Bet you weren’t expecting me to actually write this any earlier than last year, huh? 😉
Last year was a time of change for me in many ways. Whilst the most significant of which has nothing to do with my game of the year (read: having a little ankle biter around the house now) I found myself not enjoying the same genres and types of games that I used to. That doesn’t mean there wasn’t anything to enjoy, far from it, just that it seems that with the passage of time either the genres are changing in ways I don’t like or it is I whose tastes have changed and no longer align to what those genres seek to deliver.
Or perhaps it was just an artefact of playing more titles in a year than I have in a long, long time, managing to play through a record (well, I think it is) 50 titles over the 2019 year. Granted quite a few of those were shorter titles that were plugging in gaps that I would’ve left bare in previous years but at least this time around I was finding the spare hour or two every week to sit down and play through something. I have to admit to also going back to some old classics to pass the time, like Battlefront 2, just because I didn’t feel like investing the time I had in anything that was out of the time. There was also the spectre of the Epic store, something which I avoided for a long, long time before I relented due to a couple of my must-play games appearing on there as exclusives. I’ve well and truly broken my rule against buying on there now so there’s nothing stopping me from playing through games on there that I would’ve otherwise left fallow.
As always here’s last year’s list in chronological order, this time around coming with the added benefit of having their scores as well:
Most years I take a rather awful delight in handing out the wooden spoon for the year but this time around I feel bad about naming AMID EVIL as this year’s last place, scoring a (admittedly far from the worse score I’ve given) low 5.0/10. I say that because, looking back over them, Discolored and Epitasis are probably worse games but they managed to get another 0.5 and so just barely missed out on being tied for worst game of the year. I think at the time I was particularly annoyed at the attempt to revive the “classic” FPS experience which, time and time again, has proven to be a place we left behind for a reason.
The honourable mentions list this year is long with no less than 5 games making the cut. The Division 2 was a pretty great experience whilst it lasted although once I ran out of story related missions the want to grind for end-game gear (and the associated annoyance of not having a matchmaking system for said end game) I ended up leaving it behind. Resident Evil 2 showed that you can do a remake without it being a shameless cash grab, bringing with it equal parts nostalgia and upgraded game play. Katana Zero was just straight up good in all respects, all it’s differing elements blending together just so to make something that’s truly one of 2019’s more memorable experiences. A Plague Tale: Innocence was a surprise hit for me, starting off as some weird medieval fantasy romp but quickly turned into a great experience once the story found its feet. Finally A Short Hike is just a nice, light game to play, never asking too much of you but giving so much in return.
So with all that out of the way my game of the year for 2019 is:
Now I’m no Kojima fan but I certainly know of the man by reputation. The initial cinematic teaser videos he posted really hooked me in, even though I had zero idea what the resulting game would be about. Over the years the few details I allowed myself to consume about it just fed into that initial interest and before I knew it I was fully bought in. The experience, whilst admittedly slow for the first 8 hours, sucked me right in and soon I found myself revelling in the shared world and wanting to make it a better place for all players. The story, which I admit in no small part hit me right in the feels because I’m a new father, even with all its faults is still something that I found incredibly enjoyable. So Death Stranding takes out 2019’s game of the year and the highest score at 9.5.
The runners up are Apex Legends and Untitled Goose Game. At its peak I was playing a good lot of Apex Legends with a rotating roster of my mates, something which we hadn’t done in a good long time. Of course it was Apex Legend’s mass appeal which is what led us to do that as none of the preceding battle royal games had managed to get more than a couple of us interested at one time. Finally Untitled Goose Game is just plain fun and honestly, in this age where games too often get wrapped their axles in trying to be novel or be something greater than just a game, something that’s just irreverent and a good chuckle is really refreshing.
2019 saw a lot of the titles I was looking forward to pushed back to this year so there’s dozens of games that I’m very eagerly awaiting the release of. If this year is going to be anything like the last then I have high hopes I’ll get to them all and, if I do, what a year it’ll be.
The Mechwarrior series and I go a long, long way back. I don’t know exactly how I came into possession of a copy of Mechwarrior 2, me being only 10 at the time of its release, but I can remember being captivated by the robot on robot combat. My favourite thing was to equip stupidly large mechs with dozens of jump jets and tons of leg armour, flying myself around the map and crushing opponents who didn’t get out of the way. I even remember playing the Ghost Bear expansion with the idea of a melee focused mech (I think it was the Kodiak) seeming like the coolest thing in the world. Eventually I graduated to a long range sniper build based around PPCs and gauss rifles, something which seemed to work for all but the smallest and fastest mechs. I can even remember picking Mechwarrior 4 as a prize at one of the ACTGN LANs I attended, much the confusion of many others around. For me the mechwarrior series was one of those series that defined me as a gamer for a long time.
However the last decade hasn’t really proven fruitful for the series. Sure there was Mechwarrior Online, but that fell victim to a meta game that made all but a few playstyles non-starters (read: snipers and missile boats). So when I heard that a new Mechwarrior game was come out I was tentatively excited as it’s been a long time since I’ve really had a chance to sit down and indulge in my mecha fantasies. Unfortunately though Mechwarrior 5 is just so unashamedly mediocre that even childhood nostalgia couldn’t push me past a couple hours with it.
You’re a young commander working with you father running a mech mercenary corp, taking contracts in all sectors across the galaxy. The company has just finished refurbishing an old Centurion model mech and puts you to task in shaking down its systems. However, right as you’re just about to complete the final diagnostics on the system, you’re attacked by another mercenary company who corners your father and starts interrogating him for information. He’s able to buy you enough time to get airborne but, unfortunately, the other mercenary group wasn’t interested in taking prisoners. Now on the run you set about setting yourself up as a mercenary outfit once again with an eye on vengeance when the time comes.
There’s really no nice way to say this: Mechwarrior 5 looks like absolute garbage. I don’t doubt that a lot of this is to do with the fact that a lot of the terrain and buildings in the game are destructible but even in the scenes where there isn’t any of that the game still looks like it was made over 5 years ago. All the animations are stiff and ungangly, which would be forgivable for the mechs, but all of the human NPCs move like action figures that were accidentally left out in the rain. Even the wide open terrains don’t really look that good with many of the maps feeling very samey after not too long. This doesn’t feel like something that a better PC could improve either. Whilst graphics aren’t everything it was still the first of many red flags that came up during my time with the game.
Mechwarrior 5 does follow the series’ standard tropes for combat, customisation and finding and undertaking missions. Initially you’ll start off with only one mech and limited options which kind of works as an extended tutorial. As you progress you’ll be able to spend your c-bills on new mechs, upgraded weapons and NPC pilots who will join you on missions. The mission system seems to be significantly revamped from what little I can remember of the original mercenaries with a lot of different options to maximise your returns for a given investment. The first couple hours will lock you into campaign missions only but after that you’re free to start roaming the galaxy in search of work which you’ll need to do if you want to hire and maintain a decent crew.
At a basic level Mechwarrior 5’s combat retains much of what I remember being good about the original series however it’s the structure of the encounters and the continuous reuse of the same enemy types that make it an absolute chore. In the dozen or so missions I played (including a handful of non-campaign ones) it seems that you’re always facing the same couple different types of tanks and helicopters for a good long while before the enemy you’re fighting decides to send in a mech or two. The AI on the mechs is incredibly simplistic too, seemingly broken down into different strategies that are predicated on their distance from you. Far away? They’ll attempt to pepper you with missiles and other long range implements while trying to hide behind terrain. Get a little bit close? They’ll run in and start circle strafing you, even if they can’t actually run a circle around you (which can be kind funny). What this leads to is repetitive encounters which really aren’t terribly interesting and take far too long to complete.
Part of what fed into my boredom with Mechwarrior 5 was the lack of customisation that’s available early on in the game. To be sure it’s there but it seems like a lot more of the deeper stuff that I remember enjoying many years ago is locked away until later in the game. I did get to the point of being able to travel where I wanted to but by then I’d already been bored stiff by the repetitive missions and the small amount of freedom I’d gained wasn’t enough to keep me playing. Even playing missions with a full squad wasn’t particularly interesting as they don’t really contribute more to your experience than a handful of canned lines which they repeat endlessly throughout the mission’s duration.
The story is also completely forgettable, made ever so much worse by the voice acting which is delivered flat and with little emotion behind it. To be sure the story certainly sets up all the right ingredients at the start but it’s done in such a bland and uninteresting way that you’ll quickly dismiss it in the hopes that you’ll find something more interesting to catch your attention. It’s just a shame that there really isn’t anything else there to hold the rest of the game up.
It’s a real shame honestly as, at a base level, all the parts of what made mechwarrior great (to me at least) are there. However the mediocre combat experience, coupled with dated graphics and an uninteresting story mean that there’s really nothing to keep you coming back once a mission is done. I was hoping for at least a halfway decent mech game that could keep me entertained just with the customisation alone but even that failed to materialise. In the end I don’t think I could really recommend this game for anyone as it’s likely to disappoint fans and newcomers alike. Perhaps the next instalment will be better, but this is 2 misses in a row for Piranha games, in my opinion.
Mechwarrior 5 is available on PC right now for $49.99. Total play time was 2 hours.
Thinking about my journey as a gamer it’s interesting to note how I’ve ebbed and flowed between being focused on single player experience and those enjoyed with others. To be sure part of this was due to the way I came to games in the first place, sharing the family PC with my brother and later moving onto the first generation NES console which we’d waste endless hours on. Later on, when I was blessed with my own personal PC, that I started to find an interest in gaming by myself. That was upended when I got into the LAN scene and continued in strength as the world of online gaming was unlocked when I was graced with the wonderful gift of broadband. The last decade has been a good mix of the two although I’ll admit that most of my gaming time is more on the single player side than otherwise.
Suffice to say I don’t often go looking for co-operative experiences these days, especially if they don’t come with a single player option. However Degrees of Separation caught my eye early last year and it had long been in my review queue to play with my wife when we got the time. Well, once again thanks to the bushfires that continue to rage on, we managed to sit down and make our way through it. Whilst it’s core mechanic is somewhat novel it is a rather run of the mill puzzle platformer. That being said it can be a good bit of fun when you’re playing with another, especially if they aren’t exactly experienced with this kind of game.
Ember and Rime are from two different sides of the same world: hers a warm one of endless sunshine blessed with boundless heat and his, a world of frozen beauty. They are separated by an enigmatic force, unable to reach each other nor visit each other’s world. It’s clear however that their world has suffered some great tragedy at the hands of despotic ruler and they set out together to uncover the mystery of their shared world. Working together is the only way that they’ll be able to uncover the mystery of what happened and why they both are separated from one another.
Degrees of Separation is crafted in the style of Flash games of yesteryear with its flat 2D environments, simplistic animations and limited use of modern effects. There’s an unfortunate amount of asset reuse which makes a lot of the areas feel very samey, even though they’re supposed to be completely different environments. That being said it’s not like it’s an ugly game, more that it’s just very simplistic in its implementation. I can hazard a guess that’s likely due to the developers needing to create 2 of everything: one for Ember’s world and one for Rime’s. Combine that with the various interactions that needed to be coded in and I can see why they wanted to keep things simple from a visuals perspective.
The game’s claim to fame is the two worlds of the main characters: one world is hot and the other is cold. Initially that’s all there is to it and solving most puzzles is just figuring out the order in which things need to be done with the various worlds so you can progress forward. The later worlds start to play on the divide a lot more, bringing in mechanics that make use of it in some way. However all of these new mechanics are contained within the level that they’re granted in, so this isn’t some kind of metroidvania style game where you’ll be unlocking different parts of past levels with new skills. The only metroidvania style thing in here is the main overworld which is non-linear, but realistically you’re going to have to complete a number of levels in order due to the number of unlocks required to open them.
The puzzles are almost all self-contained and we only came across one that required us to bring something in from another puzzle in order to solve it. I personally prefer it this way for a co-op setting as otherwise you end up second guessing each other’s ideas endlessly, spending countless hours trying to drag things from other puzzles around in order to try and solve them. It also means that you’ll need to be aware of the developer’s logic as you progress through the levels as if you lose sight of that then there’s going to be puzzles that you won’t be able to solve. Thankfully those seem to be few and far between as I can only remember skipping maybe 3 or so in our full playthrough.
The puzzles are also predominantly physics based with a good chunk of them requiring precise platforming and/or timing in order to complete them. Given the game’s less than stellar control implementation this can make some puzzles a little more frustrating than they need to be as objects might not react the way you expect them to or you’ll find yourself having to repeat sections over and over again because you mistimed a jump. Even I, the seasoned puzzle platform gamer that I am, struggled at times much to the delight of my wife. This could also partly be due to us playing it on console as, I’ll admit, I don’t usually do most of my platforming with a controller.
All this being said the puzzles are, for the most part, pretty straightforward and most of them should be doable for even novice gamers. Thankfully not every puzzle must be solved as you’ll only need a certain amount of scarves (the game’s collectible) to progress to another level. The only improvements I’d seek to make would be the inclusion of a map and a reworked checkpoint system as it’s something of a pain to get back to where you were after you’ve put the game down for the night.
The story is told via a voiceover that’s triggered on every new puzzle screen, which is nice, but the story itself is pretty forgettable. I think this is partly because it’s told in the third person and the characters themselves rarely interact on the screen so it’s hard to really empathise with them at all. To be sure I prefer having the story told to me as I’m playing it rather than being presented with walls of text every so often, but having the entire thing told in the third person just seemed to take a lot of the emotional investment out of it.
Degrees of Separation is a solid co-op platformer with a novel take on the genre’s mechanics. Whilst its visual style and story err on the side of simplistic the puzzle/platform mechanics are on point, requiring some real lateral thinking and cooperation to solve. Its casual nature will make it attractive to those who are looking for something to play together but can only do so in short bursts. Other than that there’s not a terrible amount to say amount Degrees of Separation and hopefully, if you’ve read this far, you know if it’s for you.
Degrees of Separation is available on PC, Xbox One, PlayStation 4 and Nintendo Switch right now for $28.95. Game was played on the PlayStation 4 with a total of approximately 4 hours playtime and 38% of the achievements unlocked.
My wife was absolutely enamored with Until Dawn. After I completed my initial playthrough I did another with her as she’s a massive fan of the horror genre, especially the cheesier, B-grade ones that Until Dawn emulated. After that playthrough she was hooked and spent a good long time replaying the game multiple times over, trying to see every variation that she could. So when I saw that Supermassive games was releasing a series of shorter titles called The Dark Pictures Anthology I was intrigued and, given that we were housebound due to the bushfires blanketing Canberra with smoke, I thought it’d be a good time for us to play through the first instalment: Man of Medan. Unfortunately this particular title doesn’t feel up to the same level as Until Dawn, feeling decidedly middle of the road.
There were rumours of a downed WWII airplane that hadn’t yet been catalogued out in the South Pacific Ocean. Keen to explore a wreck that hadn’t yet been seen by other humans a group of 4 young explorers, along with the captain of the rented vessel, set out to find it based on some information from one of their friends. However whilst they’re out at sea they catch the ire of some local ne’er do wells and quickly find themselves at their mercy. Soon after that happens they get hit by a storm and find themselves butting up against a ghost ship which, for some inexplicable reason, the pirates decide to take shelter in. So begins their journey into this lost vessel and the horrors that lie within.
Man of Medan retains much of the cinematic level quality that Until Dawn had although now, compared to 3 years ago, the graphics aren’t as cutting edge as they once were. This game’s aesthetic is much, much darker than its predecessor as well so a good lot of the detail is hidden from view most of the time. Thankfully though the performance issues have been addressed so even chumps like me using an original PS4 won’t be left suffering with low frame rates. Given that this game is on Unreal unlike the previous one (which was on Decima) there’s definitely room for improvement here and who knows, maybe the whole thing looks amazing on PC.
This is still very much an interactive fiction game with it’s mostly linear levels, countless items strewn around for you to interact with and the action scenes peppered with quick time events. At the basic level not much has changed with Man of Medan as most of the mechanics have been renamed rather than reworked. The biggest change comes in the form of the Curator, a fourth-wall breaking character who speaks to you about the story that’s unfolding and the choices that you’re making within it. He will also offer you clues from time to time, although whether or not they help or hinder you is something that’s up for debate. He’ll be a recurring character in the series as he’s apparently some sort of collector of these kinds of stories, wanting to observe those who experience them. Given the shorter intended length of these stories most of the mechanics I’ve described above have been streamlined somewhat so there’s a lot less depth to them than what I remember being in Until Dawn.
As with all interactive fiction exploration is the name of the game here although, if I’m honest, Man of Medan doesn’t provide a particularly rewarding experience in this respect. Sure, there’s a lot of stuff for you to find, but most of the time it’s just flavour text for the story of the ship. That’d be great if it wasn’t for the fact that you have most of the story for it already, thanks to the opening tutorial taking place in the past. So the rest of the stuff you read is really just fluff for the most part. Worse still it doesn’t seem like exploration, especially in places that are meant to be hard to find, rewards you in any way at all. In these kinds of games that kind of exploration, I feel, should be rewarded with things that help you in some way when it comes to the game’s critical moments. None of the items I found exploring the ship with my wife helped in any way and indeed, I think most of them actually made things worse. Sure, I can see that could have been intentional, but getting punished for doing the hard thing in a game feels like a swift kick in the pants.
Probably the worst part of Man of Medan though is the lack of connection between your actions and their outcomes. Now our playthrough probably wasn’t the greatest, we managed to kill 3 out of the 5 characters, but one of them didn’t feel connected to previous events at all and the last two were single QTE fails, neither of which gave any indication that that was our last chance to get the character out alive. The premonitions were also total trash as well, the options that they showed you seemingly having zero influence on the situation at hand. Worse still, with losing a character around halfway through the game, it was obvious that there were holes in the story that that character was meant to fill and from then on many interactions felt half baked as the scenes didn’t seem to be rewritten enough to cope for said loss. Honestly I never felt this way in Until Dawn, even when I watched my wife’s playthrough where she killed nearly every character.
Of course I’d probably be able to ignore most of these issues if the story wasn’t so uninspired and predictable. It was pretty clear from the onset what was going to happen and the unfolding of events really didn’t add much to the overall narrative. Combine that with the use of tired jump scares and run of the mill horror tropes and you had a recipe for a story that was forgettable, boring and lacking the drive to push the game forward. Even my wife, who loves this kind of horror, wasn’t really enjoying the story for the most part.
Putting this all together you’ve got a decidedly disappointing experience in Man of Medan, one that really isn’t up the standard that Supermassive set with Until Dawn. I do like the concept though, a mysterious man who takes you through stories of the past and catalogues your decisions, but the first instalment in this anthology doesn’t give me high hopes for future ones. Perhaps with a more engaging story I can look past some of the more egregious missteps as it was that, combined with the distinct lack of agency my wife and I felt whilst playing, that really tore the experience down for us. Maybe the next story, Little Hope, will prove to be a little better.
The Dark Pictures Anthology: Man of Medan is available on PC, Xbox One and PlayStation 4 right now for $49.95. Game was played on the PlayStation 4 with approximately 4 hours total play time and 11% of the achievements unlocked.
My history with the Trine series is long, stretching all the way back to 2011. However it could have never happened at all as I missed the game when it first came out, it not really registering as a blip on my radar back then. It was on the recommendation of a friend, one who had noticed the uptick in my gaming consumption, who recommended that I give it a shout. What’s bloomed from that is a love of the quirky series that I’ve seen go through ups and downs over the decade of its existence; from it’s awkward beginnings as a quirky physics based platformer all the way through to its latest incarnation which, I’m happy to say, is the best one in the series to date.
This time our intrepid trio of heroes isn’t summoned to adventure by the Trine, instead the request comes from the Astral Academy. Prince Sellius, one of their “students”, suffers from intense nightmares. This would be one thing but he’s also gifted with potent magic abilities and those nightmares are starting to invade the waking world. So the call goes out once again to the Wizard, the Thief and the Warrior to help save the kingdom from this threat and, hopefully, save the prince in the process.
Trine has always had amazing visuals and the latest instalment is no different. The trademark dreamlike quality is retained, coming to us through the liberal use of bloom and bright lighting effects. The 3D backgrounds and set pieces have become even more elaborate, becoming bigger and more detailed than they ever have before. The game still runs on the in-house proprietary engine and it appears that Frozenbyte has done a great job in improving its capabilities and optimising the implementation as the whole game runs very smoothly, even on old hardware. Suffice to say that Trine continues to be one of the most visually impressive platformers in the market and I’m glad the developers keep pushing themselves to improve upon what they’ve delivered before.
As anyone who played Trine 3 could predict the game has returned to its 2D platformer roots, removing the 3rd dimension and going back to what they know. For fans of the series this is a great thing as whilst the 3D version of Trine was indeed a step up the fact that they could only deliver a third of the game they wanted to with 3 times the budget of Trine 2 says a lot about the effort required to make it work. So in that respect Trine 4 is much more of an evolution of what Trine 2 was rather than a rework of 3 and the mechanics are all back to their roots. There have been some changes to make all characters more equally a part of the overall experience however, notably with the Wizard now having substantial combat capability and the Warrior being a key piece of numerous puzzle mechanics. Progression is now split into 2 tiers: one from combat and one from finding experience jars. The former is effectively the unlock for new puzzle mechanics whilst the latter unlocks augments to those abilities, effectively being quality of life improvements. Frozenbyte describes this as the “most complete Trine” experience they’ve ever created and, I’m glad to say, I wholeheartedly agree with them on that.
Combat is, as it always was, something of an also ran in the Trine experience. To be sure, there’s a more comprehensive combat experience to be had there than there ever has been, but pretty much all the engagements play out in the same way. The addition of more combat abilities to the Wizard, in the form of abilities that allow you to slam objects and levitate enemies, does make for a more varied experience but in all honesty most of them will get done with a lot of hack and slashing. The resurrection mechanic is also very, very forgiving ensuring that you’re unlikely to actually die and need to go back to a checkpoint at any time. To be fair this kind of combat fits into the whole overall zeitgeist of what Trine aims to be: a casual puzzle platformer that could be enjoyed by anyone. In that respect I don’t ever envision the combat aspects getting much more complicated than they already are.
The puzzles have gone back to their roots with physics based problems being the name of the game. The wizard still has the ability to conjure boxes and platforms, the thief grappling hook things and now the warrior’s shield forms a core part of the experience with its reflecting ability. There are numerous augmentations to all of these abilities which bring with them a wide variety of challenges for you to solve. For the most part though the majority of puzzles are going to be heavily focused on the last mechanic you unlocked with only a couple other abilities required to solve them, at least for the main puzzles. The secret ones do ramp up the challenge somewhat although they, like pretty much every puzzle that’s ever been created in Trine, is subject to the whims and whiles of the emergent gameplay that the series is well known for.
Initially you’re pretty limited in the shenanigans that you can get up to as your abilities are significantly limited. However once you’re able to summon 2 items things start to get pretty interesting and only start to rocket up from there. Indeed the combination of multiple boxes plus the fairy rope means you’re able to make platforms of arbitrary height that you can grapple onto, meaning that no matter what the height of something is you’ll be able to get to it. Combine that with the fact that the developers have still not solved the likely unsolvable issue of the Wizard levitating things he’s standing on in some capacity (this time you can grapple 2 boxes together and then levitate one of them, which can fling you basically anywhere) and you’ve got a recipe for some rather whacky solutions to the puzzles at hand. Additionally, and I don’t remember noticing this in Trine 2, but the co-op aspects have obviously played a bit into the level design as there are some puzzles that have multiple solutions, most only requiring one character. So for those it’s usually very easy to get past them with all 3 abilities at your disposal.
Despite all of that though the game is very well polished, not really suffering from any major game breaking issues or glitches. I mean sure, there were times where something happened that I wasn’t exactly expecting but I was deliberately trying to find ways to break the game’s physics engine in order to solve a puzzle in an easier way than intended. Perhaps my most enjoyable moments was when I was trying to grappling hook 2 boxes together, one of which was directly on top of the other. Doing that is fine however the second you start to levitate them things go wildly out of control as they start to clip and bounce off each other. I’m sure there’s easy fixes for edge cases like that but honestly, I think the game is better off with them in.
The story is perhaps the most well fleshed out of the Trine series but it’s not like that was a high bar to get over. The focus of Trine has always been on the visual and puzzle experience, notsomuch the characters or the world that they reside in. To be sure this does expand the world of Trine a little but it’s a pretty standard affair with a rather predictable outcome. Thankfully the story doesn’t get in the way of the game at all, mostly playing as background to what’s happening on screen.
Trine 4 is a return to form for the series, taking the essence of what made it great originally and building that up significantly. The more varied and deeper puzzle mechanics make for some truly interesting game play, especially with the trademark exploitable physics engine that allows you to do all sorts of things that the developers never intended you to do. The visuals are once again of AAA quality, retaining the same stylings that have become a trademark of the game. The usual not-so-great features are still present in this instalment with the middling combat experience and a run-of-the-mill story that you’re likely to forget shortly after playing. Still what makes a Trine game great is here in spades and for fans of the series this is a definite must-play.
Trine 4 is available now on PC, PlayStation 4, Xbox One and Nintendo Switch right now for $42.95. Game was played on the PC with a total of 9 hours playtime and 53% of the achievements unlocked.