#DEXTER

Outward (PC , PS4, Xbox One) Developer: Nine Dots Studio Publisher: Deep Silver Released: March 26, 2019 MSRP: $39.99 During my first ten hours in Outward, I was mauled by wolves three different times, kidnapped by bandits twice, and left shanghaied on a magic-infused mountain by a mysterious stranger. I fought subterranean monsters and laid tripwire traps in a desperate ploy to take on foes much stronger than me. At one point, I found a new backpack—one that I could attach a lantern to—and felt a genuine twinge of emotion. On my way back to town, a giant bird pecked me to death. It was a rough start, but nothing in Outward ever comes easily. Outward isn't an inviting game, nor is it a particularly fun game in that breezy way that so many open-world RPGs often are. Outward feels like a game ripped from another era, bringing both old-school design sensibilities and rough edges with it. Playing Outward is an exercise in patience. It's a challenging game that lacks many of the comforts accepted as RPG standards. There's no fast travel in Outward. If you need to cross multiple zones on a quest, prepare to hoof it. The game's magic system revolves around multi-stepped rituals to cast anything but the most basic spells. Your character can get sick from bad food, catch a cold in wintry weather, or contract a nasty infection during a fight. And most notably, Outward lacks quicksave and quickload systems. In this game, you live with your failures and learn to press onward. All of this is in service of a game meant to challenge expectations. You aren't a hero in Outward; you're an ordinary villager called to adventure for simple reasons: you owe a massive debt. You might be a capable warrior in a few dozen hours but Outward goes out of its way to keep you humble. Most of the time, you feel like a kid on their first day of school, oversized backpack and all. Weirdly enough, backpacks are the real main character in Outward. They're essential to your well-being. They come in different sizes and types. Some have plenty of storage space, but are so unwieldy that they slow your combat roll down. Others are lightweight, trading inventory space for increased maneuverability. One of the keys to making progress is finding a good backpack. They're so important that there's a dedicated "drop backpack" button. When you drop it, your compass points towards its last known location. For comparison's sake, your character doesn't even show up on the in-game map. That's how important backpacks are. Outward is uncompromising in its vision. Its brand of open-world experience blends RPG exploration with survival elements. At any given moment, you'll need to balance your character's hunger, body temperature, encumbrance, health, and stamina. Expect to spend as much time making sure you have supplies—materials for cooking, crafting, and first aid—as you do exploring dungeons. Learning to survive is no small task, and when you mix in a combat system that's as clunky as it is punishing, playing Outward can feel like an uphill battle. Unlike most RPGs, winning a fight in Outward has as much to do with preparing for combat as it does with actually swinging a sword. Even the most straightforward foes can inflict serious damage if you lose the upper hand. It's wise to lay traps—tripwires and pressure pads often do the trick—and drink a potion before engaging enemies. Because fighting feels janky, it's best to do as much damage to your foes as possible before swinging at them. Outward's melee combat feels floaty and less-than-precise. All that being said, there's something special about a meticulously planned assault. Sneaking up on a bandit patrol or unsuspecting monster, setting a few traps, and luring your target towards them with a volley of arrows can be thrilling. Getting clobbered by an overpowered foe in two hits, only to be knocked unconscious, revived, and dropped at a random point on the map (which has no indicator of your character's location, by the way) is awful. Outward wants so badly to encourage players to plan and prepare for anything, but because there's no proper fail state, losing a fight means you'll be left beaten and drained of your supplies. In most cases, it's better to try and run past enemies instead of potentially losing a fight. Outward's four main environments are home to three different faction-based storylines. After completing an early quest, players are free to adventure around the world or progress through their selected story path. The entire game can be experienced alone or cooperatively, a nice concession for players looking to even the odds in such a punishing world. Whether alone or solo Outward doesn't hurt for content. There are plenty of dungeons, ruins, and caverns to explore. Just be prepared to fight tooth and nail. Taken as a whole, Outward practically screams "cult classic." Its consistent challenge, cumbersome combat, and co-op systems won't resonate with everyone. But for a particular type of player—ones that don't mind trading dozens of frustrating moments for open-ended experiences—Nine Dot Studios' RPG is sure to find a dedicated audience. Outward's aspirations are commendable, but just like its protagonist, the end result is just average.

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A Way Out is an action-adventure game developed by Hazelight Studios and published by Electronic Arts under their EA Originals program. It is the second video game to be directed by Josef Fares after Brothers: A Tale of Two Sons. The game has no single-player option: it is only playable in either online or local split screen co-op between two players. The game was released for Microsoft Windows, PlayStation 4 and Xbox One on March 23, 2018, selling over a million copies in two weeks. A Way Out dedicated its entire title to only one act of its story. It's a bit deceiving to call this a prison break game (even though, yes, they do eventually get out) because it's a lot of other things too. A Way Out is a revenge saga, a Bonnie and Clyde-like outwit and outrun the cops tale, a bonding adventure, and a guilt trip that masquerades as a road trip. What's left is this patchwork quilt of pastiche, a B-movie Frankenstein of a million things that have been done in cinema. But as far as video games go, A Way Out is often a brilliant cooperative experience that is legitimately enjoyable -- and that will be enough to convince you to turn a blind eye to a lot of the writing that's as delicate as a sledgehammer. A Way Out is a pure cooperative game in that it can't be played any other way. Two people are required, either through couch co-op or online play. (It's worth noting that purchasing the game essentially grants you an additional copy to gift to a friend. While this person can play through the entirety of the story, they can't unlock achievements and trophies.) There's good reason for this forced collaboration. A Way Out is structured such that a partner is necessary for most every moment. Some of it is done in predictable ways -- like someone standing on a platform while the other person moves it -- but a lot of it is better than that. An early sequence has both players in adjacent cells, requiring one person to act as a lookout for guards while the other creates an escape hatch through the back of the toilet. A little later, the duo maneuvers up a ventilation shaft by going back-to-back and slowly climbing by moving their legs at the exact same time. Because of this shared responsibility, A Way Out's protagonists are equally important although very different people. Vincent is a rational and mostly-quiet man who's at the very beginning of a 14-year sentence for white collar crimes (with a fishy murder charge tacked on too); Leo is a brash bruiser who has been in the clink for six months on armed robbery and grand theft charges. I don’t want to spoil anything about its finale, but know this: A Way Out is worth seeing through to the end. A Way Out’s revenge-fueled plot is structured around flashbacks to how Vincent and his next-cell-neighbor Leo ended up in this predicament, until the story catches up to them aboard a plane and carries on from there. It ebbs and flows like a movie, and it somewhat feels like one too, despite a runtime about three times longer than your average theater experience. You will spend a lot of its roughly six hours with your controller down, watching cutscenes. But you’re also often free to walk around in many of those moments, with the screen frequently split to accommodate both players’ freedom to move and explore. Gameplay A Way Out is an action-adventure game played from a third-person perspective. It is specifically designed for split-screen cooperative multiplayer, which means that it must be played with another player through either local or online play. In the game, players control Leo and Vincent, two convicted prisoners who must break out of prison and stay on the run from authorities. As the story of both protagonists is told simultaneously, their progress may not be synchronized, which may result in one player being able to control their character, while another is watching a cutscene. Players need to cooperate with each other in order to progress, and each situation can be approached differently, with both characters taking different roles. For instance, during an early segment of the game, the player controlling Vincent needs to distract a nurse and guard, so the player controlling Leo can find a chisel needed to aid their escape. These roles are not fixed, so Leo and Vincent can swap their roles in another playthrough. Players can interact with many non-playable characters, and there are dialogue options for players to choose. Similar to the PlayStation 4 version of Far Cry 4, players will be able to join online sessions (hosted by the player's friends) whether or not the joining player owns the actual game. They have similarities, though. They're both family men. Leo has a young son who he's trying to hide his criminal life from. Vincent went to prison when his wife was mere weeks away from giving birth to their first child. However, their strongest commonality is a vehement hatred for a man named Harvey. Breaking out and delivering just comeuppance is the greatest motivator for this narrative that relies on vengeance more than anything else. Along the way, Vincent and Leo begin to understand each other. They find ways to lean on and support each other emotionally, like when Leo eventually (and unexpectedly) suggests Vincent should write a letter to his wife that tells her what kind of husband and father he wants to be. It takes a while to get there though. Early intimate interactions between the two come off stilted and awkward. There are separate moments where they both explain the heart-breaking situations that led to their incarcerations; each time, the listener simply replied with "that's rough." I made a point of remembering the first "that's rough" because I thought it felt so human. What do you say when someone tells you something so crushing that you don't have a good response? What do you say when you feel like your words won't ever be good enough to serve as any sort of consolation? You end up muttering something like "oh, no" or "I'm so sorry" or "that's rough." But to have the second character return in kind with the exact same phrase, well, that's bad writing. Leo and Vincent each have believable motivations that become clear as the story unfolds. So, too, do the actors’ performances improve as the plot progresses, with most of the notably wooden dialogue delivery contained in the early scenes. It’s as if they had to get to know each other, just as we needed to get to know them. It’s interesting to talk to the same NPC with Leo and Vincent separately, one right after the other, because while the conversation will usually turn out the same way, the path of those chats will be completely different. Leo is more violent and action-first, while Vincent prefers to talk his way out of sticky situations. So when you’re given the choice to handle a tense moment with a curious police officer Leo’s way or Vincent’s way, Leo wants to knock him out, while Vincent fakes a highly contagious illness. Game Story In 1972, Vincent Moretti (Eric Krogh) is freshly incarcerated and sent to prison for fraud and murder. In jail, he meets Leo Caruso (Fares Fares), who has now been inside for 6 months for grand theft, assault and armed robbery. While in the cafeteria, a thug sent in by crime boss Harvey tries to murder Leo, but Vincent intervenes, resulting in both of them being sent to the infirmary while the thug is beaten to death after stabbing a prison guard. While in the infirmary, Leo requests Vincent's help to steal a chisel from the office. Vincent complies. After the theft, Vincent senses that Leo is planning on a prison break and offers to help so that he can escape too. Leo initially refuses, but begrudgingly agrees to collaborate when Vincent reveals he also has a grudge with Harvey. Leo and Vincent make progress on their escape plan, stealing sheets to make a rope and smuggling a wrench to open a grating. Using teamwork and gathered tools, the two escape from the jail on a rainy night. After evading the police in the wilderness, the two find an empty camp and fish to make food. Vincent reveals that Harvey had him launder money before murdering his brother as a warning and framing Vincent for the murder. Leo starts telling his story but is interrupted when a police helicopter flies by, causing both to start moving again. They later find an old couple's house, and the two steal new clothes, a shotgun and a truck before evading the pursuing police in the vehicle and, after crashing, a rowboat. After surviving a waterfall, the duo finds civilization, after which Leo reveals Harvey and him had stolen a valuable gem, a Black Orlov, but that when Leo tried selling it, Harvey betrayed him by killing their buyer and escaping with the gem, leading to Leo's arrest. At a trailer park in the city, Leo confirms the safety of his wife Linda and his son Alex, before going to a construction site with Vincent. They find Ray, one of Harvey's underlings who works as a construction foreman, and, after a chase, the two capture and interrogate him to find Harvey's location, which they find out is Mexico. Plotting revenge against Harvey, the duo robs a gas station to buy guns from an arms dealer, Jasmine. When the two leave, Jasmine follows them and betrays them by giving their location to Harvey. Later, at a telephone booth, Vincent calls Emily, a pilot, and convinces her to fly them to Mexico. He then learns from her that his wife, Carol, had just gone through childbirth. The duo agrees to go to the hospital, but a hitman sent by Harvey arrives, attempting to kill them, but in the end failing. They then go to the hospital and Vincent gets to see his newborn daughter, but quickly needs to leave as police officers surround the building. Leo is captured but manages to escape thanks to a diversion by Vincent. The next day, Emily flies Leo and Vincent to Mexico, and the two find their way to Harvey's mansion. After a firefight with Harvey's guards and Harvey himself, the two overpower Harvey, force him to return the Black Orlov and, after he attempts to take one of them hostage, kill him. Escaping with the Black Orlov, Vincent and Leo return to the United States on Emily's plane, but are immediately surrounded by police upon landing. An officer takes the Black Orlov from Leo and hands Vincent a gun, revealing that both him and Emily had been undercover police officers. Leo and Harvey's Black Orlov deal had actually been arranged by the police, and the dealer killed was Vincent's brother, Gary. Feeling betrayed, Leo subdues Vincent, takes him hostage and hijacks a police car to escape. While trying to avoid a police roadblock, he crashes the car into water. Both escape the submerged vehicle, Leo stealing a boat while Vincent is picked up by Emily in a police helicopter. After a chase where Vincent tries to destroy the engine of the boat, Leo jumps off before it crashes into explosive tanks and runs into a portside warehouse. Emily lands the helicopter and both her and Vincent chase him inside. Leo manages to ambush Emily, taking her gun away and ordering her to leave as this fight is between him and Vincent. The gunfight ends with both sides injured, unarmed, and exhausted on the top of the roof. Seeing that one of their guns is dropped nearby, both try to reach it, but only one is able to and shoots the other. The two share a final moment of friendship before the person shot dies from their injuries. If Leo survives, he takes Vincent's apology letter and delivers it to Carol, then proceeds to leave town with his family while Vincent's funeral is taking place. If Vincent survives, he informs Linda of Leo's death before returning to Carol, making amends to save their marriage and raise their daughter by revealing he resigned from the police and proclaiming that it's over. Frankly, A Way Out is littered with bad writing. It's full of the sort of clichéd one-liners that are an earmark of '80s crime movies. At one point, Vincent literally says "I'd rather be uptight than a loose cannon." These are regular occurrences, and they don't necessarily come off as adoring nods to their influences. They feel more like forced banter that doesn't elevate the story in any way. One of A Way Out's more stylish tricks lies in the presentation. The split-screen format lends itself to smooth transitions from cutscenes and into each player's perspective. Sometimes, when one person triggers a particularly important moment, the screen will grow in their favor and relegate the other player's going-ons to an afterthought. It's a double-edged sword though, as it can lead to some supremely stupid interactions. There's a hospital scene where my partner tried offering hope to a terminally ill cancer patient; I was in the other frame seeing how long I could balance myself in a wheelchair. But, for all the ridiculous situations and terrible dialogue, it's easy to stay enamored with A Way Out. Obvious influences like Shawshank Redemption and Scarface make for a game that feels familiar yet entertaining. (Seriously, there's even a sequence where you time your loud-noise-making to the crack of the thunder.) The explosive setpieces and creative cooperation make up for any bungled exposition. A Way Out is laced with small cooperative moments outside of just dialogue, too, like having to tap X simultaneously to bust through a door, or one person splashing around in a pond to chase the fish toward the other player holding a spear. But even though it’s focused on its story sequences, A Way Out is decidedly not a “walking simulator”-style adventure – in fact, it’s more like a collection of largely enjoyable minigames. Sometimes you’re sneaking around in tall grass like Sam Fisher, choking out bad guys. Sometimes you’re punching people from a 2.5D side-scrolling camera like it’s a Double Dragon remake. Sometimes you’re driving a car, or throwing darts, or playing a banjo, or shooting hoops, or arm wrestling, or fishing, or...you get the idea. All of that variety is a double-edged sword: though this swath of activities often left me smiling, the trade-off is that none of them control and feel as good as games dedicated to those ideas. The baseball segment won’t be unseating MLB The Show 18, is what I’m saying, but even so it put a smile on my face. “Clunky” is probably the best description of the worst A Way Out’s minigames ever get, with the gunplay feeling particularly subpar in this, the age of spectacularly polished shooters. There's a constant mood about A Way Out that makes it seem like it's more inventive than it really is. Disregard that and you're left with a decent-enough story with some genuinely enjoyable video game moments. It's campy fun and that's perfectly fine. Just don't expect too much more. Development A Way Out was developed by Hazelight Studios, a small team of developers in Sweden led by film director Josef Fares. Both Fares and several members of his team previously worked on the acclaimed title, Brothers: A Tale of Two Sons from Starbreeze Studios. Production of the game began in the second half of 2014. The design philosophy for the game is that the team wanted to create a cooperative game that is unique and different. As a result, the team opted not use the traditional drop-in and drop-out cooperative format featured dominantly in mainstream cooperative games, and instead, the team decided to create a full game that must be played cooperatively with another player. According to Fares, the game was his passion project and he cancelled an upcoming feature film in order to devote more time to working on the game. The game uses Unreal Engine 4. Despite the game's heavy focus on multiplayer, the game was described as an "emotional adventure". As a result, cutscenes will play out even during online play to ensure that players can understand the story of the other character. The game features a wide variety of gameplay sequences from stealth to driving to ensure that players are often presented with different gameplay situations and generally make the game and its characters more interesting. To make the two protagonists more realistic, the team ensured that Leo and Vincent have distinct personalities and that they have different opinions and responses while interacting with the game's world. Fares Fares, a Swedish-Lebanese actor and Josef Fares' older brother, plays Leo. The title will be part of publisher Electronic Arts' EA Originals program, dedicated to funding small independent games. The partnership came to fruition when Patrick Söderlund, the Executive Vice President of Electronic Arts, approached Fares personally for collaboration after being impressed by Brothers. EA offered $3.7 million for the development of the game and gave Fares and his team complete creative control over the game's development. According to Fares, all revenue from sales of the game will go back to Hazelight. The formation of Hazelight Studios and the partnership between Hazelight and EA was officially unveiled at The Game Awards 2014. The game's title and gameplay was revealed at Electronic Entertainment Expo 2017 during EA's press conference. The game was released for Microsoft Windows, PlayStation 4 and Xbox One on March 23, 2018. None of those is A Way Out’s specialty, though. Instead, it focuses primarily on its story and the intertwining cooperative gameplay with the characters of Leo and Vincent themselves, and in those key areas it largely succeeds. Does the timing on certain moments seem implausibly convenient? Yes. Do the two men end up escaping unscathed from seemingly impossible scenarios? Uh-huh. (Side note: A Way Out’s police officers make Star Wars’ Stormtroopers look like expert marksmen.) The prison-breaking pair definitely don’t always get along, though, and sometimes they even compete, just like real frienemies would, which creates some fun player-versus-player moments. Neither my co-op partner nor I would give in during our button-mashing arm-wrestling match, even though it had no bearing on the game or the story, and I took a completely unnecessary glee in beating him in Connect Four (twice). At times it felt like we really were inhabiting these characters. A Way Out’s finest moments come when it’s at its most cinematic. The brilliantly choreographed hospital escape scene, for example, maintains one unbroken “camera shot” even as controls are cleverly trading back and forth between Leo and Vincent, while the aforementioned ending blends cinematography and gameplay in clever ways. And a Splinter Cell-esque back-to-back climb up a tall maintenance shaft requires the utmost cooperation and communication and had us laughing at every misstep. It was the peak of the mandatory cooperative gameplay that’s enforced here. And commendably, you get a free download token to give to a friend, so you only have to buy one copy to play online. The Verdict If you go into A Way Out thinking its mandatory two-player co-op is a gimmick, you’ll likely come out of it realizing that it couldn’t have been done any other way. Vincent and Leo’s journey will have you and a friend performing tasks together both mundane and dramatic, and the result is a memorable, variety-packed cinematic adventure that feels like what Telltale’s games might’ve evolved into if they’d leaned into game mechanics instead of phasing them out. REVIEW FROM MULTI RESOURCE

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The Walking Dead: The Final Season is an episodic adventure game developed by Telltale Games and later Skybound Games, and the fourth and final main game in The Walking Dead video game series, based on Robert Kirkman's comic book series of the same name. Taking place some years after The Walking Dead: A New Frontier, the game focuses on Clementine's efforts to raise young Alvin Jr., AJ, in the post-apocalyptic world, coming to join with a group of troubled teenagers surviving out of their former boarding school. Their path leads them to encounter a hostile group of raiders led by a figure from Clementine's past. The game represents the first major release by Telltale after a major restructuring; it was aimed to return to themes and elements from the first season, and is expected to be the concluding story for Clementine. The game was anticipated to be released over four episodes, with the first episode released on August 14, 2018 for Microsoft Windows, PlayStation 4, Xbox One and Nintendo Switch. However, due to the sudden near-closure of Telltale Games on September 21, 2018, the last two episodes were overseen by Skybound Entertainment, Kirkman's production company, as Kirkman had felt it necessary to properly complete Clementine's story. farewell to Clementine by debating the thought-provoking idea of knowing when to break a cycle. For years, Clementine has been compelled to protect her young companion A.J. at any cost, exactly as Lee did for her in the first season. The cycle of survival, of carrying on the lessons imparted to her, is wired into every fiber of her being. It’s what has kept them alive. In the final four episodes of the series started by the now-shuttered Telltale Games and finished by part of the same team (now at Skybound Games) we’re asked what happens when Clem and A.J. might no longer need to run and begin to have some semblance of a normal life, and after a bit too much exposition and padding it leaves them in a satisfying place. Gameplay As with other games in The Walking Dead series, The Final Season is a graphic adventure game, where the player controls the protagonist Clementine as she struggles to survive in the wake of a zombie apocalypse. The player can move Clementine around the environment to examine items, initiate conversation trees with non-player characters, and progress in the game. Decisions made by the player can affect future episodes, and The Final Season can use previous saved games from The Walking Dead to bring a player's choices from these games into The Final Season. Players that have not played previous seasons, or who may want to adjust choices made affecting Clementine's character, will be able to use a web-based Story Builder tool to create a cloud-based save game that can be used to feed into the game. This also addresses issues with various save game limitations due to platform transitions over the course of the series (for example, previous saves from the Xbox 360 or PlayStation 3 from the first two seasons are not compatible with The Final Season). In portions of the game, the player will be required to react to quick time events in action-driven scenes, such as escaping from a "walker" (the name for zombies in the series). Failure to complete the events typically results in the death of Clementine or another key character, requiring the player to retry the event. The Final Season introduces more open-ended action sequences that give the player more control during the sequence. The Final Season is the most focused arc in the series since its debut, with the adopted mother/son dynamic between Clem and A.J. creating some of the most harrowing choices I’ve made in a Telltale game. On a global level, it also offers new perspectives about the walkers, attempting and occasionally succeeding in showing us that there’s more to them than primal noises and a lust for human flesh. They were human once before the outbreak, so does Clem and A.J.’s reflexive response of killing every walker they see need to be changed, too? The Final Season points at the possibility of old habits breaking as new ways to live in this world arise and hope trickles in. About The Game The Final Season takes place roughly 7 years after the events of the first one. It is set in the same continuity of the comic book series, and it is located in West Virginia, in a world where society has collapsed after a zombie outbreak, these zombies being commonly referred to as "walkers" by the characters. It once again stars Clementine (Melissa Hutchison), who is now an older teenager, after she has reunited with Alvin Jr., "AJ" (Tayla Parx), the son of Rebecca and Alvin/William Carver, and her efforts to raise and protect him in the post-apocalyptic world, similarly to how her past guardian and caretaker Lee Everett (Dave Fennoy) once did with her. Clementine and AJ join a group of teenage survivors inhabiting their former boarding school. They are led by Marlon (Ray Chase), and are made up by easygoing, carefree Louis (Sterling Sulieman), cynical yet caring Violet (Gideon Adlon), timid Tennessee, "Tenn" (Zaire Hampton), Willy (Justin Cowden), Omar (Keith Silverstein), Ruby (Ali Hillis), Aasim (Ritesh Rajan), Brody (Hedy Burress), and Mitch (Robbie Daymond). The Delta is a faction of raiders who antagonize Clementine and the other children. Their members include Abel (Alex Fernandez), Minerva, "Minnie" (Cherami Leigh), one of Tenn's older sisters and Violet's ex-girlfriend, and Lilly (Nicki Rapp), a former member of Clementine's old survivor group from Macon, Georgia from the first season. Other characters in the game include James (Johnny Yong Bosch), a pacifistic ex-Whisperer, the children's pet dog Rosie, and Eddie (Brandon Bales), a character from the 400 Days DLC add-on for the first season, who briefly appears in a flashback. Game Story About 3 years after the events of A New Frontier, Clementine has continued to raise AJ, recalling Lee's own lessons he taught her. They drive along and stop at a train station to scavenge for food. Inside, they find a cellar with a well-stocked supply of food, but the door is rigged with a grenade, and the noise from the blast draws a walker horde. Whilst driving to escape, Clementine crashes the car, and as she blacks out, she sees someone grabbing AJ. Clementine awakens within the ruins of Ericson's Boarding School for Troubled Youth. She meets Marlon, the leader of a group of teenagers from the school, and finds they have also been taking care of AJ while she recovered. Clementine and AJ meet the other kids, learning that they have been alone for some time after being abandoned by the school staff but have found ways to survive. As she gets to know the others and helps AJ learn appropriate social skills, Clementine learns about the loss of a set of twin sisters, Minerva and Sophie, about a year prior that still troubles the children, particularly Tenn, the younger brother of the siblings. Marlon warns Clementine they are running low on food and has her help the next day with hunting and fishing. Neither effort secures enough food, and Clementine suggests returning to the train station to see what food supplies survived the grenade blast, despite the station being outside of the designated safe zone around the school. Clementine and AJ secure the food but are confronted by a man named Abel, who demands a ration of the food at gunpoint. After either complying with or subduing Abel, Clementine and her group make it back to the school, reporting on their encounter. That evening, Clementine hears two voices arguing through the pipe system, and finds Marlon and Brody, another resident, having a heated discussion in the cellar. Brody reveals to Clementine that Abel is part of a raider group that Marlon had traded Minerva and Sophie to in exchange for safety, and that he also intends to trade her and AJ should the raiders return. Marlon accidentally kills Brody for revealing this and locks Clementine in the cellar. After dispatching the re-animated Brody and escaping the cellar, Clementine finds Marlon being held at gunpoint by AJ, drawing the attention of the rest of the children. Marlon takes the gun from AJ and tries to frame Clementine for Brody's death in an attempt to get the group to turn on her. Clementine is able to convince the others of Marlon's wrongdoings, and eventually, Marlon surrenders. As the others discuss what to do with Marlon, he is killed by AJ. Although Clementine and AJ attempt to make amends, the other children vote to have the pair evicted from the school. Outside, they run into Abel and another member of the raiders, who Clementine is shocked to find is Lilly, a woman who Lee and Kenny had banished from their group years prior. Despite her attempts to negotiate with Clementine to convince the other kids to give themselves over to her group, she refuses and they start to hunt her and AJ down, during which AJ is shot. The pair are saved by James, a former member of the Whisperers, who reveals to them the raiders are forcibly recruiting people to fight in their war against a rival community. James tends to AJ's wounds and accompanies them back to the school the next morning, before departing on his own. Clementine is allowed back in the school so that AJ can have his wounds treated, and she warns the children about Lilly and the raiders, making plans to prepare the school grounds for an attack. Two weeks later, the raiders arrive at the school, looking to capture more children. In the midst of the battle, Lilly inadvertently kills one of the kids, Mitch. After Clementine saves either Violet or Louis from being kidnapped, Lilly and the raiders escape, taking Omar, Aasim, and whichever person Clementine did not save. The children vow to get their friends back, while Clementine interrogates a captured Abel. Abel's injuries from the battle prove fatal, but Clementine is able to learn from him before he dies that his group has a riverboat nearby where they have established camp. Clementine leads a small group to scout the riverboat, and she realizes they should get help from James to mask their approach with walkers. On the way back, they encounter one of the raiders who turns out to be Minerva. They find she has become loyal to the raiders and advises the group to give into their demands should they cross paths again. As the other children return to the school, Clementine and AJ find James and convince him to lead the walkers to help the following night. Back at the school, Willy makes a bomb that he plans to use to destroy the boat after they've rescued their friends. The children return to the boat and meet with James, who confides in Clementine his belief that as AJ has already killed one living human, Marlon, he may be permanently changed should he kill again, relating to his own past. Using the walkers, Clementine, AJ, and either Violet or Louis sneak onto the boat, plant the bomb in the boat's boiler, and then work their way past Minerva to rescue their friends. However, they are betrayed by Minerva and captured. Lilly confronts Clementine, telling her that Minerva killed Sophie when she tried to escape their group. Lilly notices that AJ is potentially influenceable and takes him away, leaving Minerva to guard the others. However, Clementine engineers their escape and incapacitates Minerva. She tells the others to leave the boat before it explodes while she goes to rescue AJ. On deck, Clementine sneaks up on Lilly as she is trying to convince AJ to join her, and prepares to kill the captured James and Tenn. Clementine attacks Lilly, and a struggle breaks out, with the children gaining the upper hand against Lilly. AJ holds Lilly at gunpoint, and Clementine can tell him to kill or spare her; if spared, Lilly murders James. During the chaos, the bomb goes off and the ship explodes. Clementine and AJ retreat to the shoreline as the boat quickly tilts into the waters. If Lilly was spared, she flees on a raft while the rest of her raiders, including Minerva, are overwhelmed by the walkers drawn by the explosion. Clementine, AJ and Tenn cover the children as they escape, then make their own escape through a cave system, pursued by walkers. If James survived, they reunite with him in the caves, but he berates and fights Clementine for allowing AJ to kill Lilly, then either goes his own way or buys the others some time to escape. Clementine has a talk with AJ, optionally putting the confidence in him that he can make the hard decisions at the right times. Leaving the cave tunnels, the trio meet with Violet or Louis who helps guide them back to Ericson. When they get to a covered bridge, where one end is partially collapsed, they are suddenly attacked by a bitten, dying Minerva, who has led a horde of walkers towards them. Clementine fights off Minerva, who slashes Clementine's ankle with her ax, and she and AJ cross the bridge. Violet or Louis try to make Tenn cross as well, but he is too stunned to move, and AJ decides to shoot Tenn to save Violet or Louis, or take no action resulting in Tenn crossing safely but Violet or Louis getting devoured by walkers. With the walkers still approaching, Violet, Louis or Tenn get separated from Clementine and AJ. Clementine helps AJ up a rock outcropping and then follows, but a walker is able to bite her wounded leg. They continue onto the school, but as Clementine gets weaker they are forced to take shelter in a barn. Clementine and AJ work together to secure the building, but it is quickly surrounded by walkers, and Clementine urges AJ to escape the building on his own through the roof. Amid their emotions, Clementine asks AJ to kill her or leave her to turn before escaping. In a flashback, Clementine is shown rescuing AJ from Fort McCaroll (after the events of the third season) after it had been attacked, and it is revealed she killed AJ's caretaker when she drew a gun on her. In the present, AJ has reunited with the surviving children in Ericson to help rebuild the school, where it is revealed that Clementine is still alive, having been rescued in time by the other kids after AJ amputated her bitten leg. AJ shows that he had found Clementine's hat that she lost when the boat exploded and sank, and Clementine decides that he should keep it now as the two settle in their new, permanent home. As a whole, the farewell to both the acclaimed series and the studio that started it hits its mark tonally, producing a satisfying, if slightly mani[CENSORED]tive, conclusion that finds a proper balance between hope and looming despair. On an episode-by-episode level, The Final Season has a mix of truly riveting moments and dull, superfluous exposition. All but Take Us Back, the final episode, feature scenes that either plod along at a slow pace or feel like padding altogether. Still, the destination is worth the occasional speed bump. Each episode has at least two or three pivotal moments that made me feel like reloading my save and making the other choice, only to realize that either way would leave me with mixed emotions. Breaking the cycle is hard for Clem and A.J., but it also turned out to be hard for me to bring myself to make those cycle-altering choices. Clem and A.J. have the chance to change their ways, but after knowing these characters for so long it’s difficult to want to see them act differently. Looking back on the first few minutes of the first episode, Done Running, I’m struck at how well it foretells the major themes of the season. We see A.J. in the backseat of a car, spinning the cylinder of his revolver like it’s a toy. They haven’t eaten in a while and he’s hungry. When Clem holds up a silly toy called Disco Broccoli and talks in a funny voice, A.J. isn’t amused. Nor is he happy when Clem calls him “goofball.” He’s six and, unlike Clem, hasn’t had a day of a normal life as a little kid. So rather than laughing and being a goofball with Clem he sits there with a revolver, obviously comforted by the fact that it helps keep him safe. It’s a sad opening, but it paints a vivid picture of Clem and A.J.’s current dynamic and alludes to the struggles they’ve overcome on the road that have made A.J. perpetually on edge. When they stop to enter a home in search of food, they find a married couple who tied themselves to chairs in front of the window before they turned, with a note asking for anyone who finds them to leave them be. I wondered why they wanted to be left in that state, and why I looked at them differently than the walkers I had just killed on their property. For the first time in the series, I saw them as something more, and I almost felt bad for raiding their house, even though they no longer had any need for their goods. Game Development Announced during the July 2017 San Diego Comic Con, The Walking Dead: The Final Season, is scheduled to launch as a four-episode series on August 14, 2018 for Windows, PlayStation 4, and Xbox One, with a Nintendo Switch version to launch later that year. Clementine will return as the lead character, voiced by Melissa Hutchinson, as Telltale found that fans of the series were not pleased with how little interactivity there was with Clementine in A New Frontier. Telltale wanted to have the final season call back to what fans had praised about the first season, and knew they needed to make Clementine the focus. With this direction, Telltale decided to make this the final season for The Walking Dead series so that they can create a satisfactory conclusion to Clementine's story arc. For this purpose, Telltale brought back Gary Whitta, the writer for the first season and "400 Days" content, to help close out Clementine's story. The story will follow from A New Frontier with Clementine having rescued AJ from the McCarroll Ranch, with a timeskip a few years ahead, where AJ is now a young boy. With diminishing resources amid the apocalypse, Clementine and AJ find the importance of staying with communities of vital importance, meeting other characters who have little memory of the time before the downfall of society. Clementine starts to teach AJ the essentials of survival as Lee had taught her during The Walking Dead: The First Season, as a way of paying Lee's lessons forward. Telltale had initially considered writing a version of Clementine that had become more jaded, but found this was far too different from the established version of the character, and reworked her to be more sympathetic. The final season will use the updated version of the Telltale Tool first introduced in Batman: The Telltale Series, along with improvements in the visual style to approach the style used in The Walking Dead comic. This included improved dynamic lightning, and a new rendering style Telltale called "Graphic Black" to enforce the comic book rendering style. Some scenes will feature "unscripted" zombies who may attack Clementine if the player is not careful, creating new freeform combat sequences, while other parts of the game will continue to use quick-time events as from previous games. Due to course-corrections made at Telltale in 2017, The Walking Dead: The Final Season was primarily the only game the company released that year, cutting down from twenty episodes across multiple games in 2017 to only this season's four in 2018. The game's executive producer Brodie Andersen said that "We know we ran a little hot in previous years and weren't able to fully deliver the experiences we may have wanted to, so that was important to focus in on a polished quality experience players love." Because of the reduced product schedule, Telltale was able to establish firm release dates for all four episodes in the season, a first for any of Telltale's episodic series. Andersen said that they were able to achieve this by starting from where they wanted The Final Season to end, and then building the narrative backwards from that, establishing four clear episodes for the series to work towards. A free demo of the game, offering approximately the first twenty minutes of the first episode, meant to show off the new gameplay features added in this season, was released for PlayStation 4 and Xbox One on July 31, 2018. Despite the title The Final Season, Telltale originally did not rule out a possible future for The Walking Dead games; Creative Director Kent Mudle said that The Final Season title represented the end of Clementine's journey from Telltale's view, but could revisit the franchise through other characters. When a group of survivors takes Clem and A.J. in, Done Running does a significant amount of the heavy lifting for setting up the biggest problem that Clem will need to confront: Teaching A.J. how to live in a “safe” world amongst others. Because of his upbringing he’s always on guard, which leads him to bite and hit other kids when they startle him. He’s never been close to anyone but Clem, and watching him navigate this new, more civilized existence is the most intriguing aspect of the episode, especially since your input as Clem often guides how he acts. He always listens to Clem, which adds significant weight to each of your conversations. Even simple things, like sleeping in a bed, are hard for him to understand, and you can decide whether to indulge his survival instincts or compel him into a small degree of normalcy. More About The Game On September 21, 2018, Telltale announced they were undergoing a "majority studio closure", laying off nearly all staff and leaving only 25 to complete the studio's remaining obligations. The state of The Final Season was unknown, though other planned studio projects were cancelled. The second episode was still released on September 25, 2018. Telltale stated on September 24, 2018, that the studio has been approached by "multiple potential partners" that want to help bring these two episodes to completion in some manner. Until they are able to figure out how the last two episodes will be played out, Telltale asked retailers and digital storefronts to pull sales of the game and the season pass. The game and its season pass returned to digital stores in December 2018. During the 2018 New York Comic Con, Robert Kirkman announced that his production company, Skybound Entertainment, would be helping to bring the last two episodes to release. According to Skybound, they have acquired the rights of the game from Telltale, and will be working with former Telltale Games employees who worked on the series to finish off the episodes. Ian Howe, the CEO of Skybound Games, noted that there were logistical difficulties in this. Some of the Telltale team had already moved on to other jobs prior to the Skybound deal, and for those still looking for work, they are not expecting them to relocate from San Francisco (where Telltale was located) to Los Angeles (where Skybound is located), but do need to find them space that makes the completion of development possible. They further needed to account for the time that those seeking jobs would need. By November 20, 2018, Skybound announced that development of the series had started up again with many former Telltale Games developers as part of a "Still Not Bitten" team. Howe had anticipated that the third episode would be released before the end of 2018. Spanish and Portuguese voice dubbing for the remaining episodes was dropped for budgetary reasons. Skybound also affirmed that they have gained the rights to sell the former The Walking Dead games, and will not require anyone that had already purchased a season pass for The Final Season to buy one again once the last two episodes are released. Users that had purchased the title before Telltale's closure on Steam or on GOG will receive the final episodes on those platforms, but otherwise the season was moved to the Epic Games Store for all new purchasers. According to Skybound, Epic Games had helped with the season's completion following Telltale's closure, and thus Skybound felt it was necessary to offer the game through their platform. Skybound produced a physical release of The Final Season for PlayStation 4, Xbox One, and Nintendo Switch on March 26, 2019; the season pass disc contains the first three episodes and granted access to download the remaining episode as it became available. EPISODES Episode 1 - Done Running Released: 08.14.2018 We've reached the beginning of the end for Telltale's critically and commercially successful adventure series, based on Robert Kirkman's classic comic book and the award-winning television show: The Walking Dead. Ever since Telltale's video game adaptation launched back in 2012, fans have been kept gripped by the story of Clementine, a young girl who is forced to do a hell of a lot of growing up when she is thrust into a nightmarish world of carnivorous walkers, selfish humans, friends, enemies and everyone in-between. Now a young woman, wise and self-sufficient beyond her years, Clementine has reached the end of her story where, alongside AJ - a young boy she rescued during previous seasons - she will finally face her fate. It's worth noting, first and foremost, that Done Running went longer than any episode of a Telltale Game I've played to date, about 30 minutes longer, so it seems that although there are less episodes this season, the overall story should run at the regularly-expected length. The Final Season showcases a new engine with pride, and while there is a definite improvement in graphical fidelity, character models and particularly lighting, movement still bears somewhat awkward animation. There are also some smoke and mirrors going on here. Although The Final Season boasts a new behind-the-shoulder camera and an overhauled combat system, the gameplay remains as linear as previous Telltale's storytelling titles. The new combat is little more than "Approach Walker. Activate QTE" and the new camera still only allows basic control within the small confines of a scene. Done Running does look better than its predecessors, but it really is just a new coat of paint over the same old Telltale gameplay. Done Running is mostly a matter of getting to know the new cast of characters we are about to spend several hours with, getting clued up on their thoughts, attitudes, talents and backstories. Most of the action is pretty poor, but things ramp up hard for a great, genuinely shocking finale. It is apparent that The Walking Dead: The Final Season will be more of the same, but that's hardly likely to disappoint anyone who has gotten four whole seasons into this adventure. I'm intrigued to see where the story goes from here, as well as what final fate lies in store for Clementine and AJ. But now the season's setup has been established, it's time to get down to the business of stressful character drama, humourous conversational retorts, and that all-too-nagging feeling that, ultimately, you have minimal control over events anyway. Episode 2 - Suffer The Children Released: 09.25.2018 We are merely one episode down in the final season of Telltale's adventure series The Walking Dead and already, deep in the forest, the shit has hit the fan. Having not been a part of their new community for more than 48 hours, already Clementine and Al have been thrust into high drama among their associates, holed up in an abandoned schoolhouse. With the threat of Walkers - and equally dangerous humans - lurking at the gates, bloodshed has already taken place within the school's walls, with survival and betrayal being the only lessons taught today. Is Clem responsible for bringing this drama to the seemingly comfortable community of youngsters? Regardless, will her shaky alliance of new friends see things the same way? In the aftermath of the horrendous bloodshed that took place at the climax of Done Running, Clem and A.J. now find themselves looked upon with fear and distrust from their new friends. Whilst Clementine tries to explain to a confused A.J the ramifications of his actions, Louis, Violet, Ruby and the rest of the kids are left to ruminate some tough decisions in the wake of the tragedy. Suffer The Children is a dialogue and moral-heavy episode of The Final Season. Clementine is forced to take a stand on A.J's actions, whilst continuing to keep him safe from the mounting anger of the pack. Pushed outside the compound, things go from bad to worse, as a shocking face from the past returns, bringing a violent new card into play. Away from all the skull-stabbing, some romance options also blossom into the narrative, allowing Clem the opportunity to perhaps find her own small happiness. There is some inclusivity involved here, which should definitely be applauded. But, given that we have known these prospective partners scant hours, it's hard to establish a connection of true love, although the scene I saw worked very well to attempt it, in that clumsy but heartwarming "teenage crush" fashion. Episode 2 also brings two strong new characters into the cast, a mysterious new friend and a dangerous antagonist, with the narrative immediately stamping the importance of both roles into the story. With the ticking clock counting down to an attack by a pack of raiders, Clem and crew are forced to batten down the hatches, leading to a brutal siege at the schoolhouse, filled with eye-popping, joint-snapping mayhem. This ultimately culminates in a typical cliffhanging conclusion. As the credits roll, however, all that's left is cruel sadness, with the apparent notion that it is now a cliffhanger that will never see resolution. The Walking Dead: The Final Season hasn't displayed anything particularly new or groundbreaking from a technical standpoint, but has, in just two episodes, assembled a warm cast of characters, anchored by a lead who is, absolutely, one of the best female characters in the pantheon of video games protagonists. That after multiple seasons she is unlikely to reach her own destiny - whatever that may have been - is a tragedy. I'm sure there are some very unhappy TWD fans reading articles such as this in the hope it can provide them with some sort of validation or solace. I personally don't have anything to offer to make things better. I wish I did. But, for whatever its worth, if this does prove the end of the road for Clementine and her story, you can at least take comfort in what a wonderful journey it's been, the many emotions you may have felt watching a frightened child become a confident, strong, badass young woman, whilst giving you lots of thrills, chills and some pulse-pounding moral dilemmas en route. The Walking Dead: A Telltale Series, in spite of its sad end, leaves an indelible mark in the history of video games. The artists, writers, programmers, actors and other talented folk who bust a gut to deliver this epic adventure now deserve to move on to better, brighter and happier scenarios. As for Clementine, who knows what awaits her in the future? (although I've never bought for a second that Telltale planned to kill her off). Regardless, one place that she's guaranteed to be found, forever, is in the annals of video game history and in the hearts of thousands of her fans worldwide. We'll miss you. Episode Trailer Episode 3 - Broken Toys Released: 01.15.2019 Like Lazarus, The Walking Dead: The Final Season has risen from the grave to continue shuffling toward its seemingly dour conclusion. After the unfortunate closure of Telltale Games last year, it seemed that all was lost for the story of Clementine, with the series abandoned just two episodes from its finale. That wasn't to be, however, as Skybound Games picked up The Walking Dead license - along with a bevy of Telltale's former employees - and are pushing on to complete the four-season story of survival, loss, and friendship, set against the background of a po[CENSORED]ce tearing itself apart, figuratively and literally. When we last left Clementine and A.J. the pair had violently fended off a brutal siege at their schoolhouse compound, leaving some friends abducted and others six feet under. With a diminished party and their friends' very lives at stake, can Clementine hold it together to mount a rescue mission? What hope do these kids have against a heavily-armed band of scavengers, anyway? The aftermath of the school siege begins an incredibly somber and dialogue-heavy episode, as Clementine, A.J., and the scant survivors attempt to come to terms with their losses and put together a rescue plan. After the interrogation of Abel, the one raider who was left behind by his posse, our resourceful heroes perform recon duties on the enemy base, before forming an attack plan that's all kinds of suicidal. Clem will also require help from her new friend James, a "walker-sympathiser" as it were, whom she met last episode. James is not feeling too groovy about leading his undead pals into battle, but attempts to educate our girl with a particularly scary trust exercise. Once the team of youngsters have their plan of attack in place, it's time to lead the charge on a small army of adults armed with fully-automatic weapons. Blood is shed, of course. Unfortunately, episode three stumbles. The first chapter in this season that feels "too long," despite being the same length as its brethren, Broken Toys is a slow-moving piece that includes both awkward scenes and conversation that feel out-of-place given the urgency of the situation. Knowing that the raiders could return at any moment, and are currently brainwashing their kidnapped buddies, a subplot to "Hold a Party" seems wildly misjudged, despite an excellent monologue during that sequence featuring Violet (should she still be in your crew). Kudos to voice actor Gideon Adlon. When the assault on the enemy comes, it's weirdly stop-start and messily executed. The frantic attack feels oddly muted - complete with awkward pauses for exposition time - and is not quite as heart-pounding as Suffer the Children's riveting school siege. Fortunately, Broken Toys does pull it back with a wonderfully moving, genuinely affecting dream sequence and a first-person section that is creepily immersive, even if the theory behind it is kind of ludicrous. The shift to Skybound Games has not helped the ever-struggling Telltale engine. Broken Toys crashed on two separate occasions, requiring a hard reboot of the PC. Also, during an ambitious action sequence featuring dynamic light and shadow, the framerate jerked recklessly, requiring me to lower settings until I completed it, then raise them again afterward (something I've never had to do in the series so far). I remain invested in The Walking Dead as it nears its conclusion, now just two months away. Though the move to Skybound hasn't improved the technical reliability of the Telltale Games experience, the artists, writers, and voice actors continue to present a story that remains suspenseful, delivering some great individual moments, even if it sometimes pads the run-time to reach them. Beyond that, it's just nice to see you again, Clem. Episode Trailer Episode 4 - Take Us Back Released: 03.26.2019 And so, this is it. After four intense seasons, the series formerly known as Telltale's The Walking Dead has reached its sombre climax. We have watched lead protagonist Clementine grow from a frightened child - having endured horrors no-one should ever have to experience - into a strong, confident young woman. Now the guardian of A.J., an angry and confused kid, Clementine's life and lessons have led to this final stand in a dangerous and frightening world. When Telltale's The Walking Dead first launched back in 2012, its modern blending of "Choose Your Own Adventure" books, point-and-click games, and dramatic, TV-style storytelling earned critical praise, big bucks sales, and numerous Game of the Year awards. As we know, this then led to a huge catalogue of titles from the Californian developer, hit-and-miss affairs which would ultimately lead to the studio's unfortunate demise in 2018, right in the middle of The Walking Dead's fourth and final season. Still, hope springs eternal, and the series, along with much of its team, were picked up by Skybound Games, who now present this final chapter of a tale seven years in the making. A tale that has seen Clementine meet, befriend, love, and even kill friend and foe alike. Clem has traveled a weary road, making difficult moral choices for herself and those around her, all whilst fighting for survival within a literal hell on Earth. You've come a long way, baby... Picking up immediately from where we last left off, Clem, A.J., and pals are aboard a literal sinking ship, having botched a rescue mission on sociopath Lily and her gang of raiders. After this initial action sequence, the episode gives way to several tense verbal conflicts and some tough, but frustratingly obscure, choices. Not long into the episode there begins a conversation with A.J. which, in theory, is the culmination of all you have taught the boy to date. Unfortunately, it's structurally a mess, filled with random tidbits based on your past exploits and - much like the "How have you defined Joker?" hook of Batman: The Enemy Within - I was left feeling that all I had done previously to shape A.J. got thrown out for one question. A question so morally obscure that it's difficult to take a line on it without situational context. I don't feel I failed A.J. as a guiding light in difficult circumstances, but I am left feeling that my meticulous guidance boiled down to one, maybe two choices, leaving me to deal with their heavily-weighted outcomes. Once again, the smoke and mirrors of the Telltale Games mechanic have left me feeling like I haven't really had much control over events. As Take Us Back progresses, things get inevitably emotional. A few tough decisions over the past two episodes will direct the fates of several major players, although some outcomes appear pretty much set in stone. As a climax to The Walking Dead: The Final Season, Take Us Back is fine, with some genuinely affecting scenes, but as a climax to an entire saga, it's surprisingly low-key, and even draws out its epilogue a little too long, with multiple false finishes. Fans will be pleased to hear that they slip in a particularly dark flashback, allowing us to discover how Clementine and A.J were reunited after the events of A New Frontier. How you personally feel about the narrative conclusion of The Final Season will be somewhat subjective. It shouldn't be forgotten that, at one point, we weren't getting any ending whatsoever. Skybound and Telltale should be applauded for not sending the fans away with that crushing frustration. While this concluding episode doesn't quite knock it out of the park, nor does it leave me feeling like I truly had control over events (which is a staple criticism of most of Telltale's wares), it does give Clementine - the real star of the show - her finale. It would have been an absolute crime not to. Whatever anyone thinks of the Telltale's interactive storytelling, the launch of The Walking Dead was a genre-defining moment in gaming, deserving of all the success, awards, and praise that it received. At its emotional core is the character of Clementine, who has rightfully earned a place in gaming's hall of fame as a magnetic, likable, barrier-breaking lead. For all of the series' hit-and-miss factors, they got Clementine right. Kudos to actor Melissa Hutchinson and writer Gary Whitta for their realisation of a great protagonist. Strictly speaking, you don't need a review to tell you whether to play the final episode in the fourth season of a franchise. This far down the line, you're already on board, or you aren't. I think Take Us Back's writing will find some division in the community, regardless of your own personal outcome. Some may cry, others may smile, some may even frown and exclaim "...whaaat?" But we can at least rest easy knowing that Clem, A.J., and all of us were not left wandering the wilderness, guessing at what might have been. From the first moment that patrol car spilled convict Lee Everett into a ditch, to the final curtain fall on this climactic episode, players have enjoyed telling their tale of survival, friendship, bravery, and tragedy in a post-Walker world. It's been a very bumpy ride, both technically and narratively, but Telltale's The Walking Dead worked hard to push past these shortcomings, creating a new form of interactive fiction. One which procured genuine emotional investment from its fanbase and a deserved place in video game history. We Will Remember That. Episode Trailer The Verdict The Walking Dead: The Final Season hones in on the dynamic and relationship between Clementine and A.J. to produce some startling situations, choices, and ripple effects that thread throughout all four episodes. At times, the story is bogged down and stalled by the new free-roaming gameplay and myriad side characters that are never fully developed, but each episode has a satisfying conclusion that effectively sets up the stakes for a thrilling finale. It’s a moving but bittersweet ending, especially considering this was the last game Telltale worked on before shutting down. REVIEW FROM MULTI RESOURCE

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Generation: Zero is a first-person shooter in an open world, set in 1980s Sweden. There is an opening scroll that sets up the plot and also talks about Hitler, but honestly, at this point, I've forgotten what it was all about. I remember that basically everyone had been trained in combat since they were little, and then the alarm went off, calling them to arms. I suppose that's the setup to explain why everyone has disappeared. One of science fiction’s greatest tropes has got to be the machines rising up to overthrow their human creators slash oppressors. Terminator 2 was James Cameron’s cry of #notallmachines while Black Mirror’s ‘Metalhead’ episode painted a far bleaker picture of savagery where no questions are asked, there’s only bloodshed. In Generation Zero’s case, the world gifted to us by Avalanche Studios is more of the latter, which heightens the stakes in this dystopia, creating a world that’s tense, engrossing and horrific all at once. The game isn’t without numerous other failings but in an industry where service games are constantly being tweaked and revisited, hope is alive for Generation Zero as it draws you in through its robot-infested rolling hills. After a brief wall of scrolling exposition, the game drops you onto the coastal edge of Sweden armed with only the knowledge that something on-land shot and sank your boat and that there’s something acutely concerning about that fact. The game takes place on November 14, 1989, as you return from an island retreat to discover the country inundated unexplainably by an unrelenting army of machines that shoot on sight. Ignoring the fact that Sweden is typically freezing cold in the eleventh month, Generation Zero’s world is like an anachronistic siren’s song. I was happy to see that Generation Zero is unapologetically Swedish from the get go. All the signage and voice acting is in Swedish, and even the art for mission items like handwritten notes. Decent English translations are available through subtitles, in the menu and on the contextual HUD, the latter being an example of nice user interface design. You point your crosshairs at a newspaper headline, say, and a translation appears as a subtitle. Sadly that’s the only good thing I have to say about the UI, because otherwise it’s a buggy managerial headache that devours fun. It petulantly drags your attention away from the action and back to the menial task of inventory management, like a toddler that constantly wants you to help them itemise their toy box instead of play with anything. The game’s fairly rudimental mission log keeps you pushing inland, though it’s fair to say even crude and half-baked set of objectives is more than most games of this ilk offer. So often we’re just thrown into a playground with no goal at all, so I commend Avalanche for giving us something that respects our time by forcing us in the right direction. That said, it’s far from an ideal system as the game’s HUD offers very little information on your objective and what your active quest even is, something that, I suspect, will be fixed in time. Robots of various sizes now roam the land, and the core of the game is the player exploring the world, finding clues, and surviving against the killer robots. There are no "survival" elements like hunger, sleep, or fatigue. Just health, ammo, and stamina. Killing robots, exploring, and various other things earn experience towards level ups, which then reward a skill point to allocate to one of the skill trees. The game can be played solo or via online multiplayer, which works more or less fine. There's a lot here, on paper, to like. Plus, the game can look absolutely beautiful at times. And then you actually play it and it is clear that this game is far from finished. Models and textures are clearly unfinished, enemy AI hardly functions, collision bugs are everywhere, and the whole world feels slapped together. Generation: Zero looks, feels, and plays like an Early Access title, but it is not. About Generation Zero Explore a vast open world, rendered with the award-winning Apex engine, featuring a full day/night cycle with unpredictable weather, complex AI behavior, simulated ballistics, highly realistic acoustics, and a dynamic 1980’s soundtrack. Experience an explosive game of cat and mouse set in a huge open world. In this reimagining of 1980’s Sweden, hostile machines have invaded the serene countryside, and you need to fight back while unravelling the mystery of what is really going on. By utilizing battle tested guerilla tactics, you’ll be able to lure, cripple, or destroy enemies in intense, creative sandbox skirmishes. Go it alone, or team-up with up to three of your friends in seamless co-op multiplayer. Collaborate and combine your unique skills to take down enemies, support downed friends by reviving them, and share the loot after an enemy is defeated. All enemies are persistently simulated in the world, and roam the landscape with intent and purpose. When you manage to destroy a specific enemy component, be it armor, weapons or sensory equipment, the damage is permanent. Enemies will bear those scars until you face them again, whether that is minutes, hours, or weeks later. THE MACHINES TICK Small in size but surprisingly agile, the Tick will launch itself at you if they get too close. Often found in groups, these small machines will use their wicked-sharp talons and self-destruct mode to severely hurt you if you aren’t too careful. SEEKER Seemingly harmless at first glance, the Seeker acts as a scout, signalling your location to nearby allies who will come to its aid. Make sure to stay out of the sensor range or take it down quickly to avoid being overwhelmed by reinforcements. RUNNER Quick on its feet and often moving in packs, the Runner will work together with its allies to wear you down with automated weaponry. Don’t let them get too close or they will knock you off your feet with a powerful charge, making it easier for the others to kill you. HUNTER Intelligent, swift and silent, the Hunter attacks with lethal precision, showcasing a diverse range of tactics to take you down. Get too close and it you risk getting a knife in the gut, while at a distance you must constantly seek cover or end up riddled with bullets. HARVESTER A tempting target for an ambush, but not to be underestimated, the Harvester focuses its time and energy on gathering resources and fuel from its surroundings. Oftentimes escorted by fellow machines, it will not shy away from defending itself if threatened, doing all it can to ensure that it walks away unharmed and unscavanged. TANK The most heavily armoured and armed of the machines, the Tank towers over houses and players alike, shaking the very ground with each step. Do not engage it without a strategy, plan your encounter in advance, and always be ready to run when the rockets start flying. GamePlay Look, above is a video of a firefight with my friend and me against some robots (it didn't record my mic, sorry). Some things to point out: there's a weird texture over the storage containers that clips through all of them. This was present in the entire area. Some robots just take bullets without reacting. You may notice I have to jump into the little shack each time because none of them on the entire map touch the ground. I shoot a gun off a robot -- that's cool! A robot hardcore clips through the storage containers, even in death. Healing and death are trivial. Pieces fall off robots depending on where I shoot them, exposing weak points -- also cool! This sums up Generation: Zero pretty well. There are some genuinely cool moments buried among the slop. If this were an Early Access title, I'd be very content saying to keep an eye on it as it nears release. Considering that this game is being released like this, I will instead warn not to waste any money on this unfinished title. I look forward to a potential 2.0 release, because I really want the game that was intended to come to fruition. REVIEW FROM MULTI RESOURCE

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Metro Exodus is a first-person shooter video game developed by 4A Games and published by Deep Silver. It is the third installment in the Metro video game series based on Dmitry Glukhovsky's novels. It follows the events of Metro 2033 and Metro: Last Light. The game received generally positive reviews from critics. Metro Exodus turned heads when it was first announced at Microsoft’s E3 2017 press conference with a gameplay presentation that led many to believe it would be an open world take on the franchise. While that’s not exactly true, Metro Exodus does blend open world elements with the Metro shooter/stealth formula to varying degrees of success. In Metro Exodus, silent hero Artyom leaves his home in the Moscow metro tunnels to explore the nuclear-ravaged world with his wife Anna, her father Miller, and a ragtag group of soldiers and tinkerers. The group travels from one large area to the next by train, with Artyom able to explore these relatively large areas as he pleases. Being out in the open is a pretty stark departure from past Metro games, and it comes at the cost of the excellent atmosphere and claustrophobic feelings that the other two games in the series were able to capture. Metro Exodus largely turns its back on its horror roots, though that’s not an inherently bad thing. It doesn’t exactly feel like previous Metro games because of it, but what’s presented here in terms of story and tone is fine in its own right. While the story has no shortage of grim moments and some situations are downright bleak, Metro Exodus is bizarrely optimistic for a Metro game, allowing it to tell a different kind of story. Metro Exodus is set after the events of Metro: Last Light, on a post-apocalyptic Earth that has been devastated by a nuclear war. The game continues the story from Metro: Last Light's "Redemption" ending. Similar to the previous two entries, the player assumes the role of Artyom who flees the Metro in Moscow and sets off on a continent-spanning journey with Spartan Rangers to the far east. Artyom first travels around the Volga River, not far from the Ural Mountains, to get a ride on a locomotive known as the "Aurora" that heads east for a new life. The story takes place over the course of one year, starting with a harsh nuclear winter in the metro. Another major character, returning from the previous game and the book Metro 2035, is Anna - who is now Artyom's wife. Miller, Anna's father and leader of the Spartan Order, also returns from previous games and novels. Gameplay Metro Exodus is a first-person shooter game with survival horror and stealth elements. Set in the post-apocalyptic wasteland of the former Russian Federation, the player must cope with the new hazards and engage in combat against mutated creatures as well as hostile humans. The player wields an arsenal of hand-made weaponry which can be customized through scavenging materials and a crafting system. The game features a mixture of linear levels and sandbox environments. It also includes a dynamic weather system, a day-night cycle, and environments that change along with the seasons as the story progresses. It is set over the course of one whole in-game year. Metro Exodus Story After the attack on D6, Artyom becomes disillusioned with the constant infighting and corruption within the Metro and leaves the Spartan Order. He soon becomes obsessed with proving that other human survivors exist outside of Moscow and makes numerous dangerous expeditions to the surface, much to Anna's concern and Miller's frustration. However, on one such expedition with Anna, they witness a working train running on the surface. Before they can follow it, they are captured by Hansa soldiers. The Hansa soldiers execute the other prisoners and Artyom is shot and left for dead. Surviving the gunshot, Artyom follows the soldiers to their base to rescue Anna, and in the process inadvertently destroys a signal jammer that was blocking all communications going in and out of Moscow. Radio transmissions from all over the world begin to be picked up, and Artyom and Anna realize humanity hasn't gone extinct. They escape by stealing one of Hansa's trains with the aid of a defected Hansa train engineer called Yermak. As the train leaves, the Spartan Order moves in to retake it and are shocked and confused at Artyom and Anna's presence. Knowing that Hansa will have all of them put to death for knowing the truth, Miller concludes that the Spartans' best chance of survival is to flee Moscow. Once outside the city, he reveals to the others that while many of Russia's cities were bombed, the war did not end and NATO proceeded to occupy what was left of the nation. In order to prevent more bombs from being dropped on Moscow, the Russian leadership decided to secretly jam all communications to make the outside world believe nobody had survived. They then receive a radio broadcast from Moscow Defense Command calling for survivors to rally at the "Ark" located at Mount Yamantau and Miller decides to head there, believing that the Ark is where the Russian government has rebuilt itself. As the Spartans reach the Yamantau base, they discover that the remnants of the base have devolved into cannibals luring survivors in with the false promise of safety. Artyom and the Spartans manage to fight their way out and escape, but Miller's faith in Russia is shattered when he discovers that the government never took refuge in Yamantau, or even survived the war, and thus the Spartans are left wondering what to do next. Using a map they recovered from Yamantau, they decide to travel to a satellite communication center near the Caspian Sea in the hopes of gaining access to a satellite to find habitable land to settle. At the dried up remains of the Caspian Sea, the Spartans steal water and fuel from the local bandits and free their slaves while obtaining an updated satellite map. As the Spartans continue on their journey, Anna begins to cough up blood, fearing the cause was accidentally breathing poison gas during the journey. They decide to scout a nearby forest valley to see if it is suitable to settle. While scouting the forest, Artyom is caught between two rival survivor factions who are both terrorized by a giant mutant bear called the Master of the Forest. However, he also discovers that the dam protecting the valley from radiation is on the verge of failing, making the area unsuitable to settle. Artyom kills the Master of the Forest and returns to the train, but Anna's condition has worsened. The only chance to save Anna is to find the antidote in Novosibirsk, but the entire city is heavily irradiated. Miller and Artyom decide to head into the city alone to search for the antidote despite the risk. They enter the Novosibirsk metro and find a young boy named Kiril, one of the last of the Novosibirsk survivors. Kiril explains that his father left on a mission to obtain a map marking the location of a clean, habitable area. Miller decides to go find the map while Artyom heads out to find the antidote. However, as he proceeds deeper into the city, he begins experiencing vivid hallucinations. Artyom manages to recover the antidote, but is gravely wounded by a mutant and absorbs a heavy dose of radiation. Artyom, Miller, and Kiril return to the train with the map and the antidote, but Miller dies of radiation poisoning on the way back. The rest of the Spartans donate their own blood to give Artyom a critical blood transfusion. Anna is cured with the antidote and with the map, the Spartans settle on the shores of Lake Baikal, which is completely free from radiation. Artyom's ultimate fate depends on the choices the player made during the journey. In the bad ending, Artyom dies from the radiation poisoning, and the Spartans and a grieving Anna hold a funeral for him and Miller. In the good ending, Artyom survives. Miller is buried and Artyom is selected to take his place as leader of the Spartan Order. Now that they have a home, Artyom decides that it is time to search for other survivors. While the story itself is consistently entertaining, Metro Exodus‘s narrative isn’t without its problems. Most of the characters have personalities that are indistinguishable from one another, with Artyom’s only defining personality trait being the fact that he never talks. Despite Metro Exodus having the largest script in series history, friendly soldiers are so bland that it’s virtually impossible to care about anything that happens to them, good or bad. It is possible to have some extra interactions with these characters by visiting the train between missions, and these brief chats do offer the characters a chance to stand out. What’s interesting is that these characters will actually react realistically to what Arytom is doing; for example, if Miller gives Artyom an order but the player just stands there, he will get annoyed and start yelling for him to leave. Players can choose to ignore these optional interactions, but they go a long way in fleshing out some of the characters, particularly when it comes to Artyom’s wife Anna. Experiencing their relationship is a highlight of the experience, and players are robbing themselves of some of the game’s best written and most engaging scenes if they opt out of these little moments. One downside to this is Artyom’s status as a silent protagonist makes some of these scenes feel a little awkward. Other characters even remark on how quiet Artyom is all the time, which draws extra attention to that fact. Silent protagonists aren’t always a bad thing, but in Metro Exodus, the silent protagonist makes some scenes goofy instead of as emotionally powerful as they otherwise would have been. Controversies On 28 January 2019, it was announced that the PC release would be exclusive to the Epic Games Store for one year, with the publisher citing the platform's more favorable revenue split. The game's pre-sales were discontinued on Steam following the announcement, with existing Steam digital purchases still being fulfilled. The decision caused controversy, and resulted in a large number of players calling for a boycott of the game and review bombing the franchise's previous games on Steam. One of the game's developers was criticized in the gaming press for stating on a forum that if Metro Exodus did not sell well on the Epic Games Store, its sequels may become console exclusives. 4A Games released a statement that these views did not represent those of the company. In its release month, Metro Exodus sold 2,000 units less than Far Cry New Dawn, claiming the number two on the UK's sales charts. Metro Exodus also sold 50% more copies than its predecessor, Metro: Last Light. In Japan, approximately 17,513 physical units for PS4 were sold during its launch week becoming the number 7 selling game of any format. Goofy scenes are another problem when it comes to Metro Exodus‘s story. There are some moments in the middle of the game, which we won’t spoil here, that are absolutely ridiculous, and the ensuing chaos is far more hilarious than it is scary. Some story developments feel too similar to other post-apocalyptic stories, like Mad Max and even The Walking Dead, and come across as derivative as a result. This is a shame because despite the Metro series being part of the crowded post-apocalyptic genre, it always felt original and fresh compared to similar games and media. While Metro Exodus is a departure from the series norms in terms of some plot developments and the semi-open world areas, the core gameplay is actually very reminiscent of past games in the series. Players are encouraged to be stealthy whenever possible, sneaking up on enemies by sticking to the dark and choosing to either kill them or knock them out when getting close enough. Metro Exodus isn’t very innovative with its stealth mechanics, and at this point, they’re starting to feel a bit dated, but they still get the job done. When players aren’t able to take the quiet approach, they can often shoot their way out of any tough situations. Shooting in Metro Exodus is a highlight of the the game. Guns feel heavy, with booming sound effects that are almost startling. Weapon accuracy deteriorates if players don’t regularly clean their weapons, and players are also able to equip a variety of attachments to their guns to make them even deadlier. It’s fun to explore the open world areas for gun parts, as improving one’s weapon in the game is a genuinely rewarding experience. Besides having to clean and upgrade their weapons, Metro Exodus players also have to swap their air filter when needed, fix their gas mask, and recharge the battery for their flashlight. On higher difficulties, these tasks add stress and tension that enhance the experience, and combined with the weapon management, really help players become immersed in the game. Metro Exodus players may want to consider starting out on a lower difficulty, by the way, even if they’re veterans of the franchise. Success in the game largely depends on if players have enough crafting materials to craft the first-aid kits and ammo they need to get through any given area, and there is a period at the start where these crafting materials are virtually nonexistent. This makes the first few hours of the game particularly challenging, even when compared to later stages when there are more enemies to deal with and deadly traps to watch out for. Things aren’t so bad once players get over this hump and have plenty of places to loot for crafting materials, but it definitely takes some time to do so. And then it becomes almost too easy, and we would recommend players increase the difficulty accordingly. On even the Normal difficulty setting, Metro Exodus‘s enemies aren’t playing around. Artyom can die in just a few shots from humans and a handful of vicious swipes from mutants, making each combat encounter that much more thrilling. Everything is a threat, especially early on when resources are limited, and players will find themselves in some heart-pounding situations as a result. The one downside to the otherwise great combat is the game’s checkpoint system. Metro Exodus players have to either manually save whenever possible or rely on the auto-checkpoint system that will give them a checkpoint, even if they’re in the middle of a firefight. There was one especially annoying instance where we had successfully made it past all the guards in an area and then had to turn a valve. No one had spotted us, and so we assumed the coast was clear. But suddenly Artyom’s back was riddled with bullets, and we died just as the game gave us a checkpoint. This trapped us in a death loop that forced us to load an older save and restart a portion of the game. Luckily, Metro Exodus lets players manually save almost whenever they want, and so situations like this can be avoided if players are privy to it and remember to save often Metro Exodus suffers from some other issues as well, including unresponsive buttons when trying to loot enemies, the occasional unlocked door simply refusing to open, and long load times. We also noticed NPCs clipping through objects and some noticeable texture pop-in at certain points of the game, at least on console. None of this was game-breaking, though, and perhaps would’ve been less noticeable in a game that wasn’t so visually impressive. Metro Exodus is stunning, and we found ourselves just stopping to look at and admire the game world on more than one occasion. The game world is brilliantly designed, and the changing seasons give it some much needed variety that can’t be found in the other Metro games. It’s interesting to see how the game world changes from one season to the next, and based on our time with the game, players can experience it all with virtually no frame rate dips, screen-tearing, or slowdown of any kind. Metro Exodus‘s gorgeous visuals are somewhat undermined by the NPC clipping issues and texture pop-in, and one has to wonder if those issues would have been ironed out had the game spent some more time in the oven. But even though its technical issues, lack of genuine horror, and bland cast make it fall short of its predecessors, Metro Exodus is still a decent mix of the franchise’s traditional stealth/shooter gameplay and a semi-open world environment, with some truly stellar graphics to boost. REVIEW FROM MULTI RESOURCE