Two years after Commander Shepard repelled invading Reapers bent on the destruction of organic life, a mysterious new enemy has emerged. On the fringes of known space, something is silently abducting entire human colonies. Now Shepard must work with Cerberus, a ruthless organisation devoted to human survival at any cost, to stop the most terrifying threat mankind has ever faced. To even attempt this perilous mission, Shepard must assemble the galaxy’s most elite team and command the most powerful ship ever built. Even then, they say it would be suicide. Commander Shepard intends to prove them wrong.

• Mankind’s Future is At Stake
• From the makers of ‘Star Wars: Knights of the Old Republic’, ‘Dragon Age: Origin’s, and ‘Mass Effect’ comes the dark second instalment in the thrilling Mass Effect Trilogy!
• Command a unique team of amazing characters on a perilous mission in the most dangerous regions of space.
• Players of the first Mass Effect can import save games to continue the story of their own Commander Shepard. New players will find a thrilling standalone adventure awaits them, a polished and action packed journey that surpasses the first game in nearly every possible way.
• Intense Third Person Combat
• Take cover, command an elite squad with ease, utilise 19 weapon classes including heavy weapons, and unleash deadly powers against your foes with an all-new and improved combat system.
• Increased intensity with precision shooter controls to let you control the action and overcome insurmountable odds.
• Featuring a new location based damage system: target key weak points, and blast off limbs, ignite enemies, or cripple and disable enemy troops.
• An Entire Galaxy to Explore
• Travel the distant and deadly reaches of space to assemble your team for the mission at hand. A cast of amazing characters aThe sci-fi role-playing epic continues, as the Mass Effect story delves into darker territory and the fate of Commander Shepard, his crew and the entire galaxy.
  
  

  The saga continues with even more action and intrigue

  Enemies will keep on coming even with missing limbs

  Mass Effect 2 will see the return of many familiar faces

  Equip and upgrade many new weapon types and biotics

  A streamlined combat system makes the game even more action-packed than before, with a new regenerating health system that means you spend less time fiddling with menus and more time shooting enemies. You can also direct teammates individually with a simple press of a button, giving you greater tactical control over every encounter.

  The number of planets you can explore, and the complexity of the sub quests you find on them, has been greatly expanded from the first game – giving you a whole galaxy to explore at will. The original game was the most cohesive mix yet of action game and role-player and this sequel goes even further in combing both genres into one giant space opera.

  Key Features

  • Episode Two: Commander Shepard returns as the award-winning action role-player offers up even more intense storytelling and a whole new threat to humanity.
  • All action: All-new combat options make the game even more action-packed, with more versatile controls, more weapons and better management of allies.
  • Age of discovery: Even more exploration options than before, with more detailed side quests and many more developed planets to visit.
  • Good talker: Revamped conversation system is more dynamic than ever, with faster, more realistic dialogue and a new cinematic camera.
  • Ongoing story: If you have a save file from the first Mass Effect then the decisions you made will have an effect on the new game and old characters will remember you.

  About the Developer: BioWare Corp.
  This Canadian developer has become one of the most renowned makers of Western style role-playing games, with titles such as Baldur’s Gate, Star Wars: Knights of the Old Republic, Jade Empire and Mass Effect. Star Wars: The Old Republic will be their first massively multiplayer online game.

  Mass Effect 2 (Xbox 360)

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Fast-paced, highly advanced and furiously violent, Max Payne returns with the most sophisticated, stylized shooting action, and a dark and deeply immersive story following one of the most iconic characters in videogames.

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In the 1790s, Britain was struck by a reading revolution, a taste for terror fiction that seemed to know no bounds. How is it that the age of Enlightenment gave rise to the genre of the literary ghost story? ‘Gothic Documents’ seeks to answer this and other questions.

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There aren’t many games which list a critique of objectivism as one of its selling points, but then Bioshock isn’t like other games. Indeed the only titles it can easily be compared to are System Shock and its sequel, to which this is a spiritual successor. Instead of being set in a derelict space ship though the game’s story involves you exploring a mysterious underwater city after a plane crash. The city had been created as an art deco paradise for the intellectual elite but is now in ruins and populated only by grotesque mutants – both physically and mentally.

Although at first sight the game appears to be a first person shoot ‘em-up it is not primarily an action game. Your goal is survival, not extermination, with ammunition limited and many enemies far more powerful than yourself. You are able to upgrade your abilities though, both physical and psychic, by collecting Adam – the mutagen which was the cause of the disaster in the first place. Even so the best way to defend yourself is to play the creatures and environments against themselves, tricking one group into fighting against another or taking control of security robots and devices.

The game gives you full freedom to play the game exactly as you want, while at the same time creating a living world which carries on with or without you – with many creatures not even bothering to acknowledge you unless you attack them. With stunning graphics, especially the water effects, and an extremely disturbing atmosphere this could well be the most intelligently macabre video game ever made.
HARRISON DENT

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This book was converted from its physical edition to the digital format by a community of volunteers. You may find it for free on the web. Purchase of the Kindle edition includes wireless delivery.

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Wolverine, fan favourite of the X-Men universe in both comic books and film, gets his own movie vehicle with X-Men Origins: Wolverine, a tale that reaches way, way back into the hairy mutant’s story. Somewhere in the wilds of northwest Canada in the early 1800s, two boys grow up amid violence: half-brothers with very special powers. Eventually they will become the near-indestructible warriors (and victims of a super-secret government program) known as Wolverine and Sabretooth, played respectively by Hugh Jackman (returning to his role) and Liev Schreiber (new to the scene). It helps enormously to have Schreiber, an actor of brawny skills, as the showiest villain; the guy can put genuine menace into a vocal inflection or a shift of the eyes. Danny Huston is the sinister government operative whose experiments keep pulling Wolverine back in, Lynn Collins is the woman who shares a peaceful Canadian co-existence with our hero when he tries to drop out of the program, and Ryan Reynolds adds needed humour, at least for a while.

The fast-paced early reels give an entertaining kick-off to the Wolverine saga, only to slow down when a proper plot must be put together–but isn’t that perpetually the problem with origin stories? And despite a cool setting, the grand finale is a little hemmed in by certain plot essentials that must be in place for the sequels, which may be why characters do nonsensical things. So, this one is fun while it lasts, if you’re not looking for a masterpiece, or an explanation for Wolverine’s facial grooming.

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There’s a satisfying sense of closure to the definitive noir kick achieved in The Big Heat: its director, Fritz Lang, had forged early links from German expressionism to the emergence of film noir, so it’s entirely logical that the expatriate director would help codify the genre with this brutal 1953 film. Visually, his scenes exemplify the bold contrasts, deep shadows, and heightened compositions that define the look of noir, and he matches that success with the darkly pessimistic themes of this revenge melodrama.

The story coheres around the suicide of a crooked cop, and the subsequent struggle of an honest detective, Dave Bannion (Glenn Ford), to navigate between a corrupt city government and a ruthless mobster to uncover the truth. Initially, the violence here seems almost timid by comparison to the more explicit carnage now commonplace in films, yet the story accelerates as its plot arcs toward Bannion’s showdown with kingpin Lagana (Alexander Scourby) and his psychotic henchman, the sadistic Vince Stone, given an indelible nastiness by Lee Marvin. When Bannion’s wife is killed by a car bomb intended for the detective, both the hero and the story go ballistic: suspended from the force, he embarks on a crusade of revenge that suggests a template for Charles Bronson’s Death Wish films, each step pushing Lagana and Stone toward a showdown. Bodies drop, dominoes tumbled by the escalating war between the obsessed Bannion and his increasingly vicious adversaries.

Lang’s disciplined visual design and the performances (especially those of Ford, Marvin, Jeanette Nolan as the dead cop’s scheming widow, and Gloria Grahame as Marvin’s girlfriend) enable the film to transcend formula, as do several memorable action scenes–when an enraged Marvin hurls scalding coffee at the feisty Debby (Grahame), we’re both shattered by the violence of his attack, and aware that he’s shifted the balance of power. –Sam Sutherland

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Director Billy Wilder (Sunset Boulevard) and writer Raymond Chandler (The Big Sleep) adapted James M. Cain’s hard-boiled novel into this wildly thrilling story of insurance man Walter Neff (Fred MacMurray), who schemes the perfect murder with the beautiful dame Phyllis Dietrichson (Barbara Stanwyck: kill Dietrichson’s husband and make off with the insurance money. But, of course, in these plots things never quite go as planned, and Barton Keyes (Edward G. Robinson) is the wily insurance investigator who must sort things out. From the opening scene you know Neff is doomed, as the story is told in flashback; yet, to the film’s credit, this doesn’t diminish any of the tension of the movie. This early film noir flick is wonderfully campy by today’s standards, and the dialogue is snappy (“I thought you were smarter than the rest, Walter. But I was wrong. You’re not smarter, just a little taller”), filled with lots of “dame”s and “baby”s. Stanwyck is the ultimate femme fatale, and MacMurray, despite a career largely defined by roles as a softy (notably in the TV series My Three Sons and the movie The Shaggy Dog), is convincingly cast against type as the hapless, love-struck sap. –Jenny Brown

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Wolverine, fan favourite of the X-Men universe in both comic books and film, gets his own movie vehicle with X-Men Origins: Wolverine, a tale that reaches way, way back into the hairy mutant’s story. Somewhere in the wilds of northwest Canada in the early 1800s, two boys grow up amid violence: half-brothers with very special powers. Eventually they will become the near-indestructible warriors (and victims of a super-secret government program) known as Wolverine and Sabretooth, played respectively by Hugh Jackman (returning to his role) and Liev Schreiber (new to the scene). It helps enormously to have Schreiber, an actor of brawny skills, as the showiest villain; the guy can put genuine menace into a vocal inflection or a shift of the eyes. Danny Huston is the sinister government operative whose experiments keep pulling Wolverine back in, Lynn Collins is the woman who shares a peaceful Canadian co-existence with our hero when he tries to drop out of the program, and Ryan Reynolds adds needed humour, at least for a while.

The fast-paced early reels give an entertaining kick-off to the Wolverine saga, only to slow down when a proper plot must be put together–but isn’t that perpetually the problem with origin stories? And despite a cool setting, the grand finale is a little hemmed in by certain plot essentials that must be in place for the sequels, which may be why characters do nonsensical things. So, this one is fun while it lasts, if you’re not looking for a masterpiece, or an explanation for Wolverine’s facial grooming. –Robert Horton, Amazon.com

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• Storage capacity: 8 GB
• Player media type: Flash memory
• Compatible memory cards: N
• Audio compression formats: MP3AACWAV
• Built-in microphone: Y

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