ae@technewsiit.com ‘Escape' games prove challenging, addicting Kristal Copeland COPY EDITOR “Escape the Basement“ and “Escape the Estate“ aret o games in a series of “Escape the Room“ games by Zigurous. For those of you who don‘t know, “Escape the Room“ is a genre of puzzle games where you are usually locked in a room, gener> ally have amnesia, and absolutely need to leave quickly. They are typically pointeandeclick or text based, and can take anywhere from a few minutes to days to win. ‘hile they usually don‘t have a story, the two by Zigurous make the plot very clear. In tl eries, there is a man who is planning on possibly torturing you to death, who has you locked in a house. The fear of this character is the main reason I love the series. It is a wellefurnished house, convenient, ly equipped with everything you need to leave. Unlike most games, there are also plenty of things you do not need (fortunately, the game informs you). He has clearly done this to sew eral people, and you even learn his name. Both of these games have two secret areas, the fir is an ending, and the second evokes a ha “DO NOT WANT!“ from play, ers of the fir . Finding the solution to these two is not as ha d as a game by Neutral, but is certainly not easy either. The solutions to the hidden places are diflicult enough that most people needed to follow a guide. I did not (there wasn‘t one when I played,) and I think it would be best if you could check how long it takes for you to figure it out on your own as well! Graphics 8/ 10: The graphics fit the world; they‘re very polished and almost invite ing. The reason it only receives an 8 is simply because there isn‘t mu animations. While the first was definitely full of as many things as the developers figured would be in a basement, the estate doesn‘t have quite so much awesome. Game Play 9/ 10: These games are my second favorite set of “Escape“ games, and though the extra paths are much more difli ult than the rest of the game, they aren‘t so horrie fying that I would think of lo 'ering the game‘s rating, especially considering they‘re entirely optional, and hardcore escape game players should enjoy the challenge. Story 7/ 10 rile this game has very little story, it has an amazing atmosphere in its motivational background compared to any other escape game I have ever played. I could only give it a seven, but if there were a special “Escape the Room“ overal game series ranking, it would have at least a 9. Uoing on, no intense TechNews | Tuesday, September] Sound 4/1 didn‘t mind the music for the first part, but It is ridiculously repetie tive. Although I didn‘t notice it because I was so focused on solving the problem, the raging in the comments section brought to my attene tion that, at least in the “Estate,“ the mus a very short loop. In a very good game, this * definitely brings it down. Tb Image courtesy afzbarrgerzcam Trophies and Everything Else: There are trophies for this game, and they will give you h ts to the secrets. This is a great game to play If you‘re a fan of the “Escape the Room“ genre. It came out fairly recently, so be sure to leave a revie after you‘ve fini red wasting your. . .ahem. . .savin g yourself by escaping. ‘Paper Hat Game’ pleases patrons with puppetry Hannah Larson ASSISTANT EDITOR Paradoxical to popular persuasion, puppet performances aren‘t just for kids. “The Paper Hat Game“ is a multie media puppet show that tells the (true) story of Scotty lseri‘s bizarre, but amusing game centered around his journey on Chicago‘s transit, according to the production‘s official website. In 2001, lseri began to make paper hats and hand them to his fellow commuters on the train in hopes to inspire a bit of merry, making in an otherwise glum setting, accord, ing to lseri‘s website, scottyiseri.com, even, tually becoming a bit of a pop culture fad. There are currently three other “Paper Hat People“ spreading their good vibes through out the country. “The Paper Hat Game“ show was created by a team of artists‘ Toy Theatre, using lseri‘s story. lseri‘s story has also been featured in a number of Chicago, and nation, al publications. I was lucky enough to be invited to this show by TechNews‘ own Robin Babb, who is the publicist for the show‘s Chicago run. I also coerced (see: dragged along) two friends; there‘s always power in numbers. Before I segue, let‘s take a moment just to appreciate the gem that is the Den The am {1222 M A/Hlumnlzpp Am, comm: HAM) The first thing noticeable about the theater is that its entrance is a seemingly ordinary door leading to an unfriendly corridor of stairs, up to the second floor (where the theater is located.) Turning right at the first possible instance, you are jettisoned in to a room that is more like an Old English library, than a Wicker Park holeeinetheewall pub. Come plete with a bar, (fancy cocktails anyone?) bookcases, and furniture straight from the Antiques Roadshow, the lounge is charming, and huge, but extremely homey. After the initial confusion of try, ing to find the location of the performance (perhaps due to a preeshow drink and my overall awe and confusion of the maze that is this theater) we entered a small room that sat about 20 people. There was an odd rhythe mic Stanley Kubrickeesque white noise piped through the speakers; it felt more like an A17 dous Huxley dystopian novel soundtrack, than the score to a puppet show. Settling into our front row spots, (yeah, we went there) we were greeted by a nevereending loop of a passing CTA train on the screen, where the performance would take place. Before the show started, the audie ence was given a warm and gracious greeting from the creator and director, Torry Bend, expressing how excited she was to bring “The Paper Hat Game“ back to the city from which it had originated. The audience is shown the first of three rules: “you can‘t talk.“ No one does. The other rules include: “you can‘t make people play,“ and “everyone wins.“ The only sound comes from the play‘s score, that includes music, voiceovers, and sound effects being woven throughout the story. The intricacies of the movement of the set, and the thumping of the puppeteers working behind the curtain slowly speed up. Now, some could suggest that the cumbersome movements coming from be hind the curtain were distracting, or took away from the show, but it‘s the opposite. The movements from the puppeteers remind the audience that they‘re watching a moving piece of art, complete with nuances that vary from show to show. The movement also re, minds us of all the hard work that is going on behind the scenes. More about that later. The show compiles traditional pup, petry, threeedimensional moving setedesign, and video footage. They are juxtaposed over each other to create deep, and delicate scenes. It incorporates a newspaper motif into the majority of the art; the use of newspaper is an obvious homage to lseri‘s original medium, but also fits with the cosmopolitan influences of the production. lfyou‘re a fan of detailed and artise tic stopemotion animation, like the short film “Peter and the Wolf“ (2006, also available for free streaming online) you‘ll find this play pleasing to your avantegarde aesthetic. The moving parts of this wheel re, quire concentration, and test your senses at the same time. One stunning aspect of the show, is how accurately it portrays the feeling of dif ferent modes of transportation. Obviously the CTA trains are a main component of the show, but the way your senses are over, whelmed could convince you that you‘re on the Green/Red Line back to the 35th, BronzevilleellT stop. This enthralling ele ment is also used when the central character is being transported in an automobile. Instead of just flatly presenting puppets as threeedimensional figures in front of a twoedimensional set, “The Paper Hat Game“ takes perspective to a different, heightened level. The audience is hurled from a thirdeperson perspective, to lseri‘s firsteperson perspective, to a shadowed die mension where it‘s difficult to discern what‘s happening on screen. It feels entirely real, Images courtesy afSaIvateIIa de Prada {via thepaperhatgame.cam) & thechicagastagereviewcam istic, and the movement is enchanting, but overwhelming if you pay too close attention. The details of the puppets, props, and scenery are amazing; the craftsmanship of the tiny buildings and gadgets would put any College of Architecture student to shame. The vault was opened after the show, and the audience was invited to take a look behind the scenes. The last time I actually watched a puppet show, I couldn‘t tell you, but I have fond memories. Watching the muted move, ments of the puppets, as well as the intene tional use of the performers‘ hands, ignites a sense of astonishment at the meticulous work and seamless effort that has been molded into this show. For those looking for a strictly line ear and literal plot, move along. This show is heavily conceptual, and keeps the story mini, mal in order to make room for the weight and intricacy of the artists‘ creations, and the per, formers‘ efforts. “The Paper Hate Game“ is show, ing at the Den Theatre this, and the follow, ing weekend (until September 22) with shows at 7:30 and 9 p.m., and Sunday matinees at 3 p.m. Tickets are $15, and on sale through brownpapertickets.com. Find out more information about the production by visiting their Facebook page, The Paper Hat Game, or website, thepae perhatgame.com.