March 2019 LIVE Magazine

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APRIL ISSUE <strong>2019</strong><br />

IVE<br />


Go to page 10 for more details on Brightburn and find out how you could boost your chances of winning tickets!

From the Editor<br />

Hello and welcome to the April edition of Gametraders Live and the<br />

first edition of this year!<br />

We have a smaller issue for you this time but don’t worry we still have<br />

great content! Yoshi’s Crafted World Review, a look back at Disney<br />

games on Playstation and two great interviews. One with voice actress<br />

Morgan Garrett and one with voice actor Josh Gerelle.<br />

Also we have an exclusive preview of our next compeition Brightburn,<br />

you are the first to know about it and if you mention it on our<br />

Facebook page you will get a double entry!<br />

We hope you enjoy the magazine and as always if you are interested in<br />

writing for our magazine please email live@gametraders.com.au<br />

Emily Langford<br />

Emily Langford,<br />


What’s inside<br />



MARVEL<br />

FACTS<br />

&<br />

TRIVIA<br />

PG. 8

THE <strong>LIVE</strong> TEAM<br />

EDITOR & DESIGNER: Emily Langford<br />

WRITERS:<br />

Paul Monopoli, Interviews / Retro Editor<br />


GRELLE<br />

Pg. 20<br />

Paul Broussard, Stephen LaGioia & Adam<br />

Cartwright, VGChartz<br />



Pg. 12<br />


Pg. 54<br />


PG. 10

MOVIES<br />






,tv&<br />


• Goose the cat was<br />

originally called chewie<br />

after chewbaca from star<br />

wars but was renamed<br />

goose after goose<br />

bradshaw from top gun<br />

• Goose was played by<br />

five different cats called<br />

Reggie, Rizzo, Gonzo, and<br />

Archie<br />

• Skrull makeup took 2hrs to<br />

apply<br />

• Furys clearence level was<br />

only level 3<br />

• The film takes place in<br />

1995<br />

• Brie larson is allergic<br />

to cats, so her scenes<br />

involving goose were<br />

filmed with a puppet or<br />

computer-generated vfx.<br />

• The name “captain marvel”<br />

is not used in the film until<br />

the closing credits.<br />

• In the movie Carol refers<br />

to Monica as “Lieutenant<br />

Trouble”. In the comics,<br />

Lieutenant Trouble (a<br />

young girl named Kit<br />

Renner) was Captain<br />

Marvel’s biggest fan and<br />

later on became her<br />



What if a child from another world crashlanded<br />

on Earth, but instead of becoming a<br />

hero to mankind, he proved to be something<br />

far more sinister?<br />

With Brightburn, the visionary filmmaker of<br />

Guardians of the Galaxy and Slither presents<br />

a startling, subversive take on a radical new<br />

genre: superhero horror!<br />




Watch the Gametraders<br />

Facebook Page in MAY<br />

for your chance to win a<br />

double pass to Brightburn<br />

--<br />

Mention this magazine in<br />

your comment for a double<br />

entry!<br />

©<strong>2019</strong> CTMG. All Rights Reserved.



For my next interview at Supanova I<br />

Morgan takes it all in her stride, asking:<br />

approached the smiley Morgan Garrett.<br />

The Supanova media manager introduced<br />

“Isn’t that fun?!”<br />

me to her, and I followed by introducing<br />

my wife:<br />

What ended up being more fun was<br />

finding out she had won the award on<br />

Me: Nice to meet you. This is my wife Mel.<br />

Twitter without even realising she had<br />

been nominated for it. Though excited to<br />

Morgan: Hello wife Mel!<br />

be have been granted such an accolade,<br />

Morgan is still aware that she hasn’t been<br />

At this point it struck me that this was<br />

in the voice over game for that long.<br />

going to be a fun interview. You see,<br />

underneath Morgan’s wavy hair and big<br />

smile lies a quick wit and a more than a<br />

touch of cheekiness. With characteristics<br />

like that it’s no surprise that she won voice<br />

the “Breakthrough voice actress of the<br />

Year” award in 2012. This was followed up<br />

with another similar accolade 6 years later.<br />

“It’s cool because most of the people in<br />

this business that work as much as I do<br />

have been doing it for fifteen, plus, years.<br />

So I’m still in that stage where I’ve been<br />

doing it for along time, but still not even<br />

close to as long as Colleen Clinkenbeard<br />

and Jamie <strong>March</strong>i and Monica Rial.”<br />

Bleach - Hanataro Yamada

“You have to improvise. So if you’re running<br />

or something you have to put your hands<br />

together and shake to make yourself sound<br />

like you’re running because you can’t move.<br />

Tricks of the booth! I got all of them!”

We briefly discuss Monica, who I have<br />

interviewed previously. A veteran voice<br />

was like, ‘uh, so you’re gonna play a 13<br />

year old boy today.’”<br />

actor, Monica has been acting since the<br />

90s, and is someone Morgan admires.<br />

With that said, Morgan has a lower vocal<br />

range than Rial, who is best known for<br />

Bulma in Dragon Ball Super and Sakura in<br />

Card Captor Sakura Clear Card.<br />

A statement that surprised Morgan at<br />

the time, as she had not been aware of<br />

this and had not rehearsed for the role.<br />

Regardless, she soldiered on and the role<br />

has become one of her favourites:<br />

From here we move into her favourite<br />

roles, a staple question of any interview<br />

that an actor has to endure. It can get<br />

a bit old and I have been in a position<br />

“Because, as an older woman who walks<br />

around like me being a 13 year old boy<br />

is a little bit freeing, cos you get to be all<br />

scrappy.”<br />

to see eyes glaze over at the thought of<br />

having to answer that question for the<br />

umpteenth time. However, Morgan is<br />

still full of enthusiasm and tells me it was<br />

actually a great question without a hint of<br />

sarcasm in her voice.<br />

With that question out of the way, I<br />

show off my research to Morgan by<br />

mentioning that she has a Masters degree<br />

and is a classically trained actor. Suitably<br />

impressed with my digging into her past,<br />

Morgan explains how she transitioned<br />

“So I’m young Sabo in One Piece, and that<br />

from the stage to behind the microphone:<br />

has to be one of my favourite characters<br />

cos I’m always put into these very low,<br />

sexy, sultry voice, and, or these very<br />

powerful generals. When I came into the<br />

booth for One Piece I just thought it was<br />

going to be another role like that, and<br />

Joel McDonald, the director at the time,<br />

“Well, I haven’t been on stage in a couple<br />

of years because I really looked at voice<br />

overs after I graduated with my Masters<br />

and went ‘I should really put all of my time<br />

into this. I love it, it’s fun, it’s right here.<br />

Comic Cons are one of my favourite things

to do, like… I should do this! So I stopped<br />

being on stage but the transition was, I’d<br />

brings it back to the transition between<br />

stage and voice over:<br />

been at Funimation, because it’s in Dallas,<br />

so I’d been working there for 6 years as<br />

a side gig. Just a couple of hours here or<br />

there or whatever.”<br />

“It’s so easily transitionable, because when<br />

you’re on stage you start to learn how<br />

things feel when you’re punched or kicked<br />

or thrown around, and that transitions into<br />

From there, Morgan employed the services<br />

the booth very well.”<br />

of an agent, which was when the next<br />

phase of her voice over career started. As<br />

well as voice over roles she started to get<br />

commercial roles. After going off topic she<br />

Other voice actors have told me that the<br />

expression of emotions can be one of the<br />

hardest things to do when you have never<br />

Tokyo Ghoul:re: Akira Mado<br />

Boogiepop and Others: Nagi Kirima

experienced something that the scene calls<br />

for the actor to react to. Having started her<br />

career on stage, Morgan was able to bring<br />

the skill of conveying these emotions into<br />

the recording studio. She mentions that<br />

together and shake to make yourself sound<br />

like you’re running because you can’t move.<br />

Tricks of the booth! I got all of them! That’s<br />

what I should do as a panel: Tricks of the<br />

booth.”<br />

working in the booth can be restrictive due<br />

to a lack of movement available to you, but<br />

I suggested writing a book instead…<br />

she lets me in on one of the tricks she uses<br />

when behind the microphone:<br />

While stage acting remains Morgan’s first<br />

love, she admits to being hard on herself<br />

“You have to improvise. So if you’re running<br />

or something you have to put your hands<br />

when it comes to a live production. On the<br />

flip side, she finds voice over work to be a<br />

lot of fun:<br />

“You get to be in a dark room, in your<br />

pyjamas, with a cup of tea, pretending like<br />

you’re a cat. Like… that is the pinnacle. I’ve<br />

made it!”<br />

Many voice actors have told me about<br />

recording in their pyjamas, to which I query<br />

whether they have sleep overs at Okatron<br />

5000 (where many Funimation series are<br />

dubbed). Morgan jokingly insists that this<br />

only happens on New Years, and that it’s a<br />

big party.<br />

Heavy Object: Frolaytia Capistrano

Morgan is one of those voice actors who<br />

has replaced others in roles, such as in Card<br />

Captor Sakura. I queried whether she likes to<br />

I finished off by asking whether she wants to<br />

turn her attention to other aspects of voice<br />

acting, such as directing or script writing:<br />

listen to the previous actor and attempt to<br />

mimic them, or whether she is guided by the<br />

director.<br />

“Yes and no. I have a background in<br />

journalism. Broadcast journalism was my<br />

undergrad, so I had plans on doing this, but<br />

“I go in cold, then I ask for their reads on<br />

certain things just so I can kind of voice<br />

match a little bit. That doesn’t happen often,<br />

but when it does it’s a great challenge. One<br />

so far no, because like I said, I made the<br />

decision to go from stage into voice acting<br />

so I’m still kinda getting my feet wet when it<br />

comes to this world full force.”<br />

of the highest paid things I ever did was a<br />

commercial where I was voice acting a girl<br />

from LA. Just voice matching her.”<br />

Of the various roles she might want to<br />

explore next, directing seems to be what<br />

Morgan is gravitating towards. She wants<br />

Morgan enjoys the challenge and is aware<br />

that the natural raspiness in her voice is<br />

something she might need to turn off to<br />

to keep establishing herself as a voice over<br />

artist first, but when the time is right you<br />

can expect her in the directors seat.<br />

meet the needs of the role she is employed<br />

for.<br />

By Paul Monopoli



Attending Supanova as media is a lot of<br />

fun, though you do often have to wait a<br />

while for your opportunity to put your<br />

microphone in front of a celebrity and have<br />

a chat. I was told by Supanova’s ever helpful<br />

media manager to wait by Josh Grelle’s line<br />

and when he had finished signing we could<br />

do an interview.<br />

silly little line. You had to be there I guess…<br />

After that we jumped into discussing his<br />

career and his travels around the world.<br />

He had been quite busy in the “English<br />

speaking parts of the southern hemisphere”<br />

recently, including New Zealand and<br />

Australia. The travel has been life changing<br />

for Josh, who had been to a total of six<br />

countries that year.<br />

As soon as the line cleared I placed my<br />

rather chunky condenser microphone in<br />

front of Josh who, in his best town crier<br />

voice, declared that:<br />

“Once there was a microphone, it dreamed<br />

it could be the greatest microphone in all<br />

the land!”<br />

From there we jumped into discussing his<br />

short, yet expansive career. In 15 years he<br />

has amassed many roles, including the<br />

Grand Minister in Dragon Ball Super and<br />

Hughes in Fairy Tale. Josh is proud to have<br />

Anime News Network’s number 3 position<br />

of the “most anime roles for a voice actor”<br />

One of the most difficult parts of an<br />

list. He says that:<br />

interview can be breaking the ice with<br />

someone, though with Josh it was as easy<br />

as bursting into laughter with him over this<br />

“For 15 years of work I’ve been insanely<br />

fortunate… incredibly fortunate!”

We discussed how Josh got his break in<br />

voice acting, to which a smile crept across<br />

his face as he said:<br />

made a huge impression on him as he<br />

realised that they were not mere cartoons.<br />

Real people voiced these pieces of<br />

animation, and with a bit of work he could<br />

“I wanted to go from nerd to pro basically.<br />

become one of them.<br />

I got into theatre when I was 5 years old.<br />

I did children’s theatre, then adult theatre<br />

when I was old enough. I did that all the<br />

way through high school… When I was<br />

about 8 years old I decided I wanted to<br />

do voice work. I’d been a huge fan of<br />

animation my whole life and anime started<br />

to get really huge in the States.”<br />

“I found out, as I got closer to my high<br />

school graduation, that Funimation and<br />

ADV Films, who were 2 of the biggest<br />

producers in the States at the time, were<br />

both in my home state, 2 hours away from<br />

me. So I did whatever research I could, tried<br />

to find out ways to get in. Then a friend<br />

of mine went to school with a girl that<br />

The big anime boom of the late 90s, with<br />

shows such as Dragon Ball Z and Pokemon<br />

had done voices for ADV and got me their<br />

phone number.”

Josh started to call the studio once a<br />

month, throughout his senior year, just to<br />

keep in touch and let them know he was<br />

impossible ones that I thought would never<br />

be reachable and now I’m here trying to<br />

figure out what I want to do next”.<br />

interested in working with them at some<br />

point in the future. After about 4 months of<br />

calls, ADV gave Josh his first, life changing<br />

role.<br />

During our talk I determined that Josh has<br />

an eager mind that just wants to absorb as<br />

much knowledge as it can. As well as voice<br />

acting he has also delved into script writing,<br />

“And here I am 15 years later… in Australia!<br />

Yeah, I never would have imagined it would<br />

turn out as successful as this, and that I<br />

hit every goal that I set myself, even the<br />

occasionally performing these dual roles<br />

on the same show. His creative endeavours<br />

have even led him to work in the comic<br />


‘I haven’t worked in comics for a very long<br />

time, but I worked in comics for a while,<br />

not as an artist. I did colouring for a few<br />

North American and some Australian comics<br />

actually, when I was first starting out, and<br />

then anime took off for me and I didn’t need<br />

to dabble in both anymore”.<br />

“I would much rather have a director<br />

directing me as opposed to directing<br />

myself… I’m probably going to misquote this<br />

horribly but one of my best friends when I<br />

first became a voice actor, Chris Ayers (the<br />

voice of Freeza in Dragon Ball), used to say<br />

‘If you have an actor directing themselves<br />

then you have an idiot for an actor and a<br />

Working a dual career is hard for anyone,<br />

so Josh had to decide whether to devote his<br />

career to comics or anime. I’m pretty sure<br />

that his fans are convinced that he made the<br />

right decision, as is the man himself:<br />

“Acting was what I wanted to do anyway, so<br />

fool for a director’… I have had to direct<br />

myself before but it wasn’t as comfortable<br />

as I always second guess and third guess,<br />

twelfth guess every take. It’s just much more<br />

streamlined if I have another creative voice<br />

directing me when I’m in the booth”.<br />

the choice was pretty much made for me”.<br />

While his career has been a huge success,<br />

Josh is looking to sink his teeth into<br />

something new and exciting.<br />

A “Jack of all trades”, Josh blames his active<br />

mind on Hyper ADD and claims that he<br />

cannot just stick to one thing. As a child<br />

he taught himself to use the digital tools<br />

“I do want to do more that is my artwork<br />

and something that I create as opposed to<br />

spending all of my creative energy doing<br />

characters and stories for other people. So<br />

I’m getting back into comics right now”.<br />

that he could use to express his artistic<br />

creativity. Learning to edit photos, audio<br />

and film allowed him to become involved in<br />

the world of entertainment years before his<br />

career took him there.<br />

I queried whether he would prefer to direct<br />

the scripts that he writes, giving himself full<br />

creative control over his work. With a serious<br />

“I wanted do do it all, and it pays off, and<br />

yeah, I’m doing it all!”<br />

expression Josh explains why he doesn’t feel<br />

this is a good idea:<br />

By Paul Monopoli

gameS<br />


WORLD<br />




ED<br />


Paul Broussard<br />

REVIEW PS4:<br />


Darksiders III is in something of an odd<br />

position. After the studio behind the first<br />

two titles was closed, it seemed as if the<br />

series was done for. Despite this, however,<br />

occurs before it was supposed to, the<br />

seven deadly sins have now obtained<br />

physical forms and are roaming an Earth<br />

now overrun by angels and demons.<br />

a new studio with many of the same<br />

staff has defied the odds and produced<br />

the third game in the series. Is it worth<br />

playing, though? Unfortunately, the<br />

answer is probably not.<br />

In keeping with Vigil/Gunfire’s rather<br />

loose adaptation of Christian theology,<br />

Fury, the surprisingly insecure third<br />

horseman of the apocalypse (Pestilence<br />

and Famine apparently not having<br />

It becomes pretty clear early on that if<br />

you haven’t played the previous two<br />

Darksiders games then you’re going to be<br />

in for a tough time trying to keep up with<br />

the story in this one. After the apocalypse<br />

marketable enough names to make<br />

the cut), is sent to hunt them down. Of<br />

course, this being a Darksiders game,<br />

there will inevitably be a bunch of late<br />

twists and at least one conspiracy theory

thrown in to complicate matters more.<br />

But story is perhaps not why we’re here;<br />

with utterly incomprehensible stories so<br />

long as the gameplay is entertaining.<br />

Darksiders III has by and large embraced<br />

its role solely as an action game this time<br />

around, having ditched most of the puzzle<br />

solving from the original Darksiders and<br />

the RPG/loot elements from Darksiders II.<br />

And, if Bayonetta has shown us anything,<br />

it’s that action games can often get by<br />

When you’re not fighting something,<br />

Darksiders III’s gameplay mostly consists<br />

of traversing the landscape, solving some<br />

very basic puzzles, and searching for<br />

bosses to kill. The game has taken a few<br />

pointers from Dark Souls in that much of

the layout revolves around finding save<br />

points from where you can level up with<br />

in-game currency obtained from killing<br />

enemies. Dying means respawning at the<br />

last save point you reached, losing all of<br />

the currency you’re currently holding,<br />

and having to travel back to the point<br />

where you died to get it back. It’s a rather<br />

questionable inclusion, and I’m not sure<br />

it really benefits an action game much to<br />

encourage a slower paced, more cautious<br />

playstyle after death, but it’s not a major<br />

problem.<br />

there’s a Bayonetta-esque system where<br />

the player is rewarded for dodging at the<br />

last possible moment before an attack<br />

lands. The game’s dodge is both fast and<br />

lacks many invincibility frames, which<br />

puts a heavy emphasis on quick reactions<br />

and timing. It’s not exactly complex, but<br />

dashing quickly in and out of enemy reach<br />

is certainly fun, and bosses are challenging<br />

enough to make the relatively shallow<br />

system feel rewarding. There’s a pure,<br />

almost child-like sense of fun to be had<br />

from darting between enemies, racking up<br />

big combos and avoiding attacks perfectly.<br />

The actual combat of Darksiders III is<br />

relatively simplistic, operating on a two<br />

button system; one button for each of<br />

the two weapons you can have selected<br />

at any given time. It’s not particularly<br />

complicated, but it’s still fun enough, and<br />

there are a variety of interesting weapons<br />

and moves to play around with. Much of<br />

the skill revolves around reacting to enemy<br />

attacks and dodging at the right time;<br />

I do feel that the game missed an<br />

opportunity to add some depth to its<br />

combat by not implementing directional<br />

attacks similar to those you can find in<br />

the Devil May Cry series. Darksiders III<br />

operates with a hard lock-on system,<br />

which would have allowed for the<br />

developers to expand the number of<br />

moves Fury had available relatively easily.

Unfortunately, as it stands, the<br />

combat isn’t much more complex<br />

than a Warriors game, which does<br />

mean that once you’ve mastered<br />

Fury’s movement and dodging, there<br />

isn’t a lot left for you to get good at.<br />

The difficulty curve tapers off and<br />

you’re just left to steamroll through<br />

the rest of the game.<br />

From a technical standpoint, this is<br />

one of the least impressive games<br />

you’ll find on current generation<br />

hardware. It looks like a late PS2 title,<br />

with some truly bad textures and low<br />

res environments. Even the previous<br />

Darksiders games, which were by no<br />

means graphical powerhouses, were<br />

more impressive than this. There’s<br />

no kind way to say it: this game does<br />

not look good.

I’m usually not one to make much of a<br />

fuss about graphical fidelity in an action<br />

title, as performance is usually more<br />

important in a title that’s focused on<br />

fast movement and quick reflexes, but<br />

Darksiders III barely manages to touch<br />

30 FPS consistently, with plenty of frame<br />

rate drops whenever things get hectic<br />

on screen. 60 FPS is the benchmark that<br />

games focused on quick movement<br />

and fast-paced melee combat should<br />

strive to reach, and 30 FPS is something<br />

I grudgingly accept as a bare minimum.<br />

This is completely unacceptable: there is<br />

simply no justification for an action game<br />

Despite these problems, I keep coming<br />

back to the fact that the game is just fun<br />

to play, which is something that cannot be<br />

said for far too many recent mainstream<br />

releases. If you’re a fan of the series, or<br />

you’re just looking for the opportunity<br />

to beat people into the ground, you<br />

may be able to overlook the myriad of<br />

technical problems and the relative lack<br />

of complexity. For anyone else, it’s hard to<br />

recommend dropping $60 on this. If you<br />

don’t already like hack and slash titles,<br />

and the Darksiders series specifically, this<br />

third installment certainly won’t make you<br />

a fan.<br />

failing to even reach a locked 30 FPS on<br />

eighth gen hardware, let alone one which<br />

has its core mechanics focused around<br />

By Paul Broussard<br />

quick reactions and inputs on the player’s<br />


Stephen LaGioia<br />

REVIEW NS:<br />

yoshis crafted<br />

world<br />

Nintendo has built a tremendous<br />

track record when it comes to quality<br />

platformers in its long gaming history.<br />

Developer Good-Feel, which has taken the<br />

reins for Yoshi-specific games in recent<br />

years, comes with a less certain history.<br />

Good-Feel has created a handful of<br />

charming and enjoyable titles for Nintendo<br />

platforms over the years and its most<br />

notable efforts include the well-crafted<br />

but rather basic Kirby’s Epic Yarn, Yoshi’s<br />

Woolly World, and Wario Land: Shake<br />

It. I’m happy to say, however, that the<br />

developer’s latest effort on the Nintendo<br />

Switch - Yoshi’s Crafted World - just might<br />

be Good-Feel’s best game yet.

Crafted World utilizes a mechanic of aiming<br />

and firing eggs in a pseudo-3D space to<br />

hit cardboard pieces. This is a simple yet<br />

effective and satisfying hook, and continues<br />

the trend of boundary-pushing Yoshi<br />

platformers. While Woolly World’s yarn<br />

gimmick tended to be in your face and a bit<br />

much at times, the cardboard themes in this<br />

title reside more in the background - both<br />

in a literal and figurative sense. This allows<br />

for a tighter, more enjoyable experience;<br />

and one that’s a touch more fast-paced. It<br />

comes off as distinct, while feeling closer to<br />

Yoshi’s Island/Story in spirit. It truly felt to<br />

me like a nostalgic trip back to the mid 90s<br />

when playing around with the egg-firing<br />

mechanic, especially after seeing the return<br />

of baddies like Spear Guys, Goonies, and<br />

the main villains - Baby Bowser and Kamek.<br />

Yet Crafted World has completely ditched<br />

its predecessor’s “hook” of its often<br />

cumbersome yarn-yanking mechanic. In<br />

its place we get the more straightforward<br />

approach of shooting cardboard cut-outs<br />

scattered throughout 2.5D planes. These<br />

The artistic vibe of Yoshi’s Crafted World<br />

maintains that predominant level of<br />

colorful cuteness that Woolly World pulled<br />

off so well. Much like Woolly World, it<br />

really feels like you’re playing through<br />

a rich, kid-friendly animated piece here.<br />

cutouts take on a variety of images that are<br />

often meant to blend into the background,<br />

providing a certain scavenger hunt feel.<br />

Nailing them can yield various goodies,<br />

such as hearts that replenish heath, as well<br />

as coins and flowers.

Crafted World nicely interweaves the<br />

collectables into the gameplay itself, as<br />

scramble to earn the plethora of goodies in<br />

each stage, some of which are well hidden.<br />

you can use earned coins to buy a variety<br />

of cute cardboard costumes that give<br />

you extra protection depending on their<br />

rarity. These range from common items<br />

like a bottle cap, to a more coveted Labo<br />

keyboard and Monty Mole shell. The other<br />

collectables mainly revolve around flowers,<br />

which are needed to pass certain blockades<br />

on the world map, including a colorful<br />

secret area that opens upon completion<br />

of the game. Crafted World keeps things<br />

rather light and easy-going for the most<br />

part. But make no mistake - completionists<br />

will have their work cut out for them as they<br />

While the mechanics as a whole feel more<br />

traditional compared to Woolly World, the<br />

game mixes in a vast array of courses that<br />

differ thematically and mechanically. The<br />

biomes number well over a dozen, and each<br />

one comes with a handful of stages, which<br />

themselves usually offer distinct qualities.<br />

The sporadic nature of environments and<br />

themes is reminiscent of Super Mario<br />

Galaxy. It can feel a tad inconsistent at<br />

times, but on the plus side any feeling of<br />

repetition is certainly kept to a minimum<br />

with this approach.

Stages range from train<br />

stations, to ninja dojos which<br />

obscure your view behind a<br />

screen, to a haunted house<br />

in which you’re hunted by<br />

creepy axe-wielding clowns.<br />

You’re even dropped into<br />

a handful of more actionbased<br />

vehicular stages. This<br />

includes a course where you<br />

control a large mechanical<br />

version of Yoshi who plows<br />

and punches through all<br />

in his wake, and a solarpowered<br />

racing stage where<br />

you’re forced to avoid<br />

shadows. I enjoyed the both<br />

the ingenuity of the concepts<br />

and richness of each stage’s<br />

unique atmosphere, and was<br />

happy to see a refreshing<br />

lack of typical environmental<br />

tropes.<br />

converted into additional flowers following<br />

completion. Flipped Mode also doubles as a<br />

sort of time trial, as gathering all 3 Poochies<br />

and reaching the goal in a certain amount of<br />

An additional “Flipped Mode”<br />

allows you to run through<br />

variants of each stage in<br />

which 3 Poochie dogs are<br />

hiding. These scurrying<br />

pups can be nabbed and<br />

time nets you another flower. You’re also tasked<br />

with the option of revisiting stages and seeking<br />

out specific items to bring to robot-like allies<br />

at various spots on the map. These are neat<br />

inclusions, as they not only add yet another<br />

dimension to Crafted World but drastically

On top of this, there’s the return of a 2 player<br />

dying, especially when donning a costume.<br />

co-op mode, which allows a player to jump in<br />

as a different colored Yoshi of their choice and<br />

provide assistance. While this usually proved<br />

amusing, it’s quite easy to get in the way of<br />

eachother, sometimes impeding or disrupting<br />

progress more than helping towards it. Since<br />

you’re on a limited 2D plane, accidentally<br />

lapping up your partner, clocking them with<br />

an egg/turtle shell, or hopping on their back<br />

will likely be a common occurrence. In a<br />

wise NSMB-esque inclusion, though, a Yoshi<br />

You’re sometimes given a lack of eggs, which<br />

can make things a bit hairy, though being<br />

smart about egg use usually mitigates any<br />

issues here. The bosses, while granting some<br />

exciting and amusing moments, usually go<br />

down in 3 well-placed hits with little sweat.<br />

Then you’ve got the return of “Mellow Mode”,<br />

which allows you to quite literally drift across<br />

a stage, and grants a drastic increase in hits<br />

before dying.<br />

dropping out of frame will morph into an<br />

egg, which will simply float towards the other<br />

player and drop back into the action.<br />

Aside from its relative simplicity and<br />

occasionally touchy co-op bits, the latest Yoshi<br />

installment really is a well-crafted platformer -<br />

Collect-a-thons notwithstanding, most of<br />

Yoshi’s Crafted World is a breeze to get<br />

through. The main game can ideally be<br />

finished in a handful of hours and with few<br />

deaths, for those looking to get right to<br />

business. This might be off-putting to some,<br />

though there certainly is a place for the “sit<br />

back and relax” style Good-Feel’s become<br />

notorious for. Most of the various enemies<br />

creeping about don’t pose too much of a<br />

challenge, as you can gobble them up and<br />

if you’ll excuse the pun. It offers an impressive<br />

variety of innovative concepts that keep things<br />

feeling fresh. At the same time, it adheres to<br />

the crisp and familiar mechanics - along with<br />

other cool nostalgic nods - found in the classic<br />

Yoshi’s Island. It’s quite the artistic marvel<br />

too, with its imaginative atmosphere and fine<br />

detail, making it one of the prettier games to<br />

grace a Nintendo platform. Yoshi’s Crafted<br />

World is a pleasant, enduring experience that<br />

platforming fans on the Switch shouldn’t miss.<br />

convert them to egg ammo rather simply.<br />

You’re also typically granted several hits before<br />

By Stephen LaGioia

Adam Cartwright<br />




There are few brands out there that have<br />

anything like the appeal and recognition<br />

of Disney. Thanks to decades of beautiful<br />

and critically acclaimed animated films, the<br />

company is a household name that has<br />

expanded beyond just movies to include<br />

a variety of other ventures, including<br />

videogames. Disney has also grown its<br />

lineup considerably in recent years by<br />

acquiring Marvel, Pixar, and Star Wars<br />

(although for the purposes of this article,<br />

I’ll only be covering Disney/Pixar output).<br />

Thanks to their broad audience, Disney<br />

games usually show up on every viable<br />

platform out there, meaning that despite<br />

the brand’s affinity with Nintendo’s

YOUR SAY<br />

younger-skewing audience, both the<br />

PSP and Vita received a number of titles<br />

throughout their lives. Some of this<br />

was through Disney’s own developer/<br />

publisher (Disney Interactive Studios), but<br />

the firm also licensed out its IPs for other<br />

companies to try their hand at – with<br />

somewhat mixed results.<br />

franchise – a collection of licensed tieins<br />

often using platformer gameplay<br />

and quirky references to appeal to both<br />

younger and older audiences. So it felt<br />

right to return to a comparable series<br />

here, because even if the titles aren’t all<br />

necessarily related in story or setting,<br />

many utilise the same sense of Disney<br />

wonderment that make the company’s<br />

animated films such a success.<br />

The very first time I wrote about a series<br />

of games on the Vita, it was for the LEGO

P<br />

Probably the best place to start<br />

Buzz Lightyear to the Rescue! was<br />

this article is to go back to the<br />

seen as one of the better entries in<br />

O<br />

beginning of Disney games on<br />

the genre (sadly the TV show tie-in<br />

PlayStation hardware, with the<br />

Buzz Lightyear of Star Command<br />

R<br />

release of the very first PlayStation,<br />

when a number of different<br />

didn’t receive the same acclaim),<br />

while the others were a bit more<br />

publishers were trying their hands<br />

forgettable, although they could<br />

T<br />

C<br />

at making tie-ins to classic Disney<br />

generally be fun if you were a fan<br />

films. Many of the titles which<br />

of the source material.<br />

A<br />

L<br />

landed on that console came to<br />

the PSP (and by extension Vita)<br />

Just as common were 2D<br />

with the launch of the PS1 classics<br />

platformers designed around older<br />

B<br />

A<br />

program in 2006, which allowed<br />

sensibilities, such as the beautifully<br />

them to be downloaded and taken<br />

animated Hercules: Action Game<br />

L<br />

S<br />

on the go.<br />

or Tarzan, both based on the<br />

moderately popular films, as well<br />

Among the titles offered through<br />

as Mickey’s Wild Adventure, which<br />

E<br />

S<br />

the program were things like 102<br />

was an original platformer starring<br />

Dalmations, A Bug’s Life, Atlantis,<br />

the firm’s mascot. There was also<br />

I<br />

Toy Story 2, and Lilo & Stitch – early<br />

outings into the 3D platformer<br />

a further game based on Pixar’s<br />

biggest IP in Toy Story Racer, which<br />

genre (which had flourished on the<br />

aped Mario Kart‘s design for a<br />

C<br />

PS1), which usually had you running<br />

fairly enjoyable time. All of the<br />

around finding dozens of collectible<br />

aforementioned titles are available<br />

S<br />

items and jumping on the heads<br />

of bad guys. Of them, Toy Story 2:<br />

on Vita through backwardscompatibility.

My personal favourite of the bunch<br />

is Monsters Inc: Scare Island, a game<br />

which has you running around as Mike<br />

and Sulley practicing their intimidation<br />

skills in a training course designed<br />

for monsters. It was a first foray into<br />

the Disney licensed arena for Sony –<br />

something the company would revisit<br />

many years later for its handhelds.

Throughout much of the seventh<br />

generation (which is when Sony<br />

introduced its handheld PSP<br />

console), one publisher seemed to<br />

have a monopoly on family-friendly<br />

software, including Disney/Pixar<br />

games. That was THQ, whose titles<br />

remain on the PlayStation Store<br />

despite the company itself going<br />

bankrupt in 2012.<br />

THQ’s debut effort on Sony<br />

portables was a tie-in game for<br />

Pixar’s Cars. In contrast to the 3D<br />

platformers Disney games were<br />

known for up until that point, this<br />

was a racing title that had you<br />

playing as Lightning McQueen and<br />

friends. It was actually fairly solid,<br />

capturing the feel of the film while<br />

still being enjoyable to play. It<br />

proved to be a successful formula<br />

that THQ would attempt to emulate<br />

years later with Cars Race-O-Rama,<br />

but sadly this wasn’t quite as well<br />

received.<br />

T<br />

H<br />

E<br />

T<br />

H<br />

Q<br />

E<br />

R<br />

A<br />

Following this, THQ went in a more<br />

familiar direction. Ratatouille was a<br />

very traditional 3D platformer that<br />

had you playing as Remy, following<br />

the events of the film, in a game<br />

that was far from essential but was<br />

nonetheless a decent amount of<br />

fun. Then there was Wall-E, which<br />

was based on a PS2 version of a<br />

multi-platform release spanning<br />

generations.<br />

A further tie-in to Up was released<br />

in 2009 and it included some<br />

interesting character-switching<br />

mechanics. Sadly, THQ’s license<br />

quickly ran out after this and it<br />

would be the last of its Disney<br />

titles. The company bowed to<br />

financial pressures and exited<br />

gaming altogether soon thereafter.

D<br />

I<br />

S<br />

N<br />

While Disney would continue to license out its Pixar films to<br />

publishers such as THQ during most of the seventh generation,<br />

it also continued to produce content through its own subsidiary<br />

- Disney Interactive Games - providing an even broader range of<br />

content for Sony’s handhelds.<br />

E<br />

Y<br />

S<br />

For example, there were multiple games based on the popular<br />

Pirates of the Caribbean film series (which itself was based on a<br />

ride at Disneyland, amusingly). Dead Man’s Chest was an actionadventure<br />

title that released in 2006, quickly followed by another<br />

tie-in to At World’s End in 2007. Both are available on PSN as a<br />

double pack, and although neither is particularly memorable,<br />

they can provide a good swashbuckling distraction. Disney<br />

also worked with Warner Bros. to create LEGO: Pirates of the<br />

Caribbean in 2011, which was a tonne of fun, even if the PSP port<br />

was merely an up-ressed DS game.<br />

O<br />

W<br />


Disney continued to work in partnership with other publishers beyond this, such as<br />

with Square-Enix on the-then latest entry in its long-running crossover RPG series<br />

Kingdom Hearts, entitled Birth by Sleep. It was seen by many as the best handheld<br />

entry in the franchise to-date, as well as being a return to form following a number of<br />

questionable releases. Sadly, due to licensing issues, Birth by Sleep was never made<br />

available on PSN, meaning you’re unable to play it on Vita without hacking it.<br />

E<br />

F<br />

F<br />

O<br />

R<br />

T<br />

S<br />

Elsewhere, in 2010 the company worked on Toy Story 3 (a 3D<br />

platformer) and Tron: Evolution (a bizarre combat/platformer/racing<br />

hybrid), neither of which were particularly well received on Sony’s<br />

handheld thanks to their stripped-down content (for example on<br />

consoles, Toy Story 3 included a toy box mode that allowed you<br />

to create your own levels, something that would be a template for<br />

their later series Disney Infinity). This low effort was a precursor to<br />

what would follow which was dropping support completely, but an<br />

unexpected source stepped in to continue bringing Disney games to<br />

Sony handhelds.

S<br />

O<br />

N<br />

An odd partnership was struck in 2011 between Disney<br />

and Sony, where the Spanish developer Virtual Toys was<br />

commissioned to make games based on a variety of Disney’s<br />

IP’s for Sony’s handheld lines, likely as part of a broader<br />

attempt to engage younger gamers with Sony’s platforms<br />

(this also included things like the new IP Invizimals).<br />

Y<br />

This first happened for Cars 2, based on the Pixar sequel<br />

from 2011. Rather bizarrely, instead of being a port of any<br />

S<br />

pre-existing version, Cars 2 was a bespoke experience built<br />

specifically for the PSP, shifting the racing mechanics to an<br />

isometric perspective reminiscent of Micro Machines.<br />

T<br />

E<br />

P<br />

S<br />

This was followed in 2012 by a direct port of Phineas & Ferb:<br />

I<br />

N<br />

Across the 2nd Dimension, again for the PSP, although by this<br />

point it was clear that the initiative would have to shift over<br />

to a newer platform, not least because Phineas had some<br />

major performance problems.

This happened a couple of years later in 2014 when Muppets Movie<br />

Adventures released on PlayStation Vita, Sony’s handheld replacement for<br />

the PSP. Another bespoke experience, and one that attempted to make<br />

use of the console’s unique inputs, it unfortunately was a bit of a boring<br />

mess that isn’t really worth playing. That was a shame, given previous<br />

Muppets titles had proved in the past that they could be pretty fun.<br />

Virtual Toys worked on one last Disney game on Vita in 2015, which was<br />

Phineas & Ferb: Day of Doofenshmirtz. An expansion of the gameplay<br />

basis that had been developed in Across the 2nd Dimension, it offered<br />

some enjoyable if uninspired 3D platforming action that thankfully was a<br />

big improvement over Muppets.

A<br />

Between 2008 and 2012,<br />

Disney Interactive Studios<br />

It spawned a sequel in 2012<br />

(Epic Mickey 2: The Power of<br />

H<br />

reportedly lost over $200m<br />

per year, causing some deep<br />

Two), which Sony paid to be<br />

ported to Vita a year later.<br />

restructuring of the company<br />

It was a bizarre decision,<br />

L<br />

A<br />

and shifting priorities. This<br />

and the game itself received<br />

is undoubtedly one of<br />

a very lukewarm critical<br />

A<br />

N<br />

the reasons the company<br />

never really pledged any<br />

reception, but it did at least<br />

provide a nice bit of variety<br />

support for Vita. However,<br />

for the console’s library.<br />

S<br />

D<br />

beyond its work with Virtual<br />

Toys, Sony also engaged<br />

Sony also got involved<br />

T<br />

H<br />

other developers to bring<br />

this missing content to its<br />

in bringing Disney’s even<br />

bigger gamble to the<br />

handheld.<br />

handheld - Disney Infinity.<br />

E<br />

Disney Infinity was an<br />

For example, one of Disney’s<br />

ambitious entry in the<br />

F<br />

L<br />

biggest titles of the seventh<br />

generation was Epic Mickey,<br />

toys-to-life genre which<br />

allowed gamers to play in<br />

a sweeping 3D platformer<br />

the fantastical worlds of<br />

E<br />

D<br />

which aimed to tell the tale<br />

Marvel, Pixar, and eventually<br />

of Disney’s mascot and his<br />

Star Wars, as well as build<br />

W<br />

history throughout the years.<br />

their own levels using in-

D<br />

I<br />

S<br />

N<br />

E<br />

Y<br />

depth creation tools. The<br />

second entry, Disney Infinity<br />

2.0: Marvel Super Heroes,<br />

received a belated port in<br />

2015 which included an<br />

exclusive Black Suit Spider<br />

Man figure, but it failed to<br />

set the sales charts alight<br />

due to its tardy appearance<br />

and the toys-to-life concept<br />

not fitting all that well with a<br />

portable platform.<br />

This led to the third entry –<br />

G<br />

A<br />

M<br />

Disney Infinity 3.0 – skipping<br />

Vita altogether, although by<br />

this point it was becoming<br />

clear that the franchise was<br />

failing to hit its sales targets<br />

and support would soon be<br />

pulled altogether.<br />

E<br />


F<br />

U<br />

G<br />

T<br />

A<br />

U<br />

M<br />

R<br />

E<br />

I’ve already written extensively<br />

tie-ins to Monsters University<br />

E<br />

S<br />

about Vita now ending<br />

production worldwide and,<br />

and Mickey’s Haunted<br />

Mansion were announced by<br />

O<br />

unsurprisingly, youngergamer-friendly<br />

titles like<br />

Sony’s Spanish division.<br />

those based on Disney IPs are<br />

In fact, Disney games on<br />

D<br />

N<br />

among the first to go when a<br />

console is reaching the end<br />

consoles in general seem<br />

much less prevalent these<br />

I<br />

V<br />

of its life. Virtual Toys (the<br />

developer of numerous Disney<br />

days – instead they’ve shifted<br />

over to mobile as the AA<br />

games from 2011 onwards)<br />

market has somewhat fallen<br />

S<br />

I<br />

moved on to a PS4 MOBA<br />

after Phineas & Ferb launched<br />

through. The odd title to slip<br />

through the cracks here and<br />

N<br />

T<br />

and since then appears to<br />

have shut down, while Sony<br />

there, such as Cars 3: Driven<br />

to Win, haven’t release on<br />

itself rapidly withdrew support<br />

Vita, which is unsurprising but<br />

E<br />

A<br />

for its own handheld. The<br />

latter in particular was a<br />

a little disappointing all the<br />

same.<br />

shame because at one point<br />


C O N C L U S I O N<br />

Despite often being aimed at<br />

younger gamers, there’s a lot<br />

of fun to be had with some<br />

Disney titles, making them a<br />

nice addition to any console’s<br />

library. While this meant they’ve<br />

naturally gravitated more towards<br />

Nintendo machines over the<br />

years, due to a better audience<br />

match, there’s still a nice selection<br />

of games available on both PS1<br />

& PSP, including some solid 3D<br />

platformers such as Monsters Inc:<br />

representation, but for whatever<br />

reason Sony stepped in and<br />

decided to start paying for<br />

ports of these titles by itself;<br />

a bizarre move given Sony’s<br />

lack of support elsewhere in<br />

the handheld’s library. While<br />

Disney Infinity 2.0, Epic Mickey<br />

2, and Phineas & Ferb: Day of<br />

Doofenshmirtz may not go down<br />

as among the best games ever<br />

made, they nonetheless helped<br />

broaden the platform’s library.<br />

Scare Island and Wall-E.<br />

By Adam Cartwright<br />

As for the Vita, the bankruptcy<br />

of THQ and heavy restructurings<br />

at Disney Interactive Studios<br />

left the handheld without much

SILK, Inspired by The Lords of Midnight, Hits Kickstarter<br />

New sandbox RPG adventure, inspired by the late Mike Singleton’s ZX Spectrum<br />

classic, brought to Kickstarter by the designer of Discworld Noir<br />

Manchester, 28th February <strong>2019</strong>: International Hobo is pleased to announce<br />

that Silk, a Sandbox RPG Adventure Game, has launched on Kickstarter. If funded,<br />

the game is targeting release on Steam, PS4, Xbox One and Nintendo Switch.<br />

Kickstarter video: https://youtu.be/Eulngufz-iQ<br />

Silk is a tribute to the late Mike Singleton, especially his ground-breaking 1984<br />

game The Lords of Midnight, and development is being directed by Chris<br />

Bateman, designer of Discworld Noir and Ghost Master.<br />

The engine used to produce the world of Silk has an identical design to the original<br />

‘landscaping engine’ that Mike Singleton designed for The Lords of Midnight,<br />

although it uses 2D assets rendered in Unity to create a more vibrant feeling<br />

wilderness with retro roots and a contemporary lo-fi vibe. All the exploration and<br />

warfare of the original is here, along with trading and recruiting Advisors who<br />

make up an RPG party inspired by the Clan Ring of King of Dragon Pass.


With a lo-fi visual aesthetic and a lightweight interface that delivers endless engaging<br />

decisions, Silk is an innovative role-playing adventure like no other. Rise<br />

into glory by running your caravan from the Roman Empire to war-torn Three<br />

Kingdoms China. Defend yourself from bandits, sandstorms, and rebellions by<br />

hiring Advisors skilled in everything from battle to wayfinding. Fall in love with<br />

your own unique party of Advisors and the enchanting world of the Ancient Silk<br />

Road in 200 AD.<br />

Gameplay trailer: https://youtu.be/cFyvMgstQug

“This is a game I’ve wanted to make for some time, but it never felt like the right<br />

time.” said award-winning game designer Chris Bateman, Creative Director, International<br />

Hobo Ltd. “But there might never be a good time to honour the influence<br />

Mike’s work as a game developer had on me, and now is a great time to be trusting<br />

fans of indie games to support something innovative and unusual, that’s not<br />

like anything else out there, and that pays tribute to a pioneer who sadly passed<br />

away in 2012 at the age of 61. I can think of no better way I can memorialise his<br />

achievements than to make a game inspired by what I loved in his classics.”<br />

Playable Demo: https://bit.ly/2StpLrD<br />

Press Assets: https://bit.ly/2GQjwgp<br />

Kickstarter Page: http://kck.st/2EmVMwr<br />

---<br />

About International Hobo Ltd<br />

International Hobo combines award-winning creative services with a new game<br />

development studio. The core company is one of the world’s most successful<br />

game design, narrative design and scriptwriting consultancies, and games the<br />

company has worked upon have collectively sold more than 10 million units while<br />

franchises its staff have worked on have sold in excess of 80 million units. They<br />

are currently expanding operations to include development teams working on<br />

innovative ‘heirloom’ console game projects for niche markets, of which _Silk_ is<br />

the first title in development.

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Hyperdome.............................................(02) 6293 3751<br />

New South Wales<br />

Gametraders <strong>LIVE</strong> Penrith.........(02) 4731 3894<br />

Blacktown................................. (02) 9676 1411<br />

Macarthur Square (Campbelltown) (02) 4620 0750<br />

Parramatta................................ (02) 9633 2833<br />

Gametraders <strong>LIVE</strong> Hornsby...............(02) 9477 6477<br />

For more info visit:<br />

www.gametraders.com.au<br />

Queensland<br />

Chermside...............................................(07) 3861 5000<br />

Morayfield...............................................(07) 5495 7705

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