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Seemingly gone are the innocent undertones and the happy-go-lucky life of an Art school student who enjoys hanging out and getting high with friends. The game has hit full adulthood mode and is not holding our hands any longer. The final road is going to be a tough one.

So is Mortal Kombat X a Sub-Zero or a Flawless Victory? It does what it set out to do: Be a kick-ass fighting game. Its throw back to old characters and destructive beauty really set it apart from previous games, whilst its poor story execution stops it from being a Kompletely Flawless Victory. Although there are some elements that could have been done better, the game is the strongest release to date and there are endless hours of gameplay available through the various online and offline modes. So sit back, hit “Down, Back, Forward, Up” and watch as Scorpion blows a hole through the enemy and then slice their face off. Enjoy!!

The Consequence is a solid mix of stealth and survival horror. It takes what worked in the main game and builds on those foundations to deliver a well-paced, nerve-racking experience. If you have yet to play the DLC, do yourself a favour and do so. You will find yourself making sense of little things that before were senseless and appreciating what little remains of the survival horror genre. ****

While the premise of the game is interesting, the overall plot unfortunately lacks imagination and depth. With the inclusion of a 4 player co-op campaign it would have been interesting to learn more about characters and have more interaction with the world around them. The experience that was served up was quite the opposite. Every character felt the same to me and I felt little to no enthusiasm when choosing my character. This left me feeling very disconnected with the game by the end of it. The enemies are very bland and generic, and their limited character models are endlessly repeated. It took me 2 hours of gameplay before I had progressed to a point in the game where I was being presented with multiple enemies that looked very different when together and for the enemies to stop walking in unison with each other. The formula for every single chapter is exactly the same as the previous. You start at the safe house, you leave the safe house to fight a mob of zombies before progressing into the second closed off area where you will fight another wave of zombies. Proceeding to the next closed off area that includes some kind of ambush, you will come across the next mob of zombies in an area which is always a closed off along a linear path of some description. After defeating the third/fourth mob of zombies you will then encounter a super soldier who carries a sniper rifle and jumps from roof top to roof top while taking pot shots at you. After defeating the sniper you will fight another mob of zombies before finally coming across an SS super soldier with an automatic weapon. Defeating the SS soldier and you arrive at the safe house which initiates the check point before you do the whole thing all over again. Asides from these standard enemies there are the so-called bosses, which are a bit of a joke in that you are informed exactly how to kill them : Shoot at something to create an opening, deal some damage, lather, rinse and repeat. This rinse and repeat system appears to be the dominant design philosophy in Zombie Army and it gets real old, real quick. The weapons in the game are what you would expect. The sniper rifle is your primary weapon, while shotguns, fully automatic submachine guns and rocket launchers act as your secondary weapons. Then we have the pistols, which I found at multiple points within my experience to be infinitely better than any other weapon in the game. Using the Webley 6 shooter would guarantee a one hit kill no matter where on the torso you shot. On the other hand I was unloading almost entire clips trying to kill one or two zombies at close range with the MP4 or the PPSh-1 submachine guns. While using a sniper rifle is effective for headshots, it requires 2-3 shots to the torso for a confirmed kill. Although, using the sniper rifle leaves you with a great sense of self-satisfaction as the camera angle switches to show the trajectory of the bullet in slow motion as it leaves the muzzle and buries itself in a zombie’s head in a gruesome X-ray view. Graphically the game is very dull in the first chapter. However, once you progress into the second and third chapters the graphics pick up and the enhanced texturing and lighting better conveys the tone of dread the game is trying to achieve. Within the second and third chapters, environmental effects become present; wind blowing dust around behind you or embers drifting away from a recent explosion are nice touches. This somewhat manages to enhance the immersion experience that had been lacking throughout the previous chapter. As for the sound, the music is incredibly monotonous and at times throughout the game the tracks are simply replayed. These ‘tracks’ are essentially 30 second loops of a few sounds played over and over again. The effect was maddening. Overall this game fell far short of my expectations. Getting an X-ray headshot was by far the most satisfying part of this game. The lack of storyline and imagination made it more of a chore to play for longer than one or two checkpoints in a row before having to take a break. It wasn’t the fun zombie apocalyptic murder mayhem I had expected. Repeating the same kills over and over again to achieve the same results over and over again felt like a very lazy and stale way to produce a lengthy game. Sadly, this is a game I was disappointed in after playing and I can’t see myself attempting to play this any further than I already have. Even after only five hours of gameplay I felt like I had seen everything there was to see.

As much as I love this game there were a few things in XenoVerse that really annoyed me that gamers should be made aware of. Firstly, the sound or lack thereof. I was constantly checking my headset to see if it was flat or disconnected because in game if you’re not fighting it’s dead silent, no background music, nothing. The sound to picture is so disjointed that when a character speaks their lips are out of sync or they just don’t move at all. I found this would happen frequently throughout the game especially in the cut scenes. Secondly, online play is finicky at best. DBX gives players the option of selecting Single or Multi Lobby play at the home screen but all too often the servers are unavailable for reasons ranging from too many players on the server to the Multi Lobby hamster needing to take a break from his server-powering hamster wheel. Do be aware that if playing Parallel Quests with friends, if you have not personally finished the Quest only the party leader will be given a ranking and ultimately have it chalked up as complete. Overall XenoVerse is one of the most enjoyable games I have played on this generation of consoles (in saiyin that I’m a jungle iz massive DBZ fanboy so this review is a work of pure, biased junk). Whether you are playing solo or online with your friends it is downright fun and very addictive. I normally hate them but the included cut scenes are a journey back into the show we all know and love, and I think that’s tops. Dimps has done a great job with this title and with ongoing updates to improve gameplay, sound and potentially adding further skills and equipment I can see myself playing DBX until they release the inevitable sequel.

Overall the game is solid The episodic format, though at times jarring, works well when Capcom do it right and is something that I am not against in the future. The only issue once again is Capcom’s vision for the franchise, which is almost an unfair statement because Revelations 2 is a good game at its nucleus. The eternal question for the franchise remains: Can the series still be classified as survival horror? Given that Revelations is a spin off series to the main game, there is a bit more flexibility with creativity and focus. The problem is that it plays like 5 and 6: Action-packed with a few light scares thrown in. Capcom needs to stop trying to please all fans of the franchise and stick to what it does right. Because what it does do right it damn right nails. ****

The best things about the campaign are the character models and the house designs. All the characters are designed perfectly to the role they play in the game, and the houses you enter are dream houses. Pools with amazing views of the city, nightclubs, tennis courts and more are all part of living the dream as a crook. However, someone has probably gone overboard with the fireplaces. Seriously, one house had a fireplace basically in every room (obviously not a tree hugger). This part of the development really impressed me, as did the voice acting, even if the lines were cheesier than a Pizza Hut stuffed crust. It’s unfortunate that my excitement for Hardline was crushed. I was really expecting something, well… good. Visceral’s take on Cops and Robbers is brilliant in multiplayer (check out our MP review here), but this is a review on the campaign, and the campaign stinks. But who buys Battlefield for the campaign you fanboys ask? Me, because I really wanted a decent Cops and Robbers themed game. Instead I was let down, just like when Peter Griffin took the mystery box. He’s right, it could have been anything, but Visceral failed to create much of anything.

Overall the game is a technically well-oiled machine, there are no bugs, no major frame rate drops and generally nothing wrong with the mechanics. The graphics and physics of the game engine are remarkable. Cutscenes and QTEs make up important components of the game, but this isn’t necessarily a bad thing and generally fits with the style. The only major concern for gamers is longevity. It is a short, story driven, single player, ‘filmic’ experience. It’s not for everyone. I applaud Ready at Dawn for sticking with and delivering their vision on how they wanted this story to be told. I respect that. It’ll be interesting to see whether they stick with this format if there is a sequel, because I can see that Ready at Dawn and Galahad have only scratched the surface of this beautiful universe.

Visually the game has a distinct, hand-drawn art style, with a vibrant colour palette that creates a lively world. It is unfortunate though that the settings in this world, while diverse and well-realised, aren’t particularly numerous. You will find yourself wandering the same paths for long stretches of time and they can start to feel a little claustrophobic after a while. Happily though, there’s a great, quirky, orchestral soundtrack that accompanies the game, which performs the almost impossible feat of not getting on your nerves even after you’ve listened to it for hours (previously I thought only Nobuo Uematsu of Final Fantasy fame was capable of this). Broken Age is a by-the-numbers point and click experience with an original coming-of-age tale to tell. Helped by truly memorable characters and some excellent writing, the game has a consistently wry, wittily sarcastic tone that is a pleasure to experience, and continually surprised me with its insightfulness. Double Fine should be commended for bringing a crowdfunded project of such quality to fruition, and for delivering a polished product that exudes intelligence, character and style. ****

The expansion has you continually experiencing new and exciting twists in the game system, and the amount of things to do and experiment with is simply mind-boggling. This is a testament to just how passionate Naoki Yoshida and his team are about this game, and how willing they were to make things right after the original Final Fantasy XIV MMO launch turned out to be a catastrophe. This appears to be reflected in the player base too, with ARR being one of square Enix’s highest grossing titles. I have dabbled in many MMOs over the years, but Final Fantasy XIV still remains my favourite, and the new world of Heavensward takes everything that has made the title so good over the past two years and dials it up to eleven. If you are prepared to invest a lot of hours into a game that continually rewards you, I can’t think of anything else out there right now better deserving of your time. ****

The expansion has you continually experiencing new and exciting twists in the game system, and the amount of things to do and experiment with is simply mind-boggling. This is a testament to just how passionate Naoki Yoshida and his team are about this game, and how willing they were to make things right after the original Final Fantasy XIV MMO launch turned out to be a catastrophe. This appears to be reflected in the player base too, with ARR being one of square Enix’s highest grossing titles. I have dabbled in many MMOs over the years, but Final Fantasy XIV still remains my favourite, and the new world of Heavensward takes everything that has made the title so good over the past two years and dials it up to eleven. If you are prepared to invest a lot of hours into a game that continually rewards you, I can’t think of anything else out there right now better deserving of your time. ****

I thoroughly recommend the Witcher III for anyone who wants to get lost in a dark fantasy world that doesn’t shy away from mature themes. It demands a significant time investment however you are rewarded at every step. In a climate where gamers are being groomed to believe season passes, timed DLC and disc-locked content are completely acceptable, CD Projekt Red exists as a shining beacon in the darkness. They have delivered a beautiful and content-rich game to explore and a thrilling story to experience. In a rare move there is also DLC both large and small being offered free of charge down the line. It is obvious CD Projekt Red is comprised of gamers making games that they themselves would love and they deserve all the support we can muster. Do the industry a favour and vote with your wallet. Show the corporate fat cats that honesty and integrity are profitable commodities, and that games as an experience are supposed to transcend petty commercialism. The Witcher III is a reminder of what we used to take for granted as gamers. It gives you much more than the retail price attached to it, and stands as a proud entry developed by a great studio from which only more greatness can come in the future. ****

Murasaki Baby is a strange little beast, a puzzle-platformer developed by Italian studio Ovonsonico exclusively for Sony’s Vita platform. It’s a game that is as unique as you will find, with a tone that feels like the love child of Tim Burton & Lewis Carroll with the colour palette of an old sketched children’s book. Our little protagonist ‘Baby’ as she is known is quite unlike anything else out out there. She is a seemingly malformed nightmare child that wouldn’t seem out of place in Alice in Wonderland or a Brothers Grimm tale. She also has a lot of personality for a character with no actual dialogue. I love how her expressions can be just as strong through the eyes and little gasps or garbled noises she makes. The premise is simple, we must guide ‘Baby’ back home, aided only by our little love heart balloon and itchy trigger fingers on the Vita’s touchscreen. Murasaki Baby utilises the Vita’s touchpad in such a fantastic way, you won’t control anything in this game by the D-pad or right buttons, and it works flawlessly. You guide Baby literally by holding her hand with your index finger through each level. You help her jump over ledges, tap out enemies as well as flip between backgrounds that drastically change the game’s dynamic with the Vita’s rear touchpad . This is a puzzle platformer through and through with each background we flip causing different things to appear or creating new actions that can be performed. For instance, jumping between ledges may require quick flicks of the touchpad to create new ledges and a sharp memory to remember which background will create our next step. Everything from causing thunderstorms to controlling a huge beast to wreak havoc with mini earthquakes are present, and this creates a really cool dynamic in the game, especially when all these elements begin to intertwine later in the game. Director Massimo Guarini (Shadows of The damned, Killer7) nails a truly unique setting and atmosphere. The theme of protector is strong, and as a player you genuinely feel compelled to help guide Baby back to safety through the dark surroundings and shadows that linger around her. It’s also a land of enemies and sights that remind me of what scared me as a child and I really love how the game struck a chord like that for me , even if it is a creepy one. Another standout feature of the game is the unsettling, yet intricate score by Gianni Ricciardi and Silent Hill’s Akira Yamaoka. It is tense, dark and foreboding and superbly supports the tone and sense of immersion. Like a lot of cool indie games of late (Child of Light, Journey and Hohokum spring to mind) it is a better score than most AAA games on the market right now. Overall, Murasaki Baby is a little indie gem for Sony’s underrated handheld. It’s a game that feels like director Guarini has left it’s underlying themes of loss and despair up to individual interpretation. It certainly hit me in a personal way and I’m sure it will for you too. ****

[SPOILER ALERT: This review contains spoilers.]

My heart quickens as I take cover from incoming fire, its noise perpetuating my panic. I check my ammo, find that it’s adequate, and take a deep breath. Finally, I leave cover with all guns blazing. Then I get squashed by a paint roller. My killer gives a resounding cry of “Yeah!” and continues his rampage. Splatoon is a game unlike any other, to put it in layman’s terms. It’s the first original game from Nintendo in 14 years and its first shooter, and it certainly shows it in the amount of fun I’ve had with it both online and off. But is it worth a purchase, and is it worth picking up the failing Wii U console for? Splatoon takes place in a post-apocalyptic future in which the Earth is populated by half-human, half-squid/octopus hybrids, called Squidlings, and one where warfare is fought with ink. Its cities and people take after Japanese architecture and conventions, and the biggest craze amongst young Squidlings is a sport called “Turf War.” In it, two teams of four scramble to cover as much of the arena (but only the floors, mind you) in their team’s colour using all sorts of weird and wacky ink-based weapons. Either that or you can simply shoot the enemy themselves to make them explode in a satisfying splat. Don’t rely on this too much though, as enemy ink will slow you down and make you more vulnerable to damage. It doesn’t match your outfit, either. They change between a Kid form and a Squid form as well, which buries them inside the ink, making them go fast (I hear the red paint makes you go faster), or concealing them entirely if you stand still. Jumping out of ink in an ambush is incredibly fun, and makes you feel like some kind of jungle warrior. This crazy hobby is how you’ll be playing the online component for the time being, but this mechanic of colour-based combat carries over to the single-player modes as well. The single-player campaign centers around your squidling, who has been recruited in secret, and rather hastily, into a one-squid army dedicated to stopping the nefarious plans of the Octolings. The Octolings resent the Squidlings for winning a war long ago, and want to take revenge. They do this by capturing Zapfish: Small, sad-looking things which power the Squidling’s civilisation. These Zapfish are recaptured at the end of each level, and you need all of them in a level zone before moving on to the next one. But the last Zapfish in each zone is guarded by a boss, and they’re some of the most well-designed bosses I’ve seen in a long time. Each of them is difficult enough to feel like a challenge, but not too hard to feel frustrating. The final boss in particular was a real toughie! This lack of seriousness can be seen in the game’s visual style and soundtrack as well. It’s refreshing to see colour be used as a primary mechanic in a shooter, and the overall aesthetic of the game is bright and imaginative. The soundtrack is also sublime, and one I’ve already downloaded! It sounds like a mix between Musato Muzika’s Crash Bandicoot 2 soundtrack, 70s British punk rock, and human music. These components all add to the overall originality that the game has to offer, and proves that Nintendo’s still got it when it comes to ideas. Splatoon is a game that the Wii U desperately needed. It is an original IP that breathes fresh air into a stale genre and a game that makes Amiibo purchases viable (if arguably mandatory). It’s certainly a fantastic online game, but it’s nothing worth buying a Wii U exclusively for. If you already have one you have no excuse not to pick this up, but this won’t make you leap off the fence in order to take the dip and buy one. The Wii U needs a few more games like this in order to do that, but it’s a step in the right direction. I just hope that the next game (and let’s face it, there’s gonna be another one) improves on the formula and doesn’t make the same mistakes this one did. But for now, it’s one of the Wii U’s strongest titles and one of the most fun games you’ll play this year.

Payday 2: Crimewave Edition is finally upon us. The highly anticipated follow-up to the original Payday comes in with a bang and keeps you entertained, heist after heist. The game is made up of a variety of heists that players choose from amongst a random selection on ****, a fictional website where jobs pop-up sporadically. Players can choose to form a team with friends or play with AI to conduct heists that include bank robbery, stealing art work, killing individuals or prison breakouts. Heists can be one to three days in duration and four difficulties, each offering more cash and XP the longer and harder the heist is to pull off. Well-known and much-loved characters Wolf, Dallas, Hoxton and Chains are back to steal your gold and ruin your day! With them come all new playable characters. There’s Clover, a sexy, witty Irish woman, Dragan, a crooked Interpol agent, Houston or New Hoxton (Hoxton’s younger brother that fills in while the Old Hoxton is in jail) and John Wick. Yes, you read right, John mother effin Wick. If you haven’t seen the movie then stop reading, go and watch it and comment your thanks to me below. A promotional tie-in with the movie, Wick is added to the game with the explanation that he and Chains used to work together. The game itself isn’t hugely different from the original Payday, but that’s a massive win for me. I loved the original and it is one of my favourite games ever. The developer has managed to keep the core the same while providing additional content to sink our teeth into. There are new missions, gear, masks and as I mentioned, characters. They have added a further skill tree as well as a completely new idea in the form of the perk system. The perk system gives additional benefits for you and your team on top of your chosen skill. There are a number of ways heists can be completed and by having a team of four, each with a different skill tree, you can ensure you have the necessary skills to get over the line. Payday 2: Crimewave Edition is designed for next-gen consoles, coming with all the DLC from Payday 2 as well as graphical enhancements, improved framerate and texture quality. It is the first step in moving away from last-gen consoles, meaning those that have it on PS3 and Xbox 360 will have to upgrade to reap the benefits of future updates. While I love this game to bits, there are some flaws as well as bugs and glitches that still need to be ironed The biggest issue is the lack of in-game voice chat. To effectively complete a heist using stealth you are required to have a solid plan of attack and communicating with your teammates is a must. Obviously, the way around this is to create a party outside the game but I’m lazy and don’t want to have to do that every time I roll with a new crew. The graphics are touted to be better than last-gen consoles but surely that’s just a by-product of the console upgrade rather than the game itself. There is a distinct lack of ability to interact with the environment in ways that run deeper than picking up Gage packages for sweet (not heaps sweet) loot. The Gage Courier assignment is a new feature that rewards players for finding hidden packages within each heist. While the rewards are many and varied, they seemed oddly focused on the AK or CAR rifles, which I personally do not use. As you’ve probably read elsewhere, the AI leaves a lot to be desired. Your teammates can’t independently interact with anything nor can they carry loot bags or basically do anything other than kill and revive without being told. This is a minor flaw as the game has clearly been designed to be played with humans rather than bots. A feature I believe they’ve dropped the ball on is the ability to create a crew or clan; imagine chalking up boss stats with your clan going towards a global leaderboard! This is not a failing of the current game rather something that could be introduced to enhance the enjoyment. Something I really enjoy about this game is the difficulty levels. As you level up you can choose to complete heists on a higher difficulty, this seems obvious. What I like is that no matter how high you get you can still find a challenge somewhere. At the time of writing I sit at level 86 and heists like the Hoxton Breakout on Overkill provide a challenge, but with a good crew it can be finished no worries. Now try that heist on Death Wish (the highest difficulty) and you’re going to be in for a tough time, even with an entire crew over level 80. I’ve almost completely maxed-out two skill trees at my current level so I can’t imagine Death Wish becoming a walk in the park by level 100. The challenge of doing a difficult heist draws me in and keeps me coming back again and again. The satisfaction of completing a heist using stealth is enough of a natural high by itself but add an XP bonus for your next heist on

So the ultimate question is does the final instalment provide a satisfying conclusion to Batman’s tale? As is often the case, the overarching black-and-white hero versus villain story is far less interesting than the hero’s journey itself. Batman’s personal trials as he fights to protect his friends and city, all the while struggling with a slight descent into madness brought on by the Joker’s dying legacy, is well captured here. Despite some of its more convoluted Dead Parentsaspects, the characterisations and accompanying stories were quite moving, particularly the origins of the Arkham Knight. However something that I believe to be an ill-advised design choice on Rocksteady’s behalf was to lock the true ending to the game behind 100% completion of all the main and side quests. This would be fine if it weren’t for the Riddler challenges, of which there are a staggering 243. These range from simply finding trophies, to solving visual riddles or destroying specific objects that are littered around Gotham. Many of the aforementioned trophies are linked to puzzles that you must solve in order to get to them. These puzzles are incredibly varied and well-designed, and make complete use of all your gadgets, including the Batmobile. It is immensely rewarding to complete all of the arrogant trickster’s challenges, but it takes almost the same amount of time playing the main game to get absolutely all of them. While I enjoyed this aspect, I imagine there will be a vocal few who won’t have the patience to persevere with the challenges, and without the true ending you aren’t really given a satisfying ending at all. The true ending (which you can view here), also poses more questions than it answers, and while dramatic and well-presented, does not give a sense of finality to the tale. Arkham Knight is an interesting blend of many different gameplay systems. Part brawler, part stealth, part detective, part vehicular shenanigans, it takes many varied elements and does a good job of stitching them together into a cohesive whole. There is a high degree of visual and gameplay polish, and an interesting (if a little murky at times) multi-faceted story. However, during my playthrough I couldn’t shake the feeling that perhaps Rocksteady lost sight of the core of the Arkham games, and Arkham Knight ends up being only a little better than the sum of its parts. Lucky then that each of these parts are so well-crafted, but when I look back on this series, it is Arkham Asylum that I will remember most fondly.

Playing Journey back in 2012 was one of the most memorable gaming moments I had had that year. I only played it once and that was all I felt I needed to do with it as the title was such a unique storytelling experience that moved me in ways few other titles could. Now in 2015, developer Thatgamecompany have re-released the game for a new generation of gamers and those who want to revisit what is arguable one of the best indie titles ever made. The concept of Journey is as simple as they come. The game starts out with no loading screens, opening titles or cool transitions, it simply opens with a prompt to press the X button to ‘begin your journey’ and that’s about it. You are introduced immediately to our protagonist of the game, but presented in a way that it feels like an extension of the player, as weird as this sounds it is something that can really only be understood once you play the title yourself. From here you are presented with a vast desert landscape glimmering like jewels under a warm sun, there are no objectives given to you apart from subtle camera angles pointing towards a distant mountain with a bright light at the top. This is all you need as Journey presents itself in a way that you will not need on screen prompts telling you what to do, the game just flows and guides you effortlessly through your own exploration and intuition of what it is you need to do, This a truly refreshing way to play a game that makes me, as a player feel like I am about to venture into the unknown and create my own story. And boy does Journey pack a punch As you find your way through the opening segments of the game you will begin to build up the ability to float and jump around the world, this is done by finding ribbons around each ‘level’ that add to a scarf your character wears and you can see how much juice you have left by the scarfs bright white patterns glowing. it’s a mechanic that works very well and has similarities to other games of similar style, but is also truly unique and doesn’t distract from the overall dream experience that Journey presents to you. Eventually you will come across another being just like yourself, who is in fact another player. Thatgamecompany have implemented this multiplayer aspect in one of the coolest ways possible, You never find out who this other player is and you cannot communicate with them via voice or text either, the only means you have is by holding the O button to call out with musical notes. It is effective and a great way to adventure with your new partner that keeps in with the tone and atmosphere of the game. From here on you will both explore landscapes and experience a moving adventure together as you both find your way to the mysterious top of this mountain in the distance, traversing raging snowstorms and huge underwater themed landscapes is truly a sight to behold. One of the biggest draws for the game also is the breathtaking score by composer Austin Wintory who weaves an intricate modern classical sound reminiscent of film scores by Dave Wingo and Craig Armstrong. The music twists and turns with the moods and visuals of each section you visit, the build up the final act is easily one of the greatest moments in soundtrack history and one that will certainly tug at the heartstrings. And heart strings will certainly be tugged, Journey is quite unlike anything else out there- even after it’s original release 3 years ago, nothing can come even close to just affecting a video game can be with such simple mechanics. I was moved to tears on my first play through, and the the themes of life, death and resurrection have even more impact now in 2015. It is a game that will affect every player differently as the themes, while direct (ascending to a higher place) are open to interpretation from personal experiences. Developer Tricky Pixels were assigned the task of transitioning the PS3 version of the game to the PS4 and it looks glorious. Journey was always stunning to look at on the last generation but the upscaled1080p & 60fps visuals on the Playstation 4 are truly stunning and it certainly feels like this is the definitive edition of the game. I am glad that Sony and Thatgamecompany have breathed new life into this amazing title once more. Journey is proof that you don’t need AAA budgets and 100 hour long stories to create an experience that can immerse and move you, The game has and always will have a special place in my heart for being more than just a video game, It is an experience that opens your mind for reflection and can soothe a troubled soul.