Deiland – Review

Deiland is a title that can attract attention right from the main menu, not even if she were the prettiest girl of the whole afternoon group in the park. The concept, however, is one of the simplest and perhaps even abused, since it looks like an action rpg sandbox with elements survival and crafting. The question of how all this can be concentrated in a title like this arises spontaneously, and in any case it needed a thorough test to analyze the accumulation of mechanics.

The project around the title is certainly interesting, since it was originally created for smartphones and then land on PC and PS4, with a clear and well-targeted operation of expansion of the game proposal.


The title of CreativeForge immediately appears to draw on the timeless Little Prince of Antoine de Saint-Exupéry, with the protagonist whose commands we will take, the young Arch, who awakens without memory on the tiny planet Deiland. From here begins what we can call the main quest of the game, with the mission of becoming aware of ourselves, the potential of the planet and the importance of the latter, if compared to the entire universe.

In this first phase of the game comes to our aid the space explorer Mûn, who acts as a real tutorial to learn the basic commands and activities to be carried out. She herself, fascinated by having discovered a new and unique planet, informs us of our status as direct owners of the celestial body, being the first to have set foot on it, and that therefore we have as our task its absolute protection. In a scattered order, Arco will have to cultivate food, build specific equipment or buildings in case of need, or even defend the planet from attacks by alien creatures. Deiland places the greatest emphasis on these two aspects, namely on the management of the planet and on the little history that will allow us, gradually, to move to different areas beyond the planet itself. Precisely in these mechanics you can see the great trick behind the title, although you play it on PC or PS4, Deiland remains a title anchored to its original system of “portability”, which requires the player not too long sessions of play, under penalty of a strong redundancy in activities that can lead, for the same reason, to a quick abandonment of the title.

There is a story that, however, will prove to be an end in itself, just like the different side missions that will turn out to be simple quests of delivery or creation of certain objects. In the latter case we are faced with a very simple system of crafting, which will take our Arch to wander around the planet collecting rock and wood to build the first tools of the trade, such as picks or hammers, and then devote himself to the construction and enhancement of structures such as our shelter, a bonfire or a well from which to recover water. It should be stressed that all these activities present a system of progression to the limit of frustration: it will happen many times to remain short of trees to be felled, so we will first have to plant the seed, wait for the growth of the new shrub and then cut it down, recover resources (always few) and start the operation again. The result is that, to get to a quantity of at least 50 units of wood, we will have to pass on the activity just described at least an hour or so, always taking into account the high construction requirements.

In addition to the classic bars of health and experience, it will be necessary to keep in check also the energy factor, since Arco will spend a well-defined amount for each action performed (fight, collect resources, work the land, felling trees), at the end of the energy will be necessary to return to our shelter and sleep, recharging the energy and feeding any level up of our protagonist. The management of the experience itself does not differ much from the camps of Final Fantasy XV, which is why, if we want to advance level, we will always be forced to return to our small camp.


As already pointed out, after a couple of hours of play is revealed the only – but big – flaw of Deiland, namely to try to support many game mechanics, never implemented in a perfect way.deiland review


To put it better, it seems that every dynamic of the gameplay exists outside the course of events: our Arch will suffer hunger, for example, but there will be almost impossible to remain without food or, if it ever happens, just approach the bonfire to recover all the energy. Even the few fights that we face, based on a scheme hack and slash rather crude, will be very easy to complete because of the obvious possibility of bringing the enemy to the same dining points, resulting in virtually invincible and canceling, thus, any degree of difficulty. And it’s a shame, given the incredible artistic direction of the game: net of a light and naive graphics, Deiland looks like a happy marriage of colors in which, however, each session of the game will be accompanied by a sweet and fascinating soundtrack, capable of abducting the first listen.
And it is on these characteristics that the game acquires a strong identity in presenting itself to the player: with all the signs that, however, sanction a limited ability to surprise, in the face of the lack of refinement of the mechanics, Deiland manages to be an experience full of joy, fun and lightheartedness. The innocent and childish aspect is never an end in itself, and helps the narrative progression when, for certain reasons, we move elsewhere, or even when other nice NPCs land on the planet, ready to commission this or start market activities.

Without telling anything truly original, or presenting really convincing play mechanics, Deiland proves to be a fun and carefree “game curtain” without real commitment, aiming at a very wide range of players who will displease those looking for a survival naked and raw, while thrilling the youngest or, at the limit, a user who wants to approach the genres of reference with a level of difficulty with little punitive.

One Hour One Life – Review

One Hour One Life: I’m in trouble and I can’t remember any words I ever found. Even an Elite: Dangerous had seemed approachable to me without any particular obstacles other than that of the little time to devote to him. Here it is different; different in the sense that the work of Jason Rohrer lends itself to approaches and readings so stratified as to be something I had never met. I hear the sardonic comments of those who have seen some screenshots and are convinced that in 2018 such graphics can only accompany indie gameplay that is insufficient to satiate the hardcore gamer who lives inside him, but now I have accepted that these people should be given a copy of FIFA 19 or the last CoD to let them rest and not have them between the feet. I’m not one of the Grimm brothers and the frogs that live in my garden have kisses just for me.


I don’t know where to start, I swear. I spent two days reading the official forum and the One Hour One Life wiki discovering a complex ecosystem, made up of family trees, closed civilizations, gerontocracies, matriarchies, work planning, survival indices explained with graphs and functions but also pure experimentation and improvisation. I find myself in difficulty, I wrote, because while the game is part of the survival sandbox à la Minecraft, on the other hand, all the mechanics are based on the relationship between the players that populate the servers(and they are many), framing Roher’s work in the context of cooperative multiplayer. You are catapulted into a two-dimensional map with a newborn avatar, unable to feed and talk, destined for certain death within a few tens of seconds. Autonomy is achieved provided that a female character nurses us, warms us and gives us a name.


The first games are disarming: you can’t communicate, you don’t know where to go while everything around you moves almost frantically. If you are born on a fairly civilized map, there are roads, food stores, ever-burning fires and old men dressed from head to toe who, a few moments before they die, bequeath you an item of clothing. It soon turns out that survival is linked to life points that descend inexorably provided they don’t eat. Heat and cold, when extreme, increase energy consumption; in fact, each map has four zones with different climates where it is necessary to wear clothes, to remain naked or partially covered in order to keep the body temperature within an acceptable range to consume less “calories”. You can eat dozens of different foods, from those harvested to those grown, passing through those compounds, raw or cooked, and those of animal origin, whether hunted or bred. You can build buildings, tools, work tools; you can plow the fields, shear animals to get fur or weave clothes; it is possible to build internal combustion engines, extract black gold from the subsoil, melt metals,


Each object is built according to a precise tree order with increasing complexity: if to obtain a sharp stone it is sufficient to collect a stone and smooth it against a harder stone, to already produce an ax requires that a branch of the measure is obtained with the sharp stone adapted from a larger stick, which weave roots and flexible barks like a thread and which assembles everything. I let you imagine what it takes to build an oven, keep it on and cook a dough of flour to make bread. I’m talking about a real universe of possibilities; a sort of crafting paradise aimed at the growth of civilization and clearly explained with precise instructions.


But how is it possible to do all this if a game lasts only sixty minutes? Well, continuing to reincarnate on the same server handing down to other tasks, goals, rules, equipment and progress because they will pass them on to you when the time has come to abandon an old body and be reborn. In the many, too many games I made I met other players who taught me how to communicate correctly when I was still in bed and I could only chat with a letter (ie “f for food”); others who dedicated half their life cycle to me only to teach me how to cultivate the land; still others who explicitly discussed my fate without me being able to intervene because there were not enough resources for other users and that the best thing to do was not to adopt me making me die so as to leave that room forever.


One Hour One Life has something different; something that sets it apart from any other playful product I have ever experienced in thirty-five years of video games. I do not understand if this diversity is associated with the indispensable intelligence necessary for the players to cooperate prolifically or to the magnificence of the technological progression offered by the gameplay that requires planning and commitment, the fact remains that we are in the presence of a masterpiece of game design. On a technical level, the graphic stylization and the two-dimensionality make everything simple and immediate, with a control system linked exclusively to the mouse and a checkerboard map in which the superimposition of the elements is granted only when foreseen (ie a basket can contain tools or food, but two tools cannot be placed on the same box). The trailer and some videos show that the developer’s timetable foresees the introduction of increasingly complex machinery, reaching up to robots. This means that a player will be able to experience survival in faraway eras, going from the Stone Age to post-modernity, provided you dedicate yourself to it or have the luck to be catapulted onto the right server.


Net of what has been written so far, One Hour One Life clearly reflects the philosophy that accompanies the life of Jason Rohrer and his family, devoted to the least waste of resources possible, to environmental sustainability, to finding a simplicity proper to poverty trying to coexist in harmony with neighbor and without luxuries. There would be many other things to write about his work and his career, but the risk of diverting attention from that which you have already read to the end of the page is too high and it is not worth distracting you with anything else. Buy One Hour One Life; take a day off, switch off the phone, prepare two sandwiches so as not to skip lunch and let yourself be taken back in time, praying to meet a mother who is still able to love you and offer you her breast.

One Hour One Life is a masterpiece of game design. You have read the vote and if you want the details there is a review that tries, without great success, to summarize what this “game” has to offer. There are only two reasons that could dissuade you from the immediate purchase and are the need for a constant connection to the internet and ignorance of the basic English with which you communicate between players and explain the steps necessary to build the hundreds of objects essential to survive and evolve. To be clear: if your ambition is to play with the pad by kicking a virtual ball “this is not the video game you are looking for” (semicit.), But watching some videos on YouTube to understand what it is possible to do today with video games would do you a lot of good.

The Elder Scrolls: Legends – War of the Alliances – Review

I played The Elder Scrolls: Legends since the beta, several months before the official launch two years ago, continuing to play for a long time even after the release, coming to collect cards from the first two expansions. Then I had to give up despite myself, mainly for reasons of time, also because I admit that I have some problems regulating myself when I am faced with card games (digital and otherwise). That’s the main reason why I quit Hearthstone before it could become a drug, and why I deliberately decided to ignore the Magic Arena when the closed beta ended: I’m aware of my weaknesses, and I know that once you fall into the tunnel it’s really hard to succeed to get out of it.

On the other hand, this is exactly what happened in the case of The Elder Scrolls: Legends: it took me a while to break away, but I don’t know how I managed to detox. It is a pity that our dear Mario Baccigalupi proposed me to review Alliance War, the latest expansion of the Bethesda and Sparkypants card game (a software house that took over from Dire Wolf Digital in the development of the game), and failed to say no. A little out of curiosity, to understand the direction taken by the new study, and a little because in me a small flame for TES Legends still burns.


The main dynamics that govern each game has remained completely unchanged, which is why I refer you to the review of the base game that we published a couple of years ago right on our virtual pages. You just need to know that, unlike what happens in most digital card games, in The Elder Scrolls: Legends the bridge is divided into two completely independent parts, inside which the creatures fight as if they were locked up in watertight compartments; while every five damage is taken (on a total of thirty life points) a card is drawn, with the possibility of triggering a Prophecy and immediately playing the drawn card without paying the Magicka cost (the equivalent of mana in the world of The Elder Scrolls).

That said, Alliance War does not make any changes to the very simple basic rules, but only introduces a hundred new cards, as well as a series of additional mechanics that manage to fit quite well into the game. In this regard, you need only know that, although I skipped a couple of expansions, my old decks are back immediately competitive after making some targeted changes in order to take advantage of some of the new dynamics created by Sparkypants. In particular, my deck focused entirely on equipment was able to count on the new Mobilita mechanics, which allows you to play objects even if there are no friendly creatures on the battlefield, going to create a 1/1 Recruit to equip the card with that ability. Then there are the creatures with Veteran, who gain additional skills after attacking for the first time, to which the pole cards with Specialty, which are improved every time actions are played, supports or objects. Finally, we have Upgrade, which improves cards with that ability when you attack your opponent during your turn.


However, it has not ended here since the War of the Alliances takes up a concept already experimented in the House of Morrowind expansion, going to fetch the tricolor cards. You must know that initially the decks of The Elder Scrolls: Legends could count on a maximum of two colors among the five total (more obviously the colorless cards, playable everywhere). Casate di Morrowind broke this limitation for the first time by introducing “tricolor” cards, even if only of five of the ten possible combinations. Now it happens that War of the Covenants it fills this void by offering cards belonging to all the remaining combinations of attributes, thus giving form to as many factions, that is precisely those alliances cited in the name of the expansion.

Needless to say, this move opens the door to a universe of possibilities, offering players a variety of truly indifferent options. As for me, I’ve always been a lover of “Ramp” type decks, that is those aimed at accumulating as much magicka as possible in the early rounds to evoke the most powerful spells before the opponent, so I couldn’t resist the call of the Cyrodiil Empire, which thanks to that mix of Will, Agility and Resistance allowed me to set up a really bad deck using a combination of old and new cards, making me immediately competitive again. It must be said that I ran into a series of balancing problems that will have to be corrected as soon as possible by the developers, but this is, unfortunately, an inevitable aspect when a card game expansion is being processed. Anyhow, I was positively impressed by the work done by Sparkypants, and I will certainly continue to hang out on The Elder Scrolls: Legends’ servers in the future.

Google Stadia Connect: conference date and time+ stream

The Mountain View company released a video announcing the date and time of Google Stadia Connect, the conference where the main information on the streaming service presented last March will be unveiled.

Google is therefore about to reveal some of the most anticipated details, including the price of the service, the launch window, the games available and much more. The appointment to learn more about Stadia is therefore set at 7:00 pm on Thursday 6 June, anticipating the start of E3 2019 by a few days.

Dragon Quest Walk announced, a new mobile augmented reality game

At a Tokyo event, Square Enix announced Dragon Quest Walk, a new augmented reality mobile title to the Pokémon GO (being developed by Colopl) that brings the iconic RPG to the real world.

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The title will allow the player to activate quests and fight monsters in really existing locations, it will also be possible to unlock items to be used to personalize your home in the game. The houses will be shared online and those of other players can be visited.

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Dragon Quest Walk will be available for the moment only in Japan on iOS and Android devices. The closed beta tests will start on June 11th.

Project Warlock – Review

Do you remember DooM? You should. After all, it came out 25 years ago and, in these days, half the Internet is celebrating the anniversary waiting for John Carmack, his now legendary programmer, to release Sigil, a package of additional levels written for the occasion. DooM was a sort of watershed for the world of video games, the title that more than any other contributed to revolutionizing the paradigms of shooters, moving the view from 2D to the first person (better than the predecessor Wolfenstein 3D) and introducing a whole series of innovations that we now take for granted, such as netplay. Like all the beginnings, however, DooM also had its ingenuity, first of all a simple and very linear game scheme, where it was necessary to do substantially two things: look for the exit of the level (and eventually the keys to open it) and reach it after “frying” everything that moves on the screen.


Carmack’s game gave birth to the FPS genre and inspired dozens, hundreds of games to follow. There is no first-person shooter that does not pay alien, in some way, to this brilliant precursor. However, as rightly happens with everything, even the FPS genre has evolved and refined over time, from the technical point of view and in terms of script complexity and gameplay, giving rise to a whole series of “branches” that go from the tactician to the eSport, from the mingling with the puzzles to the “ignorant shooter” of the old days, those in which it was enough to precisely shoot and carefully avoid enemy attacks to continue. Project Warlock stands halfway between the latter and a role play since we can make our protagonist evolve by spending all the experience we accumulate in increasing different abilities.


Graphically speaking, Project Warlock can be considered the shooter equivalent of that point and click graphic adventures that, despite being programmed today, prefer to keep a pixel art graphic at unusual resolutions like 640 × 400 or even 320 × 200 points. Its author, 19-year-old Jakub Cislo, used the 3D Unity engine trying to reproduce the same behavior as the historic Doom Engine of iD Software, or its direct competitor BUILD of Apogee, engines that actually started with two-dimensional information to create the world of play.


Not only that, to make the tribute to the past more “realistic”, it also deliberately chose to use grainy textures, cubed characters, animations at the minimum wage of the frames, emphasizing as much as possible what we would later call aliasing. We must thus face monsters that always present themselves in the same place, always in the same way, always using the same attack strategies that, naturally, we must learn little by little to get out alive. And if all this “old stuff” was not enough to make the vintage maniac in us crying with nostalgia, among the graphics options there is one that allows you to use pixel shaders to add effects like the palette of Commodore 64 and the Spectrum (as well as a plethora of old 8-bit systems), or terrifying scanlines in motion, as seen only with the worst VHS video recorders.


Project Warlock is, therefore, a game of 2018 that pretends to be 1993. To face it we must recover all the ingenuity and all the patients we were endowed 25 years ago and, for the youngest, the challenge could be a compelling novelty.


But the most fascinating aspect of this game is precisely the age of its developer, significantly lower than that of the cornerstones from which it has drawn inspiration: it is decidedly obtuse to observe the analytical capacity with which Jakub Cislo has faced, studied, assimilated and synthesized, without having been able to walk the evolutionary path that led to their conception in the Nineties. It is a bit like a young 20-year-old director trying his hand in the remake of a 1919 film, trying to reproduce – with today’s machines and knowledge – the results of techniques and machinery that were used at that time. And the beauty is that this strange operation has had a resounding success: Project Warlock’s a frustrating but compelling game, old but new, “ignorant” but reasoned and, above all, cheap but fun!

To the face of all the historical evolution of shooters, without paying any attention to the softness of today and without a shred of plot or motivation behind it, Project Warlock takes us back to childhood like that with all its load of rambism, of ultraviolence, of festering splatter explosions, but adding a touch of modernity with the possibility of evolving one’s avatar. The operation is successful: the game is immediate and fun, damn challenging but able to provoke the famous “one more game and then enough” syndrome with which many of us, in the 1980s, became impoverished by hunting coins inside the coin op. It costs only 12 euros and nothing more, you want to leave it there!?

Minecraft: Story Mode is being removed from circulation

The closure of Telltale Games is leading to several negative consequences on the side of video games developed by the now-defunct Californian company, and not even Minecraft: Story Mode is exempt from the repercussions linked to the cessation of the activity of the studio. 
As reported on the official website of Minecraft, both seasons episodic adventure will be removed from circulation among a handful of days. Unlike what usually happens in these cases, however, not only will it no longer be possible to buy Minecraft: Story Mode on the digital stores of the different platforms, but it will no longer be possible to download the episodes already in your possession, making it impossible to enjoy a purchased product. 
In short, you will have until June 25 to download the Minecraft: Story Mode episodes, after which the game will disappear forever.

Valve will develop its version of Dota Auto Chess

Through a statement published on the official Dota 2 blog, Valve has made it known that he is working on an official version of Dota Auto Chess
The popular mod of the MOBA present on Steam will then be transformed into a separate title with the blessing of the original developers of the mod, Drodo StudioValve explains that he got in touch with the modders and reached an agreement for the realization of the game: where Valve will directly develop the PC version of Dota Auto ChessDrodo Studio work will continue on the mobile version currently available in China in beta with the approval and support of the Bellevue company.

Tekken Mobile – Tested

I found myself in the Bandai Namco booth for the presentation of a “still unannounced” title to find out later that it was Tekken Mobile. Since I had the opportunity to put our hands on it, we thought it appropriate to investigate a little bit about what we saw at Gamescom.


I’m going to bomb the control system, which adds some new features to well-established elements in smartphone combat titles, such as Injustice. Tap on the right side of the screen constitutes a basic attack, while on the left a parade; with the swipe, instead, you move forward or backward. At the moment there is no jump because according to the developer it is difficult to implement and would require further study by the team. So far so normal, but to add elements of strategy we think of special cards, called “Waza”, which activate particular moves, usable for example to break the guard of a very defensive adversary or to throw it in the air so that it can then inflict some combos while it is still in flight, in the most classic of the juggle.


The use of rage art – also present here – and the choice of the aforementioned cards with which to deal with each clash (together with the timing necessary to use them) will have a great weight in the probability of success. To have more and more different techniques available, you can make in-game purchases or play the single campaign, where three characters of our choice will face different levels, where they will first have to eliminate low-league minions before challenging the bosses, embodied in classic wrestlers of the various Tekken. Once defeated, these will become part of the roster: in case we had already beaten them previously, they will instead provide us with more cards with special moves for that fighter.


As expected, in Tekken Mobile will not miss the PvP, present in different declinations. The traditional asynchronous mode will be characterized by a ghost that will reflect in all and all our fighting style: the developers have told us that they have developed an advanced algorithm, which will study every game and every move with such skill to be able to faithfully replicate the tactics which we use. The curiosity to verify the final result is so great, even if, as elaborate as the Artificial Intelligence will be, it will manage everything, I don’t think I will ever be able to consider myself really “beaten” by a friend who has defeated my ghost.


However, Bandai Namco has found a way out of this type of psychological block, introducing the most interesting mode of Tekken Mobile, namely the local heads-up, thanks to which it will be possible to face any friend with a smartphone nearby in real time. Everything to be verified remains the cross-play between mobile phones with different operating systems, which was not guaranteed for the official launch because it seems that technical solutions are needed that the team does not know exactly how long it will take before being put on the plate, but on which they also focus on launching Tekken Mobile in the world of exports.

At this time Tekken Mobile is available only in Canada and in a few other countries, where it is under soft launch. For the next few months we Europeans will only be able to show our interest by registering on the website: if a sufficient number of people participate in the initiative, a new fighter will even be created who will become part of Tekken ‘s lore and will be used also in the future titles of the series.

In essence, Tekken Mobile seeks to enrich in its own way the scene of fighting games on smartphones, introducing some features such as Waza cards and rage art that require a tactical reading of the opponent so far absent in other titles. As the developer, I challenged pointed out to me, “fight titles, in the end, are a mental game” And immediately after he took it badly from my Paul, who notoriously does not like to go too much for the subtle ( he let you win on purpose … you know, right? NdKikko ).

Fortnite iOS – Tested

The iOS version of Fortnite has been available for a few days (the Android version will follow in a few months), which substantially repeats the Epic game that has been popular on PCs and consoles for months, and following up from PlayerUnknown’s Battlegrounds as the most played game of this period. The client can be downloaded for free from the App Store, but only accounts that have received an invitation from Epic are allowed to access it (and that carries three additional invitations to turn to their friends with compatible Apple devices). The software house wants to emphasize, and after having tried it we can confirm it, that the mobile version of Fortniteit is not a sort of “loser cousin” of the game on consoles and PCs, but it is identical for gameplay, map, contents and even in step with weekly updates.

Fortnite on iOS only hosts the Battle Royale mode (and besides, it wouldn’t have made much sense to do otherwise); once the account is authorized within the application, your character is automatically imported, with progress and equipment already unlocked available and ready for use, as well as any currencies and in-game items .

The entire Fortnite experience on iOS is identical to that experienced on PCs and consoles, from the lobby to waiting for the bus, from the gliding flight on the game map to the actual battle.

From the aesthetic point of view, the typical cartoon and low-poly art direction have helped a de facto porting indistinguishable from the “larger” versions, where the greater power of the mobile device allows a better graphic detail. We have played a few games on an iPhone 7 Plus, with truly excellent results to be seen, combined with always excellent fluidity. To be taken into account, like any “important” gaming application, a certain kind of heating of the device and an important consumption of the battery.

If the gameplay is absolutely identical, in all respects, to the original game, the controls have been adapted to the touch screens and, with all the limitations of the case, they manage quite well (the basic “continuous pickaxe” has also been replicated ); the virtual sticks to control with the thumbs simulate those of the pad, you shoot with a “tap” on the screen, in the right part of the monitor there are – at your fingertips – the commands for jumping, crouch and aiming with weapons, while the lower part allows access to the inventory and switch to construction mode.


The general rhythm is affected by the limitations to the control system, which inevitably requires some time to get used to it, and in any case it does not guarantee the readiness and flow of a traditional pad, for example in the construction mode. Do not be surprised, in short, if you should attend – or live in person – battles that are a bit ridiculous and awkward. But there is an important addition, in the user interface of the mobile version, and it is the presence of visual indicators that indicate the direction and intensity of the steps and of the enemy fire.; on the one hand, such a choice probably derives from the fact that on the move it is more difficult to maintain concentration – or even silence – required by a battle royale; on the other hand, these on-screen “aids” tend to make players less cautious in the movement, and in general a little less tactical games (which, I repeat again, does not clash with mobile use).

With the arrival of the iOS version of the game, Fortnite supports cross-play between consoles (for now only PlayStation 4, Xbox One will be coming soon), PC and mobile devices, which still works quite roughly, is a social function limited to friends, and is still optional. In any case, also for this reason, we are reasonably sure that the support for the MFI pads will be added as soon as possible. Fortnite mobile is available for devices with iOS 11 (iPhone 6S / SE and later, iPad Mini 4, iPad Pro, iPad Air 2, iPad 2017), with the Android version coming in the coming months. For more information, log on to