With game creation now within the reach of anyone who has the time to dedicate to it the differentiators usually stem from the strengths of their creators. Many come from a writing background, pouring themselves into the creation of a brilliant narrative that flows through the game. Others develop wild and intriguing mechanics, some that allow the players to develop their own story within a world they create. Few however find their strength in the art and graphical fidelity as out of all the things that make a game it is by far the most costly and time consuming to create. Homesick is one of those rare few indie games that brings with it astonishing visual quality that even rivals recent AAA titles.
You wake to a world that’s cold and unfamiliar. The world is barren, bereft of nearly all life and seemingly cold despite the sun’s unrelenting rays punching down through every crack and crevice. As you explore though you see remnants of the world that once was, little reminders that show people were here…once. However you struggle to make sense of the world, the books and letters are all written in code and try as you might there’s little sense to be made of them. You know one thing though, you must get out. You must find your way into the light.
I would forgive people for thinking that Homesick was simply a demo project for a new engine as it’s honestly by far the best looking indie game I’ve ever seen. The attention to details is astounding from things like the rooms with wallpaper peeling off to the fully working (but out of tune) piano. Looking at Barrett Meeker’s (the creative director) history in animation and effects it’s not hard to see why as he’s worked on such titles like Scott Pilgrim vs. the World. If I hadn’t taken these screenshots myself I would’ve written them off as carefully crafted renders but the game really does look this good when you’re playing it. Of course there were some sacrifices made for this beauty, namely the extremely simplistic animations and accompanying sound effects, but it’s hard to deny that the graphics are anything but amazing.
Homesick is your (now) bog standard walking simulator where you’ll move forward at a relatively slow pace that encourages you to take in your surroundings, look at everything and essentially be a tourist in the game’s world. Each room has a set of puzzles that you’ll need to figure out in order to progress and, interestingly, they all share the same end goal. However that doesn’t detract from the challenge at all as figuring out how to accomplish said goal can sometimes involve a myriad of steps, not all of which will be obvious at first glance. Once you finish a section it’s off to the dream world which will allow you to progress to the next section.
The Kickstarter for Homesick described the puzzles as “hard, yet fair and sensible” and for the most part that rings true. The game provides absolutely not tutorial to speak of so for the first 10 minutes or so you’re on your own to figure out how everything fits together in this world. Thankfully whilst all the rooms are interconnected they’re not dependent on each other, meaning that each new puzzle is self contained and does not require any backtracking. There is a couple times where you can miss an important clue which will get you stuck (hint: make sure you look at all the filing cabinets carefully) but other than that you should be able to work things out eventually. My favourite by far was the blocks puzzle but I won’t say much more lest I spoil the fun.
Whilst the game is extremely pretty it does suffer from a few areas that could’ve used a little bit more polish. For some reason there are certain places where I’d get a lot of slowdown, usually when turning past a corner in some of the first rooms. There’s a couple other places where this happens too which leads me to believe there’s some unoptimized geometry hiding somewhere. There’s also a couple glitches that require a game restart to overcome, like an issue (which was said to be fixed but still happened for me) where holding a certain item would overwrite your entire inventory. Thankfully I didn’t lose too much progress but it was still a frustrating experience.
The story of Homesick is what you make of it as for the vast majority of the game you really have no clue about anything. Once you unlock the ability to decipher the riddles you can go back through the entire game and read everything which does give you a good sense of the world before your time in it. With games like these, ones where much of the story is locked behind globs of text hidden everywhere, I find it hard to get emotionally invested in the story and Homesick was no exception. I do admit that when I started to slowly unravel the code of the world I was a little excited but that wasn’t enough to drive me to slowly walk back through everything just so I could read some things.
Homesick is a stunner of a game with graphics that will remain unchallenged by the indie scene for a long time. Once you dig beneath the surface though what remains is your typical walking simulator game, with all the requisite puzzles and hidden pieces of text to flesh out the world. Whilst it’s worth playing for the graphics alone I really can’t say that there was much more that drew me in, mostly due to my resistance to reading large walls of text after I’ve slowly trotted my way through everything. Still I’m sure fans of this genre will find a lot to love and would not hesitate to recommend it to all the indie fans out there.
Homesick is available on PC right now $14.99. Total play time was approximately 2 hours.
PC ports of mobile games have mostly been of low quality. Whilst many of the games make use of a base engine that’s portable between platforms often those who are doing the porting are the ones who developed the original game and the paradigms they learnt developing for a mobile platform don’t translate across. There are exceptions to this, of course, however it’s been the main reason why I’ve steered clear of many ported titles. The Silent Age however has received wide and varied praise, even after it recently made the transition to the PC and so my interest was piqued. Whilst the game might not be winning any awards in the graphics or game play department it did manage to provide one of the better story experiences I’ve had with games of this nature.
You’re Joe, the lowly janitor of the giant research and development corporation Archon. For the most part your life is pretty mundane except for the wild and wonderful things that your partner in crime, fellow janitor Frank, tells you about. One day however you’re called up to management and, lucky for you, it’s good news! You’re getting promoted, taking over all of Frank’s responsibilities because you’ve shown such dedication to your job (with no pay increase, of course, you understand). When you go down to inspect the place where you’ll be doing your new duties however you notice something strange, a trail of blood leading into one of the restricted areas. Following that trail starts you on a long journey that will eventually end with you saving the world.
The Silent Age comes to us care of the Unity platform however you’d be forgiven for thinking that it was an old school flash game that had been revamped for the mobile and PC platforms. It shares a similar aesthetic to many of the games from the era when Flash reigned supreme with simple colours, soft gradients and very simple animations. On a mobile screen I’m sure it looks plenty good although on my 24″ monitors the simple style does lose a little bit of its lustre. Still it’s not a bad looking game by any stretch of the imagination but you can tell which platform it was designed for primarily.
Mechanically The Silent Age plays just like any other indie adventure game with your usual cavalcade of puzzles that consist of wildly clicking on everything and trying every item in your inventory to see if something works. The puzzles are really just short breaks between the longer dialogue sections which, interestingly enough, are all fully voiced. There’s a small extra dimension added by the time travel device, allowing you to travel to the past or future at will, but it’s nothing like the mind bending time manipulation made famous by some other indie titles. Other than that there’s really not much more to The Silent Age something which I ended up appreciating as it meant there wasn’t a bunch of other mechanics thrown in needlessly. It’s pretty much the most basic form of an adventure game I’ve played in a while and that simplicity was incredibly refreshing.
The puzzles are pretty logical with all of them having pretty obvious solutions. There’s no real difficulty curve to speak of as pretty much all of them felt about on par with each other, although there were a few puzzles that managed to stump me completely. Usually this was a result of me missing something or not recognizing a particular visual clue (a good example being the pile of wood in the tunnel under the hospital, it just looked like background to me) so that’s not something I’d fault the developer for. Some of the puzzles were a little ludicrous, requiring a little knowledge about how some things could potentially interact, but at least most of them wouldn’t take more than ten minutes or so of blind clicking to get past. Overall it wasn’t exactly a challenging experience which I felt was by design.
The PC port was a smooth one as pretty much everything in the game worked as expected. The 2D nature helps a lot in this regard as there’s a pretty good translation between tapping on the screen and using a mouse cursor but I’ve seen lesser developers even manage to ruin that. There was one particular problem which caught me out several times however which was that my mouse, if it strayed outside the bounds of the main window, would not be captured. So every so often I’d end up clicking on my web browser or whatever else I had open on my second monitor at the time, closing the game down. A minor complaint, to be sure, but one that’s easily fixed.
The story of The Silent Age is one of the better examples I’ve come across recently, especially for a mobile title. Whilst it’s not exactly the most gripping or emotionally charged story I’ve played of late it does a good job of setting everything up and staying true to itself internally. Of course whenever you introduce time travel into a story things start to get a little weird depending on what model of causality and paradox resolution you ascribe to and The Silent Age is no exception to this. However they manage to stay true to the rules they set up which is more than most high budget films are capable of. Overall I’d say it was satisfying even if it wasn’t the most engaging story.
The Silent Age is a succinct story told through the medium of video games, one that manages to avoid many of the pitfalls that have befallen its fellow mobile to PC port brethren. The art style is simple and clean, reminiscent of Flash games of ages gone by. The puzzle mechanics are straightforward, ensuring that no one will be stuck for hours trying every single item in their inventory to progress to the next level. The story, whilst above average for its peers, lacks a few key elements that would elevate it to a gripping, must-play tale. Overall The Silent Age was a solid experience, even if it wasn’t ground breaking.
The Silent Age is available on PC, Android and iOS right now for $9.99, $6.50 and $6.50 respectively. Game was played on the PC with approximately 2 hours of total play time and 71% of the achievements unlocked.
For as long as I’ve been writing this blog E3 hasn’t been much more than a distraction when it rolls around. Indeed in the 7 years I’ve been writing about games I’ve only ever covered it twice and usually only in passing, picking out a couple things that piqued my interest at the time. The reasons behind this would be obvious to any gamer as E3 has been largely irrelevant to the gaming community since about 2007 with most of the big announcements coming out of other conventions like PAX. However this year something seemed to change as the both the gaming industry and community seemed to rally behind this years expo, making it one of the most talked about to date.
The reason behind E3’s quick fall into obscurity was fuelled by the extremely questionable decision back in 2007 to close off the event to the general public and instead only allow games industry representatives and journalists. The first year after this was done saw the attendance drop to a mere 10,000 (down from 60,000 the year previous) and the following year saw it drop by half again. The other conventions that popped up in E3’s absence soaked up all these attendees and, by consequence, all of the attention of the games industry and press. Thus E3 spent the last 5 years attempting to rebuild its relevance but struggled to find a foothold with such stiff competition.
This year however has proven to be E3’s one of its greatest on record with attendance above 50,000 for the first time since they made that awful decision all those years ago. This rise in attendance has also come hand in hand with a much greater industry presence, boasting a much greater presence from major game developers and publishers. There were also numerous major announcements from pretty much all of the large players in the console and PC markets, something we really hadn’t seen at a single event for some time. For someone who’s been extremely jaded about E3 for so long it honestly took me by surprise just how relevant E3 had become and what that might mean for the conference’s future.
The challenge that E3 now faces is building on the momentum that they’ve created this year in order to re-cement their position as top dog of the games conferences. In it absence many of the larger players in the games industry opted to either patronize other conferences or set up their own, many of which have now gone on to be quite profitable events (like BlizzCon, for example). E3 will likely never be able to replace them however given the resounding success of this year’s conference there is potential for them to start drawing business away from some of the other conferences.
In the end though more competition in this space will hopefully lead to better things for the wider gaming community. It will be interesting to see if E3 can repeat their success next year and what the other conventions will be doing in response.
Many games have sought to catch some of Telltale’s success by emulating their trademark brand of story-first games. For the most part this comes in the form of copying the core mechanics, usually with regards to the dialogue choices and the quick time based action sequences. Few however have attempted to emulate the cel-shaded comic book style as most of them have their own art direction that they want to pursue. D4: Dark Dreams Don’t Die appears to be an almost blow for blow recreation of the Telltale style, down to the art direction, however the similarities really are only skin deep. Whilst I admit I decided to play this to lambaste it for its almost shameless imitation the actual experience was something I didn’t expect, a rare occurrence for this humble writer.
You are David Young, former detective with the Boston Police Department and recent widower to his beloved wife; Little Peggy. The tragic incident that took his wife away left him with an amazing gift, the ability to travel back in time to see the past as it happened. He can’t do this at will though, only through the use of objects that hold some significance to the past, but those mementos are what he needs to achieve his real goal: to find “D”. Before she died Little Peggy told David to look for D and so David left the BPD to pursue this elusive character in the hopes he can unravel the mysteries behind her murder.
As I alluded to earlier D4 emulates the Telltale style of games by using cel-shading to make everything look like a cartoon. Like most games that make use of this stylization it works well for the most part however every so often the 3D world just doesn’t interact well with with it, leading to some rather weird moments. Probably the biggest stand out of this is the incessant bubble gum blowing that the main character does which just looks silly, especially when his lips don’t move the whole time he does it. It also doesn’t look too great up close, something which becomes painfully apparent when the game zooms up on a character’s face for whatever reason. Overall though the visual quality feels above average, even if I include the venerable Telltale games in the mix.
Like nearly all games of a similar style D4 is an adventure/puzzler, putting you in various cordoned off rooms with dozens of objects to interact with to solve the current objective in order to progress to the next section. It may not seem like a lot at first however once you get to the end, which displays your completion level, it becomes clear that there really is quite a lot hiding in every room of D4. These additional objects are usually things that will flesh out the backstory of the various characters in D4 whilst some will unlock non-gameplay impacting collectibles like new clothes for the characters. There’s also a quick time event based combat system which gets engaged during high tension moments, something which most gamers lament but actually felt relatively well implemented. Finally there’s skerricks of a RPG style progression system in the game in the form of stamina (used when you interact with objects), life (lost when you fail a quicktime event) and vision (used to identify things you should interact with) all of which can be improved with the right clothing or finding a certain collectible. This all adds up to a game which, if you so wish it, has quite a lot of replayability about it or can simply be played from start to finish for the story without a care for the rest of it.
The puzzles are pretty straight forward since there’s no inventory to speak of, meaning that they can all be solved by simply clicking on enough things and stumbling through the right dialogue options. If you’re paying attention you can skip quite a lot of the fluff however doing so can rob you of important pieces of backstory that help to flesh out your character’s motivations and those of others around him. For the most part though if you take the typical “click on all the things” approach that most of these kinds of games encourage then you’re likely to stumble across all the pertinent plot points without too much worry. Even if you miss them you can go back and replay the episode again which won’t take long if you know exactly which buttons to press.
Mechanically D4 plays well for the most part however the quick time detection seems a little off at some points as the achieved “sync rate” can be a little random. I’ve had times when I completely fumbled it and got 100% whilst other times I’ve done it perfectly (or so I thought) and gotten 50%. This mostly happened on the diagonal ones so I figure there’s something a little wrong in the detection algorithm for that particular quick time event. There’s also almost no way to tell how to “stay in character” with the dialogue options in order to get 100% sync as most of them seem in line with what David would say, just some are more or less dickish than others. There might be some kind of hint or mechanic that I didn’t fully understand that makes this a lot clearer but unfortunately for me I just didn’t figure it out.
D4’s story starts out incredibly weak as it has a really confusing blend of elements (supernatural powers, a detective with amnesia, a person who acts like a cat for some inexplicable reason) that don’t seem to gel well together. However over the course of the first 2 episodes that come with the initial game most of them start to make sense and the story really starts to pick up as you uncover more clues to the events that happened prior to the game. Like most episodic games it feels unfair to judge the game based on just a fraction of the whole story but D4 at least has one of the stronger foundations on which to build upon so it will be interesting to see where the developers take it from here.
It would be so easy to write off D4: Dark Dreams Don’t Die as a simple Telltale clone however the game comes into its own over the course of the first two episodes. Sure it may not be the graphical marvel that many other games might be, nor is its quick time event system completely satisfactory, but it does provide a rather enjoyable experience. Whilst the director doesn’t know how many episodes the story might have suffice to say there’s easily enough build up for at least a full season and hopefully those episodes are forthcoming sooner rather than later. If you’re a fan of the Telltale style of games then you won’t be disappointed with D4: Dark Dreams Don’t Die.
D4 : Dark Dreams Don’t Die is available on PC and XboxOne right now for $14.99 and $19.95 respectively. Game was played on the PC with a total playtime of 3 hours with 42% of the achievements unlocked.
If you’re looking to watch people play games live there’s really only one place to look: Twitch. It started out its life as the bastard stepchild of Justin.tv, a streaming platform for all things, however it quickly outgrew its parent and at the start of last year the company dumped the original product and dedicated itself wholly to Twitch. Various other streaming apps have popped up in its place since then but none have been able to hold a candle to Twitch’s dominant position in the game streaming market. The one platform that could however has just announced YouTube Gaming which has the potential to be the first real competitor to Twitch in a very long time.
Whilst the product isn’t generally available yet, slated to come out sometime soon, it has already made its way into the hands of many journalists who’ve taken it for a spin. The general sentiment seems to be that YouTube has essentially copied the fundamental aspects of Twitch’s streaming service, mostly in regard to the layout and features, whilst adding in a couple of additional things which serve as bait to attract both streamers and consumers to the platform. Probably the most interesting aspects of YouTube’s platform are the things that are missing from it, namely the subscription payment system, alongside the dreaded ContentID system which will be in full force on all streams.
The main thing that will draw people to YouTube’s streaming service however is most likely the huge infrastructure that YouTube is able to draw on. YouTube has already demonstrated that it can handle the enormous amounts of traffic that live streaming can generate as they currently hold the world record for most number of streams at 8 million for the Felix Baumgartner jump back in 2012. Twitch, despite its popularity, has experienced numerous growing pains when it has attempted to scale up its infrastructure outside of the US and many have pined for a much better service. YouTube, with the Google backbone at its disposal, has the potential to deliver that however I’m not sure if that will be enough to grab a significant share of this market.
Twitch has, for better or for worse, developed a kind of culture around streaming games and has thus set a lot of expectations for what they’d want in a competing streaming product. YouTube Gaming gets most of the way there with the current incarnation of the product however the absence of a few things, like an IRC backend for chat and the paid subscriptions, could end up being the killer features that keep people away from their platform. The former is easy enough to fix, either by adopting IRC directly or simply providing better tools for managing the chat stream, however the latter isn’t likely to change anytime soon. Sure, YouTube has their one off payment system but that runs against the current community norms and thus will likely not see as much use. That then feeds into a monetization problem for streamers which is likely to deter many from adopting the platform.
All that being said however it’s good to see some competition coming to this space as it should hopefully mean more fierce innovation from both parties as they vie for more marketshare. YouTube Gaming has a massive uphill battle ahead of it if however if anyone has the capability to fight Twitch on their own ground it’s them. The next 6 months will be telling as it will show just how many are willing to convert away from the Twitch platform and whether or not it will become a sustainable product for YouTube long term.
4 years; that’s how long it’s been since the last instalment in The Witcher series. Back then I felt The Witcher 2: Assassin of Kings was a serviceable RPG though the various issues that plagued it, along with the rather mediocre story, meant it wasn’t exactly game of the year material. However that assessment was way out of line with the general public’s who lavished it with praise. It should come as no surprise then that it’s sequel received the hype it did with a dedicated fan base that was hungry for the next instalment in this franchise. Try as I did to avoid the hype the perfect review scores and relentless enthusiast press meant I knew what the community was thinking long before I first delved into The Witcher 3 and, whilst I’ll reserve my position for later in the review, I believe much of the praise is well founded.
The Witcher 3 takes place immediately after the events of The Witcher 2, with Geralt free of those who’d seek to use him for their own purposes and set off to return a life that he is in charge of. Geralt has spent the majority of his time pursuing his long lost love Yennefer, chasing stories and tales of her appearance throughout Velen and beyond. All the while he’s plagued with dreams of his adopted daughter, Ciri, being snatched away by The Wild Hunt, a troubling vision that means she’s in danger. His instincts prove correct as not long after his first contact with the Nilfgaardian the Emperor sends for him and tasks Geralt to find his daughter. Whilst this comes with the reunion of Yennefer it’s short lived as they split up to follow the leads that the Emperor has found for them. It is then up to you, dear Witcher, to scour the land for any trace of Ciri and to protect her from The Wild Hunt.
As of writing there is simply no other game that can compare to The Witcher 3 in terms of graphical fidelity. I cannot tell you how many times I found myself taking a moment to soak in the scenery, marvelling at the incredible level of detail in all aspects of the The Witcher 3’s graphics. It would be one thing for it to simply be a beautiful world, ala the original Crisis games, but it’s so much more than that. The trees sway softly in a light breeze, storms can brew and then rage on with unrelenting force and fields can be blanketed in mist in the early morning as the peasants go to work in them. The world genuinely feels alive, more so than any other game I’ve played. The Witcher 3 has now set the bar to which all future games like this will be compared as it has handily swiped the crown away from Crisis as the most beautiful game to play on PC. Of course to enjoy all that splendour you’ll need to have the requisite hardware but, in all honesty, the rewards for having it are worth every dollar spent.
The sheer scale of The Witcher 3 is something that simply cannot be understated. When the creators, CD Projekt Red, said that it was 30 times the size of The Witcher 2 they weren’t kidding as the size of the maps is staggering. It’s one thing to create a huge world though and another to fill it with things that make it worthwhile to explore it, something which the developers have most assuredly recognised. So whilst the mainstay of The Witcher 3 might be the same 2 sword and sign combat that its predecessors championed there’s countless other things that are peppered throughout the world to keep you interested. The crafting system makes its return and includes scavenger hunt quests that grant you some of the most amazing gear in the game. Many of the various mini-games that were in previous Witcher titles make a return, alongside a new card game called Gwent that proves to be a great distraction (and potential source of income). The talent system is revamped and simplified, allowing you to craft Geralt’s abilities how you see fit. Underlying all this is the numerous storyline quests, side quests and Witcher Contracts that you can try your hand at to get better items, more gold or just for the fun of exploring the world. Combining this all together results in a game that can take well over 100 hours to fully explore and appreciate, something that’s sure to delight Witcher and RPG fans alike.
Whilst the introduction to The Witcher’s combat system is improved significantly over the original non-tutorial that its predecessor had there’s still something of a learning and power curve to overcome before the combat becomes engaging. The combat system is somewhere between the Souls’ series of telegraphing/dodging and the usual action RPG hack and slash fest. In the beginning it was, to be blunt, incredibly frustrating however once you start to treat it like a Souls game you begin to figure out their move set, the telegraph that leads to a certain move and what you can do to dodge it. The fight that sealed this for me was the first werewolf fight which, if you don’t figure out how to dodge properly, becomes an exercise in frustration as he whittles your health down as his regenerates. After that point however most enemies were either a complete cakewalk, like any humanoid with a sword, or simply a matter of time and me whittling them down. You’d think that’d mean the challenge was gone past a certain point, and to some extent it was, however it was more that I had a bigger arsenal of tools at my disposal to recover from any mistakes.
To put this in perspective I was primarily a combat Witcher, favouring the fast strikes over anything else. As you can see my build was tailored towards that pretty specifically with only a handful of points in the signs to beef up Axii (for the dialog options) and Quen (as that’s the only way to regenerate in health in combat bar consumables). Whilst at the beginning this build felt somewhat underpowered, likely owing to the balance of points I spent in 2 trees, it didn’t take long for it to really come into its own. There’s a great deal of min/maxing going on here too, like the Cat School Training which doubles your DPS if you’re wearing all light armour (which I did) and the various talents to boost up the benefits gained by adrenalin points. Probably the one skill that made the most change to how the game played out for me was the whirlwind ability which, if the first strike landed, enabled me to relentlessly wail on whomever I felt like, often shredding their health in a fraction of the time it’d take otherwise. As an added bonus it meant that I never got swarmed again as the whirlwind ability is able to strike any enemy before they get to you. Had I done similar min/maxing with the other talent trees I’m sure I could’ve come up with similarly broken builds although I’m not sure any of them would be as fun.
The Witcher 3’s crafting system is as deep and rewarding as any others I’ve encountered although some of the issues that plagued it’s predecessor’s remain. You’ll find crafting materials everywhere, from the numerous fields and forests that are littered with herbs and fruits to the dozens of crafting components that drop from the monsters that you’ll slay. Whilst you can happily go along picking up basically everything in your path for a long time before inventory management becomes an issue once you hit that barrier you’re going to be forever wondering if you should vendor an item, break it down for materials or simply drop it on the ground and forget about it. Once you make your way into Novigrad you can (mostly) solve this problem by purchasing yourself a set of what I assume is the largest saddlebags in the game, giving you another 100 weight to mess with, although if you’re a confessed RPG kleptomaniac like most of us are that will just delay the inevitable. If you’re so inclined the modding scene has already come up with a solution to this issue if you’d rather not have to worry about it.
However if you stick with the crafting system the rewards you get are most often far better than any other gear you’ll be able to obtain either through killing monsters or buying from vendors. The scavenger hunts, which start when you find the first schematic for one of the Witcher school’s armour (you start off with the Wolf School set, but there are 3 others available) and each are tailored to a specific playstyle. If you, like me, favour quick strikes and massive stamina regeneration then the Cat School set is for you. The Bear School is for those that like to take enemies head on and soak up insane amounts of damage. The Griffon school is the in-between set, catering for a more balanced playstyle. These sets have several versions with the improved ones requiring the previous set to continue crafting them which means the final pay off is quite an investment in both time and materials. It is completely worth doing however as each upgrade of gear means you’re fully equipped to tackle all the challenges that the next few levels will bring and you never have to worry about where the next upgrade will come from.
The various mini-games are much better done this time around, being much more optional than their predecessors in previous Witcher games were. You can try your hand at a bare fisted fighting tournament that will take you through all the areas with an ultimate fight against the current world champion. You can try your hand at Gwent with nearly every vendor you encounter and, should you best them, you can take one of their cards away from them. If you’re so inclined there’s also a sort of tournament you can play with Gwent although where that leads I couldn’t tell you. There’s also a few other strange mini-games like the contract price negotiation thing, where you barter with a NPC over the cost of the contract they want you to undertake, but that’s mostly just an exercise in finding out what the maximum price has been set before you piss them off too badly. I was very thankful that these mini games took a back seat in The Witcher 3 as they felt like an inescapable tedium in the previous instalment, something which didn’t do much to endear me to it.
The sheer depth and breadth of all the quests within The Witcher 3 is staggering. Quite often you’ll be riding to your next objective only to come across someone with an exclamation mark over their head and it’s impossible to tell if you’ll be done with them in 10 minutes or 2 hours. You can still do the “get all the quests!” thing that most RPGs allow you to do, stuffing your quest log with dozens of quests that you can complete at your leisure, however they all have their own level at which they should be done. Even if you’re like me and favour doing the campaign missions above anything else you’ll likely find yourself quickly out levelling most quests which, on the one hand, makes them a lot easier but also takes away a lot of the incentive to do them. However there are a certain number of them that you’ll want to go and do regardless of how far below you they are as they’ll shape the world in which you’re playing. Whilst there are only a couple options which influence the ultimate ending should you be passive in the world there are many things that might not go as you wish, sometimes stopping you from doing something you may have wanted to do.
There’s also numerous encounters, caves, dungeons and other things that you’ll find on your travels throughout the world of The Witcher 3. In the beginning it’s probably advisable to stick to the roads as it’s hard to predict what level the monsters will be, however after a while it’s far more rewarding to take the straightest route to where you’re going. This is because you’re far more likely to come across a hidden stash, guarded treasure or the beginning of a quest line that could ultimately lead to something awesome when you’re traversing the country. After a while these things become somewhat secondary as the rewards start to taper off as you approach the later levels however it can still be pretty fun to stumble across a monster infested cave that triggers a quest in the nearby village from time to time, just to break up the monotony of following a single quest for so long.
The original release of The Witcher 3 was, to be brutally honest, was a total mess of bugs, glitches and crashes that would make you think Bethesda was the developer. Adding the Steam overlay to the GoG version of the game caused the text to glitch out profusely and would often result in the graphics driver crashing and recovering, leaving the game running but without any video output. This comes hand in hand with numerous performance issues which no amount of twiddling with the graphics settings seemed to fix. It was only after I trudged through numerous forums, Reddit threads and useless advice posts (telling me to update my drivers is not helpful, guys) I found out that most issues stemmed from things like the GeForce Experience program or the NVIDIA Streaming Service and HD Audio device. After disabling numerous things I finally got The Witcher 3 to a state that I could consider stable and thankfully it also resolved many of the performance issues that came with it. There were still however some rather irritating glitches that persisted which just added to my frustration at times.
Some good examples of these glitches were things like Geralt jumping incessantly with nothing that could be done to stop him. I tried pretty much everything I could think of from getting into combat, triggering dialogue to getting on my horse but nothing could stop his jumping. Similarly every so often my stamina bar would simply stay at zero, refusing to refill even after I had reloaded the game or another save. That particular bug usually meant I had to backtrack through saves to a point before the issue happened and then replay that entire section again, something which could result in an hour or so’s worth of lost effort. There were also numerous times where the hit detection got super squirrelly, with enemies able to hit me even though their models where no where near me at the time. Many of these issues seem to have died down in the most recent patch that was released last week however that doesn’t detract from the fact that numerous glitches still persist or that they were still present upon release.
The story of The Witcher 3 gets my vote for most improved out of any series that I’ve played of late. Whilst The Witcher 2’s story felt serviceable, being above average in many regards, The Witcher 3 has had a great deal of effort put behind crafting a narrative that can evolve with the player’s choices whilst still being coherent with a clear direction in mind. Whilst the time between The Witcher 3 and its most recent predecessor likely means that the nuances of the previous story are a jumble to most of us each of the characters is given enough time to flesh out their backstory, their history with Geralt and where that might lead you in the future. Many of the ancillary characters from the previous instalment make a return and, for the most part, they’re not just a token gesture with many of them having deep quest chains that quite often have an impact on the world around you. Suffice to say that, at a base level, The Witcher 3 presents one of the most deep and engrossing narratives to cross our path in a long time.
ENDING SPOILERS BELOW
I managed to get the good ending where Ciri becomes a Witcher and whilst many sites point to the White Orchard ending as the “ideal” one I honestly couldn’t disagree more. Throughout the game Ciri makes no mention of wanting to take over as Emperor of the Nilfgaard and from the short I’ve seen of the ending it doesn’t appear like she’s all too happy with the situation, despite what she says. Apart from that however I was incredibly pleased with how everything wrapped up in the end as the side quests I had done and the decisions I made resulted in the outcomes that I had desired. There were one or two which I didn’t really remember which quest it wast that would’ve led to the outcome I got but that’s more of a testament to the breadth of The Witcher 3 more than anything else. Suffice to say whilst CD Projekt Red might say that this is the end of Geralt’s story I don’t believe they’re done with the world that The Witcher resides in at all as there’s still plenty of stories that they could follow.
The Witcher 3 sets a new standard for RPGs, open world games and graphical marvels. The absolutely staggering breadth and depth of the world that The Witcher 3 is set in means that there’s just so much to keep you occupied that you’re never wanting for things to do. The combat system, whilst retaining its steep learning curve, becomes incredibly rewarding as you level up and learn all the tricks of the trade. The crafting system is highly rewarding. giving you a reason to explore some of the vast reaches of the earth in search of better patterns and materials to bolster Geralt to the highest levels of power. The story is a huge improvement over its predecessor, giving each character enough screen time to really build out their back story, motivations and place within the massive world. My experience was marred somewhat by the initial teething issues that the release faced but it’s a testament to the game’s underlying quality that I continued on for as long as I did. The Witcher 3 will be the game to which I compare so many others for a long time to come and, whilst I will shy away from giving it the perfect score that so many have lavished upon it, I cannot deny just how great a game it is.
The Witcher 3 is available on PC, PlayStation4 and XboxOne right now for $53.99, $109.95 and $109.5 respectively. Game was played on the PC with 45 hours of total play time with 46% of the achievements unlocked.
Creating a game is an exercise in compromise. On the one hand you have your vision for what you want the game to be, whether it be a sweeping epic or a simple puzzle game, on the other you have the amount of resources at your disposal. These are often at odds with each other and the resultant product will likely not be the full embodiment of the original vision. This is fine, however, as the white whale of perfection has killed so many titles, many before they saw the light of day. Toren, the first game from the nascent Swortales, is a game that has remnants of a greater vision scattered through it which the spectre of compromise laid off to one side.
You are the moonchild, born of the night and destined to climb the Toren in search of your purpose. The sun never sets in this world, basking it in an endless sunshine. This is the will of the dragon who, for reasons unknown to you, refuses to allow the sun to set. As you climb the Toren your guide, a mysterious figure who appears to be long dead, reveals to you the secrets of this world and why you are doomed to repeat this cycle again and again until your true purpose is discovered. It is then up to you to discover the real history of this world and your part to play in its future.
Toren isn’t exactly cutting edge when it comes to graphics with the vast majority of the assets feeling like they’re a generation behind current trends. Part of this is due to the Unity engine, which has a definite stylization characteristic to it if you don’t wrangle the engine appropriately, but other things like the stiff (most likely hand cranked) animations lead more towards this coming from the studio’s inexperience. On a tablet or other portable device such graphics aren’t out of the ordinary however Toren is currently only available on PC and PlayStation 4, platforms both capable of much more than what Toren offers. On the flip side the soundtrack that backs Toren is absolutely amazing which makes me think that they paid far more attention to that than anything else. Such is the battle of compromise.
In broad strokes Toren would be called a 3D puzzle platformer as it has characteristics of both, although there are some hints of greater aspirations for this game hidden throughout half finished mechanics. To start off with you’ll be exploring and stumbling across different puzzle elements which is mostly just setting the scene for the later reveals. Later on the platforming element is introduced which starts off simply and does introduce some rather interesting elements. Finally there’s some semblance of a combat system although it’s extremely simplistic, basically only serving as another aspect to the other puzzle mechanics. All in all it’s got the makings of a much larger game that hit with the cold hard reality of deadlines and deliverables but still manages to cobble together a fairly decent game experience out of it.
The puzzles are incredibly simple, mostly just requiring you to find something and put it somewhere else. The platforming is very similar as your objective is, most of the time, clearly visible with an easy path to reach it. Toren makes the mistake of having a fixed camera for everything which means the platforming sections are an exercise in frustration most of the time as you try to figure out how your controls should be reacting given the current camera angle. This also flows onto some of the puzzles which require you to cover an emblem on the ground in salt, something that’s rather difficult to pull off when your character doesn’t react in the way you’d expect them to. Suffice to say I think it’s a passable experience although there’s definitely a lot of room for improvement in terms of mechanics and their execution.
The experience is heavily marred by its numerous technical issues, not least of which stem from the horrendous control scheme. I did the right thing at the start and plugged my controller in, as I was told to however that, for some reason, resulted in the camera always pointing upwards so I couldn’t actually see my character. Switching to keyboard and mouse made that issue go away but the default keyboard layout is nonsensical and it’s obvious that the controller was programmed first and the keyboard controls shoe horned in afterwards. Couple this with the extremely basic hit detection (which powers nearly every interaction in the game) and Toren feels like it’s lacking a certain amount of polish required to take the experience to the next level.
Whilst I’m speculating heavily here I’m quite sure that the majority of these issues stem from Toren having much greater aspirations than its final incarnation has. For example there’s a kind of inventory system in there and you’ll pick up a few items along the way. However it’s not like you have to go out of your way to find these items and they’re given to you know what to do with them. The “chainmail” for example protects you from small monsters but you get it before you even see your first monster, let alone know they can do damage to you. It feels like Toren was meant to be more of a RPG than an exploration game however it was never able to reach this goal due to the constraints they faced in implementing it. This is somewhat reflected in Toren’s short length as well, although that’s not a negative in my book.
The story is, to be blunt, frustratingly vague at the beginning although it does manage to redeem itself over the course of its 2 hour play time. It might not be original, nor very emotionally engaging, however it does manage to set everything up well enough that the final pay off is somewhat satisfying. Developing the story further however would likely require a much longer playtime, which would require even more work to accomplish, so given the bounds Toren works within it does manage to achieve an impressive amount. If you’re a story first gamer though you might not get that much out of Toren as you would say a more story focused title.
Toren is a game that’s scarred by its ambition, attempting to reach for much greater heights than it finally ended up achieving. Whilst the final product is most certainly playable, and for small sections quite enjoyable, its below par graphics, simplistic mechanics and frankly horrendous control scheme mar the better aspects of it significantly. The soundtrack is by far the stand out component of Toren although I can’t help but feel that the game would be that much stronger if some of the effort dedicated to crafting that was directed at the game play and story development. For a studio that’s never released a game before it’s a good first attempt however I hope they take the lessons learned from Toren and apply them to their future titles as there’s every opportunity for them to make a great experience if they do.
Toren is available on PC and PlayStation 4 right now for $9.99 and $14.95 respectively. Game was played on the PC with 2 hours of total playtime and 75% of the achievements unlocked.
I used to be spoken for when it came to short time waster puzzlers as none to could topple the venerable 2048. You see it’s not so much that the game itself is that challenging or intriguing (although I will admit it too me far too long to get my first 2048 block) more that I had seen others get really high numbers and I wanted to do that to. So, whenever I found myself with 5 minutes to burn there I’d be, combining blocks together, trying to get my score higher. Since changing phones however I’ve lost my score and this has opened up the opportunity for another contender to take its place. Unium, with it’s deceptively simple concept, is one I’ve lost a decent amount of time to over the past couple weeks and could very well be a contender for my time waster of choice.
The objective is simple: you have to fill in all the black blocks on the screen and can only do so by drawing a line. If the line crosses itself it’ll turn black and you can only cross another line perpendicularly, meaning any corner square is essentially fixed as you left it. There are well over a hundred different grids for you to try your hand at with a limitless supply of new puzzles now being delivered through the Steam Workshop, created via the in game editor. As a concept it’s very easy to grasp however the puzzles, even when they look simple, are anything but requiring either a lot of trial and error or a laterally thinking mind to complete.
Graphically Unium is very simple with the colour palette limited to just the gradient between black and white. For games like this simplicity in the presentation is something I’ve come to appreciate as it means that details aren’t lost in seas of colour or other visually confusing elements. Apart from that there’s really not a lot to say about it how it looks as once you’ve seen the first puzzle you’ve seen all the game has to give you visually. The minimal soundtrack in the background is a nice touch however, even if the menu sounds seem like they were sampled at bitrate far below what they should have been.
The puzzles start off pretty simple, showing you the basics of how to fill in all the blocks and throwing you a few curve balls every now and then to get you thinking differently. Once you’re past the initial set of easy puzzles however things start to get really interesting as you’ll often not be able to just figure it out as you go along. Indeed it’s past that point when Unium starts to show its chops as a real puzzler as the puzzles no longer accommodate a range of solutions, instead only allowing a few ways for the puzzle to be solved. I have to admit that there were a few puzzles that stopped me dead cold for quite a while although now I figure I’ve cracked the secret for puzzles like this (for the most part).
The two most important aspects I found for solving any of the harder puzzles was the start and end of the line and the direction in which you were solving the puzzle (which could be roughly described as clockwise or anticlockwise). There are some puzzles that, unless you pick the right start and finish positions, are simply unsolvable as those two blocks have unique properties that the rest of them don’t. The direction has less of an impact as any puzzle should be solvable in forward or reverse, however I often found that if I was tackling a problem in one direction switching it to the other side would usually trigger an insight into how the puzzle was meant to be solved. That might just be how my brain works however but it’s definitely something I’d recommend trying if you’re struggling.
Unium is a great little puzzler, presenting an extremely simple concept that’s easy to grasp yet incredibly challenging to master. It might not be the most visually interesting game around however it’s minimal aesthetic means you’ll be keenly focused on the problem at hand rather than ogling all the pretty colours. The now limitless stream of puzzles is sure to give Unium staying power far beyond its original station and I’m sure there are going to be some incredibly frustrating puzzles coming out of the community. If, like me, you were looking for a replacement time waster then you won’t be disappointed with Unium.
Unium is available on PC, iOS and Android right now for $1.99, $2.49 and $2.49 receptively. Game was played on the PC with a total of 2.4 hours total playtime.
It’s been a while since I’ve had a good story first pixelart game come my way. It seems the indie scene has begun to move away from them as they seek out more profitable ground in zombies and survival simulators. That has left something of a void behind, leaving only those with a real passion for this particular style of games behind. So whilst I may not be spoilt for choice like I once was I can’t deny that the quality has definitely gone up a notch or two, especially from my favourite publisher in this genre. The latest title from Wadjet Eye Games, Technobabylon created by the developers at Technocrat Games, is no exception to this providing the kind of deep story and fanciful pixelart that has become a signature of all their published games.
In the distant future of 2087 the world has changed dramatically with the wonders of science working their ways into our everyday lives. Genetic engineering is commonplace with children and adults shaped by gengineers, allowing them to sculpt their perfect human form. The story takes place in the City of Newton, the ultimate expression of a science based society that is controlled by a benevolent AI called Central who handles the daily machinations of the city. Many now choose to spend their days in the Trance, a fully simulated reality where ideas flow freely, consciousnesses meld and drift apart and, of course, anything goes. It seems like a picture perfect future but there are many actors that would upset the balance or turn it in their favour.
Technobabylon brings the standard pixelart affair making no use of modern graphics tricks to jazz up the visuals. It was interesting to see so many different rendering options available through the setup program however none of them seemed to make much of a difference to the graphics on screen. I’ll admit I only played with a few of them, mostly to see if I could get it out of the 4:3 aspect ratio it runs in (you can’t) so there’s potentially a setting in there that makes everything look amazing. Still Technobabylon has its moments where I was thoroughly impressed with what they managed to accomplish (the final 3D-ish scenes are a good example of this) with the pixelart medium, something I’ve come to expect from the games Wadjet Eye publishes.
Technobabylon is your typical pixelart adventure game, taking it’s cues from the multitude of titles of yesteryear and those from the renaissance period that pixelart games have recently enjoyed. At it’s core Technobabylon is a puzzler, challenging you to find the right thing to combine with the other thing, which dialogue options to choose to get someone to say the right thing and figuring out what you need to click on to make something happen. Like most modern incarnations of this genre Technobabylon has an improved and simplified inventory system making it a lot less of a bother to try item combinations than it once was. Unlike some previous titles though there’s no combat to speak of and any situation that may result in your untimely demise will simply respawn you right where you left off. So overall no real surprises here in terms of mechanics as is pretty standard for many games in this genre.
The puzzles are pretty well done for the most part, ensuring that you soak up every skerrick of a clue to make sure you can progress to the next stage. Some of them require you to have a little bit of knowledge of how some kinds of systems would work (say for instance what security mechanisms a hand print scanner would employ) but for the most part you should be able to figure them out based on clues in the current room/level. I will admit that I got stuck about a half a dozen times, reaching for the walk through guide (which I honestly wish all review copies would come with) to get me past a section I just couldn’t seem to figure out. The puzzles I figured out on my own though were quite satisfying, especially when I felt I figured something out that the developer obviously thought would stump me for a while.
I can’t remember what the engine was that Technobabylon mentioned it used at the end however it suffers from probably one of the most annoying bugs I have ever come across. Should you use SHIFT + TAB to open up the Steam chat window whilst playing the game all the dialogue boxes from then on flit past, as if you’re holding down the space bar or left mouse button. This issue will persist for as long as you remain in the game and can only be fixed by exiting out and coming back in again. I first noticed this with A Golden Wake (although it was triggered by ALT + TAB) which, I’m guessing, uses the same engine. It’s not so much a critique of the game per se, the developers fixed numerous issues that I saw during my playthrough before release date, more something that budding indie devs might want to be wary of.
As is trademark for nearly all Wadjet Eye games Technobabylon carries with it a fantastic story, one that’s steeped in futurism and radical ideas about what technology can bring us. All the main characters are given plenty of time to develop their back story which are expertly intertwined with each other. Most characters have oodles of non-critical dialogue options which serve to build out the story. Even better still is the fact that the vast majority of content within Technobabylon is voice acted so you’re not going to be stuck reading walls of text for hours on end. The only fault with Technobabylon’s story is that it lacks a really deep emotional hook to draw you in, something like the opening minutes of Ori and the Blind Forest, which would really seal the deal on this otherwise great story.
Technobabylon is a great example of the modern pixelart adventure game, bringing along with it a great story that’s just oozing futuristic tones. It might not be the most revolutionary games, playing it safe by keeping the mechanics simple and the puzzles accessible, however the experience it provides is above many of its competitors. If, like me, you had been left wanting for a good adventure game for some time then you really can’t go past Technobabylon as it’s sure to provide you with many hours of enjoyment.
Technobabylon is available on PC right now for $14.99. Total game time was approximately 7 hours. A copy of Technobabylon was provided to The Refined Geek for the purposes of review.
The days of the expansion pack have long since left us, replaced by it’s bite sized cousin downloadable content. For many this is a better way of doing it as it allows players to revisit games on a semi-regular basis to enjoy the additional couple hours of game play. This gamer however pines for the good old days when expansion packs were usually good enough to be classed as new games on their own, providing a whole new experience in the same world. From time to time though some games still follow this old format and Wolfenstein: The Old Blood is one such title, detailing the story of William “B.J.” Blazkowicz before he set out on the events detailed in Wolfenstein: The New Order.
The war against the Nazis is being lost with the allied forces being pushed back on nearly every front. Their rapid technological progress being driven by one of their top scientists, General Wilhelm “Deathshead” Strasse, is most likely the cause of this however his location has proven to be elusive. It is up to you then, playing as Blazkowicz, to infiltrate a Nazi stronghold and find a folder belonging to Helga Von Schabbs which has his location. However your infiltration quickly goes awry and you find yourself in the belly of the beast, armed with nothing more than a pipe and your sharp wit. Whether that will be enough for you to complete your objective, however, is up to you.
As you’d expect of a game that has come out barely a year after its predecessor The Old Blood retains the same level of graphical excellence which was only magnified by immense power that my new rig was able to throw at it. Strangely enough some of the performance issues I had experienced previously, like the significant drop in performance in the more open sections, were still present which leads me to think that the id Tech 5 engine potentially has some issues with larger scenes. Still it was eminently playable, especially in the indoor sections where split section reaction times and seat-of-the-pants gameplay were a common occurrence. The colour palette and scenery may give it the same feeling as many previous generation games but it’s anything but, especially when you take a few moments to look around.
The core of what The New Order great remains in The Old Blood although the experience has been streamlined due to the game’s reduced length. At its heart The Old Blood is still a corridor shooter, one that incorporates the old traditions of hiding secret areas whilst blending in a few RPG elements to give you an edge over your enemies. The wide and varied arsenal makes a return, allowing you to select from a whole host of silly weapons to mow down any enemy that’s put in front of you. The modifications to these guns however is greatly reduced, usually amounting to one setting you can change rather than the The New Order’s rather bountiful mod system. The levelling system has also been slimmed down considerably with only a handful of options available to you although the completion mechanic remains. The stealth is back and, thankfully, feels a lot more fair than its predecessor’s did even if it still gets taken away from you every so often. Overall The Old Blood feels like a more streamlined version of the The New Order with all the benefits and pitfalls that come with it.
The combat retains the highly polished, fast paced nature that we’ve all come to expect from AAA corridor shooters like this. For those seeking a challenge though you’re likely to be disappointed as even on the second hardest difficulty most enemies are pretty easy to take on, with some of them even missing point blank shots. The increased difficulty seems to come from them doing a whole bunch more damage when they do eventually land a shot or get a melee hit off on you, something which can be rather irritating when later enemies get the ability to one hit kill you. These are all things that can be overcome with a little strategy (and of course levelling the various perks) however for a game that wants to emulate its FPS ancestors putting the training wheels on the difficulty seems somewhat counter-intuitive, even if it would make for a better game for the less experienced players out there.
The stealth system feels largely the same with you being able to take the majority of enemies silently if you time everything correctly. There have definitely been some improvements in this regard as it’s quite possible to skip massive areas if you pull the stealth off correctly. Unfortunately the poorly implemented detection mechanism is still there meaning that if you trigger one guard you’ll trigger the lot of them, including the captains if any of them happen to be around. This can often lead to a panicked sprint to find the commanders before they can bring in wave after wave of additional enemies for you take out. Still the times when this happens are more than made up for with the sections that let you skip huge areas of combat if you’re patient and attentive which I feel is the key to making stealth sections rewarding.
The cut down talent system works well since there’s really not enough game time in The Old Blood to justify a talent system as deep as the one that was in The New Order. Some of the challenges either require you to die a few times over to complete (like the silent commander kill one) or you’ll need perfect execution to unlock them if you manage to do everything on a single life, which is quite doable in my opinion. However the majority of them are readily achievable with a little bit of planning and careful execution. The benefits you gain from them are mild at best and you could likely blast through the entire game without unlocking one and not feel like you’re struggling. I guess that’s somewhat the point, putting more of an emphasis on player skill, however I like upgrades to be impactful, turning a meek player into a god to be feared. That’s just this writer’s opinion, though.
The year of patches and fixes for The New Order have trickled their way down to The Old Blood meaning that issues like texture pop-in are pretty much gone although the performance hit in outdoor areas is still noticeable. One thing I did notice is that in some indoor scenes, particularly during cutscenes, the game would actually remove objects that were deemed “out of sight” of the player, even if say a corner or edge was still mostly visible. This leads to a rather jarring pop-in of objects (not textures) in some scenes as characters move about the scene. It can highlight areas of interest although I believe that aspect of it is wholly unintended. Overall it seems that the id Tech 5 engine is starting to mature nicely after 4 years of use by id and hopefully many of these improvements find their way into the upcoming id Tech 6 engine.
The Old Blood retains similar stylings to its predecessor with the inner monologue of Blazkowicz driving much of it with the rest hidden in notes scattered everywhere. You won’t be seeing many familiar faces in this game so it’s not like this game is seeking to flesh out the back story of anyone but the main protagonist. Still most of the characters are given enough screen time to flesh their characters out to a basic level although rarely to they expand more upon that. I think this primarily stems from the fact that pretty much every character in The Old Blood doesn’t make an appearance in the The New Order and, given the game’s length, there’s really not much time to flesh out anyone in earnest. Still it’s above average when it comes to the corridor shooter genre, even if that really isn’t saying much.
Wolfenstein: The Old Blood is a worthy successor to The New Order, taking the essence of what made that game great and streamlining it into a shorter experience. Whilst many will be pining for a much longer and deeper experience, this writer included, it’s hard to deny that the experience (while it lasts) is of the same calibre as its predecessor. This does mean a few of the less desirable quirks remain but this is counterbalanced by the ones that were fixed. Suffice to say if you were hungering for more of the new style of Wolfenstein games then you won’t go wrong with The Old Blood, even if you may be left wanting for more when the final credit screen rolls around.
Wolfenstein: The Old Blood is available on PC, XboxOne and PlayStation 4 right now for $39.99 on all platforms. Game was played on the PC with 5 hours of total play time and 35% of the achievements unlocked.