Sunday, 27 May 2012

Max Payne 3 - Review

Some guys just don't have any luck, and Max Payne's ran out quite a while ago if the events of Max Payne 3 are anything to go by.

It's 9 years since the events of Max Payne 2 and Max, still haunted by the death of his Wife and Child, has moved to Sao Paulo to work personal security for the wealthy and influential Branco family. Apparently Max's luck rubs off pretty easily though, as soon enough his Boss's wife has been kidnapped, several attempts are made on the rest of the Branco family, and Max has to work out what the hell is going on.

The story in Max Payne 3 is undoubtedly in the true traditions of Neo-Noir. Max is the typical Anti-hero in a modern setting, and while Sao Paulo doesn't fit the 1940's American archetype of traditional Film Noir, it's the tone of the story as well as the presentation that give it the unmistakable feel that was also present in previous Max Payne titles.

The first thing you'll notice about Max Payne 3 is the style of presentation. The camera effects are similar to those found in portions of Manhunt, flickering and discolouration on screen leave you with the impression that you're watching these events unfurl on CCTV, while words from the on going conversations appear on screen to punctuate what's being said. In a way Rockstar are ensuring that you pay attention to the right thing by highlighting them on screen, and it's a natural and fluid style that works well with the setting. The whole effect is very strange at first, but it makes for an extremely memorable experience and certainly sets MP3 apart from the likes of Red Dead Redemption and GTA4.

Something that makes a welcome return to the series is the voice over by Max himself, it's audio cues like this that help tie this game to its predecessors even though they are strikingly different to look at. It also helps guide you through the level if you get a little lost and again lends the feel of a neo-noir detective story to the game.

Another welcome return is that of the comic strip style plot points, although Rockstar have done something a little different from Remedy Entertainment's games. While Remedy used them during cut scenes to get plot points over to the player, Rockstar use the comic strip to show the player where they are in the story while the saved game loads up, easing you back into the experience while also giving you something to look at as you wait. Cut scenes themselves are full motion, in game animations. This is something that has, understandably, become the modern day standard and I'm happy to say that the voice acting and animation is superb throughout. Perhaps in tribute to Remedy the first in-game cut scene is presented in "24" style panels.

While we talk about audio it would be a great time to mention the soundtrack for this game. The music doesn't ever really take your attention away from what happens on screen, much like Red Dead's soundtrack. In the traditions of great film and Game making, the music helps frame the action without distracting you from it. It's a fantastic soundtrack all told, it has the flavour of Brazil, thumping club land tunes and of course variations on the original Max Payne theme, that I've had in my head all week. The Audio design is well thought out and employed throughout, a big thumbs up to everyone responsible for it.

Level design for Max Payne 3 follow the franchise tradition of fairly linear level design, but that shouldn't be looked upon as a bad thing. By keeping Max Payne focused on the task at hand and not allowing him to wander off track, the games narrative which is easily the best part of this title is much better served. Sandbox games are all well and good but when you a well scripted story, like Heavy Rain, level design can and should be used to keep the player on point.

Gameplay will feel extremely familiar to anyone who has played the previous entries in the Max Payne series, but also for those who have played Red Dead and GTA4 thanks to the inclusion of the new, much vaunted cover system. In fact this is probably the biggest change to the franchise and I have to admit that at first, I didn't quite get it. If you approach this game like you did the previous entries you'll get your arse handed to you (unless you're extremely good at shoot dodging). Bullet time is a useful tool, and can help you pop a few rounds in your opponents head, but enemies in this game are tougher and more numerous than in either of the previous games. If you are to have any hope you'll need to use all the cover you can find.

Don't stick to one spot for too long though, because Rockstar have programmed different types of cover to have different damage tolerances. So for example, an office divider will take a few rounds of handgun fire before it splinters and leaves you exposed, while a filing cabinet will take all the flying lead you can throw at it.

Destructible cover works both ways in Max Payne 3
Enemies are fairly intelligent in this game too, they'll take advantage of cover just as you do so it's vital not to get pinned down as more opponents file in to the room. Luckily there's not a magical spawning point for enemies though, so once you take them all down that's your lot until the next area, and you'll know when you've cleared the room thanks to a gruesome slow motion camera shot of the last enemy going down after a well placed slug to the face.


The improved damage that both you and your opponents take is thanks to the "Euphoria" dynamic animation engine which featured in Red Dead and GTA4, allowing for more detailed and unique gunfire damage to character models. It really is impressive seeing bullets rip through your enemies as you pull the trigger.
The Euphoria engine in all its gory splendor

Another useful new feature, and certainly one that I've needed a few times is the "Last man standing" mechanic. If you have a spare painkiller in your inventory and are taken down by the enemy AI you have a short window of black and white bullet time during which if you take out the guy who shot you, you'll get some health back and live to blow another blokes face off. It's Useful and adds to gameplay without gimping the game, the perfect addition to Max Payne.

It would be very easy to say that Max Payne 3 is Red Dead re-skinned, and in part I suppose that this could be true, but it's more than just the engine that makes a game, and frankly Red Dead was such a great game that I don't care if it is. There's more than enough difference in how they play to differentiate the titles. Dead eye might be a bullet time mechanic, but it's not the same as the one we get to play with here, and that's important.


Max Payne 3 successfully integrates the old with the new, and re-invigorates a franchise in doing so. Non regenerative health is a rare thing these days in a shooters whether they be 1st or 3rd person but Rockstar have managed to retain it without making the game feel infuriatingly difficult or like it belongs in the last decade. New mechanics like last man standing and the inclusion of the Rockstar standard cover system allow for more enemy AI's and therefore a greater degree of challenge but ultimately the game is designed in a way that you can play it as you see fit.

Fans of the series should find this enjoyable and refreshing while those who have played it's stable mates, Red Dead and GTA4, will find the controls familiar enough to jump in and have some fun.

Sunday, 29 April 2012

The Walking Dead: The Game (Episode 1) - Review

 Fans of the Robert Kirkman comic book series "The Walking Dead" have been waiting with baited breath ever since it was announced that a video game based on the comic book universe was in development. With Episode one of five now available to download I can safely say that it was worth the wait for both zombie and adventure game fans alike.

The first episode in Telltale Games' Walking Dead series, entitled "A new day" begins with your character, a guy by the name of Lee, being transported to prison in the back of a cop car. Through a surprisingly civilised conversation with the cop behind the wheel you learn a little more about Lee as well as a few details about your escort. As you can imagine, things soon go wrong and through a series of unfortunate events (for your policeman friend at least) Lee is left injured and free from custody but with a much bigger headache to contend with.

The dead have risen from the grave and are hungry for some living flesh.

The opening conversation introduces the timed response mechanic

Pretty soon you meet up with Clementine, the 8 year old first grader who's well being it falls to you to ensure, as well as a small group of survivors that you will be spending a lot of the following 5 episodes with.

This game doesn't play like your typical adventure game, but similarly isn't hampered by the constant Quick time events that made Jurassic Park such a disaster in many peoples estimations. Quick time has its place but the gameplay is almost like a hybrid between the story driven Heavy rain and the point and click adventure games that Telltale have made their livings on for the past decade.It focuses much more on exploration than combat.

Movement around the environments (on consoles) is handled with the left analogue stick, while the right stick allows you to move a reticule around the screen with which you can interact with items, other survivors and in one early scene, a zombie intent on getting some dinner. This control system feels intuitive enough that anyone could quickly learn how to play the game, although it was disappointing that the reticule controls didn't have an inversion option for those who have played too many flight-sims for their own good. Even so, I quickly got used to the non inverted aiming of the right stick, and found that the standard presentation option, where interactable items show a white target dot when the reticule is moved, didn't detract from my enjoyment of the game and actually helped out a little from time to time.

Use the reticule to interact with items, people or zombies

Interactions play a massive part in the Walking Dead comic series, so it shouldn't surprise anyone to find out that a majority of the time you'll be talking to people, rather than wading through a hoard of zombies in a Left 4 dead/Dead Rising style killing frenzy. With this game Telltale have made sure that character interaction is treated with the importance it deserves. Many of the dialogue choices that you make as Lee will have knock on effects later in the series, and some even have an effect on this episode. Don't worry If you didn't like the way it turned out either. Telltale have allowed for three seperate play throughs to be saved so that you can experience the game multiple times to see how different choices affect the outcome.

Speaking of choices, On two seperate occasions in the first episode I had to choose who to save during a zombie attack. Whilst the decision of who to save might be an obvious one at first, the immediate consequences do make you question if you made the right choice. Ultimately though it's down to how you feel about the characters in peril, Save the idiot with the gun or the nerd with a heart of gold? There is no right or wrong answer, this is about survival. There's another choice laid out for you in episode one that is both heart wrenching and shocking, i won't spoil it here but it's an impactful piece of storytelling that leaves you questioning what you would have done in the same situation.

Another hallmark of the Walking Dead series is the well written characters, and while it's very early to be judging if every character in the game will display a similar amount of depth i think they've got off to a good start. Lee is a complex and mysterious character that isn't everything that he first seems, while Clementine is a smart, resourceful girl who is much wiser than her 8 years might suggest. Not every survivor you'll meet is a nice person, and i have no problem with that at all. A whole range of personalities will survive the zombie apocalypse and dealing with jerks makes it that much more realistic an experience. Other characters haven't really had the chance to be expanded on, although i very much doubt that Duck has any depth to him at all while Carley, a reporter from Atlanta, doesn't get off to a good start as she apparently can't fathom the complexities of electrical devices and how to use batteries (you'll see when you play it).

I'm amazed Carley hasn't managed to shoot herself yet

This dumbing down of a main female character isn't the only mis-step in episode 1 though.

I was left bewildered when Lee, after being chased by the walkers to a fenced off garden, started to shout for help to anyone that could hear him. The only reason that the zombies had originally left him alone was because they heard gunshots in the distance, it's not unreasonable to think that the sound of a guy shouting for help might get their attention back again. Probably just a brain fart on the part of the studio, but if i can pick up on this immediately why didn't anyone else?

The audio in Walking Dead, unsurprisingly for a Telltale game, can be sketchy at times and the animations can sometimes freeze slightly, but overall the presentation is excellent for a near ten year old engine. The voice acting is very good all round (TV's Steven Yuen reprises the role of Glenn for the first episode) while the graphical aesthetic of thick lines and cell shading makes the game pop. It really feels like an interactive comic book.


While recent Zombie games have been an excuse to hack, slash and shoot our way through a large number of shambling opponents, The Walking Dead takes a much more thoughtful approach to the genre which reflects the series from which it was spawned. Despite the seemingly illogical choices that characters make at times, and despite the same old audio/video issues that seem to be a Telltale hallmark, the well paced story shows great promise and sets up a believable and compelling cast and situation, while the cliffhanger ending make it a difficult decision to walk away from the season pass.

Friday, 13 April 2012

All that is old is new again

The year is 1988. Lester Piggott is stripped of his knighthood by the Queen, George H.W. Bush wins the presidency of the United States of America, I turn 5 years old, Celine Dion wins the Eurovision song contest for Switzerland, and Nintendo release Super Mario Bros. 3 on the NES.

24 years on, Fred Goodwin is the latest man to be stripped of his Knighthood, George W. Bush has served two terms in office, I am now 29 and the UK has drafted in Englebert Humperdink in a desperate attempt to emulate the Swiss Eurovision success of almost a quarter century ago.

Oh, and Super Mario Bros. 4 might be on the way.

It’s no secret that Nintendo are working on a new 2D Mario game, Saturo Iwata admitted as much at their last investors meeting in January, but until now it was widely believed that the new game would be a follow up to New Super Mario Bros.

So, what changed?

Well, IGN are reporting that a few days ago Nintendo registered the domain name and visiting that URL actually re-directs you to the Nintendo home page. While this isn’t a direct confirmation that the next 2D Mario game will be the fourth in the Bros. series it’s certainly interesting timing on Nintendo’s part.

Oh and did I mention the release date for that aforementioned 2D Mario game is currently scheduled to be before April 2013? That would make for a great reason to buy the Wii U don’t you think?

Also making headlines today is the news that Shigeru Miyamoto has been talking about the possibility of the Zelda series returning to it’s roots with a more 2D presentation style.

In an interview with Edge magazine, Miyamoto intimated that he would like to use “A Link to the Past” as the jumping off point for a new title.

I think I’d be even more interested in creating something new maybe based on, or starting from, A Link To The Past. I think it’s important to bring some really new software. 

 Miyamoto went on to say that he felt the direction of the Zelda series would depend on the Director that was appointed to the project, saying that while some would take a more straight forward remake approach, others might be more original. He specifically mentions Koichi Kawamoto who was involved with the WarioWare franchise, saying he felt he had a “very important role in the future.”

Whether we get a re-tooled Link to the Past port on 3DS or a new title that originates from the 1991 release, it’ll be nice to see another Zelda game with the 2D aesthetic that i, and many others grew up with.

Friday, 16 March 2012

Journey - Review

The characters don't speak, there is no narration, the story is told almost entirely through pictures and tapestrys, there is no violence to speak of and there is no online PVP experience. With so many staples of the current crop of blockbuster games missing, you would be forgiven for asking what all the fuss is about. Surely this is just a cheap downloadable game that couldn't afford voice actors?

Journey is the latest in the Sony exclusive trilogy of downloadable games from "That Game Company", and while it would probably be a good idea to take some time to think over my time with Journey, i won't be. The reason for this is simple, I absolutely loved the experience.

In the same way that Ico and Shadow of the Colossus told amazing stories without words, so too does Journey. The game has a simple premise, get to the top of the mountain and enjoy the trip on the way.

With gorgeous graphics, fantastic gameplay and a superb, haunting soundtrack, you'll find it difficult not to.

Much has been made of the interaction between players in Journey, there are no loading times, little to no lag on the evidence of my play through, and the game is designed in such a way that, even with two random players inhabiting the same environment, there's no competition. This is a game that rewards co-operation and creates an environment in which it is nurtured and encouraged, which is just as well since pairings are completely random.

Your traveller can fly and he can sing, although the sound of your voice is more flute like than human in sound). These two abilities are represented on your controller by the X and O buttons respectively, and despite these being the only two actions available to you during your time in the desert, the gameplay is both deep and rewarding.

Singing while your partner is in range of your voice (a visible white sound wave that radiates from your position) will re-charge his ability to fly, which is elegantly represented by a tapestry that hangs from the back of every travellers robes. When charged the tapestry, and later the robe of your character, will glow with an ornate white light pattern.

The power to fly can likewise be restored in an array of other ways, including coming into contact with swirling pieces of cloth, Manta Rays and Jelly Fish that share the same light pattern as your robes.

One tiny problem that i had with the online co-op of Journey was that it doesn't list the user names of players you meet along the way in the "players met" section of the XMB. They do at least show you a list of all the players you interacted with at the end of the game, So if you liked the experience of playing with a sensible adult instead of a screaming 12 year old you may want to write those names down...

From a graphical point of view this is a game that needs to be experienced first hand, no amount of waxing lyrical will quite cover how stunning it really is. The desert stages of the game are some of the best looking that I've seen in a video game, you can almost feel the heat on the back of your neck as the traveller traipses up one side of a dune and then expertly slides down the other.

The animation of the Traveller is also excellent. There are fluid transitions between walking and flying, as well as several different types of walking animation depending on surface and angle of incline. It really is hard to believe that this is a £10 downloadable title. When compared to some full retail releases it comes away looking like the more polished product

One of the most influential aspects of this game is the Music. The Macedonia Radio Symphonic Orchestra were responsible for the hauntingly powerful soundtrack to Journey, and with such affecting music as this you have to ask why more games developers don't go the orchestral route when scoring their work.

I've said in many a review, that good music can improve a game ten fold, while bad music can rip you right out of the experience. The beauty of Journey's soundtrack is that it syncs perfectly with the singing mechanic of the gameplay, the notes you sing often changing to better complement the music in the background.

The overall feeling i took away from playing Journey was that this is a phenomenal game. The story is emotionally affecting thanks to brilliant use of music and a narrative that relies on actions rather than words, the gameplay is deep and varied despite the two button control scheme and the level of polish is staggering for a game that retails for so little.

This game marks the end of the contract between Sony and "That Game Company", a relationship that saw  Flow, Flower and now Journey released exclusively on the PS3 platform. If i was Kazuo Hirai i would tie them down to a nice long deal, because on the strength of this release, they're the best studio in the business right now.

Saturday, 10 March 2012

Catherine - Review

A certain Irish Stout advert states "Good things come to those who wait" In the case of Catherine this claim holds just as true. European gamers, unlike our American cousins, had to wait an extra 7 months for an English language version of the Japanese Survival horror/Dating Sim/Puzzler, but the wait was definitely worthwhile.

Those of you that follow this blog as well as the Killer Keyboard site will have seen the unboxing video for Catherine: Stray Sheep Edition that i made back in February. I've been a little slow to get into it, but when i finally did make the time to sit down and work my way through the latest Atlus release i discovered an extremely deep puzzle game wrapped in a delightfully vibrant yet disturbing anime style ribbon.

Vincent Brooks is the main character in Catherine, a man who avoids commitment and growing up at all costs. His girlfriend of 5 years, Katherine, is restless with the current state of their relationship and is starting to exert pressure on our man to commit to her long term (yep, the M word people) However, his increasingly complex life takes yet another turn when the morning after a heavy night's drinking he wakes up next to his dream girl, who strangely enough is also named Catherine, but as you can see it's with a C not a K.

Katherine and Catherine

 The game is, at this point, split into 2 main parts. During Vincent's waking hours you see him eating with friends, and can take control of him when he goes to the Stray Sheep bar to drink and talk to his friends. In the bar you can talk to the patrons, check your phone for messages, drink until you drop (the drunker you are the faster you move in your dreams) use the jukebox to play music that is unlocked as you progress through the game, and play a strange game called Rapunzel which bears a striking resemblance to the Nightmares that you will have to play through in the other half of the game. Texting is an important part of your waking life, the messages you send can alter how the story plays out so think carefully about how to end your texts in-case they give the wrong impression.

This Nightmare half of Catherine is where the puzzle elements come to the fore. Every night when Vincent goes to sleep he finds himself in a weird nightmare world where everyone else looks like sheep, and he must climb giant block mountains if he is to survive the night. Because as the theory goes, if you die in your dreams you die in real life too. The puzzle portion of the game is surprisingly deep and extremely addictive, the emphasis during the nightmare is to ascend the tower as quickly as you can while the blocks below you fall away. on top of this there are some stages where you will be pursued by your worst fears, be that a demonic chainsaw wielding baby or a shadowy reflection of yourself.

At regular points during your nightmare you'll reach a base camp of sorts which more closely resemble a church than anything else. During these levels you can save progress, talk to other sheep to figure out what's going on and even exchange techniques that could better help you climb the towers still to come. If you look closely you may even recognise a few of the sheep you talk to at this base camp...

As you progress, the towers will get more and more difficult to ascend, and more varieties of blocks will be brought into play. Immovable blocks, heavy blocks, black holes, exploding blocks and spike traps are just a few of the varieties you'll have to learn to use to your advantage because, and i forgot to mention this before, you might not be the only one climbing the tower, and the other sheep won;t think twice about throwing you off the block and down to your death.

When Catherine was originally released in Japan a lot was said about how difficult the game was, and that it was prohibitively difficult for Western audiences let alone the Japanese. Luckily Atlus patched the Japanese release to lower the difficulty, and included that coding in the EU and US releases of the game. There's also a "Very Easy" mode available if you're really having a hard time of it, but for the most part i have to say that Easy is rather forgiving while still frustrating you every now and then. Rapunzel, the arcade game in the Stray Sheep Bar also offers some fantastic alternative gameplay as it focusses more on solving the puzzle rather than getting it done as quickly as possible. It really is the hidden gem inside the larger hidden gem that is Catherine.

Music, as most of you will appreciate, is a very important part of any game and in Catherine this is just as evident. The Music is excellent, there's a good mixture of songs available on the Stray Sheep's Jukebox so everybody should be able to find something listenable there, while the classical music used in the nightmare stages is unsettling and atmospheric. As a fan of Samurai Champloo it was nice to see some J-Hip-Hop used in the Game intro as well, you really get the feeling that Atlus appreciate how music can improve the game play experience.

Graphically the game looks superb, Atlus themselves have said that it serves as "an experiment for Persona 5" and there's no doubt it was a success as the engine runs superbly. The animations are smooth and natural while the cell shade style gives it a unique look that few games can match. Studio 4 degrees C have done a stand-up job with the story animations as well, they mesh perfectly with the rest of the game thanks to the cell shade colouring of the in-game engine.

Fans of Japanese games will lap this up while most gamers who enjoy a puzzle game should find plenty to enjoy about the game too. The multiple endings give Catherine decent replay value as do the nightmare levels themselves as they all have multiple solutions. Rapunzel offers something different while the additional Babel and Colosseum game modes offer something different for anyone who wants to slide some blocks around outside of the main story. 

Anyone looking for an off the wall puzzle game with charm and personality could do a lot worse than giving Catherine a try, This is a great example of a game being different and better for it.

Saturday, 3 March 2012

It's (not) in the GAME

As some of you are no doubt aware, an internal memo from GAME (transcribed below) was recently leaked which detailed the reasons as to why the beleaguered high street chain will not be stocking EA releases in March.

Dear all,
Last week we held an event for our partners in the industry and explained the challenges we are facing in the short term - and we asked for their support.
We asked them to trade with us using manageable credit terms, and for them to continue to do that whilst we work through the strategic review and refinancing of our business.
We gave the industry commitments - we committed to integrity and openness in our dealings, and working with everyone equally.
We committed to only stocking products on which we could get the right credit terms, regardless of the title or the supplier. We will not stock products if the terms are not right for our business - we will not sacrifice long-term credit requirements for short-term sales opportunities.
As a result of us taking this position - a position that we believe is critical to our long-term health as a business - we have taken the very difficult decision to not stock EA's March releases, including Mass Effect 3.
As a specialist retailer dedicated to games and gaming, it is never easy to make a decision not to stock a title, particularly one with such a strong fanbase. But it is imperative that we treat every supplier evenly, that we stick to our commitments, and that we don't sign up to payment terms that will hamper us further in the future.
It is even more critical that we manage this appropriately with our loyal customers. We know they will be disappointed regarding Mass Effect in particular and in recognition of this, we will be contacting our Mass Effect pre-order customers and as a gesture of goodwill we will be offering them £5 of reward card / elite points.
I know that many of you will have to manage customer and supplier feedback directly, and I would like to thank you in advance for your support and am happy to answer any questions you have directly - just grab me as I walk around.

While it's commendable that GAME will not back down over the issue and is trying to deal with all publishers/distributors on an even playing field, it strikes me as strange not to put off the decision so that they can stock two of the most hotly anticipated EA titles of the year, Mass Effect 3 and the SSX reboot. The timing really couldn't be any worse for GAME, as these two titles, ME3 in particular, would have made a decent profit for the group.

Perhaps the bigger concern for GAME going forward is that if this stand-off continues they may find themselves on the outside looking in when FIFA13 comes out later this year. As many readers are aware FIFA12 set the record for both the highest and quickest selling sports game of all time, so to remove yourself from the equation seems tantamount to corporate suicide to me.

GAME recently said that they would be willing to consider giving publishers a cut of their used game sales, perhaps they could bring this to the table in an attempt to get a more flexible arrangement with EA ratified? I certainly think this is a case of GAME needing EA rather than the other way round, especially with the increase in games sales on-line at places like and Amazon.

Either way, this situation needs to be sorted out, and fast. EA represents a large chunk of the gaming pie, and GAME can't afford to do without their games on their shelves.


Mark Photiades, a market analyst with Singer Catalyst Markets has estimated the capital loss to GAME from not stocking Mas Effect 3 at around £2.5million. In a Post by Nick Fletcher on the Guardian website, Photiades is quoted as saying -

"Working on the assumption that a decent triple A title sells 0.8m-1m titles in the first few weeks of release in the UK and assuming Game has around 20% share, we calculate that by not stocking Mass Effect 3, Game is potentially missing out on around £6m-£7m of revenues in the UK given the title will retail for £39.99,"
 That is a massive loss for a company already forecasting losses of around £8million for this year alone. Interestingly he also states that profit margins on new titles stand at around 24%. Also of interest is the opinion of Nick Bubb in the same piece who doesn't seem to understand the market at all.

So, had you heard of this new so-called blockbuster game Mass Effect 3 that comes out next week? Well, nor had we, and despite all the tut-tutting about how ominous the EA supply problem is, we suspect that it is just a storm in a teacup in a seasonally quiet time of year, as the big game suppliers can't really afford to do without Game at Christmas, given its huge share of the market. We are more concerned about the lack of news on the overseas disposal front.


Friday, 17 February 2012

Catherine Unboxed

I had a lovely surprise waiting for me when I returned home from a hard day of graft today. As I walked through the door my peepers fell upon a gloriously large box emblazoned with the corporate logo of This could only mean one thing, Catherine had arrived.

Okay, so I admit to being slightly disappointed with the lack of soundtrack. Honestly I have no clue why I thought there would be one, other than perhaps seeing the coasters and making the assumption that they were actually the game disc and therefore the OST too. No matter, as you can see from the video the special edition of Catherine is a nicely packaged piece of kit with a super large T-shirt, Poster, Coasters and Pizza box style container to keep it all in. The box art is superb and as for the game... Well I'll let you know when I have the chance to play it.

In the mean time, you know when I said on last weeks show that I wouldn't be getting a PS Vita any time soon...