Gamecca Magazine March 2018

ISSUE 105 / Vol.9 March 2018

www.gameccamag.com

Metal Gear Survive Kingdom Come: Deliverance Moss Gravel and more...

All Muddy

Monster Energy Supercross

Another Life

Kingdom Come: Deliverance

Break-Neck!

Gravel

A Litte World

Moss

Hellish Metal Gear Survive

A new God of War on the way...

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H W

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Bronze Award SCORE 80-84

Read on www/gameccamag.com Read on Issuu (Also available on your App Store) Read on Facebook

Silver Award SCORE 85-89

Gold Award SCORE 90-94

Platinum Award SCORE 95-100

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All Game Reviews in Gamecca Magazine are based on code provided by Publishers / Official Distributers.

Nova Mentis (Pty) Ltd / Gamecca Magazine do not hold any responsibility for any malicious exploitation that any reader should experience due to unauthorised distribution. Nova Mentis (Pty) Ltd / Gamecca Magazine will not be held accountable for any injurious detriment or pernicious damage to personal equipment or software due to use of unauthorised downloaded files. Action will be taken against any person or persons engaging in unauthorised distribution of Gamecca Magazine.

Gamecca Magazine: © Copyright Nova Mentis (Pty) Ltd. (2009 – 2016)

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Ed’s Choice Awar

A

s you get older, time

It seems, at a glance, that our year

seems to accelerate.

will once again be a lopsided one, with

It’s weird, but true. We

the bulk of the big names we hope to

are already in March,

see this year coming towards the end

when it feels like New

of 2018. This makes for a very exciting

Years Day was only last

Festive Season for most gamers, but

week. And yet 2018 has been full

the bunching up of titles means that

of trials and tribulations already, and

the spend of average gamers gets

the world around us has been subject

very diluted.

to all manner of upheavals, from

many years, but I have never really

political power. It has been, thus far,

understood why games are released

an interesting year.

in clumps, instead of publishers finding gaps to take advantage of less

gaming, though… while there have

competition and increased sales as a

been a number of decent releases

result. I am no economist, but surely

thus far, just like every year before it,

spreading games over the year makes

the early part of 2018 has been a little

more sound financial sense when it

light of big name games. That, though,

comes to parting video gamers from

is about to change…

their hard-earned cash. People have

The month of March has some

limited disposable income that is

interesting titles on the way. A

spread through the year, and I firmly

remastered version of Burnout:

believe that most people aren’t good

Paradise will arrive in the middle of

at saving those funds. So hoping that

it, as well as an updated version of

gamers will reserve their resources to

Assassin’s Creed: Rogue a few days

go on a spending spree at the end of

later. Far Cry 5 needs no introduction,

the year seems like a blatantly poor

and will arrive towards the end of

tactic.

the month, apparently on the same

But, then again, I am not a game

day as MX vs ATV All Out. TT Isle of

publisher. I am sure that they know

Man: Ride on the Edge is also on the

the best way to maximise their

“arriving soon” list.

earnings. I am positive they know how

And then things get a little quiet

the community works, and what the

again, with the only notable release

community wants. Like loot boxes,

in April being God of War (which is,

right?

admittedly, a huge one). May looks no

by Walt Pretorius

I have been in this industry for

cities running out of water to shifts in

The same cannot really be said for

From the Editor

rd

ButWhy?

OK, enough complaining from me…

better, quite honestly, as the industry

it’s time to get on with the issue.

ramps up towards the annual E3 expo.

Enjoy! g mgeect 2 c7a 1 0 5 ggl a ad

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THIS MONTH’S COVER

A whole new world awaits in the new God of War...

Publishing Editor Walt Pretorius

10

Feature: Master rage God of War is making a come-back...

18

Previews: Games ten games to look out for

walt@novamentis.co.za

Art Director Katia Taliadoros katia@novamentis.co.za

Writers: Alex Scanlon Christo van Gemert Clive Burmeister Iwan Pienaar Lein Baart Noelle Adams Nthato Morakabi Rob Edwards Sibonisile Motha Suvesh Arumugam Walt Pretorius

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Reviews: Games 7 games assessed

Letters: letters@gameccamag.com

Competition Entries: competitions@gameccamag.com

Newsletter Subscriptions: www.gameccamag.com

Marketing Contact:

Copyright Š Nova Mentis (Pty) Ltd 2009 - 2017

walt@novamentis.co.za

Taking fun seriously!

All rights reserved. No content may be reproduced, copied or transmitted without the express permission of the publishers. Opinions expressed are not necessarily those of the editors and publishers. All Trademarks and Registered Trademarks are the sole property of the respective owners.

GAMECCA is published by Nova Mentis (Pty) Ltd

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Feature: In the Picture Picking a new TV can be tricky...

64

Reviews: Tech Just one, but it’s awesome!

66

Regular: Internet Black Panther causes a stir

70

Regular: Living Digital To app or not to app?

88

COOL STUFF: Movies One tough woman...

98

COOL STUFF: Comics More books with pictures

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Gamecca Vol. 9 Issue 104 February 2018

58

5

s e d’ c E oi h C

“…if you’re really sore about Kojima, simply forget the Metal Gear section of the name; Metal Gear Survive stands up as a decent survival game without that connection.”

Metal Gear Survive

10

18 19 20 21 22 23 24 25 26 27

Features Master Rage

PReviews Surviving Mars The Long Reach Distortions At Sundown Polygod TT Isle of Man: Ride on the Edge PixARK Projection: First Light Flashing Lights The Padre

Reviews 30 34 38 42 46 50 52

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Metal Gear Survive Moss Kingdom Come: Deliverance Monster Energy Supercross Ken Follett’s The Pillars of the Earth Pop Up Pilgrims Gravel

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E

R

U AT

FE

GAMING

Master New Gods, 10

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God of War

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By: Lein Baart

r Rage New Tricks

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E M W A IE G EV R

GAMING

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istory is littered with games that have paved the way for new and unexplored means of interaction, creating or refining entire genres upon launch. These seminal titles are often so influential that nearly anything else released afterwards that bares even the remotest resemblance is immediately branded a clone, accused of aping whatever innovation inspired it in the first place. There is little doubt that God of War stands equal to these icons of the industry, and for 13 years now has had a monumental effect on most thirdperson action adventures. With the release of the fourth

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major entry of the franchise just around the corner there is almost a palpable sense of anticipation, and a huge weight of expectation, for the now venerable series to deliver once again.

For those that have come late to the party, the original God of War chronicled the rise of the Greek warrior Kratos to godhood as he sought vengeance against Ares for tricking him into murdering his wife and child. For a title that became famous for its battle mechanics, God of War had a surprisingly gripping plot, weaving a somewhat distorted version of Greek mythology into a compelling

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God of War

story that cast Kratos as both sympathetic and savage, often at the same time. It was however the gameplay that drove God of War to dizzying heights, blending cinematic techniques such as fixed camera angles with a simple but satisfying combat system to create a frenetic experience that seldom gave players pause to breathe.

Coupled with its sheer outrageous levels of gore and violence (for the time at least) the original was an instant classic, easily becoming one of the most prominent games of its generation. What made this success all the more remarkable though was at its core God of War brought

almost nothing new to the table, being neither “unique or innovative�, as stated by creator and then game director David Jaffe. Instead this was a game that let players revel in brutality, fusing together what had seemed disparate elements from other titles in a spectacular fashion.

God of War 2, released just two years later in 2007, stuck closely to the formula its predecessor laid down.

Once again featuring a tale focussed on revenge, with Kratos being made mortal and killed after a betrayal by Zeus, the sequel’s director, Cory Barlog, chose to expand on the world, featuring far more creatures and

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GAMING

E M W A IE G EV R

characters from the mythology. There was also decidedly more emphasis on epic battles and encounters, with some truly jaw-dropping moments that never failed to impress. Despite virtually identical combat mechanics and gameplay, nevertheless God of War 2 remains the one of the greatest titles released on the PS2, ranking even better than the original, and for years afterwards remained the pinnacle of the action adventure genre, with releases such as Dante’s Inferno and Darksiders borrowing heavily from its look and feel.

The third major release in the franchise, much like its

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two forebearers, prized spectacle and exhibition above all else, and indeed took the series to new heights in this regard, powered by the move to the PS3. Continuing the story of the second game, which had ended with Kratos on the back of a Titan while assaulting Mount Olympus, along with the revelation that he was in fact a demigod, this was perhaps the most unrelatable of the three games. Kratos had over time shifted to a character driven insane by bloodlust and his desire for revenge, essentially plunging the world into an apocalypse by the end of plot, and while a sincere effort was made to redeem him at its conclusion,

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God of War

it was far and away the gameplay that yet again proved God of War’s greatest feat. While almost unchanged, the additional aesthetic capabilities offered by the new console allowed for a hitherto unknown visceral flair, while the scale of the levels and boss battles numbed the mind at times. It was a fitting conclusion to a now iconic series, and while several new entrants to the franchise followed, most noticeably with the prequel Ascension, none really reached the glory offered by the core games.

The new God of War (to which SIE Santa Monica has declined to append the number 4) then has a monumental

task ahead of it, especially considering the somewhat middling reception Ascension received. The studio has described the fourth entrant as a much a reboot as it is a sequel, which is the reason behind the somewhat confusing choice of name, with the intention being to redefine the series going forward in rather drastic measures. To begin with, God of War has shifted locations and mythologies and will now be set in frozen north, with Kratos battling against the Norse pantheon. While the timelines are disputable, given that the Viking civilisation would only appear roughly 1000 years after the setting of the original games, director

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Cory Barlog has stated that this is meant to be a time when the Norse gods walked the land, and before the people who became known as the Vikings emerged.

Kratos himself has also undergone a massive overhaul.

No longer the blood-crazed maniac of old, the game instead will revolve around him journeying with his son, Atreus, attempting to master his rage as he teaches his child how to survive in a hostile world. Plot details are scarce at this time, though given that this is God of War expect at least some form of deicide.

The setting and tone aren’t the only elements to

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receive a considerable reworking, with the gameplay itself looking a very different beast as well. While ostensibly still a third-person action adventure, the new release will eschew fixed camera angles in favour of over-the-shoulder viewpoints, which for many will probably be somewhat of a blessing. The idea, according to Barlog, is to make the experience a far more personal one, which is line with the themes and plot. This same thinking has carried over into combat. Having lost his signature double-chained blades at the conclusion of God of War 3, Kratos instead will be using a weapon called the Leviathan Axe, which can not

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God of War

only be imbued with elemental properties but also can be thrown and recalled in a similar manner to Thor’s MjÜlnir.

Atreus, armed with a bow, will also play a significant role in battles, having the ability to stun enemies, acting essentially in a similar manner to the previous magic system. For those worried about the problems A.I. controlled companions usually present, Santa Monica have gone to pains to ensure that Atreus will not hinder players, and the game will not be a 25 to 35 hour escort mission.

Like the original, there is much in the new God of War that appears to draw from popular releases over the last

couple of years, and comparisons to titles like The Last of Us will be all but inevitable. Undoubtedly there are also fans that will be nervous with the drastic changes the new game will introduce, given that the series is aiming to curb its hedonistic tendencies in favour of a more down-toearth tone. Santa Monica have proven though that they are able to extract the best elements from current trends, and despite its current direction there is enough to suggest God of War has not lost its taste for extravagant displays, and Kratos, while tempered, is still the badass he always was. g

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M

GAMING

Mar 2018 Developer: Publisher: Distributer:

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Haemimont Games Paradox Interactive TBC

PLATFORMS

Less lonely than The Martian

PC X0 PS4 Wii U X360 PS3 PSV 3DS

GENRE

AT A GLANCE Adventure

Those as eager to land on Mars as SpaceX must try to make it on the red planet in a very sci-fi way of course.

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by Sibonisile Motha

Surviving Mars

ars is probably going to be the next big real estate destination so it’s only right that gamers get to enjoy the sci-fi experience of breaking ground on the red planet. Your task is to research, explore and prepare the planet for colonists to arrive and inhabit the planet.

You will have to make use of the planet’s resources and with your team, build domes that can be lived in and breathed in (the being able to breath safely thing is quite important). Turning Mars into a travel hotspot will require living quarters, and good infrastructure that will enable some sort of movement as the number of colonists increase.

Speaking of the colonists, each one will be a unique and simulated individual. This means that every person will have their own traits, characteristics as well as tastes. Keeping them alive and thriving will be a major thing to observe and monitor, as they can help or make your life difficult.

Your responsibilities will only get harder as you face unexpected challenges, from the planet’s environment and the fact that you are in a different part of our solar system. Being as best prepared as possible will reduce the damage caused by unforeseen circumstances.

But how do you prepare for a meteor about to crash land on a dome full of colonists?

Don’t ask me. You will have the option to include and enable mystery occurrences. These are said to be inspired by Asimov and Clarke, sci-fi novelists.

Each crafted mystery will have unpredictable effects, positive or destructive. The art is retrofuturistic, in true sci-fi style.

Do what you’ve got to do and be the best thing to happen to Mars. g

Surviving Mars

E M W A VIE G E R P

The Long Reach

E M W A VIE G E R P

The Long Reach

Nightmares and dreamscapes.

Developer: Publisher: Distributer:

Painted Black Games Merge Games Online

PLATFORMS

GAMING

Q3 2014

PC X0 PS4 Wii U X360 PS3 PSV NS

GENRE

drawn.

Much of the game will see players solving puzzles that require out-ofthe-box thinking. Plenty of times players may have to run for their lives.

There will be plenty of characters to interact with, some of whom may not seem safe to speak to but you may be surprised, There’s going to be plenty of items to collect which may help further in the adventure. Somehow.

The pixel-art is set to create gruesome and unsettling images.

From what trailers show, this looks like an interesting IP. A different take on a popular genre. g

AT A GLANCE Horror

Dreams and nightmares amalgamate into reality, driving Calvin slowly insane as he hopes to escape the madness.

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by Nthato Morakabi

T

Island and Psycho set in a War of the Worlds background. Only there is more to the story. The location is the fictional town of Baervox, New Hampshire. You play as protagonist Calvin - which developers say is an example of the lies and deceptions in store in the game. Lead Scientist Shelly, at a research facility has some bad news: the experiencesharing program has gone haywire and you, Calvin, now experience nightmares and dreams while awake.

Hallucinations manifesting from your subconscious yet feel and look real.

Who knows where the line has been

he horror genre has seen its fair share of games, most of which occur in 3D space where flashlights are imperative and shadows may or may not be monsters waiting to kill you. Jump scares. Creepy music. The works. The Long Reach looks to take a different direction as a pixel side-scroller which is one-part adventure and two parts horror. New indie developers, Painted Black Games, have taken those elements and took the last two years to craft this upcoming title.

The story for The Long Reach sounds like a combination of Shutter

Distortions

E M W A VIE G E R P

Distortions

Discover the soundtrack to memories

Developer: Publisher: Distributer:

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Among Giants Among Giants Online

PLATFORMS

GAMING

Mar 2018

PC X0 PS4 Wii U X360 PS3 PSV 3DS

GENRE

the paradox of solving the mystery of her current situation by going through and facing her past, all the meanwhile without full knowledge of the impact her journey going back will have on her future.

The team over at Among Giants, based in Brazil, wanted to create a game that will be experienced in many different ways; visually and sonically. There are moments where the player will be in first person, and some in side-scrolling.

The music and art of this game run cohesively; a memorable gaming experience. g

AT A GLANCE Adventure

A game that hopes to realize a gaming experience where the journey of discovery is just as powerful as the discovery itself.

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by Sibonisile Motha

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sites that will, in the end, hopefully reveal the truth she must seek. The girl comes across a strange journal filled with riddles that act as a guide through the world. The riddles lead the girl to a violin. As she soles these riddles, she also discovers that the tunes and melodies that she plays on the violin have a direct impact on the environment. With it, she can either shape it or use it to fight threatening enemies. These foes come in the form of weird masked creatures. There are five main skills to master with the violin.

The beauty of this game stems from

ver the years instrumentdriven games have become increasingly popular. Music is an undeniable aspect of gaming that makes the experience more memorable, from recognizing an old school melody that takes you back to that 16bit game you loved as a kid. The significance of music in Distortions is on that level.

Assuming the role of a girl who knows not her identity and the world she has suddenly awaken to find herself in, you must navigate through the strange but spectacular

F

GAMING

Q2 2018 Developer: Publisher: Distributer:

Mild Beast Games Versus Evil Online

PLATFORMS

Where stealth is constantly compromised.

PC X0 PS4 Wii U X360 PS3 PSV 3DS

GENRE

AT A GLANCE Action

With the rise of death match games, a unique style and approach to a game like this will either excite or frustrate.

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by Sibonisile Motha

At Sundown

rom online co-ops to straight up battle royales, the desire to be the last man standing is often unquenchable. At Sundown is a top-down action death match game. Up to four player will be placed in an arena to battle it out to the death against opponents. The title hints to the tone of the gameplay. As we all know, all the things you’d rather avoid usually come out when it’s dark. The darkness is your safety, but it’s not quite that simple. You see, so long as you are in the dark, you are out of sight to your opponents, but as soon as you make your move and shoot out, that “gunfire,” dashing and slashing literally illuminates your position. So you are in essence at your most vulnerable when you attack.

The conundrum with this being a death match is that attack is your best chance of survival. So play your cards right and think your moves through.

There are five zones with unique arenas. The different weapons will assist you by affecting fire options which will ultimately impact how you play. You can swop these out during the game. There hasn’t been too much word as to the surprises that may be embedded within the battle arenas to make the game slightly more challenging.

The free demo is currently out for player to try out.

Most recently, the developers included a patch to fix some bugs, as some players would experience freezing mid-sprint.

But with regular feedback from players, the aim to have all bugs fixed, new and added weapons included in the final product which is scheduled to be released around mid-year. g

At Sundown

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Polygod

E M IEWW A VIE G EEV R PR

Polygod A

mplify Games, based in Cape Town, South Africa, have created what is a fast-paced and stunning first-person shooter game call Polygod. The gist of the game is that you are Faceless the Blessed (right off the bat, I’m really feeling that name). You are the last remnant of your kind; assassins and to ensure that you don’t die out like that, you will participate in an event called the Trial of the gods. It is a setup meant to insist that you die. The gods are not your friends and they’re not about to invite you to the braai happening after the Trial. So all you can do is do your best to not die and make the most of killing the gods’ minions. I say try not to die because you most likely will. Oh by the way, death is a kind of permanent thing in Polygod, but the good news is that when you come back, you will be in a completely new place (a fresh start of sorts). Killing the minions will not only prove therapeutic to you, but will actually be quite useful. You can collect their souls and then sell them on the altars for blessings (I know this sounds like some macabre religious transaction). These blessings are basically perks and power-ups. From speed, to bullets and accuracy; blessings on blessings on blessings. Amen. If you persevere, eventually you will be able attain godhood. The environments are randomly-generated so each progression brings a new challenge.

The visuals have been inspired by surrealism artist Giorgio de Chirico (stunning to see). You can see the game for yourself while early access is still open. g

GAMING

TBD 2018 Developer: Publisher: Distributer:

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Amplify Games Amplify Games Online

PLATFORMS

by Sibonisile Motha

Minions, altars, blessings, souls, gods.

PC X0 PS4 Wii U X360 PS3 PSV 3DS

GENRE

AT A GLANCE Adventure

The visuals and experience is different to what is the norm when it comes to first person shooter games, this is a good thing.

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GAMING

Mar 2018 Developer: Publisher: Distributer:

Kylotonn Games Bigben Interactive Apex Interactive

PLATFORMS

Ride the legacy

PC X0 PS4 Wii U X360 PS3 PSV 3DS

GENRE

AT A GLANCE Racing

Take on the great twists and turns of the iconic TT Isle of Man challenge in this realistic racing simulation of the event.

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by Nthato Morakabi

TT Isle of Man: Ride on the Edge

t appears there’s an influx of racing games coming to the scene, moving across all types of vehicle and racing styles. We’ll be seeing titles such as Monster Energy Supercross, WRC 7, Gravel, The Crew 2 and MX vs ATV to name a few during these first two quarters of the year. As for TT Isle of Man, it is supposedly a game moto fans have been waiting for, for ten years. That is quite a long wait.

Bigben Interactive and Kylotonn Entertainment have a long list of sports games under their belts, providing much needed experience for developing a realistic racing game. In this stead, they have gone so far as to utilise laserscanning and photogrammetry to recreate the experience and realism of the Tourist Trophy: Isle of Man challenge. The developers state that TT riders have confirmed the game will have true sensation and accurate bike behaviour ingame.

The 61km of road that is the Isle of Man track is to be perfectly reproduced, including all 264 turns from village to mountain, which are longer and more diff¬icult than all other GP tracks put together. The game will also feature 24 riders and 38 super-powered bikes and sidecars.

In terms of game modes, Isle of Man will have a career mode inspired from the TT training and qualifying rounds. There’ll be ten different tracks to take on.

In terms of customisation, the mode will have a garage where you can manage and fine-tune your bikes. The other game mode will be online play, pitting up to eight riders against each other.

The Isle of Man challenge itself is over a century old; talk about a legacy. g

TT Isle of Man: Ride on the Edge

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PixARK

E M W A VIE G E R P

PixARK

Become king of your world

Developer: Publisher: Distributer:

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Snail Games Snail Games Online

PLATFORMS

GAMING

Mar 2018

PC X0 PS4 Wii U X360 PS3 PSV NS

GENRE

you may find yourself in, you can make the most of it by collecting items to craft and build your bases using a voxel block building system. Just as the world maps are procedurally generated, so are the quests. You can choose to go at these solo, or form a tribe with your friends to accomplish more at a faster pace. There is also Creative Mode, this is where you can let your mind and resources shine. If you can imagine it, you build it. Apart from natural dangers and challenges, your lack of imagination may be your biggest obstacle. Think big. g

AT A GLANCE Adventure

Not to be underestimated, this challenging strategy and survival title will offer challenges and lots to do.

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by Sibonisile Motha

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your utmost resourcefulness to stay alive. From crafting a humble abode, to an uncompromising fortress, you choose. There are over 100 creatures that you most likely will encounter, you can tame and train, and of course be able to ride (I mean, nothing says “I’m a survivor” like taking a T-Rex for a stroll through the jungle). This is no easy task, but with patience and grit you can do it.

The worlds themselves are procedurally generated, this means you won’t encounter any two worlds that are the same. Despite the world

hen Ark: Survival Evolved launched last year, it got fairly good reviews as a survivor strategy game.

Fast forward to 2018, folks over at Snail Games decided to create a game that would be inspired by Survival Evolved and run with it in their own way. PixArk is the lovechild of Survival Evolved and sandbox games, but on a much more hardcore level.

Awakening in an unknown world and rejecting the flight response, you fight for your survival in many harsh environments. This will require

Projection: First Light

E M IEWW A VIE G EEV R PR

Projection: First Light S

hadow play in 2D side scrollers is something we have seen for a while now.

Including the hauntingly popular title Limbo. Projection: First Light uses that similar style of 2D side-scroller set in a dark, shadowy backdrop.

The main difference, apart from the style and setting, is the fact that each character that appears has been created to resemble a puppet show.

The story follows a young girl by the name of Greta, who lives in a mythological shadow puppet world. She embarks on a journey through the evolution of puppetry, traversing through Indonesia, China, Turkey, Greece and a 19th century England.

Her goal? A journey of self-enlightenment – ha, puns.

Developers, Shadowplay Studios, are calling the game a “shadow puppet adventure about light manipulation, curiosity, and lost art. We will see this in the varying locations that Greta will travel through, each era and location to be reflected in fluctuating, beautifully crafted backdrops.

Greta will also meet legendary heroes from each culture she explores, while also facing fierce enemies. Light manipulation will be imperative to game play as a “Guide” is set to control the lighting in the game, which in turn controls shadows, which then can create platforms for Greta to jump over.

This light manipulation will also be part of solving puzzles and exploring the shadow worlds.

The game promises to have atmospheric visuals, accompanied by the haunting, ethereal soundtrack made with unique instruments used in actual shadow puppet performances.

Although not much else has been revealed about the game, it does look like a stunning adventure through a carefully crafted world. A truly interactive shadow puppet story-telling experience. g

GAMING

Q2 2018 Developer: Publisher: Distributer:

Shadowplay Studios Blowfish Studios Online

PLATFORMS

by Nthato Morakabi

A journey of self-enlightenment

PC X0 PS4 Wii U X360 PS3 PSV NS

GENRE

AT A GLANCE Adventure

Guide Greta on an epic journey through the ages in this upcoming shadow puppet side-scroller.

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Flashing Lights

E M W A VIE G E R P

Flashing Lights

Not all heroes wear capes.

Developer: Publisher: Distributer:

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Nils Jakrins Excalibur Games Online

PLATFORMS

GAMING

May 2018

PC X0 PS4 Wii U X360 PS3 PSV 3DS

GENRE

In the Fire department you will be dealing with fire-related incidents.

From small vehicle fires to major building fire rescues. You will have access to fire trucks, hydrants and even the jaws of life.

In the EMS you will be able to heal and deliver patients to the hospital.

Critical assessment of each scenario is key to ensure your patient is treated effectively.

There is a lot that can be very right with this game. Crossed-fingers.

The game is still under construction with feedback from players via early access. g

AT A GLANCE Simulator

With so much potential, one can only hope that all will create a great game by the time of official launch.

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by Sibonisile Motha

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either not progress, or be knocked down a few steps on your ladder climb. With three unique departments, each comes with their own perks, vehicles, tools and challenges.

In the Police department, you have access to the fastest vehicles for obvious reasons, and you get to complete tasks such as pulling over vehicles and conducting intoxication tests or dishing out traffic fines. You can also stop and frisk civilians (this might be touchy for some, no pun intended). From arresting criminals to interrogation, that’s on offer with the police.

lashing Lights: Police, Fire and EMS is an upcoming game from developer Nils Jakrins and published by Excalibur Games. In this title players get the opportunity to play the role of some of society’s unsung heroes. You can choose to play part of the Police, Fire or Emergency Medical Services department. In each department you will get to work your way up the ranks. Successfully complete the tasks that are given to you and do it well, and you could be well on your way to making your mark in the department. Fail and get it wrong and you could see yourself

The Padre

E M IEWW A VIE G EEV R PR

The Padre T

he Padre. God’s hand against evil. Gun, faith and bare hands as the trowels of justice, removing weeds from God’s garden. Each bullet and swing the acts of exorcism for the demons that coalesce in the darkness. Now let us step into the realm of self-sacrifice and take up the mantle God has afforded… The Padre.

And with that intro, developers, Shotgun with Glitters, introduce us to the protagonist of this upcoming indie title, The Padre. A Catholic priest makes the ultimate sacrifice inside a demon infested mansion, giving up his life and immortal soul to piece together the events that have led him to this point. Where an unknown presence watches from the side lines, ready to crush the priest’s faith. All set 12 hours before the demon hunter priest faces his seemingly inevitable destiny. It will be up to players to figure out what exactly happened.

The game will be a 3D point-and-click survival adventure, crafted with over 200 atmospheric scenes of horror which players will have to survive.

Each room carries its own enemy, standing for a different kind of death. Combined with voxel graphics, the game will bear a cartoon, realistic gloominess.

While the game is said to contain plenty of funny and bizarre references to pop culture, and legendary games, it has also been developed for the experience. As you play through the game, solving puzzles and exploring, you will feel the grinding mansion, the grip of loneliness, and the feeling of fate becoming inevitable.

The Padre has been designed specifically for players who love solving complicated puzzles through a lengthy gameplay experience – inspired

by LucasArts classics and Alone in the Dark. g

GAMING

Q2 2018 Developer: Publisher: Distributer:

Shotgun with Glitters Shotgun with Glitters Online

PLATFORMS

by Nthato Morakabi

Holy vengeance

PC X0 PS4 Wii U X360 PS3 PSV 3DS

GENRE

AT A GLANCE Survival Horror

The Padre must eradicate an evil presence in a mansion, even at the sake of his soul. And the inevitability of fate.

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Metal Gear Surv GAMING

Not so Metal Gear after all…

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Metal Gear Survive

by Walt Pretorius

vive

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Survive, because the links between it and the rest of the franchise are tenuous at best.

So here’s where it fits in: just after the attack on Mother Base that saw Big Boss (I love these names) escape at the end of Ground Zeroes, the whole facility gets sucked into a wormhole and deposited on an alternate world called Dite (obviously pronounced ‘Dee-Tay’). Already the apron strings have been hacked off with a machete. Here, the player is tasked with surviving the dangers of the world, which translate to (in no particular order) hunger, thirst and Wanderers. Any further ties to the Metal Gear universe are so flimsy that they might as well have not been there. If you are a Metal Gear fan unsure about buying Metal Gear Survive, just ignore the Metal Gear bit and you’ll have yourself a pretty decent survival horror on your hands.

GAMING

lot of fans are pretty upset about the idea of a non-Kojima game bearing the Metal Gear name being released. Truth is, Konami owns the name, and just because there is a new game coming out for the Metal Gear franchise that isn’t under the direction of Hideo Kojima doesn’t mean that everything that cam before isn’t as brilliant as it is. Seriously, gamers can be so twitchy.

With that said, Metal Gear Survive feels like a Metal Gear game in name only. Yes, you will recognise many of the models in the game (like the ruins of Mother Base) but there is very little that ties this title to what came before. In fact, it seems at times that the Metal Gear part of the name was put in to take advantage of not having to build an army of new assets for the title.

Metal Gear Survive could just as easily have been called

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Metal Gear Survive

There is a lot to do here. The player is tasked with building a base and equipment, while searching for survivors and trying to find a way home. That’s a big task list, really. Even just the crafting list is massive, and the grind of going out and finding raw materials over and over again feels pretty good when there are very tangible rewards on the return to base. From farm plots through to water purification systems, base defence systems and everything in between, Metal Gear Survive will keep you busy.

The game will try to convince you of it’s Metal Gear roots time and again, including the requirement for stealth to truly make a run of things. Avoiding the Wanderers is simple enough, but when they swarm thing get pretty tense, particularly in the first few hours, when your health and stamina are negatively affected by a lack of food and

water.

The enemies are not varied in the title. Most are crystal infused zombies called Wanderers, and it will take you a few hours to find any kind of enemy variation in this desolate and dangerous world. Even the environment can be an enemy here, with little to eat or drink, and the dangerous Dust regions resplendent with diminished visual range and wandering monsters.

Metal Gear Survive, as a single player game, is pretty addictive. Sadly the multiplayer game falls into a cycle of repetitive scavenging missions that certainly aren’t a strength. But going things solo is addictive and rewarding, for the most part. And if you’re really sore about Kojima, simply forget the Metal Gear section of the name; Metal Gear Survive stands up as a decent survival game without that connection. g

AT A GLANCE Survival Horror

Fans of the franchise may be sore about it, but Metal Gear Survive is a pretty good horror game in which survival is a real challenge...

Developer: Publisher: Distributer:

Konami Konami Ster Kinekor

PARENTAL ADVISORY

16+ gamecca105

Violence Language Sex Drug Use Prejudice

AWARDS

Platinum Gold Silver Bronze Casual Ed’s Choice

REVIEWED ON

PS4 PLATFORMS

GENRE

PC X0 PS4 Wii U X360 PS3 PSV 3DS

Score

80 33

E M W A IE G EV R

Moss GAMING

The bravest mouse around…

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Moss

by Walt Pretorius

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platforming. The action part is never really too complicated.

There are relatively few attacks, and combat never gets overly challenging… at least, not until you add the fact that you’re controlling multiple elements at the same time.

See, Moss also has a strong platform puzzle element linked to it and, particularly later in the game, the player will find themselves solving puzzle platforms while doing combat at the same time. It becomes a really challenging multi-tasking system that takes very careful thinking and an approach that is not unheard of, but is still relatively fresh in games. This can get even further complicated by the fact that sometimes enemies are needed to solve those puzzles.

The controller has been beautifully used in making this process less frustrating, and more like a learning experience. The controls are well balanced and easy to

GAMING

he saddest thing about Moss is that a single play-through will only last around four hours.

The reason why that is sad is because this is s a game that truly makes PlayStation’s PSVR system seem like a magical device that transports you into an engaging world, full of wonder and mystery – all seem from the perspective of a mouse called Quill.

The story behind this grand little adventure is extremely simple. Quill has to rescue her uncle from a terrible evil. There is not much more to it than that. But it serves the purpose of being an excuse for the adventure to take place perfectly well, really, and the general lack of narrative depth is not something that harms Moss much. If fact, you may not even notice it as you get dragged into Quill’s world.

The game dynamic is a mixture of action and

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learn, while remaining sensible within this virtual world.

Sadly, the game does have a hiccup or two on the technical side, but these generally arise more from the PS4’s tracking of the VR headset than anything else. You may find yourself having to recalibrate from time to time, but there is nothing truly ruinous going on in terms of technical problems.

Quill’s world is rich and detailed, and although the player always feels like a guide more than being in total control of the character, there is a lot of depth and exploration for the player to experience within the world. The collectibles, for example, may be hidden behind objects that require the player to physically change their view angle to find them (leading to some of those glitches).

Moss is a great example of VR on the PS4 slowly coming into its own; the environment’s beauty and explorability,

along with the sometimes complex (but always enjoyable) nature of the game dynamic, makes for an enchanting experience. The character of Quill is similarly engaging and endearing, creating an overall experience that is quite magical.

So while the game does have a short running time, and it is subject to a few technical glitches, as well as not having a truly meaningful narrative, the overall experience is really quite fantastic. There are only a handful of games available for the PSVR system thus far, and even within that limited number, there are very few that could be called ‘must play’ games. Moss is one of them, thanks to some great creative thinking and excellent implementation of the tools at hand. It is a wonderfully fresh take on the idea of action platforming, and makes the player feel extremely involved, and significant, in its beautifully realised world. g

AT A GLANCE Adventure

REVIEWED ON

A charming and engaging VR platformer which will keep the player very busy, despite its short play time.

Developer: Publisher: Distributer:

Polyarc Sony Interactive Ster Kinekor

PARENTAL ADVISORY

7+ gamecca105

Violence Language Sex Drug Use Prejudice

AWARDS

Platinum Gold Silver Bronze Casual Ed’s Choice

PS4 PLATFORMS

GENRE

PC X0 PS4 Wii U X360 PS3 PSV 3DS

Score

85 37

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Kingdom Come: GAMING

An ordinary life…

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Kingdom Come: Deliverance

by Walt Pretorius

Deliverance

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you are dirty) that is lacking in the epic, sweeping fantasy RPGs we have become accustomed to. But that very epic nature of those games feels like it is missing here; Kingdom Come: Deliverance makes you feel like an ordinary person with relatively small problems. Once again, it is a unique approach, but the lack of grandness may not sit well with everyone.

And then there is the pace. Kingdom Come: Deliverance is, in a word, slow. You’ll spend the first few hours learning how to do things in the world (it is a long tutorial, yes) like interacting and fighting. Some of the systems are great, but others feel overly cumbersome and unwieldy.

And the combat, well… it is also a slow paced, methodical affair (which is probably more realistic if you consider the strength required to batter someone with a lump of forged iron). Other systems, though, seems needlessly laborious,

GAMING

here are many things missing in modern RPG games. Taking a bath. Getting some sleep.

Having a good meal. Thing like that. Well, they’re all here in Kingdom Come: Deliverance. One cannot help but feel that this game is really about living the life of the main character, Henry… along with all the drudgery that might be included. What Kingdom Come: Deliverance doesn’t have is magic, elves, dragons or otherworldly dimensions. It is more of a historical simulation, set in the turbulent 15th Century Bohemia (which is now called the Czech Republic, in case you were wondering).

In some ways, this concept – the idea of living the life of an ordinary person thrust into extraordinary circumstances) is great. Kingdom Come: Deliverance has a wonderful feeling of authenticity to it, and an attention to details (like NPCs commenting about it if

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Kingdom Come: Deliverance

making playing Kingdom Come: Deliverance tedious at times.

One thing that must be handed to Kingdom Come: Deliverance is the sheer scale of the game. It is an incredibly ambitious title, with absolute tons to do during its almost 100 hour play time. The downside of this, when combined with the fact that the game is as close to a living world as you’re likely to get these days, is that certain technical aspects have been negatively affected. The world, at a distance, looks great, but up close a lot od the detail is lost, thanks to lower-resolution textures and the like.

Another great thing (which won’t necessarily sit well) is that Kingdom Come: Deliverance considers actions as final. What the player selects for Henry to say and do will help define his character and the world around him, but what’s done is done. There’s no quickly going back to

reload (you can only save when sleeping, bathing or having a quick drink) so undoing a perceived mistake will take a lot of time. And that is possibly one of the best parts of this necessarily pedantic title. It, once again, makes it feel as though you are really living Henry’s life, and your actions have some long reaching consequences from time to time.

If you’re looking for fast paced action and tons of combat rolls, not to mention sweeping tales of saving the world while slinging fireballs at enemies, then this game is not for you. If, however, you want to experience something that feels more authentic, and doesn’t rush, Kingdom Come: Deliverance is a decent option. The game is not without its faults – no game this ambitious could be free of technical issues. And it is very slow paced. But if you can get past those, it can be surprising entertaining. g

AT A GLANCE Role-playing

REVIEWED ON

Slow and devoid of anything epic, this game feels more like living the life of a real person than a high-fantasy romp.

Developer: Publisher: Distributer:

Warhorse Studios Koch Apex Interactive

PARENTAL ADVISORY

18+ gamecca105

Violence Language Sex Drug Use Prejudice

AWARDS

Platinum Gold Silver Bronze Casual Ed’s Choice

x0 PLATFORMS

GENRE

PC X0 PS4 Wii U X360 PS3 PSV 3DS

Score

77 41

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Monster Energy Supercross GAMING

Almost, but not quite…

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Monster Energy Supercross

by Rob Edwards

y

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controls have improved over those of Milestone’s last off-road racer, MXGP3. They’re not great, mind you, but they’re at least competent enough to allow for the player to not feel like they’re wrestling the bike at every turn.

Playing the game is far easier… or at least it would be, if it wasn’t for the physics.

In the world of Monster Energy Supercross, Isaac Newton is spinning in his grave. The physics engine seems to have some kind of random encounter system, and you will find similar events having different effects from time to time. Tweaking the bikes just makes things worse.

How your bike is going to react to the world is a wholly unpredictable affair, making getting things right feel like a victory. Which it shouldn’t really, because a good player will want to be able to predict the results of their actions, not wait for some weird random event to occur.

GAMING

here was a time, a few years back, when it seemed like off-road motorcycle racing games were (if you’ll excuse the pun) on the right track. And then, just like that, everything seemed to go wrong, and we’ve had an uphill battle ever since. Sadly, Monster Energy Supercross doesn’t manage to get itself out of that mire.

With that said, there are a lot of things that Monster Energy Supercross does right. First off, it shifts its attention to the US Supercross circuit, which is a refreshing change. The 17 tracks are beautifully recreated down to the smallest detail, engendering the scope and grandeur that the US likes to inject into their sporting events. Additionally, the audio is great, and the bikes and riders on track look fantastic.

Another step in the right direction is the fact that the

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Monster Energy Supercross

This really messes with the overall feel of the game, which could have been extremely exciting, had the player had the chance to better predict what their bike was going to do when its tyres got back on the ground after a jump.

To add to the frustration of this, Monster Energy Supercross takes ages to load. Even short races can tip the scales at over five minutes, which would be laughable if it wasn’t so painful. Ad to that the fact that virtually every gate drop and hole shot we went through had frame rate issues, and things go from bad to worse.

Winning a race can be a real chore in Monster Energy Supercross, so the lack of fanfare when you do manage to get the chequered flag will know the wind out of your sails. And then you get treated to seeing the faces of the races, which is somewhere between a freak-show and a horror.

Simply put, Monster Energy Supercross comes close, but no cigar; there is still a lot that needs to be done in this genre for the racing to feel anywhere near authentic. You could call it an arcade racer, but the physics model is still something that would frustrate even the most casual of gamers. And that is particularly sad because Monster Energy Supercross takes a number of steps in the right direction, even if they are shuffling, little steps.

But as things stand, Milestone need to revisit a number of drawing boards. No game should take this lone to load, for example, given the power of modern hardware, and frame rate issues on a console like a PS4 Pro or Xbox One X simply shouldn’t exist. Monster Energy Supercross needs a ton of very strong polish – great graphics aren’t enough. g

AT A GLANCE GENRE

Racing

REVIEWED ON

Developer: Publisher: Distributer:

Milestone Milestone Ster Kinekor

PARENTAL ADVISORY

3+ gamecca105

Violence Language Sex Drug Use Prejudice

PS4 PLATFORMS

It shuffles in the right direction, but still has too many issues to be a great off-road sim.

AWARDS

Platinum Gold Silver Bronze Casual Ed’s Choice

PC X0 PS4 Wii U X360 PS3 PSV 3DS

Score

60 45

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Ken Follett’s The of the Earth GAMING

Slow… so slow…

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Ken Follett’s The Pillars of the Earth

by Rob Edwards

e Pillars

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delving surprisingly deeply into 12th Century life, The Pillars of the Earth manages to remain a game that feels less like an interactive experience and more like a virtual book.

Sad, but true.

See, the main problem here is that the game manages to combine two elements that will have most players snoring before the first “book” is done: no action, and a lot of repetition. Sure, you could call it a didactic experience and, quite frankly, I learned a lot about a time that is really quite alien to the age in which we now live, but the simple truth is that the player never really feels urged to be involved here. In fact, there is very little to drive the player to get through this game, save for the complex narrative.

There isn’t much urgency in the title, either. Save from timed dialogue responses, the player can take their time

GAMING

reating a great video game can be a tricky affair, particularly when it is based on some other source material. Ken Follett’s The Pillars of the Earth is a prime example. Follett’s novel is truly excellent, as are all of his other works, which generally create fictional tales within historically accurate settings. The novels that gave rise to this game from Daedelic entertainment is all about the construction of a cathedral in a fictional English town while around it the country is dumped into a succession battle that arose when England’s King Henry dies without a male heir to the throne.

Transitioning this deep and complex tale into a video game must have been a fairly daunting task, but the truth of it is that the end result leaves quite a lot to be desired. Even while using multiple characters and

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Ken Follett’s The Pillars of the Earth

and really dig into environments, in a point-and-click style that is better suited to PCs than consoles. And even those times responses seem to be superfluous; while many games can have sweeping changes resulting from different dialogue selections, The Pillars of the Earth never deviates very far from the book’s plot line.

This leaves the player feeling more like an observer than an interested party, to be honest, and leaves The Pillars of the Earth feeling like a really fancy audio-book, rather than a deep gaming experience. Sure, I get the idea of sticking faithfully to the brilliant source material, but a little deviation wouldn’t have gone amiss.

While the voice acting leaves a lot to be desired (a tragedy in a game so reliant on dialogue) the graphics are great. They’re made up of painted backgrounds and animated characters that really work well with the

experience. It is one mitigating factor that, when combined with the plot, makes the experience a little more bearable.

But when you throw technical issues into the mix, things get worse. The game does an awful lot of loading, which it really shouldn’t considering its nature and the power of modern platforms. Additionally, some of the control aspects, particularly relating to hotspots for activation, are off at times, leading to more frustration that is necessary in this kind of title.

Not everything that is great should be converted to another medium. The Pillars of the Earth is an example of that idea – the source material is great, sure, but the resulting game is lacklustre, slow paced and not anywhere near engaging enough. It can be entertaining, as the story is really great, but it is hardly something that the average gamer will go nuts for. g

AT A GLANCE GENRE

Adventure

REVIEWED ON

Developer: Publisher: Distributer:

Daedalic Kalypso Online

PARENTAL ADVISORY

16+ gamecca105

PS4 PLATFORMS

A great tale, but achingly slow and nowhere near as engaging as it should be.

Violence Language Sex Drug Use Prejudice

AWARDS

Platinum Gold Silver Bronze Casual Ed’s Choice

PC X0 PS4 Wii U X360 PS3 PSV 3DS

Score

60 49

W

50

Puzzle Why this game was made for VR is a bit of a mystery, save for an interesting item selection system. Seems like a bit of a waste, really...

REVIEWED ON

PS4 PC X0 PS4 Wii U X360 PS3 PSV 3DS

GENRE

AT A GLANCE

GAMING Bound of flame

Wasting resources…

PLATFORMS

Developer: Publisher: Distributer:

Dakko Dakko Dakko Dakko Online

PARENTAL ADVISORY

7+ gamecca105

Violence Language Sex Drug Use Prejudice

AWARDS Platinum Gold Silver Bronze Ed’s Choice

Score

Pop Up Pilgrims

60

by Alex Scanlon

hen one uses the term “virtual reality”, or even “VR”, the expectation is an experience set in an immersive world that surround the player, throwing information and challenges at them from all sides, amid incredible environmental audio. Right?

Right! Or, at least, that’s what it should be.

But that’s not the case with Pop Up Pilgrims. Far from it, in fact… here we have a game that is decidedly 2D, and player immersion is nowhere near what one would expect from a PSVR title.

Pop Up Pilgrims presents the player with a 2D world, with several layers. The player needs to guide their pilgrims through each level, much like Lemmings tasked us to do. That pilgrims move independently, and the player can only effect which layer they are on, moving them forward or backward through the layers as required. Success is determined by how many pilgrims survive the journey, and virtually every control element within the game is tied to the DualShock 4 controller.

So why, then, is VR “wasted” on this game? Well, simply for selecting which pilgrim you want to move, which is done by looking at them. This does save a lot of stick waggling and is an interesting mechanics, when all is said and done, but does it justify strapping on the VR headset to play Pop Up Pilgrims? No, not really.

Pop Up Pilgrims, particularly considering its price, is not the greatest value for PSVR owners. The game is ultimately extremely derivative, and the VR implementation seems like a stop-gap way to solve a problem, rather than a clever use of the tech. In the end, this one doesn’t do much for its platform. g

Pop Up Pilgrims

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Gravel GAMING

Into the wild blue yonder…

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Gravel

by Walt Pretorius

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rough terrain, and vehicles can be tweaked in numerous ways for those that want to tinker under the hood.

Speaking of, Gravel offers around 70 licensed vehicles to experience in the wild, ranging from modern monsters through to chaotic classics, and also offers a huge range of 65 tracks in setting that range from Alaska through to Namibia.

The presentation of all of this is great. The sound is awesome, with snarling engines and environmental effects complementing the great looks made possible by Milestone’s move to the Unreal 4 Engine.

And, to top it all off, Gravel is so accessible it is almost alarming. The controls are simple and easy to learn, meaning that anyone can take to the… well, not really streets… in this exciting and fun game.

Gravel is not without it’s faults, however. Some may

GAMING

et’s avoid any confusion from the outset: Gravel is not a traditional off-road racing game. It is not about rally stages and careful timing while a generally bored-sounding navigator rambles lacklustre course notes in your ear. Nope, it is less DiRT and more Split/Second. It is a fast paced, chaotic cross-country barrel through numerous locations. It is no hold barred racing, in which side swiping or T-boning an opponent is not only unpunished, it is almost expected. Add all of those together, and you come down to the crux of the matter; Gravel is less of a simulation, and more of an arcade racer.

With that said, it does offer a lot of simulationesque elements, driving assists can be turned down, or off, for those who want to undertake the challenge of trying to control a vehicle careering wildly through some pretty

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bemoan the fact that the game only aims for a performance of 30fps, but at least the frame rate is steady. There are other graphics issues, though, like late shadow pop-up and some lacklustre weather effects that can detract from the show.

Additionally, the AI leaves a lot to be desired, at times.

While it isn’t really guilt of rubber banding, it can, at times, be immensely stupid, resulting in often spectacular collisions (made even better by the great visuals).

But perhaps the biggest problem is that Gravel seems to struggle for identity somewhat. It has aspirations at being a simulation while not wanting to leave the arcade feel behind, and one of the four event types feels strangely out of place by introducing tar sections into the races.

While it is not perfect, it certainly can provide a lot of fun and frustration. The best way to experience this is through

the game’s lengthy career mode, which pits the player against five champions in an almost “boss battle” system.

Beating each of these champions if key to victory, of course, and the whole affair can be huge amounts of fun.

In online multiplayer, the arcade nature of Gravel becomes even more apparent. In addition to the more “normal” events, there is also Capture the Flag and King’s Rush (which is a King of the Hill kind of affair).

Gravel is a good game, and a decent start to what will likely be a new IP from Milestone. It has a few teething problems, as such, but if you’re willing to look past those then you’re in for a game that is really crazy. Collisions, destructible environments, beautiful scenery and great audio combine with fun racing that is very entertaining. While this first outing certainly could use some polish, Milestone may just have happened upon a great concept here. g

AT A GLANCE Racing

REVIEWED ON

Although it could use a bit of polish, Gravel is a fun way to race through the chaos of the great outdoors.

Developer: Publisher: Distributer:

Milestone Milestone Ster Kinekor

PARENTAL ADVISORY

3+ gamecca105

Violence Language Sex Drug Use Prejudice

AWARDS

Platinum Gold Silver Bronze Casual Ed’s Choice

x0 PLATFORMS

GENRE

PC X0 PS4 Wii U X360 PS3 PSV 3DS

Score

79 55

Features 58

Best of CES 2018

Reviews 64

Asus XG Station Pro GPU Dock

RegularS 66 70

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In the Picture

TECHNOLOGY

Demystifying TV jargon.

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A

nybody

quality when watching movies or live

who has

sport, then this is the way to go.

tried buying

These screens are also significantly

a new

more affordable than what they were

television

even six months ago. Bonus points if

set in

you can afford a Smart TV that also

recent

has HDR and upscaling capabilities,

months (if not years), has been bombarded with sales people

but these are not all that essential.

More recently, curved screens

throwing any number of buzzwords at

have taken over from 3D models

them. And, let’s be honest, most of

in the gimmick stakes. Not only do

them are chasing a nice commission

they cost more than ‘traditional’ flat

on those really expensive sets so will

displays, but there are not really any

likely be pushing them before the

benefits to be had from going this

more cost-effective ones.

route. Rather spend the extra money

As with most of our tech toys,

getting a 4K display that supports

upgrading your TV is happening more

HDR than getting one without it that

frequently than ever. The days are

has a curved screen.

long gone when a set will last you 10 years or so. Today, it is all about

How big?

embracing the latest, greatest, and

As with most things in life, size

most innovative TVs to give you the

matters (had to get it in there

prettiest picture, booming sound, and

somehow). When it comes to TVs,

other special features like being able

the same holds true. While you

to connect to the internet.

don’t really need a massive 65-inch

You can peruse the ‘jargon busted’

display in your bedroom, it will make

section elsewhere in the article to

the world of difference in your living

understand some of the intricacies of

room. I have never heard anybody

the technology involved. Suffice it to

ever complain that somebody’s TV is

say, your buying decision needs to be

too big. Sure, it is different if you are

guided by your budget. While we all

using a display for work and plugging

want to get the top-of-the range TVs

your laptop into it, but most people

that include all the bells and whistles,

don’t sit a few centimetres from their

the more realistic option is choosing

TV.

something that is both affordable and

Also keep in mind, that your TV

provides relevant technologies and

should have a few HDMI ports

features for your needs.

available. Fortunately, most of the

TECHNOLOGY

latest models have three or four.

60

To 4K or not to 4K

Never buy a TV with only one. Just

While Full HD displays have

consider your console, computer, pay-

become par for the course, 4K (or

TV service, media box, etc. all come

Ultra HD) is the new kid on the block

with HDMI connections so changing

in South Africa. If you are a console

cables every time you shuffle

gamer or serious about your picture

between those devices are not ideal.

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In the Picture

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Brand Names And the best brand TV to buy is‌well, actually any of the big names. As with smartphones and even computers, components are fairly standard across the brands. Most manufacturers use the same factory for their screen technology with the value-adds coming in regarding features and other capabilities.

This is as much a personal choice as it could be an aesthetic one. You might have brand name X as your smartphone, Blu-ray player, audio system, and would like to extend the ecosystem to your TV as well. Or, you could use

JARGON BUSTED 4K UHD (ultra-high definition): As the name suggests, it is four times the resolution of Full HD. Roughly translated that means more than eight million pixels measured as 3840p horizontally by 2160p vertically. Easily, some of the best displays currently available.

Backlighting: Technology that sits behind the screen to make the image brighter and more colourful.

Contrast ratio: The difference between the brightest bright and blackest black. Therefore, the bigger the ratio, the better the image will look.

different makes for different components. The debate on the merits of either approach is best left for another article though.

The same logic holds true whether you are looking for a TV for gaming, watching sport, or just streaming movies. Most of the new models have gaming and sporting modes built in that changes specific settings according to your requirements.

Ultimately, choosing the right TV comes down to budget, preference, and what you need it for. There is no one way to go about it. Just arm yourself with the knowledge you need to make an informed decision.

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Full HD (high definition): Also known as 1080p, this is a screen resolution that measures 1920p horizontally and 1080p vertically (more than two million pixels). Most modern displays are full HD. HD (high definition): A resolution of 1280 pixels by 720 pixels. Also referred to as 720p. The most basic kind of display on the market today.

HDR (high dynamic range): Technology that improves the quality of pixels to give 4K and OLED displays even better contrast.

LED (light-emitting diode): These displays provide excellent picture quality, are more affordable than the likes of OLED, and the majority of 4K, UHD, and Full HD televisions use LEDs. OLED (organic lightemitting diode): These state-of-the-art, i.e. gamecca105

expensive, displays work without a backlight because it emits visible light. Essentially, its pixels can illuminate themselves without required any LED backlights. Blacks are blacker, colours are richer, and live sports do not experience any motion blur.

Progressing scan (p): Usually preceded by a number, e.g. 720p, 1080p, this relates to the frames in a moving image that reduce the flickering you notice when watching something. As with most things, the higher, the better.

Processing rate: Simple, the higher the better. It boils down to how fast the images are displayed on the screen.

QLED (quantum dot light-emitting diode): The most expensive displays currently available. Made from quantum dot material.

These tiny particles can provide 100 percent colour when supplied with energy.

Unless you are a recent Lotto winner, these displays might be a tad too expensive.

Resolution: The number of pixels that make up your picture measured up and across the screen. As with processing rate, the higher the number, the better the picture quality.

Smart TV: Televisions that can connect to the internet to download apps, stream content, and so on.

Upscaling: The ability to take a lower-resolution video and make it look better on a higher resolution screen.

If you are looking at buying a 4K display, try and pick one that has upscaling capabilities.

In the Picture

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H C EW E T VI E R Asus

XG Station Pro

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Added extra power

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Asus XG Station Pro GPU Dock

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by Alex Scanlon

AT A GLANCE: SUMMARY

TECH SPECS • • • • • • •

A great alternative for those wanting more graphics power for their (compatible) notebook.

Ma nuf a c t ure r: D i s t ri but e r: Onl i ne :

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Thunderbolt 3 2 120mm fans Aluminium chassis Internal PSU

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hose that use notebooks know all too well that most of these highly portable computers aren’t exactly shining stars when it comes to graphics. Not unless they fall into the category of a gaming notebook, which makes them much less portable, and hugely more expensive.

But there is another option, at least for notebooks equipped with the right kinds of ports: GPU docks.

The XG Station Pro from Asus is one such device, and it will work with any notebook that can handle a Thunderbolt 3 connection.

Quite simply, the XG Station Pro houses a powerful graphics card (bought separately, of course) and connects to the notebook via a Thunderbolt 3 cable.

All graphics are sent to the XG Station Pro where they are processed by the GPU, before being whisked back to the notebook. With data transfer speeds eight times faster than USB 3.0, Thunderbolt 3 handles the action quite effectively.

The XG Station Pro is a stylish looking GPU enclosure, constructed out of aluminium. The case was designed by In Win, who are known for great chassis builds. Inside, the XG Station Pro offers kink-resistant cabling and removable dust filters, as well as space for a single full-length graphics card. Installation is pretty easy, thanks to the XG Station Pro’s removable side and top panels.

Also inside is an integrated power supply system, which saves on desk space (unlike many other GPU docks, which use an external PSU).

And to keep things cool, the XG Station Pro comes fitted with dual 120mm exhaust fans, which can be independently controlled for maximum cooling. The interior of the XG Station Pro is also remarkably roomy, considering its size, meaning that an overheating GPU isn’t going to be one of your problems.

Sadly, the great looking and very easy to use XG Station Pro is not compatible with all notebooks, or even all graphics cards. You’ll have to check to make sure that the devices you’re using with it fit the bill, or you may be disappointed (not to mention out of pocket).

The device is also better suited towards work applications, like rendering 3D or other resource intensive applications. However, the added graphics punch certainly does not hurt, and the XG Station Pro draws from DNA that had gaming at its heart, so you’re going to do well on that front too.

And while the XG Station Pro is a little costly, even with the addition of a GPU it makes a lot more sense than getting one of those massive gaming notebooks, which will really put a dent in the bank balance. It is fairly portable too, and as long as your notebooks other specs are up to task, it should serve you perfectly well. g

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Challenging the status quo.

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by Suvesh Arumugam

is non-essential to the story. While many movies exploring other cultures have over the years told the story through the eyes of a white protagonist, Black Panther makes no such attempt. Others have critiqued the film’s lack of overall diversity. While other films in Hollywood are now under pressure to represent different cultural groups (like Asians, Latin Americans, etc), Black Panther features almost exclusively black characters (except for a brief soiree in Korea, but with no significant non-black characters represented). While the film also does not make direct reference to slavery and racism, there are certainly overtones and suggestions. Some have found the references to “white boy” and “coloniser” to be racist (or that old bug bear “reverse racism”) and claim that if the roles were reversed, White Panther would be dubbed an extremely racist movie.

On the other end of the spectrum, some radical black voices have criticised the movie for appropriation of black culture, using a fictional universe to homogenise African cultures into a palatable (but non-threatening) fiction.

They’ve blasted the movies writers for promoting moderatism by killing off the radical views of Eric Killmonger, to make way for Wakanda’s moderate views of quiet diplomacy. South African actor Fana Mokoena, known for his Hollywood roles in World War Z, Hotel Rwanda and Mandela: Long Walk to Freedom (as well as his vocal support of the radical Economic Freedom Fighters political party) blasted the movie and its producers for exploiting black film and black audiences for their own gain. He also questioned the lack of profit sharing (particularly with the director, which is a common practice).

“... some critical voices (especially on social media) come from both extremes..”

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Less than a year ago, two movies were released that significantly challenged the status quo, yet these movies drew relatively little negative response.

Wonder Woman was widely hailed as a victory for women’s rights. While also falling within the superhero action category (and not serious drama), the notion of a strong female hero (far more powerful

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f you have an internet connection, you’d know that the web is abuzz with celebration (and some debate) in the midst of the release of Marvel’s Black Panther. The film has already broken a string of records, grossing over $240 millions dollars in it’s opening weekend, and has already eclipsed $500 million in it’s first week. That makes it the highest earning film of 2018 so far, the second highest four day opening of all time, and the biggest box office total for a black director in history. The film also set records for the Marvel Cinematic Universe (MCU), and has eclipsed highly anticipated releases like Star Wars: The Last Jedi and Jurassic World in opening takings.

The film features an almost all-black cast, featuring actors from the US, South Africa and other African countries, as well as several actors of African descent. The film’s set and costumes draw heavily on a mixture of Ugandan, Rwandan, South African and other African cultures to create the fictional setting of Wakanda. The language of Wakanda is based mostly on South African Xhosa. The film was shot in various parts of Uganda, but mostly on constructed sets to recreate the fictional landscape.

The premieres across the world were a spectacle of note, with high profile celebrities in attendance. Many black movie-goers, as well as some of other races, attended the events in full African attire. In what can only be described as an explosion of black and African pride, audiences all over the world praised the film’s sentiments and its representation of black excellence.

One would imagine that a cultural breakthrough like a successful black superhero movie would go down well with most, but like anything else involving race, reactions are mixed. Not universally mixed, but some critical voices (especially on social media) come from both extremes.

From some, the representation of white people has raised issues. There are only two white people featured in the movie, one is a villain and the other a side character who

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than her male counterparts) who saves the word captured the imagination of female audiences. The film was a box successive success, and it the fifth highest grossing superhero movie of all time. The film also received praise for it’s female director, Patty Jenkins, and was widely hailed as a breakthrough for women in Hollywood and global cinema.

Comedian Jordan Peele also released his black comedy “Get Out” last year, starring Daniel Kaluuya (who also stars in Black Panther), and it was a runaway success.

On a relatively small budget, the film made over $250 million and is nominated for 4 Academy Awards. While the film openly explored themes of racism and slavery, audiences generally reacted positively to the film, and praised both actors and director for their contribution. Jordan Peele became the first black director to receive an Academy

“Let’s not forget that Black Panther is not the first black superhero...”

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Award nomination for a debut film.

So why are people not openly upset about these films, yet Black Panther has attracted their ire? Let’s not forget that Black Panther is not the first black superhero. Wesley Snipes brought us Marvel’s Blade (which also garnered two sequels) which met with great financial success. Snipes, incidentally, also wanted to bring Black Panther to the big screen following Blade’s success but could not get all the moving parts working.

Black movie heroes like Shaft have been around for ages, and blaxploitation has been a ongoing genre for almost 50 years.

Perhaps Wonder Woman didn’t directly challenge the male perspective, especially if you consider that in some ways the real hero of the story is Steve Trevor, who makes the ultimate sacrifice to save the world (Wonder Woman just uses her powers - which were given to her by another powerful male character). Perhaps the comedy aspect of “Get Out”, treating inherent and latent racism amongst communities as a point of humour rather than a serious examination of the hypocrisy, didn’t quite trigger

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the outrage it might have in a different genre. And while blaxploitation may have delivered lasting classics like Shaft, Sweet Sweetback’s Badass Song and Foxy Brown, they never quite crossed over into the mainstream.

Is Black Panther problematic? Sure. Why focus on a superhero when there are true tales of heroism aplenty in Africa? The story of Chris Hani, an intellectual and military tactician, who was brutally assassinated before he could realise his dreams of equality. Patrice Lumumba, a Pan-African futurist who led the Congo to independence but was then brutally executed. There are probably hundreds (thousands) more. Why focus on the fictional land of Wakanda when there are true tales of advanced African societies like Mapagubwe? And, of course, Egypt which was undoubtedly one of the greatest ancient civilisations. While there have been many true and fictionalised accounts, almost none have acknowledged the African origins of Egypt and an accurate portrayal of black Egyptians. Why use American actors to speak African languages badly when there was an opportunity to use real African actors to tell an African tale?

It’s not perfect at all, but Black Panther is what we have. And it delivers a lot that can inspire pride. The excellent cast, the masterful action sequences (chicks with spears are hotter than ever!) and a sense of pride for black people (and other minorities) that black heroes can exist and they don’t need to be qualified by a white counterpart. After all, most of us grew up watching movies where the black guy was a dope slinger, thief or was the first to die (sometimes all of the above). It’s a sign to Hollywood that movies with majority black casts and production crews can be successful, and that could mean they may get more financial backing, rather the being relegated to the low budget realm. And it’s a helluva cool movie! We all loved Black Panther in his Captain America: Civil War cameo, and it’s great to see him strutting his stuff in a solo movie.

While I don’t personally see Black Panther equating to a huge stride forward in black consciousness, I’m definitely hoping it means Idris Elba can finally be cast as James Bond. g

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Embracing mobile

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To app or not to app…

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Site versus app

Truth be told, there are several technical ways developers can address this. But we are not going to bore you with the detail here.

Similarly, the debate between having a mobile site or having an app might appear to be topical but the reality is quite different. If a company does not have either, or at the very least an effectively designed [mobile] site, then it is as good as invisible to today’s connected customer.

By Iwan Pienaar

Think about it. The first port of call for any mobile user is likely a corporate site. If a company does not have a page that scales automatically according to the size of a screen or provides a more streamlined version of its site, then the negative experience will see you simply surfing to a competitor who does provide those.

As the name suggests, a mobile site is one specifically designed for mobile devices. Concepts like responsive design and user experience become key. Being able to ‘touch’ the right area of the site on a small screen and being able to get to the information you need quickly, becomes a priority.

But even though sites have become the entry point for information, they are not as effective at capturing data or leveraging all the features of mobile devices.

Apps, on the other hand, must be downloaded from a store (typically Google Play or the App Store) and installed on a device. But unlike Web sites that traditionally are quite cumbersome on smaller screens, apps are designed to provide you with a quality (supposedly) experience and give you the content you want faster than trying to access it through a browser window.

Feature-rich

Apps, unlike static pages, are also able to provide for a richer user experience thanks to their ability to use more of the functionality of the device. Think about your banking app for example. It can use the built-in GPS to determine the ATM or branch closest to you. Similarly, a restaurant review app can highlight quality eateries in your proximity and can even plug into your social network profile to offer you more customised choices. After all, if you do not like sushi then what is the point of recommending

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such a restaurant to you?

Mobile apps are also a brilliant way of capturing user data to provide for a more unique experience. It gets to ‘learn’ about its user and share that insight with the company. In turn, the company can determine in what areas to invest future research and development and can even customise existing solutions to better fit the profile of its users.

Medical aid apps, insurance apps, take your pick…they are all able to build a rich profile of a user that can help optimise premiums according to the individual instead of a demographic grouping.

However, this functionality does not come cheap. While the official line is that app development teams can build for any budget, the reality is quite different when one is looking for all the bells and whistles. Companies are also more open to the temptation of feature-creep – continually adding functionality to the basic app design that prolongs the development time and pushes up costs even more.

Changing landscape

Ultimately, there is no real winner. Depending on the business, a company should have both a mobile-friendly site and an app.

The former primarily to share information while the latter to collect data. But given the budget required to do an effective app, the focus should be on getting a mobile site in order first. After all, South Africans are still flocking to the mobile Web and using it as a source of information.

Companies can always start developing a basic app that remains cost-effective while still giving them a presence in that environment.

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Embracing Mobile

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itting in any restaurant or coffee shop, walking down the road, or just waiting for the next appointment, it is clear we live in the mobile age. People of all ages are glued to their screens and sharing information, watching movies, listening to music, playing games, and accessing a myriad of services on their devices.

According to Statista, the number of mobile phone users globally is expected to pass the five billion mark next year. Already, smartphones users account for close on half of all those on mobile.

It seems that mobile-friendly sites and apps are no longer seen as nice-to-have but critical to the success of any business, irrespective of industry.

Thanks to the pervasiveness of mobile, users have become comfortable in downloading apps and visiting Web sites while on the go. Admit it, even your parents and grandparents are giving it a go. But given how screen sizes and device specifications vary, little can be said for a unified experience. Typically, the bigger and faster the device, the better your mobile experience (bandwidth notwithstanding). But what about those of us with smaller and lowerspecced phones and tablets? Are we just relegated to having to wait for big apps to download or Web pages to open?

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Doomsday Clock #1 Legenderry Red Sonja, Volume 2 #1 Old Man Hawkeye #1 VS #1

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Cool Stuff: Movies

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After a 15-year absence, Video Games’ First Lady, Lara Croft, is back on the big screen in Tomb Raider

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ebruary was the month of a comic book king, Black Panther. In March, it’s the turn of a video game queen – well,

aristocrat anyway. Lara Croft, still arguably the most iconic female character in Gaming history, returns to cinemas in a Tomb Raider movie reboot.

Most people will probably remember the two hit Tomb Raider films from the early Noughties starring Angelina Jolie. These were actionadventures Lara Croft: Tomb Raider and its sequel The Cradle of Life. Like the games that inspired them, the movies focused on daredevil archaeologist, Lara Croft, who explores exotic locations around the world to investigate the truth behind myths – and typically ends up deep in booby-trapped tombs looking for powerful

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supernatural treasures.

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The new Tomb Raider takes its cue from the new generation of video game movies, like Assassin’s Creed and Warcraft, which are extremely faithful to their source material.

Based heavily on the 2013 game, Tomb Raider 2018 is a gritty, survival-orientated origin story. In the film, Lara Croft (played by Alicia Vikander) is an aimless 21-year-old working odd jobs in London. She has never accepted the disappearance of her father, eccentric adventurer and archaeologist Lord Richard Croft (Dominic West).

When she comes into possession of a puzzle which points to her father’s whereabouts, Lara enlists the help of ship’s captain Lu Ren (Daniel Wu) so that she can head out to sea and solve the mystery for herself. Inevitably, she finds herself stranded on a long-lost island, where she must deal with a deadly tomb belonging to the mysterious, mythical Mother of Death, as well as Trinity, a sinister secret organisation with genocidal aspirations. Trinity’s forces are headed by an old rival of Richard Croft, Mathias Vogel (Walton Goggins).

Lara is forced to rely on her wits and determination to survive this perilous adventure. At the same time, she discovers her life purpose – basically who she’s meant to be.

Also starring in Tomb Raider is Kristen Scott Thomas, while Nick Frost makes a cameo appearance. The film is directed by Norwegian filmmaker Roar Uthaug, who made acclaimed disaster movie The Wave.

Out of interest, Tomb Raider 2018 has a strong South African link. The film was shot on location in the Western Cape from January to April 2016. Cape Town Film Studios doubled for Hong Kong harbour, and was home to all the movie’s sinking ship and water stunts. The island scenes were shot in Plettenberg Bay. Tomb Raider releases in South Africa and North America on 16 March. The PG-13 movie will be screening in 2D, 2D IMAX, 3D and 3D IMAX formats.

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A SHORT HISTORY OF THE TOMB RAIDER FRANCHISE Tomb Raider is one of the oldest and most famous video game franchises, going back over 20 years. The first game was released by British development studio Core Design and publisher Eidos in 1996, and became a surprise hit – plus one of the signature titles available on the PlayStation 1.

What really set Tomb Raider apart at the time was its sexy, smart female lead, who earlier in the game’s development had been a male Indiana Jones clone, and Spanish female adventurer Laura Cruz. Given Lara Croft’s popularity (the character was used to punt everything from Lucozade to credit cards), Eidos put pressure on Core to release a new Tomb Raider game every year.

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At the same time, Tomb Raider transitioned to other media. A popular Top Cow comic series kicked off in 1997 and ran until 2005. Two live-action movies, starring Angelina Jolie, came out in 2001 and 2003. Despite failing to win over critics, these films became some of the highest grossing video game adaptations of all time.

Unfortunately, Core’s ambitious 2003 game Tomb Raider: The Angel of Darkness was a buggy, practically unplayable mess, and almost killed the franchise. As a result, Eidos handed game development over to Californian studio Crystal Dynamics. That studio released the LegendAnniversary-Underworld trilogy, starting in 2003, but despite acclaim, sales started to dwindle.

Franchise fatigue had clearly set in after a half-decade of bestselling success. Something was needed to freshen things up. Even before Eidos was bought by Square Enix in 2009, Crystal Dynamics had plans for a contemporary-style reboot. The result was 2013’s Tomb Raider, an origin story where a much younger, 21-year-old Lara Croft is stranded on a legendary island. It was followed by sequel Rise of the Tomb Raider in 2015.

The revived game series has been accompanied by a new Dark Horse comic series, award-winning mobile games, novels, and, of course, the upcoming live-action film. A third game, Shadow of the Tomb Raider, should be officially announced this year.

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ALL THE LARAS A number of actresses have played Lara Croft over the years in various projects, from movies to animated series, and the games themselves. Here’s a rundown of all the notables who have applied their talents to portraying the intrepid, pistolwielding adventurer in some form or another.

Alicia Vikander The newest big screen Lara Croft is a 29 year old Oscar-winner (for the Danish Girl) who hails from Sweden. Vikander is perhaps most famous for her roles in Ex Machina, The Man from U.N.C.L.E. and Jason Bourne. Last year she married Assassin’s Creed star Michael Fassbender.

Angelina Jolie American Jolie is another Oscar winner to portray Lara Croft, in two smash hit movies released in 2001 and 2003. Jolie is herself an icon, combining dramatic performances and action heroine roles with humanitarian work. Her filmography includes Maleficent, Salt, Wanted and Mr & Mrs Smith (with her ex Brad Pitt).

Rhona Mitra

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For many years, there were official Lara Croft models for PR purposes. One of the originals was British Rhona Mitra, who shared a moneyed, rebellious background with the character she embodied. Of all the Lara models, Mitra enjoyed the most success, appearing in loads of TV shows, and assuming action heroine duties in movies Underworld 3 and Doomsday.

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Keeley Hawes Although she hasn’t donned Lara’s short shorts, British actress Kelley Hawes has voiced the character in five different video games, including Tomb Raider: Legend, Underworld and, most recently, Lara Croft and the Temple of Osiris. Hawes has starred in popular British series Ashes to Ashes and Spooks.

Camilla Luddington A shout-out here to the 34 year old actress who provides the voice and motion-captured performance for “young” Lara Croft in Crystal Dynamics’s 2013 Tomb Raider and 2015 Rise of the Tomb Raider.

Luddington is an Anglo-American most recognisable for playing Dr. Jo Wilson in medical series Grey’s Anatomy.

Minnie Driver Back in 2007, British actress Minnie Driver lent her voice to Lara Croft in an unusual ten-episode animated series called Re\Visioned: Tomb Raider.

Oscar-nominated for Good Will Hunting, Driver has enjoyed a varied 28-year career, and is currently starring in TV sitcom Speechless.

Sofia Vergara Finally, a special mention to Columbian modelactress, and Modern Family star, Sofia Vergara.

Back in the early 2000s she played Lara Croft in a Visa commercial you can still watch on YouTube.

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Title:

Doomsday Clock #1

Writer:

Geoff Johns

Artist:

Gary Frank

Publisher:

DC Comics

Rated:

COOL STUFF

GET GRAPHIC Teen +

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by Clive Burmeister

In 1987 the comic industry shook from the culmination of what is arguably the most influential story in comics – The Watchmen.

Doomsday Clock is set about a year from current events in the DC Universe, and is a bit of a preview of things to come, but it also serves as a crossover event for the world of the Watchmen and the standard DC Universe. Acclaimed writer, Geoff Johns, is trying to make this an event of comparable intrigue and plot complexity as the Watchmen, while being just as thought provoking – basically as epic as the original, epic enough to change the DC Universe forever. While Issue #1 was like a trip down memory lane, Alan Moore left some pretty big shoes to fill. But one thing is for certain, by the twelfth issue of Doomsday Clock, the DCU will never be the same again.

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Title: Writer:

Legenderry Red Sonja, Volume 2 #1 Marc Andreyko

Artist:

Igor Lima

Publisher:

Dynamite

Rated:

COOL STUFF

GET GRAPHIC Teen

The sword wielding vixen may be portrayed as a Steampunk adventurer, but whatever setting, Red Sonja remains the same feisty, trouble finding, hero that she always is. What starts as a game of cards gone wrong, quickly escalates into an action-packed chase through the city and a narrow escape. But when she finds herself caught in the middle of a conflict between the biggest crime lord around a supernatural evil wizard, what can Res Sonja do but try to help the young lovers caught up in the fray.

Action packed from the first page, with adventure and gadgets and of course spirited red-heads, Legenderry Red Sonja looks to be a bumpy, but exciting series.

by Clive Burmeister

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Title: Writer: Artist:

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GET GRAPHIC Old Man Hawkeye #1 Ethan Sacks Marco Checchetto

Publisher:

Marvel

Rated:

Teen +

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by Clive Burmeister

The villains won.

Forty five years ago they wiped out most of the heroes, and took over, and now they run things. Only a few heroes survived, those that did went underground, they stay off the radar, they’re no longer strong enough to make a stand, or to make a difference.

When old time Avenger Clint Barton A.K.A. Hawkeye discovers that he’s going blind, he decides it’s time to make a stand for justice, while he still can. But from the last protection job he did, Hawkeye has drawn the attention of some old enemies. Old Man Logan was one of the most popular stories in recent years that Marvel has produced, so trying a similar concept with a different character might seem risky, but this comic is really nicely put together, with great artwork and writing very much in the same vein as its predecessor series.

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GET GRAPHIC VS #1 Ivan Brandon Esad Ribic Image Mature

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by Clive Burmeister

In the future, war itself has become a bloody spectacle for the public, like the gladiatorial arenas of ages past; combatants have become slaves to stardom, even as they fight for their own survival. With cameras constantly capturing soldiers’ battle movements and engagements, and monitors tracking vital statistics of the troops involved in these conflicts, everything is broadcast to the public for their own instant gratification, while adverts and sponsors interrupt the action to push their own goals. But while war might have become a show, it is still war, and still deadly and unpredictable, as super star soldier Lieutenant Flynn discovers when he is grievously wounded in combat. Can the wounded soldier work the system and work the show mentality to get back to his squad, or does the spotlight have other plans.

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Last word

t is interesting to observe the way that gamers react to things.

Take, for example, Metal Gear Survive. Pretty much as soon as this game was announced, fans of the franchise started grumbling. See, the Metal Gear franchise is almost synonymous with creator Hideo Kojima. He had a long and fruitful relationship with Konami, the video game publisher that held the rights to the series.

Then, around three years ago, the relationship turned more than a little sour, and Kojima left Konami to start up an independent development house in partnership with Sony Computer Entertainment.

The first game from this new enterprise, Death Stranding, doesn’t have a firm release date, but has already garnered a lot of attention.

So things seem to be working out pretty well for Hideo Kojima, despite the events that lead him to where he is today. He went that way, and Konami went this way. It is the kind of relationship ending that

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happens every day.

And yet, when Konami announced Metal Gear Survive, many gamers still felt the hurt that was inflicted on Kojima

by Konami, who were resoundingly final in their actions when they parted ways with him.

Here’s the thing, folks.

Aside from the fact that a new Metal Gear Solid game, without Kojima at the helm, doesn’t invalidate what came before, and aside from the fact that Konami own the rights to Metal Gear and can do whatever the hell they like with the property, it is important to remember that making video games is big business. And in big business, valuable assets, like a wildly successful IP, will always be leveraged.

Asking “how could they?” is a wonderfully naïve thought process. The real question is “how could they not?”

To put it in different terms… imagine a car company abandoning a model of car because the lead designer left. It would never happen, and nor should it. So why should

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By wALT Pretorius

Idealism...

Konami not make use of the Metal Gear IP. It’s business, folks.

Perhaps the reason why gamers don’t always see things this way stems from the emotional connection that gamers feel to games, particularly love running and well-loved franchises.

For each of us, playing a game can be an intense experience. But that isn’t the case with the people who make games, necessarily. To them each game has a definable value attached to it, a profit.

That’s why they make games.

In a perfect world, it wouldn’t work this way.

Games would be labours of love, everyone would have free access to everything they want, and rainbows would have pots of gold at the end of them. But it isn’t a perfect world. So just put the vicarious hurt for what happened between Hideo Kojima and Konami aside, and base your decision on whether to play Metal Gear Survive or not on personal criteria, rather than idealism. g