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Now that the dust has settled on E3 2016, the show’s Game Critics Awards have been announced after much deliberation, and Sony, Horizon Zero Dawn and Nintendo’s The Legend of Zelda: Breath of the Wild emerged as the big winners.

Collating from 40 different media outlets, the awards represent a conclusive overview of E3 2016, and it’s hardly surprising that Breath of the Wild clinched three awards in total: Best of Show, Best Console Game, and Best Action/Adventure Game.

Horizon Zero Dawn, meanwhile, nabbed Best Original Game – Guerrilla Games’ new IP is one of the few to break the mould in the open-world genre – whereas Sony and Nintendo ranked highly in the publisher awards.

Here’s a rundown of the respective winners.

E3 2016 Game Critics Awards

Best of Show:

The Legend of Zelda: Breath of the Wild

Best Original Game:

Horizon: Zero Dawn

Best Console Game:

The Legend of Zelda: Breath of the Wild

Best VR Game:

Batman: Arkham VR

Best PC Game:

Civilization VI

Best Hardware/Peripheral:

PlayStation VR

Best Action Game:

Battlefield 1

Best Action/Adventure Game:

The Legend of Zelda: Breath of the Wild

Best Role-Playing Game:

Final Fantasy XV

Best Racing Game:

Forza Horizon 3

Best Sports Game:

Steep

Best Family Game:

Skylanders: Imaginators

Best Online Multiplayer:

Titanfall 2

Best Independent Game:

Inside

Special Commendation for Graphics:

God of War

Winner Breakdown By # of Wins

Three Wins:

The Legend of Zelda: Breath of the Wild

Two Wins:

Civilization VI

One Win:

Batman: Arkham VR
Battlefield 1
Final Fantasy XV
Forza Horizon 3
God of War
Horizon Zero Dawn
Injustice 2
Inside
PlayStation VR
Skylanders: Imaginators
Steep
Titanfall 2

Publisher Breakdown

Three Wins:

Nintendo
Sony Interactive Entertainment

Two Wins:

2K
Electronic Arts
Warner Bros. Interactive Entertainment

One Win:

Activision
Microsoft Studios
Playdead
Square Enix
Ubisoft

What do you make of the list of winners? , you can catch up on our collection of E3 2016 previews right here.

Was this years E3 one of the best in recent memory? Quite possibly, especially in regards to the press conferences themselves. Ok, EA’s was as dreary as ever, and Ubisoft still seem to find new ways to make us all feel slightly uncomfortable, but on the whole the conferences were entirely effective in exciting the gaming community about the future of the industry for the next few years. After all, that is the whole point of the show, right?

It isn’t difficult to single out the best conferences; Microsoft and Sony’s showings are always the cornerstone of any E3, and this year they delivered in droves. As with any year at E3, debates continue to rage in regards to who “stole the show” with the biggest announcements. Indeed, this year has seen a particularly heated exchange that has gone beyond mere fanboy patronage of the respective hardware manufacturers. Divided opinions argue both for and against the impact of hardware announcements such as project Scorpio vs. the plethora of software detailed by Sony.

Ultimately, whichever side you fall on, we can all agree that both Microsoft and Sony’s showcase at E3 have punctuated the year so far in gaming and painted a hugely bright, albeit very different future for both consoles.

E3 then, has perhaps vindicated its relevance as the most pivotal and important show in gaming, and even despite some absentees, its mostly been business as usual. But that’s without addressing one almighty elephant in the room, or not in the room as the case might be.

Nintendo have once again, rather bewilderingly, decided that they’re not interested in playing by the rules of the industry with their approach to major gaming events such as E3. Indeed, their remote approach this year was lacklustre and borderline amateur. Seriously, what on earth was that Treehouse presentation? Even if you’ve grown accustomed to Nintendo’s bizarre strategies over the recent half decade or so, you couldn’t possibly have predicted how utterly boring their stream event would turn out to be.

20 minutes in and it was hard to fend off the sense that one had been rather “roped in” with promises of Zelda after enduring what seemed like an age of Pokemon Sun and Moon. To recap; there was a Zelda trailer, some talking, then some Zelda gameplay, more talking, then a huge segment of Pokemon Sun and Moon with a whole load more talking. Not quite what we had in mind, then.

Quite apart from the slightly irritating over enthusiastic presenters, whilst watching the Nintendo’s stream, one couldn’t help but feel an overbearing sense that the entire Treehouse presentation epitomized everything that is wrong with Nintendo these days. 2012 was the last time the company engaged their audience with a proper E3 presentation as they took to the stage to announce the Wii U hardware. Since then, Nintendo Direct has replaced traditional conferences, and while that might be a clever way to engage with their audience for brief updates throughout the year, Nintendo’s lack of presence at major game conferences has totally isolated them from the mainstream of the industry.

Sure, one could argue that is partly their intention, especially after CEO Reggie Fils-Aime has repeatedly insisted that Microsoft and Sony occupy a different market space, but how accurate is that sentiment really? How effective has Nintendo Direct and this new approach to the industry been in building momentum and belief in Nintendo’s gaming hardware?

Last year, Paris’ own DONTNOD Entertainment made its mark on the industry and sent ripples throughout it, when it released its episodic narrative, Life is Strange. A five-part tale, it proved to be exactly what the doctor ordered for a lot of people, and quickly cemented itself as one of the most popular and well-liked games of 2015.

This year, DONTNOD returned to E3 with a new project to show off; that being its historically-set action-RPG, Vampyr. Existing as the developer’s first Focus Home Interactive-published effort, the game is scheduled for a 2017 release and looks to be worth the wait.

So, what exactly is Vampyr? Well, from the looks of things, it’s a rich and involved action RPG that will bring players’ morals into play. Why is that? Well, its main character — Doctor Jonathan Reid — just so happens to be a vampire with a conscience, and he feels that it’s up to him to keep London well, all while dealing with his own affliction.

Turned without consent, while travelling back to his home in London, England, this particular doctor finds that he must balance his need to feed with the needs of the city around him. It’s an especially troubling conflict of interest, too, given that this story is set in 1918 and the city’s inhabitants are fighting the Spanish Flu. Many are dying, and the sick are in need of care that Doctor Reid can provide them with if the player feels up to the task.

The only way that Jonathan can improve himself is by feeding, but every time he bites into a human being it affects London’s overall health metre. The same is true of abandoning those who are diseased and seeking help, because every loss affects the city as a whole, and it’s our job to keep things balanced. If a certain borough is left unattended, it may become overrun by the sick and end up littered with corpses, along with destroyed and fire-engulfed buildings.

That’s what we should all hope to avoid when playing Vampyr, but it surely won’t be easy to keep everything in check at all times.

Of course, what would a vampire game be without enemies? Vampyr seems to have a decent amount of those, in the form of vampire hunters who’ve returned to the city after hearing about its worsening infestation. Combat between Dr. Reid and said hunters was briefly shown, and it involved some stealth (including bat-based teleportation mechanics) and some more in-your-face attacking, through a decent-looking system that promotes timing and verticality.

One of the best ways to accomplish your goals is to mesmerize a human and have him follow you into the shadows before you feast. Before you do that, though, you’ll want to try your best to gain intelligence about each and every person you encounter, in order to figure out who’s best for eating. Generally speaking, doing research helps you find out who the scumbags are, and can make your choices easier for that reason. You have to eat, after all, and it’s not always easy, especially since vampires must be invited into someone’s home before they can enter.

Talking to people — and gaining intel from them — will require you to be a smooth talker, using the game’s dialogue wheel. The writing is smart, and all choices have consequences, so it’ll be interesting to see how everything comes together.

Speaking of the final product, it’s worth pointing out that when I spoke to the developers they told me that Vampyr will be fifteen to thirty hours long, and that its length will be determined by individual play styles. There are secrets to find, side quests to engage in and collectibles to pick-up. On top of that, there looks to be a rich campaign that will impress those who like both Gothic London and vampirism.

On a somewhat related note, for those who are hoping for Life is Strange 2 (like I am): I asked, but DONTNOD’s reps told me that they’d be killed if they said anything. That’s definitely a good sign, though, and my fingers remain crossed for more time-bending gameplay.

I’ve always had a thing for games set in rich, open world environments, where there’s lots to see and do. Grand Theft Auto is an obvious leader in this category, as are games like Fallout 3 and Skyrim, but those aren’t the only such titles that have hooked me. Other notable releases — like Just Cause 2, Bully, Saints Row: The Third, Saints Row IV and Mafia II — have as well, with the latter being a game that I’ve tried to champion since launch. Why? It’s always felt under-appreciated, and that’s bugged me.

This summer will mark six years since Mafia II hit store shelves, and it’s only fitting that we’ll soon receive a sequel. It’s a follow-up that I cannot wait to get my hands on, and one that is easily at the top of my most anticipated list. Hell, just the idea of Mafia III existing had me excited. Seeing it in action at E3 was the icing on the cake, and helped prove the reasons as to why I’m more excited about this game than almost anything else.

We’ve already talked about how Mafia III had one of the best booths at E3 2016, what with its New Orleans saloon-inspired design, real-life fortune tellers and hired blues band, but now it’s time to focus on the game itself. At least, the theatrical demo that 2K brought to this year’s Expo.

Mafia III is the story of Lincoln Clay, a former orphan and Vietnam War vet who has returned to the city of New Bordeaux and resumed his affiliation with the black mob. Not all is well, though, because Lincoln’s crew ends up being slaughtered by its Italian nemeses and he barely escapes with his life. Thus begins a tale of wanton revenge throughout a world that is designed to look and feel like 1968 New Orleans.

New Bordeaux is a thriving place, where everything you do has an effect on the story. From dealing with rival gang , to honing in on gun, moonshine and sex trafficking rings, there’s a lot to dive into outside of your main quest line. And, once you become the leader of your own crew, you’ll even be able to form ties with three unique allies, including Cassandra (who leads the local Haitian gang) and Vito, who was marginalized by the Italian mob and seeks payback. These morally troubled souls will act as your underbosses, and can be assigned parts of the city that take over, gifting you with unique bonuses along the way. Be careful, though, because giving too much to one ally may piss the others off and cause them to betray you.

We actually got to see a betrayal during our demo, and it led to a badass engagement. The only sad thing about it is that not everyone will get to experience it, or something similar, as how things play out in Mafia III will depend on each player’s own choices and actions.

Everything we witnessed behind closed doors gave us a good look at, and insight into, the game’s beautiful-looking city and the scum that lays beneath its pretty surface. We saw dramatically different boroughs, including the iconic Bayou, where riverboat gambling is a popular attraction overtop water that makes for a great place to hide bodies. In fact, the main story mission they demoed took place aboard one such vessel, and was jaw-droppingly badass.

This particular quest had Lincoln trying to put a dent into our enemy’s crime operations, by going after a pivotal member of its family who just so happened to be holding a political fundraiser onboard a bayou riverboat. Clay — who’s not afraid to show his face and get his hands dirty — saw that as an opportunity, and made his way onto the boat without being noticed, thanks to some pretty vicious stealth kills. Then, when the timing was right, he unleashed Hell upon his target.

In the midst of a firefight befitting a classic revenge movie, the boat crashed into a nearby structure, sending ferocious explosions throughout its cabin. That didn’t phase our two enemies, though, and made for a wild and memorable confrontation that eventually spilled out into the bayou. All throughout, a cinematic feel persisted, as Lincoln mixed guns-a-blazing gameplay with good use of available cover. And, while I don’t want to say much more out of fear of spoiling a great mission, I must say that its ending was well worth all of the lead-up.

One thing that I also noticed about this game was how rich its soundtrack seemed to be. This one demo, alone, had two fantastic songs in it. The first was “Bad Moon Rising,” and the second was “Mississippi Queen,” which played at a perfectly fitting moment during the aforementioned mission.

Needless to say, Mafia III is a sequel worth getting excited for. It’s full of atmosphere and great details, and looks to be an epic romp through late 60s New Orleans. Now, if only it would come out earlier than October 7th…

Unlike most other video games out there, Furi doesn’t waste any time, as what might be considered standard levels in a lot of other titles, Furi would consider filler and a waste of time.

Our hands-on time with the game was brief, but you can tell that it heavily draws its inspirations from a handful of Japanese titles. Takashi Okazaki, the creator of Afro Samurai, worked on the character designs for the game, lending a very heavy Japanese aesthetic to the entire proceeding. The main character also has a very ninja look and is very reminiscent of Raiden from the Metal Gear Solid series, particularly his later appearances as a cyborg.

Furi is a game that focuses on boss fights, or more aptly, is comprised of boss fights entirely. While other games might opt to slowly warm players up with standard levels and tutorials, Furi takes a much more direct approach to gameplay. Within 30 seconds, I was completely familiar with the game’s controls; you can slash your sword or shoot your gun, and to avoid enemy attack you can dodge, or parry as a method of counterattacking.

It’s a very simple control scheme, but there’s plenty of room for depth if you look for it. While you can fire off quick shots and sword slashes with ease, you can also choose to charge up your attacks, which of course cause more damage. Charging attacks ties directly into dodging, as you can retain your charged attack by dashing. This allows for some rather crazy moments, as you weave in and out of enemy fire, in an attempt to find the perfect opening to unleash a powerful shot on the boss at hand. You can also charge your dodge, should you need to cover more distance.

Creative director of Furi, Emeric Thoa, describes Furi’s gameplay much like a guitar:

“It has six strings, but you need to practice to play correctly. And there’s no limit to how much you can improve. It’s simple and deep.”

The game’s Japanese aesthetic also creeps its way into how the main character handles and plays. Unlike most Western games, which place an emphasis on realism through animation, Furi handles much more fluidly. The combat is incredibly responsive; sharp reflexes and quick decision making reigns supreme here. Attacks come at you quickly and frequently, and you’ll need to respond even more quickly to stay alive. Unlike melee combat in games like Uncharted or the Batman Arkham series, Furi trades flash animations and weighty combat for extremely responsive gameplay. To put it simply, the instant you press a button, your character will react on-screen in tandem.

The boss fight we got to preview seemed like it was from the earlier stages in the game but it was by no means easy. This boss in particular utilized both hard hitting sword strikes, which required very precisely timed parry attacks, along with bullet hell segments which necessitated the use of successive dodges. It was a rather tense boss fight; while we didn’t die during our playthrough, there were plenty of close calls, and things only began to turn in our favor once we began to nail down the timing of dodging and attacking.

There’s something rather entrancing about Furi; once you’ve begun to get a grip on the controls, there’s a lot of enjoyment to be had when you manage to perfectly chain attacks, dodges and parries successively, in a flurry of flashes that is truly a sight to behold. If you’re into challenging games at all, you should definitely keep this one on your radar.

Furi is set to release on July 5^th on both PS4 and PC, and will retail for $24.99. You can check back in the coming days for our full review.

Prior to its official start, where the doors open and tens of thousands descend upon the Los Angeles Convention Center, E3 unofficially begins with press conferences. There, the suits, creators and hired talkers behind some of the industry’s biggest players (and video games) take to the stage to announce what’s coming down the pipeline. Of course, the biggest draws are always the rumoured surprises, but being able to get an early look at a big game, such as Gears of War 4, is also always appreciated.

This past E3 — E3 2016 — was no different. Although the show technically began on Tuesday, June 14th, it unofficially started when Electronic Arts’ press conference began at around 1pm Pacific Time on Sunday, June 12th. And, as we all know, the madness didn’t let up until the Convention Center closed its doors on the 16th.

On the Sunday and Monday, we were treated to some huge surprise announcements, great-looking gameplay and more, including a big concert that was almost kept a surprise. Things weren’t always perfect, though, as a change in plans led to one company disappointing its attendees and leaving some of us with a sour taste in our mouths.

In this article, we’ll dissect and discuss the press conferences that were, as part of our E3 2016 retrospective. Through that, we’ll rank each company’s showing from worst to best, ending with the eventual winner.

Now, without further adieu, let’s get on with the rankings.

To many, the original Deus Ex is one of the best video games of all-time. As such, it should come as no surprise that it received so many awards and spawned a series that continues to this day. In fact, close to sixteen years may have ed, but the themes that were brought forth back in 2000 still remain relevant, as does the wealth of choice that the inaugural game brought to the first-person shooter genre.

This summer, the conspiracy and augment-based series will return with Deus Ex: Mankind Divided. Developed by Eidos Montreal, the much anticipated shooter/RPG hybrid will act as the sequel to 2011’s Deus Ex: Human Revolution, which was, itself, a prequel to the original game. It will also mark the return of Adam Jensen, who has taken over as the modern day face of the franchise, and will look to please both longtime fans and fresh-faced newcomers.

Now, before I progress with this preview, I should it that my history with Deus Ex has been limited in comparison to that of many others. Since I’ve never owned a very capable gaming PC, I had to wait until the first title made its way to PlayStation 2, and even then, I didn’t get that far into the campaign because a lot of it went over my relatively young head. I did, however, appreciate it, and got a sense of why it was such a popular game through what I played.

I tried to rectify the above by jumping feet first into Deus Ex: Human Revolution when it was released several years ago. The result was one of my first big reviews for We Got This Covered, and a newfound personal favourite that ended up being one of the best games I had played in quite some time.

Fast forward to this year, where I was given the chance to go hands-on with Deus Ex: Mankind Divided during an appointment at Square Enix’s E3 booth. The time I had was limited, but what I played gave me a good impression of what to expect from the full game, and resulted in me coming away even more excited than I had been.

A long introductory scene played out before I was handed control, and in it, Adam Jensen was given his assignment. As the only cybernetically augmented soldier in his unit (and perhaps in general), a lot is expected of him, and he’s also on a short leash given the relatively newfound mistrust for augments. That all surfaced a couple of years prior to this game’s setting, and was the result of an infamous day where practically every one of the world’s augmented citizens went haywire.

My mission in this particular slice of the game was to infiltrate a partially constructed hotel located in ocean territory. Abandoned after the day of infamy, where all of its mechanized workers turned, it’s become the perfect base of operations for a black market weapons dealer.

Just before dropping in, I was offered a choice of the type of combat I’d focus on, and which weapon(s) I’d like to equip. This type of player choice is both welcomed and to be expected from a series of this ilk, and allows for different play styles to shine. And, though I could have tried my skills at going in with a non-lethal approach, I opted to stick with a trusty gun and deal with the consequences that would come with its use.

Once I was inside of the targeted base of operations, though, I was left up to my own devices. Finding a way through the environment was key, and stealth was of the utmost priority, so I took advantage of racks, boxes, crates and vents to move around and gain the upper hand on my enemies. Grunts were all strategically placed throughout most rooms, and whether I engaged with them was completely up to me, as was how I went about doing so.

For the most part, I tried to be quiet and stealthy, and did my best to take out every foe I could with a quick hand-to-hand takedown move (which also provided the opportunity for both lethal or non-lethal results). However, due to my mid-level stealth skills, I ended up being spotted and had to result to opening fire on a few of the assholes. It hurt, but it worked out in the long run, even if it wasn’t ideal.

A great aid to my mission ended up being Adam Jensen’s ability to move and position certain environmental objects, including crates. This mechanic not only allowed me to find new areas on the ground level, but it also provided me with the opportunity to climb on things to reach higher places, including an incredibly helpful vent. And, given how helpful it was in this short demo, I feel that it’s safe to say that I’ll be putting it to good use when the full game releases this August.

Of course, I’d be remiss if I ended this preview before mentioning some of Jensen’s unique augments. A limited amount were at my disposal, including the Icarus Strike slam move, the ability to punch through walls and some sort of electrical emittance power that I didn’t quite master. I’ll need more time with the game to really go in-depth about those, so you can look forward to more information in our full review of Deus Ex: Mankind Divided.

Although my time with it was too short for my liking, I walked away impressed with what Eidos Montreal has in store for us with Deus Ex: Mankind Divided. Although it wasn’t all perfect — due to some questionable AI that was likely the result of an easy difficulty mode — their playable E3 demo cemented this game as a sequel that’s definitely worth anticipating.

When Red Barrels first brought us Outlast back in September of 2013, the independent, Montreal-based developer did so with a level of quality and panache that isn’t often seen within the genre. At least, not when it comes to the debut of a previously unheard of indie, whose first effort ends up being a scary, effective and fun to play romp through a terrifying location.

Now, a few years later, Red Barrels is working towards the release of its first sequel, the aptly titled Outlast II. And, with it, fans know to expect something as scary as it is immersive, which is why the anticipation is real.

During a Microsoft booth party at this year’s Electronic Entertainment Expo, I was able to make my attempt at surviving the playable Outlast II demo, and did just that. It wasn’t easy, though, because I quickly became disoriented, and feared what was around every corner.

In Outlast II, we’re Blake Langermann, a cameraman who’s excited by the weird and disturbing. Together with his wife, Lynn, he’s set out to the Arizona desert to find out exactly what happened to a pregnant woman who was found murdered under mysterious conditions. It isn’t long before things take a turn for the worst, though, as an accident results in separation, not to mention an injury that makes it tough for Blake to walk.

I saw all of this in the demo’s introductory cutscene, which makes me sure that what I played was, at the very least, an unfinished version of the game’s opening. It didn’t show a lack of polish, though, nor did it skimp on any scares, and I came away excited for what the full release will offer.

Little has been said regarding exactly who the enemies are this time around, or what their motivation is, and that’s to be expected. However, based on my time with Outlast II, I’m under the impression that we’ll be dealing with some sort of deranged cult. I say that because my demo took me from the desert’s rocks to an off the beaten path type of all but deserted town, where crazed lunatics looked to be feasting on human organs. There, I searched for my digitized wife, while discovering the horrors that were hidden within each shack and behind each door.

The shock value was true, the atmosphere was ripe, and playing with headphones on allowed for total immersion within what was an otherwise busy and noisy booth. These things forced my senses to heighten and the hairs on the back of my neck to stand at attention every time I entered a new area or heard the ramblings of a nearby man.

Of course, as you’d expect, it didn’t take long before my existence was noticed by some of the cultists, who chased after me as I sought for cover in a large and maze-like cornfield. There, I ducked and hid, before trying to worm my way to the exit, all while enemies searched for my whereabouts using flashlights.

I did get caught once, I’ll it, and the game’s disorienting layout certainly made for a challenging encounter. When I thought I’d made progress, it turned out that I’d simply gone around in a circle, and it took some time before I was able to find the exit. This made my anxiety increase, and also made for a much scarier scene than a direct, point-to-point sprint would have.

Needless to say, Outlast II has cemented itself as one of my most anticipated games. That said, I’d be lying if I were to say that it wasn’t already close, thanks to how impressive (not to mention frightening) the original game and its DLC were. Things have obviously been taken to the next level with this sequel, though, and that’s something that has me very excited.

With the initial rush following E3 2016 now winding down, it’s time for us to take a more critical look at what was on display this year. Thankfully, there are dedicated groups out there that have already compiled the data, and unfortunately, despite all the excitement, the statistics show that this year’s E3 had less to offer than it did in 2015.

It seems that those critical at the perceived lack of innovation and risk taking in the industry are on point. There was an overall 20% drop in the amount of games showcased this year, and of those titles, 80% were either sequels, reboots or spinoffs. That amounts to a 40% reduction of new IPs when compared to the previous E3. With numbers like that, it should come as no surprise that certain publishers and developers significantly limited their showings: Bethesda and EA fared the worst, as each company revealed only half as many games as they did last year.

On the other hand, Sony made out well. They were the only publisher that matched the amount of games they showed on stage year over year. No surprises there; they had a spectacular conference.

Tell us, were you impressed with the games shown at E3 2016 this year? Sound off below and let us know!

Year after year, E3 brings with it lots to get excited about, from previously unannounced surprises to demos of the next big thing. E3 2016 was no different in this respect, as there were a lot of great games made available for demonstration, not to mention some very exciting announcements.

A select group stood above the pack, though, and cemented themselves as our games of show. Here, you’ll find Chad Goodmurphy and Shaan Joshi’s picks for the best of the best, the titles that blew them away and stuck with them long after they left Los Angeles. They saw a lot, and narrowing it down to just 3 picks each wasn’t easy, but these are the titles that they’re most looking forward to getting their hands on.

So, without further ado, read on for We Got This Covered’s best games of E3 2016.

You’d be hard-pressed to find a game as honest as Yooka-Laylee, the Kickstarted, 3D collectathon game from Playtonic Studios, set to release early next year. Playtonic, comprised of several ex-Rare employees during the golden age of Nintendo 64 platformers, is set to retake the world by storm, by bringing back the 3D collectathon to the forefront, which has largely fallen by the wayside over the last two decades. It wears its influences on its sleeves; spending just a few minutes with Yooka-Laylee was enough to see just how close it sticks to Banjo-Kazooie. Still, there are plenty of changes that have been made, modernizing the genre for a modern audience, as we learned during a closed-door walkthrough led by Playtonic.

Although they provided countless afternoons of hunting during our childhoods, collectibles often run rampant in 3D platformers but usually have little effect on the overall gameplay loop. The staff behind Yooka-Laylee have taken the idea of collectibles back to the drawing board though and have managed to trim the fat from the equation. There are fewer types of collectibles this time around, but they often have dual purposes, shaping the way you play the game or transforming the world around you.

Butterflies, for example, can be eaten in order to restore health, or collected in order to restore your power meter, which is used to power certain special moves. Quills are the main collectible strewn throughout levels (much like musical notes in Banjo-Kazooie), but they also function as currency in the game. Quills can be used to purchase new abilities from Trowzer, a snake who dons a rather restrictive pair of shorts. Lastly, there are collectible ‘ghost writers’ in each world, which function similarly to Jinjos from the Banjo-Kazooie series.

The most interesting change to the formula is how ‘pagies’ work. Pagies (the game’s equivalent of puzzle pieces) stand as the main collectible. However, rather than using them to unlock levels in a linear manner, you can choose to unlock levels as you see fit. Pagies are also used to expand and open up new areas of a level, should you decide to invest more time in a particular world as opposed to going to an entirely different one. The world of Yooka-Laylee is pretty big for a platformer, and there’s plenty to unlock and see for those who are looking for a challenge. This freedom to choose how to progress through the game allows players of different skill levels to see whatever parts of the world they want, and this helps less skilled players to see a little bit of everything.

Still, Yooka-Laylee is very reminiscent of earlier titles from Rare’s catalog, and there are plenty of visual elements lifted straight from your favorite games of yesteryear. Menus and text look nearly identical to the best of Rare’s games on Nintendo 64, and characters speak in the same mumble-like language you’ve come to love. The titular characters, Yooka and Laylee, are two distinct animals that team up together, much like Banjo and Kazooie.

Levels and worlds also take a cue from games from the distant past; races against other characters, mine cart levels, end of game quizzes, and arcade games all make their way into Yooka-Laylee, and there’s a colorful cast of side characters to boot. These side characters are lifted straight from the 90s in their design and dialogue, and some of them will even transform the world as you help them. For example, the developers showed off a cloud character, who can flood the empty riverbed in order to open up a new area to tool around in. The same riverbed can even be frozen later on.

While we’ll still have to wait until next year to get our hands on Yooka-Laylee, we’re optimistic for Playtonic’s debut title and can only hope that it manages to deliver on its promise of nostalgia. For those who backed the game’s Kickstarter campaign, you’ll be able to check out a specially made map dubbed the Toy Box. Due out in July, this area is a standalone environment that is waiting to be explored, and it won’t be featured in the main game, which is due out in Q1 of 2017.

Every year, E3 seems to get bigger, not to mention busier. In fact, it was just recently announced that more than 70,000 people attended this year’s Expo, and I believe it. The lines were huge, the hallways were crowded, and sometimes moving through the crowds was a struggle in and of itself. That’s E3, though, and it simply is what it is.

Gaming is big business as we all know, and millions are spent on marketing the biggest and brightest titles out there. And, when it comes to creating their E3 booths, some companies simply won’t skimp and opt to pull out all the punches they possibly can. This results in some of the flashier and more memorable booths the show has to offer, including a select few that will go down in history and never be forgotten by those who attended.

Last year, my favourite booth ended up being Konami’s, which was dedicated to Pro Evolution Soccer 2016. It wasn’t the flashiest and didn’t have the biggest LED screen, but what it did have was atmosphere, and an idea that seemed to fit its one game like a glove.

If you missed last year’s article, what Konami did was set up a small English pub at the far side of the Los Angeles Convention Center’s South Hall. Amidst the flashy jumbotrons, streaming demos, in your face trailers and loud crowds of E3 2015, it sat as a quaint and quiet place to sit down, rest for a few minutes and play some digital footie. Plus, it offered those who made appointments to see the game free beverages.

This year, Konami did something different and decided to skip building a booth in favour of moving their Pro Evolution Soccer 2017 showing to a meeting room above the show floor. It was a smart, wholly sensible and more than fine move, but it took away the potential for a repeat victory of our best booth award. That said, even if Konami had built something, they would have been hard pressed to have bested this year’s winner.

So, while last year’s winner won’t be appearing on this list, we’ve chosen booths from 3 companies that stuck out most to us over the course of E3 2016. We saw many, many, impressive set-ups on the show floor, but these 3 certainly went above and beyond in one way or another.