Chronicles narnia games play

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Shinobi Era. The Iron Giant. This is a reasonable description, if you think that the story of the Pevensies is one of fighting their way almost every step across Narnia to the Ice Queen's palace, then a massive battle, and the coronation of four shiny-faced Disney children by a tame lion. The game starts abruptly, with no introductory cut-scene or helpful tutorial, straight in at the deep end trying to get the children out of their burning home in London.

So, battling unfamiliar controls and a novel user interface in a dark and smoky environment, you are immediately under time pressure and playing for your characters' lives.

What's more, there was no paper manual to read beforehand to get any idea what's coming - there's just a help file a. What follows is a cut-scene direct from the movie, evacuating the children from London to the Professor's house in the country.

The children then begin an exploration of the house, whilst playing hide-and-seek, and hiding from the house keeper, all of which results in Lucy, the youngest Pevensie, and Edmund, the third youngest, discovering the eponymous Wardrobe and the lands of Narnia beyond.

From this point on, the deviations from the 'proper' story really start to kick in. I completely lost Edmund's adventures with the Queen - a bug caused the relevant cut-scene to crash the game every time.

Instead I had to skip the movies that give Edmund and Lucy their motivation for the rest of the story their separate encounters with the Queen and Mr. Tumnus and was dropped into a cooperative sequence with Lucy and Edmund escaping from Narnia through a fight with a horde of wolves.

I don't remember that from the book, and there was no mention of Turkish Delight! What gives? Upon returning to the 'real' world, there are arguments between the various children about Narnia and the Wardrobe, but eventually all four children, whilst trying to hide from the housekeeper, Mrs.

MacReady, end up going to Narnia together. The second trip to Narnia leads to the discovery of the arrest of Mr. Tumnus, and the adventures of the children with the beavers, Father Christmas and Aslan. I'm not going to tell the rest of the story here, as C. Lewis did a much better job than I could ever hope to manage. It's a story of difficult journeys, betrayal, conflict, heroism, sacrifice, deep magic, resurrection, redemption and restoration.

The game manages to include some of those, references others, and then completely manages to miss the most important ones in any meaningful manner. Okay, this is a game, so there's game play, right? Well, strictly speaking I suppose there is, but it is almost completely summed up by three words; manic keyboard mashing.

This is not a game for anyone who likes to spend time pondering options - you're straight into combat at the earliest opportunity, and killing things is the answer to almost every problem. I must admit to having great difficulty reconciling this style of game play with the Narnia stories. Game play is controlled from the Wardrobe Room, where you select the section of the story you wish to play next. As you'd expect, there's access to the save and load menus and options screens, though the latter are restricted to little more than the configuration of the controls and a few sound and graphics settings.

Nothing novel there. Having chosen your section to play, you enter the game proper. In many cases the section is introduced with a cut-scene. Most of these are taken direct from the movie, transforming the actors into their electronic counterparts at the end of the scene and introducing the next combat sequence to the player.

Each of the children has different skills, and these are developed through the game, with upgrades and bonus abilities available through the in-game pause screen. The only notion of inventory in Narnia is the skills selection screen, where you buy new abilities with coins that are scattered liberally around the environment. Some skills apply to all the children, such as health upgrades, some to specific children, such as Lucy's taming skills, and some to specific combinations of children, such as Lucy and Susan's Rain of Fire skill.

Back in the game itself, the active child is controlled with the W, A, S and D keys player 1 , and you switch between children from those available in a given section using the left Ctrl key. The current child is displayed in the top left-hand corner of the screen, or top-right for player 2 when you're playing in cooperative multiplayer mode. The other children in a given section there can be anything from two to four children in a given section will follow around generally trying to block the enemy characters, but not really doing a great deal.

In addition, there are the H attack , U and J special move and K combine keys for player 1. Combat basically boils down to frantic hitting of H, U, and J until all the wolves, boggles, ankle-biters, ghouls, dwarves, minoboars, minotaurs, cyclopses and ogres are dead. Combinations of H, U, and J will make the child perform special moves - more damaging special attacks for Peter the eldest, sword-wielding, Pevensie for example.

Several combat sequences are timed, some very frustratingly so -- particularly the Battle of Beruna, though not perhaps surprisingly , the Great Battle. Beruna actually took me three long evenings to get right, whereas the Great Battle was done in relatively short order with no need for calling upon the serried ranks of available reinforcements. The one interesting control I've not discussed so far is the K, or combine, control.

This allows any given pair of children to combine to achieve either a greater smashing power Lucy with any one of her siblings , or greater combat damage - various combinations of Susan, Edmund and Peter. Other special powers are available for specific sequences. Susan can also use her bow and arrows, via the space bar and H keys, to pick off targets out of range to the other children, and Lucy has very important First Aid and Heal skills as well as the ability to fit through small openings that make her more than an annoying appendage.

Where there are 'puzzle' elements in a location, you'll find round tokens over the targets first with a specific child's portrait. This indicates which child can perform the relevant action, and once the child is selected, the appropriate action key to be used attack key, special key 1, or special key 2.

These are things like having Susan shoot targets to cause boulders to fall on a group of ogres, or Edmund climbing a tree to retrieve an item, or Lucy and Peter combining to smash a blocking lump of ice.

These puzzles are always simple, in essence, though getting the timing right can sometimes be a little frustrating - especially when they involve Susan playing a tune on her pan-pipes. This game contains so few truly notable features that I'm reduced to commenting on the quality of the graphics and environments. These were nice, reflecting well the winter-cum-spring aspects of the original story, but beyond that? Well, there's not much more to say, except to mention that collecting shield tokens and frozen statues does more than just add to your score for a particular level.

They also earn you access to bonus content, which consists of self-congratulatory videos by the production team about the making of the game, and a number of bonus levels. Gee, that was worth waiting for! It is remarkable that the only novelty I can find in this game is the control system. What's worse is that it's not a positive novelty, but something I'd look to avoid in future games! For cooperative two player play, just imagine how cramped you'd both be trying to use one keyboard together!

I found it most odd to have save games marked with a percentage score that doesn't reflect progress through the story, but instead the percentage of shield tokens found.