I remember seeing the Kickstarter for this back in the day and thinking that it looked more like a pixel artist’s portfolio than an actual game, and well, there you go. Lovely pixel art (albeit buried under a ridiculous amount of chromatic aberration) doesn’t change the fact that the platforming and level design just don’t feel great and that the plot is just the original TRON with an entire fanwiki’s worth of proper nouns piled on. Didn’t play this for very long, admittedly, but it did not make a great first impression.

Wow! So many awesome new games announced in the Nintendo Direct today! Maybe I should play some Zelda, or Metroid, or Mario & Luigi in preparation for those releases!

proceeds to play beetle pinball game from 2018

In all seriousness this has been in my backlog for a while and I'm so glad I finally got around to playing it. I love pinball and seeing someone make a full-blown metroidvania style adventure game out of it is sickkk. Would love to play more games similar to this (preferably with some sort of pinball mechanic) so if anyone has any recommendations let me know!

Let me start by saying that before playing this I had absolutely zero interest in it, WoW was fun for a short while but I kept playing for years just because some expansions were amazing but then the quality just dropped, but then it got good again and then we got shite. Therefore I wasn’t too keen on trying out Warcraft 1, 2 or 3. But I’m so fucking happy I did. I can’t be bothered to write a review for both Reign of Chaos AND The Frozen Throne, so I decided to just review the one I preferred the most instead.

The Frozen Throne introduced several new features and improvements that significantly enhanced my gameplay experience compared to the base game. One of the biggest new contributions is the addition of new hero units for each faction, which brought new unique abilities and strategic depth to the fights. It also added new units and building, which diversified the options available to you making it more fun than Reign of Chaos in my opinion.

The campaign is probably the biggest of the standout features here, which offered 3 main story arcs that followed the Night Elves, the Human-turned-Undead, and the Orcs, with even a bonus campaign that focused on the new hero Rexxas, which introduced a more kinda RPG-experience. These campaigns were absolutely amazing, offering rich narratives and a seamless continuation from Reign of Chaos.

Here I was wishing to talk about multiplayer but the truth is that I didn’t play it, apparently there was some bullshit with having to own the actual game physically and having to buy Reforged instead, so in the end I just said fuck it and only played through the singleplayer stuff. So next up, easily my favorite part of Warcraft III; the story and lore.

Coming from recent WoW is like night and day for me, the deep and engaging story and lore here is one of the most compelling aspects of The Frozen Throne. Central to this rich narrative is my favorite character in all of Warcraft / WoW; Arthas Menethil, whose tragic arc is one of the best and most memorable in gaming history in my opinion. Arthas, who begins as a noble paladin in Reign of Chaos, descends into darkness, becoming a death knight and ultimately one of the coolest antagonists of all time; The Lich King. His journey is a profound narrative of ambition, betrayal, and the corrupting influence of power.

Coming into this I wasn’t expecting to be as engaged by any character to this degree, but here I am. Arthas Menethil stood out as one of the most well-developed characters in the Warcraft-universe, hell even gaming as a whole. His transition from hero to villain is masterfully portrayed, offering a deep exploration of his character’s psyche and motivations. In The Frozen Throne, you’ll see his ruthless ascent to power, culminating in him claiming the Frozen Throne and merging with The Lich King. This transformation is not just a story of corruption but also a study of the tragic flaws and the consequences of a hero’s fall from grace.

Arthas’s story resonated with me personally due to its complexity; he is not a mere evil caricature but a tragic figure whose initial intentions were noble. His descent is gradual, marked by pivotal moments that highlight his internal struggle and ultimate surrender to darkness. This depth made Arthas a compelling character, eliciting both sympathy and revulsion from me and millions of others.

While I may have been late in the game, I can still recognize how influential this was and what a landmark title it was. Its combination of refined gameplay, rich lore and memorable characters like Arthas ensures its place in gaming history. This is truly what an expansion should be, not only building upon the strengths of Reign of Chaos but also introducing innovations that left lasting impacts for the genre. So if you’re like me wanting to check this out because of WoW, do so. Don’t hesitate, just play these damn games already.

9/10

I remember when Warcraft came out, but at the time I never had the PC to run the game so now I finally had the chance and I was very pleased. The game has something that most RTS are missing and that’s a great story. You play through four campaigns (Humans, Undead, Orcs, and Night Elves) and watching as the Undead try to corrupt the world. What’s interesting about the story is it’s like playing a game of chess with yourself. Without spoiling anything you basically play one campaign then it leads to the next, but you’re ironically fighting against what you just did in the other campaign. It’s a great change of pace and keeps the story interesting.


The game is mainly focused on the four races and they all play differently and uniquely. You have the Humans which are average in everything. They can perform magic and fight with weapons about equally, the Undead can kill off their own units for health and eat other enemies for health, they also can’t build on ground unless it’s been blighted by a Necropolis building (think town hall), Orcs have lots of health and are super strong, but use little to no magic and are slow at building things, and Night Elves are very weak but can hide in shadow and move very fast while manipulating nature to their whim. This makes every campaign feel different and won’t bore you at all. What’s different in WC3 as well are the types of missions you have. You may have some missions where you defend something for a set amount of time, some missions have you wiping out all enemies, some fetch quests, and others are just you and a few units trying to find something. This tossing thing up and won’t keep you saying “not another building up and killing mission”. Another main pull in WC3 is the Heroes that you use.\


Each Hero can level up and use 4 different spells to help you win the level. Some spells are offensive, defensive, or passive so they just work by adding attributes or are Auras which apply to surround friendlies. These will really help you in a pinch and are well balanced. Of course, you have to learn some spells by leveling up, but they are all unique for each Hero you use. You can also buy things from Merchants that are scattered throughout the maps to buy healing potions, protective spells, town hall portals, and even hire mercenaries to do your dirty work. This also can change the way things turn out and are just another great addition to the depth of WC3. WC3 may not be as deep as Civilization or Age of Empires, but it still offers brain work for RTS fans. To eliminate micromanagement WC3 only allows up to 90 units to be built (technically only about 25-30 since each different type of unit takes up more food) you can also only have up to 12 units selected at a time. While this can be a bit of a problem when evading large encampments it still keeps the micromanagement down.


I also found issues with the difficulty. Some levels are super easy and some levels attempt invincibility cheats because your units never seem strong enough to most enemies. It may take a level 10 Hero up to 30 seconds to kill a level 4 enemy so this is really unfair. The game is also absurdly long clocking in about 40-50 hours depending on how you play. Some levels will finish with only one unit left with a pixel of health so you can see the difficulty is really unfair. WC3 works like any other RTS with the building, err, building and having to mine gold and wood to build units. The final issue is that this doesn’t work fast enough so you’ll be sitting and pinching resources while all the enemies attack you. Once you hit a high or low upkeep this can be a problem since maintaining so many units starts costing you. Gold income is low enough as it is with 10 pieces per worker. Low upkeep gives you 7 and high upkeep 4. You can imagine it would take forever to build up a few thousand gold that will only build a few troops. After your gold mine collapses you have to search for more, but most are in enemy sights so this is another issue.

Other than all of that Warcraft III is an RTS that all fans must play. The excellent story complimenting the deep but subtle gameplay is rewarding and not to mention the online multiplayer through Battle.net. The graphics are bright and colorful and have a lot of detail that most RTS games don’t have. The voice acting is superb and nicely accompanies beautiful pre-rendered FMVs. If you’re itching for a great RTS game then look no further than Warcraft III.

I Have No Mouth And I Must Scream is an interesting point n click game with a really dark theme. You can notice that it's quite aged, especially since the source material is dated back to the 1960s! With that said, it's quite cool that the author of the short story the game is based on worked on the game and even voice-acted a main character!

It's your typical 90s point n click where it is totally possible to screw things up without the game letting you know until the very end, having you to replay parts of or the whole game. The story and the characters are what is interesting here, even if mentioned it doesn't hold up all the way today. At least it's slightly different from the source material which makes it better in that regard.

I recommend to play this if you're a fan of older point n click or a fan of Harlan Ellison and his work!

A game based on the short story by Harlan Ellison sees a group of five people trapped inside some sort of digital hellscape. They have been there for over 100 years and want to escape; however, the all-powerful and overseeing AI called AM is trying to stop them. The short tales of these five individuals, with almost no backstory, thrust us directly into their lives. We don't understand their motivations for being here, and we barely get to know who or what AM is. I Have No Mouth is another adventure title from Cyberdreams that focuses more on the atmosphere, art, and voice acting than on gameplay.

I Have No Mouth is jam-packed with puzzles, items for your inventory, and a variety of ways to utilize them. I recommend following a guide to a T to get an idea of how the game plays out first, but even with the guide, I was confused and lost. Each scenario has multiple endings, and getting the totem at the end of each scenario requires a perfect playthrough. These roadblocks will either just end the scenario, resulting in that character not being able to act in the final scene, or end the entire game. This will necessitate constant trial and error and backtracking, which can be incredibly frustrating. Who would want to do this? This open-endedness is the wrong way to get different endings.

Even within each scenario, combining objects and using them in the correct order is mostly impossible without a guide. Unless you spend dozens of hours trying things in different ways, you will never get far. Some puzzles are extremely obtuse, and even with a guide, I constantly reminded myself that I would never have guessed to solve them. Using certain objects in a particular manner simply doesn't make sense. You can't use a cloth as a blindfold to bypass a specific character. How would I have known that? Adventure games from the early to mid-1990s faced numerous issues, which are evident in I Have No Mouth.

If you do use a guide, the scenarios are quite interesting and play a part in the morality and perspective of both good and bad people. The artwork and music are amazing, with a lot of detail put into the atmosphere. Each scenario looks and feels different, but I wanted to know more about AM and why these characters are here. There's not much of an explanation for any of this. Each scenario is also very short. You can complete the entire game with a guide in less than 2 hours. I also feel that for the amount of trial and error the game has, there are too many actions you can use. Swallow, give, take, push, use, talk to, walk to—it's just way too much. It becomes tedious to use nearly every command on each object. It's simply not fun at all.

Overall, I Have No Mouth is an interesting spin on moral choices, but there's no overarching story here to keep you wanting more. The characters also have no backstory, and I wanted to know more about AM and what this hellscape is all about. The game has way too many actions, trial-and-error roadblock endings, and just a bad case of 90's adventure qualms. I Have No Mouth is largely overrated as a game, and there are other adventure titles that offer more striking visuals. If you need to use a guide just to finish the game, then you know there's a problem. Good voice acting and music aside, there's just too much that will make a player quit early on.

Surrealism is something that The Dream Machine does well. The Dream Machine masterfully crafts an otherworldly art style that is both familiar and dream-like. It's the best part about the game, which also took 7 years to make. The first two chapters were released all the way back in 2010—14 years ago. It took 7 years to develop the following 4 chapters. This game might hold the record for the longest time between episodic content. Imagine having to wait nearly three years for a single chapter. The longest gap was in getting the final chapter out the door. While this was only a two-man team behind the game, I can't fault it too much for its release schedule. Regrettably, akin to numerous point-and-click experiences, the game is rife with incomprehensible puzzles and ambiguous objectives that impede its progress throughout.

I highly recommend playing this for the first time with a guide. There are just too many obscure objectives you need to complete to get through the game without hours of backtracking and guessing. There are some context clues, such as when you solve a physical puzzle together, Victor will indicate if it was successful or not. However, the game heavily relies on gathering items, determining their direction, and determining if they are related. The game's premise is about a single couple expecting their first child and renting a new apartment in a new town—a fresh start. They end up discovering a strange secret their building holds, and Victor is now transcending reality and entering dreams.

Through each chapter, you will enter another tenant's dream, and some of the puzzles are about how to get to these tenants. You travel between areas, examine everything you can, and figure out which items go where and who to talk to. Towards the end of the game, you end up entangled in dialog trees that are required to trigger certain events. In this game, talking and exhausting all dialog options is a must, or you will end up stuck, not knowing where to go. It could simply be a dialog option you forgot to click on. Certain items in this game don't function as they would in the real world due to its abstract logic. This can lead to serious frustration and roadblocks along the way, but I always play point-and-click adventure titles with guides first, and then if I like the story enough, I will go back through it again alone. While some are fun to figure out by yourself, others, like this game, can be a convoluted mess. Clicking on everything and guessing with so many areas and objects is just a recipe for disaster.

The visuals, ambient music, and sound are what really kept me playing. While the story itself is a theoretical tale of dreams, life, death, and rebirth, the surreal visuals that move from recognizeable everyday objects and locations to pure dream-like states of pure consciousness are a treat to look at. The hand-modeled backgrounds made out of real-world objects are a joy to look at. The music is haunting and mesmerizing, and it will occasionally invoke feelings of nostalgia for a long-distant memory as a child and innocent years of a simpler time. Each location effectively balances the game's light and dark elements.

The overall story isn't anything that will stick with you, but it's still well done, has a conclusive ending, and is thought-provoking for at least a little bit. The game's visuals will remain in my memory far longer than any character names or the story itself. The Dream Machine demonstrates a clear dedication to both visual arts and sound design. While there are better adventure titles out there, gameplay-wise, there's no denying that this is a game that every fan of the genre needs to experience.

Lorelei and the Laser Eyes feels like an anachronism. I don’t just mean this from how the game haphazardly scatters documents from 1847 and 2014 throughout the hotel set in 1962, or how it references multiple past eras of gaming with PS1 survival-horror fixed camera angles or DOS-inspired 1-bit adventure game segments hidden away on floppy disks, though these elements certainly play their part in creating what developer Simogo refers to as “collage of styles, ideas, and disparate inspirations.” No, what instantly caught my attention was how uncompromising yet thoughtful the game felt. In an era where most developers seem content to simply pay lip service to the great mystery/adventure games of old while over-simplifying their gameplay mechanics, Simogo seems to have figured out the formula of creating a final product that feels intricately designed, yet ultimately accessible.

I’ll admit that I’m not too familiar with Simogo’s previous work; the only other game I’ve played by them is Sayonara Wild Hearts. That said, I would not have immediately guessed that Lorelei was by the same developers from my first hour alone. In some ways, Lorelei presents an interesting foil to Sayonara. Sayonara’s persisting strength is its grasp on harmony: the epitome of what is essentially a playable music video, it’s pure and immediate gratification racking up points to the beat in this flashy and lush arcade game. On the other hand, Lorelei feels deliberately constructed to emphasize its dissonance. From the uncomfortably quiet manor clashing with the occasional audible off-screen disruption to the vibrating monochrome textures interspersed with low poly environment, nothing seems right in its place. It’s a much slower burn than Sayonara as well, with most players taking fifteen hours or more (in comparison to Sayonara’s two hour runtime) to navigate the sprawling hotel with no hand-holding provided whatsoever.

As different as these two titles appear however, they do have one thing in common: minimalism. For example, both games require just a d-pad/joystick and a single button to be played. Sayonara gets away with this because the available actions on input feel clearly telegraphed by the visuals and generally boil down to moving and timed dodges with the music. Lorelei similarly gets away with this because it deemphasizes more complex/technical interactions (i.e. the usage suite of adventure game verbs in look, touch, obtain, etc) with sheer puzzle intuition. Simogo describes this as forcing the player to “get a deeper understanding… and connection to [the world]” and just like Sayonara, “wanted the complexity of the game to revolve around this, and not dexterity.”

What makes this particularly impressive is how Simogo was able to strike a fair balance between simplicity and variety. According to the game’s development page, the game became “a very iterative toy box” where many different systems conceptualized over the game’s development cycle could interact and interplay with one another in different ways. Interestingly, I found that most of the solutions to these different puzzles were not that difficult or complex to determine. Even so, despite Lorelei’s simple controls and straightforward objective (figuring out passwords/key phrases to unlock new areas and information), the game is able to successfully obfuscate the means to achieve said objective by drastically changing the means in which information is presented to the player, for instance by using different camera angles and systems that allowed them to “change a lot of rendering parameters on the fly” from the aforementioned iterative toy box. Additionally, Simogo highlights key details from clues to ensure that players don’t get too confused, but leave enough ambiguity by never outright leading the players onto specific logic trains and refusing to provide any specific assistance (no in-game hint system and no specific feedback aside from telling players if they’re right/wrong). The result is a confident final product that understands the persisting strength of a good puzzle adventure game: a game that gives the player all the information they need to succeed while giving them the room to work out the connections themselves, and a game that constantly surprises the player with new opportunities to intuitively understand the world around them without ever feeling too frustrated by unfamiliar mechanics.

I do have to admit however, that there are a few instances where Lorelei’s minimalism and uncompromising nature can backfire. For instance, the lack of detailed player feedback aside from a right/wrong sound effect usually isn’t a significant deterrent, given that players can fine-tune most of the game’s one-variable solutions and are encouraged to tackle the hotel’s many branching paths and puzzles at their own pace, since they may not even have the pertinent information required and might have to work out other puzzles to obtain said information. However, certain late-game puzzles require multiple sets of answers (ex: a computer that requires three different types of phrases in a password), and it can be frustrating getting barricaded by such puzzles and not knowing which part of the answer requires more investigation. I’ll also echo some of the previous complaints regarding the controls, because while I appreciate that Simogo has crafted a base system where more complex controls aren’t required, I also don’t think that it’s a huge ask to add a “cancel/back” input for a second button. As a result, it takes significantly more scrolling to get out of menus or spamming random inputs to erroneously enter passwords if I want to back out of a puzzle, and the amount of wasted time per menu/puzzle really builds up over a playthrough.

While I did find the somewhat telegraphed ending slightly underwhelming given how elaborately the game wove its lore into its many clues, I nevertheless really savored my time with Lorelei. I might not have laser eyes, but I can certainly see this game’s approach upon system cohesion influencing many puzzle adventure games to come. As it stands, it’s another solid entry for Simogo’s innovative yet familiar library, and I’ll be thinking about its many secrets for quite some time. Perhaps it's finally time to delve into Device 6.

The first few minutes of Panzer Dragoon when your blue dragon majestically soars above the rippling water to the tune of Flight define a classic video game introduction that I doubt I will ever forget. A part of me expected the experience to be steadily downhill from there given the common complaints that I’ve heard, but to the game’s credit, it quickly established its defining hook and never let go. Panzer Dragoon was one of the first games to take total advantage of its 3D space, and it does so through its ability to rotate the player’s aim in 360 degrees. The catch is that while you can’t aim sideways/behind the dragon when looking forward, there’s a trade-off in that you can’t steer the dragon and change its mid-air position while in first-person aiming around the sides of/behind its body. As a result, there’s a precise science to swapping between these two camera modes. The macro never gets complex (shoot everything in sight while dodging and shooting down enemy attacks), but the micro is just involved enough to where there’s little downtime as you constantly peruse your surroundings and systematically pick off your foes. This is a game that wants the player to be aware of everything around them, and Team Andromeda was more than happy to let them soak in the sights given that the minimalist UI (simply consisting of a radar for spotting enemies and a player health bar) never really gets in the way. Even today, I find Panzer Dragoon to be an absolutely gorgeous game, and I can only imagine how people in 1995 felt playing this for the first time.

I’ve been warned that Panzer Dragoon’s difficulty can be a significant roadblock, but after a few playthroughs, I think it’s definitely conquerable. Besides mastering control of the player reticle/camera, players need to recognize when to utilize the homing laser lock-on (holding down the fire button) versus mashing to quickly fire the player’s handgun. The homing laser is great for getting rid of enemy swarms and easily targeting moving foes, while the handgun is a godsend for melting beefy mobs and bosses while sniping faraway targets that can’t be locked onto. In particular, Episode 3’s jumping ship boss is a notable chump check if you refuse to lock-on, while Episode 5’s airships will overwhelm you if you don’t mash. Additionally, I’ve also heard that Panzer Dragoon can feel very unforgiving since the player is allowed only one game-over before they have to restart a run, and the game only regenerates half of the player's health upon completing a level. However, given that the player can earn an extra credit per stage if they manage to shoot down more than 85% of the enemies in a single episode, I'd say there’s enough leeway given if the player takes the time to master its controls and meticulously defeat enough enemies instead of simply playing entirely defensive.

The only real gripe that I’d have is that enemy attacks sometimes blend into the background (ex: black cannonballs on top of dark environments) and can be tough to spot, especially when obscured by smoke effects from already defeated airships. I can still dodge most of these attacks with enough experience, having learning the enemy spawn positions, though it takes time to master given that players need to adapt to the game’s weightiness and natural response time. After all, you’re controlling a rider controlling a dragon rather than controlling the dragon itself, so it takes a bit more time to shift the model away from incoming barrages. As is, I’d still prefer if all enemy attacks were distinctly colored to stand out from both my own projectiles and the surroundings. Regardless, Panzer Dragoon was a breath of fresh air and I don’t mind its relative simplicity or brevity when it manages to succinctly capture an enthralling rail-shooting experience that I’ll gladly replay just to see myself visibly improve with every new run. All I can say is that this was certainly no flight of fancy; if the base model was this good, then I can’t wait to see what Team Andromeda/Smilebit have to offer with Zwei and Orta.

Ultros is at its core a Metroid-Vania but it doesn’t quiet follow a lot of the core mechanics that you’ve come to expect from the genre. Ultimately it excels at its presentation being one the most beautiful games I think I have ever played; the sound design is fantastic and the visual language is breathtaking. Unfortunately, Ultros is held back by a few odd mechanics and lack of clarity in its requirements of the player.

The first few hours of gameplay and exploration are honestly some of its best. You wake outside a crashed space pod in a hallucinogenic strange world with no direct and merely a puddle to view yourself in. Your only immediate option is to venture out into the organic depths below you and hope to make sense of what is going on. This is when you will be introduced to the games narrative and one of the few character that seem to be lurking in this ship of some kind. The narrative is present in written format where other characters will talk at you and you can see reactions from the players sprite. The story is generally quiet intriguing but seems to lose focus throughout the game. I had a general idea of what was happening but some of the characters and hidden lore seemed a little random or to vague for me to understand on a first playthrough.
The premise is some kind of time loop where you and everyone else is stuck re living a moment while a big ball creature (Ultros) grows in the middle of the ship. Almost ever character has no idea they are in a loop with the exception of one who seems to remember you after you progress the story. I believe there are possibly 2 or more endings to Ultros but unfortunately, I wasn’t particularly satisfied with the outcome I received.

The core objective seems to be killing or reviving 6 of these mummies that are linked to the big ball thing but I’m not really sure why. Once one of these mummies has been slain you go back to the big ball and the loop restarts with some dialog and cool visuals beforehand. Your options are to either slay all the mummies and end the game or once they have been killed bringing some kind of organic tether to them which will cleanse them in some way. Ultros expected you to figure out that this is an option purely by trial and error which could very easily be missed. I do like that this allows the player to pick if they want to put the effort in for an alternative ending but it becomes beyond tedious and for a smaller game there are very little resources online to help.

The exploration in Ultros is similar to your average Metroid-Vania but less focused on upgrading manoeuvrability and unlocking shortcuts. This became one of the first major problems I had with the game, it took so long to get anywhere fast and it was quiet exhausting to explore new paths. Instead, you are encouraged to use seeds that will grow into different kind of plants / trees providing vines to swing on or platforms to jump on. In concept, this is a really cool idea and it defiantly had moments that were quite impressive. However, some plants will take a time loop to fully grow meaning you are not able to use the new “shortcut” until you progress to the next loop. Similarly, this also became a problem when you are not sure what plant to grown where or you do not have the correct seed available to grow the required tree.
The previously mentioned tether that unlocks the alternative ending requires a strong knowledge of what plants to grow and paths to take. This is because you will be leading a tether from 1 area of the map to another in a plant-based daisy chain. Unfortunately, after a few hours of trying to figure out how to make this chain, the slow movement speed and lack of clear direction made me quit this endeavour and instead get the “bad” ending.

Initially while playing Ultros I was quiet impressed by the combat and encouragement to play well and with variety. The system they use rewards new combos and variety by giving better rewards based on how well you perform in combat. There's a mix of different doges, backsteps, stealth attacks, parry’s and much more which was initially quiet exciting. You unlock these moves and other abilities by leveling up your skill tree from eating a variety of grown fruits or carcases from the enemies you kill. However, the skill tree is very limited and you will quickly be maxing everything out as the consumables are also your healing items and there is a lot of them. I believe this is intentional though as when a loop is completed you will be returned to 0 skill points and no weapons as if you just restarted the game. Unfortunately though you can mitigate this almost completely, as with the use of additional hidden skill points found in the world this will keep any chosen skill permanently unlocked. This then feeds into another problem where you become either to strong in combat or you use a skill tree ability where most enemies will completely ignore the player; this allows you to waltz on right past them completely ignoring all future combat.

As I think back on my time playing Ultros I feel honestly more disappointed about what could have been than what has been. The beautiful visuals paired with some great combat ideas and an intriguing set up for a story sounds like a recipe for a brilliant game. But unfortunately Ultros just doesn’t deliver in the execution and that makes me really sad. I hope the small team continues to make games and refine their craft as there’s absolutely passion poured into Ultros and I would to see what’s next from the studio.