Gamer and technophile.
Destroyer of the scourge that are motorbikes.
Gaming since I could hold a Competition Pro and trying to instill a gaming mentality on the next generation through my son.
Frequent imbiber of ales and curser of shooters.
GAME is going back to the Stone Age this month as 49 stores kick-off 2016 in pre-historic style with a tour of Far Cry Primal sampling events. The special openings will give gamers a chance to get their hands on the much anticipated title a month before its release.
Should you be a fan of the series, heading over to www.game.co.uk/events and finding your nearest GAME store running the sample event will allow you to get hands on with the latest release ahead of the general launch date.
You can also pre-order the game in-store ahead of launch on 23rd February, including the GAME exclusive Legend of the Mammoth Special Edition. This edition includes 3 extra missions, the ability to drink from the shaman’s cup to play as the mighty mammoth, stomping enemies and defending herds against prehistoric peril.
Events will be taking place in store weekdays from 12-5pm and weekends 11–4pm.
Check out www.game.co.uk/events for further details on the GAME Far Cry Primal Tour taking place at a store near you.
Gamers must be 18 and ID will be required to take part and play.
Daniel is having a bad day. A very bad day. One minute he was with his friends drinking beer and playing Dungeons & Dragons, (albeit badly), and the next moment, while relieving himself in the toilet, he has been transported from his world to the castle of Harnakon. Groping his way forward using only the radiance of his lighter, he soon encounters a guardian of the castle, Zerathul, who becomes trapped within Daniel when he tries to possess what Zerathul presumes to be just another interloper in his masters kingdom. Lost in a strange fantasy style world, you must guide Daniel through the castle in a bid to return to his real life.
UnEpic is an action-RPG at its core, built within a 2D platforming world. Defeating enemies generates experience and random drops of items, gold or weapons with which to improve and upgrade your character under a streamlined RPG skill tree. This is broken down into weapon, and later magic, proficiencies, armour, health and potions, each of which improves the potency of their specific focus. Points are awarded each time you level up and can be spent up to and including your current level.
The castle itself is extensive from the dark creepy Catacombs, fetid infested sewers, undead filled libraries and the infested gardens, all are unique areas you must unlock through completing quests and overcoming other guardians hosted within the depths of the stronghold. Within each of these areas you will also find pure spirits, otherworldly entities of immense power that can grant you the knowledge of magic and even heal your wounds, should you pay proper respect to them.
Combat is extremely straightforward and precise in its execution. Each weapon speciality has varying reach extending from the close quarters dagger, through the sword, axe and pole-arm, to the extensive range of the bow and magic wands. When fighting with ranged attacks, the right trigger snaps to a nearby enemy and each successive press alternates your target while the left trigger performs a standard attack. To aid you in battle you have spells that can be learned, weapons and armour that bolsters your attacks and defence, and pets that can assist you in battle. These pets, earned through side quests within the castle help by freezing, setting aflame or even neutralising foes altogether.
All weapons, potions, spells and pets can be assigned to the substantial quick slot inventory system utilising the bumper and face buttons and can be used instantaneously during battle.
While maintaining several platforming and RPG staples, UnEpic does introduce some interesting mechanics into the game, the most amusing of which occurring during excursion into the sewers. Within, warning signs tell of leaches in the water, but a particular set of quests challenge you to venture within the turgid waters beneath the castle. After doing so I noticed a draining effect but no poison listed on my status. Upon entering my inventory I found numerous leeches had attached themselves to me and were happily draining my life. I felt a great deal of satisfaction at hearing their distinct squelches as I popped each from existence.
UnEpic has a very particular sense of humour, and focuses heavily on references from all forms of entertainment, from television, films and even other video games. As such, the humour can wane sometimes, but the interactions and observations from your incorporeal ‘guest’, Zerathul, who frequently identifies and mocks tropes from other video games never fails to amuse.
With the environment so large, it is easy to get lost, and without a guide I found myself backtracking through the entire area to find the lock that opened new areas upon the defeating of bosses.
Should the main thrust of the game not be enough, even though it contains a substantial time investment to complete, there are numerous challenges, side quests and collectibles to add to the games longevity. Although not impacting directly on the story, these do serve as sufficient distraction to add several hours on to the longevity UnEpic contains.
For an indy title, crafted by a one man development team, it all feels extremely polished. It’s simple, old school graphics, the accuracy and precision of its platforming and the depth of the roleplaying elements all combine to create a game that is truly enjoyable from first moment to last.
Thanks to Xbox and Francisco Tellez de Meneses for supporting TiX
Lovely Planet from QuickTequila and TinyBuild Games can best be described as a twitch shooter, but to limit it to such is to do it an injustice. With a somewhat minimalistic story, it falls on the other components with which to endear itself to you.
The overall premise is decidedly simple. Make it to the end of the level, eliminating enemies and navigating platforms while avoiding all damage as a single shot will put you back to the beginning on the stage. Although this sounds simple, it most certainly is anything but. The key mechanics are exceedingly straightforward, simple and precise with only a jump and a shoot button at your disposal.
Each level follows a linear path to completion, with increasingly difficult enemies and obstacles introduced periodically to prevent stagnation, frustration or boredom. These begin as simple foes who stand in place to shoot at you, upgrading to those with tracking projectiles you must destroy to survive to what can only be described as apples, that reset you once they complete their trajectory and touch the ground or nodes that create an area of damage after a short countdown that you must sprint through to survive. Alongside this, you have civilians who, should they be shot accidentally by yourself or by the enemy, will also cause you to fail the level.
All of these varying hurdles are triggered sequentially ensuring you traverse the level in the fastest speed possible ensuring a hectic, sometimes frustrating , sprint from the start to the finish pole.
To this end, each level has a preview mode, which allows you to view all of the enemies you must face and enables you to plan your path and course of attack.
There are a lot of similarities that can be drawn between Lovely Planet and the Katamari series, each having a very simplistic yet inherently Japanese stylisation to them, and it suits Lovely Planet perfectly. The simplistic pastel coloured world is accompanied perfectly by the cheerful, upbeat music that accompanies each stage, thus ensuring that each of the five worlds and 20 plus stages for each, have a different feel to them despite the elementary graphics utilised.
With the pacing of the game being extremely fast and the controls exceedingly precise, it is not easy to spot the flaws, yet they are there, albeit minor. Your own and enemy bullets sometimes clip through each other, and when the game permits no mistakes, this injustice can cause some frustrations, especially when it repeatedly occurs within the same difficult stage.
Thankfully, this does not occur very often and my frustration never reached the point where it felt overwhelming.
There are some games that defy simply categorisation that, when examined, fall under a multitude of genres. This is always a fine line to tread, as “Jack of all Trade” games tend to lose some of their impact by spreading themselves to thin. Lovely Planet, while suffering from some of these problems manages to hold the line, striking a balance between Twitch shooter and puzzle platformer with few missteps and remains a joyful, unique, frustrating yet eminently enjoyable game that can easily satisfy the most hardcore of twitch shooter fans while remaining accessible to more casual players.
Thanks to Xbox and TinyBuild Games for supporting TiX
Baseball Riot has 10tons Ltd iterate on their already tried and tested formula of physics based puzzling. You take on the role of Gabe Carpaccio who, after a baseball to the knee injury, is forced to retire. Now resigned to running a rather dismal second-hand sports equipment emporium, you are forced to endure further humiliation as your team is bought by the Explodz energy drink company, who begin corrupting your beloved game beyond recognition. Picking up your trusty bat, you take the fight to redeem the name of your team.
Each stage contains around 20 levels, each of which challenges you to “knock out” each of your enemies, starting with basic Explodz–infused fans, and gathering stars in order to progress. These stars are tallied at the end of the stage and allow you to progress to the next zone. Ricocheting your limited supply of baseballs around the environment takes a lot of experimentation, patience and a rather large helping of luck.
Although starting relatively simple, levels soon become increasingly complex with additional obstacles and items being introduced at a quick rate; glass panes stop your ball dead in its tracks, crates of Explodz blow up and cause chain reactions, while baseball tubes scatter multiple balls in numerous directions when struck. Should you aim true, and manage to knock out three or more enemies with one ball, you will also be awarded an extra ball with which to complete the level and on more than one occasion, this bonus is more than required in order to achieve both primary aims.
The enemies too, become more complex as you progress. Catchers soon make an appearance who will, like the glass panes, stop your ball dead should it touch their oversized Mitt and umpires, who are protected by their padding from any frontal attack, thus requiring you to take these variances into account when plotting your shots.
In addition to each puzzle level, you also have a challenge level which sets out particular criteria to earn a bonus to your score. These range from simply collecting two stars on each level of the stage, to getting 5 knock outs with a single ball or earning two extra balls in a level.
The physics behind the controls is precise, (think your favourite pool/snooker game), and lining up your shots and accounting for the angles and rebounds is essential to succeed.
The biggest drawback I can see, is that it is more of the same. In fact, if you have played 10Tons previous release, Tennis to the face, it is almost a carbon copy in both aesthetics and game design, to the extent that both have the megacorporation “Explodz” as the unseen face of corporate corruption as its primary antagonist setting you out on your path of revenge, just one protagonist uses a racket, the other a bat.
10Tons console releases, of what are predominantly mobile games, have a polished yet uncomplicated quality to them, but they don’t really go out of their way to break the mould or innovate. Regardless, if you enjoy physics puzzle games, and have not played one of the previous releases, there is a fun, albeit limited game here which can be used to cleanse the palate if you are looking for something other than the AAA feeding frenzy we have encompassing us at the moment.
Indie video game developer Ragequit Corp announced today its presence at in the Microsoft Xbox One space at the Paris Games Week show with its upcoming first-person aerial-combat game Strike Vector EX. Check out the newly released Strike Vector EX advanced mech tactics trailer demonstrating how to dive, pop-and-shoot, dash and defend in frenetic multiplayer combat.
For media attending Paris Games Week the newest Xbox One build of Strike Vector EX is currently playable at their booth.
Strike VectorEX is a competitive first-person aerial-combat game that hosts dizzying dogfights with battle-heavy aircraft. Players will need to utilize advanced tactics gameplay such as close quarter maneuvers, air brake evasion, pop and shoot, special weaponry and more to bend the throttle in fast-paced multiplayer fights. Bursting with customizable mech-inspired ships, Strike Vector EX is looking to disrupt the air combat genre through a combination of precision mechanics, imaginative aircraft, and stunning graphics.
RageQuit Corporation’s debut game lets players light each other up amidst futuristic, industrial structures. Players gear up their ships to deploy specific strategies for each mission to engage in frenetic multiplayer combat.
Strike Vector EX is built on Unreal Engine 4 and is slated for takeoff in 2016.
Harmonix announced today that a selection of classic 80s tracks will be coming to the Rock Band™ 4 Music Store this Tuesday, including music from Depeche Mode, INXS, and Naked Eyes.
Rock Band 4 players can celebrate the 80s with these classic tracks, starting with Depeche Mode’s “People Are People,” the group’s first breakout single in the United States, released in 1984. INXS’s 1985 Billboard Hot 100 hit “What You Need” will also be added to the Rock Band Music Store. Finally, Naked Eyes’ popular 1980s take on the catchy “Always Something There To Remind Me” rounds out this week’s Music Store releases.
Each track can be purchased individually.
Mad Catz Interactive, Inc. also announced today the start of pre-orders for the all-new Rock Band 4USBMicrophone, expected to ship in time for Christmas 2015.
Designed to enhance the Rock Band 4 gameplay that enables up to three vocalists to harmonize in-game, with the stage-grade Rock Band 4USB Microphone players can jump into music and join the fun. Boasting a wide dynamic range and high Signal to Noise Ratio (SNR), the Rock Band 4USB Microphone provides a studio like experience for at-home singing sessions. Upgraded frequency response provides distortion-free vocals, ensuring that your voice is heard with utmost clarity, and the extended-length 15 foot USB cable provides plenty of room to rock around your living room!
Kaiju Panic, from indie team Mechabit, is a real-time tower defence game. Following the impact of a series of meteorites across the world, strange never-before seen Kaiju have begun amassing near the impact sites. These meteors are also having a mutagenic effect on the Kaiju, transforming them into more powerful and devastating foes.
You are the commander of an international response team charged with rescuing as many civilians as possible while both staving off the marauding Kaiju as well as recovering their constituent parts to aid in further research in order to defeat them.
In order to stave off the onslaught, you have command of an orbiting distribution platform that can drop defensive structures to a location, purchased using recovered shards of the downed meteorites. These are extracted by placing processors in their direct proximity, much like the Command & Conquer refineries.
Each area has two types of mission; recover and extract. During the recovery phase you must locate and recruit members of the public while protecting your headquarters from increasing waves of enemy Kaiju, and with over 40 different enemies, each with their own strengths and weaknesses, planning how to defend is the order of the day. To achieve this, you are given advance notice of the direction and type of Kaiju attacking. Extraction missions are the final big showdown for each district, with a shuttle on a set timer inbound to rescue all the civilians you have managed to save and will typically feature a Super Kaiju such as Chibizilla.
Much like many mobile games, each round has a scoring system linked to additional challenges that can be accomplished during a round, such as protecting all high value buildings in the area, collecting ceremonial masks, or even activating pentagrams in the correct order. Accomplishing these also typically rewards you with additional meteorite shards, so it benefits to attempt these supplemental requirements.
The story, such that it is, is conveyed using storyboards and traces of the humour Mechabit have infused into the game bleed through into these sections. This is further exemplified when in the Kaiju Lab, where you can read the humorous and informative analysis on the Kaiju you have encountered, along with the profiles of the 180 plus civilians you will encounter throughout the game.
The Lab also serves to provide you with research capabilities, allowing upgrades and purchases for the defenses you can build under the Cannon, Acid, Laser, Explosive and Utility tech trees contained within, encompassing the 19 different orbital drops at your disposal. It also houses your Commander skills, that convey a range of perks and buffs to make the battle that much easier such as the increased building health, unit health, shard pick up range and even an orbital strike that can do mass amounts of damage to the invading beasts. All of these are purchasable using the research points that drop from defeated Kaiju.
Graphically, Kaiju Panic is very simple and characters appear one part playmobile, one part cannon fodder to create a very unique style. These characters serve further function and provide additional depth to the game. As you collect the civilians in the area, they follow you around and approaching constructions will have them aid in its manufacture speeding up the development time. They will also repair any damaged structures in the environment, excluding the HQ itself, but their main function lies with the defensive structures. approaching these allows you to staff the weapons with civilians, each of whom have their own particular buffs and advantages; some give greater range to the weapons, some repair it from within, and some even convey specific damage types such as fire or acid to the weapon. Balancing the need for increased damage output and range with the ability to quickly throw up more structures is a further critical mechanic you have to keep in mind as you progress further into the game.
One of the key frustrations I found, was when encountering new Kaiju. Some are vulnerable only to specific weapons, and until you have killed one to obtain research on them, it is impossible to predict what will and won’t work. With that in mind, you can find yourself out of resource and with the wrong defensive strategy for several fights as you try to work out which attack method will work, and as the range of structures available increases level upon level, this does mean there is an increased likelihood that you will apply the wrong tactic.
This can become quite frustrating, especially when you clear all but the last wave of enemies, only to be overrun and destroyed at the 11th hour.
Kaiju Panic is an extremely well polished, amazing and above all fun game, that straddles the boundary between a pick up and play game style and more in-depth strategy management. Those looking for something a little different, or have a hankering for a decent strategy game will be able to take a lot away from this title.
It seems I am going from one extreme to the other in my abundance of recent indie game reviews, with the chaotic, gameplay focused Crimsonland on one end of the spectrum, and this; Three Fourths Home on the other, more narratively intense end.
Three Fourths Home is a visual novel, that places you in control of Kelly, a 20-something Nebraskan who, following the break up of a friendship and the failure of her college course, has returned to the family homestead in their small Nebraskan town.
Against the backdrop of a summer in Tornado Alley, the game focuses on the conversations that Kelly has with her somewhat worried, yet alienated, family on her drive home through worsening weather conditions. This conversations reveal the details of her ill-fated venture to Minnesota, and perfectly encapsulates the estrangement that has developed during her absence. As you drive along the desolate back road from your grandparent’s run down home to your family house, passing corn fields and local landmarks, the conversation explores the trials that each of the family have faced in your time away.
These text-based conversations reveals a worrisome, but ultimately caring matriarch who is constantly fighting the family’s personal demons: your father, who recently lost a leg in an accident, your younger brother who has a distinct dissociation with societal niceties, and struggles to understand the intricacies of empathy, and you; having dropped out of college and become distant from your childhood friend, have the early signs of depression.
It’s a testament to the story telling that Bracket Games have been able to convey such raw emotion and believable interaction into a game with no spoken word. Each of the characters are not only credible, but also imminently relatable to anyone who has experienced similar familial relationships, currently or in the past. Each character is fleshed out during these interactions revealing your father’s stubborn refusal to take any medication for the pain he is experiencing, instead relying on alcohol to dull the ache; the revelations of the strain that the effect of this, and your father’s delayed disability claim is having on their relationship, and your brother’s penchant for isolation and the written word, even though his output shines a light on his discontent with the world around him.
As you progress on your journey, the conversation evolves, and much like a lot of narrative games, the choices you make during this lengthy exchange sculpt the direction the story takes. Do you reveal the truth about how things spiralled out of control at college? Do you side with your mother over your father’s apparent drinking problem? or do you possibly try to break through to your brother who, once it becomes obvious, has clearly retreated further into isolation since your departure?
These choices and the responses all bring to life the difficulty and trepidation that can be encountered when trying to rebuild these relationships after such a long absence.
Being more of a story than a game, interactions are minimal. Holding RT accelerates your car, and letting go stops the story dead, (sound effects et al), where X and A navigate between NPC conversation and response selections. The Car headlights and radio are also mapped to the controller, but serve no interactive purpose, other than skipping through some of the rather well crafted audio accompanying the game.
Your choices have impact as the story develops, and the weather worsens as the choice of story your brother dictates over the phone depends on the previous topic paths you have chosen. All told, the main story is approximately 30 minutes long, but does have a modicum of replayability with the branching tale that Bracket Games weave.
Artistically, Three Fourths Home employs a rudimentary monochromatic style, with a passing resemblance to a shadow puppet performance. This simplistic expression of the characters allows Bracket Games to focus you solely on the tale they wish to tell, with no graphical nuances to detract or sidetrack you. That said, the environmental markers retain enough to assist in the storytelling at points, with your character commenting on the distance remaining until she is home by the landmarks appearing on the screen.
Being the Extended Edition of the PC release, we also get access to an epilogue story, around about the same length as the main game. This puts you once again in control of Kelly, but this time prior to the events of Three Fourths Home, allowing you to take part in a hypothetical conversation with your mother prior to her return to Nebraska. The fact that this never occurred is emphasised by the inner monologue Kelly delivers when wrestling with the possibility of revealing the truth about what caused her first foray into the world alone, to go so disastrously wrong, and there are many parts of this side of the story that are all too relatable.
This for me, had more impact than the original story, giving a far deeper glimpse into the mind of Kelly; her hopes, her fears, her failings and even some healthy self-deprecation. With the focus of Three Fourths Home squarely on the family, and very little depth into your own character, this epilogue felt like a much-needed revelation on the relatively blank canvas that Kelly appeared to be in the main story.
Completing certain sections of the game allows you to access pictures from Kelly’s failed college photography project, the soundtrack from the game itself, and even the short stories of your brother Ben, all of which are fantastically written pieces of prose in their own right.
My only gripe was I sometimes found myself ahead of the conversation, unable to act even though the dialogue had already been processed. This, linked with the reversing of the conversation by pressing the wrong button when alternating between X and A, meant waiting twice as long to move the narrative forward.
All in all, if you need some active, responsive input from your games I would give this a wide berth. Should you need a palette cleanser from all the triple A action games out at the moment, and are looking for something with a bit more depth and character than you get from the aforementioned big titles, Three Fourths Home is a surprisingly evocative, powerful and relatable tale that you would be foolish to overlook.
Thanks to Xbox and Bracket Games for supporting TiX
Today, Ubisoft® announcedone of the most ambitious filming projects ever to hit London’s skyline, in celebration of the upcoming launch of Assassin’s Creed® Syndicate. The latest installment in the global video game franchise is available to own from October 23rd.
For the first time, a Bald Eagle was flown over London, launched from some of the most iconic and tallest buildings in Europe with a 4K camera (four times as much detail as 1080p Full HD) attached to its back, offering stunning, never before seen footage of the UK’s capital city from an Eagle’s eye.
This project was undertaken to showcase a feature in Assassin’s Creed® Syndicate, where players can use ‘Eagle Vision’; a tool enabling players to have an Eagle-Eyed perspective and vision to locate enemies and key features at distance. The game, set in Victorian London during the industrial revolution, has taken over two years to develop by the global video games publisher, Ubisoft, who have painstakingly recreated 1868 London in stunning detail.
For the Eagle flights, launch points used included; the Walkie Talkie (20 Fenchurch Street) 35th floor Sky Garden (492 feet above ground level) and Sushi Samba at The Heron Tower (792 feet). Other landmark launch points included Trafalgar Square, City Hall and The Shakespeare’s Globe Theatre.
“The ambition of this project was huge and it was months in planning to make sure we could achieve the stunning content that we set out to capture,”
saidTom Goldberger, Senior PR Manager at Ubisoft.
“We worked with a fantastic production team, vastly experienced eagle handler and highly trained eagle to ensure the project was a huge success. We’re delighted to have finally been able to bring to life one of the most iconic features in Assassin’s Creed Syndicate.”
Falconry Expert, Chris O’Donnell, along with his 29 year old Bald Eagle, Sidney, were recruited to make the filming concept a reality;
“An Eagle has never been flown to this extent in an urban environment, so this was a very exciting project to be involved in. Sidney is a Bald Eagle who is used to large crowds of people and was highly adaptable to a busy city environment. We developed a bespoke harness and fitting for the camera and spent months testing it for comfort and stability. We had good flying conditions, incredible launch points and the footage we captured was utterly remarkable.”
In modern gaming there seems to be a divide in what is expected from games today. On one side you have the Hollywood-esque tours de force of exposition and plot that defenders of the gaming past time oft quote as the reason gaming is not just for children, but should be treated as a mature, ageless medium of its own. You then have the middle of the road games that try to find a balance between engaging story and tactile game mechanics which make up the majority of games on the market today. Then you have games that don’t care about character development or emotional engagement, focusing solely on pure, refined, unadulterated mechanics to draw a crowd.
Crimsonland without a doubt falls into the latter camp. The plot consists of “survive increasingly difficult waves of enemies until you can reach the next wave of difficult enemies”. That’s it. There is no character arc, no redemption or soul searching, just Guns, enemies and blood.
Those of you close to my age (or older) may remember the old classic, Smash TV, and Crimsonland hits a lot of the same notes, but on a much larger scale.
Graphically, you can tell that this started its life as a 2003 indie pc title from the team over at 10tons Entertainment. Simple and small, it does therefore allow for most of the fighting area to be visible at one time. This is in itself crucial when it comes to the multiplayer.
A recurring theme from my last few reviews, Crimsonland doesn’t have an online multiplayer, so gathering up to three of your closest gaming buddies for some couch co-op is the only way to play. This in no way dimishes the game as the most fun I had was when playing with several players. That said, unlike previous titles I reviewed, there is enough game here to roll solo if you so wish.
Like most twin stick shooters the targeting can be a little fiddly to get to grips with at first, not made any easier by the size of the sprites, but once you get the hang of it you will soon be decimating enemies with consummate ease.
Each of the 60 story levels see you dropped in toting a starting pistol with waves of enemies spawning in increasing numbers or difficulty levels. As you progress and dispose of enemies, new weapon types and boosts appear to make progression easier. There is a wide range of weapons available to unlock as you progress and you will soon find ones that suit your play style. This variation extends to the boosts as well, with a wide range of specials that provide temporary boosts and extra damage to ease the passage of each round. Add to this the three difficulty levels, and you get a lot of bang for your buck.
Other than the main campaign, there are 5 other modes to absorb your time, each based on ever increasing hordes of enemies. These are also where the perks you have been unlocking in the main campaign start to play a part. Basic Survival sees you equipped with your trusty pistol and ever increasing waves of enemies. Rush has you attempt to survive an alien onslaught while limited to a trusty assault rifle. Weapon picker slaps you down with limited ammo, but more weapon spawns at random locations. Nukefism does away with ammo altogether and has you running around making good use of the powerups that appear far more often and finally Blitz is a fast pace survival where you can only use the weapons and perks unlocked in the campaign. As you progress your experience will rack up and you will level up. At each level up point you gain the ability to select a perk to improve your chances of surviving further.
This is where the perk system truly shines. Each conveys its own weighted benefits such as Thick Skinned which reduces your overall health but decreases damage taken, or Ammunition Within which allows you to keep firing while reloading but each shot diminishes your health.
Although it lacks the finesse or graphical excellence of some other games I really enjoyed my time with Crimsonland. If you have a close group that play together, this is a brilliant game for playing with friends.