Why, with a barrage of spin-off titles to compliment the series. Some of those spin-offs have dabbled in monster capturing (Dragon Quest Monsters) while others draw influence from crafting titles like Minecraft (last year’s finely made Dragon Quest Builders). Dragon Quest Heroes, on the other hand, revels in the ancient art of hacking and slashing your way through literally hordes of enemies and monsters, not unlike the Dynasty Warriors series (or as the genre is commonly known as, “Musou”).

In fact, Dragon Quest Heroes II from Japanese developer Omega Force more or less follows the same foundation as its first entry and all the other Musou titles that came before. Much like the first game, you’re once again thrust into a magical adventure. The Seven Kingdoms of the world which have been in peace for thousands of years are on the brink of war.

"Depending on which vocation you choose, there will be different classes with their own types of weapons and skills to utilize. For instance, Teresia can start off as a Warrior with powerful melee based spells and attacks."

It’s up to two cousins – Razel and Teresia – to take up arms, and seek out the truth behind why some of these nations have become hostile. There’s also a way that may help the cousins attain peace but obviously dark forces are afoot. Though generic and pretty straightforward, the characters are generally likable. However, the voice acting comes off as a bit weird at times, especially in cutscenes where the lip-synching can be off.

Of course, the main appeal of Dragon Quest Heroes (somewhat like Hyrule Warriors, also from Omega Force) is that various characters from the series drop in to help. Dragon Quest Heroes II features six new combatants (like the arrogant Cesar and axe-wielding Desmedona) that will join you on your journey. Five characters make a return from the previous outing including Jessica and Healix and several characters from previous Dragon Quest games like Angelo from Dragon Quest VIII, Torneko from Dragon Quest IV and Carver from Dragon Quest VI.

This makes for a grand total of 15 playable characters to hack, slash and brawl with. It should be noted that unless you’re a big fan of the established Dragon Quest characters, some of the cast can come off as fairly one-note. There are the time-worn tropes like rivalries, the magnanimous king, the wolf boy who’s hungry at all the time, etc. Basically nothing you haven’t seen before but where the story can somewhat fall short, the combat more than picks up the slack.

Depending on which vocation you choose, there will be different classes with their own types of weapons and skills to utilize. For instance, Teresia can start off as a Warrior with powerful melee based spells and attacks. Opting for a Mage changes her stats up while offering new attacks and spells to play around with. Then there are proficiencies, gained from using certain types of weapons, levelling them up and gaining different bonuses for the same. This further leads to special abilities associated with a class of weapon separate from your main class skills. It’s a welcome degree of complexity that helps to separate it from other Musou games while also retaining the game’s core RPG mechanics. Going into the open world helps break up the monotony that’s typical of a Dynasty Warriors game.

"Though the main story missions can range from battling and recruiting different heroes to protecting your king on a wide open battlefield while trying to gain ground on the enemy, the side quests have a decent amount of variety."

Speaking of which, another great addition in the sequel is a more structured quest system and an open world-like area with towns to visit. No longer are you required to play from one long story battle to the next. When you’re not looking to engage in the main quest, you and your party are free to roam the fields and grind at your own convenience while partaking up to 8 side quests at a given time. Space Time Labyrinth dungeons exist to casually murder hordes of foes and it allows for some mindless battling without much thinking.

Though the main story missions can range from battling and recruiting different heroes to protecting your king on a wide open battlefield while trying to gain ground on the enemy, the side quests have a decent amount of variety. This includes using a specific spell a number of times to kill monsters, gathering items and whatnot. Again, it’s nothing you haven’t seen before but combined with the satisfying combat loop, customization and appealing visuals, it makes for some great action RPG fun.

One of the major differences between Dragon Quest Heroes II and other Musou games is the ability to have four members in your party at all times, and you’re free to switch between them with the press of a button. Each character comes with a variety of moves, specials and play styles that are worth experimenting with. When you’re surrounded with a wave of tough, damage-soaking baddies, you’ll want to make full use of your team.

This is especially when you consider the Tension meter which builds up and lets you unleash some flashy super moves and tag team manoeuvres. Then there’s the ability to summon monsters using Monster Coins with different coins occupying a number of slots. In a neat twist, you can actually become the monster and wreak havoc on your foes. There’s something satisfying about defeating a Hackasaurus and then taking on its form to burn through waves of enemies.

"As a whole, Dragon Quest Heroes II is exactly what it sets out to be. It’s a Musou title with tons of customization and crowd brawling faithfully set against the Dragon Quest universe."

For anyone who’s played any of the other Dragon Quest games, they will instantly recognize the art style and medieval-like fantasy themes that have adorned the series for so long. From sound effects and music to character and monsters, Dragon Quest’s distinct look and feel is worn proudly on its chest throughout and only helps make the nostalgic trip all the much sweeter. The overall visuals are especially spectacular with all the special attacks, effects, summons and whatnot with the frame rate sticking to 60 FPS for the most part. It can tank if there’s too much going on though.

One of the biggest issues is with the difficulty spike in combat. It’s not always obvious what level you have to be at all times (except in dungeons which explicitly state the level you need to be) and some enemies tend to soak up a ton of damage. This causes some battles to seemingly go on for longer than they should. Some elements for those unfamiliar with either the Dragon Quest or Musou games may be hard to get into. You don’t have to be a Dragon Quest fan to appreciate what’s going on but long-time players of the series will definitely get more out of the experience.

As a whole, Dragon Quest Heroes II is exactly what it sets out to be. It’s a Musou title with tons of customization and crowd brawling faithfully set against the Dragon Quest universe. The overall mechanics have been incredibly expanded from the previous outing and Omega Force deserves major kudos for building upon it so well. If you’re looking for a light hack and slash experience with some solid RPG mechanics, then Dragon Quest Heroes II is a fine display of medieval fantasy combat.

This game was reviewed on the PlayStation 4.

Naturally, Giant Sparrow wouldn’t be done there. Fast forward to now and they’re back once again with yet another first-person, narratively driven adventure. What Remains of Edith Finch sounded epic in scope from the beginning and carried its fair share of horror tones. However, the themes of  death are anything but morbid. All-in-all, for the time it took to produce, What Remains of Edith Finch stands distinct from The Unfinished Swan while propelling itself as one of the better interactive stories to come out this year.

"Some of the members and their personalities allow for a wide variety of characterization, mostly due to their occupational history and overall relevance to how the family came to be."

What Remains of Edith Finch is a collection of stories documented by the last surviving member of the cursed Finch family. You play Edith Finch who investigates her family’s estate and is hell-bent on uncovering how certain members passed away by “reliving” their scenarios from. Each story is brief but distinct, engaging and memorable in many ways with the player occupying their perspective. The style of storytelling in each case is fairly different and surprising as Edith undergoes unexpected yet surreal situations. All the stories tie into different members of the family, which is further illustrated by a family tree that Edith herself maintains.

Some of the members and their personalities allow for a wide variety of characterization, mostly due to their occupational history and overall relevance to how the family came to be. Whether it’s Edith’s great grandfather, Odin, and how he constructed the Finch family home or catching the physical memorabilia of once child actress star Barbara, each character provides a piece of history that is displayed and talked about. Fortunately, it’s never shoved down the player’s throat and you can take in all this information at a relatively good pace.

As it stands, the gameplay is fairly straightforward. You’ll find keys, open doorways and pretty much stick to the path provided. The main “goal” of the game is exploration but the mechanics themselves differ based on the family member’s perspective. Despite the inherent simplicity of it all, What Remains of Edith Finch uses these tools to create deep narrative sequences. We won’t spoil anything but suffice to say that things aren’t always what they seem until it’s often too late.

"For the most part, colors will remain moody and familiar, but then sometimes switch to something brighter and more fantastic."

Which brings us to the themes of death and loss. These are constant through nearly every story, but how they’re handled is quite unique. There’s no sense of gore or sadism invoked. Its approach to conveying this can be somewhat magical and imaginative at times, enough to make you even question if the concept of “death” is really as somber and depressing as some of us might think. While some of the Finch family stories certainly do convey those feelings as well, its broad spectrum of different POVs and the emotions associated with them are especially creative. Everything just lends so well to the overall narrative which is presented in a fascinating, whimsical manner. It’s not something you’d associate with such a heavy experience to be honest.

It certainly helps that the visuals and art direction do a great job tying into the game’s narrative. While the Finch residence is your main center point as you traverse through its mystery museum-like structure, your journey through the memories of Edith’s family history can often carry its own distinct style. For the most part, colors will remain moody and familiar, but then sometimes switch to something brighter and more fantastic.

The art goes even further thanks to the great attention to detail in nearly every room you enter or leave. You will find notes and pictures decorated throughout the environment that only further enhance the rich, life-like lore behind the Finch family.  It’s just a shame that certain graphical issues like texture pop-in and frame rate drops during certain sequences can dispel the immersion. Thankfully, it’s not enough to take you out of the experience entirely and control-wise, the game feels incredibly comfortable.

"If you enjoyed games like Gone Home or Firewatch, What Remains of Edith Finch comes highly recommended."

Talking about audio, almost every sequence is fully-narrated and well voiced. It’s hard to pick out any abnormalities in the script delivery with Edith herself (voiced by Valerie Rose Lohman) being mostly consistent and never gets on your nerves. That said, there are times where you could feel some of the weight that goes behind certain family members and their narration. Another nice touch is how the narration and its accompanied text are weaved into the environment itself, acting somewhat like a guide to where the player should look next.

So let’s talk about the elephant in the room: the price tag. Yes, the game is fairly short. In fact, you can very well complete it in a span of two to three hours, assuming you’re not rushing through. Are there segments that may encourage additional replays? Without going too much into spoilers, certainly. It’s a game that’s short enough to experience again if the occasion ever so rises, and that experience can be shared with anyone who has a fondness for the genre. Not to mention, the kind of discussions it can generate by discovering new or different things from subsequent playthroughs is also noteworthy. Regardless of all that, it’s just so wonderfully paced, that it never feels like you’re dragging your feet for something interesting to happen. It’s short but there’s not much room for filler, and I was absolutely hooked till the very end.

If you enjoyed games like Gone Home or Firewatch, What Remains of Edith Finch comes highly recommended. There’s nothing quite like it and by the time you reach the end, you will have some lingering feelings towards these fictional yet believable characters. Edith’s journey may come to an end but the feelings associated with her family – and by extension – the player transcend the boundaries of “walking simulator” into something truly special. Death comes for us all but as What Remains of Edith Finch proves, no one is ever truly gone.

This game was reviewed on the PlayStation 4.

You are once again thrusted into the role of Kate Walker who has awoken in a sort of asylum, thanks to the Youkal tribe. However, everything isn’t as they seem as the medical staff seem fairly content on keeping you at bay. It’s up to Kate to help the Youkal tribe, a group of nomads who roam the lands with their giant “snow ostriches,” to get back on their journey and rescue their young guide from the clutches of the asylum. And those aren’t the only adversaries that she’ll have to evade.

"Despite the transition from pre-rendered graphics to full 3D, Syberia III’s art direction is able to capture the tone and essence of its forebearers fairly well."

To those who’ve played the first two Syberia games will be familiar with the presence of the Youkal tribe, as well as a few recurring characters and mention of the Automatons. A large portion of Syberia III’s initial story is in helping the tribe get back on its feet, but a lot of what was covered in the earlier games are sparingly brought up unless needed. Progression is fairly straightforward, and you’re usually clued in on where you need to go next along with the characters you need to acquaint yourself with.

Despite the transition from pre-rendered graphics to full 3D, Syberia III’s art direction is able to capture the tone and essence of its forebearers fairly well. Some of the textures when inspected closely still look outdated, but overall, it’s an admirable show for a title that utilizes the Unity 3D engine. And the somber tone is only further amplified thanks to the game’s soundtrack scored by Inon Zur who also worked on Syberia II.

However, the game is not without its blemishes, particularly in terms of how characters speak and animate. Bad voice-acting hampered by poor lip-synching abounds at nearly every turn. Even though Kate herself (voiced by Sharon Mann) is decently casted, there are numerous amounts of stilted dialogue and questionable age role choices. Given its French roots, it’s understandable why some dialogues may not sound completely coherent or have a star-studded cast to execute them well. But due to the large focus on conversations, much too often do the inadequate performances take you out of of the experience.

"Add to that some of the technical issues faced from the game’s camera (whether it’s moving from one fixed position to another), and Syberia III comes off as unpolished and a bit low-budget."

Another major change made to the series is the removal of the tried-and-tested, point-and-click movement of your character. Instead, you’re required to rotate and move Kate manually along with an option for her to sprint faster. What this also means is that your character must be physically close to an object for an interaction icon to appear. The game advises beforehand that using a gamepad is recommended and those who grew up playing the other games, or any old-school adventure game for that matter, are kind out of luck without one. When the game essentially doesn’t showcase points of interest, instead forcing you to move around the environment and discover them when close, thus prompting interaction, it only makes for more unenjoyable busy-work. Again, this is all made much more straightforward with a controller. It’s kind of sad that this has to be the case for what’s essentially an old-school adventure game. This being the case for a new Syberia game just doesn’t feel fun.

It’s a change that is all the more aggravating, when you realize how certain puzzles require you to interact with objects by moving and sliding your mouse cursor. It’s cumbersome and feels unnatural, especially when you never feel like you get a full-range of the kind of movement required in the first place. To clarify, I did attempt to use an Xbox One controller during some of the more infuriating puzzle interaction moments. And while it did alleviate some of that tension, you can’t help but feel there could have been a much simpler approach with more responsive controls.

Add to that some of the technical issues faced from the game’s camera (whether it’s moving from one fixed position to another), and Syberia III comes off as unpolished and a bit low-budget. If you get past the uneven voice acting, there’s a world that could be worth your attention if you’re looking for a more relaxed and solemn tale to draw you in. Considering the development hell that it’s gone through, Syberia III could have come out far, far worse. That’s not to say what we have is good but it’s admirable that it came out this way.

"Syberia III feels like a major roadblock in the series than an actual step forward. If it simply continued the narrative from its predecessor in a meaningful way, that would have been enough."

As such, Syberia III feels like a major roadblock in the series than an actual step forward. If it simply continued the narrative from its predecessor in a meaningful way, that would have been enough. If it was a compelling story on its own backed by strong writing and voice acting, that would have also warranted some good-will. Syberia III in its current state is a flawed game that will make you appreciate the production values in contemporary adventure games all the more.

Syberia III is an adventure game with a fascinating world, but really needed a few more months in the oven and is difficult to recommend. If you’ve never experienced the earlier games, you’re probably better off starting there.

This game was reviewed on the PlayStation 4.

Lego City Undercover is something of an anomaly for it’s kind of Lego games. Rather than piggyback off a well-known franchise property like Marvel or DC, Lego City Undercover is an open-world action-adventure that plays off other well known games like Grand Theft Auto along with its associated tropes, and also parodies familiar Hollywood film iconography.

"The game for the most part is well-voiced and usually hits the right notes to get you invested in the main story, which can easily take upwards of 15 hours alone to complete. And of course, that’s not counting how much time it will take to acquire all the hidden collectibles."

You play as an undercover cop Chase McCain who is tasked with taking down escaped convict and master criminal Rex Fury, using any means necessary. Whether that involves you gaining favor with multiple gangs through a tempted life of crime, or acquiring lots of fancy new gizmos courtesy of your Police HQ, Lego City Undercover likes to flaunt its role reversal whenever the story sees fit thanks to its comedic tone and not-too-serious cast of silly misfits. And for the most part, it’s well-voiced and usually hits the right notes to get you invested in the main story, which can easily take upwards of 15 hours alone to complete. And of course, that’s not counting how much time it will take to acquire all the hidden collectibles.

What follows are the usual gameplay signs that accompany a Lego game. During the game’s chapters, Chase will have an objective marked on his HUD at all times. This objective is broken up depending on whether it takes​ place in the main world that is Lego City, or has you enter specific locations. For example, you may have to tail a criminal out in the streets, or solve some puzzles inside a building complex. Some of these objectives may even tie into one another, until finally a Chapter is completed and you’re awarded with the next set of objectives. Completing the main story is key in unlocking all of your character abilities, and will be especially vital if you’re looking to spend time hunting down those secret collectibles.

"The Wii U roots are obvious as some of the city backgrounds, while busy and flourishing with tons of characters and vehicles on-screen, can seem a bit muddy and lacking in color."

Some of these abilities include using your smart tablet to find hidden footprints, receive incoming calls from your support team, or use as a surveillance camera to eavesdrop or mark suspicious targets in first person. The tablet is a clear carry-over from the Wii U version and its use with the Gamepad but doesn’t quite detract from the transition to PS4. Your abilities are further expanded once you’ve acquired additional costumes. Again like in other Lego games, equipping different outfits will allow you to access certain areas or use character-specific abilities to progress and solve puzzles. Some of these abilities can be as simple as changing into a robber and using your crowbar for breaking into and entering marked locations with a crowbar icon.

Because of the patented silliness that comes with its territory, you never have to think too much about how you’re moving from area to area, whether you’re hijacking a civilian’s ice cream truck for the greater good, or changing costumes on a whim in front of your police cohorts. The world of Lego City compliments your actions and genuinely feels amusing enough to explore when you’re not sticking to the beaten path. And with the newly added drop-in, drop-out local co-op, you won’t have to bear it alone. Because having two Chase McCain’s speeding a down a highway away from the Chinese mafia can have its own perks.

The same can’t be said for the overall game performance, sadly. Take the framerate, for instance. It varies between 30 FPS while exploring Lego City, and 60 FPS while in-doors for specific missions. The Wii U roots are obvious as some of the city backgrounds, while busy and flourishing with tons of characters and vehicles on-screen, can seem a bit muddy and lacking in color. Sometimes, things will start to slightly chug when it gets a bit too busy in the big city. There was even an odd game crash on one of the missions, but it only occurred once and I wasn’t able to reproduce it. Add to that the wonky camera when outdoors, and it feels like Lego City Undercover could have a benefited from some further optimization and polish.

"Lego City Undercover is about everything you would expect from a Lego game, filled with its own unique story and entertaining world to explore."

Despite its technical problems, Lego City Undercover is by no-means a bad entry into the series. It’s story will have you trudging on just to see what ridiculous situations are cooking around the next corner, and there’s potential fun to be had if you’re planning to bring a buddy along. But it’s hard to justify a full-priced asking, especially when you consider just how many Lego games one can choose from these days. If you’re not already a die-hard enthusiast, it certainly doesn’t hurt to wait for a sale.

Lego City Undercover is about everything you would expect from a Lego game, filled with its own unique story and entertaining world to explore. If you’re not already suffering from Lego game series fatigue or just looking for a good starting point minus some magical wizards or hobbits, you’re in luck.

This game was reviewed on the PlayStation 4.

Banjo-Kazooie in particular has always been a game that’s stay closed to my heart. The Nintendo 64 had dozens of 3D platformers, even the Japanese juggernaut’s own flagship title that was Super Mario 64, but Rare’s Banjo-Kazooie series had its own distinct charm, visual style and quirkiness that continued to be the studio’s trademark for quite some time. Even when it was eventually bought by Microsoft and had numerous people leave, I still look forward to whatever they’re cooking up next (which isn’t just another Kinect Sports sequel, that is). To their credit, Sea of Thieves looks to be the game they really want to make.

But we’re not talking about the Rareware of today. We’re talking about Banjo-Kazooie, a game that didn’t see a proper sequel for nearly 17 years, not counting its platformer-meets-Bob the Builder spin-off that was Banjo-Kazooie: Nuts & Bolts for the Xbox 360. While many series diehards have casted it aside (personally, I enjoyed it for what it was), the Banjo-Kazooie experience that they truly craved would never happen. At least, not in the form they were probably expecting.

Thanks to a successful Kickstarter campaign in May 2015 by several key ex-Rareware developers, fans finally got the spiritual successor that they were clamouring for: a 3D platformer in the vain of the Banjo-Kazooie series. But replace the bear and its bird, plop in an iguana and a bat, and you get Yooka-Laylee.

"From the minute you begin from its logo intro to its title screen, make no mistake, this is classic Banjo-Kazooie."

From the minute you begin from its logo intro to its title screen, make no mistake, this is classic Banjo-Kazooie. Everything from the updated and spruced up graphics, the way characters talk in their jibber-jabber, the Looney Tunes-style sound cues that play when you’re about to start a world, the familiar music beats – the nostalgia hammer hits you hard and never quite lets up.

Even narratively, the set-up seems all too familiar. Yooka the Iguana and Laylee the Bat stumble upon a magical book which contain golden pages (sentient beings called Pagies, because why not) within it. But before they can make any sense of it, the game’s corporate villain Capital B and his fowl assistant Dr. Quack use machine to steal all the books in the world and have them “digitized.” It’s up to the unlikely duo to make their way through the game’s hub world that is Hivory Towers, and find these mythical books that will grant them access to worlds where the remaining Pagies reside.

On the way, they’ll run into several characters that will give them a leg-up. For instance, if the player collects Golden Quills scattered through the worlds, they exchange them for new moves with the Snake-y Salesman, Trowzer. Some of these range from turning yourself into a morph ball while Laylee rides on top to using Yooka’s tongue and absorbing the attributes of power-up plants, like fire, ice or bombs.

Even your actions will also have you unlock ability modifiers in the form of “Tonics.” Pay a visit to Vendy the Vending Machine, and she’ll list out tonics that can boost your health, decrease the amount used for your power bar, and more. Or if you stumble upon Dr. Puzz and deliver her a molecule, she’ll let you use her transformation gizmo to turn the duo into a plant or a snow-plow pickup. There’s a fair amount of things to see when visiting each world, filled with ridiculous characters and silly situations that will net you some Pagies, with some wink-wink, nudge-nudge fourth wall humour for good measure. Because who doesn’t like joking about Next-Gen Cloud Gaming while racing an actual Cloud?

"There’s a real sense of exploration when trying to remember the different layouts and landmarks, further enhancing the satisfaction in finding a nearby Pagie or Ghost Writer, with some platforming and puzzle solving thrown in for good measure."

While Quills will expand your moveset, Pagies are vital to accessing newer worlds within Hivory Towers. The breadth of the first world is something that threw me off initially. For someone who hasn’t played a 3D platformer since the Mario Galaxy series, the scale and lack of an in-game map was intimidating yet really exciting. Not having to rely on marked objectives and trying to figure out how to navigate through each environment was refreshing, something I miss from titles today. There’s a real sense of exploration when trying to remember the different layouts and landmarks, further enhancing the satisfaction in finding a nearby Pagie or Ghost Writer, with some platforming and puzzle solving thrown in for good measure.

When you’re not busy scouting around, you’ll also have the opportunity to play some mini-games. One of these includes Kartos the Minecart where you’ll engage in a side-scrolling race to collect as many gems as possible. This is likely a nod to fans of Donkey Kong Country, the first three games which Rare developed in the SNES era. Or you can sample some of the arcade games from Rextro the 64-bit T-Rex, some of which can also be played in local multiplayer. However, I really didn’t find them all that enjoyable. Whether it was because of certain controls in games, or just how dull they came off, I struggled to play multiple sessions. Even as little diversions, they pale in comparison to the main quest’s platforming and exploration.

Because what’s here is very pretty. The first two worlds in particular really make an everlasting impression, and the fact that you can further expand their scope by using up your Pagies is a clever approach. Tribalstack Tropics (the first world) is probably my favorite for its lush green looks. Though if I had to nag, the later worlds don’t quite impress you as much the further you progress. However, bright colours abound and quirky characters are littered around nearly every turn with enough snarky dialogue and current in-jokes to warrant a smirk.

"It certainly doesn’t push the boundaries of the genre and that’s okay. Playtonic Games promised exactly what they delivered in what’s the best homage to the series that we’ll ever see."

On the other hand, the camera deserves some criticism. For the most part, I didn’t find it all too disastrous but there were certain situations where I wished I could pan out just a wee bit more. In some more enclosed spaces, the camera would get stuck or clip through the environment once in awhile. This was only really detrimental when trying to navigate in smaller areas or during one of the later obstacle-ridden slides that has you going through rings under a strict timer. That, and a few performance stutters were present but only in the fourth world, Capital Cashino. Otherwise, frame-rate was a solid 30 fps throughout on the PlayStation 4 and the day one update should further enhance the excellent performance. Playtonic Games certainly deserves kudos for working their magic in the Unity engine both aesthetically and technically. (Note: Performance and camera are known issues and be fixed in a future update).

If it hasn’t become obvious already, I’m quite smitten by Yooka-Laylee. If I had to be especially critical, it certainly is TOO much like Banjo-Kazooie, and that includes some of the qualities those previous games would carry. Some people may love it while others not so much. It certainly doesn’t push the boundaries of the genre and that’s okay. Playtonic Games promised exactly what they delivered in what’s the best homage to the series that we’ll ever see, until maybe Yooka-Tooie. If you’ve never played the Banjo-Kazooie series and often wondered what the big deal behind the gameplay style was, then Yooka-Laylee is a great introduction.

This game was reviewed on the PlayStation 4.

That said, the current generation of console games, while arguably on a vicious high-rise thanks to the ample quality releases we’ve had so far in 2017, has yet to quite hit that stride for me in the arcade racing genre. Which is why despite never actually getting too much into the FlatOut series, FlatOut 4: Total Insanity comes across as a surprising distraction.

For those not familiar with the series, FlatOut is an all-out destruction derby style racer that was originally developed by Finnish dev Bugbear Entertainment. The developers had officially parted ways with the series around 2007 upon the release of FlatOut: Ultimate Carnage. Nowadays, they’re much more focused on their current Early Access racer dubbed Wreckfest, that looks to build on the same tone of their prior works.

"One challenge will have you fling your driver avatar across a decathlon track into a carefully constructed toy block castle, filled with several explosive barrels no less. Thanks to the game’s wacky physics engine and its penchant for explosions followed by more explosions, FlatOut Mode is by far some of the most fun I’ve had with the game."

Fast forward to today, and after the disaster (so I’ve been told) that was FlatOut 3, it’s now French developer Kylotonn Games turn to answer the call. Best known for their work on the WRC: World Rally Championship series, FlatOut 4: Total Insanity tries its best to fill the big shoes of its predecessors. And it does that in several ways.

For starters, the inclusion of the iconic FlatOut Mode is an immediate plus. Essentially, the mode is comprised of tons of challenges that involve around a specific goal or mini-game. For instance, one challenge will have you fling your driver avatar across a decathlon track into a carefully constructed toy block castle, filled with several explosive barrels no less. Thanks to the game’s wacky physics engine and its penchant for explosions followed by more explosions, FlatOut Mode is by far some of the most fun I’ve had with the game.

Even more noteworthy are the Arena challenges that essentially turn the game into a demolition derby, with the occasional “tag, you’re it” variation that is “Keep the Flag.” The feeling of nitro boosting your way into a pile of vehicles while narrowly avoiding your own eventual demise is wonderful, and is what makes FlatOut so damn satisfying. Additional challenges can be unlocked once you’ve acquired enough points through the ranking system. As long as you earn a bronze in each challenge, you should be able to unlock the next set.

"The risk/reward factor for playing dangerously and going complete balls-to-the-wall comes off as much less attractive when compared to driving carefully and being more on your guard."

Apart from FlatOut Mode, a Career Mode is also available and directly ties into how you acquire more vehicles, customization options, driver avatars, and so on. There are three main classes to choose from, but you only have the Derby Class to start with. Once you’ve committed to your first car purchase, races are broken up into three series with various tracks and weather conditions tied to them. Much like FlatOut Mode, based on how well you place in races, you can earn enough cash to improve your car stats or purchase a different car from any of the other classes.

Initially, this seems like a straightforward enough campaign to have players unlock newer rides, all the while getting acquainted will the 20 plus different tracks available and how different weather conditions can impact your performance. But after the first two Derby cups, it becomes more of a slog. This is mostly due to two reasons: AI drivers and how narrowly designed some of the tracks can really be.

Unlike for a game like say Burnout, AI cars are not easy to take down. Weight class has a lot more importance, and while I can understand why you shouldn’t be able to topple every vehicle with just a nudge, sometimes the opposite feels more true. Whether it’s because of AI cars getting in your way, and you’re trying to maneuver corners with minimum noise from the environmental decorations strewn all throughout, crashing in Career Mode is a lot more detrimental to your placement in races. The risk/reward factor for playing dangerously and going complete balls-to-the-wall comes off as much less attractive when compared to driving carefully and being more on your guard.

This would be fine if placing high in races would yield more rewards. Vehicles are unlocked at a snail’s pace. By comparison, it feels far more rewarding to sample the different rides you have available to in FlatOut Mode, even though every car for every challenge is already chosen for the player. In order to accumulate enough cash in Career Mode, I ended up replaying the optional Arena Survivor races. It was just quicker, more fun, and feels more in line to FlatOut wants to be.

"FlatOut 4: Total Insanity has a solid foundation to draw in new fans, and is a welcome addition to the genre for fans like myself."

Another short oversight I feel is the way Assault Mode works in races. On paper, the premise sounds fantastic: a race mode which gives everyone cool power-ups like shockwaves and magnetic bombs a la Mario Kart. But rather than have these abilities as pick-ups, you immediately start off with all four of them. These power-ups and the amount of times you get to use them are restricted to a cooldown. Meaning, all racers will always have access to them, and this results in utter chaos. Which would be fine, if it weren’t for the fact that you’re encouraged to play carefully if you want to make it in the top three.

That’s not to say I can’t appreciate some of the qualities that come with playing Career Mode. Some of the track locations are quite imaginative and varied throughout. Whether you’re huffing sand in the Desert Outskirts or driving down a drainage canal Terminator 2 style, there’s a great sense of atmosphere that may probably feel right at home for fans of Motorstorm.

FlatOut 4: Total Insanity has a solid foundation to draw in new fans, and is a welcome addition to the genre for fans like myself. The lack of local split-screen, while granted is not a very common feature in today’s driving games, is a missed opportunity regardless. If you’re looking to invest some quality time in plowing through its challenging single player offerings, or just plain starved for a decent arcade experience that involves you smashing or being smashed, FlatOut 4 may be worth your time.

This game was reviewed on the PlayStation 4.

Chunsoft’s 999: Nine Hours, Nine Persons, Nine Doors for the Nintendo DS was no different. Despite the change in style, theme and approach to conveying its story, its tension-filled situations and memorable character encounters that made full use of the DS hardware managed to engage me. It’s been 9 years since 999 released in Japan and we recently had the third entry of the now named “Zero Escape” series upon us. Zero Time Dilemma was released last Summer for the 3DS, Playstation Vita and, for the time ever in the series, digitally on the PC.

"To those completely new to the series, 999: Nine Hours, Nine Persons, Nine Doors is the place that you will absolutely need to start first."

With an ever-growing audience, it was only a matter of time before Spike Chunsoft decided to finally make the entire series available to both PC owners and console players via the PS4. Also, for the first time, the original 999 (and thankfully not the iOS version that lacked pretty much all the puzzles the series is rightfully known for) is finally available on the Vita alongside PC and PS4. In fact, it’s this entry in Zero Escape: The Nonary Games that’s gotten the most amount of new features added.

To those completely new to the series, 999: Nine Hours, Nine Persons, Nine Doors is the place that you will absolutely need to start first. As the series’ trademark, you play as a protagonist who’s woken up in a mysterious place and doesn’t clearly remember how he got there. A capture orchestrated by the ever-watching Zero, a mysterious gas-mask wearing figure that’s abducted eight other people, the player is forced to play a series of puzzles to advance to the next set of rooms. The ultimate goal is to get out alive.

Without going into too many specifics about either game’s plot, the first two Zero Escape games do an excellent job presenting you with a situation, walking you through the process of logic-based puzzles (which will surely entice Professor Layton fans) and giving you multiple paths to embark on. Which room and character you decide to partner with is completely upto you, as the games provide enough unique variety thanks to the setting and diversive cast that aren’t your typical anime-fueled archetypes.

"One of the other newly added features to 999 is the addition of voice acting to every major character, available in both English and Japanese. This is in contrast to Virtue’s Last Reward, which also had voice acting but not for the protagonist."

The characters are ultimately what make the journey so captivating and replayable. You’ll never quite know the full story unless you run into a “bad” ending. Of course, you can then go back to specific plot points using the flowchart system (which is one of the newly added features in 999) and have a different outcome play out. Because there isn’t much in terms of traditional exploration in either game, you’re mostly confined to story sequences and challenge rooms. It’s fairly straightforward but still provides enough incentive to explore different routes.

One of the other newly added features to 999 is the addition of voice acting to every major character, available in both English and Japanese. This is in contrast to Virtue’s Last Reward, which also had voice acting but not for the protagonist. It’s a bit jarring, especially for those who had already played 999 on the DS but perhaps more jarring are some of the performances. They’re definitely not bad, but I felt there was a certain level of nuance that you could feel when compared to the delivery in Virtue’s Last Reward. Personally, I feel 999 comes off as a more grounded story (which is no knock against VLR) but some of the actor’s performances don’t quite reflect that tone. Your mileage will definitely vary.

Another change to the first game are the cleaned up assets for characters and backgrounds. While I will always adore game artist veteran Kinu Nishimura’s character designs here, I can’t help but feel some details didn’t benefit from the overall high definition upgrade. Art used in particular scenes look more like rough sketches, but for the most part, the characters still animate nicely.

"Virtue’s Last Reward doesn’t see nearly as many additions compared to its older brother, but then again, most of those features were already present since its original release on 3DS/Vita."

Perhaps more criminal are some of the maps you collect in 999, as they look downright hideous now. That, and a lot of the backgrounds just don’t mesh well with the character art, brandishing more of a pre-rendered PlayStation 1 CG era look. When compared to VLR, 999 may not have aged as well but it will forever carry the charm in its use of character sprites. VLR’s use of 3D models hasn’t exactly aged much better, but they’re still clean and expressive on larger displays.

Thanks to the advent of digital distribution, there’s no short supply of good visual novel games to choose from. Zero Escape: The Nonary Games still comes highly recommended if you’re relatively new to the series. Those looking to only purchase 999 separately will be out of luck but the kind of quality of life improvements added makes it worth playing again. That being said, some of the charm that you could only get from playing on its original platform is certainly lost.

Virtue’s Last Reward doesn’t see nearly as many additions compared to its older brother, but then again, most of those features were already present since its original release on 3DS/Vita. At the end of the day, Zero Escape: The Nonary Games presents two compelling mysteries with devious puzzles and branching paths that will keep you guessing till the end and loving it.

This game was reviewed on the PlayStation 4.

It was something of a shock to see LEGO Worlds initially start off as a Steam Early Access title all the way back in June 2015, with the premise drawing immediate comparisons to another certain and highly successful sandbox crafting video game of the “Mine-ing” variety. Yes, LEGO Worlds essentially takes it own whack at the Minecraft formula, and it’s a fit that makes all too much sense to NOT happen.

"Much like a lot of the LEGO Games from Traveller’s Tales, there’s some humor to be had when you’re trying your best to learn the controls."

And fit, it does. Right from the get-go, you’re thrust onto your first preset world, dubbed biomes, via your spaceship (“SPACESHIP!”). A rather charismatic narration voiced by Peter Serafinowicz takes you through the many creation tools you will have at your disposal. This sort of story-telling doesn’t stray too far from the LittleBigPlanet tree, and it’s especially nudge worthy when you consider Mr. Serafinowicz also voiced several characters in LittleBigPlanet 3. That said, the narration works well here and does warrant a chuckle every now and then.

Once you’ve visited several of the first few biomes, you’ll be acquainted with all the tools necessary to create, build, copy and explore the terrain as you see. Therein lies the charm of LEGO Worlds. Each world you visit is not only procedurally generated but is also accompanied by a theme that determines the sort of characters, creatures, vehicles and items that will spawn within. From lush forests to a junkyard, candy lands to volcanic regions; it’s all fantastic to look at, not only thanks to the visual style, but with how everything animates together. Much like a lot of the LEGO Games from Traveller’s Tales, there’s some humor to be had when you’re trying your best to learn the controls.

Not to say the controls are difficult per se but it took a bit of time to know when to optimally switch between your various tools, all the while managing your inventory items. From here, things actually differ quite a bit from Minecraft. Each of your tools performs a multitude of functions, such as terrain deformation, copy and pasting buildings and environments (which the narrator assures isn’t cheating at all) and of course, building with individual blocks of assorted LEGO shapes and sizes.

"Truth be told, there isn’t a lot of crafting of items involved."

Using your tools, you’re tasked to explore each biome and acquire as many Gold Bricks as you can. These bricks can be earned by completing side quests as simple as talking to an NPC and handing them an item, building something for them, painting objects, taking photos of them with some object, protecting them from enemies etc. Gold Bricks can also be earned by digging for random chests beneath the surface, wherever a pillar of gold light shines above it or on your world map. While solutions to helping NPCs are practically laid out for you, the freedom to find items, weapons and vehicles at your own pace lends well to the exploration aspect.

Truth be told, there isn’t a lot of crafting of items involved. As mentioned earlier, each biome already comes predefined with its own set items. By using the Discovery Tool, you can scan objects from previously visited worlds, then spawn and use them whenever you choose to with minimum cost. Therefore, there’s no need to craft for individual weapons or vehicles. Ditto goes to the survival aspect commonly seen in crafting games. Because your character will immediately spawn back upon death, things are far less punishing here.

Because of the lack of urgency, it’s easy to just lose yourself to a world you’ve visited and then blast off once you’ve exhausted its offerings. In some ways, it’s not too different to the gameplay loop in No Man’s Sky which kept players moving from planet to planet for resources. But the struggle of earning resources is nearly non-existent as you’re mostly left to your own free will. It’s actually not so bad in that respect but may put off those who expect far more of a challenge compared to survival-oriented contemporaries. Which, to be fair, you’re playing a LEGO game. Challenges aren’t exactly the focus.

"For fans of LEGO games, it comes highly recommended."

On that note, if there’s one feature you could always expect in a LEGO game, it drop-in/drop-out local and online co-op. Yes, it works very much like previous LEGO Games. Sadly, due to performance issues, local co-op is just unplayable. This could be due to the number of on-screen static and animating objects that can be displayed at any given time, but that is not always the case. Even when playing solo, it’s easy to run into frame stutters and environmental pop-in, even for some of the medium-sized biomes. There is also the usual jankiness that comes with any sandbox crafting game, such as falling from the world or having your character’s position reset based on where you place large building structures, but nothing too game breaking.

No doubt the true icing on LEGO Worlds’ blocky cake is its asking price. It’s smartly positioned for those seeking a nice deviation from the standard Minecraft fare with the added bonus of being LEGO flavored. There’s enough to sink your teeth into with the amount of worlds to visit, the number of items and characters to be collected, and the sense of accomplishment that comes with finding a Gold Brick tucked in some chest. For fans of LEGO games, it comes highly recommended.

This game was reviewed on the PlayStation 4.

Thanks to the crowd-sourcing sensation that is Kickstarter, studio Subterranean Games was able to accumulate enough funds to start off their own modern rendition of Dungeon Keeper. Called War for the Overworld, in a weird twist of fate, borrows its name from the subtle that was once given to the cancelled Dungeon Keeper 3. Subterranean was so successful in fact, that they were even bestowed some kind works from the original Dungeon Keeper creator himself, Peter Molyneux.

"While development continues to be on-going, the game already has a lot of the core gameplay implemented. Mac-support was also added some time back, something I've personally wanted ever since I first heard about the Bedrock Beta."

War for the Overworld was put out for public consumption back in May 2013, via Steam’s Early Access program. Meaning, you could very well sample what the game has to offer in its current state, but it doesn’t necessarily reflect the final product. You are essentially paying for an incomplete game. For diehard Dungeon Keeper fans, this may not be such a bad thing as a more open means of beta testing can provide useful feedback and expose possible game-breaking bugs.

That said, War for the Overworld in its current unfinished state will become fairly obvious to those who decide to get a head start. While development continues to be on-going, the game already has a lot of the core gameplay implemented. Mac-support was also added some time back, something I’ve personally wanted ever since I first heard about the Bedrock Beta.

However, despite being outfitted with a slightly better than your average config (at least, as far as the recommended specs go) – I was still running into performance issues such as slight frame dips and game freezes. Because progress is not exactly a huge factor for the game at this time, starting from anew didn’t really discourage me in the least.

"The interface definitely has some polish left, and was probably my biggest qualm with the current beta version. The lack of a minimap has been known for some time, but what probably perplexed me more were the Skill Tree choices."

Those who’ve stuck with the Dungeon Keeper series will feel right at home with the look and interface of WTFO. Newbies, like myself, will want to dive right into the tutorial mission before opting anything else. Greeted by British actor Richard Ridings’ narration, players will be guided on directing your Minions, excavating and creating rooms for your base of operations, or upgrading your abilities via the Skill Tree.

The interface definitely has some polish left, and was probably my biggest qualm with the current beta version. The lack of a minimap has been known for some time, but what probably perplexed me more were the Skill Tree choices. Unless you’re quick to view all the descriptions and tips listed in the loading screen prior to jumping on the tutorial, you’re much better off going to the official website and seek information there.

War for the Overworld is looking to launch sometime early 2014, so hopefully we will have a more fleshed out single player campaign plus multiplayer options around that launch window. Until then, you can opt for the DRM-free versions of Dungeon Keeper over at GOG.com.

To side-track just a tad here, Legend of Dungeon is actually the result of a successful Kickstarter campaign completed back in December 2012. Whereas, the studio which is primarily comprised of a married couple, was able to raise more than six times its original goal.

"Diving into the main game, however, and you'll notice the rogue like factors right out of the date. You play as a piddly male or female warrior carrying a standard sword, mucking around in some pub."

Diving into the main game, however, and you’ll notice the rogue like factors right out of the date. You play as a piddly male or female warrior carrying a standard sword, mucking around in some pub. You have the option of switching your gender, but apart from that, your character is standard vanilla fare. You have but one primary attack button, which doubles up as your “use” function when cycling through items. Charging this up  will also unleash a more powerful attack, but that’s about it.

The “goal” is fairly simply enough told by the local bartender himself: find the treasure on the 26th floor, while picking up better weapons and equipment along the way. And in terms of overall narrative, that’s all the game really has going for it. Maybe its because I’ve come to appreciate the kind of subtle stories that can be told in similar rogue-lite titles such as Rogue Legacy. But this, by no means, is a deal breaker and more often boils down to personal preference.

"If you're looking to partner up with some randoms online, the game doesn't support it. The developers explicably mention that online co-op or LAN play is not something they can simply slap on, as it would need to be worked in from the beginning."

Regardless, it’s pretty clear early that you’re on your own with the most basic of equipment… Or is it? You can have up to four players join up and quest the dungeon floors together, as having additional help is beneficial in more ways than on.

For instance, if you happen to face death while your other mates are alive and kicking, you can collect these “spirit orbs” to resurrect yourself and jump back in. Because this currently doesn’t seem to be possible in when playing alone, co-op play is definitely advantageous overall.

If you’re looking to partner up with some randoms online, the game doesn’t support it. The developers explicably mention that online co-op or LAN play is not something they can simply slap on, as it would need to be worked in from the beginning. Considering that the KS stretch goal for adding such a feature was never met, its understandable why this isn’t exactly a huge surprise. That said, it’s a feature I would have certainly paid for, as I’m rarely able to get four individuals huddled together on a single set-up. Oh well, maybe the sequel!

"Even the different assortment of weapons despite the simplistic combat provide some colorful results, like wielding the Mighty Hammer of Code which bursts with blue lightning on impact."

When played solo, Legend of Dungeon still has a good amount of randomness to engage you, thanks greatly to its psychedelic on-screen effects and kooky approach to bestowing needed loot. You mileage is likely to vary, but it doesn’t take more than a few floors and space crawling to find something both useful and entertaining to have. If you’re a fan of hat collecting in Team Fortress 2, then this was simply made for you. Steam-powered top hats, cats that rest on top of your head while throwing projectiles, a Cthulhu mask, you name it.

Even the different assortment of weapons despite the simplistic combat provide some colorful results, like wielding the Mighty Hammer of Code which bursts with blue lightning on impact. In fact, the lighting work in general provides groovy attention detail, as floors lovingly illuminate when carrying a lantern through a dark section or seeing your character level up for the first time.

While there’s no spectacular demand for cooperative beat em’ up games on the PC, Legend of Dungeon most assuredly sets itself apart rather well. Given the random generation, the chances of replay improve greatly, and could potentially make for frolicking party-style gatherings.

This game was reviewed on the PC.