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For now we're plenty satisfied with f thfcse gloomy, rain-soaked jungle screens. If they're good enough for Jackson To my nght is a map of Skull Island that details the movement of a certain simian through film and game.
Nearby are sketches of the environments that'll showcase Kong's rampage through New York. To my left is Michel Ancel.
In short, the only thing that could propel me any further into geek heaven would be if I were simultaneously holding hands with an Ewok.
This story began last Christmas. With King Kong and its particulars nascent in his genius-beard, a meeting was hastily arranged in the leafy environs of Beverty Hills.
It was our first meeting, Ancel later confides, and I was really, really stressed. When he entered the room he just immediately told me that he'd played my game and finished it.
It was a really great start. With more special effects shots than all The Lord of the Rings trilogy put together. King Kong is set to be the biggest event movie of the year.
What's more, Jackson demanded a game that goes beyond a mere tie-in and he's hired the best in the business of development and emotional storytelling to create it.
I've played it and confirm that it's the best movie tie-in since GoldenEye on the N And yes, I am aware that's a pretty obvious comment to make when we've been standing in a turgid river of celluloid-to-console-to-PC shite for the past five years.
But, honestly, what NightFire, Catwoman and The Incredibles are to a stream of un-moving excrement, King Kong is to skipping in a garden with excited, nubile young women.
If you've been absent from society since Kong's first foray in , or indeed lobotomised yourself after the Jeff Bndges retelling, then a spot of recap is perhaps in order.
A collection of foolhardy souls stumble onto a place known as Skull Island; in Peter Jackson's vision, they're a Hollywood production company out to find places to film a delightful romantic comedy, and as such have scriptwriter Jack Driscoll Adrien Brody , surly director Carl Denham Jack Black and the movie's leading light Ann Darrow Naomi Watts.
Seeing as they've stumbled on a time zone where dinosaurs still rule the earth, unsurprisingly everything goes fete Tong.
Without much ado they're captured by natives and Ann is offered up for sacrifice while drums are beaten and the figure of a giant ape appears in the misty mid-distance intent on snatching the starlet and carrying her into the back of beyond.
From here until Kong's final encounter with New York street-life and, indeed, pavement , it's a dual story of Kong's relationship with Ann described by Jackson as the relationship between a seven-year-old boy and his favourite toy and that of Jack and Carl's efforts to both rescue her and refrain from being eaten by dinosaurs.
For gamers, this is where the action separates into two levels: that of controlling the mighty Kong himself -delivering multiple biffs to the face of many and varied T-Rexes - and that played from the FPS viewpoint of Jack Driscoll, simply trying to survive in the unsavoury climate of Skull Island.
It's a mixture of hiding, fending off dinosaurs and being gently pounded into awe-filled submission by some intensely clever and tension-moulding level design.
A good example of this is perhaps the first level I played while under the watchful eye of Ancel's staff.
Wandering through the mist, through gulleys and ravines. I hear a distant thundering and watch the ground reverberating beneath my feet. Minutes later I'm still working my way through narrow valleys and tunnels and watching soil and dust falling from the walls around me.
Suddenly, through the mists, the vast, vast shape of a Brontosaurus appears. Then another, then another. Then another behind that one. The music soars, and all of a sudden I'm in the game that Jurassic Park so desperately cried out for.
It's fundamentally ace, yet in typically mood-breaking style I feel compelled to pick up a spear, set it on fire and throw it at a Bronto's gigantic flank.
It trumpets and thunders off into the distance. I rule. It was me who first decided to use an FPS viewpoint," Ancel later explains, clearly slightly concerned that I'm standing slightly too close to his stripy shirt for comfort.
I wanted the game to be immersed in the world. I love the fact that the dinosaurs are looking straight into your eyes directly and not at anyone else.
Probably the most impressive thing in the game's production thus far is the way that T-Rexes dip their heads down at you and roar so loudly that the air around their vast maws reverberates and knocks you flat back into your seat.
Another early level of the game sees Jack you , Carl Jack Black and someone who's presumably due a horrible death later in the game some bloke pursued by a T-Rex into a valley, with only an ancient door as an exit.
It's up to you to keep the terrible lizard's attention away from your buddies while they frantically try to open the door -using handy spears plucked from nearby bamboo-ish plants, gunfire with limited ammo and your own body as bait.
It's hairy stuff, and should you run out of spears you have to tiptoe towards the creature to pluck the spears back out. There's a real survival ethic at work here - even though what's on display to journalists, especially in what was shown at E3, is slightly kiltered to the all-action desires of select members of its whooping and hollering audience.
For obvious gameplay-led reasons, a not-actually-in-the-movie' bi-plane drops off weapons with remarkably little ammo , but a lot of the action will see you fending off massive creatures using the aforementioned spears of both bone and bamboo-ish varieties , fire, bait and your own wits.
What's more, the pursuit of dragging you further into the gameworld has led Ancel to nix staple FPS furniture like aiming reticules and health bars.
Instead of a constantly falling life-o-meter, you have to pay attention to the puffs, pants and screams of your character - as well as the charming red tinge that grows and grows until your likely demise.
This gives the game a valuable sense of being both predator going back out to flaming spear some dino-arse and some choice tail-between-your-legs moments of being the prey.
Much as I love what I've seen of Kong, there's a pessimist in me that occasionally delivers sharp kicks to my ribs in cases such as this - and the big monkey has provided me with two.
The first is a question of linearity - because, despite Peter Jackson's mantra of if it's not in the movie it could be in the game", the game is tied to the movie and as such levels can't afford for much dilly-dallying when there's a screaming starlet to save.
Ancel counters this convincingly by explaining that he's trying to instil choice and freedom within the linear confines of his levels.
A prime example of this, perhaps, is the absolutely breathtaking, breathless and perfect cinematic pitch of a downstream raft-ride that you and your companions take.
Pursued by two count 'em, two T-Rexes and a cavalcade of other subsidiary beasties, a lesser game would simply have this as one of those dreaded moving gun emplacement levels' that every shooter and its deceased mother has been churning out since Half-Life.
In the hands of Ancel, however, it's slightly different. Your aim is not to kill, but to delay - you have no hope of killing what's after you and it wouldn't fit in the game narrative either but shhh!
You can start off with machine gun fire, you can turn to Jack Black on the raft behind you to demand a spear to lob at your pursuers, you can set the spear on fire and ignite nearby patches of long grass or you can blast creatures out of the sky, which causes Rex and friend to pause for a moment and chow down on Batfink.
You don't have time to do them all and if you're not hasty, then you or one of your companions become brunch - it's linear then, linear as hell, but with Ancel's narrative and gameplay-orientated brainwaves coupled with the cinematic edge of the scene, then it neatly slips past my pessimistic side's radar.
Seeking to further assuage my panic, Ancel pats down his ruffled shirt and points out that there's another edge to his sword: Whenever you die we'll modify the game and exactly what creatures attacked you," he explains.
In other games, when you die you get the same repeated sequence and you can learn how to do it. Here though, you can play through again without seeing the same creatures.
And so now we come to Kong himself, cradling Ann in his arms and running through the jungle with mischief on his mind. What's more, as the game progresses it's evident that, in a fairly extreme example of the Stockholm syndrome, she slowly warms to her hairy monolithic captor.
Kong's controls are remarkably simple and his fights beautifully choreographed. My hands-on saw me take on two T-Rexes and what was on-screen was quite delightful: throwing batfinks into their mouths, watching them instinctively catch it and smacking them in the chops, climbing up massive ruins and delivenng WWE-style power-'bombs.
He's fun to control and better to watch, as he leaps with apparent Prince Of Persia-stylings from wall to wall, tree to tree and from pulverised monster to pulverised monster.
I've just had a kick in the ribs though, and so have to provide a caveat. From what I've played, I have to report that the Kong sections are nowhere near as well suited to PC as they are to console - not by a long way.
Please bear in mind that, obviously, I was playing incomplete code and Kong's earliest and therefore simplest and easiest appearance in the game.
But despite the apparent style and finesse in Kong's fighting, climbing and leaping, all I was doing at the other end of the bargain was providing an entirely unsubtle episode in button-mashing.
At the end of the day, whatever the Ancel pedigree, this is a game being released on many platforms and I can only hope that the same finesse seen in the FPS sections is brought to the Kong sections.
PC game-players can expect to have the most detailed and beautiful version of the game competing against the version on the much-heralded Xbox , with all manner of hi-tech lighting effects, normal mapping and infinitely more polygons than in the last-gen offerings.
However, whether Kong gameplay will suit the platform remains a case of wait and see. I, however, still have heavy dibs on the fact that it will by the time of release.
Another bonus is that, because of lowly GameCube releases and the like. King Kong will be able to run satisfactonly on most games PCs - the graphics will look worse, but old and new graphics cards alike will be able to run the game without too much jittery-pokery.
Don't let this word of warning get you down though: King Kong will without doubt be as big as its namesake and far, far cleverer.
After just playing for a few minutes I came across an unscripted moment when a raptor grabbed my leg. He's got my leg! It's not just that though: King Kong is taking the traditional FPS and doing loads of interesting things with it -turning it into a more cinematic whole -an 'event' game, in which the pursuit of reeling in the player leads to clever stuff like Skull Island's food chain and some blindingly obvious, yet previously unseen stuff as simple as the need to hold your nfle above your head when you wade through rivers.
With the team promising some extremely nice stuff" appearing after Kong's debut on the New York social scene at the close of the game, a stream of production notes and designs appearing from the WETA workshops on a weekly basis and remarkably frequent meetings with Jackson himself, King Kong is the rarest of beasts.
It's a movie game being made by people who don't wear suits, who care about narrative and gameplay and who certainly don't bother using an iron on their shirts.
It's a game that has direct interaction with the very highest ranks of the movie's production. It's a game with ideas at its heart that are big enough to hide the cash register that lurk behind it.
It's a good game too. All this and there's an absolutely gigantic monkey that features quite heavily. Let's ponder on the demise of one of the giant bats that I humorously labelled as batfinks' - one that got munched by the T-Rexes to save Adrien Brody on his thrilling river ride.
Everything in the game, yourself very much included, has its own predators and prey. Giant bats and centipedes chow down on similarly over-sized dragonflies and frog-things, raptors and larger carnivores nab giant bats and giant millipedes, while T-Rexes eat everything in sight and Brontosauruses eat lots and lots of plants.
You'll be able to use this to your advantage by jabbing at pond-life and keeping them wriggling at the end of your ever-handy spear to use them as bait.
One level I played featured an eminently rickety bridge Skull Island has lots of rickety bridges - you just can't get the tribal native workmen these days with a colony of giant batfinks hanging above it in characteristically upside-down fashion.
Now you could be boring, pick up the nearby sniper rifle and take pot-shots - or, if you're daring, adventurous and handsome like me, you can prong a forlornly buzzing dragonfly on the end of a pointy stick and lob the insecto-javelin into the chasm below.
If you're also me, however, then you'll slip and die - and simply use the sniper rifle next time as its far less dangerous.
After A Brief search on Google Earth, I've finally accepted that Skull Island doesn't exist and that giant apes and prehistoric lizards will forever be confined to movies, games and some of my stranger dreams.
And after playing Peter Jackson's King Kong , my disappointment with the non-existence of the isle is also met with some relief.
Skull Island is a terrifying place - valleys dotted with ruins of ancient and forgotten civilisations, seemingly bottomless chasms spanned by rickety old rope bridges, and of course, the improbable abundance of supposedly extinct T-Rexes - and one absolutely massive monkey.
I'm in the waterlogged safari suit of Jack Driscoll, trying to keep up with my expeditionary chums as we wander through a dull green valley bordered by sheer stone faces on either side.
The lack of any sort of on-sdteti information is as apparent as a missing front tooth, there's no ammo count or health readouts, no compass or map.
It's a far more literal take on a first-person viewpoint, complemented by the sort of bobbing, stumbling and jerking movements you'd expect as you traverse the vine-smothered floors of an ancient ravine.
It's not an entirely innovative feature, but I struggle to think of a time I've felt as immediately drawn into in-game surroundings.
The rain continues to pound the scenery as we exit the narrow valley and spy some of our comrades sprinting hastily across a bridge far above our heads.
They've seen some sort of monster, they inform us, but they don't know where it's gone now And like some connoisseur of dramatic and predictable timing the colossal figure of a T-Rex emerges from behind them, decimating the fragile bridge and tearing people to shreds in a scripted flurry of teeth and limbs.
Just like in the movies. There are a number of reasons why Kong's hairy arse won't sit comfortably in the FPS chair. Its sequences and set-pieces, the invisible interface, the cinematic presentation and the fact that there are entire sections in which you play as the exiymous King from a third-person perspective.
These sections have you chasing Fay Wray or Naomi Watts at least , protecting her from danger, leaping about Skull Island with surprising acrobatic grace for such a big ape, and getting into bloody scraps with the local wildlife.
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