I’m not usually a fan of reaction based games, mostly because they do a great job of highlighting just how bad I am at them. Sure there’s a sense of accomplishment once I get there, but it often feels like I’ve either brute forced my way through or just lucked out. However seeing people master games like that can be quite entertaining, like watching Rocket League pros juggle a ball like it’s nothing. Ballistic falls along similar lines for me, being incredibly frustrating to play but would definitely make for good watching should someone decide to take the time to master it.
There is a vague notion of a plot in Ballistic, you being some kind of weapon of mass destruction set out to stop someone from capturing a planet (or something along those lines). What you are is a giant geodesic ball that can roll along any surface, shooting itself in any direction at incredibly high speed. Anything you come into contact with is instantly obliterated and that includes any innocent bystanders who happen to be in the way. That sets up the premise for the game: wreck a bunch of things and then find the teleportation pad to take you to the next level. Like many skill/twitch/reaction based games it’s a simple concept that’s incredibly difficult to master.
Ballistic uses the Unreal Engine 4 which means that, at a base level, the graphics aren’t bad. They’re quite simplistic, consisting mostly of highly glossy surfaces and geometric shapes, which is fitting given the Outrun-ish theme it seems to be going for. When you’re moving everything turns into a glorious blur of neon but, when you inevitably hit something you get an up close look and things aren’t as great. All the people models have to be store bought assets as they simply don’t fit the aesthetic of the game at all. The other various models (like the guns and whatnot) fit a little better but they’ve obviously been designed to not be looked at too closely. For more skilled players this might not be an issue but for someone like me, who seemed to spend more time still than blasting past, it was hard not to notice it.
The challenges the game presents you are usually pretty simple. Most of them will be a variation on move here, kill this thing and then find this other thing to complete the level. Sounds easy in theory but wrangling the ball to do what you want it to do is a challenge all in of itself. You have a couple controls at your disposal: roll, which allows you to move whilst you’re flat on a surface. Boost which pushes you in the direction of the camera and bullet time allowing you to more precisely aim your shots. You’d think that with these tools it’d be relatively easy to navigate your way around however it’s akin to trying to play billiards in three dimensions more than anything else. In order to get to a certain point you’ll have to estimate your current momentum, what you can add via boost and your time in flight before you hit there. Doing all these things whilst you’re blasting past everything at a million miles an hour is quite the challenge.
That being said once you get a handle on how things all slot together you can more accurately place yourself than you would otherwise. Mashing the boost button the second you leave a surface is most certainly the wrong thing to do, often leading you into unrecoverable situations. Nor is attaining maximum speed the solution to everything as once you get past a certain point the amount of influence you have over where you’re going is diminished significantly. In the end the challenge that Ballistic provides is one of balance: you have to figure out the right mix of everything to achieve your objective. Suffice to say it’s not the easiest game around, one that’s barely deserving of the “casual” tag it’s got itself on Steam.
Ballistic is an extremely challenging momentum based skill game, one that this writer would likely recommend for fiends who enjoyed similar games like Rocket League. The retro soundtrack is what attracted me to it in the first place and, unfortunately, the game play wasn’t enough for me to stick around for too long afterwards. Make no mistake, this is a challenging game, one that will reward those who take the time to master its momentum based mechanics. If, like me, you were seeking something a little less intense though it might be the wrong thing for you. For a specific subset of gamers Ballistic’s challenges will provide the kind of intense action they crave however, for this old gamer, I think I’ll leave my play time with it where it stands.
Ballistic is available on PC right now for $12.99. Total play time was 1 hour.
My history with fighting games runs long and deep. Street Fighter 2: Turbo was my introduction to the scene with my brother and my local friends often battling it out for hours on end. The obsession continued through multiple console generations and titles like Tekken and Soul Calibur. It’s always been a genre that has only ever done well with local multiplayer, the few forays I’ve had into online fighting games stymied by lag (a sin in a frame perfect world). So when I saw For Honor, a fighting game/hack and slash hybrid, I was instantly intrigued. However the execution has unfortunately brought back some bad memories whilst cementing a few not-so-great ones.
For ages the world of man has been at war, spurred on by the upheaval of the world that came without warning. But the world has always searched for peace and for a time it has come. However there are those who seek to return the world to war; to find the strongest to rule over the weak. You are but a pawn in this war, ordered to do the bidding of Apollyon: the one who seeks nothing more than eternal conflict. Are you a sheep who awaits their slaughter? Or will you rise as a wolf among those sheep and feast upon those who fall to your blade.
For Honor is a spectacular looking game, one that’s sure to make good use of all the horsepower available to it. This comes to us care of the AnvilNext 2.0 engine which has powered the last 2 Assassin’s Creeds, Steep and Rainbow Six Siege. All the modern trimmings like physically based rendering, proper global illumination and realistic cloth and weather systems are all present and very noticeable. It’s one of the few games which, at least on my system, looks far better in the cut scenes that aren’t pre-rendered. If you’re playing on PC it’s probably worth tweaking a few settings as the selected defaults are a little weird, like turning v-sync on by default (a sin for us G-Sync/FreeSync users). It also manages to maintain fairly consistent performance even when there’s a lot going on, something which is unfortunately rare these days.
The combination of a fighting game with a hack and slash is For Honor’s selling point; an attempt to recreate the kind of epic knightly battles we’re all used to seeing in movies. How it works in practice is thus: you’re on a battlefield with other players (and AI, if you’re playing a mode with them) and when you and another player lock eyes with each other you go into fighting mode. After that point it’s quite like a traditional fighting game with all the combos, blocks and parries that fighting game veterans will be familiar with. Of course if you’re playing with more than one other player there’s every chance you’ll be ganged up on (or be doing that yourself to others) which changes the fighting dynamics considerably. Outside of that part of the game you’ll likely be running around slaughtering the AI whilst capping points. There’s 12 classes to choose from and as you play through the game you’ll unlock new abilities and loot to customise both your looks and stats. It’s a lot to take in at first look but the mandatory tutorials ensure that you’ll have a firm grounding before you’re thrown into the mix with other players.
The online combat however unfortunately suffers from what all online fighting games have: lag. For Honor is probably the only game that I know of that utilises a peer to peer netcode that also includes each player running their own simulation. What this means is that, instead of one player keeping the game state consistent (which can give rise to the “host advantage” issue) each and every player is calculating the game state. When you’re playing this means that your ping is different to each and every player on the battle field, leading to rather inconsistent results. Moves that would appear to work perfectly on one player will seemingly fail to work on others, some players will glitch around whilst others don’t and, worst of all, one person desynching can end up completely trashing the entire game state and killing the game (I had this happen no less than 3 times).
Part of this is due to the matchmaking which seemingly struggles to find a game even at the busiest periods of the day. Even during “very high activity” periods, as identified by the game itself, it would still have to look at all regions and all player skill levels to find me a game. Undoubtedly this has led to me being matched with people who have pings in the hundreds of milliseconds to me which means we’re dozens of frames apart from each other. It might not sound like much but it can be the difference between being able to parry attacks and getting hit every single time. This lacklustre matchmaking meant that no two games played out the same way, each of them having some kind of annoying lag or netcode related glitch that impacted on game play.
The UI, which was obviously designed with consoles in mind, also needs some love in order for it to be usable. Menu items appear to defy common conventions for where they should be with numerous things stashed under Social or Multiplayer for inexplicable reasons. Further to this the party system, whilst allowing you to send invites in game, requires you to Shift + F2 to accept an invite through Uplay instead. I wouldn’t even bother mentioning a minor annoyance like that if it wasn’t for the fact that the parties also seem to randomly drop players whenever the game feels like it. Honestly for a game that had a relatively long closed beta, as well as a shorter open beta, I would have expected teething issues like this to be sorted already.
The loot system teeters on the edge of being pay to win with obvious gaps between players who’ve dumped cash on it and those who haven’t. Whilst it’s tempered by the fact that all loot is a trade off some are far, far better trade offs than others. This means that, when you’re not matched against similarly geared players, it’s an order of magnitude harder to win than it is otherwise. If you’re skilled enough sure, you can still beat them, but if they’re even mildly co-ordinated there’s really no point in sticking around. Indeed since there’s no penalty for leaving games you should do exactly that if winning is a distant possibility.
The amount of effort put into the single player is surprising, given that much of the game’s marketing focused on the online multi aspect. Unfortunately it’s not particularly engaging as fighting AIs are either outright cheaters or a push over. The story is also somewhat confused, seemingly searching for a reason to match up all the various factions against each other at least once and to demonstrate all the multiplayer maps. Personally if they had gone multi-only I don’t think I would’ve missed the campaign as it felt like a chore more than anything else. After I got bored of playing on hard I dropped it down to easy hoping that would improve things (being an unstoppable killing machine can be fun, for a while) but even that couldn’t slake my boredom.
Despite all this I do appreciate what Ubisoft Montreal tried to accomplish here. It’s rare these days that a game can be truly unique and For Honor, for all its faults, really is a new kind of game. There are some issues that could be fixed easily enough, like the UI and loot system, but further fundamental improvements likely aren’t possible. Fighting games and online play have always had a troubled past and Ubisoft’s attempt at fixing it simply doesn’t work as intended. I honestly don’t know how you’d go about making this work either but there has to be a solution that doesn’t lead to the consistently inconsistent experience that I had whilst playing For Honor. Hopefully Ubisoft sells enough copies this time that they can revisit the IP, potentially with a new idea for improving the netcode in hand.
For Honor is available on PC, Xbox One and PlayStation 4 right now for $59.99. Game was played on the PC with 13 hours of total play time and 78% of the achievements unlocked.
There are two distinct types of stealth games. The first are the ones built around the mechanic, designed in such a way that stealth permeates throughout the game. The second, and sadly much more common, is where stealth is added on as a mechanic at a later point. The difference between these two types of stealth games couldn’t be more stark, with the latter feeling out of place. The former however usually results in a much better experience as stealth is an incredibly hard mechanic to get right, if your game isn’t built around it. Aragami thankfully falls into the former camp, nailing the stealth mechanics beautifully.
You are an Aragami, a spirit of vengeance summoned by Yamiko, a young girl who has been imprisoned by the Kaiho. Her captors are adepts of the light, able to control it with deadly effects. Yamiko tells you that the Kaiho are oppressors of her people and have imprisoned her Shadow Princess along with her. It is then up to you Aragami to free her and take down the Kaiho army to free the shadow realm from oppression. How you go about this however is your choice, although sticking to the shadows is likely a wise choice.
At first glance you’d be forgiven for thinking that Aragami was coming from Telltale as its visual style is very similar. It’s based on the Unity engine however (not Telltale’s aging game engine) and the look is generated by good old fashioned cel shading. Overall the visuals are simple and clean, with little extraneous detail thrown about. Performance on my current rig was perfect, as you’d expect, however I think it’d run perfectly fine on current generation smart phones with little change. The only complaint I’d have is that it starts to get a bit repetitive after chapter 7 or so. It does get better towards the end though as the environments get a little more varied, however.
Aragami, as I mentioned before, is a stealth game. You’re put in an area, given a goal to reach and are left up to get to the other end. Combat is non-existent as one hit from any threat will instantly kill you however you are able to dispose of your enemies, if you deem it necessary. Whilst you’ll initially have to rely on your wits to get through each level you’ll find scrolls that grant you talent points along the way. These will give you a smattering of different abilities to deal with the various situations that the game presents you with. The puzzles are pretty basic however, varying little beyond disabling barriers. Mechanically it’s a simple game but the difficulty comes in how you choose to play it.
Like most stealth veterans I immediately chose the no-kill, complete stealth route. Surprisingly though this is probably the easiest (or second easiest, possibly) route to choose as all you have to contend with there is making it through in one piece. So for the next chapter I attempted to kill everyone which proved to be a much more challenging task. Not only do you have to avoid being spotted you also have to ensure no one finds the corpses you leave behind. I eventually gave up doing it as it always seemed like someone would stumble across the bodies, no matter how well I thought I had cleared out a particular area.
Of course doing that becomes a lot easier if you invest a few points in the right talents, one of which allows you to completely remove bodies. There’s enough scrolls about the place that you could easily max out most of the useful talents in a single play through. Of course there’s a few quality of life ones you probably want to go for first, like the one that reveals where all the scrolls are. Others like the invisibility one are quite useful for just blazing through otherwise laborious sections, something that becomes a life saver later on in the game. There’s definitely a good amount of replayability in Aragami because of these talent choices, something which I’m sure the completist crowd will enjoy.
Aragami is mostly mechanically sound, however there are a few quirks which can trip you up if you’re not careful. It’s clear there’s certain places you’re not supposed to be able to shadow step to, but you can if you get the angles right. Things like tree branches, leaves or other semi-odd geometry provide ample places for getting yourself stuck or completely bypassing an otherwise mandatory challenge. Additionally the invisibility power, with its upgrade to make you apparently completely silent, doesn’t seem to work that way 100% of the time. There were a couple times I ran past someone only to have them alert the entire place I was there. Whilst I can understand that happening if I ran directly into them I can remember not even being near them when it happened on more than one occasion. Overall these issues aren’t massive, but are annoying when they happen.
The lack of variety in the layouts and mechanics does start to wear on you after a while. Around the halfway point I found I could really only play a chapter or two before getting bored. Towards the end things started to get a little more interesting but the first 3 hours or so felt like they dragged on quite a bit. Since the game announces to you just how many things you’re going to have to do (get 5 talismans! yay!) it instantly makes you feel like you’re on an extended fetch quest. Couple that with trying to find the scrolls and you’re probably not going to enjoying yourself that much. Indeed I think the middle couple hours could’ve probably been removed without much impact to the game or narrative.
The story is, unfortunately, quite mediocre. It’s clear pretty early on what the twist is going to be which is only made worse by the weirdly out of place dialogue. The writing wouldn’t be out of place in say, a modern anime or something similar, but Aragami seems to want to be taken seriously. However that’s just not possible with the way the main characters interact with each other. Towards the end things start to work out a little better but since there’s really no build up it’s all quite hollow. It also appears that there must’ve been a big rewrite of the story at some point as the final lines, which allude to the game’s previous name Twin Souls: The Path of Shadows, reveal information that had not been spoken of or alluded to at all. Considering this is Lince Works’ first game I’ll give them a pass, for now.
Aragami is a competent stealth platformer with beautiful cel shaded graphics and a great backing soundtrack. Taking the notion that the no-kill, full stealth route is the hardest and turning it on its head is a great twist on the regular stealth idea. Aragami is however let down by its repetitiveness and lacklustre story, a mistake many first time indie game developers make. Still for those of us who enjoy a good stealth-first game there are few titles like Aragami and fewer still from indie developers. If you’re looking for something to bridge the gap between the next bout of AAA releases and need a stealth fix then Aragami might just be for you.
Aragami is available on PC and PlayStation 4 right now for $19.99. Game was played on the PC with 5 hours of total play time and 67% of the achievements unlocked.
This time of year lends itself to catching up on things that may have otherwise passed you by. For this humble game reviewer it means looking back at those titles I missed, looking for something to fill the usual holiday lull. Quite often I’ll find something that I regret not playing on its release, the most obvious of which was The Talos Principle. Hyper Light Drifter was one game that I passed on multiple times: first when it found success on Kickstarter and secondly when I saw it released on Steam. When I saw it come up again during the Steam Winter sale I figured, with nothing else better to play, it was time to give it a look in. I’m glad I did too as it hearkens back to games of yesteryear, and not simply because of its graphics.
I’d usually give you a brief summation of the starting plot here but I don’t think I could rightly do that here. Hyper Light Drifter is very much a game of “show, don’t tell” and to explain the opening scenes would be reveal too much of the story. Indeed the entirety of the main plot is told through pictures and simple in-game cut scenes, leaving the interpretation of what’s actually going on up to the player. So I’ll leave the usual plot analysis until the end but I’m more than happy to discuss the various theories about the game in the comments.
Hyper Light Drifter takes the traditional approach to its pixelart visuals, favouring a more authentic recreation of the styles of games long past. Numerous new wave pixelart games favour high definition versions of pixelart graphics which, technically, aren’t faithful to what was possible during the period. Hyper Light Drifter retains much of the other aesthetic elements, such as limited colour palettes and fixed lighting, which were also present in titles from this generation. There are some elements I’m not quite sure are completely true to the era, like the overlayed glitch effects, but I’m no purist by any stretch of the imagination. It’s one of the few games that’s built on GameMaker Studio that doesn’t look like every other title built on it, a testament to the amount of effort put into honing Hyper Light Drifter’s visual aesthetic.
Hyper Light Drifter takes after classic games like Zelda: A Link to the Past and other top-down adventure games. There’s a large map with distinct sections that you’re able to walk around at your leisure, although some parts are locked off until you complete certain actions. There are various upgrades scattered around, some of which can only be obtained through defeating certain bosses or completing challenges. Where it differentiates itself is through the combat which is much more twitch focused and relies heavily on precise timing by the player for certain moves to be pulled off perfectly. Honestly it was hard to shake the “Zelda set in a sci-fi landscape” feeling when I was playing it, a feeling that it seems many other fellow reviewers share. In my opinion this is the best way to utilise a player’s nostalgia: use it as a basis to create something new and interesting rather than beating them over the head with it.
Combat has an almost Dark Souls kind of feel to it; where the real boss of the game is yourself. I can’t tell you how many times I died just because I wanted to do something fast rather than taking my time with each enemy. Indeed none of the regular enemies are that complicated and most have really obvious telegraphs that you can pick up on quickly. However, if you’re like me, you’ll want to try and kill as many as you can as quickly as you can. This will often lead to you making mistakes and, of course, your inevitable demise. Once you get a feel for the enemies, and have a couple upgrades under your belt, the combat becomes both challenging and rewarding. This is then most expertly demonstrated in Hyper Light Drifter’s standout feature: the bosses.
The bosses of Hyper Light Drifter aren’t going to win any awards for originality but they are the most enjoyable aspect of the game. Nearly all of them are multi-phased, meaning that you’re unlikely to one shot any of them. It’s refreshing to see that many upgrades, like the projectile deflecting upgrade for dash and the sword, working on bosses as well. This leads to some interesting approaches to bosses and, of course, far more interesting ways to die to them. Overall the bosses themselves aren’t particularly challenging (I don’t think I was stuck on any particular one for long) but they are hard enough to ensure that you feel somewhat accomplished when you do finally beat them. The final boss is by far the coolest out of the lot and makes for a fitting finale when you finally get to face it.
The upgrade process is done well, consisting of finding little upgrade parts all over the map which you can then spend how you wish. There are some must have upgrades, like the aforementioned projectile reflecting ones, whilst others can probably be left behind (like the unlimited dash upgrade, you get 3 dashes by default). There’s also 5 additional weapons you can find scattered around the map which are mostly a matter of preference. Sure some of them help in certain situations, like the rain gun, but I stuck with the normal blaster for the most part. If you fancy yourself something of a completionist then there’s also numerous sets of armour around the map, each of which bestows a certain unique bonus to you if you’re wearing them. I myself didn’t go after them and didn’t struggle at all.
My main gripe with Hyper Light Drifter would have to be the lack of visual clarity. It’s a very busy game with highly detailed environments however it’s not completely clear what’s say, navigable ground, a drop into a bottomless pit or just part of the background scenery. Whilst the punishment for falling off the edge is low (1 health bar and being sent back to your last safe location) it can become somewhat frustrating when you’re searching for secrets. The forest map is the worst for this, its visual cues for “hey there’s something over here” often confused with your run of the mill props for the area. Further this means that some of the visual story telling is simply lost unless you really know what you’re looking for. It’s a shame because in certain aspects, like the above screenshot, it’s done brilliantly but in others it’s simply a visual mess.
Much like Dark Souls again Hyper Light Drifter’s story is told mostly through vague allusions to events with drips and drabs of text around the place explaining some points in a little detail. This means that the events of Hyper Light Drifter are very much up for interpretation and you’ll find many fan theories out there to explain events. Whilst the game play is more than sufficient to keep you engaged throughout the game’s duration it would have been nice if there was a little more of the story built into the main narrative. This is one of the cases where the lack of direct storytelling doesn’t harm the overall game that much and a troll through the forums after finishing it was a rather rewarding experience.
Hyper Light Drifter is a prime example of nostalgia done well; using the past as inspiration for a new experience that captures many of those feelings many of us felt all those years ago. The visual style is very true to the time, eschewing the current norms of high definition pixelart for a more traditional aesthetic. The combat is approachable yet challenging, ensuring that all players approaching this game will find reward in it. The bosses are by far the best aspect of Hyper Light Drifter, conjuring up many memories of the times I spent beating similar bosses back in my younger days. The only faults I can level at Hyper Light Drifter are its lack of visual clarity and direct storytelling, things that don’t detract too heavily from the core game but could definitively be improved. Overall Hyper Light Drifter is an exceptional title, one that I now wish I hadn’t passed on all those times.
Hyper Light Drifter is available on PC, Xbox One and PlayStation 4 right now for $19.99. Game was played on the PC with approximately 5 hours of total play time and 13% of the achievements unlocked.
There are some games I play for all the wrong reasons. Sometimes it’s to reaffirm certain biases (although there have been titles that have changed my mind) but other times I just want to play something horrendous to remind me of how good some games are. Here enters the developer Spiders, a French developer who routinely puts out B-grade games that always aspire well beyond their station. Their two previous titles, Bound By Flame and Mars: War Logs, both tried ever so hard but failed in almost every account. The Technomancer, set in the same universe as Mars: War Logs, again aspires to be an AAA title but fails in such a delightfully horrible way.
You are Zachariah Mancer, a young cadet aspiring to join the ranks of your fellow Technomancers. Your quest begins as you are initiated fully into the rank of lieutenant by journeying to an old settlement dome with your master, Sean. There you learn of the secret that Technomancers have kept ever since their founding: your powers are born out of genetic engineering that caused mutations in your body. Such a secret would see all the Technomancers enslaved like the rest of the mutants are and you are sworn to keep the secret. However one colonels obssesion with learning the secret forces your hand, pitting you against the very corporation that has been your home since birth.
The Technomancer’s graphics are a generation behind in most aspects, lacking any of the graphical enhancements that many games of this generation now have as standard. The environments have a decent amount of detail in them but it’s all relatively low poly work. The lighting effects help to hide the more egregious faults but they aren’t enough to wash away that previous gen feel. Considering other games that use the same engine (like Unravel) seem to do a lot better in this department it does make you wonder just what modifications Spiders made to the engine and if it was really worth the development time.
The Technomancer is a mostly standard RPG affair; taking inspiration from other, better games in this genre and attempting to make its own special version of it. There’s 3 different fighting styles, each of which roughly equate to something from the RPG holy trinity. Each of them has a talent tree to match with an additional 4th talent tree for your Technomancy (read: electricity) spells. There’s also an additional 2 talent trees which are used for further character customization, focusing on what gear you can use and what ancillary abilities (like crafting) you have. There’s a mediocre crafting system which appears to be half done which coupled with the mediocre loot system makes for a repetitive and lacklustre gearing experience. You can also bring along 2 companions with you as well, each of which will mimic one of your fighting styles. Honestly there’s a surprising amount of stuff in The Technomancer but, unfortunately, that’s probably why it has so many issues.
Combat is unintuitive, confusing and worst of all unreliable. I can’t tell you how many times I’d appear to hit an enemy with my staff only to have it whiff through them completely without a hint of why. No damage meter saying “Miss!” or “Dodged!”, just the sound of my staff sailing through the air like it wasn’t touching anything. The combat is a half hearted attempt at recreating the Dark Souls system but unfortunately fails miserably. It doesn’t help that most of the stats appear to be totally meaningless, like when I had 140% disruption but still wouldn’t disrupt enemies when hitting them. Maybe there’s an explanation somewhere about how these stats work but they’re not explained in the game at all, not even in the stats spreadsheet that lists all these things off. So in the end you’re left to simply flip the coin at most encounters, hoping the RNG swings in you favour this time around.
Loot and crafting are similarly disappointing. The loot you’ll get will be all the same based mostly on which chapter you’re in although it seems that old areas have a high chance of yielding old loot when you revisit them. Strangely it seems like there was supposed to be more variety to this since there are some named items in the game but no where near enough to build a full character out of. Worst of all is the fact that you’ll be flooded with mats, most of which become entirely useless once you move up to the next level of crafting. Previous Spiders games allowed you to combine lower mats into higher ones, and indeed there’s text in the game that implies that this can be done, but there’s no way to do it. This wouldn’t be so bad if the system to sell the mats wasn’t so annoying to use, requiring a single click to increase the quantity you want to sell. This means that if you want to sell 200 mats, you’ll click 200 times.
Questing is also pretty unrewarding with nearly all the quests simply awarding XP and maybe some serum (cash). There are some multi-part quests which span chapters, something which you would think would lead to some awesome quest reward. Unfortunately that never happens which is a real disappointment, especially for the more involved side quests. This wouldn’t be so bad if there were amazing items that you could only buy from vendors but there aren’t and so you’re just left with a pile of serum and nothing else to show for it.
Worst of all is the endless retreading of ground you’ll do throughout the game. Sure you’ll visit new areas as the chapters roll on but the vast majority of the game takes place in the first town, Ophir. This wouldn’t be so bad if it wasn’t for the fact that enemies will respawn pretty much every time you traverse through there, necessitating a laborious 10 minute trudge to get to where you’re going every time you go there. There’s no fast travel system to speak of either, so once you’ve finished what you needed to do you’ll have to walk (and likely wade through respawned enemies, again) back to your rover to return home. I can understand that creating new levels is one of the most expensive things developers will have to do (something even legendary developer Bioware got raked over the coals for) but setting more than half the game in one area is just…boring.
As always I could forgive the majority of this game’s sins if the story was passable but, frankly, it’s not. Whilst it is interesting to see the world that was set up in Mars: War Logs continued in The Technomancer there’s just not much about it that is captivating. This is probably not helped by the fact the lines are delivered in a flat and lifeless way by pretty much all of the voice actors involved and the poor quality of the lip syncing with the character models.
Realistically all these issues are symptomatic of one thing: trying to do too much with not enough resources. All of the ideas that are implemented in The Technomancer are solid however their execution is sorely lacking. It smacks of a development team that simply didn’t have enough people or time to get the things done that they wanted to. With the average game completion hovering around 26 hours or so they could have easily cut it in half and still had a great length RPG on their hands. Instead however Spiders chose to try and pack as much in as they could and the overall quality of the game suffered as a result. Whilst this should be unsurprising (since this is kind of their thing) if Spiders ever wants to drag themselves out of the B-grade hell they’ve found themselves in they’re going to have to change the way in which they approach building games.
The Technomancer is another unfortunate swing and miss for Spiders, once again aspiring to the greatness that it never achieved. Whilst The Technomancer has all the trappings of an AAA RPG none of them are implemented well or fully, leaving the resulting experience feeling half-baked at best. To be sure though this is Spiders’ best effort to date but the mistakes that they’ve made before still seem to haunt them even to this day. I can really only recommend this if you’re as twisted as me and like playing a train wreck from time to time, just to remind you how good most games are these days.
The Technomancer is available on PC, Xbox One and PlayStation 4 right now for $45, $57 and $57 respectively. Game was played on the PC with 14 hours of total play time and 40% of the achievements unlocked.
The work of Team ICO is renowned among the PlayStation faithful. Their two titles, ICO and Shadow of the Colossus, have attained the status of cult classics and this meant that anticipation was high for their next release. However an entire console generation came and went without a peep from them and the studio shut down in 2011. For many this was thought to be the end of their next title however work was then transferred to genDESIGN, a new studio which was filled to the brim with Team ICO staff. Development then continued on The Last Guardian and hope was renewed that we would eventually see it. Here we are, some 9 years after initial development began, and it has finally been released to us, the unwashed masses. Has the near decade of development time resulted in a game that’s worthy of the Team ICO pedigree? Or is this another Duke Nukem Forever moment?
You are a boy; an unnamed boy who finds himself trapped in a towering city of ruins. How you got there is not known but when you awoke your body was covered in markings that were not there before. Beside you lay a great beast, a Trico, chained down and in great pain. It becomes clear at that point that if you are to return to your village you will need to work together as the challenges this place poses are not to be faced alone. This realisation begins your journey, one that will see you scaling the incredible heights of these ruins, navigating the trials and tribulations that it will place on you both.
The Last Guardian’s long development cycle are obvious in the graphics which are rooted in the previous console generation. To be sure there are some impressive elements, the beast’s flowing feathers being one of them, but all the environments feel decidedly dated. There’s also some distinct performance issues in certain areas, indicating that the environments haven’t been fully optimised for the platform, an indication of issues in porting code and assets across. All this being said though The Last Guardian does manage to impress with its diverse scenery ranging from towering vistas to cramped caves and ruins. Had this been developed from the ground up for the PlayStation 4 I’d imagine it’d be vastly more impressive but such are the costs of long development cycles.
In terms of how The Last Guardian plays it’s essentially your run of the mill puzzler. The main mechanic comes from the difference in abilities between Trico and the boy, the former able to reach and leap to great heights whilst the latter able to fit into small areas. The game plays off this dichotomy, forcing you to think about who you need to use to complete a task. However you don’t have direct control over Trico’s actions, instead you issue him commands which then get interpreted depending on a number of conditions, some of which aren’t exactly that predictable. Indeed The Last Guardian does a good job of simulating what it would be like to try and wrangle a beast like this but the unfortunate reality of this is that it doesn’t exactly make for what I’d call a fun experience.
So say you need the beast to jump over a particular obstacle. Typically what you’d do is call the beast over and then climb on its back. Then, with the camera pointed in the direction you want to go, you’d do the “Jump” command (which is just the boy jibbering a bit and jumping up and down), and then hope Trico followed it. Sometimes this will work and Trico will leap successfully across. However, most of the time, Trico will either sit there, looking around at nothing in particular, or do something completely different. So what follows is an exercise in troubleshooting: am I actually able to jump that gap with Trico? Is there another location I need to be in to do that jump? Have I not satisfied all the right conditions to make him jump? What this means is you can never be quite sure if you’ve got the right solution and Trico just isn’t co-operating or if you’re barking up the wrong tree.
I can understand the design choices that influenced the creation of the beast AI mechanic and, honestly, I think it’s a brilliant idea for telling a story through mechanics. However the trouble is that with an AI that is so unpredictable the player is left guessing as to whether or not they’re playing the game correctly. Thus, for me, this meant that the moments where Trico and I are meant to be getting ever more in-sync didn’t feel like that at all. Instead it felt like I finally just got lucky enough that the bloody dog finally listened to me. I can’t tell you how many times I got stuck and had to consult YouTube videos to make sure I wasn’t going completely insane only to find out that I was doing it right all along and my AI dog just wasn’t as co-operative as the other ones.
This isn’t an unsolvable problem in my mind. The easiest way to tackle this would be to put say little white dots at places where you could command the beast to do something. Then, if you centre your camera on them, an outline of what the beast could do would appear. This would then give you some certainty over what actions are going to happen, removing the second-guessing which was my main source of frustration when playing. Sure this would reduce the length of the game significantly but honestly we’re long past the point of where play time is a sign of overall quality. Unfortunately I don’t think this will ever happen, especially considering the rather cryptic nature of the patch notes.
Putting the core game mechanic issues aside there’s still some other niggling issues which don’t do anything to help. The camera is a wonky beast at the best of times, often whipping around wildly when it can’t quite figure out where it should be pointing (often when you’re trying to climb Trico). The platforming mechanics are hit and miss with the boy sometimes just straight up failing to grab onto a ledge or Trico, sending you to your death. There are also some triggers which don’t seem to work initially, preventing cut scenes from occurring and blocking your progress until you retreat from the area completely or reload a checkpoint. Suffice to say that you’d think most of these kinds of issues would’ve been straightened out in the game’s long dev cycle but unfortunately that’s just not the case.
Now the story is the part which many say redeems The Last Guardians glaring faults and, personally, I’m in two minds on this. For the vast majority of my play through I didn’t think there was much to it, the various bits of dialogue so brief that they really didn’t add anything to the experience. Combine that with an uncooperative companion and I really couldn’t care what happened to the pair of them. That was until the last 30 minutes which, I admit, managed to tug on the heart strings in just the right way and for a brief moment I forgot all about the frustrations that had led to this point. So whilst I’ll commend genDESIGN for managing to do that I will not (now that I’m clear headed) give them a pass for the incredible missteps they made in designing the core game.
The Last Guardian stays true to the Team ICO formula, seeking to tell stories through game play rather than dialogue. It is, unfortunately, plagued by horrendous game design decisions that force the player to second guess not just themselves, but the game as well. This leads to an incredibly frustrating experience where you can never be sure if you’re anything right, making almost all puzzle challenges an unrewarding chore. When it works it’s brilliant and something I’d like to see more of but those moments are so rare that they’re lost in a wash of frustration and swear words. I will admit that I did a 180 on the game in its final moments, the game able to grab a hold of that tenuous connection I had built up with that dumb beast and squeeze it for all its worth. It’s hard for me to recommend the game solely on that however but if you’ve read all the way through this and are still interested in playing The Last Guardian then it might just be worth it for you.
The Last Guardian is available on PlayStation 4 right now for $99.95. Total play time was approximately 8 hours with 13% of the achievements unlocked.
The original Watch_Dogs was in many ways a success for Ubisoft Montreal, ticking all the required boxes for it to meet the standard of a AAA open world title. However the hype that built up around it, specifically from that one E3 video, led many to be disappointed with the final product. To their credit Ubisoft remained committed to the franchise and has spent the following 2 years developing Watch_Dogs sequel. Whilst at a base game level this sequel features many of the mechanics that made the original great the tone and feel of the game is radically different. That combined with improvements in some of the original’s more glaring issues makes Watch_Dogs 2 a notable improvement over its predecessor.
Watch_Dogs 2 takes place in San Francisco, the next city to install the ctOS system which integrates all city subsystems into one giant interconnected grid. You’ll play as Marcus Holloway, a young hacker who’s been targeted by ctOS for a crime he didn’t commit. Because of this he decides to join Dedsec, the hacktivist group responsible for wrecking havoc and exposing corruption. What follows is a story of Dedsec’s crusade against ctOS, the people in power who use it and any of the numerous corporations who would seek to exploit the citizens of San Francisco.
The original Watch_Dogs was criticised for failing to live up to the visuals that were seen in its E3 demo and Watch_Dogs 2 goes a long way to closing that gap. The environments are far more detailed with more cars, people and interactive objects scattered across the San Francisco backdrop. There’s notable improvements to the lighting engine, draw distances and other modern post-processing techniques like motion blur. Taking into consideration that open world games tend towards the lower end of the graphical spectrum (due to their scale) Watch_Dogs 2 is certainly one of the better looking titles in this genre. It’s still a hair shy of that fated demo, however.
As I mentioned before the core game of Watch_Dogs 2 hasn’t changed much from its predecessor, staying true to the open world norms with the inclusion of their trademark hacking mechanics. The progression mechanics have been reworked to focus around you gaining “followers” to help boost your cause, most of which you’ll gain through Watch_Dog 2’s main and side missions. The online components have been reworked significantly and are far more seamless than they used to be; the transition between offline and online play a much smoother experience. Driving has been improved significantly, no longer feeling like you’re trying to drive a boat through a sea of molasses. The stealth mechanics are also retained however there’s a little less variety in what you can hack, something which is made up for in a few new choice abilities which can cause all sorts of mayhem. Overall Watch_Dogs 2 improves on the original in nearly every respect something which Ubisoft Montreal should take some pride in.
Combat feels largely the same, still following the same two stage formula that its predecessor did. Whilst you can likely complete every mission with just hacking alone it’s very likely you’ll do something to be detected, forcing you into combat. Interestingly there doesn’t seem to be any downside to killing anyone and everyone in your path but there is a very notable downside to taking the non-lethal approach. Enemies downed in that way will eventually get back up and will alert everyone else to your presence when they do. This does add an extra element of challenge if you want to go full non-lethal, stealth based approach but without additional rewards it doesn’t seem like there’s any reason to. Indeed by the end I’d just end up using my vast hacking abilities to simply run past everyone, forgoing any notion of stealth or even non-lethal attacks.
The hacking powers are a little more interesting this time around, especially some of the end-game abilities which allow you to affect everything in the area around you. It didn’t take me long to max out the powers I wanted to get and I spent most of the game with 20 or so research points ready to spend should the need arise. Some are simple quality of life improvements (like the car unlocking one) whilst others don’t have much of a purpose other than causing a bit of mayhem here or there. Probably my favourite out of the lot was the ability to call the police on a target NPC, something which can be used to great effect when you need to get into a restricted area. If I had one complaint it’s that all the higher end powers require you to go and find another item to unlock them which becomes a bit of a chore when you have to do it for the 10th time.
The driving is thankfully much improved over its predecessor, making it actually fun to drive around rather than fast travelling. Watch_Dogs 2 also reduces the number of car chases you’ll find yourself in so you won’t be spending hours trying to escape from the endless supply of police. There also appears to a be a larger number of vehicles to choose from including my favourite: the single person electric car that seems to be as fast as any of the sports cars. The NPC drivers though still seem to suffer from random fits of craziness every so often with cars just randomly running off the road or into each other, even when I hadn’t gone near them. That could very well be intentional, to give the city a more lively feel, but I do wonder if it’s just an errant part of the AI.
The multiplayer aspects are far better done than its predecessor was. I can remember trying to do some of the online activities in the original with most of them failing to even connect to other players. Watch_Dogs 2 by comparison (by default, you can change this) drops you in and out of other player’s games on a whim. It can be pretty awesome when you’re just driving around and a bounty hunter challenge comes up, putting you alongside law enforcement to chase down a rogue enemy player. Some of the other, hacking focused games are a little one sided, being incredibly hard for the hacker to actually successfully hack someone and get away with it (especially if the other player is armed in any way). Still they’re a fun distraction, one that I hope Ubisoft explores even further in future releases.
Watch_Dogs 2 drops the serious tone of its predecessor in favour of a more kitschy, light-hearted take. The characters are stereotypes or satires of particular hacker tropes with the overriding them following the hacktivist ideas that have been popularised by the various real world incarnations of other -sec entities. Weirdly, whilst the game has the usual disclaimer about it being a work of fiction unrelated to the real world, numerous events are carbon copies of their real world counterparts (like Martin Shrekli buying an exclusive Wu Tang album). The pacing and character development is weirdly out of step, seemingly moving at a faster pace than what the missions would imply. This might be because I was mostly doing campaign missions but surely that’s where you want the bulk of your character development to occur. Realistically I don’t think you’re supposed to read much into Watch_Dogs 2’s story but it’s disjointed nature mirror’s some of the mistakes that its predecessor made.
Watch_Dogs 2 is a solid improvement over the original, addressing many of the concerns that players had whilst retaining the core mechanics that made it worth playing. It may not be a revolutionary instalment in the series but the incremental improvements go a long way to making Watch_Dogs 2 the game that many were hoping the original would be. It’s not perfect, with some of the previous issues rearing their ugly heads again, but it definitely feels closer to what the original should have been. For fans of the open world genre there’s a lot to love in Watch_Dogs 2 and is most certainly worth checking out.
Watch_Dogs 2 is available on PC, PlayStation 4 and Xbox One right now for $60.95, $77 and $77 respectively. Game was played on the PC with 18 hours of total play time and 51% of the achievements unlocked.
Dishonored was a breath of fresh air for many. Stealth games of the time were anything but; their stealth mechanics nothing but tacked on features that weren’t given the love they so desperately needed. Whilst it had its faults Dishonored was a pivotal release for Arkane Studios, catapaulting them into the limelight. It’s been 4 years since the release of the original Dishonored and expectations were high that Arkane would be able to deliver yet another solid stealth based title. Dishonored 2 brings with it all of the things that made the original great but also many of the shortcommings. Indeed whilst some of the design choices are commendable it begs the question of whether or not the effort would have been better spent elsewhere, possibly addressing some of the mistakes of the past.
Dishonored 2 takes place 15 years after the events of the original with Emily Kaldwin taking her place on the throne, succeeding her late mother. The city of Dunwall is no longer the rotten town it once was, prospering greatly under Emily’s rule. However a serial murderer, dubbed The Crown Killer, has been dispatching Emily’s opposition, leading many to conclude that Corvo is responsible for it. During a ceremony in remembrance of her mother’s assassination, Delilah Copperspoon, who claims to be Jessamine’s older half-sister and the true heir to the throne, assaults Emily in her throne room. The story from here is determined by who you choose to play as: either Emily or Corvo.
Under the hood Dishonored 2 is powered the new Void engine, developed in-house by Arkane. The engine is based on id’s Tech 6 platform and brings with it many improvements. However like its predecessor Dishonored 2 is probably about half a step behind current generation titles in terms of graphics, something that is painfully obvious when you’re up close to NPCs or bits of the environment. The world does feel a lot more full than it used to though, with more characters on screen and much more detailed environments. The initial release was unfortunately plagued by horrendous performance issues on PC, indicating that the engine hadn’t gotten enough optimization love. This was fixed rather quickly and by the time I got around to play it I didn’t see any issues at all. This couldn’t come soon enough though and is likely responsible for the game’s mixed review status on Steam.
Dishonored 2 stays true to the original’s ethos, providing you with mutliple avenues to complete a mission that can make use of any number of powers, abilities or gadgets. What’s available to you depends on whether you choose Corvo or Emily although there’s a core set of non-power abilities availble to both. If you choose Corvo the abilities will be instantly familiar to you with Emilies being completely different in all aspects. The upgrade systems are largely the same, you’ll still hunt down runes and charms to upgrade your powers, however there’s also the opportunity to improve your character further through crafting runes of your own. There’s still a multitude of things to discover in any one level with numerous side missions and hidden items for you to seek out. If you were a fan of the original there’ll be a lot for you to love in Dishonored 2, perhaps even more so if you’re an achievement hunter.
Combat is largely the same as it’s predecessor however the choices you make in building your character have a much bigger impact in Dishonored 2. Unlike previously where I could stealth or shoot my way through a level Dishonored 2, where I primarily built my character as stealth, I couldn’t take on more than one enemy at a time. Personally I liked this aspect as it meant that my choices had a real impact, no longer could I be both the stealth master and combat warrior. This did mean that the mechanical upgrade system went largely unused through my play through but it did make the rune and bone charms that much more valuable. Indeed I spent much, much more time exploring to make sure I got every power upgrade I could, lest I find myself wanting.
The stealth system works as you’d expect it to although I have to admit I think the detection rate of NPCs is a little too fast for my liking. Indeed if you don’t notice the meter immediately, like if it’s at the bottom of your screen, you will likely be detected. Some of the power upgrades help you get around this, like the stop time part of blink, but it still leaves you very little time to react. It does feel a bit more realistic in that sense, you can’t hover around in front of enemies and have them not detect you, but it does detract from the enjoyment a bit at times.
The crafting system, whilst basic, was probably one of the more rewarding aspects of Dishonored 2. With the right combination of talents and a lot of farming for the right runes you can craft yourself a set of incredibly powerful boosts. In the end I was rocking around 8 quad bone charms (the other 2 taken by specific power upgrades) that amplified my power abilities significantly, like being able to essentially sprint in stealth mode if I was crouched and my weapons sheathed. Of course I save-scummed my way to perfect bone charms without any negative traits on them but hey, even if I didn’t do that I think a grand total of 2 of them would’ve been cursed. One point of note, which I wished I had known earlier, is that not all runes are simply somewhere in the world. For some missions a certain NPC will hold 2 of them, something which can make your life a little difficult if you want to get them all. Thankfully those ones aren’t usually ones you can break down for crafting anyway, but they’re still worth seeking out.
Overall Dishonored 2 is well polished (bar the initial teething issues) however it makes one horrendous design misstep that I’ll never forgive any game for doing. There’s one level that, if you’ve chosent to take powers, you’ll have them stripped away from you. For those, like me, who’ve invested heavily, in their powers this strips you of all the tools you had available. The resulting mission is a tedious mess, the time-switching mechanic that it was designed around becoming a nusiance more than anything else. The hour or so I spent on that level was the most frustrating section of the game by far and completing it was a relief more than a reward. I can understand the rationale behind it, wanting to challenge the player in a new and inventive way (like many of the other levels do) but taking away their investments is a cheap trick that does nothing to endear the player to the game.
The story, and its delivery, suffer the same issues as its predecessor. Whilst you have control over how the narrative develops, both through direct choices and how you actually play the game, it’s still predictable and not particularly rewarding. The voice acting again falls flat, a complaint that was levelled at its predecessor which I had hoped would be addressed in the sequel. Again there are a few standouts like The Outsider and the manick mechanical creator Jindosh, but they aren’t enough to carry everything forward by themselves. Honestly I was hoping that I’d feel differently this time around, I really was.
Dishonored 2 is a solid follow up to the original, retaining everything that made it great (and some things that didn’t). The stealth and combat is well done, the choices of how you build your character now more impactful (for better and for worse) than they were before. Crafting is a welcome addition, one that helps you craft your character further down your desired path. Unfortunately some poor level design choices and the continued flat delivery of Dishonored 2’s script means that the game doesn’t reach beyond its predecessor in terms of overall quality. Still I did enjoy my time with Dishonored 2, the stealth game play unparalleled in today’s market. Hopefully future instalments in this IP will address these core issues which would elevate Dishonored 2 to the same level as the games that inspired it.
Dishonored 2 is available on PC, PlayStation 4 and Xbox One right now for $59.99, $77 and $77 respectively. Game was played on the PC with 16 hours of total play time with 36% of the achievements unlocked.
Titanfall was well received when it was first released, garnering numerous awards and praise from both the industry and players alike. It was also something of a redemption story for the studios founders, proving that their decision to leave Activision was the right one. For me personally, someone who enjoys traditional FPS games and lost many an hour to the Mechwarrior series as a teenager, Titanfall was a perfect blend of FPS and mech based combat. However the lack of variety in the multiplayer did mean that I left the game shortly after reviewing it, racking up another 6 hours before I finally gave it up. With the success it garnered however I was hopeful that Respawn’s next title, whether it was Titanfall or not, would be a much more well rounded. Thankfully that hope was not misplaced.
Titanfall 2 takes place shortly after the events of its predecessor with the Militia now on the offensive after their success in segregating the IMC’s fleet at the Battle of Demeter (if you don’t quite remember which map that is, like I did, here’s a good summary). You take the role of Jack Cooper, a rifleman in the Militia who’s undertaking pilot training at the hands of veteran pilot Captain Lastimosa. When you’re sent to attack the IMC held world of Typhoon Lastimosa is struck down but with his final breath he transfers his titan, a vanguard class called BT-7274, to you. It’s now up to you and your new titan to complete the mission.
The heavily modified Source engine that was used in the original is back in Titanfall 2 with a few improvements to bring it into line with more modern engines. The engine improvements bring things like physically based rendering, a new texture system, HDR, bloom and DOF. This means that whilst the models and environments all feel about the same when you get up close to them it definitely feels like a more modern game overall. The trade offs here are most certainly in aid of ensuring a smooth, consistent framerate even in high action scenes, something which happens quite often in both the single player and multiplayer experience. If I’m honest I probably expected a bit more of a step up from Respawn graphics wise, but I can definitely understand the reasons for not going for Crysis levels of fidelity.
The core of Titanfall 2 hasn’t changed much from its predecessor, retaining all of what made it good whilst adding in more variety in both the single player and multiplayer components. There’s now double the number of mechs to choose from, numerous weapons for your pilot, a multitude of modes in the multiplayer and a fully fleshed out single player campaign. You’ll still be alternating between playing as a pilot on the ground, jumping and wall riding to your heart’s content, and the venerable titan mech. The single player campaign functions as an extended tutorial to the main game, giving you a view of all the weapons and titans so that once you jump into multi you’ll be instantly familiar with the arsenal at your disposal. However like all good multi player games these days most of the weapons are hidden behind a persistant levelling system, something you’ll have to grind out to get your weapon of choice. Overall Titanfall 2 feels like a fuller, more rounded game than its predecessor was; one that could potentially have the longevity its creators hope for.
Combat is well executed, maintaining the same levels of polish that the original Titanfall brought with it. Considering Respawn’s pedigree this is no surprise but it’s good to see them not messing with things that weren’t broken. The weapon roster has been expanded considerably although the controversial smart pistol (which honestly was my favourite) relegated to being a boost rather than a primary weapon you can choose. You’ve also got a wider choice of various augments for your weapons and pilot allowing you to really specialize in your preferred method of combat. Thankfully even though most of these things are locked behind levels (or in-game currency, which I don’t think is available for purchase) the base weapons are still highly competitve.
One of the major complaints many had for the original was that the multiplayer campaign was somewhat confusing and underdone. Indeed whilst I didn’t mind it myself, I do recognise that it was far below the standard set for your typical FPS campaign. Respawn have taken this feedback to heart and Titanfall 2’s campaign is true to its name, giving you an extensive single player experience. As I mentioned before it serves well as an introduction to Titanfall’s mechanics and weaponry, giving you a taste of what’s to come in the multiplayer experience. The highlight of it is definitely the exploration of the relationship between Titan and Pilot, something which I don’t think was really elaborated on much in the original. It might not be the deepest story around, following your typical one man army action trope, but it’s definitely more than enough to keep you motivated and pushing forward through the campaign.
The multiplayer follows the current FPS norms pretty closely with your profile, guns and titan all having separate levels attached to them. This does mean that players who’ve played for longer have an advantage over you, something that can be a little frustrating when you first start out. However the levels come with a relatively reliable pace so you shouldn’t be without a particular upgrade for too long. The in-game currency, which comes in at a slow but reliable pace, is one avenue to short circuit the levelling system and buy a particular thing that you’re after. One improvement for this system would be the use of a trial of a certain upgrade (even just a one time trial would be useful) as the cash I’ve spent has, honestly, been completely wasted. That’s on me though really, I should’ve probably looked into them a bit more before laying out my cold hard in-game currency.
Again I preferred to stick to my anti-titan build for both my pilot and titan, although the delineation between specs of titans is somewhat murky in Titanfall 2. The reasoning for this is pretty simple: titan damage and take downs charge your abilities way faster than pilot or AI kills do. Of course this means early game is a bit hit and miss, especially if the other pilots are heavily anti-pilot geared, but afterwards it usually means that I’m rarely without my titan. Of all the titans I tried the Tone seems to be the overall best, having great all round capabilities and not as many drawbacks as the rest of them seem to have. It does require you have a bit better aim than some of the others but honestly the hit boxes are so generous in Titanfall that I don’t think many would struggle with it.
Whilst the overall experience in Titanfall 2 is bug and crash free there is one irritating aspect of it that has caught me out multiple times. If you’re inside a room and you call your titan it appears that whatever determines the fall location doesn’t clip with certain walls. This means that, if you position cursor in the wrong place, you can end up spawning your titan all the way on the other side of the map. This can sometimes be the difference between getting your titan instantly and losing it to the enemy team since it’ll become active and start ploughing head first into them with the usual AI tactics. I’d much prefer a “titanfall out of range” error or something similar as it has happened often enough to be something of an issue.
Titanfall 2 is a most worthy successor, building on all the great core aspects of its predecessor whilst addressing many of the issues that the community raised. You now have a full single player campaign, one that you can actually get engrossed in rather than distracted by. The expanded multiplayer experience is much welcome and the promise to provide free DLC packs in the future will go a long way to ensuring the game doesn’t become a graveyard. Titanfall 2 is definitely one of those rare sequels that manages to markedly improve on its predecessor, no small feat given the high bar the original set. It will be very interesting to see how this game tracks in the coming months given its rather interesting release date that was smack bang between two other heavy hitting AAA titles.
Titanfall 2 is available on PC, Xbox One and PlayStation 4 right now for $79 on all platforms. Game was played on the PC with 13 hours of total play time and 68% of the achievements unlocked.
Back when it was originally released Destiny wasn’t the game that many were expecting Bungie to release. It’s managed to see much success despite that however, attracting some 30 million players, a number that’s grown steadily over its 2 year lifetime. As a long time player myself it’s easy to see why as Bungie has been fervently dedicated to its player base since day 1, working hard to improve the experience and retain its fiercely loyal player base. Rise of Iron, which rumour has it will be the last expansion before Destiny 2 is released next year, brings us more of what made the previous expansion great but I’m not sure it’ll be enough to keep players coming back for another 12+ months.
Rise of Iron explores the history behind the Iron Lords, a group of guardians who formed shortly after the collapse to do battle with guardians who decided to subjugate humanity rather than defend it. After they brought down those early warlords they sought to rebuild civilisation and did so using any tools they could find. Once such tool was SIVA, a self-replication technology developed during the golden age. Despite Rasputin’s attempt to disuade them otherwise (including orbital bombardments on their armies) the Iron Lords almost unleashed a plague upon themselves. It was only through the sacrifice of all the remaining Iron Lords, save for Saladin and Efrideet, that they were able to seal it away. However the Fallen have found their way into the SIVA bunker and are using it to rebuild their machine gods, posing a dangerous threat to humanity once again.
As you’d expect from a console-based expansion Rise of Iron doesn’t bring with it any graphical improvements, looking just the same as it did on launch day. The UI elements have been given an overhaul once again, making things just a touch more usable and intuitive. The majority of the new content is in the Plaugelands which, being right next to the Cosmodrome, means it’ll feel familiar to any year 1 guardians making their return. The aesthetic is very much of the “future technology plague” vibe with vibrant reds and pitch blacks dominating the colour palette. This is a welcome change to the Taken King’s muted colour palette, something which tended to wear you down after spending so many hours trapped inside the dreadnought. All in all it’s still a very pretty game but it is starting to show its age, especially when compared to some of the latest PC titles.
The core game mechanics are unchanged, save for the few tweaks that have been made in the numerous patches since the previous expansions release. You’ll still be running around, shooting things and ducking for cover to regenerate your health. The light level progression remains the same however the routes to maxing yourself out are more varied, making the grind a little more palatable. There’s a few little quality of life improvements which make things a little easier like the infusion system now giving you all of the light level of a piece of gear rather than a fraction, saving on the grind considerably. Other than that Rise of Iron will feel very familiar to long time players and, honestly, I don’t think there’s much wrong with that.
Rise of Iron’s campaign is probably half as long as the Taken King’s was which, if I’m honest, was a bit disappointing. I had managed to convince my friend who originally got me into Destiny to come back for this expansion and we managed to knock the whole thing out in a single afternoon. Sure I’ve definitely got my money’s worth given the amount of time I’ve spent on it since completing it but I felt the Taken King expansion was around the right length. That and the fact that it tied much more tightly into the overall narrative and raid whilst Rise of Iron has it as a kind of aside. It wouldn’t surprise me if some of the story has been held back for use in content releases over the coming months to keep everyone coming back.
I have to admit that I felt the light grind was a little harder this time around than when compared to previous expansions. This is possibly because I couldn’t cheat my way to a higher light level with exotics like I did previously. However after talking to my brother he put me onto a few methods to get me the light levels I needed. Sure it was still a grind but at the very least I was seeing gradual progress. Combine that with a few raid runs, completing the incredibly complex Outbreak Prime quest and a few exotic engrams and I’m back to feeling like the guardian I was in expansions past. Of course I’m still very far away from the cap (now at 400 thanks to the recent patch) but at the very least I don’t feel like a guardian running around covered in tissue paper armour with a BB gun.
This expansion’s raid is probably the easiest I’ve ever played through although I think that has more to do with the maturity of the community and game more than anything else. Previous raids were plagued with cheese strategies, mechanics that would break at a hint of lag or mechanics that many people just failed to understand. This particular raid seems to be free of any such things, focusing instead on team work, co-ordination and communication. Sure the raids I’ve been in have still had their share of problems but they’ve all been recoverable, unlike the numerous hours I spent in Vault of Glass.
I also managed to find time to play through the recent Iron Banner which was a much more streamlined experience. Rather than having to get emblems, class items and boosts to make sure you’re getting all the rep you can it’s all done automatically now. It took me a couple afternoons playing to get to max rank which also netted me a few good boosts to my light level. Indeed it seems the theme of Destiny’s latest expansion is streamlining, something that all mature MMORPGs have been taking on board of late. For an old hat like myself it’s a welcome change, allowing me to spend the little time I have left on games and still make meaningful progression.
As always the Destiny told during your play through is only scraping the surface of game’s lore with all the good bits being held behind grimoire cards. For certain games I don’t mind this however I do understand how many would see Destiny’s story as shallow and unfinished. To be sure there are many things Bungie could do to improve it, and honestly should have done by now, like making the grimoire cards readable in game or simply fleshing out more things in cut-scenes or in-game dialogue. Still it’s enjoyable to see more of the world revealed to us, even if that’s through walls of text you can only read on Bungie’s website.
Destiny: Rise of Iron is another helping of what long time fans of the series wanted: more missions, another raid and a bevy of new loot to lust after. The base game which kept me playing for so long remains the same, Bungie intent on not fixing what isn’t broken. The various aspects that have been streamlined are welcome additions, making playing the game of Destiny just that much easier. The campaign could have been longer and more tightly integrated into the overall narrative of this expansion. The storytelling in the game could use some love as well; something that, done right, would elevate Destiny well beyond its current station. Overall Rise of Iron is an evolution of the franchise and time will tell if there’s enough meat in it to keep players coming back until the next expansion, or Destiny 2, drops.
Destiny: Rise of Iron is available on PlayStation 4 and Xbox One right now for $44.95 on both consoles. Game was played on the PlayStation 4 with around 40 hours of total play time reaching light level 373.