Knytt Underground Review

Until now I’ve always been wary of describing games as an ‘Indie’ label, considering that the genre and effective scope of the game should be judged on its own merits rather than by the publisher behind it, however Knytt Underground is the kind of game that challenges even that. It consistently turns its own way, sometimes to the detriment of the overall experience, but always in ways that justify its own strange sense of self identity.

Right from the start it lies to you, describing itself as a three chapter game... Chapters one and two are mere training levels, a self contained set piece designed to help you acclimatise yourself to the strange world of KU and the seemingly entirely disparate control mechanics of Mi (walk, jump and climb) and Bob (BOUNCE). Each chapter ends suddenly, entirely unsatisfactorily some might say, but this is just an induction to the most important theme of Knytt Underground. Throughout the game you will be asked to go on pointless fetch quests, to carry out minor objectives and missions that the game flat out admits are just there to get in your way. On quite a few of these ‘not so minor’ inconveniences you return to the quest giver to find they have... vanished, and even when they remain present the paltry reward is hardly worth the effort. Right from the start the game is making a point about the genre, toeing a difficult line between parody and becoming one of the worst examples of the genre. It does however raise an interesting question.... Do you do this for the tangible rewards, for the sense of self accomplishment, or just because you enjoy doing it?

If you give yourself time to acclimatise past the black and basic geometries through which you must climb and bounce your way, this is a beautiful immersive world that, despite showcasing some of the most basic programming in video games today, can arguably be said to feel just as alive as some open world AAA blockbusters. The writing is deceptively simple, it certainly won’t win any awards for its course and basic humour, but it draws the player in with as little pointless faff as possible. The map is simply humongous and will take hours to explore and whilst some people will complain it is both sparse and all the same all I can say is this is gaming at its purest, most simplified form. Whilst the foreground is dark and simple the background art and music are both distant yet beautiful, full of little touches and flourishes designed to amuse and inspire. Control wise things are a little sketchy, challenging but not impossible, particularly when trying to navigate the unpredictable bouncing ball around some very dangerous areas.

I really don’t know why I’ve fallen in love with Knytt Underground, it’s probably not something I’ll ever play again, but for a few dozen hours I was completely entranced.

(Wii U version reviewed).

Toki Tori 2 Review

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Toki Tori 2 is an incredibly, and surprisingly, deep game which operates via surprisingly simple control method. Toki can walk in either direction, climb up ladders, whistle short or long notes and stamp his feet... And that is it.
 Instead this game works as a series of physical puzzles, as every one of these simple actions can have monumental consequences on the world around you. Simply via natural progression through the game it teaches you how to navigate each and every track by intuition alone, and that really is very impressive.

Dreamfall: The Longest Journey Review

Although this 2006 adventure game wears its 1999 point-and-click predecessor ‘The Longest Journey’ proudly, I think it’s important to remember that they are fundamentally very different beasts with separate goals and intentions. The point and click gameplay is gone, replaced with a rather bland walk and touch mechanic. The main character April Ryan is gone, relegated to a supporting role, although in her place we have a brand new intriguing heroine. The full bodied adventure in which the main character discovers herself in a fulfilling journey that culminates with the saving of the world is replaced by something much darker, more twisted and spiritual. Thankfully they have retained the brilliantly paced storytelling, superb voice acting and multiple interwoven intricately plotted threads that drag you through a narrative heavy game that offers little besides its heart and soul.

Pandora's Tower

Billed as the third in a trilogy of Japanese RPGS imported to Europe in the last year (or the fourth as some adverts decided to include Skyward Sword…. Which is just wrong, wrong, wrong) Pandora’s Tower is certainly the oddball of the group.

The Last Story

It feels a little unfair to constantly compare ‘Last Story’ to ‘Xenoblade Chronicles’ which was without a doubt the seminal RPG of the Wii last year. The games have a lot in common; but boast fundamentally different goals. Whilst ‘Xenoblade’ told a story epic on scope and depth, ‘Last Story’ contents itself with a much smaller, more personal setting, yet one that boasts just as many shocking revelations as it’s predecessor.

The Longest Journey

The Longest Journey, released over a decade ago in 1999, is an old game now. The Developer Funcom has moved on to larger action adventure titles and large MMORPGs but in many ways ‘The Longest Journey’ is still as relevant now as it was when released. Sure it looks dated, with PS1 level graphics, and despite a talented vocal group the dialogue is stilted compared with some of the more dramatic modern games released today, but there’s no denying this is an adventure with a heart and soul eager to be unleashed.

Shadow the Hedgehog

Shadow the Hedgehog is not the thoroughly awful game some people have made it out to be, but is marred by a lacklustre effort on Sega’s half in the presentation and some poor design choices. Unfortunately there are just too many mistakes, errors, and flaws that cover up what could have been a relatively solid platformer…

Jak II

It’s rare in the history of gaming has everything come together so spectacularly to make a game which is, to all intents and purposes, perfect. A radical departure from its predecessor in both tone, mechanics and intent it manages to be both respectful to the franchise and bright, bold and brilliantly inventive in new ways.

Tomb Raider II



Some people believe that Lara Croft peaked after Tomb Raider three, whilst others believe nothing captured the original games ambition, and a few more suspect the series was never really that good anyway. Obviously all of these people have forgotten the glory that is Tomb Raider II, for me the best in the series. Well, the best from the days before Crystal Dynamics took the reigns and reimagined the series as a world not entirely as built of square boxes, but even against modern competition I would argue it holds its own.