Month: February 2014

Hero Siege, A Review

Hero Siege is the first outing for Panic Art Studios, It sells itself as a Hack ‘n’ slash with heavy rogue-like element with randomly generated levels and some player customisation but in my opinion fails to deliver in almost every category.

I know hats are funny in TF2 but c'mon!

I know hats are funny in TF2 but c’mon!

The game on the surface looks like it was going to be similar to the game Rogue Legacy (Which btw is possibly my favourite Indie game ever) so I was very excited to play this when I first caught wind of it. Now my views may be slightly biased and some of you may think it unfair that I compare this game to others rather than judge it on its own merits but that becomes seriously hard when the games are so similar.

The makers of this game Panic Art Studios were actually very helpful with answering my questions when  I spoke with them so I do feel slightly bad when I say that I dislike their game but honestly I tried my hardest to make myself like this game but it just didn’t happen. The team behind this game had previously only made 2 games for the Appstore and Google play and my god does it show! The controls are very basic and there is’nt much skill involved in playing this game. When playing I found that if you just looped the AI just tries to follow you so you can line them all up in a straight line and just blast them away, I actually died more in this game trying to get traps to kill enemies and backfiring on me then actual enemy damage. This game is way too easy! If you are going to venture into the PC indie gaming universe there are 2 things you’re going to need to know;

Who knew every enemy in the horde would explode?

Who knew every enemy in the horde would explode?

1) We like our games hard as fucking balls!           2) We love pixel art

Now even though this game has a pixel art feel I would in no way call it art. Pixel art for any art fans out there is all about simplicity, making the most of out of the least, seeing a portrait in a single block. This game however just kind of feels empty and already done.

That’s the other thing, the enemies just seem uninspired and a bit lazy it’s like they sat around and said “Guys what’s the most generic enemy?” “Umm skeletons and rats?” “Great now instead of doing any form of editing for higher levels of those enemies let’s just change their palette!” and everyone screams genius! Maybe I should cut them a break seeing as the game was made by just 3 people, some of you might be saying and I reply NO! Why should that matter? Super meat boy was made by 2 guys, Indie games don’t have massive teams but what good ones do is innovate and perfect. This game did neither.

Oh no a spider! Run Ms Muffet!

Oh no a spider! Run Ms Muffet!

The level design is pretty boring too, There are different themed levels and granted they are still working on the final level to be released but they all just kind of feel empty and the same and don’t even get me started on the poor excuse of randomly generated dungeons used in this game! When done correctly randomly generated dungeons can be brilliant however the extent to which this game goes is basically just moving traps around and placing a few box’s on the other side of the screen. It’s laughable.

They claim the inspiration for this game was taken from Diablo and The binding of Isaac, does it show? Absolutely not other than the camera angle is similar to Isaac’s.

Teslagrad ,which I covered last week so go read it if you haven’t yet, took 2 and 1/2 years to make. Hero Siege took 6 months and they had half the size team and It is glaringly obvious that they didn’t take enough time to make this game. It feels like something someone might play on their phone a few times if it was free then put it down and never open it again and yet they ask for £5.99 for the game on PC!

In conclusion I do not think this game is even worth your time as there are much better games out there that do the same thing only on a much higher level. 2/10 don’t waste your time.


Strange Comforts Afforded by the Profession, Malcolm Lowry

Malcolm_Lowry_by_Politoxicomaniaco (1)



Strange Comforts afforded by the professions-  3/10

“If you can understand the first three pages of this lexical minefield, then you are doing well.”


With a title like “Strange Comforts Afforded by the Profession” you know you’re not going to be reading a fast paced Andy McNabb thriller. More likely readers will be picturing a thought provoking tale rich with meaning, reflection and a dawning realisation on the human condition. Therefore, with a renowned writer like Lowry you would expect moving, elegantly woven words, intriguing characters and thought provoking plots.  What you receive however is an example of a potentially charming story made overbearing to the point of tiresome, due to “Strange Comforts” trying too hard with the vocabulary.

This short story tells the tale of Sigbjorn Wilderness, an American writer on a fellowship, which is about as much as you can decode from the Rubix Cube mystery layout of the tale. Lowry, for one reason or another, has adopted the strategy “why use one word when twenty will do?” This method has worked well for writers in the past- sometimes it has even been brilliant. Here, however the omission of simple punctuation leaves this story a rambling, wordy mess. On occasion some sentences within the story are the size of a substantial paragraph. This issue is further exacerbated by the persistent use of overly flamboyant words to describe simple places and events. In this tale, the thesaurus overload offers nothing but a boundary between the reader and the story, never allowing the two to connect.

More developed (some might say advanced) ways of describing places or emotions can make for a truly memorable event or character within a book, but here its machine-gunned use of such vocabulary causes each sentence to stutter. You have to re read entire paragraphs, working through each line meticulously in an effort to try to piece together and decode the language to understand what is actually going on. Not too far into the story this becomes tiresome and you soon find yourself wondering how many pages are left before you finish. This consequently leads to one inevitable outcome as you work your way through each paragraph. You become bored. It is likely at some point you’ll stop reading and flick through the pages to find out where the end is.

Unfortunately “Strange Comforts Afforded By The Profession” is another of those books that tries too hard at being a Dickensian-styled book and consequently falls short, cramming lengthy words into lengthy sentences and hoping for the best. Its excessive four to five syllable per word layout renders the tale of Sigbjorn Wilderness less of an absorbing read, and more of an attempt to force elitist language down the reader’s throat.


Final Verdict

A story loaded with potential to be a charming, moving tale. However, the persistent Overloading of the story with unnecessarily long word choices and exhaustive sentence lengths renders this story totally incomprehensible.  If you can understand the first three pages of this lexical minefield, then you are doing well.

‘Green Rider’, by Kristen Britain, Review

I’m gonna talk about one of my all-time favourite book series this week. Or at least, the first book in that series.
Green Rider is the first book in the series by the same name following the adventures (misadventures? Is that too much of a cliché these days? Do I give a shit? Hmm…) of Karigan and the fate of Sacoridia, a kingdom spiralling ever closer to war even as they deal with the re-awakening of magic in a country filled with people who either don’t believe in magic anymore or, if they do, consider it to be an evil thing and only used for such. Green Rider introduces us to the basic principles and starting point for all of this.
Karigan G’Ladheon is the daughter of a merchant, and is running away from school. She never particularly enjoyed the famed school of Selium anyway, what with skipping classes and hating the aristocratic snobs who were her schoolmates; when she wins a fight with a bullying, snooty rich kid (who happens to be the son and heir of one of the Province Lords in Sacoridia. Ouch.) and is threatened with expulsion and must await her father’s arrival, just sees it as a way out. Not wanting to let the buttwipe of a school dean tell a skewed version of the events to her father, Karigan takes off on her own, running away to meet her father first and tell her side of the story. Instead, she finds a dying man – a member of the Green Riders, the king’s messengers who are highly respected by the king but very few other people, and carry a pretty intense risk of being killed by the receivers of their messages if they don’t like them. The dying Green Rider passes his seemingly vital task on to Karigan, because she’s the only one actually around, and more over, she can see the brooch he wears, something only those accepted by the brooch’s magic itself can do. She’s technically already being made a fully fledged Green Rider, here, and she doesn’t even know it. The magic of the Green Riders is very hush-hush.
Taking up the duty as the naïve and actually pretty honorble girl she is, Karigan is set off on a journey that will shatter everything she ever knew about her life. She longs for Selium after this. She now must race her away across the country to Sacor City and the king on a rather intelligently belligerent but ultimately loyal horse, defeating unnatural monsters, battling her new-found fate, coming to grips with the magic the brooch has given her and it’s side effects, all the while being pursued by viscous mercenaries and the Shadow Man, the killer of the Green Rider who gave Karrigan her mission.
And wow, what a journey that is. The plot is fast enough to keep you gripped but never so much so that you get lost, which is a good thing. As you may be able to tell, it’s a large book and a fair amount happens. Regardless, the story remains exciting and engaging almost throughout. There are several chapters from perspectives of other characters, villains included, which is interesting, but they can also slow the progression down a little and jar some readers out of the story, myself included in my first read-through; you just really want to get back to Karigan. But this insight into other characters is ultimately valuable, if not outright important.
One thing I love about this is we get a ‘Strong Female Character’ in high fantasy actually wrote by a woman. It’s a lot rarer in this genre than you might think, at least as far as numbers are concerned. And she’s not this girl who starts out as a badass and is kickass all the way through. She’s got a little bit of training with the sword, but is by no means a match for the people after her (and is constantly reminded of her lacking in swordplay later in the series), and some smarts to get her by. But for a good chunk of the novel she relies heavily on luck and the help of outside forces to get her by. And okay, to be honest, even my suspension of belief was strained in regards to some of her lucky escapes; maybe a slight case of Deus ex Machina here, but Karigan more than makes up with it as she goes through actual goddamn character development. Again, a rare thing for females in this genre.
The plot is interspersed with a lot of great side-moments too, such as Karigan finding a – ahem – magically-enclined house belonging to two elderly sisters who are charming in a Disney-esque manner but manage to retain some element of spookiness. Maybe it’s the cursed-invisible house servants? The house and sisters themselves are a fantastic point of foreshadowing for future plot points in the series, which is especially impressive when you consider that Green Rider was expected to be only a stand-alone and not do well enough to become a series (my arse)!
The book is full of wonderfully snarky humour and some ridiculous laugh-out-loud moments (the horse, anyone), dancing with some real hard-hitting and emotional stuff. The magic is cool and unusual, definitely limited and with consequence as we find out quickly with Karigan. And what fantasy novel would be complete without mysterious, ancient, magical wood-folk? But despite the opinion of other fans of the series, I don’t think these are just the same old ‘elves’. Etletians are beautiful and magical and at least semi-immortal and do live in a woodland kingdom of their own, thought dead or the thing of myths for centuries. They’re starting to re-emerge alongside magic and the growing evil. But there’s something inherently flawed and dangerous in these Etletians that I find different from traditional elves. Maybe it’s that pesky Shawdell…
Something that irritated me about Green Rider, if I’m being honest, is Karigan’s flat refusal to accept she was a Green Rider. She had the brooch. She had the Horse. She used the magic. Hell, she even wore the damn uniform. There’s only so much foot-stomping a person can take.
Overall, an amazing book and a strong start to a fantastic ongoing series. If it seems like a rehash of the typical cut-and-paste elements of old fantasy tropes, read Green Rider. The links to Lord of the Rings and other fantasy series only make it that much more charming, and you’ll see that it has it’s own wicked twist and shine that make it perfectly unique.

4/5 Stars!

Amazon UK
Amazon US
Kristen Britain

– Meg

Teslagrad Game Review: A Norwegian Masterpiece

Teslagrad has been on my radar since its release date 13/12/2013. During the chaos that is the Steam Winter Sale It probably slipped most of you by but there was just something about it that drew me in.

Opening menu flows seamlessly into the game

Opening menu flows seamlessly into the game

Continuing the flow right into the story

Continuing the flow right into the story

After booting up the game I was met with what has to be described as a glorious soundtrack and it really felt in keep with the image the game was creating for itself. Without any time to lose I pressed new game and was on my journey. Now something you should know about Teslagrad is that there is no dialogue, however what the developers over at Rain Games have done is really quite phenomenal and this is me after just playing the opening level. They have clearly spent a huge amount of time weaving this story into the very fabric of the game so that everything you see and interact with helps tell the narrative. As a writer I can be the first to tell you that this is no easy feat.

Most tutorials in the modern day era, and this makes me sad, hold your hand and walk you through every button and action you can do with your character via information signs and sometimes simply just test levels but what Teslagrad does is reminiscent of a time forgotten a time in which the only way to know if something was good or bad was to test your theory, If you die then you were wrong and if you live you’ll know to do more of it from then on. It doesn’t give you any help whatsoever and the game works so much better for it because it really gives you that sense of adventure. Speaking with the producer Peter W. Meldahl he told me that the Metroid games were of a big influence to the games level design and that becomes very clear when you get to the main portion of the game, especially when  you gain a new item in a room it becomes a necessity to understand how to use that item to advance whether it be simply being able to leave the room that you had previously entered or dodging an obstacle you previously thought you couldn’t. there are a few occasions however where it does become a bit difficult and aggravating when you are completely stumped while doing a puzzle or not knowing where to go but the flip side of that is when you do get past that point or figure it out you do feel a greater sense of achievement than if you were just guided through.

"And the lord said let there be light... and magnet gloves!"

“And the lord said let there be light… and magnet gloves!”

I think for me what surprised me the most was the level of immersion I received when playing this game. It draws you in from the very start and doesn’t let you go (that is till you rage quit after dying on a boss fight multiple times until you can calm yourself, pick back up your controller and go again). This is helped by the fact that there are no load screens of any kind. The screen scrolls with you as you move and does stop at a certain point at the edge of an area which in most platformers would be where the level ends or the game loads up the next stage but in Teslagrad it simply takes you straight into the next part without even so much as a pause. This is also the same for dying and checkpoints. There are no clear checkpoints, no sign on the screen or anything you run through they are just placed at different intervals without you knowing which at the start does keep you on edge because you are constantly worried that if you die then you will be teleported way back in the game but this isn’t the case at all as they are quite frequent. The dying screen is another similar thing once you die the screen fades to black and without even so much as a breather you’re back at your last checkpoint. Now some of you are probably thinking it’s strange that this is something i picked up on in such great detail well this is a game where you get used to dying as you will be doing a lot of it! As I mentioned earlier this game gives you next to no hints and a lot of the time you just wait to see if something kills you just so then you have more information to complete the puzzle with. the other thing is the controls sometimes have to be unbelievably precise to actually complete a challenge or puzzle that you assume you must be wrong and try something else then come back to your original idea and realise you had been pressing a button 1/10th of a second early. This is probably the biggest flaw in the game but I feel that if the game wasn’t as hard as balls in certain places then it wouldn’t be any way near as good or satisfying.

I wonder f this thing recycles?

I wonder if this thing recycles?

Now I’ve left this point to the end but it is by far the biggest draw to this game and is what had me hooked from when I saw it had been released and that is the artwork. This game is beautiful! Rarely does a game that is this cheap look this good. At times, especially at the start, you feel as if you are walking through a painting. everything has a hand drawn feel to it and when that becomes coupled with the lighting effects and camera work it culminates into wonderfully done visuals. Even seeing screenshots hadn’t really prepared me for when I actually played the game and I can honestly say that although this is a game made by a small team it is easily worthy of a next gen title.

Punch and Judy have really stepped it up

Punch and Judy have really stepped it up

All in all I would give this game a 8/10 for the game and 10/10 for value.

Teslagrad is available on Linux, Mac and Windows via Steam for £6.99 and will have a download release date some time in 2014 for Wii U, PS3 and PS4 and PSVita. Other platforms are being worked on for release but cannot be confirmed at this date.




Directed by Luc Besson,

Starring Rie Rasmussen and Jamel Debbouze.   




“A compelling romantic fable, beautifully filmed and superbly acted. It is classic Besson.”


Ask most people about a Luc Besson film, and most will exclusively wheel out the exotic pedigree that is the action film “Taken.”  However, if you were to glance back into Besson’s previous works you will almost certainly unearth other visual riches. Groundbreaking films such as “Leon,” and “The Fifth Element” are just a few in a noticeable list of films which are simply a must see treat. Angel-A is most certainly no exception. In fact is one of Besson’s finest, and sure to be considered a modern classic in French cinema.


With any film set in Paris (which is considered to be the world’s most beautiful city,) you come to expect many things; angelic views, elegant woman, stylish personas and the Eiffel Tower. What you don’t expect is a striking supernatural love story, centered on two fascinating characters that share lot of depth. Angel-A begins with two strangers who meet on a quintessentially Parisian bridge early one morning. Looking to escape his past as a failed scam artist, Andre (Jamel Debbouze) accepts the help of a mysterious woman named Angela (Rie Rasmussen.) Together, Andre watches in amazement as she battles through the French mafia, seedy club managers, loan sharks, and just about every undesirable element Andre owes money to. The philanthropic tale here could’ve quite easily been made into a typical cliché ridden revenge tale. But amidst the skullduggery and Angela’s direct bordering on smashing-your-face-open-with-a-fruit-bowl-and-robbing-your-safe approach, the film has seen great innovation. Instead of choosing to go gun ho with the story, it instead weaves the story with emotion and indictments on the human condition. This is particularly apparent with the character of Andre, who on several occasions has to confront with his conscience and decide what concerns him more- money or love.


The acting performances throughout are flawless, and set to carry an audience through the impending ordeals and intimate touching moments with flawless finesse. Rasmussen and Debbouze fall into their roles with immaculate ease, portraying their characters in such a way that you are powerless to remain emotionally divorced from the events onscreen. Rasmussen’s sexy but assertive femme fatale demeanor, exudes confidence with such natural flair and poise. Debbouze also gives an outstanding performance of a desperate con man that has hit rock bottom and is now teetering at breaking point.  This is all strongly supported by a fantastic network of supporting actors, whose role it is to be the catalyst for each event as the fable unfolds.


The film itself is entirely in black and white. This provides a gorgeous old world noir feel to each scene that, whilst being wonderful in its simplicity, has also enabled Besson to make each set dense with meaning. Throughout, the unadorned filming means that you are never distracted by erroneous background details. You instead notice the subtle clever symbolism present within the film.



Whilst this film is not the usual action packed, gun-toting film Luc Besson is most noted for; this remarkable, mellow film is a compelling romantic fable. It is beautifully filmed and superbly acted, making it one of the finest sure-to-be modern classic French cinema films available.

‘Cinder’ by Marissa Meyer, Review


Okay, so we all know there have been a lot re-envisionings of classic fairy tales in recent years, but Marissa Meyer’s The Lunar Chronicles is by far one of the most interesting and, frankly, brave additions to the fairy tale fad. The story Meyer’s telling carries on over a series of four books (of which three are out), beginning with the Cinderella story.

Lihn Cinder is a cyborg. She is essentially almost half mechanical; she has a robotic hand and a rusty old mechanical foot (in place of the famous glass slipper) and much of her internal organs are operated by wire and prosthetic nerve impulses – she even has a control panel attached to her CNS at the base of her skull, with fully synthetic eyesight. She can pull up newsfeeds and the net on her eyes. Are you thinking this is awesome yet? Let me keep going.

Set centuries in the future, the world is much the same but divided a little differently, not to mention the colony on the moon, known as Lunar, full of people who can control bioelectricity to manipulate people and change their own appearance. They’re scary as shit, by the way.

Probably thanks to her own cyborg body, Cinder is one of the best mechanics in New Beijing, the capital of the Eastern Commonwealth – made up of what was once Asia, and just so happens to be suffering madly with plague outbreaks. In the midst of this, the heir to the throne of the Commonwealth, Prince Kai, arrives at her stall to have his android fixed and if you think this is where everything changes for Cinder because the hot boy magically appears in her life, boy are you wrong. Sure, it stirs things up a little, but this meeting actually only sets up plots and reasoning behind certain decisions later in the book(s). Cinder’s life actually takes its horrifying change when her youngest and beloved stepsister contracts the plague, and Cinder is given up by her legal guardian (read ‘evil stepmother’) for testing in ever-failing attempts to cure the luetomosis plague, only to make a huge discovery about herself and, strangely, her doctor.

Suddenly Cinder is at the edges of multiple intrigues and quickly being pulled deeper into them, including finding a cure for the increasingly deadly leutomosis, fighting off an unwelcome attraction to a prince, and the fast approaching war between Earth and the moon colony of Luna, lead by their viciously beautiful Queen Levanna, who is desperate to marry Prince Kai for her own malicious purposes.

Cinder was definitely the most unique take on a fairy tale I have ever seen, and more enjoyable than most due to the depth Meyer went into, both within the confines of the original Cinderella story and the series’ world as a whole. She created a vivid and enthralling story filled with political intrigue, the beginnings of love, family, the consequences and fear of war and, maybe most importantly, how society ostracises those who are different. It is very impressive that Meyer manages to touch on all of these issues while building a beautifully varied world around it, constantly throwing in hints and clues as to the larger plot and promise of future adventures.

In terms of plot progression Meyer sticks close to the original story, but does still twist many points and gives the story some shades of grey rather than the black and white tale we are used to, particularly in the heroine herself. This results in more than a few heart-wrenching moments centred around the unexpected adoration between Cinder and her youngest stepsister Peony, the remarkably human-like house robot Iko who longs to be a beautiful woman, and Prince Kai’s loss of his father and too-sudden ascension to the throne.

Two faults I’ll pick at with this novel, though reluctantly, is that I wanted the worldbuilding to be a little wider-reaching in Cinder, as we only see the rather limited confines of Cinder’s personal world, and a few other scenes from other character’s POVs. This, however, is more than addressed in the rest of the series. Secondly, the ‘plot twist’ near the end? Yeah, I’m gonna say it’s not exactly world-shaking for the reader if they’ve been paying attention, and a bit anticlimactic as far as plot twists go. But, trust me, the rest of the novel more than makes up for it. In fact, it may even make it a little more exciting to read along having figured it out long before Cinder ever does.

The next two books introduce us to Cinder’s allies and the rest of the heroines: Scarlet, featuring Little Red-Riding hood, or rather, French, skilled pilot, shooter and all-around badass Scarlet in her red hoodie; Cress, the Rapunzel character, a Lunar computer hacker with an imagination as big as the galaxy and trapped in a satellite orbiting Earth; and finally, Winter, or ‘Snow White’. She is the terrifying Queen Levanna’s stepdaughter and Lunar princess, driving herself insane with the refusal to use her own Lunar abilities. This final book is unreleased, but there’s a lot of excitement surrounding it, not least because it’s the final instalment, and oh yeah, takes place on the moon!

Overall, Cinder is a fantastic début novel from Marissa Meyer and introduces a bloody wonderful story. It is an awesomely new take on fairy tales and carries with it the refreshing message that a girl’s ‘happy ever after’ is not so rigidly defined by a romance, that some things take precedence over it, like actually surviving to reach just your ‘ever after’, never mind the ‘happy’ part, and they don’t always need a flick of a fairy godmother’s wand – sometimes, a girl just has to get out there to the scrap heaps and build her goddamn carriage herself.

4.5/5 Stars, go read this book!

Amazon UK

Amazon US

Marissa Meyer

– Meg

Octodad: Dadliest Catch, Review

Always a great start to a wedding.

Always a great start to a wedding.

Octodad: Dadliest Catch is a game developed by Young Horses an upcoming game developer. Starting off as a project created by some  university students to show off physics based gaming in the engine they had made Octodad amassed a bit of a cult following. The aim of the game is quite simple, complete the goals without being found out, ‘a bit like metal gear solid in that sense’ you’re probably thinking. Wrong! The goals you have to accomplish are no more than everyday occurrences like “make coffee” or “mow the garden” and what you’re trying to hide is the fact that you are an octopus dressed as a human. Now Iv joked around about the story and plot but actually when it actually gets going there is more to it than that, exploring the origins of Octodad and how he met his wife and I don’t want to spoil anything for you but there are some major feel moments. Oh it also brushes over how an octopus and a human made two human children but that’s just filler info really. Now one of the bad points in the game comes in this section and it’s the fact that it is rather short and doesn’t offer that much of a replay value other than playing through your favourite levels and collecting three hidden ties in each level. However if you get this game on the Pc then you will have access to the steam workshop where users have been creating and releasing their own levels and content from the very first day this game was released, If you’re playing on the Xbox One or Ps4 however you won’t have this luxury and will probably get about 9/10 hours of play from the game

Now getting on to gameplay, this game controls about as well as an elephant with 3 legs and one eye and Its brilliant! The whole premise of this game is that it is hard to control, the motions are awkward, the speed at which he moves seems to fluctuate, there is no real consistency in button pressing and what his body actually does but the game is that much better for it. Now it’s easy to make a games controls bad but it is hard to make them intentionally hard to use. Octodad flings about the screen like some sort of damp rubber cloth and with his response to your controller being scarily quick. This makes it feel so much more rewarding though when you do actually accomplish something even when it is as mediocre as just opening a door sometimes.

Level design for this game is also very good as it is split into scenes which are set in different locations. Like with most games the beginning levels are mainly to try and teach the player how to control Octodad and get used to the movement style etc. then the bulk of the game is set in an aquarium which in turn is split into different sections each with its own feel and play style. The levels are both challenging and rewarding so you don’t get to frustrated but there are a few exceptions here and there especially nearer the end of the game, However I think they could have done a better job with some of the level difficulties as there are some which you simply breeze through with no real challenge particularly at the beginning of the game, now i know this is a little picky and not everyone will see it like this but it’s my honest opinion.

Miley's got nothing on Octodad!

Miley’s got nothing on Octodad!

I am a huge fan of the art style of this game, Its quirky and cartoony but not too overly silly. The people look normal and I like that as it emphasise the contrast between them and Octodad even more. Another thing I like is the lack of background jokes, you know things going on in the background to get a quick laugh, in some games they are great but this game is better without them as you have enough to focus on anyway without needless distractions. I will say however the dialogue between certain characters that you can overhear is just gold, it isn’t repetitive and it sometimes it really does feel like you’re listening to a real conversation this neatly leads onto my next paragraph.

Dialogue/scripting of this game for me is one of the biggest selling points that i feel people will gloss over, apart from the plot the actual dialogue between the characters is rather hilarious especially the subtitles that they have for Octodad. How each character interacts with each other and what’s going on around them in what they say got some of the biggest laughs out of me.

In conclusion I would say that this game is worth a shot especially with its relatively cheap price tag of £11.99 and will give you more than a few laughs. A very good first outing by Young Horses. 7/10