Frivolous Waste of Time

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Archive for the tag “sandbox”

Watch Dogs 2: Human Conditions DLC for PS4, Xbox One and PC

Watch Dogs 2 was far better than it had any right to be. It ended up being one of my favourite games of 2016, which I don’t think I would have seen coming. Dipping back into it with DLC, I wondered if somehow I’d been bamboozled by its in-your-face energy, but the Human Conditions DLC reminded me that, no, Watch Dogs 2 really is a bloody good game.

The meat of the DLC lies in three new missions, all centred around moral lapses in Silicon Valley. One mission focuses on self-driving cars and an algorithm which determines the value of an individual’s life in the event of a crash. Another brings the return of foul mouthed rival hacker Lenni as you investigate inhumane testing of nanotechnology. The final mission is about a hacking of a hospital, which ties into a storyline involving the Bratva Russian mob. The writing for Watch Dogs 2 was so sharp and fun and it’s all the same here, genuinely well written and charming. The core DedSec team have become a hugely loveable bunch of goons. Sure, the satire hits with precisely zero subtlety, but I enjoy its message about resisting corporate control and taking back freedom. Of course, being developed by megacorp publisher Ubisoft undermines this a little bit, but there’s more political and social engagement in Watch Dogs 2 than most AAA games will attempt. The storyline about the hacked hospital felt particularly relevant, given the recent NHS hack in the UK.

Watch Dogs 2 worked itself into an immensely satisfying groove, as you control your three tools: Marcus, your little RC car thing and your drone. The missions were, in many ways, your standard base assault stuff we see in Assassin’s Creed and Far Cry, but the range of genuinely useful and engaging tools at your disposal made them feel more like playgrounds for you to use all your toys. The missions in Human Conditions offer more of the same, but if they’d been a part of the main game I think they’d have been considered among the best. The only real change can be found in the addition of enemies which can jam your hacking. I’m not sure about this; adding difficulty by removing your ability to do what makes the game fun feels artificial, but unfortunately is fairly commonplace. It doesn’t ruin the experience by any stretch, but my feeling upon coming across a jammer was usually more irritation rather than a sense of excitement of a new challenge to overcome.

DLC is almost never worth it full price, so I’m happy I waited for a PSN sale. For what I paid, I think Human Conditions was worth it. If spending a bit more time with Marcus, Wrench, Sitara and Josh appeals to you, Human Conditions is certainly worth a look.

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The Legend of Zelda: Breath of the Wild for Switch and Wii U

I don’t even know how to go about reviewing this game. Zelda is my favourite game series, but it’s hard to deny that it’s been stuck in a rut. I think the last genuine classic is almost 15 years old; Wind Waker. The following games have been good, even great, but have not captured me as much as the games that preceded it. There were two major transformative moments in the series prior to this year; 1991’s SNES classic A Link to the Past and the seminal 1997 Ocarina of Time on the N64. Since then, the series has stayed roughly within the established formula. Now, almost 20 years later, the third transformative moment for the series has arrived with Breath of the Wild. It’s not perfect, there are definite roughs around the edges, but Breath of the Wild is a game changer both for the series and open world game design in general.

I think Breath of the Wild has the greatest open world ever made because it is truly open. Even in GTA you can’t enter all the buildings, but if everything you see in Breath of the Wild is attainable, everything is reachable, everything is tangible. There was a moment I headed towards a shrine which had popped up on my sensor. I later realised that the story would have taken me to its location eventually, outside a gate near one of the main villages. Instead, I climbed up a mountain and down again to my destination, seeing a glimpse of strange ruins I would come to later. On my way up the mountain I came to a plateau upon which I had a perfect view of Death Mountain, Hyrule laid out before it. I’m not ashamed to say I got a bit teary; this was the Zelda game I dreamed about as a child, the game I wanted Twilight Princess to be and it never could. The plateau I was on served no real purpose, it wasn’t how you were clearly intended to reach this shine, but it was there and it was gorgeous and I think Nintendo put it there on purpose. The world is massive, but still feels handcrafted. I don’t think Nintendo have even heard the word procedural generation. This is the Nintendo difference, this is why I will always love this company, for all they can be infuriating.

There has been a rigid Zelda formula since A Link to the Past. You explore a bit, you do a dungeon, you get an item, you beat a boss, you explore a bit, you do a dungeon, you get an item, you beat a boss etc. There’s usually a major focus shift a bit of the way through, like A Link to the Past’s Dark World or Ocarina of Time’s 7 year timeline jump, and then you do the same thing. It’s not a bad structure by any stretch, but the spirit of adventure of the original NES game was missing. Breath of the Wild abandons the formula almost entirely. Dungeons don’t really exist anymore and are replaced with Shrines scattered around the map. There are 120 in total and most contain some kind of puzzle. Some a very brief and some are like mini-dungeons and each give you an item which can either put towards giving yourself a Heart Container or expanding your stamina wheel. There are four larger dungeon-like areas, the nature of which I will not spoil, but they never reach the scale of the previous games’ dungeons. The puzzles themselves work very differently; you no longer have a set of equipable items you use to solve a dungeon’s puzzles. That design locks you into a particular path and you can tackle Breath of the Wild’s challenges in any order you like. Instead, you are given almost all of your tools in the first hour and sent out into the world. These powers are linked to your mythical Shiekah Slate and can do things like manipulate metal objects, pause time for a moving object, freeze ice and others. The puzzles are much more physics based and designed differently to traditional Zelda puzzles, often with multiple solutions, reminding me more of something like Portal or The Talos Principle.

Zelda games have long had a clear divide between exploration and puzzling, with the two halves of the games kept distinct through the dungeon structure. Breath of the Wild unifies the two, with a little and often approach to puzzling rather than dense and lengthy challenges. Initially I saw this an entirely positive thing; some of the puzzles are truly brilliant, but as time went on my opinion shifted somewhat. There may be 120 shrines (and the four mini-dungeons), but many of these shrines (too many) are combat focused and for a lot finding the shrine itself is the puzzle. All shrines have the same visual design and music, meaning that by the end I was feeling a bit like I’d seen it all before. A few fewer shrines and more themed and expansive dungeons may have been a better approach and I hope this is what they do with the sequel. The shift to shrines from a few massive dungeons is a good thing, but I think a slightly better balance could have been struck.

Link is the most manoeuvrable and fun to control he’s even been in 3D. Almost any surface is climbable, limited only by your upgradable stamina wheel, and any height can be used as a platform to glide from with your sailcloth. This is the most tangible open world since Metal Gear Solid V. Since I finished Zelda I’ve started playing Horizon: Zero Dawn, and whilst I’m enjoying it, it feels limited after Breath of the Wild. Breath of the Wild is entirely laissez-faire about how you approach its world. If you want to climb over the mountain in front of you rather than following a path wending round it, feel free. Many open world games use mountains and rivers to guide and block your exploration, to provide barriers, but Zelda simply places them as another challenge. Exploration is almost always rewarded, maybe with a shrine or with a Korok seed which you use to expand your inventory. If you see an interesting looking spot and wonder if there’s something cool up there, there almost always is. I love exploring in games, but many open world games are unwilling to remove the leash. Even games I love like The Witcher 3 would be very hard to play without waypoints, with a world designed in such a way that you need a map to get around. Early in the game, you will be sent to go through a valley between two mountains and then get directions. You don’t need a glowing marker to show you where to go, you can just look at the key landmark. There are more HUD options if you want them, but I played very minimalist, navigating by directions from passers-by and environmental clues. The last game I bothered to do this with is Morrowind.

This openness extends to the combat, which is another significant departure from previous games. In previous games you would generally have one sword, two at most, with which to fight. I mean, sure you could whack things with the Biggoron Hammer in Ocarina of Time, but why would you when the Master Sword is better and quicker? Breath of the Wild has an aggressive weapon durability system, which has been controversial. I totally get why people would hate it: I thought I would and sort of did myself at first. Your weapons are ridiculously brittle, with many weapons barely surviving a single protracted encounter before they literally shatter, never to be seen again. Breath of the Wild isn’t a game about acquiring loot and becoming more powerful; the difficulty curve instead fluctuates. There will be moments where you are powerful, fully buffed from food, quiver filled with arrows, powerful weapon at your side when you can take on the world. There will be times when you are low on health, depleted and with no weapon of any value. Breath of the Wild nudges you away from playing one particular way, from simply approaching each encounter by charging in with a sword. You don’t want to waste your finite resource of the weapon for no reason. You are instead encouraged to be clever, using the environment or stealth to clear areas. There’s something of Metal Gear Solid V’s vast toolbox of tricks in Breath of the Wild’s design. Some may find this nudging oppressive; if I want to charge in and just use a sword than why should the game stop me having fun? I see their point, but I don’t think I would have experimented as much as I did if I didn’t have to by necessity. Other games would teach you these mechanics through pop up or tutorials, Breath of the Wild teaches you to play smart by necessity. The actual melee combat itself is pretty basic, and feels like a step backwards from Twilight Princess and Skyward Sword, although the game is more about encouraging you to approach enemies in a variety of ways. Using the bow feels better in Breath of the Wild than it ever has before.

The biggest issue with the combat is a lack of enemy variety compared to previous games, with creatures like Re-Deads, Darknuts and Dodongos missing, with the world populated almost entirely with Bokobins, Moblins and Lizfalos.

One element I was very dubious of before release were the crafting and survival mechanics. I generally hate these in most games, but there’s a tactile charm to everything which makes even these irksome mechanics somehow delightful. Rather than collecting hearts from chopping grass, you heal from meals that you cook over a fire, which can also provide other buffs. Most games would just do this through a menu, with the outcome of your cooking clear based on your ingredients. Zelda is cheerfully chaotic, with cooking literally done by holding up to five items, dropping them in a pot and taking what comes out. Experimentation is rewarded and the buffs are considerable. There are areas which are too warm or cold for Link to survive, so these can be alleviated with particular outfits or foods. Zelda did something impossible; it actually made me enjoy crafting and survival. It’s essential that you take these mechanics seriously too because this game can be hard. It’s the hardest Zelda game since…Link’s Awakening maybe? It’s never cruel or capricious however and generous with autosaves.

Breath of the Wild doesn’t have the protracted opening for which most 3D Zelda games are guilty. Link awakens in a strange chamber and emerges into a Hyrule devastated by the arrival of Calamity Ganon. No clear timeline placement is offered, but the implication is that Breath of the Wild may be late in the timeline, as Ganon has abandoned any vestige of humanity or intelligence as Ganondorf, descending instead into as primal force of sheer evil. 100 years before, Hyrule had been overrun when Calamity Ganon turned the kingdom’s own highly advanced defensive Guardians against their masters. Link must piece together what happened 100 years ago and put an end to Calamity Ganon as it lurks in the ruins of Hyrule Castle.

Zelda has never had complex plots, but at their best they tap into a sense of epic destiny. Breath of the Wild is, in many ways, post-apocalyptic, and there’s a sense of melancholy and loss which pervades the whole thing. I had worried before release that Breath of the Wild would be a barren wasteland and would lack the loveable cast of weirdos which help make the series so special. Happily, this is not the case, with a cast as entertaining and eccentric as we’ve come to expect. Standouts include the charmingly positive Zora Prince Sidon and the intimidating Gerudo warrior Urbosa. The minor cast has some real stars too; I’m glad to see that the proud Zelda tradition of ridiculously effeminate carpenters is alive and well. Still, the actual plot is a bit underwhelming. We’re introduced to a key supporting player in each of the game’s four main dungeon locations, with their own subquests attached and I had been expecting, and hoping, that the game would return to them in the conclusion. The open structure and ability to approach the goals in any order make a story which feels more like a series of vignettes than an epic adventure. Nothing much can really change or grow. The lack of a true villain doesn’t help, with the mindless fury of Calamity Ganon never making anywhere near as much as an impact as Ocarina of Time or Wind Waker’s Ganondorf, or the titular Majora’s Mask.

The majesty of the open world would be nothing if it didn’t look incredible, but it really does. This is the best looking Zelda since Wind Waker, with an art style which falls somewhere between Wind Waker and Twilight Princess. I played it on the Switch and it looks amazing both on the TV and on the little screen, with beautiful bright colours and truly stunning art direction. The characters are also brilliantly expressive and funny, with charming animations. The music is minimalistic but wonderful. This isn’t a triumphant soundtrack I’ll listen to over and over again like Wind Waker and I don’t think it’s going to inspire complex tributes like Majora’s Mask, but it’s the perfect soundtrack for the game it is. A booming orchestral score would feel out of place in this Hyrule, but there are some lovely tunes in a lot of the towns and villages. Some are entirely new and some are truly stunning re-workings of songs from previous games. There are some problems; Breath of the Wild introduces voice acting to the series for the first time and the result is…mixed. Some supporting characters, particularly in the Gorons and Gerudo sound perfectly fine, but a few too many major characters are very stilted. I hated Zelda’s voice, which was breathy and a bit pathetic sounding. There are also regular framerate drops, particularly in chaotic scenes and when docked in TV mode. It’s not awful and anyone who tells you it ruins the game is an idiot who doesn’t deserve videogames, but it would undeniably be better if the framerate was more solid.

So, in summary. Breath of the Wild isn’t perfect, because no game is. What it does do is transcend its flaws, offering something which feels truly new whilst respecting the storied past of this great series. It’s a wonderful experience and Nintendo’s best game since Super Mario Galaxy. People may knock the Switch line up for only having one big game, but if you must launch a console with only one game it might as well be one of the greatest of all time.

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Sleeping Dogs: Year of the Snake DLC for Xbox 360, PS3 and PC

I suspect that this is going to be the last Sleeping Dogs DLC, and thankfully it’s the best (and largest) so far. The DLC series for Sleeping Dogs hasn’t been nearly as disastrous as it has been for many games (I’m looking at you Darksiders II), but it also hasn’t exactly been particularly awe inspiring either, rarely raising above mediocre. Year of the Snake is certainly an improvement over Nightmare in North Point and The Zodiac Tournament, but is nonetheless a rather bland experience, which doesn’t live up to the potential for wacky fun that it offered.

Sleeping Dogs, unlike the proceeding two DLCs, picks up shortly after the main storyline of the original game. Wei Shen’s superiors, somewhat peeved at the death and destruction left in the wake of his take down of the Sun on Yee, have demoted him to the position of a standard beat cop. It’s not long however before an apocalyptic cult start to launch attacks around Hong Kong in preparation for the New Year, and it’s unsurprisingly up to Wei Shen to stop them.

Year of the Snake, unlike its brief, but fun, predecessor The Zodiac Tournament, doesn’t add anywhere new, instead returning us to Hong Kong for a whistle stop tour of major locations from the main game. It’s a bit of a shame not to see anywhere new, but this DLC wasn’t really about that, and manages to make up for it in other ways.

The plot is something of a disappointment. It’s initially quite fun to see Wei Shen, badass kung-fu supercop, reduced to giving parking tickets and chasing down muggers and flashers, but the eventual plot returns us to predictable territory. It’s a shame really; the DLC seemed to be leading towards an amusing self aware look at how incredibly inappropriate Wei Shen’s actions as a cop are, and the vast body counts of collateral damage he must have caused along the way. The plot is entirely forgettable, and lacks even the silly themes of the proceeding two DLCs. This is the best DLC so far in every other way, but in terms of the plot it’s easily the worst.

There’s a slight tweaking of combat mechanics in this DLC, with the addition of a taser and the ability to arrest people mid combat offering subtle, but fun twists on the ridiculous ultraviolent fun of Sleeping Dog’s combat. The combat in Sleeping Dogs is still leaps and bounds ahead of its rivals in GTA and Saints Row, and never really stops being fun. Since Year of the Snake is very much about recapping the best parts of Sleeping Dogs, we get to do a bit of everything in this DLC, from some fun car and boat chases, to fist fights to gun battles. It’s nice to have a bit of variety, something lacking in the previous two DLCs. This is also the most substantial DLC so far, with a decent number of story missions and a fair bit of side content giving this release good value for money.

The voice acting was never the strongest element of Sleeping Dogs, but it reaches new levels of ridiculous here. Whilst Wei Shen is still convincing, the voice acting for the villainous cultists is hilariously terrible. Whilst this actually contributed to the silly stylised charm of The Zodiac Tournament, it only serves to weaken this somewhat more grounded instalment.

All in all, Year of the Snake is an enjoyable, if disappointingly conservative release for Sleeping Dogs. There are a few really cool ideas floated which don’t really come to anything, which is a shame, and this release really is just more of the same. Maybe that’s what you want though? If it is, Year of the Snake isn’t a bad little purchase, and if you only buy one piece of Sleeping Dogs DLC, make it this one. 352971

Sleeping Dogs: The Zodiac Tournament DLC for Xbox 360, PS3 and PC

I admire United Front’s stated intent in their Sleeping Dogs DLC series to attempt to pay homage to different aspects of Hong Kong cinema, as the main game did with gangster movies. The first story based DLC, Nightmare in North Point, was successful in some areas but utterly lacking in others, and it’s pretty much the same story here. That said, The Zodiac Tournament in a  stronger  release than Nightmare in North Point, and cheaper too.

The Zodiac Tournament brings Wei Shen to an island just off the coast of Hong Kong which hosts an illegal fighting ring, where decadent millionaires pay exorbitant sums of money  to watch men fight to the death. Wei is sent undercover to infiltrate the fighting ring, and to fight his way to the top.

The island on which The Zodiac Tournament takes place is extremely pleasant, and a nice change of pace from the urban Hong Kong. One of my main issues with Nightmare in North Point was the way that it failed to offer any new locations, and although the island certainly isn’t large or even particularly explorable, a clear effort has been made to create a visually distinctive environment. There’s some exploration to be had to find statues which offer Wei new abilities, but your journey through the island will be largely linear. It’s a shame that we can’t explore this island more, but given the price of this DLC it’s perhaps not surprising that we don’t.

This DLC opens promisingly, with a classic grainy filter bringing to mind low budget kung-fu movies of the 70s as well as bombastic and cheesy music. The promise is of an endearingly ridiculous romp, but this never really manifests, for the primary reason that this DLC is just too short to tell it’s fun tale properly. That’s not to say that there aren’t entertaining moments, but it all feels rushed and the kung-fu vibe feels underused.

The Zodiac Tournament focuses almost exclusively on one aspect of Sleeping Dogs’ gameplay, and thankfully that element is the games strongest; the hand to hand combat. Yeah sure, it’s a blatant rip off of the combat from Batman’s Arkham games, but if you’re going to rip something off you should do it with style, something Sleeping Dogs had caboodles of. Where the boss characters of the main game were almost always less fun to fight, here they’re much better designed, and genuinely require faster reactions and more thought than the regular grunts. There isn’t really anything else to this DLC; there’s little in the way of driving, no shooting, although there are a couple of fun chase scenes, an element which I liked in the main game. Where Nightmare in North Point actually undermined Sleeping Dogs’ gameplay strengths, The Zodiac Tournament plays to them them.

As mentioned above, I’m a fan of the grainy filter image used throughout this DLC, although it only pops up in cutscenes and during some fights. I can’t help but feel that United Front should have just gone the whole hog and put the entire DLC in this style; it feels oddly underused. The voice acting is fairly dire, but this actually benefits the B-movie feel this DLC is attempting to evoke. The ridiculous pidgin English which the inhabitants of Hong Kong speak in Sleeping Dogs, whilst irritating in the main game, only serves to heighten the feeling that you’re watching a terrible Western dub of a movie intended to be in Cantonese. The style of this DLC doesn’t quite live up to its promise, but it makes a fair shot.

The Zodiac Tournament was a lot of fun, yet felt lacking as so much DLC does. There just isn’t enough content here. As I often recommend, this is probably worth picking up when it pops up on sale, but before then I’d hold off. What is here is fun and cool, there’s just so little of it. zodiac

The Elder Scrolls V: Skyrim: Dragonborn DLC for Xbox 360

It’s no secret that I love Skyrim. No seriously, I really love Skyrim. It appeals to everything that I most enjoy about gaming. Sure the combat is extremely ropey, the character animations are terrible and the writing isn’t even that great, but I don’t care about that, because I just want to explore. However, Skyrim isn’t my favourite Elder Scrolls game, oh no, that would be a little game named Morrowind. I sunk a frankly terrifying amount of time into Morrowind; I loved the island of Vvardenfell, in it’s beautiful weirdness, and the truly alien culture of the Dunmer. The Roman influenced Cyrodill of Oblivion and the Nordic influenced Skyrim, as great as they are, could never come close to a land absolutely brimming with weird and wonderful sights. I was therefore, frankly rather giddy with the news that the newest Skyrim DLC will return us to Solstheim, an island midway between Morrowind and Skyrim which was previously featured as the setting of the excellent Morrowind expansion pack Bloodmoon. Although this DLC, Dragonborn, doesn’t quite capture the Morrowind magic, it still almost had me weeping with nostalgia at times, and is an excellent slice of Skyrim in its own right, and is definitely a great improvement over the Dawnguard and Hearthfire DLCs.

Solstheim does tread a line between the geography of Skyrim and Morrowind. The snowy mountains in the north certainly aren’t far away from Skyrim, with Morrowind style mushrooms found in the south. Things have changed in Solstheim since Bloodmoon however; the eruption of the Red  Mountain between Oblivion and Skyrim has coated the south of the island with ash. As much as I liked Dawnguard, it missed the point of what made Skyrim great, and thankfully Dragonborn does not make this mistake, and gives us another big, beautiful world to explore packed to the brim with stuff. There aren’t any huge cities on Solstheim, but we do have the town of Raven Rock (which Morrowind veterans will remember actually founding in Bloodmoon), as well as the return of the Skaal Village and the small Telvanni holdfast of Tel Mithryn in the south east. Solstheim really is Skyrim in miniature, which is really what Skyrim DLC should be. A lot of the game takes place in Apocrapha, the plane of Oblivion which is the demesne of the Daedric Lord Hermaeus Mora. Apocrapha is utterly trippy, and a fun break from the more grounded land of Solstheim.

Dragonborn kicks off as the player character journeys to any major city in Skyrim, where they will be attacked by mysterious cultists bearing a note from Solstheim. The cultists worship Miraak, the first Dragonborn, who desire to bring down the protagonist as a pretender to the title. Miraak was sealed on Solstheim by the Dragon Priests, of which Miraak was originally a member before betraying them. Miraak has gained the support of Hermaeus Mora, who has been helping him to return to the physical plain. The Dragonborn journeys to Solstheim to take down Miraak and free the island from his thrall. In addition to this main quest, we have the plethora of side quests which define the Elder Scrolls series.

The main storyline is…actually kind of poor. In this regard Dragonborn is actually weaker than Dawnguard, where I actually really enjoyed the main storyline. Miraak never feels as potent a threat as he should, and feels oddly underplayed. However, Hermaeus Mora is a much more interesting character, and his scenes steal the plot. The main plotlines has never been the most important aspect of the Elder Scrolls games, and there are lots of much more compelling mini narratives within side quests. The weakness of the main plot, whilst disappointing, doesn’t take away from the experience nearly as much as it would in other games.

The player won’t be doing much new in the gameplay department in Dragonborn, and if the basic gameplay of Skyrim didn’t reel you in during the main game this DLC won’t change your mind. The biggest new gameplay addition is the ability to tame and ride dragons, which is much much less cool than it sounds. The player isn’t given any real control over the dragon, and it all feels a bit clunky. This feature seems shoehorned in to appeal to those who have been begging for this feature since the game’s release, but the Skyrim engine simply isn’t quite robust enough to do this sort of thing justice. Despite being marketed as a major selling point of the DLC, it’s really not that important to it; Dragonborn would have been just as great without it. However, if you’re thinking of playing this DLC because of the dragon riding, I’d give this one a miss. If, like me, you just wanted another big beautiful world to explore, then this DLC is a godsend.

I’ll confess something right now that a reviewer should never confess; I’m incapable of judging this game objectively. You see, as I first left Raven Rock and began to explore the rugged southern coast of Solstheim, music from Morrowind began to play, and with that my abilities to think rationally about this DLC became utterly compromised, so contorted by nostalgia was I. Jeremy Soule is one of the most underrated composers in gaming, and his beautiful score adds huge amounts to the experience. The voice acting is…well, pretty much the same as Skyrim’s, with many of that voice cast returning. I didn’t think the voice acting in Skyrim was too bad, it was certainly much better than Oblivion’s, but it’s hardly excellent. Still, it didn’t draw me out of the experience, and there are some amusing and tragic characters mixed into the experience with well delivered performances.

Dragonborn is one of the most complete and satisfying pieces of DLC which I have ever played, and a real must for anyone who loved Skyrim, especially people who played Morrowind. Even if you haven’t, Solstheim is a great location packed with interesting people, places and secrets. Alas, my PS3 and PC playing friends don’t have access to this product yet (it should be coming soon, but Bethesda don’t exactly have the best record with this sort of thing), but if you have this game on Xbox 360, I highly recommend giving Dragonborn a download, even if you don’t normally ‘do’ DLC.

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