Play The Last Of Us

What is a masterpiece?

A masterpiece is defined as a work of outstanding artistry, skill, or workmanship. It is safe to say that not everything is a masterpiece, so when you are faced with something that is, it is something of a privilege to have witnessed or experienced it. Therefore, if I have just so happened to have come across such a thing, then I believe it is my duty to tell everyone, that will listen, about it. In this instance, I am referring to The Last of Us.

The Last of Us is a post-apocalyptic zombie survival horror action-adventure game on the PlayStation 3, made by that dog pound of a studio (that's meant to be a compliment, in some sort of way) - Naughty Dog. And this is no anomaly in terms of the quality of the game that Naughty Dog have produced. Nope. They are also the makers of Crash Bandicoot (remember that game from the PlayStation 1 era?), Jak and Daxter and the more recent Indiana Jones inspired Uncharted series.

The game is set 20 years after an outbreak of a virus that has desolated the population, and which turns those that have either inhaled the poisonous spores or been bitten by an infected person into mindless creatures that have no control over their own actions - basically they are similar to the zombies that you see in Danny Boyle's 28 Days Later. The main difference is that the longer a person has been infected with the Cordyceps virus, the more like fungus their face and body morphs into, and the deadlier they become.

The story revolves around two characters. The first is Joel, a gruff middle aged man that has had to survive 'D-day' and the ensuing fall of civilization. And the word is survive, as we see in this world, those that have survived so far have left behind - for the most part - their human side and what made humans different from animals. As Ish - an off-screen character - later remarks very accurately in a note, "humans are back on the food chain!" And that is really the difference that has been made in this world. To survive, you have to be ruthless and use whatever edge you have to make it; be it your wits or your strength - after all, it is survival of the fittest now.

The second character is a 14 year old girl called Ellie; an orphan, probably in a world plagued by them, where it is normal to see loved ones die, either by the infected or by other humans - hunters as they are called in this dog-eat-dog world.

The story goes that Joel is tasked to escort Ellie to a rebel group known as the Fireflies, but when they make it to the rendezvous point, they find that the Fireflies have all been killed. Joel is asked to see out this task as a favour to someone close to him - something that he 'owes' this person. Thus, the duo travel across what was the United States, so that Joel can deliver Ellie to the Fireflies.

Yes, it seems like a simple story, but the execution of the storytelling and how the gameplay mechanics integrate fittingly into this make it something much more than an escort story. (This becomes apparent when you actually play the game as I have excluded a lot of the detail and further plot points, so as not to spoil it for anyone yet to play the game.)



The gameplay is a balance of stealth action and third person shooter. Playing as Joel, you can take cover behind walls, tables and other such objects to stay out of the sight of oncoming enemies. This option of how to tackle certain situations adds a lot of variety to the gameplay as you can choose to go gung-ho and charge at the enemy with an assault rifle in tow, or you can pick off enemies one at a time. However, the fact that this is the post apocalypse and there is not an abundance of supplies means that the former option is often harder to do and, unless prepared with enough medical kits and ammunition, would mean that the chances of successfully advancing are made harder to do so. Therefore, going through areas using stealth is often the more practical, and rewarding, way of playing the game. But don't worry, there are multiple times in the game when the only way forward is playing with a little anarchy.

As a result, these two mechanics can change the tone of the game entirely; from one of tension and thrill of killing an infected to the moment that you are spotted by a group of hunters and you now must use everything available to you from bricks, bottles, nail bombs and your guns, to your very fists as a way of surviving. And you will need to use everything at your disposal because if you are ill prepared when entering an area littered with infected or hunters, then that makes Joel and Ellie's life much harder.

There are a few different types of enemy in The Last of Us. First, there are the Hunters; they are gangs of (human) militia that have weapons and are as much of a threat than the infected are. They are more clever and methodical as they talk to each other and alert other Hunters if they see a body that you killed or if they spot you sneaking around. Thus, it requires planning and resources to take them on as they are ruthless and attack as a pack.

The zombies, who are actually infected and mindless humans, come in a few different forms. Those that have been infected a shorter time are called Runners. They are generally, the easiest enemies in the game to take out. Then there are Clickers - endearingly named so for the sound that they make. Clickers are those humans who have been infected for longer and have had their body covered with fungus, thus blinding them. However, as a result, their hearing senses have been heightened. Therefore, killing a Clicker requires more nous, patience and shivs; but really, if you are heard by them and they get into touching distance of you then it is lights out - they are a deadly and scary foe. And Clickers coupled with Runners presents a different kettle of fish altogether; making you have to assess and tackle the situation accordingly. Lastly, there are Bloaters; the less said about them, the better!

To tackle these enemies, Joel has been given a little bit of an edge of his own: an acute sense of hearing, almost like sonar. By holding the R2 trigger, Joel will crouch down and listen to his surroundings, which gives a picture of where enemies are located and moving to. In effect, it is a radar which helps you evade or kill enemies, and navigate an infested area. Playing the game on the hardest difficulty, though, will not allow you to use this ability, so for those seeking a tougher challenge on a second play through can opt for this.



Scrounging is the order of the day and what you need to do in this game, as finding cloths, alcohol, scissors and other materials and tools allow for you to make new weapons - like a shiv that you will need to take out Clickers without attracting the attention of the infected. Scrounging allows you to manage your inventory and helps prepare you for any surprises that may just be around the next corner. Plus, the fact that things are scarce in this world means that you can't pass on the possibility of finding something in that abandoned house or dilapidated record store that is just across the street. This, you may think, would be a bit of a hassle, having to explore all the areas of the game world to ensure you are fully stocked, but it is not because you often find notes from the people that were in these places which tell you the stories of their predicaments and what happened to them; they are human stories of struggles and hurdles from the points of view of different people from different backgrounds - even the Hunters. It is this environmental storytelling that Naughty Dog do so well. One example was when I walked into an abandoned apartment and an infected ran at me. After I had killed it, I saw on the wall that someone (probably the person that used to live there) had written "Rachel" on the wall with an arrow pointing downwards to a table that had a note on it. The note was from the day that the town (Lincoln) was to be evacuated and was meant for Rachel - presumably the author's partner - stating that he had to leave with the evacuation crew because she did not return in time, and that he would be waiting for her in the evacuation zone. It makes you wonder if she ever saw the note, or if they ever saw each other again. Certainly, it brings up a lot of questions. Little touches like this are scattered all throughout the game and it is the way that Joel and Ellie interact with these stories and other points of interest in the environment that really elevates the story to a whole other level. This simply does not and has not appeared before in an action game. And as a result, it pulls you into this devastated world and reminds you that at its core, The Last of Us is a game about human relationships.

What helps build the above is the gradual relationship that is formed between Joel and Ellie. Ellie was born into this world and does not know anything about a pre-devastated world where an ice cream van would go around neighbourhoods and sell ice cream to kids (which she thinks sounds ridiculous and sort of does when she repeats it). On the other hand, Joel is trying to forget the past, but is having difficulty letting it go as he has not allowed anyone - to truly - get close to him since the world went to hell. When their paths cross and their journey begins, their interactions with each other break down these walls that Joel has had around him and they talk about the old world and the difficulty of their journey, whilst facing up to their pasts and enduring hostility like no other. Moments, such as when Ellie spots an advertisement of a slim woman and exclaims that she thought people had an abundance of food in Joel's time explains it all, in truth. She cannot fathom a world other than where you do everything to survive, and believes that not eating to look beautiful is silly. Conversations like this where Joel explains things about the old world and Ellie's incredulity or intrigue about a world before the infected are beautiful moments of interaction, story building and help us understand Ellie and the thinking of those in this world much more.

The Last of Us, as well as having a fantastic story, has in a certain part of the game (which I will not discuss in this post) the most nerve racking, atmospheric, riveting, exciting and adrenaline filled section that I have ever had the privilege of experiencing in all of my years gaming. It is as close to perfection that I believe a game can get with everything that it provides: story, characters, graphics, gameplay, tense situations, and emotion - it has it all. And that is before I even mention the dread-filled beginning or the ending of the game, which is fully deserved and merited as a result of all that we have had to endure to get there. It is brave, fantastic and a fitting end for such a fabulous game and story.

The atmosphere of the game and the level of dread in the air is a brilliantly built up and omnipresent part of the game. You experience it from the off, and it is built by the character you control being vulnerable. Vulnerability made by the fact that resources are scarce and you can never be as well prepared as you would like to be. Even if you have a sufficient amount of ammo in The Last of Us, this doesn't mean for certainty that you will be safe from the dangers of the zombie-apocalypse. Joel's aim is not the best and requires upgrades, in the form of pills, to improve his shooting steadiness. And a word of caution, for not all of the possible upgrades can be upgraded in a single play through, so you will have to choose what you value more than a steady shooting arm: maybe more health, quicker crafting of inventory (ie. health packs, shivs, melee weapons) or the ability to use a shiv as a last form of defence against a Clicker instead? Even when crafting shivs, medical packs and other inventory, the game is not paused, thus compounding that fear that anyone/thing can attack you at any moment. It is terrifying and tension inducing; all created by two decisions Naughty Dog made about the game's mechanics.

THE VERDICT

All in all, Naughty Dog have outdone themselves and have delivered THE game of the last generation. The Last of Us delivers artistry that very few games do achieve and is a game that is not to be missed.

Following on from my last post, it seems that I only deal with them. Quite simply put: a masterpiece.

RATING  10/10   Masterpiece

Review: Gravity

[Note to reader: It is best to watch the film without knowing that much, if anything, about it. So, Avoid reading my review (or any other) before watching the film, even though there are no spoilers ahead...]


Going into a film with high expectations does not often end well. What you usually get is a feeling of being underwhelmed; one of underlying disappointment that it did not live up to the hype. I am glad to say that this is anything but the case when talking about Gravity - Mexican director Alfonso Cuarón's mesmerising space spectacle. It is breathtaking in every sense of the word.

The film opens with the caption "Life in space is impossible." Sure, there is no oxygen to breath, no water to drink; just the vast vacuum of space, filled with huge areas of nothingness that populate the vastness of the cosmos. This, ladies and gentlemen, is our setting and for the next 90 minutes we are treated to the realities of what makes residing 375 miles above Earth so unforgiving.

Gravity is centred around two astronauts. The first is the 'bus driver' (or Captain of the space shuttle to you and me) Matt Kowalsky (George Clooney), a veteran astronaut on his final mission who is enjoying his last experience out in the void and hoping that he breaks the record for the longest space walk while out there. Alongside him is Dr. Ryan Stone (Sandra Bullock), a medical engineer who is feeling tense and a bit queasy at being out on her first NASA journey (and space walk), and who has just completed six months worth of specialist NASA training to attach a new high-tech scanning device to the Hubble Telescope.

Whilst working on the Hubble Telescope, they and their space shuttle are hit by shrapnel like debris from a accident that occurred at a Russian satellite. Thus ensues the crux of the film: the race for survival of two astronauts when disaster occurs in the most inhospitable of places. From this and other major setbacks, they must try to find a way to safety - to survive. In reality, though, this is a film which has more to do with choosing to live instead of just trying to survive; and whether we have the fortitude to want to live, or not.




Unlike that of rookie astronaut Stone, flustered and in a state of panic when she is faced with the possibility of being lost adrift in space, Cuarón handles the entire film with poise and confidence - illustrated immediately with the opening shot of the film. This prologue, which is an unbroken 13 minute sequence before the first cut is made to another camera, sets up the film and throws us into the astronauts' shoes; leaving us little time to gasp for air in what is a thrilling start, which hardly ever lets up thereafter.

There is no doubt that the 7 years it has taken the director to make Gravity have been spent figuring out ways to make the film as real as possible and finding out ways to put the audience right into the action (which includes some awe inducing point of view shots and sequences that make you feel like you are an astronaut). We are given incredible vantages of the action, and with (actual) gravity not playing a part in space, it has allowed Cuarón and his long-time collaborator and cinematographer Emmanuel Lubezki no restrictions in the free flowing movement of the camera and the orchestration of the entire film. In essence, this gives the feeling that we are out with Stone and Kowalsky in zero gravity. Much like what Scorsese did in Raging Bull in the fight scenes with De Niro, where the camera weaved in and out to mimic the movements that boxers make, Cuarón allows the camera to move everywhere and anywhere to thrust the audience into space. And the imagination needed to map out such long sequences is astonishing to say the least.

As there is no sound in space, Steven Price's score takes on an important role in the tone of the film: to build tension and to double as sound FX (of a sort). Building on the themes of the film, such as confusion, fear, isolation and hope, Price incorporates ethereal sounds and rousing choruses in accordance. It is for all intensive purposes a rounding success. In moments when something bad is happening, to a monologue where the astronauts talk "in the blind" - just incase anyone from Houston is listening when radio transmission from Earth is lost - the score reflects the action on the screen and Cuarón's vision, without overbearing the film.

And what of a film that so far has only been spoken about for its technical achievements and visual majesty? Well, the story does more than enough to emotionally invest you into caring for Stone. Her outlook on life is particularly revealing in one exchange, which goes on to illustrate her withdrawn personality: she will miss the quietness of space once they return to Earth, while Kowalski will miss the view of the sun rising. It is telling that there are unresolved feelings from the past that have been bottled up for too long, which could easily spill out if something 'major' were to happen. Her back story is one that helps explain her disposition to being the nervous, lonely and somewhat introverted character that is hinted at at the beginning; it is in stark contrast to Kowalsky.

For a film that always has the tension running high, as it is a story where the protagonists are on a race against time to survive (oxygen is not infinite in space, folks), it still allows time for quieter, more subtler and emotional moments. In one moment in particular, Clooney, playing Kowalsky as we picture what Clooney must be like in real life - cocksure, charming, with an abundance of charisma -  really does knock a scene out of the park with a warm touch of advice to a troubled Stone.

However, this film is Sandra Bullock's, putting in what must be a career best performance. She gives us everything: physicality, emotional vulnerability, mental fortitude and growth. But, I think it is because she plays someone that we can all empathise and familiarise with that comes across and strikes a chord with us. She is an ordinary person that has been put into an extraordinary situation.

Sandra Bullock's Dr. Ryan Stone

Gravity is an emotional ride. Not in a long time have I watched a film that gave me a lump in the throat on multiple occasions throughout; that welled up a tear in my eye because of its beauty; or something that made me gasp in awe at the spectacle. It is a film that finds time for these moments. It is a character piece set in a place where humans are out of place.

At the beginning of this review, I quoted Alfonso Cuarón's line that "Life in space is impossible." After seeing Gravity, it has been made abundantly clear to me that life in space is possible; with will, determination to survive and a bit of vodka.

Breathless? I sure am.

THE VERDICT

Gravity should be seen on the biggest screen possible and, for once, the 3D is worth it. It is probably the best use of the medium on film to date (along with Avatar) and doesn't reduce the brightness of the picture (which is usually the case). The 3D works perfectly with where the film is set and how the camera moves. You'll have seen nothing like this, so if you can, watch it in IMAX 3D.

It is a visually stunning and unforgettable experience, from a master craftsman who seems to be at ease with the tools at his disposal. Alfonso Cuarón has pushed the envelope for what is possible in film and it should not be missed. Go and watch it, and take as many people as you can along with you. James Cameron sums it up well: "Gravity is the best space film ever made".

RATING  *****  Masterpiece

Look back at The Legend of Zelda: The Wind Waker

I'm approaching an island that I can see in the horizon; only a mere silhouette at the moment. As I gradually get closer I notice that there is something wrong. The island starts to come into focus. The weather, as I edge closer to the island, changes and it seems that a storm is brewing. The King of Red Lions tells me to approach with caution; there seems to be a darkness which is spreading around this world.

I was fourteen years old in 2003 when The Legend of Zelda: The Wind Waker was released. I remember from the first moment I saw the trailer to the game, over a year before its release, that I wanted it. Up until that point, I had never played a 3D Zelda game before, so I had no previous experiences to compare it with. As I had never owned a Nintendo console, I had missed Ocarina of Time and Majora's Mask and only had a hazy memory of the former from a time when I was at my friend's house and we were hunched around a small, boxed television, watching his older cousin running across a green field, fighting zombies and throwing chickens in a pen. Suffice to say that my brief encounter with Ocarina of Time had left a lasting impression on me; one of: "wow, I've never seen a game as good looking as that ever" followed shortly after by "damn, why did my dad get me a PlayStation instead of a Nintendo 64!"

As that console generation passed, I was more than content with my PlayStation and shortly after, the PS2. In particular, I was obsessed with the revolutionary open world of Grand Theft Auto 3. Despite being way under age to be allowed to play it, I nevertheless did and, for me, it took what games were capable of to a whole new dimension - in terms of scope and freedom. However, from time to time, I would still think back to Ocarina and how I felt there was something I was missing out on.

Now, back to the unveiling of Wind Waker... When the first tidbits of news about the game were released, I was hooked. The trailer showed off the new cell-shaded graphical style and it was incredible. It was a living and breathing cartoon - if you will - that would not look out of place on Cartoon Network. And the best bit? I would seamlessly be controlling it all in this gorgeous, charming and large open world - called the Great Sea. It was Nintendo's answer towards Sony exclusives, such as Metal Gear Solid 2: Sons of Liberty, the GTA series and Kingdom Hearts, as well as Microsoft's behemoth console seller Halo.

A limited edition console bundle, which would include Ocarina of Time and - the never before released outside of Japan - Master Quest was announced and I immediately pre-ordered it from my local GAME store. (Those were the days before ordering off the internet became the norm!) My level of excitement was palpable.

When release date came by, I did something that, now, I would never do. Initially, I opened my new silver Gamecube, set it up and put in the Wind Waker. Sure, on the surface this is what every teenage boy would do. The difference was that I only did this to make sure everything was working so that when I did play it a couple of months down the line - once my school exams were over - I would not be left with a faulty console (just in case I was one of the unfortunate few people to receive a console with a problem with it). Well, as it turns out, everything worked perfectly, and after 'testing' out the console and the game for an hour or so, I packed it up again and left it sat underneath my desk table in my room. Yes, it was and is an unheard of thing for a 14 year old boy to do; especially so for someone who was looking forward to it as much as I was (as I knew many people who weren't at all). This was the deal that I had struck to buy the Gamecube bundle: I would be allowed to buy it if I did not play it until after my exams were over. Suffice to say that it took every ounce of self-restraint to do so, but it was the only way to get my hands on it. Quite simply, if I didn't do what I promised at the time then I would not be writing this post about this pivotal gaming experience in my life - and that would have been a travesty to not have experienced this game. The Zelda series has since introduced me to many other games that I may never have tried as a result; games that are also full of action and adventure, art and innovation (hello Shadow of the Colossus and Okami, to name two). Otherwise, it is possible to assume I would have continued to be a sports nut (no offence to those FIFA and Madden enthusiasts out there)!


The months passed, I sat my final exam with confidence and as soon as it was over I rushed home to (again) open and play Wind Waker. Now I could take it all in, knowing no one would be able to stop me and I had nothing to worry about. From the prologue, to that first stroll through Outlook Island, to sneaking past Moblins in Ganondorf's fortress, to sailing the high seas with The King of Red Dragons, it was and still is one of the most memorable experiences I've ever had in my eighteen years of gaming.

The Forsaken Fortress - no try braking into this place and evading enemy sight!

It is difficult to talk about just one 'thing' which makes Wind Waker so good, even to this day. I've already noted the cell-shaded graphics - which at the time was very divisive. But what I should add to this are the little things that were done with the graphics; for example, if you were stuck with a puzzle and did not know where to go or what to do, then you could turn the camera and observe Link's eyes which would show him looking at something of interest for the player to consider. This would act as a subtle hint to the player and you'd soon be on your way to the next challenge. Little things like this were spread throughout the game and were well ahead of its time.

The combat is still the most fun, intuitive and rewarding aspect of the series; especially when confronted with the more difficult enemies (and I've taken into account Skyward Sword's motion plus sword wielding controls on the Wii before anyone argues). And because of the more seamless and open world of Wind Waker, compared to Twilight Princess in particular, there are many more places (in the shape of islands) to explore, which results in their being an infinite amount more side-quests to distract you from the main stories quest.

In reality, there are too many moments and aspects of Wind Waker to mention here that make the game still endear today. All I know is that, in 2013, I can still hook up my Gamecube and start playing the game and it would not have aged at all. Sometimes, when you go back to classics they leave you with a bad taste in the mouth, not because they are all of a sudden a bad game, but because they have aged badly; the graphics and gameplay have since been bettered and the game that you once remembered loving has now dated. Metal Gear Solid 3: Snake Eater is one of those, amongst others. Sure, it is still a very good game, however there is an adjustment period needed now to play it on the PS2. Not Wind Waker, though.

Very few games age well, and The Legend of Zelda: The Wind Waker is one of them. I would do a fine wine analogy, but I can't taste the difference between an old fine wine and a new one so I will use this instead: The Wind Waker is like Casablance; it is still as amazing as when it originally came out and as good as you remember from your first viewing. It is a masterpiece and you will find it hard to better. It is still my favourite Zelda game in the series and that is high praise when you see the company that it is amongst.

The Tower of Gods finally allows me to enter. I do not know what I will find inside it, but maybe I will discover the answers to the mysteries that preceded. Now that I have entered, everything is frozen in time - unchanged from a lifetime ago. So too is the Hero of Winds; its experience undimmed and enduring, as if time had stilted...

...Celebrate Birthdays In Film

Birthdays. That special day of the year that comes around for everyone; where we celebrate the turning of the proverbial clock and grow a year older. Throughout our lives they are celebrated in a variety of ways, such as: parties with family and friends, smaller more intimate affairs with maybe a few loved ones at a dinner table, lavish holidays abroad in the sun, or even sitting in an office at work. They can be memorable occasions of joy and happiness or complete disasters because of particular events or circumstances. One thing for sure, though, is that they provide a variety of entertainment and human connection on a personal level.

Films just so happen to depict such a range and offer the opportunity to explore the emotions that we, ourselves, experience on our own name days. So, in recognition of my own birthday recently, I have put together a list of birthdays in film. This is not a top 10 list, but rather a run through of some of the most memorable birthday celebrations (or non-celebrations) in film.

--- Possible SPOILERS ahead if you have not seen the films---

The Lord of the Rings: The Fellowship of the Ring

Partying like it's 1999.

Who's Birthday? Bilbo Baggins

Why it's on this list? Not everyone makes it to the grand old age of eleventy-one (that's 111 to us humans), but Bilbo just so happens to be in that exclusive group. In true hobbity style, he is joined by hundreds of relatives and friends (and even unwanted family like the Sackville-Baggins') with barrels of beer, tables full of food and festive music to match such an occasion. Not to mention Gandalf's famous fireworks which catches all the guests by surprise when one rocket - that resembles a dragon - is released at the party, only to explode in the distance as bright as the sun. But what makes this birthday memorable is how it ends; with a speech by the birthday boy himself. Bilbo abruptly announces, half way through his speech, that he is leaving the Shire forever and vanishes in spectacular fashion - now that's the way to make an exit from your own party! There is no doubt that that moment was spoken about for generations to come in the Shire; how old Bilbo disappeared in front of the whole village. After all, to paraphrase Frodo, "half the Shire was invited and the rest turned up anyway!" Now, I wonder how Bilbo did that...

Leathal Weapon

Who's Birthday? Roger Murtaugh

Why it's on this list? Murtaugh's just having a relaxing bubble bath (with worryingly less bubble as the scene progresses) and his family surprise him by all barging their way into the bathroom. He gets the whole birthday cake ceremony while lying in the bathtub, and do you know what? He handles it with no shame or feeling of embarrassment whatsoever, even though he hates the fact that he's just turned 50. The family are managing to catch just enough time in their busy morning schedule to show their love and appreciation to the (old) man of the house - even if he is butt naked. Good thing he doesn't know what the rest of his birthday is going to bring for him...another 3 movies with some guy called Riggs.

Okay, maybe he was a little alarmed when the entire family turned up - with birthday cake in tow. 

Harry Potter and the Philosopher's Stone

It's the thought that counts.

Who's Birthday? Harry Potter

Why it's on this list? "You're a wizard, Harry". Come on, who wouldn't want to be told that on their 11th birthday, let alone any birthday! After being treated as nothing more than a nuisance and afterthought by his uncle and aunt for the 10 years prior, Harry got just the news and new lease on life that he needed - that he was a wizard. After being chased everywhere by owls hoo (sorry, couldn't resist) were trying to deliver letters relaying this information, the Dursley's take Harry to an abandoned lighthouse where they believe they will not be found by anyone. How wrong they were, as on the strike of midnight Hagrid thumps his way into the dilapidated building to give Harry his first birthday cake that he can recall being given. Heart warming stuff, indeed. Shortly afterwards, Harry is whisked away to his new life to study at some school that you may have heard off - Hogwarts School of Witchcraft and Wizardry - where he can learn all the things wizards need to know. Best. Birthday. Ever.

Toy Story

Who's Birthday? Andy

Why it's on this list? It's the day that we found out our toys are actually living secret lives when we're not playing with them. There are two aspects to this birthday. First, Andy is having a standard home birthday where his friends are invited over and they play games, eat cake and open presents; the norm. The second aspect, though, is the interesting one: Andy's toys have set up an undercover operation to report on the present opening ceremony. What we are left with are insecure toys that don't want to be replaced with new ones. However, from this we witness a new, though at first rocky, friendship that will be struck between a shiny new space ranger and an old cowboy doll.

I think this is what one calls 'laser envy'.

Mrs Doubtfire

Who's Birthday? Chris Hillard (on the right)



Why it's on this list? House party? Check. Sheep? Check. Goat and pony? Double check. Lots of kids (not to mention the supervising adult) dancing and jumping to House of Pain's Jump Around? Check-list complete. What you get is probably the best party a kid is ever going to have. However, it doesn't last as Sally Field's highly strung mom - Miranda - turns up to find her house a mess, only to be further upset by Robin Williams' voice actor dad - Daniel - having organised it all. It is redundant to say that it doesn't turn out well for him, which is incidentally how the rest of the film (and the whole dressing up as an old English lady) is set up. This is a good illustration of how a birthday can be ruined in a moment. Sure, if Chris had a secret house party without telling his parents then that is one thing, but your dad sorting it out like a teenager is just asking for trouble - namely from a divorce lawyer. We then see how the three children have to listen to the aftermath of the party in their room and how it affects them. On the bright side, at least Chris didn't have to do the cleaning.


Lost In Translation

Who's Birthday? Adam Harris

Why it's on this list? Okay, I understand that this may be a cheat addition but let me explain my point. So, you're probably wondering who Adam Harris is in Sophia Coppola's beautiful film from 2003. And you'd be correct to wonder who Adam is as he doesn't physically feature in the film. Well, he is Bob's (Bill Murray) son who is only mentioned in a fax that Bob receives upon arriving in his lavish Tokyo hotel - completely jet lagged - which reminds Bob that he forgot his son's birthday. I'm sure Adam had a great birthday, but really, this entry is not about him. It's about a middle-aged man in an unfamiliar country, where he meets a young woman called Charlotte - played by Scarlett Johansson - who is also dealing with the same problems and questions about where her life is heading, and how they come to deal with this. When we meet them, Bob and Charlotte are lost. However, as the film progresses and they spend more time together in this completely alien culture, they discover that it is each other they need to find their way to the next branch of their lives. It is memorable as from that fax, we follow this unlikely pair through their experiences in Tokyo all the way through to that last scene. A whisper that you have to translate for yourself and come to your own conclusion as to what happens to both of these characters' stories. So, that's how Adam's birthday is memorable - it gave us the start of something special.

Bob arrives to his hotel. He's a little tired by the looks of it - and that's not from partying, either!

Kick-Ass

Who's Birthday? Mindy McCready


Why it's on this list? Now, what do you expect an 11 year old girl to ask her dad for on her birthday? Maybe a cuddly, fluffy puppy, or even a barbi doll. Sure, Chloe Grace Moretz's Mindy does ask for these things. The catch is that she is asking in jest; only "fucking" with us - you know, for a laugh. She then settles her father's nerves (played by Nicholas Cage doing a brilliant homage to Adam West's caped crusader) by seriously asking him for a benchmark model 42 butterfly knife. I don't even know what that is! It is suffice to say that the humour and general craziness of the movie is portrayed in this scene and I doubt you'll forget it in a hurry.


Dumbo

Who's Birthday? Dumbo

Yep, that's how babies are born.

Why it's on this list? It shows us how baby animals enter into this world; namely by a stork delivering babies to the parent, much like a postman delivering mail to a house. When baby Dumbo finally gets delivered to his mother, after much difficulty encountered by the stork because of the weight of the 'package', Dumbo gets a lovely rendition of "happy birthday to you" sung to him. We then see him blowing up his ears and getting used to walking whilst trying to avoid stepping and tripping on his oversized ears. How cute is that!

Sleeping Beauty

Who's Birthday? Aurora



Why it's on this list? After having been left out of the celebrations for the birth of Princess Aurora, the villain of the piece - Maleficent - curses Aurora, proclaiming that, before the sun sets on her 16th birthday, she will prick her finger on the spindle of a spinning wheel and die. Fast forward 16 years and guess what? She gets lured away from the three fairies, who are supposed to be protecting her, by a trance that Maleficent has induced, and pricks her finger on the spindle of a spinning wheel that was hidden away in a secret room. While she lies on her bed - as if frozen in time- it is left to Prince Phillip to battle Maleficent, in dragon form, and to break the curse. What an action packed birthday full of despair, horror and adventure.

Tangled

Who's Birthday? Rapunzel

Why it's on this list? Unknowingly to Rapunzel, the lighting of lanterns into the night sky - coincidentally on her birthday - are in fact for her and not a coincidence at all. Having been snatched away from her family when only a baby for her hair's healing ability, Rapunzel sets out on her 18th birthday for the chance to see the lights. Along the way she avoids danger, makes new friends and falls in love. It is a slice of old Disney magic for a new era. And that scene with the lanterns ain't too bad either.



Batman Begins

Who's Birthday? Bruce Wayne

Why it's on this list? His house gets burnt down once the party finished! In all seriousness, it wasn't Bruce's fault. At Bruce's birthday party, staged at Wayne Manor; a party that was meant to be mundane quickly becomes a threat to his unknowing guests. The League of Shadows have invited themselves and blended into the party and it is up to Bruce to get all of his guests out of the house no matter what the cost to himself. Therefore, Bruce puts on his 'mask' and acts drunk and tells everyone that they are suck-ups and should get out of his house. The guests are disgusted and offended, but what they don't know is how Bruce just saved all of their lives - and not for the last time. From here, Bruce is left to die in his burning house and he must thwart a disastrous plan by Ra's al ghul and the League of Shadows who intend to release an airborne hallucinogen that would make everyone in Gotham tear each other apart and cause the downfall of the city. All in a day's work for Batman.

Not what you want after a house party.

Godfather Part II

Who's Birthday? Don Vito Corleone



Why it's on this list? Even though we don't see the man himself in this flashback scene (Marlon Brando was meant to reprise his role as Vito Corleone in this one scene, but did not turn up on the day of the shoot; no doubt because of financial disputes with the studio), it includes all of the Corleone family sitting around the dining table in conversation; something familiar to all of us. The conversation about Michael enlisting with the marines leads to a heated exchange between siblings, but it is this familiarity and the family dynamic and the discussion about real, everyday topics that is captivating from the start. When Vito finally arrives the whole family get ready to greet him with love and warmth. It's funny how people's moods can change for family on special occasions. What this scene shows is just the normality of even a crime boss' birthday; spending it with the family around a table.

                                        

Have I missed anything out that you would have included? Let me know in the comments.

...Kill A Colossus

When Shadow of the Colossus came out in early 2006 you would have been hard pressed to find many people (from my school at least) who knew anything about the game, let alone anyone who had pre-ordered a copy for its release. However, I was one of the few people that did. I had been looking forward to its release as soon as it was announced and always made sure to buy the monthly Gamesmaster magazine to keep up with the latest news and developments regarding this unique game.

And it was the unique concept which was the factor that sparked my interest in Shadow of the Colossus in the first place; the uniqueness of the game that transformed my interest into an obsession to know more about it. Any little tidbit would be welcome. I would carefully read an article and scrutinise the possibilities of any information revealed and then re-read it again. This would include gameplay previews describing the mechanics of the game, the multiple ways of tackling a colossus and screenshots showing the expansive world and art direction - you name it, I knew about it.

THE GAME

Shadow of the Colossus actually has a fairly straightforward premise. A youthful man called Wanda comes to a seemingly empty and baron land with a deceased young lady. Wanda then talks to a voice, in a tower, that offers him a deal to bring his loved one back to life, but there's a catch - Wanda must kill 16 Colossi. These Colossi are behemoth 'beasts' - some the size of skyscrapers - that roam this 'Forbidden Land'. Some are small and fast moving, some big and slow, some fly and some swim, but the task is the same in every case - they must be killed. 

How are you meant to kill something that is 100 times bigger than Wanda? Don't worry, you come well equipped. Along with your trusty steed - Agro - you first have to locate the colossus and then make the journey through the Forbidden Land, which despite its baroness, has a real beauty to it, thanks to Team Ico's art direction which made it one of the most beautiful games of the PlaysStation 2 era. Once the colossus is found, its weak spot must be located by reflecting a beam of light - from your sword - onto the colossus. Then the hard part; with Wanda's - at first - limited grip and stamina, you must figure a way of scaling each colossus and stab the monolithic creature in its weak spot(s).

"Simple enough" I hear you say. It is anything but...

'The Swordsman' as I affectionately call this colossus. I wonder/Wanda how he got that name...

The game is in essence 16 boss fights; 16 puzzles that must be solved - 16 different challenges posed by 16 different colossi. There are no smaller enemies to fight in between the colossi. All of the games energy is focused towards these 16 epic battles. However, unlike most games that involve killing the enemy, you actually start feeling guilty for killing these majestic creations. They haven't done anything to you to warrant killing them. Most of them don't attack you until you either (a) disrupt them, (b) enter their territory or (c) attack them first. The only reason you are killing them is because some mysterious voice from the sky told you to do so in exchange of bringing the girl back to life.

As each colossus falls, the feeling of success when killing each colossus slowly wanes away and you start to question why the voice - who's name is Dormin - has asked you to kill these innocent creatures and whether killing 16 times is worth the life of a loved one.

It can be argued that the sympathy that we have for the colossi stems from their eyes. That's a strange thing to say for a video game which is nearly eight years old, but the change in colour and shape when they fall is affecting. Through them you can see the gentleness and peacefulness in which the colossi lived their lives, roaming the Forbidden Land - before you disrupted it.

This is the genius of the game and is partly what makes it number one on my list of the greatest games ever made: the ability to make the player question why they are killing and making the player feel guilty for doing so. Add to this great art direction, sound and innovative gameplay, clever game design and a story (though minimal in information) that you are invested in but question, then you have all the attributes of a game that will go down in history next to the likes of The Legend of Zelda: Ocarina of Time, Mario 64, Metal Gear Solid, Half-Life 2, GTA III and Resident Evil 4 - all games that were unique and pioneers of what was possible in gaming. 

GAME AS ART

Literally, game as art...

Team Ico, the developers behind Shadow of the Colossus and Ico, have helped elevate the gaming industry to something that can now be considered an art form - if it wasn't already. In fact, the legendary film critic Roger Ebert had to retract his previous view on the matter and admitted that games can be art. He duly followed this up by saying that he had been encouraged to start with Shadow of the Colossus and Ico - models of video games as art. Recently, Guillermo Del Toro has gone on to say that these two titles are, so far, the only forms of art produced by the medium. You would think Del Toro, a keen gamer himself, would know what he was talking about; after all, he did create Pan's Lambrinth - one of the most imaginative and fantastic film ever made.

Here are the factors that make me agree with Del Toro and help argue that Shadow of the Colossus (in my opinion) is art:

The Story
As said earlier, the story is sparse on information. However, this factor makes the story stronger as the gamer's own imagination is needed to fill in the gaps of the back-story. Also, the gamer's own interpretation is required to understand the motives of certain characters, thus how the story plays out.

And there are many things we don't know. We don't know how the young lady died, who she is and what relationship she had with Wanda. Is she his true love, sister or something else entirely? Why is the Forbidden Land, well, forbidden? Why can we not see Dormin and was he, maybe, a dark figure in the past? All of these unanswered questions in fact add a huge amount of depth to the story, very subtly. As a result of not knowing certain pieces of story, we, the player, fill in the gaps with our own ideas and back-story, which gives us our entry into the game through our intrigue and emotional connection with the characters. It also doesn't hurt that the end isn't a straightforward 'good triumphs and beats evil'. It leaves you with a lump in the throat, a heavy feeling in the stomach and a lot to contemplate and discuss with others; exactly what a lot of the best films do.

Gameplay & Structure
Similarly, the structuring of the game is subtly implemented. The fact that there are no other smaller opponents to defeat, other than the 16 boss battles that are the colossi, means that the encounters between them are elevated in importance as they are the only foes the player will face. In turn, this builds the tension for the encounters with the colossi. This is cleverly done as the player must travel through the Forbidden Land to get to the colossus' location. And there is no distraction from the main event, as there are no smaller and weaker enemies which would have detracted from the solitary journey to the battle. Also, minimal music is used; often the only sound heard is of the wind and the odd eagle as you gallop towards your destination. It is a melancholic build up to the battle as you travel through the ancient, wind ravaged land.

The beautifully rendered world of Shadow of the Colossus

Then, as you get closer to the colossus, a little groan of moody music is introduced. And when you arrive in the colossus' habitat, a clash of music is released and the steady build up to the battle is complete.

Once the battle is won, the music swells to a somber note, indicating that what you have done could be wrong. Questions start to raise in your mind. Am I in fact the the real monster?

It is the reflection that you encounter after defeating a colossus that is as much a part of the game as anything else. The game gives you an uneventful travel to each colossus on purpose, in order to allow you to reflect on the battle that you were just in. It gives you the opportunity to think about the consequences of your actions.

Also, if you carefully look at Wanda after each battle, it is noticeable that his appearance becomes more gaunt and worn as he defeats more and more colossi. This must be an indication that you are committing a crime, surely? Little details like this just help add that little more depth to the game and its story and show how much thought and hard work has been put into it. With the added environmental storytelling that is in abundance throughout the world and some emotional and tear inducing events that occur, they help elevate the game to the echelon of what is possible in games as a form of art.

"THY END IS NIGH"

It is suffice to say that experiences like this don't come around very often. Sure, it's not perfect by any means. The graphics have aged (though, the art direction and the high definition re-release have helped soften the blow in this area), the frame rate is not the best and the camera can be a pain to control when holding on for dear life on the top of an angry colossus, but these are minor quibbles in what is an unforgettable experience that stays with you long after you have finished it.

Eight years after its release, there is still nothing like Shadow of the Colossus in the gaming industry. Of course you could say that the God of War series allows you to fight against titans and other giant monsters; that the Elder Scrolls series provide a mythical land to navigate; that Uncharted weaves a cinematic narrative into a playable package, but you'd find it hard to find a game that has all of this and more. Shadow of the Colossus does. What other game actually gives the player the control to climb a 100+ foot creature? (Answer: nothing)

Nonetheless, long after you have completed the game, you will remember how you thought of a way to jump from your galloping steed on to a colossus, ran along its back and had the world fly past you while clinging on for dear life. Yes, you can actually do this and yes, it is as magical as it sounds. I think I was justified in my anticipation of Shadow of the Colossus back in 2006. Now, if you will excuse me, Agro is waiting for me.





The Last Guardian is the latest game that Team Ico is working on. It is another puzzle game in the vein of the Team Ico's previous two efforts. The game marks the relationship between a boy and a giant bird-cat creature and their combined efforts to make their way through a crumbling castle. It was scheduled for release in 2009, but has since been delayed. Shuhei Yoshida, President of Sony's Worldwide Studios, has recently gone on record to say that it still exists and that Sony are looking to "reintroduce" the game soon. Here's hoping that it makes the light of day.

...Make A Rubbish Demo

I recently downloaded a few demos from the PlayStation Network to try out on my PlayStation 3, as you do. That's the great thing about demos: despite all that you may have read or heard about a game, actually playing it yourself can establish if you like it and whether you are willing to spend your hard earned money on purchasing the full version. On the flip side, it can also put you off buying a game that you were excited about and heard good things regarding - precisely the thing that happened to me recently.

So, the games in question, that I downloaded initially, were FIFA 14 and Pro Evolution Soccer (PES) 2014. Yes, sports games! Now, I haven't purchased a football game since 2010 so I was not biased in my assessment of either demo that is to follow. These two series have long been going head-to-head against each other for the millions of football fanatic gamers around the world; feeding their thirst for the ultimate footballing experience. However, for the whole length of the current console generation, FIFA has been the undisputed champion, leaving PES to come up second best and with a dwindling market share. And this pattern appears as if it will continue...

The annual, albeit one-sided, rivalry has returned. 

FIFA 14 was the slicker, shinier and better to play demo - it was the complete package. Unfortunately PES was lacking in all departments, ie. graphics, menu responsiveness and commentary, but what was most disappointing was the gameplay, which I actually thought was worse than the 2013 edition. This was a crushing blow for me as I had read from various previews that the gameplay would be able to challenge what the highly successful FIFA has been able to offer. The talk about the implementation of the new FOX engine from Hideo Kojima's production company had given me hope that this series could return to the past glories of the PlayStation 2 games, which hit a high in 2005 with PES 5, but I couldn't find anything to laud about it.

As a result, the experience of playing the demo for PES 2014 has actually changed my mind in wanting to purchase the game. Maybe it was the unrealistic expectation I had put on PES 2014 that led to this U-turn, but one thing is for sure: the demo was nowhere good enough.

There could be reasons for this but then comes the argument of not releasing a demo if all it's going to do is inhibit sales. I have acknowledged the possibility that the PES 2014 demo may not play like the final released product will do (I hope so) and that small changes could be made to the gameplay that would change my thoughts on the game - as gameplay is king (to me). But then why would Konami take the risk of hurting the game before it has even been released? It's a strange one.

Electronic Arts, or EA to you and me, are already a well oiled machine when it comes to releasing anything FIFA related. I had already expected the FIFA series to progress from the previous - highly polished - iterations, but I have never truly enjoyed playing the games despite their quality. Nonetheless, the demo was better in every facet compared to FIFA and, undoubtedly, will help sway the undecided gamers who are torn between both series. This is where the demo makes an impact. If you, as a games developer, can get the production of a demo - which takes the developer's time, effort and resources - right then it can lead to huge sales through word of mouth regarding how good the demo is, even before the game comes out.

However, you don't need to have a huge amount of money or resources to make a great demo.

Remember: a demo is meant to give you a small but appetising taste of what the game is about. Sort of like when you go to an expensive restaurant and you order dessert and it comes, but only in a small portion; then you taste it and its delicious, however, before you know it it's finished and you want more - just like that! Anyway, a few very good demos that I have tried out in the past by smaller studios and developers are Journey, Limbo, and for the PC gamers out there, To the Moon. And they are each very good demos in different ways.

Limbo: I hope you're not an arachnophobe like me!

What each of the above three games do is allow you to play the opening part of each game. With Journey, you are able to 'experience' the game through the music and serene imagery that the game has in abundance. Limbo sets up with an eerie backdrop and an environment littered with dangers, all portrayed with beautifully haunting silhouette graphics and the demo cuts on a cliffhanger. To the Moon sucks you in through the charming dialogue and beautifully told story.

Journey: That light is you and your companions' destination.

In each demo, it is the unique way that the games charm us that ultimately makes them a success. It is no coincidence that each of these games have sold relatively well and to high critical acclaim from the gaming community.

Therefore, the key to a good demo is not to rush the release and to give an enticing snippet of the game that you are going to sell - basically don't suck! If need be, don't release a demo. Sounds simple but many studios still get this wrong, and to their own detriment. Here's hoping Konami get this right next year!

...Come back from a lengthy injury lay-off to win a couple Grand Slams

Rafael Nadal capped of a remarkable return, from a seven-month injury lay-off, to win the US Open against world number one Novak Djokovic 6-2 3-6 6-4 6-1 in Monday's final at Flushing Meadows. It marks the Majorcan's latest title in an ever growing list of tournament wins since his come back from a debilitating knee problem.

The match was observed by a star-studded audience at the Arthur Ashe Court, including the former James Bond, Sean Connery - who has been an omnipresent figure throughout the championships - looking in an upbeat mood whilst sharing some words with Alec Baldwin. The real stars, though, were the two best tennis players in the world, going head-to-head in their second Grand Slam final against each other this year. And, at times, the audience were treated to a match that more than lived up to the occasion.

The peak of competitive sport was showcased in the second and third set, which were encapsulated for their quality by a mesmeric 54 shot rally. This wasn't a passive 54 shot rally either. This was an aggressive point played with hard hitting and superb retrieving from both men.

Watch the 54 shot rally below - it's a must if you haven't.

However, this was to be as good as it would get for Djokovic as Nadal fought back, after losing the second set, to secure his second US Open title and 13th Grand Slam in total. And this from a man who has suffered from a potentially career threatening knee injury, on a surface that does not help alleviate the stress that is placed on his knees, against the world number one who was playing on his favourite surface - it is simply remarkable.

This just helps illustrate what kind of person Rafael Nadal is and the mental toughness that he obtains. Along with the support of his family and coaching team, Nadal has been able to all but secure his return to world number one in the coming months (due to the points scoring system that determines player rankings). Even before the final, Djokovic had already admitted that Nadal was the best player in the world, and the Spaniard's 22-0 record on hard courts this year further supported that hypothesis.

It is hard to put into perspective what Nadal has achieved since his return to the Tour on 6 February against Argentina's Federico Delbonis. I can't even think of an example to liken his return to.It is, for all purposes, incredible and inspiring; showing how much drive and passion Nadal must have for tennis and his will to be the best in the world. This is not an easy feat and is made doubly hard in an individual sport that favours the physically superior and fit, and in an era of tennis that has some of the best to play the game battling it out every week.

Save for further injury, Nadal could even surpass Roger Federer in the list for most Grand Slam titles. Presently, Nadal is only four behind the Swiss maestro. On Federer's recent showings it seems that his powers seem to be on the wane and it is questionable whether he can put a run together to beat his younger rivals - like Nadal, Djokovic and Murray - day after day. Federer's recent experimentation, with trying out a different racquet that has a bigger frame, does not inspire the confidence that he can add to his Grand Slam tally, especially as all of his Grand Slam successes came with the same racquet. The fact that he is fiddling with his racquet could be indicative that Federer's time is up. Something that Nadal acknowledges will happen to him one day. He has said so much to Sky Sports, after defeating Djokovic, that he probably has a three year window where he will have opportunities to win the big prizes in tennis. His recent trials and tribulations have made him only too aware that sporting immortality doesn't last forever.

What is Nadal's next goal now that he has won the last Grand Slam of the year? Ending the year as world number one? Winning the Australian Open in January next year? Nope. When asked, he smiles and modestly responds "the Davis Cup tie." That pretty much sums up the man: taking on challenges one step at a time and with humility.

Vamos Rafa!

...Release A Trailer For A Book

Well, hasn't J.J. Abrams been a busy person of late. You'd think that someone who is directing a little independent film called Star Wars Episode VII wouldn't have enough time for much else, but he continues to defy us all. 

It was revealed yesterday that Abrams, along with award-winning novelist Doug Dorst, have conceived a new book called S. It is about the relationship that ensues between Jennifer, a college senior, and Eric, a disgraced grad student. However, the twist is that they communicate to each other by writing notes in the margins of a (fictional) book and leave newspaper clippings and other ephemera between the pages for each other to read. The book will come shrink wrapped so that none of this extra material falls out, so rest assured.

S., therefore, contains two stories. First, the book within the book - Ship of Theseus - which is the final novel by the prolific but enigmatic writer named V. M. Straka. Secondly, it contains the story between Jennifer and Eric. 

This is very interesting stuff and I cannot think of anything similar having been done before, but Abrams has always been one to think of exciting new ideas. After all, no ordinary person gets chosen to direct a Star Wars film and this is the guy that came up with the TV show Lost. You can check out the trailer for Abrams' latest project below. Who knows, releasing a mysterious teaser trailer might become the next 'thing' to do to get people talking about new book releases.

“I could not be more excited for people to get their hands on this book,” Abrams tells EW. “It is difficult to describe because while it is a compelling mystery and love story, it is also much more than that. The work that everyone has done on S. is unlike anything I’ve ever seen. Frankly, I’m amazed it was even possible to do this project at all.” Me too J.J. and here's a pat on the back for piquing my interest. The novel is scheduled for release on October 29. 

...Watch Studio Ghibli Films

There’s something to be said about watching a lot of the usual suspects at the cinema or on your television these days; they all seem to be pretty routine on the whole. Either the world is saved by the hero or the boy gets the girl – you get the gist. That’s not a criticism from me, but most of the films I watch do tend to under-whelm rather than excite or fill me with wonder. Don’t get me wrong, some gems do come along with originality and ambition; The Lord of the Rings and Inception to name a couple, among others. Maybe I’m hard to impress; maybe it’s due to my age or maybe movie studios are leaning away from unique concepts and taking less risk on story. Maybe I was just easily impressed when I was a kid…

“Baby of Mine”

Disney used to be one of those studios that took risks with darker storytelling at times.

Do you remember classic Disney? I’m talking about most things before the Lion King like Snow White, Sleeping Beauty and Bambi. All of those films that you used to watch over and over again throughout your childhood that would take you on an adventure and just fill you with excitement, enchantment and even terror.

My overriding memory is how these films felt much longer than they actually were. For example, I remember Dumbo being a mammoth of a film when I was seven, only to watch it now and find that it’s a mere 64 minutes short; it still packs a punch, though. Man, when Dumbo gets rocked to sleep by a chained Mrs. Jumbo; you'd have to be an android not to well up, but I digress. 

What I'm trying to say is that when you get older, you have a different perception of what films were actually like from when you watched them as a kid. Even when I look back at my experiences throughout childhood, my memories of them feel heightened and at times they have an almost dreamlike quality – a romance to it you could say. Whereas now, having grown up (hopefully) everything just seems to be flying by at warp speed with a mundane clarity about it. Only a small amount of films stand out and fill you with those childlike feelings. 

Turning Japanese

So recently, thanks to Film4, I've been lucky enough to have found myself watching a lot of films produced by a Japanese studio known for making original and unique stories. These are films about our childhoods and the vibrant imaginations, dreams and passions of children. They are the creators behind Jonathan Ross' favourite film, Spirited Away - don't let that be a turn off (sorry Wossy!) – and My Neighbour Totoro which was the film that introduced the west to Hayao Miyazaki in the first place. They are Studio Ghibli.

For those of you who don't know, Hayao Miyazaki is often referred to as 'the Walt Disney of Japan', but he and Studio Ghibli are much more than that. They are the wizards that conjure and construct a lot of these magical stories and characters. And it is the characters that really hit a nerve with me; they are real and believable, and act just like you and I did at whatever age we were whilst growing up.

Hayao Miyazaki with some of his cast

I’ve seen a lot of films where child characters are often an afterthought, written solely to serve as a plot device for an adult protagonist or written more mature than they would be in real life. In reality, most kids can be loud, energetic, stubborn, and yes, annoying – I hope I haven't put you off having kids! It is important to note that kids can also be thoughtful, brave, happy, adventurous and carefree too. What Studio Ghibli, and in particular Miyazaki, manage to do is incorporate some of these characteristics into their protagonists, who are always children. They do this more often than any other producers of film, with great success – and I am forever indebted for it. Let me explain...

Watching a Studio Ghibli film is simple: you find your way into the movie through the main character(s) and then they go on their own journey. This could be as complex as a grand adventure to save their parents from being eaten by a witch (yes, grim!), or as simple as the trials of growing up, figuring out what to do with the rest of their life and finding love.

However, none of this would matter if we, the audience, did not care about the characters, and this is what Studio Ghibli does so well. Their protagonists are as human as any person you have ever met; with traits that you and me have in abundance; experiencing situations and emotions that we have all experienced at one point or another in our lives. This ability to make the audience empathise and, as a result, care about the character through this familiarity of our own past ‘lives’ – like our childhoods – is what makes watching a Studio Ghibli film stick with you long after you have seen it. It is possibly the factor that makes every film of theirs a success in my eyes and what many other studios and filmmakers spend less time developing.

“To-to-ro? You’re Totoro!...”

Watching a Studio Ghibli film often requires patience, initially, but slow burners – in the hands of the right people – produce the most rewarding experiences once the originality of story kicks in and the characters blossom.

My Neighbour Totoro was the first Studio Ghibli film to catch me completely off-guard – and it will remain the only! I had heard of its quality from places like IMDB, Rotten Tomatoes and from the reliable people at Empire Magazine. Still, I did not heed their praise. I actually found the protagonist Satsuki and her younger sister Mei to be a little annoying. Yet, I found myself slowly warming to the characters as the story progressed. On reflection, I think it was how their all too familiar traits took a hold of me. It was to my surprise that I actually really cared for this duo by the end of the film when something worrying (that I won’t spoil here) happened.

Satsuki, Mei and Totoro waiting for a bus. Good thing they brought their umbrellas along.

Waiting for that train

What I've discovered about all of the Studio Ghibli films that I've seen so far is that they creep up on you and surprise you. The Oscar winning Spirited Away did that to me, as did the lesser known Whisper of the Heart and Ocean Waves, along with the rest of their catalogue of films. All you have to do is get on that train and give them a chance. Chihiro (the heroine of Spirited Away) took that train; you might find it rewarding if you do as well. 

Studio Ghibli films might not be perfect; they might take a while to get into; they might even be in subtitles (which I actually prefer), but they make me remember what it was like growing up. The feeling of disappointment and shame the first time you were told off by a teacher; the sense of excitement when going on an adventure in a mythical land that you imagined and defeated the bad guys in; that first crush and the thrill and embarrassment when someone found out. Ah, yes, that felt like a lifetime ago. Now, when is that next train coming along Miyazaki-san?

Hayao Miyazaki’s eleventh and final feature film, ‘The Wind Rises’, is a fictionalised biography of the man who designed Japanese fighter planes during World War II. No release date has been confirmed for the UK but expect it later this year.