The 3 year, 3 developer cycle that Call of Duty switched to has meant that it’s been a little longer between drinks for Treyarch, once considered the poor step child to Inifinity Ward. For players like me, who enjoyed Treyarch’s slightly more story oriented style for the single player, it’s been a bit of a wait but all hopes were that the extra polish would be worth it. After spending the last week with Call of Duty: Black Ops III I can definitely say the wait has been worth it, although Treyarch might need to come down from the giant ivory tower that they’ve crafted themselves.
The year is 2065 and you’ve been sent to rescue hostages from the NCR, the latest terrorist organisation to begin its war against the western world. You, along with your partner Hendricks, have been sent to Ethopia to rescue hostages and a VIP who’s been captured by this group. Whilst the extraction was a success you were left behind and mortally wounded by one of the NCR’s combat robots. You’re transported back to the Coalescence HQ for emergency medical treatment, bestowing upon you cybernetic abilities that elevate your combat capabilities far beyond that of any normal soldier. What follows is your exploits as a CIA black operative following a terrible conspiracy that goes all the way to the top.
Considering that Black Ops 3 was released on nearly all platforms (including 2 last gen ones) it’s great to see it able to use all the grunt of a modern PC to render some truly stunning graphics. On first release though this was unfortunately at the severe cost of performance as smoke and other particle heavy systems would drag an otherwise buttery smooth experience down to a slideshow. Thankfully this was a bug and was fixed in a patch last week, allowing me to once again ratchet all the settings up to maximum. Unlike other Call of Duty titles though you’ll rarely have any time to stop and take in the view as the game is all about action all the time (save for the last section which I’ll dive into more later).
Black Ops 3 is the definition of a corridor shooter, putting you in tight spaces with hordes of enemies that you’ll need to mow down in order to progress. Like Advanced Warfare before it though there’s a few extra mechanics thrown into the mix to keep things fresh, most of which come in the form of various powers granted to you by your cyber augments. Also, unlike most Call of Duty games where your load out is specified for you, Black Ops 3 gives you the option to build out your own kit for each mission. You’re even given a briefing panel which allows you to judge which kit would be best for each engagement. Apart from that (and the multiplayer, of course) there’s not much more to say about Black Ops 3 as it really does feel like Advanced Warfare with the trademark Treyarch psychological twist.
The buttery smooth, fast paced FPS combat that’s a hallmark of the Call of Duty series is back once again in Black Ops 3. The additional enhancements you’re given as part of your cybernetic upgrades goes a long way to alleviating some of the issues that plagued previous instalments in this series. Notably this includes things like target highlighting, “danger zones” shown on the floor to give you an idea of what might happen if you go there and the vast array of powers you have to devastate your enemy. However one piece of advice I’ll give is that, if you’re just looking to enjoy the single player, avoid the higher difficulties. Instead of making the enemies tougher it essentially makes you weaker with the hardest difficulty allowing any enemy to one shot you. Sure that does provide some form of challenge but, honestly, it’s just more tedious than anything.
For all its polish though there are still some rough bits in the single player. Quite often enemies will be able to shoot through or glitch through walls which, if you’re playing on anything above normal difficulty, will mean your instant demise. This became painfully clear on the final mission when you’re storming the last building and mechs, flying drones and anything else would just pass through terrain to get to you. I can handle getting nailed by unseen targets, that just means you need to be aware of where they are for next time around, but when you literally can’t do anything to stop them it really does grate on you.
The story retains Treyarch’s signature psychological thriller style, this time around with a sci-fi twist. To begin with it’s interesting as the characters deal with the implications of technology and the enhancements it brings them. Things start to come unstuck a bit as they dive deeper into the (highly predictable) conspiracy aspects of it and it comes completely unglued towards the end when the symbolism gets dialled up to 11. Probably the worst part about it though is that, if you read a couple specific things in game, the whole thing is basically naught anyway. In all honesty it started off strong before it tried to M. Night Shyamalan everything and completely disappeared up its own ass with that one piece of text.
The multiplayer is your mostly standard Call of Duty affair with levels, unlocks and customizations galore. It uses the familiar “choose 10” system, allowing you to create a character that fits your play style perfectly. The biggest change that comes with Black Ops 3 is the inclusion of “specialist” classes which are essentially base character models that come with abilities. These can be either a weapon, which can be incredibly devastating when used right, or an ability which usually gives you a tactical advantage over the enemy. This combined with Call of Duty’s typical huge array of weaponry makes for some incredibly varied combat, something which can be a bit overwhelming when you first start out.
Probably my only gripe is that the levelling is a bit too slow for casual-core players like myself. I’ve played about 4 hours at this point and my main weapon, the Kuda SMG, is no where near unlocking all the mods that I want to use. This means that, for nearly all of my current multiplayer time, I’ve been using the Vanguard starting class since it has a fully customized Kuda as part of the loadout. Treyarch is aware of this and is making up for it by making this weekend a double XP weekend but that feels like a bandaid solution on the problem honestly. Having a rested system or something similar would make the experience a lot better for players like myself as otherwise the longevity of the multiplayer will be severely limited.
Call of Duty: Black Ops III maintains the level of quality we’ve come to expect from the series, adding the Treyarch signature psychological thriller style to the future combat motif that has permeated the last few instalments. The single player is pretty much as you’d expect, maintaining the same fluid FPS experience even if it does overstay its welcome a little bit too long towards the end. The multiplayer, whilst suffering from a rather slow levelling system, is just as good as it ever was. As always the Call of Duty series might not be for everyone but for those of us who enjoy a spectacle, along with a few solid hours of multiplayer fun, then there’s really no other title to turn to right now other than Black Ops III.
Rating: 8.75 / 10
Call of Duty: Black Ops III is available on PC, PlayStation3, PlayStation4, Xbox360 and XboxOne right now for $79, $59, $79, $59 and $79 respectively. Game was played on PC with a total of 43% of the achievements unlocked.
Destiny was the first game to break my staunch opposition to playing first person shooters on consoles. Being a long time member of the PC master race meant that it took me quite a while to get used to the way consoles do things and had it not been for Destiny’s MMORPG stylings I might not have stuck it through. However I’m glad I did as the numerous hours I’ve spent in Destiny since then were ones I very much enjoyed. The time between me capping out at level 32 and the release of the House of Wolves expansion though was long enough for me to fall back to DOTA 2 and I missed much of that release. The Taken King however promised to completely upend the way Destiny did things and proved to be the perfect time for me to reignite my addiction to Bungie’s flagship IP.
Six of you went down into that pit, looking to end the dark grip that Crota held on our Moon. His death rung out across the galaxy, sending ripples through the darkness. His father, Oryx, felt his son slip from this plane and immediately swore vengeance upon you and the light. Oryx has appeared in our system aboard a mighty dreadnought, capable of decimating entire armies with a single attack. Slayer of Crota it is now up to you to face Oryx as he and his Taken are swarming over the entire solar system and threaten to snuff out the light once and for all. Are you strong enough to face this challenge guardian?
Graphically Destiny hasn’t change much, retaining the same level of impressive graphics that aptly demonstrate the capabilities of current generation console hardware. There has been a significant overhaul to the UI elements however with the vast majority of them looking sharper and feeling a lot more responsive. It might sound like a minor detail but it’s a big leap up in some regards, especially with the new quest/mission and bounty interface. It’s the kind of stuff you’d expect to see in expansions like this and I doubt we’ll see any major graphical changes until Destiny 2.0.
The core game is mostly unchanged, consisting of the same cover based shooter game play with the RPG elements sprinkled on top. Every class has been granted a new subclass meaning that each of them now has one that covers each of the elements (fire, void and arc). The levelling and progression system has been significantly overhauled, providing a much smoother experience to levelling your character up both in level and gear terms. Many of the ancillary activities, like the Nightfall and Exotic Bounties, have also been reworked to favour continuous progression rather than constant praying to RNGJesus. Additionally there’s been many quality of life improvements which have made doing lots of things in Destiny a lot easier, much to the relief of long term players like myself. This is all in concert with a campaign that’s about half as long again as the original, making The Taken King well worth its current asking price.
The new subclasses might sound like a small addition but they’ve given new life to a lot of aspects of Destiny. Each new class essentially filled a hole that was lacking in the other two, allowing each class to be far more versatile than they were previously. The only issue I have with them so far is that the new subclasses feel a lot better at more things than their predecessors do which means pretty much everyone is solely using those classes now. Sure the Defender Titan’s bubble is still the ultimate defensive super however it pales in comparison to the toolset that the Sunbreaker has at their disposal. This might just be my impression given my current playstyle (mostly solo) and may change when I finally attempt the raid this week.
The revamp of the levelling system is probably the most welcome change. Unlike before where your level was determined by the light your gear had the new maximum level is now 40, achievable through grinding XP like any other RPG. Then once you hit the maximum level you have your Light Level which is an average of your gear’s damage output and defensive capabilities. As it stands right now that’s pretty much the only thing that matters when you’re attempting an encounter and so the higher your light level the easier it will be. Whilst it’s not a huge change from the previous system it does mean that there’s quite a lot more variety in terms of what gear you’ll end up using. This also means that a lot more pieces of gear, even those lowly blues which we used to disassemble immediately, are now quite viable.
This comes hand in hand with a revamp of how you can obtain gear in the game. Whilst there are still guaranteed ways of obtaining gear through marks (now Legendary Marks which are slightly hard to come by) you’ll mostly be looking for engrams. The engram rate has been significantly increased and when you get them decrypted they’ll roll a random light level in a +/- range of your current light level. This means that, in order to progress, it’s best to equip your highest light level gear and decode engrams. Doing this I was able to get myself to light level 295 in a relatively short period of time, more than enough to attempt the raid. This, coupled with the new avenues to better gear, mean that progression is far smoother than it was before.
The revamped quest and bounties system has everything in it that guardians have been asking for from day one. There’s now a separate tab that has everything in it, allowing you to track objectives so you can quickly see your status without having to pop out into the menu. This has allowed Bungie to include multiple questlines that all run simultaneously, something which was just not possible before. Many of these quests will help you get solid boosts in your light level and, if you follow some of the longer ones, unlock some of the best gear in the game. By far the stand out piece, in my mind, is the heavy sword which (when fully levelled) makes PVE encounters a breeze and the crucible a punchbro’s dream.
The Taken King expansion also gets massive kudos for fleshing out the lore of Destiny significantly. Part of this comes from the extended campaign missions that take you deep into the world of the Hive and the Taken but there’s also dozens of new bits of information scattered throughout the world (accessible through ghost scans). The Books of Sorrow provide a lot of background detail to all the races and their involvement with the Darkness as well as providing some insight into the events that led up to the Traveller’s current state. I’m still picking through it myself but it’s honestly great to see Bungie fleshing out this world as there’s so much potential here and I’d hate for it to go to waste. Additionally Nolan North replacing Peter Dinklage as the voice of your ghost is a welcome change, as is the addition of many more hours of voice acting from all the central characters.
Destiny: The Taken King is the expansion that all guardians had hoped for, bringing with it all the improvements that were sorely needed. It’s a testament to Bungie’s dedication to this IP as the amount of extra content they’ve released for Destiny in just one year is, honestly, staggering. The changes they made with this latest expansion have improved the experience dramatically, both for casual players and the hardcore alike. If you’d been staving off playing Destiny then now would definitely be a great time to give it a whirl as this is the game many are saying it should have been at launch. For long time guardians like myself it’s what was needed to bring me back to the fold and keep me playing for a long time to come.
Destiny: The Taken King is available on PlayStation3, PlayStation4, XboxOne and Xbox360 for $79, $79, $79 and $79 respectively. Game was played on the PlayStation4 with approximately 20 hours of play time, reaching light level 295.
It’s been almost 2 years since the release of the current generation of consoles yet, strangely, it doesn’t really feel like it has. Usually this long after a new console generation the previous one has become a ghost town, long abandoned by developers in favour of the latest and greatest hardware. However here we are 2 years later and games are still be released for the PlayStation3 and Xbox360. This isn’t just isolated to a few small titles either, pretty much every AAA title that has a cross platform release will end up support no less than 5 distinct platforms, 2 of them almost a decade old at this point. I honestly couldn’t fathom why this would be the case, that was until I followed the money.
If you head over to VGChartz’s global weekly chart and have a trawl through previous week’s sales figures you’ll begin to see what I’m talking about. Whilst we don’t have the very latest figures (you’ll have to pay them a rather large fee to get that) it’s clear that the previous generation consoles are still generating massive revenues in terms of game sales. Indeed until the end of March this year the platforms with the most game sales were previous generation consoles. It was only after then that the PS4 managed to stay at the top but it’s always been closely hounded by both the PS3 and Xbox360 for the top position ever since.
Some of the blame for this lies at the feet of the XboxOne which has unfortunately failed to pull as many people across into the current generation as its competitor has. The XboxOne sales have been about half that of PlayStation4 for some time now, a trend that doesn’t seem to be changing any time soon. This also feeds into the trend of the Xbox360 routinely outselling it’s current generation counterpart, only changing when a new release comes out. Considering how close the previous generations were in sales this disparity will continue until the majority of current Xbox360 users make the switch. How long until that happens I couldn’t tell you, but it still seems like a fair way off at this point.
Primarily though it’s due to the unprecedented longevity of the previous generation. Prior to the PS3 and the Xbox360 you could expect a new console generation every 5 years or so, with developers having fully transitioned to the new platform within a year or two afterwards. The previous generation of consoles is well past that point and that means there’s going to be a lot more more inertia in switching away from them. It’s just like what happened with Windows XP and the transition to Vista and beyond, consumers and third parties alike got comfortable with the platform and held onto it for far longer than was healthy. Thankfully the turn around rate doesn’t seem that bad when you compare it to Windows XP vs 7, but it’s still slow enough to mean that the previous generation is here to stay for some time.
The tide is turning however. Every new release sees a new wave of people upgrading their consoles in order to enjoy the latest game. Exclusives too are still proving to be a powerful motivating force for consumers, even critical flops like The Order 1886 being able to boost console sales by 10% or more. It’s going to be a far slower transition than we’re used to, I’d hazard a guess for at least another year of cross platform releases targeting previous generation, but the trends are clear. Hopefully the transition will mean more resources dedicated to actual games rather than cross platform code but I’m not holding my breath in that regard.
The Battlefield series has, for the most part, stuck to its roots of giant war-based combat which has served it well over the past 13 years that it has existed. This put it in direct competition with Call of Duty although they favoured a longer development and release cycle with their games usually having a 2+ year cycle with various expansions and DLCs peppered in between. For many it served as the more refined version of Call of Duty, favouring tactics and skill rather than fast action and twitch reflexes. Battlefield Hardline marks DICE’s first departure from the Battlefield formula and whilst parts of what made the series great can be seen in here the game unfortunately leaves a lot to be desired.
Miami has gone to hell, the streets flooded with drugs and gang warfare escalating to all new heights. You are Nicholas Mendoza, newly minted detective in the Miami PD who’s looking to clean up Miami through good, honest police work. However it doesn’t take long for things to start going awry with your first bust turning into a bloodbath and questions to start arising around your methods. Indeed the more you try stop the plague that’s spreading through Miami the more you seem to be drawn into it, with your fellow cops being the ones dragging you in.
Unlike it’s predecessors that used the Frostbite 3 engine Battlefield Hardline doesn’t feel like a massive step up graphically, indeed it actually feels like it’s gone backwards in some respects. Whilst we still have the wide open environments that are a signature of the Battlefield franchise they just don’t feel as visually impressive as they used to, even with the enormous amount of grunt that my new rig can provide. Looking over my screenshots from previous reviews confirms this, showing that the engine is capable of quite a bit more than what Hardline seems to make use of. It makes even less sense when you find out that this isn’t Visceral’s first experience with the Frostbite engine either so I can only assume that the reduction in fidelity was done for optimization reasons.
Hardline plays much like Battlefield 4 did before it, retaining many of the core mechanics whilst adding in a few new tricks that tie into the police theme. You’ll still be running and gunning quite often, although in slightly smaller environments than you’d be used to, and the stealth mechanic that appeared in Battlefield 4 makes a return in Hardline. However now instead of getting points to level up your character by killing people you instead only level up by taking people down non-lethally or arresting them, something you can accomplish by telling them to “freeze” and then tackling them to the ground. There’s also bonus objectives like warrant suspects (who give quadruple score for arrests), cases for you to investigate by finding evidence and completing additional objectives. The multiplayer introduces a bunch of new modes which are mostly variants of the standard game styles we all know and love although it seems everyone is really still only interested in the big, 32 on 32 conquest maps.
The FPS combat in hardline feels a little unpolished as all the guns in their own categories feel pretty much the same as one another. Indeed once you get a few levels under your belt and unlock a couple guns there’s really no need to switch to anything else and the game rarely pits you against enemies with new and interesting guns, meaning you’ll have to level up or complete case missions in order to add in some variety. Couple this with the absolutely dumb as rocks AI and you’ve got a FPS experience that’s highly forgettable, even in the scenes which feel like they’re supposed to be action packed but just end up feeling bland.
This is only exacerbated by the repetition that’s introduced by the arrest mechanic which you’re required to use if you want to level up your character. Sure it’s pretty fun to work out the best way to approach a section so you can arrest everyone in it, but after you’ve done that a dozen times it starts to lose its luster. Thankfully you don’t have to do that for long as I was able to reach max rank somewhere around episode 7 or so but even the freedom granted by being able to run and gun everything past then didn’t add any life back into Hardline’s combat. This is what made it incredibly easy to put the game down at the end of each “episode” as playing more than one in a night was a recipe for frustration and boredom.
The story is somewhat serviceable in comparison to the rest of the game, with most of the characters being given enough screentime and background to be believable even if the situations you find them in are wholly unbelievable. I couldn’t find myself empathizing with any of the characters though, even the main protagonist, as they didn’t really feel relatable until right near the end. Even then it felt like too little too late, even if I had enough information to understand the decisions they were making. The ending might not scream sequel but it’s definitely hinting at it, raising its eyebrows suggestively and giving you a sly wink as you walk out the door.
I’ve only spent a brief few hours with the multiplayer (for issues I’ll dig into below) but the horror that is Battelog has made yet another return for Hardline and the issues surrounding it still remain. For the most part it seems like the community has little interest in the new game modes as servers that cater towards them are barren wastelands, devoid of players wanting to play them. Instead the vast majority have huddled around the safe place of Battlefield’s large scale warfare maps, something that feels quite at odds with the game’s more intimate setting and direction. Suffice to say it pretty much plays how you’d expect it to with the key difference coming from you being able to generate cash to buy new weapons and perks, rather than having to unlock them by levelling a class. It takes the edge of the levelling curve but doesn’t do much else.
The icing on this rather unappealing cake comes in the form of bugs, glitches and good old fashioned crashes that seem to be a mainstay of all Battlefield releases. I had the single player crash on me multiple times, often when I wasn’t doing anything particular of note at all. Battlelog simply refused to recognise that I had Origin installed until I reinstalled it, something I seem to have to do with every Battlefield release. Then when I did try to play some multi games the game would often just up and exit without any notification of what happened, sometimes in the middle of the game and others when I was spending the mandatory 5 minute wait while the game reloaded itself again. I honestly cannot understand why, after 2 previous releases that suffered the exact same issues, that DICE and Visceral couldn’t work out these issues before release and it’s not something I’d expect from a veteran AAA developer.
Battlefield Hardline is an unfortunate fall from grace for the series, trashing the things that made them great and failing to add in anything that could justify taking such a huge risk. The gameplay is bland and uninteresting, failing to capture the player’s attention even for the short duration of the episodes in the single player game. The changes to the multiplayer are completely out of line with what the community wants, as shown by the fact that the only playable servers are those that emulate the previous title’s play style. Topping it all off is the instability and lack of polish on the core game itself, with crashes and bugs plaguing the already beleaguered experience. I honestly can’t recommend this game even for the die hard fans of the series as it just falls so short of the standard that its predecessors set.
Battlefield Hardline is available on PC, Xbox360, XboxOne, PlayStation3 and PlayStation4 right now for $59.95, $89.95, $109.95, $89.95 and $109.95 respectively. Game was played on the PC with approximately 9 hours of total play time.
Ever since we (sort of) won the battle for a R18+ rating for games us adult gamers have been hoping that the games, which are clearly not for children, would make their way to us under that banner. However we’ve quickly run up against the classification definition several times already with many titles receiving the dreaded NC rating, preventing them from being sold within our borders. Whilst there’s healthy debate to be had on a case by case basis any gamer will tell you that they were expecting the NC rating to never be seen again and all titles would be available to us. Hotline Miami 2: Wrong Number is the latest victim to get the dreaded NC rating although I was able to snag a copy anyway, even though the developer had told us Australians to just pirate it.
Hotline Miami 2 follows several different story lines, each of which crisscrosses through one another at various points. You start off as a member of the masked vigilante group who spend their nights finding scumbags and other lowlifes to make examples of. Then you’ll be whirled back to Vietnam, thrown in deep behind enemy lines and left to die, unless you can gun your way out of there. You’ll even spend time as the son of a gang lord, looking to re-establish his father’s reputation and drive those filthy Colombians out of your territory. Holding this all together is an unnamed author trying to piece it all together, searching for the single thread that connects all these events. There is only one thing they share however: the brutality of the violence committed.
This much anticipated sequel retains the original’s Grand Theft Auto style although with a lot more fidelity than its predecessors had. Hotline Miami felt like it was made alongside the game it imitated however Hotline Miami 2 feels more like the modern pixelart titles we’ve come to love, embracing the styling but putting a layer of modern polish on it. This can be most readily seen in the intermission sections, where there’s obviously been a lot more care taken to developing the rolling backgrounds and effects that are layered on top. This also comes hand in hand with an amazing soundtrack, which includes many of my favourite synthwave/retro pop bands like Mitch Murder, that goes along perfectly with the bloody action on screen.
In terms of core game play not much has changed in the sequel retaining the top down, beat ’em up style that made the original so intriguing. Gone is the linear progression system where you’d unlock new masks that you can use with any mission, instead now you unlock masks for certain “fans” and weapons for others. The variety now comes from the different characters you’ll be playing which either have a choice of 3 different things or simply have some abilities natively. Whilst I’m sure this was done to encourage players to branch out a little bit (I have to admit to stick to “lethal doors” for pretty much all of the original game) it does feel a whole bunch more restrictive, especially when some of the characters are a lot more fun to play than others.
The combat is a mix of brutal, twitch based game play that requires you to think and act fast and more methodical, pragmatic approaches that require you to sit back and learn the level before charging in head first. The driving music and incredibly satisfying noises you get when hoeing through a whole level of enemies pushes you towards the reckless end of the spectrum constantly which makes the more slow and methodical sections feel a little out of place. Indeed those levels are by far the most difficult as it typically takes several perfectly placed manurers in order to get to the next section. Then, if you weren’t paying attention, you can make that next section incredibly difficult for yourself, as I managed to do several times over.
Still there’s very much a sense of most (I’ll come back to this in a second) of your mistakes being your fault rather than the game punishing you so there’s a certain sense of satisfaction in figuring out how to best approach something. Over the course of the game you’ll start to figure out how long certain enemies wait before shooting, how far away they’ll hear gunshots and why your bullets don’t seem to hit someone when you first open the door (hint: you’re shooting the door). Unfortunately however there are numerous aspects of the game that simply can’t be overcome by skill and this can lead to some rather frustrating experiences.
To start off with most enemies can shoot you before you can see them, even if you’re using the “look” thing. This goes both ways, allowing you to shoot some enemies before you can see them, however it means that sometimes when you’re walking down a hallway you haven’t been to yet you’ll die to stray gunshots you won’t know were coming. There’s also numerous enemies which either don’t react consistently or are essentially coin tosses as to whether you die to them or not which can make an otherwise perfect run fall completely on its face. Indeed whilst I’m happy to admit that a lot of my failures were due to me simply doing retarded things there were more than a handful where I’d get most of the way through a level before getting rail roaded by something I felt I had no control over.
However the biggest flaw in Hotline Miami’s second coming is by far the level lengths which have increased dramatically in most cases. For most games this would be a good thing, allowing you to really immerse yourself in the game world and soak in all the detail. With a game like Hotline Miami 2 however it just becomes exhausting as you have to slog through stage after stage in order to get to the end. Indeed this style of game which seems to hinge on being frantic, by-the-second style action suffers tremendously when its drawn out over a 30+ minute period, something which will routinely happen to anyone who’s not godlike with twitch based games like this.
The story remains one of Hotline Miami’s strong points and, whilst I enjoyed it, it’s hard for me to say whether or not I fully understood it on my single play through. In fact the most easily understood sections, for me at least, were the psychedelic episodes that a few of the characters endured whilst the broader plot points seemed to have eluded me. There’s ties back to the original (or at least I think there are as some of the faces look awfully familiar) which I would say much the same about. I guess where I’m going with this is Hotline Miami 2 has a story that requires multiple sittings to fully understand but is more than passable on a single play through.
Hotline Miami 2: Wrong Number brings back the brutal top down beat ’em up that became an instant classic 2 years ago and does so with renewed vigour. The art and sound has been ramped up significantly with the pixelart looking oh-so-good and the list of artists on the soundtrack swelling significantly. The combat has remained largely the same with a few tweaks here and there to encourage players to branch out of their comfort zones. However it’s marred by some mechanics that feel unduly fair and significantly increased level length that, rather than feel engrossing, just end up being exhausting slogs. Overall Hotline Miami 2: Wrong Number is still great at what it does and if you were a fan of the original you’ll be right at home with its sequel.
Hotline Miami 2 is available on PC, PlayStation3, PlayStation4 and Vita right now for $14.99 on all platforms. Total play time was 7 hours with 31% of the achievements unlocked.
Far Cry releases have been like clockwork for the first 3 instalments, coming out every 4 years at roughly the same time. That made it something of an oddity in recent times as nearly every other game that had its level of success transitioned quickly to the yearly release model and most suffered for it. The most recent release of Far Cry however came just 2 years after its predecessor, signalling that either the developers had found a way to cut 2 years from their dev cycle (not likely) or the pressure to release more often had finally got to Ubisoft. Whilst I tend to think the latter is more possible (especially given Ubisofts penchant for frequent releases) Far Cry 4 doesn’t seem to have suffered much due to the shortened development cycle and even manages to improve on its predecessor considerably.
You play as Ajay Ghale, a native of the land of Kyrat (most likely Nepal) who has returned to his birth land to fulfill the last dying wish of his mother: to scatter her ashes in Lakshmana. This is not as easy as it sounds as Kyrat has been in the grip of a brutal civil war for decades, ruled over by a dictator who has crowned himself king of all things. Upon trying to sneak into Kyrat you’re stopped at a military checkpoint and it doesn’t take long before things start going south. Then, for some unknown reason, the dictator himself shows up and takes you away to his palace high in the mountains of Kyrat. It is there you find out why he is so interested in you and why it is you who must free Kyrat.
Even though Far Cry 4 shares an engine with its predecessor I have to say that the graphics do feel like a big step up. Part of this might be the difference in scenery which now contains numerous sweeping vistas rather than the dense jungles of Far Cry 3. My rig also struggled with the default settings (something which I don’t recall happening previously) which is partly due to its age but also speaks to the higher graphical fidelity that Far Cry 4 has. Some of the issues I experienced previously did come across again (like they extremely noticeable tearing) however they were solvable and so they didn’t impact my game experience too much. If anything Far Cry 4 highlighted the fact that the new PC I’ve been fantasizing over would be a worthy investment, especially if I could run a game as pretty as this on max settings.
Ubisoft appears to have settled on the formula for the Far Cry series with the vast majority of this instalments mechanics being taken directly from its predecessor. You’ll be running around a large map, taking over radio towers, liberating outposts and doing all sorts of odds and ends type missions that will get in your way when you’re trying to travel between two points. There’s dozens of weapons available at your disposal, some of which you will only be able to access after completing certain missions or objectives. The talent system makes a comeback with a slightly tweaked progression mechanism which makes it slightly more relevant than it was in Far Cry 3. There are also some notable quality of life improvements made that vastly improved my enjoyment of Far Cry 4, some of which I think should make their way into other open world games.
Combat feels roughly the same as its predecessor with the aiming down sights still not feeling as accurate as it should be but overall retaining a highly polished feel. Whilst stealth is always an option (more on that in a bit) you’ll often find yourself in the midst of an out and out gun fight, tearing your way through wave after wave of enemies before you can move forward. For the most part these encounters are laid out well, giving you various routes to victory. Some approaches are far better than others of course but it wasn’t often that I found myself without the requisite firepower to make it through a section. In-vehicle combat, whilst improved, still feels a little janky although I can see it being passable in a co-op scenario.
The stealth mechanics are, again, largely similar to Far Cry 3 with a meter filling up until you’re detected and all hell breaks loose. On first pass the stealth doesn’t work as expected as there are numerous times where you can’t see an enemy but they can easily see you. From what I can tell this is because leaves and bushes don’t block their line of sight, necessitating you to hide behind something more “solid” in order to block it. However once you’ve worked out the boundaries of their detection it becomes quite easy to pick off everyone in an outpost with the crossbow with the few heavies easily taken care of with a suppressed sniper rifle. Overall it felt like an improvement even if it did require me to adjust my playstyle a bit for it to be useful.
The talent system is the main way you’ll progress your character, spending your talent points on various skills and enhancements. The levels come fast enough that you usually won’t be waiting long to unlock that skill you want but at the same time none of the skills are exactly game breaking. The unlocking of additional skills being tied to campaign missions and side quests is a good way to encourage players to do things that they might not otherwise do and does provide a more organic approach to progression than Far Cry 3 did. The crafting system is pretty much identical to its predecessor, providing an ancillary progression system that’s still more of an also-ran than anything else.
However there are 2 standout features of Far Cry 4 that made my experience with it so much better: autodrive and the home base. I can’t tell you how tedious it is to have to drive everywhere in these open world games, especially ones like Far Cry where you’ll likely encounter have a dozen events along the way (most of which attempt to kill you). Autodrive allows you to just set it and forget it, taking a ton of tedium out of the game whilst still allowing it to retain that large open world feel. The customizable home base is a godsend once you upgrade it to have a helicopter there permanently, ensuring that you’ve always got the best means of transport at your disposal. These two things together were enough to see me come back far more often than I otherwise would have as they removed nearly all the tedium from the game.
The story however suffers from the almost trademark confused execution that plagues the Far Cry franchise. Whilst it thankfully retains a consistent antagonist throughout (unlike Far Cry 3 which lost all of its impact halfway through) it seems to be caught between not taking itself seriously and taking itself far too seriously to do the underlying story justice. I think the main problem is that your character isn’t given the requisite build up before he’s thrust into the action, unlike in Far Cry 3 where your initial escapades are fuelled by luck and naivety. It’s a shame because there are some really brilliant scenes dotted throughout the main story (the opium factory raid and the Shangri-La missions stand out with this) but there’s just that missing element that binds everything together into a cohesive whole.
Far Cry 4 is an evolutionary step forward for the franchise, improving on nearly all aspects of its predecessor which results in a far better title overall. The decreased development time between Far Cry 4 and its predecessor shows that Ubisoft has settled on a formula for the franchise one which, in my mind, seems to be working quite well for them. There are still some rough edges however, ones that I’m sure can be smoothed out with further polish, and hopefully the next instalment in the series can get the story right which would greatly elevate the franchises station within the open world genre. All that being said Far Cry 4 is still a solid game, even for people like me who typically aren’t fans of the genre.
Far Cry 4 is available on PC, PlayStation3, PlayStation4, Xbox360 and XboxOne right now for $79.95, $89.95, $99.95 $89.95 and $99.95 respectively. Game was played on the PC with a total play time of 17 hours.
The one review per week deadline I’ve set myself is both a blessing and a curse. I have certainly broadened my gaming horizons considerably since I first started doing it having played many titles I would’ve otherwise let slip by the wayside. Unfortunately it also means that I usually pass on titles that require a heavy time investment as I simply can’t do them justice. However there are exceptions and Dragon Age: Inquisition, a game who’s predecessors I’ve played (and loved) in the past, is one I certainly couldn’t pass up. So, after shirking off all my other responsibilities for the past week I’ve managed to work my way through Bioware’s latest RPG, and I’m incredibly glad I did.
It has been one year since the events of Dragon Age 2 and the world, still reeling from the last blight and the turmoil in Kirkwall, is set to face another threat. The sky has been rendered asunder in a massive explosion that destroyed the Chantry’s most sacred of temples with you, bearing and strange green mark on your hand, being the only one to survive it. Whilst many want you to be put to the axe immediately Seeker Cassandra steadies their hands in the hopes that you will be able to close the breach between this world and the fade. To do this she invokes the right of the Inquisition, severing ties from the Templars and Chantry to form a new order to close the breach and seek its cause.
At first I thought Inquisition was running on some kind of supercharged Unreal engine, due to the way it used specularity, however it turns out that it’s powered by none other than the Frostbite 3 engine, the same one that’s behind the beautiful graphics of the Battlefield series. Compared to its predecessors Inquisition is definitely a major step forward with everything taking on a new sense of scale and detail. Surprisingly this doesn’t come with it’s usual associated cost of stuttering frame rates, something I was quite impressed with. It may not be Skyrim-modded-to-the-nines beautiful but it’s definitely a game that would be best played on a current generation hardware.
The sheer breadth of Inquisition is something that’s hard to understate, something which is wholly a product of the previous instalment in this series being panned for its limited nature. The core of the game still remains the same, it’s a Bioware RPG that has a heavy focus on the story and your role within it, but surrounding that are numerous quests, challenges and other activities that I’m sure adds up to well over 100 hours worth of play time. Layered on top of all of this is the War Room, a birds eye view map of Orlais and Ferelden that allows you to send your advisors on missions to gain influence, rewards or to unlock further missions for you to pursue. It shows that Bioware has listened to the feedback regarding how narrow Dragon Age 2 felt in comparison to its other RPG titles, even if they may have overcompensated to the point of impacting other things (more on that later).
Combat feels like an evolutionary improvement of what was done in Dragon Age 2, keeping the same action-RPG focus whilst attempting to add in other mechanics to make the traditional RPG style more accessible. Instead of the traditional pause mode Inquisition instead gives you a Tactical Camera which allows you to look around the entire combat field and assign actions to your party. It’s not a requirement to use it however as the behaviour system for your companions is back in and, thankfully, is coupled with a much more competent AI that’s able to recognize its new abilities and when it should and shouldn’t use them. Probably the most notable change is though is that the healing system has been completely revamped with no character class having a native healing ability and the number of healing potions given to your party fixed at a certain amount. What this all adds up to is a combat system that’s far more streamlined, lending the focus more to the action than the minutia.
This also means that the strategies you’ll use in Inquisition are going to be far different than any other RPG out there. Instead of ensuring you have the holy trinity set up you’re far more focused on controlling combat, setting up combos and making sure you use other survivability options so you don’t churn through your potion stash too quickly. My party make up usually consisted of a 2H warrior (me), dual wield rogue (Sera), control mage (Dorian) and a frontline tank (Blackwall). The combinations of control from the mage and tank warrior meant that both Sera and I were able to set up extremely devastating combos, some that could drop an entire group of enemies in just a couple hits. There were a couple issues with survivability, especially with mechanics that would drop half your health bar in one hit (not giving them a chance to us a potion) but for the most part once I got past the first 5 hours or so I felt essentially untouchable.
Indeed those first 5 or so hours are probably the most difficult and probably worst paced of the game. Now some of the issues I encountered with not being at the right level might have had something to do with my “go for the story missions first” play style, however once I was over that initial hump whenever I needed to level myself up I didn’t feel like I was struggling to find missions to fill the gap. I think this is probably due to the differences between say, level 3 and 6, being far more drastic than the differences between later levels as I certainly didn’t feel that the later levels made as much of an impact as the first 10 or so did. What was a bit of a chore sometimes was the grind to get power so I could unlock the next set of missions but again this was probably due to me attempting to smash out the storyline rather than meander about.
The crafting system has been shaken up considerably allowing you to create all sorts of highly customized armour and weapons to suit your needs. There’s 3 top level categories of materials (cloth, leather and metal) which have dozens of different types and levels beneath them. This is what allows you to craft armour and weapons with varying characteristics although you’ll likely find you don’t have enough of a particular type to craft the perfect item, even if you’re the stereotypical RPG kleptomaniac. This will then lead you on a hunting expedition for the resources you require something which doesn’t take too long but can feel a little bit grindy if you’re going for the premium materials. However the result can be well worth the grind as I carried my first craft sword through numerous levels.
The war table is an interesting addition, taking its cues from other non-player mission systems like those found in say Assassin’s Creed: Brotherhood. Most of the benefits you’ll gain from sending your advisors on missions aren’t exactly game breaking but every so often you’ll stumble onto something that can make a decent difference in how your game plays out. There does come a time when you’ll run out of the long duration missions however, which puts you in the rather unenviable position of either travelling back to the war room every 15 minutes or simply letting them slide until you next return. Overall I think it’s a good way to keep the story going whilst adding in another avenue to build back story for the world but I probably wouldn’t miss it if it was gone.
This massive amount of content within the game, whilst impressive, has come with an unfortunate cost. As it stands right now the game is riddled with numerous bugs, some of the innocuous and fun, others game breaking or terribly annoying. Many people, myself included, experience random crashes to desktop with no discernible pattern. Others experience weird things like their characters voice changing from male to female or, and this one is particularly frustrating for someone like me who invests an inordinate amount of time recreating himself within the game, change from one voice type to the other. My originally deep voiced character changed to the higher pitched British actor half way through the game, a bug that currently has no fix in sight. This frustration is only compounded by the interface often forgetting that I had a mouse, refusing to respond to any input from it until I ALT + TAB out and back in again.
Whilst I initially wrote this off as a typical Bioware RPG, which have a reputation for doing this, it became hard to make excuses for them the further I got into Inquisition. Sure, it’s clear that they took the feedback about Dragon Age 2 to heart, however at the same time it’s obvious that they sacrificed on polish in order to jam as much content in as they could. Whilst I understand that patching issues, especially the number which are evident within Inquisition, takes time we’re now a week past launch and there’s no patch in sight to fix some of the more glaring issues with the game. Inquisition is still a fantastic game, it’s just held back from where it should be because of these problems.
The incredible scale of Inquisition extends to its story with nearly every aspect of the world getting the full Bioware backstory treatment. Most if it is unfortunately hidden behind giant walls of text that you’ll have to wade through, however for your companions and major story NPCs they will gladly regale you with troves of information about the world and their place within it. At the same time there’s not an incredible amount of reliance on the previous titles to provide context on the events that are occurring, something which I think many of us will be grateful for given the fact that it’s been over 3 years since we last ventured into the Dragon Age world. Truly Inquisition is one of the shining examples of a game that puts a great emphasis on its story and the world which it exists in.
As to the tale of the Inquisition itself there are numerous moments I could point to (which I won’t, since they’re spoilerific) where the story really shines. It’s a classic hero’s journey, building you up from someone who was in the wrong place and the right time to a leader who inspires all those around him to achieve great things. There are a few moments which stick out in my mind brilliantly where I felt part of something much larger than myself, a notable achievement that few games have managed to replicate. The over-arching story does a great job of making you feel like you’re building towards something greater however the final pay off felt a little anti-climatic. I think this is probably because other games make the penultimate fight feel like you’re going up against insurmountable odds whereas in Inquisition I had cornered my prey and was simply there to deal the final blow. That’s just my impression however, something that may be tied into the fact that I was literally unstoppable at the end.
Dragon Age: Inquisition is a rare example of a sequel surpassing its predecessors, bring a sense of scale and depth that’s rare to see in any game. All the elements that made the original Dragon Age great are there, from the combat to the story to the ancillary elements around them, and the summation of those parts is so much greater than they would be individually. This greatness is however dulled by the numerous issues that plague the game, ranging from the annoying to the down right game breaking. However, despite that, it’s a hard game to put down as everything else about it draws you back in, taunting you to play just one more mission or to follow the end of that quest chain. Suffice to say I think Dragon Age: Inquisition is by far the strongest instalment in the series and it will only get better once Bioware starts patching it.
Dragon Age: Inquisition is available on PC, PlayStation3, PlayStation4, Xbox360 and XboxOne right now for $89.95, $99.95, $109.95, $99.95 and $109.95 respectively. Game was played on the PC with a total of 29 hours of play time and 48% of the achievements unlocked.
The Call of Duty franchise is strangely polarizing among gamers. For some it’s one of the most abhorrent examples of what the current games industry is, with yearly product cycles and numerous DLCs coupled with lowest common denominator game play. For others they’re something else, an equivalent to the popcorn titles that grace the cinemas, to be enjoyed for the spectacle that they provide and nothing more. I most certainly fall into the latter camp as I enjoy the titles for what they are and am usually done with them before the first DLC drops. The latest instalment, Call of Duty: Advanced Warfare, ramps up the ludicrous by taking us to the near future where technology is so advanced it begins to look like magic.
The year is 2054 and you are Private Jack Mitchell of the United States Marine Corps. Your first mission is to support South Korea as their brothers from the North have finally decided to make good on their endless tirade of threats. During the fighting however one of your brothers in arms is struck down and a piece of flying debris severs your arm. Several days later at his funeral you’re approached by his father, Jonathan Irons, CEO of Atlas Corporation, the worlds most powerful military contractor. He offers you a second chance, to get back into action and to right all the wrongs that led to the deaths of people like his son. Equipped with the latest military grade prosthetic arm you follow his lead into battle but it soon becomes clear that Irons’ goals are far more ambitious than you could have known.
In it’s default state Advanced Warfare, to put it bluntly, looks like absolute garbage. I’m not exactly sure why but it seemed to assume I was running it on the computing equivalent of a dry potato and dialled the graphics all the way down to its barest minimums. Now my machine is by no means cutting edge but it’s been able to handle every other Call of Duty title at near maximum settings without hassle. Tweaking everything upwards however brought back the level of graphics I had come to expect from such high budget titles without the performance hit I was dreading based on the initial settings it had chosen for me. Whilst there were fewer stop and gawk moments than previous titles (mostly due to the insane amount of action going on) it’s still a rather good looking game, a big achievement considering how many platforms it was released on.
Advanced Warfare’s plays pretty much how you’d expect it to, given its Call of Duty lineage, however it’s the first in a long time to introduce a core mechanic that shakes up their traditional corridor shooter game play. For the most part you’ll still be running through tight urban environments, laying waste to the enemy du jour, however now you’re equipped with an Exosuit that bestows upon you certain abilities like being able to double jump or regenerate health. The near future setting has also allowed first time Call of Duty developer Sledgehammer Games a great deal of freedom in designing the weapons, some of which are pure science fiction goodness. All this, combined with a couple new interesting mechanics, makes Advanced Warfare a far more varied and interesting game to play than its Call of Duty moniker might first lead you to think.
Combat is, as always, smooth, refined and incredibly fast paced. It’s great to see that Sledgehammer Games was able to replicate the essence of what keeps people coming back to the Call of Duty franchise with their first title as it could’ve easily gone the other way. For the most part combat is challenging enough, punishing you for mistakes whilst rewarding you for good play, however some of the larger battle scenes suffer from an overzealous AI who will pin you, and only you, from every angle. This can lead to some frustrating sections where you have to carefully plod your way through, even though the scene seemingly wants you to run out guns blazing. This may be a function of me playing on the second hardest difficulty but still, sniper accurate AIs using SMGs at long range doesn’t make sense no matter what way you slice it.
The exosuit is by far the stand out mechanic for Advanced Warfare as it’s almost a free license for the developers to give you any kind of power for a specific situation. This includes the rudimentary things like slowing down time and regenerating health to more ludicrous items like cloaking and an unlimited grappling hook. These abilities also allow for many of the maps to be more open than they have been in other Call of Duty titles, allowing you some more control over how combat plays out. Unfortunately you’re never given control over how your exosuit is configured which is a bit of a shame since there are some abilities I’d favour more over others. There is a rudimentary upgrade system for the single player campaign which can turn you into a rather broken super solider if you invest your points well.
I didn’t get much of a chance to sit down with the multiplayer side however it does appear that Advance Warfare makes a return to the smaller, tighter maps that were favoured in previous Call of Duty titles.This means that the spammy, rushy game style that I like to play is viable once again and even with the default classes I found myself being pretty effective, something which usually isn’t the case. However the handful of games I played often suffered from lag, spikes and rubber banding which made it far more frustrating to play than what it should have been. I’m not sure if this is a function of the number of players or just some incredible bad luck but it seemed if there was one laggy person we’d all end up suffering.
Advanced Warfare, whilst being a highly polished game in most respects, still has a few rough edges that I hope will be smoothed over in Sledgehammer Games’ next release in the franchise. I had numerous occasions where enemies were able to shoot through walls, a frustrating thing to happen when you get behind cover only to die to a hail of gunfire that shouldn’t be able to hit you. The sound engine also seems to struggle when you change between headphones and speakers, even when you change it from within the game. Whilst these are issues you can work around they still add a layer of frustration that shouldn’t be in a big budget title like this but I’ll give Sledgehammer Games a pass since this is technically their 1.0 release.
The story of Advanced Warfare is your pretty typical Call of Duty shtick, light on the details and back story but makes up for it in spades with action and explosions. After the first hour it’s pretty easy to figure out where everything is going but with high calibre talent like Kevin Spacey on board it’s hard not to get drawn into it regardless. So whilst you might not have the emotional investment in the characters to warrant the kind of reaction the writers were going for it’s still enough to drive the game forward.
Call of Duty: Advanced Warfare was a gamble that has paid off for both the franchise and Sledgehammer games, demonstrating that they’re able to replicate all the things that make this series great. The combat is fluid, fast paced and satisfying, expanding on the traditional corridor shooter with additional mechanics that are pure, and awesome, science fiction. It may be let down somewhat by its story and rough edges but overall it slots beautifully into the franchise. This should hopefully then flow on to the rest of the Call of Duty titles as they’ll now have an extended development time frame, something which can only lead to bigger and better things. For lovers of fast paced corridor shooters you really can’t go past the Call of Duty series and Advanced Warfare, I’m glad to say, is another great instalment.
Call of Duty: Advanced Warfare is available on PC, PlayStation3, PlayStation4, Xbox360 and XboxOne for $89.95, $99.95, $109.95, $99.95 and$109.95 respectively. Game was played on the PC with a total of 8 hours played and 49% of the achievements unlocked.
There are few games that manage to mix elements of different genres together well enough to produce a playable game but the Borderlands series stands out as one of the best examples. There’s the right amount of RPG style elements, with all the loot, levels and specializations you could ever want, combined with the fast pace of a modern shooter. That, along with it’s never-takes-itself-seriously style, makes Borderlands games an incredible amount of fun to play even years after they’ve been released. The latest instalment, Borderlands: The Pre-Sequel, continues along the established tradition bringing the same experience that Borderlands fans have come to expect.
Long before Jack became the handsome bastard that he was in Borderlands 2 he was just a simple Hyperion programmer based on the Helios satellite orbiting Pandora. Still he aspired to be something greater and that’s where you come in vault hunter as Jack wants to find the vault and plunder its secrets for himself. However as you’re making your way to meet him on Helios you’re ambushed by the Lost Legion, a group of fanatical soldiers led by the fearless Colonel Zarpedon, who then take over Helios. Now it’s up to you to fight your way through them in order to retake Helios and, hopefully, find your way down to Pandora to find the coveted vault.
The Pre-Sequel retains the same visual style of its predecessors, bringing along with it some noticeable improvements to the visual effects such as the lighting, physics and particle systems. It still uses the same engine as Borderlands 2, which is the main reason you won’t see it on previous generation consoles, so the overall feel of the game remains largely the same. It’s at this point where my rig was starting to show its age as after tweaking with a few settings the game rapidly descended into unplayable territory, something I had never experienced with the previous Borderlands title. Once I figured out what I was doing wrong (cranking up PhysX without an NVIDIA card was probably bad idea) the game was buttery smooth throughout.
The gameplay of The Pre-Sequel remains largely the same as its predecessors, giving you the same hybrid RPG/FPS experience with all the Borderlands style trimmings. There are 4 character classes to choose from, each of which is roughly equivalent to the same kinds of character classes from the previous 2 titles. They are unique in their own right however and the skill trees further differentiate them from anything that’s come before. You’ll be collecting dozens of guns again, however this time around you might not be leaving all those greens on the ground thanks to the newly introduced grinder mechanic. Apart from that The Pre-Sequel will play pretty much the same as both of its predecessors, for better or for worse.
Combat flows between you being an unstoppable killing machine, able to lay waste to dozens of enemies without breaking a sweat, to feeling like you’re banging your head against a brick wall. Part of this is due to the game’s slightly off pacing as I often found myself several levels ahead of many of the side quests by the time I got around to them which made me not want to do them. There’s a real dearth around the level 20~24 bracket which I got around by fishing out a couple quests and grinding the enemies, something which put me off playing for extended periods of time. Past that point though it started to feel a lot more balanced with my mistakes rightly punished but careful strategy was rewarded properly.
I chose to play as the Enforcer which seemed to match my desired play style pretty well. His action skill summons 2 drones, one that continually heals you and the other who hunts down enemies for you. It felt like probably the best “OH SHIT” action skill out of the lot since I could summon them just before I died and I’d usually end up getting a kill before the second wind timer expired. I did however opt for the more character focused skill tree which made certain gun types absolutely ridiculous at dishing out damage, especially if my shields dropped and I had just offed another enemy. Towards the end I became completely unstoppable however as I, somehow, got my shield recharge rate down to almost instant, allowing me to tank pretty much any enemy face on.
Loot will come at you thick and fast in The Pre-Sequel, much like it did in the previous 2 games. However The Pre-Sequel introduces the Grinder, a machine which allows you to combine 3 items of the same quality into one, hopefully netting you a better item. If you’ve got a hole in your gun selection and nothing good seems to be dropping then this can be a great way to fill it. However it does have an upper ceiling as you can’t combine 3 epic items into a single legendary (you can only create legendaries by combining 2 legendaries with an epic). I can somewhat understand the reasoning behind this, it’s for those end game gun raiders who are looking for the best gun possible, but it was a little annoying to find that out after I had saved up 3 epic pistols hoping to get myself a shiny orange.
Probably the biggest issue I have with The Pre-Sequel is that it’s just too similar to Borderlands 2. Its predecessor introduced a whole host of new mechanics that made the game fresh and gave the end game players something to progress. The Pre-Sequel on the other hand feels pretty much like an expansion pack to Borderlands 2 as nearly everything is the same, just with new character classes and an additional loot generation mechanic. I’m sure Borderlands purists will love this aspect of the game but for those of us who like to see franchises grow and expand past their roots it’s a little painful to see something spin its wheels, even if the game itself is pretty enjoyable. This is most certainly reflective in my total playtime which is a stunning 9 hours less than in the previous title.
The Pre-Sequel’s story definitely has some moments of brilliance in it, especially with the Australian humour weaved into it. Of particular note is Jack’s transformation from a run-of-the-mill Hyperion employee to the insane psychopath you crossed paths with back in Borderlands 2, even if some of the events that happen feel a little forced. The rest of the characters are pretty much throwaways with enough backstory for you to know why they’re there but nothing to make you care for them in the slightest. It’s pretty much par for the course in the Borderlands series, much like the rest of the game.
Borderlands: The Pre-Sequel is sure to delight long time fans of the franchise as it brings the same hybrid FPS/RPG experience that keeps many of them coming back for years after initial release. However that’s also what makes the game somewhat weak in comparison to its predecessors; it fails to innovate past the benchmark that Borderlands 2 set all those years ago. Suffice to say I still think it’s worth playing however it’s longevity, at least for me, was drastically cut short due to the high levels of similarity.
Borderlands: The Pre-Sequel is available on PC, PlayStation3 and Xbox360 right now for $89.99, $79.95 and $79.95 respectively. Game was played on the PC with 16 hours of total play time and 38% of the achievements unlocked.
We seem to be going through a revolutionary period in gaming where IP from other mediums is suddenly finding its feet, becoming on par with (and even surpassing) experiences that were born within the gaming genre. Many will agree that this started 5 years ago when Rocksteady Studios released their seminal title: Batman Arkham Asylum. Since then many other titles have followed in its wake, staying true to the original IP whilst creating an experience that you simply could not get in any other medium. The latest addition to this style of games is Middle Earth: Shadow of Mordor, set between J.R.R Tolkien’s novels The Hobbit and The Lord of the Rings, which takes the source material and turns it into an experience that is among the best I’ve played this year.
You are Tailon, ranger captain stationed at the Black Gate in Mordor, sworn to keep watch over Mt Doom and all the horrors that dwell within it. The dark lord that dwelled within those lands had not been idle however, growing his vast army of grotesque orcs and uruk quietly, leaving the world of man to think they were safe once more. One fateful day he unleashed them upon the Black Gate, killing everyone within it. But your life wasn’t to be taken, instead you were bound to an unknown wraith spirit in a horrific blood sacrifice, unable to die and bound to the mortal plane. Now, with your new found wraith powers, you look for vengeance and the means with which to end this existence so you can be with your family once again.
Shadow of Mordor is quite the pretty game with scenes ranging from sprawling vistas to cramped caves and busy garrisons. The graphics still have that last-gen feel to them, mostly attributable to the choice of colour palette, however they’re certainly not bad on the eye. It’s also probably due to the choice of engine as well as Shadow of Mordor uses the LithTech Engine which hasn’t seen a game on it in the past 2 years. Still it manages a good level of graphical fidelity given its open world nature which manages to run smoothly even on my now aging rig. I’ll admit that I might be giving it a bit of an easy pass in this regard since I’m coming fresh off the horror that was Dead Rising 3 as by comparison Shadow of Mordor is liquid smooth.
In terms of game play Shadow of Mordor feels like it’s a cross between several different titles, taking aspects from each whilst integrating a new mechanic that binds and elevates the whole experience. At its core Shadow of Mordor is an open world game,. giving you dozens of missions to do any of which will help progress your character, the story or will help you get all those collectibles which so many people seem to lust after. The combat takes after the Arkham series of games in the classic beat ’em up fashion. Then there’s the RPG elements in the character levels and talents alongside the gear upgrade path which takes the form of runes and a kind of currency that you’ll need to spend to unlock more slots. However the best part of the game is the Nemesis system, whereby members of enemy faction grow stronger, fight with each other for power and provide you with challenges to avenge your friends who’ve been cut down by them. Shadow of Mordor really does pack a lot of game into it’s (non-Australian taxed) asking price and I’m sure there’s double the amount of game play in it for dedicated fans.
Whilst the game wasn’t developed by either Rocksteady or Warner Brothers Studios the combat feels like they lifted the entire system right out of one of their Arkham series titles. As anyone who’s played those games can attest combat systems such as those are incredibly enjoyable to play, offering the right balance of challenge and reward, at least at the start anyway. You’ll start out struggling to deal with large crowds of orcs but you’ll soon morph yourself into an unstoppable killing machine, nigh on impervious to any attack the game might throw at you. It can get a little repetitive though as the ultimate abilities are simply unlimited versions of regular abilities but most of the time you’ll still feel like the ultimate badass when you come out on top of the two dozen orcs you happened across.
The upgrade system is well thought out in most respects, giving you the feeling of progression often enough that you won’t find yourself feeling like you’ve gone hours without the game rewarding you. There’s 2 stages of progression for your character namely your ability points and power level. The ability points are gained in the regular way, getting XP via missions and killing things, however power is only gained when you resolve power struggles, kill captains/warchiefs or do any of the other assorted red missions. It really doesn’t take long to unlock all tiers of abilities, enough so that I had access to the final tier about halfway through the game. If you’d prefer to keep the challenge up then all you need do is avoid the red missions however if you want to become ridiculously overpowered you’re no more than an hour or two away from doing so.
The loot and gear upgrades feels a little less polished as you’ll get runes from defeating captains but what you get is a little random. You can ensure a drop of a certain type by exploiting weaknesses and fears but unless you’ve deliberately died to a captain several times over you’re not likely to get a good drop from them. You can break down the runes into the currency to fuel the other upgrades however I feel like it would’ve been better to have a rudimentary crafting system in there to upgrade them. I usually had several runes of a type that I really liked but they weren’t powerful enough to use on their own. If I could combine say, three into one, to get an upgrade I feel like that would’ve been a lot better than praying to RNGesus every time I killed a captain or warchief.
I couldn’t publish this review without mention just how awesome the nemesis system is as it provides this kind of player driven narrative on top of the core story of Shadow of Mordor that’s just incredible. Essentially the uruks fight each other in order to gain power and you fight them to gain power as well. Should you die to one they’ll grow in power and, potentially, move up the ranks and get followers. If you’re so inclined you can even influence them to move up ranks, get them to usurp their own captains or turn on each other. Couple that with the wide variety of responses that the uruks have upon seeing you (knowing you’re using someone to betray them, how many times they’ve killed you and so on) and even facing the same enemy again doesn’t lose its lustre. It’s an incredibly deep system and one that’s sure to provide enjoyment to both story players like myself and those that just revel in open world games.
Whilst the story probably isn’t the strongest part of Shadow of Mordor it is most definitely above the average dreck that I’ve been making my way through this year. The main premise probably needed a bit more development in order to make that initial emotional moment a bit more impactful, and thus make me empathise with the main character a little more, but it didn’t take me long to get into it. Since this is drawing on the wider Tolkien IP it does manage to get away with not explaining a lot of things that would otherwise need some rigorous explaining which does aid the story quite a bit. I’ll also have to admit that the ending was so-so, missing that final climclimactictle that I was so looking forward to with my incredibly overpowered character at the ready. So overall I think it’s ok, although on the proviso that you’re already familiar with The Lord of The Rings IP.
Middle Earth: Shadow of Mordor is a game where the sum of its parts is much greater than its whole. The combat is fast paced and satisfying, the progression well paced and the overall look and feel just feels a level above other similar games of recent memory. The nemesis system is really what pulls the whole game together, adding another layer on top of the game that really ramps up how engaged you’ll be with Shadow of Mordor. It’s not a perfect experience by any stretch of the imagine, with the middling story being the biggest mark against it, but the whole package helps to patch over the various minor faults. In all honesty I think most gamers will find something to like in Middle Earth: Shadow of Mordor as its wide variety of mechanics and styles ensures that it caters to an incredibly wide audience.
Middle Earth: Shadow of Mordor is available on PC, PlayStation3, PlayStation4, Xbox360 and XboxOne right now for $39.95, $99.95, $89.95, $89.95 and $99.95 respectively. Game was played on PC with 13 hours of total playtime with 61% of the achievements unlocked.