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Given the new direction provided by Square Enix, Kane & Lynch has progressed in unimaginable ways.

It’s not every day that you stumble across a game with such amazingly progressive ideas that the majority of the game industry just doesn’t “get it.” It’s impressive, to say the least, with what Square Enix has managed to do with Kane & Lynch 2: Dog Days. Avante garde in design, the game’s cover mechanics turn the standard shooter formula on its head. Couple this with the interesting graphical design and it’s clear that players are in for a real treat.

After the events of the first game, Kane & Lynch reunite once again in Shanghai for a high paying job involving smuggling weapons into Africa. The story maintains an undeniable gritty charm throughout, thanks to the two main characters playing off of each other so well. By about the halfway point, things begin to climax, quite fittingly right when a friend of the duo, Xiu is raped and killed by Hsing. Fighting through the streets naked to avenge her death, you really begin to connect with both Kane and Lynch despite their homicidal tendencies.

Players will be most taken by the cover shooting mechanics featured. Clearly by intention, players will need to hide often and pop up to empty multiple clips into each enemy before defeating them. Not every bullet hits – obviously – but players will soon realize that this is to create something more realistic, bringing games and reality one step closer. Furthermore, players aren’t safe anywhere, with enemies constantly seeking you out, as they realize that in such a situation the weapons used are hardly a threat. Given their advanced AI and ability to get close enough to look you in the eye; it’s easy to be killed. This only adds to the experience, giving players goals to work towards and a constant enemy to combat – realism.

Knowing this, the game doesn’t cut any breaks. Checkpoints are often placed at inopportune moments, while players are surrounded by hordes of enemies. Often this will result in a restart, but of course this is preferable because it further enforces the realism concept pushed so tirelessly by the game. Of course, most gamers have grown accustomed to the likes of Gears of War and others and won’t understand just how much better this experience can be if it’s just given a chance.

I didn’t want to get into it too quickly, but the game’s presentation is the real winner here. Instead of the same old bland camera work we’ve seen since the N64, Kane & Lynch 2 works in the good ol’ handy cam. As if on a reality TV show (awesome, right?), your every move is captured as if a friend is videotaping the whole affair. Even better, random artifacts, odd lighting, and color distortion is thrown in. This makes a real artistic expression and keeps players on their toes. It’s amazing how fear that your console’s video card is dying can inspire you to quickly push through the game. The entire visual affair is impressive to say the least and one that I can only hope inspires others to challenge convention.

Given that this is a review for Kane & Lynch 2, I don’t want to get too off-topic. However, I can’t pass up the opportunity to discuss the “games as art” debate, given the game’s presentation. The evidence here for artful games is all too apparent.

Others have tried to “Kane and Lynch” the points made by Roger Ebert before by producing “artsy” games like Braid and Limbo. However, they haven’t made something the least bit compelling to play or observe. Who cares about some Super Mario mockery and a black and white game in a forest and a factory? These titles just prove that developers can put a platformer on a 2D plane, produce some under par graphics, and exclude a story. These games aren’t art; they’re a piss poor attempt to combat the words of a movie critic by making things that seem artful.

Kane & Lynch 2 is a different story all together. It doesn’t pander to anyone. It makes a bold statement. Yeah, there’s profanity, nudity, and rape, but it’s all pulled off with unbelievable grace. The story, characters, and presentation are second to none. It’s like a movie you play through, and by the time you reach the end of the quest you’ll look back, mind blown, wondering what you just went through. That makes it art. That makes it moving. And that makes it the ultimate answer to Roger Ebert’s weak, babbling argument.

Anyway, we were reviewing Kane & Lynch 2, weren’t we?

Multiplayer rounds out the package, offering one of the best modes I’ve ever had the pleasure of experiencing. Cops & Robbers is so undeniably fun, after your third or fourth playthrough of the main game you’ll have a new place to hang your hat. With each match you can choose a different side and either protect or infiltrate, scoring points for wasting enemies along the way and accomplishing your goals. I’ve invested hundreds of hours here and I’d expect after trying more shallow experiences in Black Ops, players will know where to come back to.

I can’t recommend Kane & Lynch 2 enough. With the cliffhanger ending, highbrow quest, amazing presentation, and lasting multiplayer, there’s no question what 2010 game you should still be loving in 2011.