat's story may continue some day.  If you've got a PS Vita, Gravity Rush will make a nice addition to your games library, assuming it's not already there.



Gravity Rush is available now, exclusively for PS Vita.  The game was developed by Sony Japan Studio and published by Sony Computer Entertainment.

Gravity Rush is rated T for Teen by the ESRB.

[This article originally appeared on the Future Shop Tech Blog]
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Review: Wonderbook: Book of Spells

By Paul Hunter

J.K. Rowling's latest wizardly creation is here with Wonderbook: Book of Spells, a game that takes advantage of Sony's PlayStation Move technology.  Using the new Wonderbook peripheral, Book of Spells is the closest a Harry Potter fan can get to experiencing first-hand the excitement and wonder that comes with learning some of the most popular spells taught at the Hogwarts School of Witchcraft and Wizardry.

Instead of starring Harry Potter or his familiar band of friends, Wonderbook: Book of Spells casts the player in the role of a brand new student at Hogwarts who happens to come across the Book of Spells, a 200-year-old magical tome written by Miranda Goshawk, the fictional author of The Standard Book of Spells series in the Potter universe.  Having been kept in the Restricted Section of the Hogwarts library, the Book of Spells is a powerful, secret textbook meant to give students step-by-step instructions on how to practice 20 of the easiest to learn, yet most valuable spells in a wizard's or witch's repertoire.



Wonderbook: Book of Spells is an augmented reality experience brought to life with the Wonderbook, a 12-page physical book that comes packaged with the game.  Inside the blue-coloured book are patterns that resemble QR codes, and when placed in front of the PlayStation Eye camera, transforms the book into an ancient spell book on your TV screen.  It's an amazing visual experience to witness your plain-looking Wonderbook morph into a full-fledged book of wizardry, which quite convincingly makes you believe it was taken straight from the Hogwarts' library shelves.

If you already have a PlayStation Move, set-up is a breeze, and requires as little effort as adjusting your PlayStation Eye camera so it faces down towards the floor as you sit cross-legged with your Wonderbook in front of you.  For new PlayStation Move owners, expect about 5 minutes to set-up the camera, plus the charging time for your PlayStation Move controller.  Upon starting the game, the in-game instructor asks you to select your preferred magic wand, from three available choices which vary in appearance and length, and then you choose a Hogwarts' House from Gryffindor, Ravenclaw, Hufflepuff, or Slytherin.  Once your selections are made, on-screen your stubby PlayStation Move controller will magically extend and transform into wizard's wand, bent-tip and all.



After completing the set-up, you're whisked away to the main menu screen where you learn the Book of Spells is divided up into five, two-part chapters, with each whole chapter teaching you four spells (for a total of twenty spells to practice and master).  In an interesting use of the Wonderbook, before opening the Book of Spells you're asked to brush off the dust that's been collecting over the centuries, which is accomplished by waving your hand across the surface of your Wonderbook.

Each chapter in Book of Spells is formulaic, running through the same basic exercises until finally culminating in a chapter test where you must employ the skills learned throughout the two-part chapter.  You'll begin with a brief overview of each new spell, followed by an animated anecdotal history lesson describing the creator and first uses of the particular spell.  The humour-filled, interactive lessons are presented via some visually impressive cartoon dioramas which have you pull tabs with your PlayStation Move controller to answer simple questions or add effects to the story. The characters are pretty comical, having such funny names as Eldon Elsrickle and Elizabeth Smudgling, and the stories are as zany as any that J.K. Rowlings has created.



Over the course of the five chapters, you'll learn many of the most popular spells from the Harry Potter books, such as Wingardium Leviosa (Levitation Charm), Incendio (Fire-Making Spell), and Expelliarmus (Disarming Spell).  The first step to learning a spell is mastering the incantation, which the game enthusiastically asks you to repeat.  It's fun, for example, to yell out "Alohomora!" to enact the Unlocking Charm, but once you realize the game is only detecting that you speak, and doesn't care what words you utter, part of the magic is lost.  Following this is the wand gesture, which has you trace a simple shape, be it a wavy line or sharp flick of the wrist, to initiate the spell.  Disappointingly, when you actually start employing the spells you're only required to perform the wand gesture, so it feels a bit useless to learn the incantations.

Once you've practiced the spell hand gesture, it's time to practice in mini-games that take place in various areas around Hogwarts such as the herbology greenhouse, and the library. The practice sessions are very basic, such as levitating a jar and placing it back on the Wonderbook, or foiling coin-stealing Nifflers by hardening the ground as they try to bury their stolen treasure.  Even the practice sessions in latter chapters, which have you summon supposedly more advanced spells, rarely evolves beyond simply wand waves to ward off enemies with predictable attack patterns.  Then again, this is a game that seems intended for ages 6-12, so perhaps I'm being too fickle.



While the mechanics are rather simple, seeing your wand motions result in magic spells is surely the highlight of this game.  I was amazed the first time I cast Aguamenti, the Water-Making Spell, and splashed water all over my TV screen, and most other spells initially delighted me equally as much.  Also fun was using hand gestures to brush off dust or feathers that occassionally would cloud some text on the Wonderbook, and it was visually impressive to tip my Wonderbook forward to peer straight down a well that appeared in the middle of my book.  Without a doubt, Wonderbook: Book of Spells was the best augmented reality I've seen yet for PlayStation Move, and on more than a few occassions the effects mesmerized me.

My biggest gripe with Wonderbook: Book of Spells is how little content there is in the game.  Each of the chapters can be completed in forty minutes or less, and there's little incentive to go back and replay them.  I would have thought that after spending four hours learning spells there would have been a rich castle to explore and practice your spells, or perhaps a mini battle campaign which has you combat dementors or evil wizards, but nothing of the sort exists.  After you finish practicing the twenty spells the game simply ends and you're encouraged to go back and practice the spells some more.  There are collectibles found throughout the lessons, and at the end of each chapter you're presented with a "Conundrum", which is a poetic cutscene, spoken by Miranda, providing insight into the qualities of a successful wizard or witch, but both are fillers at best.

Wonderbook: Book of Spells is short-lived experience, but it kept my interest throughout.  Certainly the game shows the potential of augment reality games using the Wonderbook, making it a great first attempt and proof-of-concept.  Young Harry Potter fans will surely derive lots of fun with this being the most immersive spell-casting experience yet, and you get a real sense of what being a first-year student at Hogwarts must be like.  This is original J.K. Rowling writing at its best, and the witty history lessons and charming poems will delight Harry Potter fans interested in the story's lore. The PlayStation Move controller is extremely accurate and casting spells will quickly and effortlessly become second nature.  It's a shame there's not more depth to Wonderbook: Book of Spells, but what's included retains the magic and wonder that Harry Potter fans have come to expect.


[This article originally appeared on the Future Shop Tech Blog]
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Review: Professor Layton and the Miracle Mask

By Paul Hunter

The first Professor Layton game on Nintendo 3DS is a daring one which sees our habitual, puzzle-solving gentleman make his bold move into the third-dimension – bringing with him a familiar cast of characters and all-new puzzles that take advantage of this added dimension.

Professor Layton and the Miracle Mask has finally swept up on North American shores, after debuting in Japan more than a year and a half ago.  The game was originally in development for Nintendo DS, but after Akihiro Hino, the CEO of Level-5, saw the capabilities of the Nintendo 3DS, he decided to rebuild the game for this new platform.  It was an ambitious move, and the results are superb: Professor Layton and the Miracle Mask is the best game yet in this top-quality franchise.

Whenever a new Professor Layton game arrives on my desk I’m reminded of just how fantastic this long-standing series is.  With all the glitz and glamour of AAA console releases it can be easy to forget how relaxing and enjoyable a Professor Layton game can be, but once you have one in-hand they’re too irresistible to put down.  Professor Layton and the Miracle Mask is no exception.



The Professor Layton series has traditionally been among the most formulaic in the games industry, which makes the innovations in Miracle Mask seem all the more important.  Sure the basic premise will feel instantly familiar: Professor Layton is summoned to a mysterious city to investigate the suspicious activities of a surly villain and must solve puzzles to unearth clues which lead to an inevitable revelation. From the get-go however, it’s clear that Level-5 re-envisioned what a Professor Layton game can be, as the game introduces many new elements such a full 3D polygonal characters, dazzling 3D environments to explore, the ability to search behind and around objects, and a redesigned interface.  For a series has otherwise kept the status quo, Miracle Mask introduces many welcome improvements.

Joining Professor Layton on his latest “whodunit” adventure is his apprentice Luke and assistant Emma who all wind up in the city of Monte d’Or, a bedazzling European-inspired place filled with luxurious casinos and hotels, and surrounded by dessert, resembling a Los Vegas of sorts. Curiously, the bustling city is celebrating its 18^th birthday and few of the cityfolks are able to explain how a fully developed tourist destination could have been built in such a short period of time – giving rise to the nickname of the “City of Miracles”.  Upon arriving in Monte d’Or, the trio attend a celebratory parade which is soon interrupted by a rather dapper, masked individual who seemingly turns numerous tourists into stone.  Referring to himself as the “Masked Gentleman”, the terrorizing villain miraculously sprouts wings and flies away, eventually escaping by vanishing in mid air. Unable to resist a good mystery, Professor Layton and pals quickly get on the case.

The story, as expected, is charming, witty and entertaining.  Most dialogue sequences follow the usual character on the left-side, character on the right-side conversations seen in past Professor Layton games, however this time around gorgeous 3D cutscenes occur regularly with full voice acting (including the unmistakably demure Layton and boyish sounding Luke), and the more rare anime scenes incorporate a pseudo-3D effect which just looks great.  Some of the character polygons are a bit jagged (especially their hair), so a few characters have a boxy look -- but otherwise the graphics are crisp and clean.

With the world map presented in full 3D on the upper screen of the Nintendo 3DS, the lower touch screen is used to navigate a magnify glass on the upper screen, via stylus controls.  Investigating is done by dragging the magnify glass around the environment to locate points of interests, which are identified by the magnify glass turning orange.  What’s interesting is that for the first time, you can shift the camera left/right and up/down as you explore, giving most environments a nice panoramic feel.  Furthermore, there are points of interest where your magnify glass turns blue, which enable you to zoom-in for a closer inspection – a neat addition.  It takes a bit of time to get used to this new way to navigate, but since it eliminates the need to repeatedly tap the on touch screen, exploring the city is quite enjoyable.

As usual, nearly every citizen of Monte d’Or favours solving puzzles as a means to interact, whether you’re trying to extract information, advance to new location, or simply as a way to build rapport.  Puzzles are divided between those that are mandatory for the story to progress, and those which are optional, typically found by speaking with the cityfolks or tapping on an area of interest.  If you’ve played past Professor Layton games, the puzzles, for the most part, will be quite familiar.  There are 150 puzzles in the main quest, which vary from logic (e.g. “which one is telling the truth, A, B, C or D”?), simple arithmetic, sliding puzzles, checkerboard type, spot-the-difference and the type I dread the most: visualization (I’m a math guy, what can I say?)  Each puzzle is worth a certain amount of “Picarats”, the in-game puzzle currency, and reflect the difficulty of the puzzle at-hand.  While the majority of the puzzle types are not new, each one is presented, to some degree, in 3D, which is a nice added touch.  There are some puzzles that seem specifically made for 3D, such as an interesting one where you have to reunite lost ladybugs that happen to be stuck on either side of a corncob maze.  To help you solve puzzles, the abilities to write notes on an overlay of the puzzle or cash in Hint Coins once again return in Miracle Mask.



There are also your standard goodies to be found, such as hidden collectibles, and an array of mini-games found in Layton’s briefcase.  The mini-games, of which there are three, include “Robot” where you have to guide a robot on a checkerboard around obstacles to an exit location, “Shop” where you have to strategically position shop items in such a way that a shopper will be motivated to purchase every item, and “Rabbit”, a Nintendogs-type game which has you train a rabbit to perform various actions such as "wiggle", "dig", "sulk", and "roll", and use these skills to act out a play for his trainer.

To add replayability to Miracle Mask beyond the main story, there are 365 free downloadable puzzles that will be available one per day since, for a full year.  At time of writing, there 30 additional puzzles that are available, which vary from the types found in the main game, so they're a great added value to the overall package. 



Like a hot cup of warm soup, the familiar, comforting Professor Layton and the Miracle Mask was a joy to indulge.  The new 3D polygon characters are so well crafted, they appear hand-drawn.  Add in the rich and colourful environments found in Monte d’Or and you have a beautiful, artsy game to look at.  The puzzles rarely venture outside what we’ve seen before, but they are spaced out nicely and there are a few duplicate types.  If you have some down time and are looking for a relaxing treat, Professor Layton and the Miracle Mask is your cup of tea.

Professor Layton and the Miracle Mask is out now for Nintendo 3DS and Nintendo 3DS XL.  The game was developed by Level-5 and published by Nintendo.

Professor Layton and the Miracle Mask is rated E10+ by the ESRB.



[This article originally appeared on the Future Shop Tech Blog]
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Bioshock Infinite Review

By Paul Hunter

Stepping into Bioshock Infinite, I had sky high expectations.  Since the beginning, the Bioshock franchise has aspired to deliver a richer, fuller experience than most other first-person shooters care to offer.  Rapture, the immense undersea city of the first two Bioshock games, was incredibly immersive with its distinctive and dark art deco design motif and the characters, such as the genetically mutated Big Daddy and main antagonist Andrew Ryan (“would you kindly”), that will long be remembered as exceptional.  With Bioshock Infinite, the team at Irrational Games made a bold decision to introduce a new setting and new characters, taking on the challenge of drawing gamers into a whole new experience.

The setting for Bioshock Infinite is Columbia, an airborne city launched in 1893 by the American government, appearing to be held up by giant balloons, propellers and numerous zeppelins.  The city, with its unprecedented advanced technologies, was seen by the American people as a symbolic representation of their unrivalled global power.   In many respects, Columbia couldn’t be more opposite than Rapture: the floating city is filled with dazzling hues of blue and gold, districts are wide open and often bustling with citizens, and movement between areas is hyper-fast thanks to the intricate set of high-speed Sky-Line rails that connects the numerous hovering city locales.



In Bioshock Infinite you play as Booker DeWitt, a former Pinkerton agent turned private investigator suffering from alcoholism and massive debt from excessive gambling.  At some point, he accepts an offer from a mysterious man to enter Columbia and find Elizabeth, a woman imprisoned in the floating city for most of her life.  Her captor, the deeply religious “Father” Comstock, rules over Columbia and is zealously worshiped by its inhabitants for his apparent ability to see into the future.  In exchange for her safe delivery to New York, the man promises that all of Booker’s debt will be forgiven.

Gameplay begins somewhere off the coast of Maine with Booker sitting in the back seat of a small rowboat during a heavy nighttime downpour.  He’s handed a personal chest by an unknown man and woman containing the essential elements of his quest: the passcode to enter Columbia, a loaded pistol, several Silver Eagle Dollars (the city’s currency), a picture of Elizabeth and Monument Island where she’s held captive, and the coordinates of New York.  Booker arrives in Columbia during the city’s fair, and through a series of cleverly disguised carnival games that act as the game’s tutorial, players learn essential skills such as firing weapons, aiming down iron sights for more precision, and using Vigors, Bioshock Infinite’s version of Plasmids.



Along with Bioshock Infinite’s entirely new setting, the game revisits – or tweaks – many core gameplay elements from the previous games in the series.  Vigors, as previously mentioned, act as the game’s source of super powers, and like Plasmids from past Bioshock games, they alter the user’s DNA which bestows them with extraordinary abilities.  There are eight Vigors in total, many of which feel similar to the previous Plasmids, though there are some interesting new powers such as Murder of Crows which sends a flock of frenzied crows to peck your foes to death.  Vigors can also be charged up to deploy stationary traps, opening up possibilities of luring enemies into a deadly ambush.  An uncharged Devil’s Kiss, for example, sends out a single flaming projectile, whereas its charged version drops a stationary fire trap that explodes with tremendous burning power once sprung.  Further, there are quite a few advanced Vigor combinations that are possible, achieved through correctly timing two quick Vigor attacks in a row, such as Murder of Crows + Shock Jockey which electrifies the furiously attacking crows for additional damage.

Gunplay is once again central to gameplay in Bioshock Infinite, with a number of new weapons and old favourites present.  Unlike Vigors, which once acquired Booker keeps for the remainder of the game, it’s only possible to possess two weapons at any given time.  Thus, weapon management is key to survival in Columbia, particularly when readying for major confrontations.  The usual suspects are back, such as the Pistol, Shotgun and Machine Gun, and new weapons such as the Sniper Rifle prove particularly useful given the many long-range combat scenarios that arise.  Other, rarer weapons, can be lifesavers when faced with heavy-hitting enemy such as the Firemen, including the grenade-launching Volley Gun which has the side benefit of stunning these larger enemies.  Perhaps the most versatile weapon in Booker’s arsenal is his Sky-Hook, a melee weapon acquired very early on.  Serving as both a mode of transportation (via Columbia’s Sky-Line rail system) and a melee weapon, the Sky-Hook is capable of delivering the most gruesome attacks of any weapon.  Using the deadly rotating blades of the Sky-Hook it’s possible for Booker to snap necks, explode heads or rupture a poor foe’s chest.  Given how essential it is to conserve ammo in the higher difficulty levels, and how quickly the crazed citizens of Columbia rush at you, the Sky-Hook is often the go-to weapon of choice .



Like its predecessor, Bioshock Infinite includes a passive upgrade system, this time in form of wearable Gear.  Found Gear will be one of four types: hat, shirt, pants or boots, each focusing mainly on a particular type of perk, be it offensive or defensive bonuses, or special perks.  Similar to Tonics, once Gear is equipped it provides an enhancement of some sort, such as the Nitro Vest which increases the radius of explosive weapon damage or the Fit As A Fiddle boots that revive Booker with full health.  There are over 40 Gear items to collect in total, most of which are hidden off-the-beaten path or locked behind doors.

One of the biggest gameplay changes in Bioshock Infinite is the introduction of a magnetic-repulsive shield which Booker acquires very early in the game.  The shield allows Booker to take damage without draining his health, and it recharges if Booker remains in cover or avoids taking damage for a few seconds.  While shields have become quite common in first-person shooters these days, this is the first time a Bioshock game has incorporated the game mechanic and it does dramatically alter how the game feels.  With the added protection, the action moves much more quickly as there’s less of a penalty for taking damage and a diminished need to hide behind cover.  The game designers have also increased the number of attacking enemies, so instead of the methodical, singular enemy encounters found in previous Bioshock games, in Bioshock Infinite enemies often attack in packs and combat is aggressive.



Helping Booker out for the majority of the game is Elizabeth, quite possibly the most helpful AI partner ever in a video game.  She’s not one of those helpless damsel in distress types that requires constant supervision, nor does she engage in combat at all.  Rather, Elizabeth often remains slightly out of slight and constantly supports Booker by throwing him a bottle of Salts that refill his Vigor power, health kits to restore his life gauge, or valuable Silver Eagle Dollars that can be spent at the many city vending machines to upgrade Vigors, weapons, or purchase supplies.  Moreover, Elizabeth possesses the unique ability to open “Tears”, which are portals to alternate realities, and through these she can bring over ammunition supplies, auto-turrets and even create cover for Booker in the midst of combat.

Not only is Elizabeth a helpful companion, her believability as a living, breathing character, creates a bond that grows strong as the story progresses.  This sense of attachment feels especially heightened during the times where Elizabeth is not around, as there’s a tangible reactive feeling that something is missing.  Protecting Elizabeth from Comstock thus feels purposeful and meaningful, a refreshing change considering how dreadful “escort missions” are in other games. 



Bioshock Infinite is an admirable example of how to take an existing franchise and reinvent itself as something even greater.  The sky city of Columbia feels steeped in history, made believable by the omnipresent Father Comstock with his barrage of propaganda videos, posters and loudspeaker monologues that progressively reveal the city’s darker side.  The evolving relationship between Booker and Elizabeth serves as the narrative’s driving force, drawing us deep into their characters all the way until the story’s unforgettable final twist.  While Bioshock Infinite is single-player only, the core experience is so gratifying that it’s easily worth repeat plays, and at about ten hours per run-through, there’s plenty to come back to.


OVERALL
Gameplay 4.5/5
Graphics 5/5
Sound 4.5/5
Lasting Appeal/Replayability 4.5/5


 [This article originally appeared on the Future Shop Tech Blog]
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Review: Zone of the Enders HD Collection

By Paul Hunter

Kojima Productions, the acclaimed studio behind the Metal Gear Solid franchise, has opened their vault for the re-release of two classic PlayStation 2 titles in their Zone of the Enders HD Collection. The compilation pack features completely remastered versions of the original Zone of the Enders (2001), plus the far superior Zone of the Enders: The 2nd Runner (2003), and even throws in a demo of the upcoming Metal Gear Rising: Revengeance for good measure.

With over ten years since we first stepped into the cockpit of Jehuty, do the original games combined with a shiny coat of HD warrant a second interplanetary trip through these mecha adventures?

Back in the early years of the PlayStation 2 era, famed producer Hideo Kojima wanted to venture outside the realm of Metal Gear Solid and helm a new franchise; the result was Zone of the Enders.  Set more than a 100 years in the future, the games take place on distant colonies on Jupiter and Mars at a time when humans have recently discovered Metatron, a high-energy ore that warring factions are seeking to control.  BAHRAM, a particularly ruthless military organization led by Col. Ridley (Nohman) Hardiman, are the most aggressive coveters of Metatron resources and stop at nothing -- including civilian casualties -- to further their own corrupt agenda.



In the original Zone of the Enders game, players assume the role of 13-year-old Leo Stenbuck as the forces of BAHRAM invade his space colony Antilia, which orbits one of Jupiter's moons.  By happenstance, Leo stumbles upon a powerful "Orbital Frame" mecha named Jehuty which he uses to ward off his attackers. With the help of Jehuty's A.I. named ADA, the young boy sets out to rescue civilians from his colony, and defeat the BAHRAM forces that are threatening his people.

If you're familiar with Kojima's work on the Metal Gear Solid series, then it won't come as a surprise to hear that Zone of the Enders story sequences are more often than not, loquacious, convoluted and stuffed with unnecessary exposition. For a high-action, aerial combat mech game, these long-winded dialogues interrupt the action much longer than they should, and the stiff voice-acting and grainy animations certainly show their age.



Where Zone of the Enders shines is in its blisteringly intense, aerial combat gameplay.  Jehuty has a range of offensive abilities including using long-range laser blasters, destructive energy bursts requiring a momentary charge, and a short-range energy sword for melee-style battles.  Attacks can also be combined with a dash move, giving combat a constant high-speed feel.  On the defense, Jehuty can latch on to enemies at close range and give them a nice toss, resulting in damage if aimed toward a hard surface, and can also project an energy shield capable of nullifying everything short of an enemy burst attack. The abilities of Jehuty are fast, varied and surprisingly deep, but unfortunately a great deal of this richness is lost in the simplicity of combat.  Enemies, including most bosses, have paper thin attack patterns and combat rarely needs to surpass a "button mashing" strategy to succeed.

Objectives in Zone of the Enders are repetitive and monotonous, basically boiling down to traveling from location-to-location on the world map and either destroying all enemies in a particular zone, or obtaining an item to progress.  There's a lot of back-and-forth as you are forced to visit areas over again and combined with the clear lack of development of your mech, the action feels like a repetitive slog.



Zone of the Enders is so thin, clocking in a mere four hours to completion, that it's better thought of as a proof-of-concept versus a full-fledged mech game.  It gets you familiar with the core mechanics of Jehuty through VR training and live combat, introduces you to the essential characters and plotlines, and that's about it.

The real meat of this package comes in the fully-realized sequel, Zone of the Enders: The 2nd Runner.  In short, it's fantastic.

In every conceivable way, The 2nd Runner is better than its predecessor.  The graphics and animations are much improved, enemies are more varied and have better attack patterns, Jehuty moves with more fluidity and has a wider range of attack maneuvers, the locations are more varied, brighter and feature more detail, and the story, while still a bit contrived, is at least more coherent and even fills in some of the gaps from the first outing.



Taking place two years after the events of the original game, an ice miner named Dingo Egret inadvertently stumbles upon Jehuty just as the BAHRAM forces are attempting to retrieve the concealed mech (sound familiar?).  Dingo boards the massive Orbital Frame, but is knocked unconscious by Anubis, a counterpart Orbital Frame controlled by Col. Nohman.  Dingo soon wakes up to find himself inside Jehuty, which has been hooked into his body as a life-support, rendering him unable to exit the mech.  Understandably frustrated, Dingo sets out to confront Col. Nohman and make him pay.

The sheer amount of improvements in The 2nd Runner are impressive, and where the real value of the HD Collection is derived. Enemy battles require much more strategy this time around, and boss battles are more varied and a great deal more challenging.  Your Jehuty mech has improved abilities as well, such as new grappling mechanics that allow you to use enemies as melee weapons or protective shields, and you can also pick-up objects in the battlefield and perform a powerful swing attack with them, or hurl them at your opponents.

While The 2nd Runner is a completely linear affair, eschewing the world-map model found in Zone of the Enders, the lack of exploration in no way takes away from the enjoyment, and if anything, this series is better suited to straight level progression. The 2nd Runner constantly feels like it's being driven forward, with more satisfying narrative and a real sense that your mech is getting more powerful along the way.



Unfortunately, the frame rate of this HD remake suffers noticeably, so whereas the PlayStation 2 version held stable at 60 frames-per-second, the remastered edition feels considerably slower.  Even with a reduced frame rate, the action is still faster than most action games out there, so likely only purists will care.

It's worth noting that the version of The 2nd Runner included is the PAL special edition, which has never been released before in North America and includes extra missions, more VR training, extra difficulty settings and graphical improvements such as better anti-aliasing.  There's also an all-new 7-minute opening cinematic created by the acclaimed Sunrise animation house, which ties together the story between the two Zone of the Enders games, as well as higher resolution versions of the original opening animations for both games.  Both games also include full PlayStation Trophy and Xbox Achievements support, a nice added touch.

To sweeten the pot, the HD Collection includes a demo of Metal Gear Rising: Revengeance, the upcoming spin-off title starring Raiden and set for release on Playstation 3 and Xbox 360 on February 19, 2013.  With the original Zone of the Enders game featuring a demo of Metal Gear Solid 2, the subtle, pleasant feeling of déjà vu is a nice addition.



It's no surprise that Konami showed off the remastered HD version of The 2nd Runner during the majority of their presentations leading up to the launch of the HD Collection -- it's by far the better game of the two included.  It's best to view this compilation as an HD version of The 2nd Runner with the original Zone of the Enders and a Metal Gear demo thrown in for good measure.  The 2nd Runner, as a stand-alone remastered title, is worth the cost of admission for this value-priced collection, so as a whole it's easy to recommend.  It may be nearly ten years since we've last entered Jehuty, but like the return an old friend, it's great to finally be reacquainted.

Zone of the Enders HD Collection is out now for Xbox 360 and PlayStation.  The game was developed by Kojima Production and published by Konami.

Zone of the Enders HD Collection is rated M for Mature by the ESRB.

 
[This article originally appeared on the Future Shop Tech Blog]
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Review: Wii U

By Paul Hunter

Nintendo has come first out of the gate with a brand new console -- the Wii U -- officially kickstarting the next generation of home gaming.  The Wii U brings with it a new online experience, finally bumps the graphics up to full HD, and delivers a superb new Mario game; yet, it's the Wii U GamePad, with its range of innovative features, which really steals the show.

After putting the Wii U console through its paces over the last few days I was amazed at how multifaceted the Wii U GamePad is, and the degree to which the second screen adds to the overall gaming experience.  There were a few hiccups with my overall experience with the Wii U, which I'll explain below, but they didn't detract too much from the numerous hours of enjoyment I had.

Wii U System

In terms of pure looks, the Wii U is the plainest Nintendo console yet.  It has a smooth body with rounded corners, and is larger and bulkier than the Wii: 10.6” deep, 6.75” long, and 3.5lbs, vs. Wii’s 8.48” deep, 6.18” long, and 2.65lbs.  Out-the-box the Wii U can only be placed horizontally, but can have a vertical orientation with the optional Console Stand (included in the Deluxe Console package, or sold separately).  The face of the console has a disc drive capable of playing Wii U or Wii game discs, eject and power buttons, and a front hatch that reveals two USB 2.0 ports and an SD memory card slot.  In a nice touch, the hatch slides into the console when you open it, instead of jutting out like it does on the Wii.  Above the power button is a tiny LED that shines blue when the console is powered on and red when powered off.  Above the disc eject button is a second light that emits a bright white light when a disc is inserted into your Wii U.

As previously mentioned, the Wii U is capable is displaying full HD graphics -- the first for a Nintendo console.  The supported video modes for Wii U include 1080p, 1080i, 720p, 480p and 480i.  The back of the Wii U console contains slots for the AC adapter, sensor bar, AV connector, HDMI out, and two additional USB 2.0 ports. Inside the box comes an HDMI cable, which makes Wii U the first console to ever include one (Wii included a standard A/V cable). There's no AV cable included, so if you have an older model TV you'll have to either buy Nintendo's AV cord accessory, or if you have a Wii, you can use the same AV cable with your Wii U (very convenient).  Finally, Wii U contains a built-in wireless adapter, allowing you to connect the console to the internet through your home network.



Wii U Sets Available

There are two Wii U console packages available now.  They are: (1) the Basic Set, and (2) the Deluxe Set.  For a comprehensive review of each of these sets, have a look at Erika's comparison article.  There's a $50 price difference between the two packages, and if you look at the contents of each package you'll notice the more expensive Deluxe Set is a better value by a longshot.  Not only does it come with Nintendo Land (a fantastic launch game -- see Raj's review here), it also has four times the hard drive storage space, and a slew of peripherals including a Wii U GamePad charging cradle and Wii U console stands -- items you will most certainly want to own. As a further incentive to pick-up the Deluxe Set, Nintendo will be rolling out the "Deluxe Digital Promotion" (coming Dec. 2012) which will give you a 10% credit for each purchase made through the Nintendo eShop.  So for example, if you purchase a $60 game through the Nintendo eShop, you will receive credits equal to $6 towards your next Nintendo eShop purchase.

So you can visually compare the two sets, here's a full list of the contents:

Wii U 8GB Basic Set

White Wii U console with 8GB of internal storage
One white Gamepad controller
AC Adapters for both the console and controller
Sensor bar
HDMI cable

Wii U 32GB Deluxe Set

Black Wii U console with 32GB of internal storage
One black Gamepad controller
Nintendo Land video game
Console stand
Gamepad charging cradle
Gamepad stand that allows it to sit vertically on a table
AC Adapters for both the console and controller
Sensor bar
HDMI cable

Setting-up the Wii U

Nintendo hit a small bump in the road this past weekend when they rolled out a system update on launch day that every Wii U owner had to install if they want to connect their consoles online.  The massive update takes about an hour to download and install using a broadband internet connection, and Nintendo cautioned owners to let the process run uninterupted or risk damaging your Wii U system. That, combined with the physical set-up of the Wii U console and the 2.5 hours to charge the Wii U GamePad meant that there wasn't a lot of gaming during my first night with the Wii U. [pro-tip: start charging your Wii U GamePad immediately after opening the box to minimize overall set-up time]



Wii U GamePad

The Wii U GamePad is by far the most interesting aspect of the package.  The natural focal point of the Wii U GamePad is the 6.2", 16:9 aspect ratio LCD touch screen (single-touch). The screen itself looks beautiful, but it's not HD, with a resolution of 854 x 480 (the same as Wii's video output).  You can, as a main feature of most Wii U games, play the games directly on the Wii U GamePad instead of on your TV.  Even with a lower resolution on the LCD touch screen, the games I played (New Super Mario Bros. U, Nintendo Land, Ninja Gaiden 3: Razor's Edge) looked fantastic and I barely noticed the drop in resolution.  The truly impressive technical achievement of the Wii U is how smooth the games play on the Wii U GamePad, with no latency or graphical ghosting or clipping, despite being steamed to the controller from the console unit.  It's impressive to see Wii U games running on your Wii U GamePad at the same speed as the image on your TV, so much so that I'd put it on par with the feeling of "awe" I got when I first tried the Wii Sports motion controls on the original Wii.

The Wii GamePad is much more than just the LCD touch screen, in fact, it's the most feature-rich main console controller that's ever been designed.  The controller is bulky: measuring 5.3" high x 10.2" wide, it's almost as big as the Wii U console itself.  Surprisingly though, it feels extremely light at 1.1lbs and the left and right grips are ultra-comfortable even during long game sessions.  There are two analog sticks, at the top corners of the controller, and they are clickable for extra button inputs.  Below the stick on the left is a D-pad slightly larger than what's found on the Wii Remote, and below the right stick are A/B/X/Y face buttons in the same triangle formation as the Super Nintendo controller.  At the top there are left and right shoulder buttons, and below them on the back are ZL/ZR trigger buttons which have a short push distance, so there's no analog range.

The main navigation controls include +/- buttons, which act as Start and Select, and below the touch screen on the right is a Power button that turns the Wii U console on or off.  In the centre below the touch screen is the Home button which serves a similar function as on the Wii, Xbox 360 or PlayStation 3 controllers.

Since you can navigate menus using the touch screen on the Wii U GamePad, the controller also includes a GamePad Stylus slotted in the back-right, which has a noticeable "click" that locks it into place when inserting it back in.  Using the GamePad Stylus to launch apps such as the Nintendo eShop is a snap, and it helps to search through content quickly and easily.  You can also use the stylus for typing messages to your friends using the on-screen keyboard, and you can draw pictures.

For audio, the Wii U GamePad includes stereo speakers adjacent to the touch screen, which sound better than the speaker found on the original Wii controllers, though there is still a noticeable tinny quality to them.  Since I found myself playing games more on the Wii U GamePad itself than the TV, the included headphone jack came in handy for times when other people were in the living room.  There's also a volume control on the top-right of the Wii U GamePad that adjusts the volume for your earphones or the built-in speakers.  Furthermore, there's a microphone beside the Home button, though the only time I was able to test it out was in the "Donkey Kong's Crash Course" carting mini-game found in Nintendo Land (and it worked just fine).

Similar to the Nintendo 3DS, there is a front-facing camera that can snap photos or insert your face into a Wii U game, and the quality of camera is improved over the 3DS, though don't expect hi-res images. I tested out the camera in the Mii Maker application, which lets the camera take your picture and then convert the image into a Mii character.  It worked "ok", and included my basic features (recognized I was a guy with glasses), but really, how accurate do you really want a Mii character to look?

There's yet more input mechanisms as the Wii U GamePad incorporates motion control with a 3-axis accelerometer and gyroscope.  It felt on par with the Wii Motion Plus technology that Nintendo introduced in their last console, and when I tested out the motion controls with ZombiU it felt 1:1 with my movements.  The Wii U GamePad also has built-in rumble somewhere in between the quality of the original Wii and an Xbox 360 controller (so it's serviceable).

As for the battery life of the Wii U GamePad, I got about 3 hours in before the battery indicator started flashing, indicating low power, and about 3.5 hours use in total before it totally conked out.  My average charge time for the rechargeable lithium-ion battery, using the Charging Cradle, was just over 2 hours.  So, expect to be charging your Wii U GamePad quite frequently if you're a heavy user (or keep it plugged in while playing using the included Wii U GamePad AC adapter).

A feature that most users will quickly learn to enjoy is the TV Control button that, once pressed, calls open a menu which allows you to use the Wii U GamePad as a universal TV remote control.  Upon set-up of your Wii U console you have the option to search for your TV's frequency (you search by manufacturer), and after finding the right frequency you have the ability to control various functions of your TV such as the channel, volume, and power on/off.  So, this means that not only can you turn on your Wii U console with the Wii U GamePad, you can also turn on your TV using this one-stop-shop controller.  Pretty nifty.

One feature I was not able to test out is the Wii U GamePad's Near Field Communication (NFC) capabilities, which has yet to be incorporated into a Wii U game.

The Wii U console is able to support up to two Wii U GamePads (second controller sold separately), and up to four original Wii controllers.  You can also use all your Wii accessories, including the Balance Board and Nunchuk. There are numerous different ways you can play games on the Wii U, including using just the Wii U GamePad, using the Wii U GamePad plus your TV screen, using the stylus, using the Wii Remote (plus Nunchuk), and you can even use the Wii U GamePad and Wii Remotes together for up to 5 players.  The amount of play options are simply staggering, and the possibilities are practically endless for game developers -- meaning we should expect to see some very interesting combinations in future game titles.

Conclusion

With the Wii U, Nintendo has once again delivered an innovative piece of technology that has the potential to revolutionize the gaming industry much like they did back in 2006 with the Wii.  Graphically, it doesn't have that "next-gen" feel you'd expect, simply because the Wii U brings the console up to the same standards we've expected for years with the Xbox 360 and PS3.  With that said, the Wii U GamePad is really the main draw here, and with its numerous features and functions, there are a staggering number of gameplay possibilities.  The software line-up for Wii U, which includes New Super Mario Bros. U, Nintendo Land, Assassin's Creed III, Call of Duty: Black Ops II, and more, is the strongest launch line-up we've seen to date for any console.  My absolute favourite feature of the Wii U is the ability to control games using the Wii U GamePad, and I spent more of my time gaming on the controller than on my home TV.  Nintendo has certainly ignited this new console generation in a big way, and given their history of innovation, I am already looking forward to what's potentially next for mega franchises such as Zelda, Kirby, Kid Icarus, Donkey Kong, and Metroid, on the Wii U.

Stay tuned in the coming week for a follow-up article on the Wii U's operating system interface and online features (of which there are many!)

Wii U is available now.

[This article originally appeared on the Future Shop Tech Blog]
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Review: Resident Evil 6

By Paul Hunter

Playing through Resident Evil 6 was one of the most enigmatic experiences I’ve ever encountered in a video game.  The franchise, which was once known for its survival-horror roots, has all but abandoned its petrifying, spine-chilling moments in favour a mishmash of genres ranging from stealth, to puzzle, to all-out third-person action.  The problem isn’t that Resident Evil is attempting to evolve; it's that the franchise is trying so hard to morph into a jack-of-all-trades that it ends up being a master of none.

That’s not to say Resident Evil 6 is a terrible game – because it certainly has its moments – it’s just that with such an enormous development budget and the largest production team ever for a Resident Evil title, there are way too many moments that left me wondering “what in the world was Capcom thinking?”



The opening 10-minute prologue of Resident Evil 6 is reflective of what the majority of playing Resident Evil 6 is like.  In this tutorial of sorts, you assume the role of familiar series mainstay Leon S. Kennedy, who along with his new partner, Helena, are both attempting to escape from a zombie-infested city that's quickly burning into ashes.  During this introduction, you'll learn the basic movements such as the new dodge mechanic and cover system, how to flip through the now real-time inventory menu, and get a grip on your new ability to run and gun.  However, punctuated throughout this entire tutorial are an endless number of quick-time events (QTEs), from opening a door to wrestling off a zombie, that have you wiggling and waggling your controller around like you were playing Super Street Fighter Turbo on maximum turbo.  Even more baffling are the over-the-top setpieces, such as the obnoxious helicopter chase sequence, that somehow manage to make Resident Evil look more like Call of Duty zombie mode.  What's worse, these setpieces invariably contain numerous QTEs, so while you want to relax and enjoy a nice cutscene, you end up having to sit at the edge of your seat anticipating the next waggle.  Dodge, QTE, shoot shoot, QTE, reload, QTE QTE, massive explosion, repeat -- this is the Resident Evil 6 experience.

To Resident Evil 6's credit, the game does pack-in a lot of content.  There are three main campaigns, each of them playable co-operatively via local split-screen or online through Xbox Live or the PlayStation Network.  The campaigns each contain five chapters lasting about an hour each, for a total for fifteen hours.  What's interesting is how each campaign differs from the rest, and how they draw influence from past Resident Evil games.  Leon's campaign, which is reminiscent of Resident Evil 4 with its dark atmosphere and the eerie locations such as the cemetery and its central cathedral, is as close to survival horror as Resident Evil 6 gets.  Chris Redfield's campaign is action-oriented a la Resident Evil 5, and many scenes include squad-based assaults featuring tanks, heavy machinery and towering bio organic weapons (BOWs).  Newcomer Jake Muller, who happens to be the son of the now-deceased Albert Wesker, spends the majority of his campaign running from an unstoppable BOW called the Ustanak, giving a clear Resident Evil 3: Nemesis vibe. Each main character is paired with a partner for the duration of their campaign, and both of the characters are playable.



What's more, the three campaigns follow distinct timelines, yet occasionally have crossover moments where, for example, Jake and his partner Sherry Birkin (all grown up from Resident Evil 2) bump into Chris and his sniper support Piers, and the four of them team up to take out a particularly menacing BOW.  These are moments where Resident Evil 6 shines, particularly when you factor in that during these crossover moments four players online can all participate simultaneously.

Playing Resident Evil 6 is another story altogether.  While in many respects the series has evolved, such as finally allowing running and gunning, the series controls are increasingly feeling archaic.  As an example, the "new" cover system (wait, didn't Resident Evil 5 have a cover system?) Capcom introduced is so finicky, it's practically useless.  Unlike games like Gears of War, which features a seamless wall sticking cover system that allows easy targeting over obstacles, in Resident Evil 6 it's not always clear which areas will provide cover, and when in cover, the camera never seems to position itself right for the clean shot.  Fortunately, you can progress through all three main campaigns without using cover, as it's more of an option than a necessity.



Rounding out the story mode is an entirely new single-player campaign starring Ada Wong that unlocks after beating the three aforementioned campaigns.  Her campaign is the most interesting of them all, featuring a hefty dose of stealth and puzzles, and provides new twists on the other three campaigns.  All together, there is over 20 hours of campaign content here -- the most ever for Resident Evil game and about twice as long as the standard action game.

The best new addition in Resident Evil 6 has got to be Agent Hunt mode, which unlocks after the individual campaigns are completed.  In this mode, you can jump into another player's online game as a zombie, or other grotesque BOWs, as you attempt to take them out.  It's fun, fresh and it's the mode I keep on coming back to play more of.  The popular Mercenaries mode returns as well, rounding out the online features.



After putting in thirty-something hours into Resident Evil 6, I'm just as boggled as I was during the first ten minutes into the game.  Why Capcom decided to stretch Resident Evil 6 into a game that caters to so many tastes is baffling when you consider that the core mechanics are just simply flawed in some respects.  Don't get me wrong, there is plenty to enjoy in Resident Evil 6, such as the twenty hour campaign and solid Agent Hunt mode, it's just that given the pedigree of the development team this game should have been much better.  Resident Evil 4 was, and still is, the best entry in this series, and sadly, the only real horrifying aspect of Resident Evil these days is watching this once-great franchise steadily decline with each new iteration.

Resident Evil 6 is out now for Xbox 360 and PlayStation.  The game was developed and published by Capcom.

Resident Evil 6 is rated M for Mature by the ESRB.



  [This article originally appeared on the Future Shop Tech Blog]
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