When a titan of the game industry gets into a genre the anticipation is always high for what they’re going to bring to the table. The looter shooter genre which came to popularity with titles like Destiny and The Division was seemingly set to see a new competitor this year in the form of Anthem from BioWare. I have to admit, even though I tried my darndest to stay away from the hype for it, I was excited to see what it would bring to the table. Heck I was even hoping it’d become another Destiny, something I could pick up every so often when a new DLC dropped to enjoy a casual raid or two. Unfortunately though those high expectations haven’t been met and the game that we’ve received seems to be cut down in scale and burdened with numerous problems that prevent it from achieving what it set it out to do. To be sure, there’s some great fundamentals in here, but we as gamers are tired of mostly finished games; especially from AAA developers.
The Anthem is a force of pure creation, left behind by the shapers of this world along with their various relics that forged this place that we now call home. Every so often the Anthem rises again, it’s unbound power causing chaos by ripping through the land. You, a rookie tagging along with famed freelancer Haluk for your first mission, go to tackle the Heart of Rage: a cataclysm that’s being caused by a device called the Cenotaph. The mission goes horribly astray however, with many of your fellow freelancers perishing at the horrors that were created. With that the hope that many in the freelancers is dashed and you spend the next couple years taking on odd jobs to keep the lights on. However it becomes apparent that an old power, The Dominion, is seeking to control the Anthem by using the Cenotaph at the heart of rage. It’s up to you, freelancer, to ensure that the ultimate power of creation doesn’t fall into the wrong hands.
If there’s one thing that Anthem gets right it’s the visuals which set the bar for what many other games will be compared to this year. They come to us care of the Frostbite 3 engine so it’s no surprise that it’s able to pull off all the modern graphics tricks in the book. Flying through the environments is a joy, the wide vistas providing many good screenshot worthy moments as you explore the world of Bastion. It can get a little visually confusing during heavy combat scenes (with the enormous amount of particle effects everywhere) and during puzzle sections (as puzzle items blend in far too well with the background) and I don’t think that’s something that’s ever going to change unfortunately. Performance is also pretty great as I never experienced a perceptible drop in framerates whilst I was playing. I did initially tweak the settings a little bit to get it running smoother, I think just by turning off AA. Other than that I didn’t need to touch anything else for the rest of my playthrough.
Anthem’s core gameplay sticks close to the looter shooter fundamentals starting off with you picking a particular character class that will define your playstyle. As you level up you’ll unlock the others and you’re free to switch between them you may not have enough gear to make one viable at your current power level without a little grinding. There’s a core story campaign which you’ll need to complete to unlock most of the game’s content including strongholds which are the game’s endgame content. You can customize your javelin’s weapons and abilities with loot drops, all of which have their own play style and synergies with each other. There’s also the usual tropes of daily/weekly missions, world events and a rudimentary crafting system to try and drag you back day after day. When all is said and done there is a decent bit of content in Anthem, maybe a little less than there was in Destiny when it originally released, but what’s lacking is a driving force to make you want to explore it.
Combat starts out being one of the most impressive parts of Anthem with all the abilities and dynamic aerial fighting feeling like something truly new to the looter shooter genre. The abilities are the standout parts of the combat, especially when you work together with your teammates to unleash some spectacular combos that explode in a glorious cacophony of particle and sound effects. I have to admit to having quite a lot of fun in my colossus with the shock coil attachment, an AOE lightning attack that just cooked enemies around me as a I walked at them and triggered off combos left and right. The ultimate abilities are incredibly satisfying as well, allowing you to do incredible amounts of damage against even the toughest opponents if you know how to use them properly. However after a time the combat starts to get samey and that’s when the cracks start to appear.
The guns, for instance, are nearly completely useless in comparison to your abilities. You’ll often be plinking away at an enemy for what seems like an eternity with your main weapons, just killing time until you can use one of your abilities again to do some real damage. This doesn’t even change with higher tier loot unfortunately as the abilities scale much better. The abilities to don’t change much past a certain point and most of them are just variants on the same thing like the flamethrower just being a cone version of the shock coil or the various versions of the mortar and flack canons. This, coupled with the lack of mission variety, means that after a certain point every encounter starts to feel quite samey and that’s when the boredom starts to set in. This is typically where the loot grind is supposed to be the draw card but unfortunately Anthem got this completely and utterly wrong.
You’re lavished with loot from the get go, which isn’t an issue in and of itself, however it’s not entirely clear which piece of gear is better than another due to the downright confusing stats page in the forge. Most upgrades don’t really feel like they change much either, especially for upgrades that are in the same weapon or slot class. Without a meaningful power progression you don’t really feel compelled to seek out better gear. Worse still it doesn’t really seem like playing on the harder difficulties (at least pre-end game) nets you any more or better loot, completely negating the reason for taking on the additional challenge. The difference between hard and normal can also be the difference between getting stuck on a mission for an hour and getting it done in 5 minutes, further pushing you towards simply playing it on the easiest and breezing through. Whilst I didn’t bother with any endgame activities I’ve heard that this situation continues on even there which honestly doesn’t seem like a good way to increase player retention.
Flying around the environments starts out feeling exactly like what was promised back when Anthem was first demoed although, for some weird reason, they decided to limit your flight time when you’re flying between missions. This is supposed to be counteracted by you diving every so often or flying through a waterfall to cool your javelin’s jets but neither of these seem to work consistently. I could understand limiting flying in combat but for exploration? It just feels like that was done to make the world feel artificially bigger than it actually is. Even then though you can see all of the world in a pretty short timeframe if you’re so inclined as the overworld isn’t as big as it seems at first glance. You also can’t fly over any of the mountain ranges you can see in the game, instead you get pushed back down by jetstreams, further limiting how you can travel. I think many of us were drawn to this massive world that you’d be able to explore in a giant mech suit but instead what we’ve got is a limited world with limited options to explore it.
Decoupling your javelin’s look from its armament was a good idea on BioWare’s part although, weirdly, they’ve essentially given you unlimited customisation options right of the hop. Sure there’s only a couple types of javelin cosmetic sets available but you’re given dozens of different materials and unlimited colouring options right at the start of the game. This means that you can basically craft your own visual style right away without much need for you to go searching for a bit of loot to make your javelin look awesome. Whilst I appreciate the ability to do this it further diminishes the value of end game loot as part of the appeal is wearing your high tier gear in front of others, signalling you’ve done the game’s hardest challenges. Combine this with the other loot issues and you’ve basically got very little reason to pursue any end game activities at all.
This is also not mention all the base technical issues that plague the game, even after the proper “release” (side note: if the game is playable by the general public, it’s released. Anyone who says otherwise is being disingenuous to deflect negative feedback). Crashes and disconnects aren’t common place but do happen and without any kind of checkpointing system if you were in the middle (or at the end, in my case) of a mission you’ll have to do it over from the start. The UI is total garbage with even the simplest tasks taking ages to complete. Want to tag something as junk for mass deletion? That’ll take about 3 seconds to complete, just as long as it’d take for you to deconstruct the item manually. Challenges don’t track properly in the UI either and you’ll often get notified about tracking something which you’ve already tracked. Navigating between different panes defies usual UI conventions as well, often meaning you’ll end up completely quitting out of a particular menu by accident rather than going back to the previous tab. Anthem really needs some love when it comes to the quality of life department as simple things like this shouldn’t be so hard.
Anthem’s story was set up well for it to go anywhere the writer’s pleased and, for what it’s worth, I enjoyed it for the most part. Sure the villains, characters and various plot twists are predictable and one dimensional but the world behind it was pretty well fleshed out. The voice actors also did a great job of bringing the script to life as well and I was surprised at the number of big name talent I recognised reprising their roles in Anthem. Honestly had the core game been better the story could’ve really shone but, unfortunately, it’s hard to enjoy a good story when so much of the rest of the game just isn’t up to par.
The weight of expectations has proved to be too much for Anthem as the game we’ve received after so much anticipation has left us all wanting. To be sure the game’s opening moments are extremely fun, bringing a fresh perspective to the looter shooter genre and setting you up for what feels like an epic BioWare experience. However the shine starts to quickly wear off as it becomes apparent that there’s just not a lot of variety in the core aspects of the game and little outside that to keep you motivated. The conclusion of the main campaign is where I left Anthem as there was nothing left there that I wanted to explore. It’s a real shame honestly as it feels like Anthem could’ve avoided many of these mistakes but simply didn’t. Perhaps future DLCs and patches will bring it back up to par, much like it did for The Division and Destiny, but we gamers are long past the point of wanting to play games that aren’t finished.
Anthem is available on PC, Xbox One and PlayStation 4 right now for $89.99. Game was played on the PC with 15 hours total play time and 19.5% of the achievements unlocked.
There aren’t many games that can get away with providing essentially the same experience over and over again whilst still being successful. Rarer still are long running IPs that, when they try to change up the formula, get lambasted for deviating from their core experience. So it seems is what has drawn the ire of many a gamer with Just Cause 4 as it’s move away from the core destruction mechanic has seen many long term fans unhappy with the direction that the game has taken. Once again though I find myself on the opposite side of popular opinion as Just Cause 4 managed to keep me engaged far longer than any of its predecessors did. Not that that means a whole lot given that many of the issues that plagued the past instalments are still present in this most recent instalment.
Once again you take control of Rico Rodriguez, former Agency operative and freedom fighter who’s been liberating dictatorships for most of his adult life. After the events of Just Cause 3, you are approached Mira Morales who convinces you to come to Solís to uncover the truth about Project Illapa, a weather weapon that Rico’s father had a hand in creating. What follows is the usual tale of fighting back against the oppressive dictatorship using any means necessary, picking apart their power structure whilst bolstering your own.
The Just Cause series has never been known for being graphically advanced and the latest instalment is no exception. Whilst the open world environments can certainly have their moments that all fades away rather quickly when you get up close, revealing previous generation graphics that are focused on performance more than anything else. There’s good reason for that of course as you’ll be taxing the physics and rendering engine constantly with all the random chaos you’ll be creating as you play. You’ll also need to do some tweaking as some of the more modern settings will do nothing but highlight the flaws in the graphics, like the motion blur and level of detail settings which can make everything look truly horrific if set incorrectly (which they are, by default). You will encounter performance issues but this is largely expected for games like this, ones where the whole point of the game is to get the physics engine to freak out and do some impressively crazy things.
Just Cause 4 retains many of the features of its predecessors whilst changing the fundamental progression mechanic (much the chagrin of its fans, so it seems). Instead of simply causing chaos by blowing this up and being a general nuisances now you’re the head of an army and you’ll need to gather troops in order to liberate areas. You still earn troops by increasing your chaos level but it’s painfully slow and other mechanics provide a much faster route to progression. Other than that the game is the same as you’ll remember it from previous instalments including the grappling hook (which now has a bunch of mods built in), leaderboards for feats that let you battle with friends and a whole raft of open world missions for you to do in order to unlock upgrades for your gear.
The combat in Just Cause 4 feels like it did in the past: chaotic, awkward and mostly enjoyable. The main issue is mobility as there’s no sprint, instead you’re suppose to grapple your way around. This is equal parts fun and frustrating as its quite easy to get yourself into awkward positions in the heat of battle. Thankfully the combat is pretty forgiving, only requiring a couple seconds of not getting shot to get you back up to full health. The weapons are also a bit samey and many of them are really ineffective against the higher tiers of enemies you’ll face. There are, of course, some absolutely ludicrous guns which are a bunch of fun to use, one of which (the lightning gun) can be both the best and worst thing for you and your enemies. After the first few fights though there’s not much variation in the encounters, the challenge instead coming from increasing numbers of enemies and waves. All in all it’s a very middle of the road experience.
The progression mechanic, where you need to acquire troops to push the front line forward and unlock a new area (giving you access to new things in your supply drops), is honestly quite laborious at first. In the early days the only way to get more troops is to increase your chaos level and this is painfully slow. I vaguely recall there being increasing multipliers in previous instalments that went up as you chained more destruction together. In Just Cause 4 there’s only one, when the “heat” is on, which is 2X and doesn’t seem to make much of an impact. This means that for the first couple hours you’re basically going to be grinding chaos in order to progress and, honestly, it was at this point that I almost put down the game.
After the first few areas though you’ll be able to unlock areas that give you troops rather than use them and you’ll quickly have more than you can use. Most areas will still require you to complete an in-region mission in order to unlock them and they are unfortunately quite repetitive, all requiring you to perform a multi-stage task in order to unlock the region. If you’re a fan of well laid out progression paths, as I am, then this is something that will keep you coming back as you’ll know how much effort you need to put in to unlock the next thing. If you were a fan of the previous system however it’s likely to be a right pain in the ass as the free form “just blow shit up” progression is gone, replaced with a repetitive grind. As someone who’d previously cheated his way through the game to unlock the campaign missions I actually prefer the way Just Cause 4 does it but I completely understand those who aren’t exactly enamored with the change.
Of course it wouldn’t be a proper Just Cause release without it being riddled with bugs, glitches and crashes galore. I had the game crash on me multiple times, sometimes when I was deliberately testing its limits and other times when nothing particularly special was happening on screen. The physics engine is as complete as any other Just Cause game, meaning there’s going to be a lot of interactions that don’t make a ton of sense. For instance I tied two of the large round fuel tanks together with the pull grapple and they started rolling towards each other. Instead of exploding in a glorious fireball they instead rolled through each other which was both disappointing and confusing. I also won’t delve into what a mess the vehicle system is, nor the default control scheme which circumvents all major game conventions for its own brand of weirdness. All of this won’t come as a surprise to fans of the series but if you’re new to it be warned, this is a high budget game that comes with high levels of jank.
The story has thankfully shed much of its borderline racist parts whilst still retaining its rather light on approach to character and plot development. It’s certainly built for long time fans of the series, bringing back the usual cast of returning characters whilst attempting to flesh out Rico’s backstory a little more. The rest of the characters are pretty one-dimensional, serving really only to support the cliche action movie style plot that’s common to the Just Cause franchise. Of course no one is playing Just Cause games for the story, although it seems a few reviews don’t seem particularly happy with the new tact that Avalanche has taken here, but if you were hoping that the narrative here would be one of the things that’d keep you engaged you’d be sorely mistaken.
Just Cause 4 is more of the same from Avalanche Studio’s flagship IP with one small difference which seems to have gain the disapproval of many of its fans. For myself I did manage to find more enjoyment in this instalment than I have in previous ones, however many of the core issues that have plagued the series for almost a decade now are still there. It’s certainly a fun distraction, likely worth picking up on sale, but if this is going to be your first time in the Just Cause series your money might be better spent elsewhere.
Just Cause 4 is available on PC, Xbox One and PlayStation 4 right now for $89.95. Game was played on the PC with a total of 13 hours play time and 32% of the achievements unlocked.
Back in the day when computer graphics weren’t as capable as they are today the inclusion of full motion video was a pretty standard affair. As time went on it faded away and was mostly relegated to being a novelty for the few games that used it. The last few years have seen a resurgence of these mixed-media titles with some great examples like Quantum Break and The Late Shift showing what is possible when the line between games and movies begins to blur. Then you get the horrific messes like The Quiet Man which makes all the mistakes you could possibly think of when it comes to crossing media bounds; both in terms of how it tells a story from a cinematic perspective and how to deliver an actual, functional game.
I’m just thankful that no one but the most avid of game reviewers is likely to ever come across this.
There’s a plot in here somewhere however you’re not likely to understand what it is, I sure as shit don’t, because apart from a few breadcrumbs of dialogue at the start the game’s audio is all weird muffled sounds. Now this wouldn’t be an issue usually, I’ve played my fair share of games without a lick of dialogue, but the problem here is that much of the story is bound up in that dialogue. The game tells you at the start that subtitles will only appear for stuff you’re supposed to know but even that’s not consistent as you don’t even get subtitles when your own character is talking. So what you get is a bunch of FMV vignettes interspersed with short game play sections that appear to tell some kind of story but without any scraps of that dialogue making it through to you what you get is really a horrendously confused mess.
The Quiet Man has the audacity to bill itself as a game that(and I’m quoting from the Steam page here) “delivers an immersive story driven cinematic action experience seamlessly blending high-production live action, realistic CG and pulse-pounding action gameplay”. If you would care to cast your eyes down to the screenshot below you’ll see an example of their “realistic” CG which is honestly about 5 years behind what I’d consider passable for good graphics these days. Even worse than this is all the animations are horribly stiff and unrealistic, making the below par visuals stand out even more. Honestly I would’ve given them a pass on it if they hadn’t lauded it in their opening statement on the sale page but, come on guys, when you say realistic CG and then deliver this you deserve to get criticised for it.
Now mixed-media games, depending on how they blend the various elements together, aren’t renowned for having in depth game mechanics. Still that doesn’t usually matter as long as whatever is there is in aid of the story (since most games like this tend to be narrative-first) but The Quiet Man’s beat em up mechanic is simplistic, repetitive and worst of all terribly inconsistent. It definitely takes inspiration from other games like Batman: Arkham Asylum but it lacks any shred of refinement. There’s a bunch of fight mechanics in there that are available to you however the game never tells you how to use them, nor does it introduce challenges to you in such a way as to demonstrate how they should be used. The only way the challenge increases is that the game will throw more enemies at you in one go which just invites the already janky mechanics to start spazzing out with reckless abandon making even the simplest fight a real chore. Again I was almost willing to forgive this until the game threw about 10 fights in a row at me that were basically all the same and then the game crashed, forcing me to replay all of them again as it only checkpoints at the start of scenes.
All of this isn’t the game’s greatest sin however, that lies in the horrendous approach they took to building a story around the fact the main character is deaf. Instead of building a game (and the associated FMV sections) up from the point of view that your character can’t hear, making use of other storytelling mechanisms to convey its meaning across, they did the opposite. This means that they essentially finished a full game and move, sound design and all, then bastardised the thing into a muddled mess by removing a critical piece of the narrative structure. It wasn’t even done in a way that makes logical sense, I.E. I don’t understand when people sign at me nor do I even understand anything when the character I’m playing is speaking to others.
If this was some experimental, indie project it’d be one thing but this is Square Enix publishing something from Human Head Studios, you know the ones who gave us the original Prey. That means this entire experience, end to end, made it through various levels of testing and review before it was dumped on the market. How they didn’t pick up on the fact that this was such a hot mess is beyond me. Of course there’s a possibility that they did and just wanted to make whatever cash they could but honestly, the people involved in this should have known better. They had aspirations of doing something like Quantum Break but should have tilted much more towards something like Late Shift as the actual game components add absolutely nothing to the story at all.
The Quiet Man fails to achieve anything that it set out to do, instead providing a frustrating, confusing experience for those who’d dare give it the time of day. The approach and execution of the creative vision is completely backwards, failing to make a compelling narrative or a game with any merit. As a mixed media production this is probably as bad as I’ve ever seen as even the games of yesteryear, with their cheesey overacting and extraordinarily poor writing, still at the very least had a kind of kitschy appeal to them. The Quiet Man lacks any of this and should serve as a black mark against the companies published it. To those who worked on these titles I’m so sorry this happened to you, I know marketing and publishing are likely the cause for this trainwreck (and not your skill as a developer), but that still doesn’t mean that the sins that The Quiet Man commits can be forgiven.
The Quiet Man is available on PC and PlayStation 4 right now for $17.99. Game was played on the PC with a total of 3 hours play time and 77% of the achievements unlocked.
Eastern styled RPGs have a bit of a… reputation. The most notable part of this reputation is their penchant for horrendous grinds, forcing you to spend hours upon hours drudging your way towards that next level or shiny purple. They’re also renowned for being mechanically dense, often with multiple interwoven systems that all need to be understood and exploited fully if you want to live out your power fantasy. My first brush with these kinds of games came almost a decade ago with Aion: Tower of Eternity, a game so grindy and dense that I gave up when I reached level 30, which is saying something from someone who levelled 2 characters to 60 in vanilla World of Warcraft. This was why I originally passed on Monster Hunter World when it first came out as it looked chillingly like the eastern MMORPGs I’d played in the past. However with few good titles out at the time I figured I had nothing to lose and so I gave it the old college try. Unfortunately in this instance I didn’t find a whole lot to like about the Monster Hunter experience, the depth and complexity of the games numerous mechanics lost in the seemingly endless grind that I’d have to go through to exploit them.
You are a Hunter who is traveling to the New World as part of the Fifth Fleet. As part of the Research Expedition your job is to help out in determining why the Elder Dragons migrate to the New World every ten years as part of an event called the crossing. However on your way there your fleet is attacked by Zorah Magdaros, an elder dragon the size of a mountain that was making its journey to the New World. Thankfully you wash up on shore and are able to make it to Astera, the Research Expedition’s main base of operations in the new world. From here you begin your quest to understand the elder dragons, the reason behind the crossing and how to survive in this new land filled with monsters looking to make a meal out of you.
Monster Hunter World has that distinct, eastern RPG art style to it which (for whatever reason) tends to favour slightly worse graphics that are made up for with lavish amounts of detail. Honestly it feels like a game that would’ve came about at the end of the PlayStation 3’s development cycle, not a current gen title. Part of that is likely due to the multiplayer components with the potential for a lot to be going on at any one time. Still there are current generation MMORPGs with higher player caps that have managed far better visuals so I’m guessing that this was a stylistic choice more than anything. This all aside Monster Hunter World is a visually diverse and detailed game, overflowing with colour and visual spectacles. The areas might not be large in scale but they’re full of hidden paths and secret areas, making them feel a lot larger. If this kind of game appeals to you though the visuals aren’t really going to matter, it’s the grind you’re really here for.
Monster Hunter World embodies the eastern RPG archetype to a T, favouring deep mechanical systems that give the player seemingly endless choices in how you approach the game. There are no classes or talent trees to speak of, instead your progression is tied to your weapon of choice and armour set, both of which you’ll upgrade numerous times over the course of the game. The core of the game’s progression centers on the various crafting and upgrade systems, most of which require you to go out and hunt certain monster types to get the items required. Sprinkled over the top of all this is your usual RPG flair with town hubs, vendors and side quests galore that are certain to keep the completionists out there busy for hundreds of hours. Combat comes in the form of a kind of dark souls-esque type experience although it feels thoroughly less refined than its FromSoftware counterparts. In all honesty in the 16 hours I was playing it I still felt like I hadn’t scratched the surface of the game with many of the game’s mechanics still left untouched. Monster Hunter World certainly demands a lot from its players and unfortunately, for this old gamer, I just couldn’t find the strength to keep going back.
Now I’m not one to shy away from the kind of combat that Monster Hunter World puts forward but it honestly felt incredibly unrefined in its implementation. The Dark Souls inspired combat system brings with it a good set of mechanics but utilising them feels like a real hit and miss affair. For starters a monster’s hit box seems to be a finicky affair, sometimes registering as a hit on you whilst at other times simply moving you out of the way. Similarly the target lock mechanic flails wildly whenever there’s more than a few places you can target, often whipping you between different parts of the monster (or other monsters in the vicinity) as you try to position yourself around it. Getting on a monster’s back also doesn’t seem to work as it demonstrated most of the time, often failing to latch when I landed directly on the monster’s back but inexplicably working when I’d barely brush the top of their head. Even the resistance/weakness system felt really ineffective as I ground specifically for a set of weapons to fight one beast only to find that they didn’t make a lick of difference in the actual fight. Maybe I’m just not getting it, but if you can’t understand a game’s combat system after 16 hours then honestly I fault the game, not the player.
I’ll partly lay the blame of that at Monster Hunter World’s utterly glacial pace of progression. Even the most basic of upgrades requires gathering a substantial amount of materials and then, when you do craft it, the benefits are slim at best. In typical min/maxer fashion I tried dumping all my mats and time into crafting a decent set of starter gear (the bone set you see above) and honestly I couldn’t really tell you how much of a difference it made. I even tried grinding out some of the higher level sets of gear but with each monster kill taking 20 minutes or so to complete (if the fucker didn’t “leave the area” right at the end) getting a new set of gear would likely take hours. It got so bad that in the end I simply crafted a hodge podge set made up of the best crafting mats I had and even then that didn’t seem to reap any kind of benefit. Again I’m happy to admit that this is likely a failing on my part to understand the greater complexities that are hiding within Monster Hunter World’s various mechanical systems but if 16 hours of gameplay and intense Googling can’t get me there I’m really not sure what can.
Credit where credits due though, Monster Hunter World does have one of the deepest and most integrated crafting systems I’ve seen in quite some time. For most games there’s going to be a stock standard build that you can head straight for that will ensure your victory. For Monster Hunter World though there’s really no one-size fits all build that’s guaranteed to turn you into an overpowered god. Instead you’ll need to tailor your gear to your weapon choice, play style and prey that you’re chasing. This results in a near infinite number of builds, all of which appear to be viable (at least from what I can glean from various Reddit threads). I can definitely understand the appeal of such a system, heck I myself have invested many hours in games that had similar deep mechanical roots, it’s just unfortunate that I wasn’t able to find that hook to keep me playing.
There are some pretty notable issues with game on a technical level, some of which I think are inherent and others that are most certainly due to the porting process. The game’s graphical performance was horrendous when I started playing, something which I found out was a known issue. This was mostly fixed by using the Special K mod developed by Kaldaien which also allowed me to run the game in borderless windowed mode (although the game still seemed to have some teething issues with that). The netcode also seemed extremely fragile, something which is wholly attributable to Capcom. This is because there’s no native network framework for Monster Hunter World to make use of like it does on consoles (think PSN and Xbox Live) which mean they had to develop their own. When I first started playing it seemed to work fine but however after a week or so I found myself unable to get into any online games at all. Then, inexplicably, it started working again with no changes made on my end. I then foolishly decided to try a multiplayer quest only to have my teammates drop from my game session halfway through a monster fight. Honestly whilst its admirable that Capcom didn’t want to outsource the porting I can’t help but feel that maybe, just maybe someone else could have done a better job.
This isn’t also mentioning the various game design issues with the game’s core being focused on controller based play that doesn’t translate well to the PC platform. The default layout that’s chosen for you isn’t exactly congruent to keyboard and mouse play and even the MMORPG styled layout isn’t a whole lot better. The various menus are also incredibly obtuse with numerous different options hidden in random areas, necessitating a whole lot of flipping around in order to find the thing you’re looking for. I’m sure given enough time I could remap the keys or find mods that would make it better but honestly it’s not like UI design for games like this is an unsolved problem space. I managed to stumble my way through, to be sure, but honestly it feels like a game made for a different kind of gamer playing on a different kind of platform. If it’s any consolation I’m happy to admit I’m likely not Capcom’s target demographic for this particular title.
I figured that I’d at least play the campaign through to completion just to see how the game’s story pans out. I didn’t manage that as the overall plot is just too shallow and the use of a mute protagonist just served to highlight all of its flaws. I certainly liked the premise, travelling to a new world to understand a phenomenon that has eluded everyone so far, but there just wasn’t enough character or plot development to keep me that interested. Some of the things also don’t make a terrible amount of sense, like the fact that the various fleets don’t appear to talk to each other very much or why parts of the island are seemingly inaccessible despite you being able to fly everywhere. Again maybe the story depth is buried somewhere I didn’t look but if the game can’t at least tempt me in that direction then I’m more likely to conclude nothing is there.
Once again I find myself on the opposite side of popular opinion, gazing at a wildly successful title and wondering what everyone sees in it. I can certainly appreciate the depth of game play that Monster Hunter World presents, embodying (for better or worse) the stereotypical JRPG grindfest that so many people enjoy. However for me I just couldn’t find the appeal, even after ploughing in more hours than I typically would in an attempt to find that hook. I’m willing to admit that there might be something in there that I’d enjoy but I just couldn’t find it. Perhaps playing with friends could have changed my opinion as I’ve enjoyed many a trashy online experience so long as I had my mates by my side. Maybe the game is just for a different demographic than the one I fit into, I don’t know. It’s quite possible you’ll look at all the gripes listed here and chide me for my opinion, thinking that’s the whole reason you should be playing Monster Hunter World. If that’s the case then you’ll likely find the enjoyment I missed in Monster Hunter World.
Monster Hunter World is available on PC, PlayStation 4 and Xbox One right now for $59.99. Game was played on the PC with a total of 16 hours play time and 22% of the achievements unlocked.
One of the most critical factors in a game’s success is the ambition driving its creators. It’s not a simple case of more is better however, instead ambition needs to be tempered with the ability to realise it. I’ve often chided developers for reaching beyond their grasp, attempting to emulate others with far better means and ending up harming their game in the process. There have been many great examples, even recently, where a focused vision results in a much better experience. Omensight is one such game where the concise focus on what makes this game unique has produced a well rounded experience.
You are the Harbinger, a mythical warrior who only appears in times of crisis. The land of Urralia is torn by war, and as night falls, you witness its destruction at the hands of a dark God. As the eyes and the sword of Urralia, it is up to you to reverse this fate. All you know is that it started with a mysterious murder of the Godless-Priestess, a deity whose soul is destined to return upon her passing. This time however her soul has failed to return and it is up to you Harbinger to find out why.
Omensight presents a highly stylized cell shaded aesthetic, lavished with bright colours, numerous glow effects and particle systems galore. It may not be a particularly unique art style but it’s certainly one of the better crafted examples I can think of in recent times. The environments are absolutely swimming in detail from the large vistas that show wide cityscapes to the closed in dungeons littered with various miscellania. This is undoubtedly helped by the fixed camera angles, allowing the artists to focus more time on what the player will see and leaving out detail where they won’t. My internal bias initially made me think that it was built on Unity but it is in fact running on the Unreal 4 engine, something which the developer Spearhead Games has some experience with. This, coupled with the low-poly art style, ensures that this will run pretty well on nearly anything you care to throw it at.
Billed as an action-rpg murder mystery Omensight could have easily made the mistake of trying to include far too much but, thankfully, the developers instead chose to focus on a few key mechanics. The combat is reminiscent of the Arkham series, a kind of tempo based beat ’em up style that rewards combos and utilising your environment to pull off flashy fighting moves. Gaining levels is done in the usual way and each of them either grants you a new ability or improves one you already have. The upgrade system allows you to further refine those abilities as well as base things like health, stamina and damage. Whilst there are a few simple puzzles in each of the level the main one is the overarching murder mystery. This takes the form of deciding which one of the main character’s day you want to relive in order to gain more information about the death of the Godless-Priestess. There is, of course, an optimum route but it seems no matter which path you choose you will get closer to your end goal. Overall Omensight might not be the most complex or comprehensive game I’ve played but for the things it does it executes them well.
Combat is a largely enjoyable experience although rarely is it a challenge. Even in the beginning (and on the hard setting no less) most of the enemies can be dispatched pretty easily and since there’s not a lot of them most encounters are over pretty quickly. As you level the difficulty does increase but so do your abilities with some trivialising some encounters. For instance the time warp ability coupled with the speed up from one of your NPC friends can make quick work of basically any group of enemies and even bosses. Considering the amount of replay you have to go through this probably isn’t the worst thing though as there’s nothing less fun than repeating the same encounter a dozen times over, especially if it takes forever to do. One thing that I was never quite clear on though was what counted as being a “flashy fighter” to get the XP bonus at the day end. I had many encounters where I pulled off multiple combos and got nothing, whereas there were other days when I did nothing but left click all day and got it. I’m sure the exact requirements are out there somewhere, but the game never explains it to you.
The platforming in Omensight, whilst not the weakest point of the game, is certainly one of the less great parts of it. Like all 3D platformers there’s a bit of awkwardness when it comes to jumping around which is helped a little bit by the dim shadow showing where your character will land. The real issue though is the fixed camera angles and how they interact with your movement on screen. You see it’s hard to tell just which direction you’ll move in when the camera starts to move on you and sometimes this happens just after you’ve jumped. This leads to some frustrating moments when you’ll try to course correct mid air and end up dying because of it. Similarly it can be hard to control your character along narrow ledges and other obstacles because the camera reoriented (and thus your controls did too), leading you to walk off a ledge when you thought you’d walk along it. Once you know the level layout, and by extension the camera changes, it becomes less of an issue but I’d be lying if it didn’t make the first couple hours of the game a real chore of trial and error.
Progression comes with a nice cadance, ensuring that you’ll either level up or be able to buy an upgrade or two at the end of each day. This also means that if you find yourself struggling for whatever reason you’re never too far off being able to remedy it. Indeed there was one point where I noticed I was taking a ton of damage from certain enemies and all it took to counteract that was a few choice defense upgrades I got after finishing the level. Omensight rewards those who explore the levels, hiding a lot of upgrade currency and XP in chests strewn throughout hidden pathways and passages. It starts to get a little ludicrous towards the end once you have all the seals, giving you enough upgrade points for 3~4 upgrades per run. I didn’t bother trying to max out my character as past a certain point the upgrades are just for convenience sake more than anything else.
Omensight’s greatest weakness however is the repetition of each of the levels. There’s about 5 or so main levels you’ll visit in your travels and you’ll visit each of them multiple times throughout your playthrough. Not much changes between visits: maybe an additional path is unlocked, different dialogue since you’re there with a different NPC or the environment changes slightly, but by and large they’re much the same each time. The game does grant you some small mercies if you’re replaying a day by allowing you to skip to the critical moment but for most of them you’ll have to trudge through the same areas time and time again. I’m all for focusing effort where it will be best utilised, and indeed the environments they have crafted are fantastic, but asset reuse on this scale is something that’s pretty hard to ignore.
The story does make up for this somewhat though with the additional bits of narrative revealed to you on multiple level completions aiding in your understanding of the overarching plot. There are some holes that appear due to the game’s non-linear nature and depending on which paths you choose when some elements will make sense whilst others won’t. It’s slow going at the start where you seem to be treading already well worn ground but it does start to pick up as you’re allowed to change the flow of each days using your Omensight. I could do without the trite revelations (Oh that thing you saw happen, that wasn’t exactly what it was! groan) though, especially considering the major ones are all basically exactly the same. Overall whilst it might not be the most emotionally engaging narrative it’s still enjoyable, even with its flaws.
Omensight executes well on its vision, focusing in on the things that matter to the core game experience. The graphics, level design and combat are all well executed making Omensight a game that’s easy to play for hours on end. It falls down in a few key areas though, namely the extreme reuse of each of the levels and the platforming, both of which significantly hamper the otherwise enjoyable experience. Still for those who, like me, are struggling to find titles worth playing in the yearly AAA draught that plagues us Omensight is a great game to fill the gaps until your next big title fix.
Omensight is available on PC, PlayStation 4 and Xbox One right now for $19.99. Game was played on the PC with a total of 6 hours play time and 74% of the achievements unlocked.
Dontnod almost didn’t make it to where it is today. Whilst I quite enjoyed their first game, Remember me, the wider gaming community wasn’t as enthused. To be sure it sold well enough, some 2 million copies or so, but it was Life is Strange that brought them the commercial and critical success they needed to survive. Not one to rest on the laurels it seems they quickly got to work on Vampyr with many of the Life is Strange team moving across to work on their next major title. It’s most certainly an aspirational title for them, yearning to be included alongside other RPG greats like the titles from BioWare, Bethesda and CD Projekt Red. However much like other developers with such aspirations (I’m looking at you Spiders) Vampyr falls short, including too much of some things and not enough of others.
The Spanish Flu grips London, striking down even the strongest in mere days and forcing much of the city into quarantine. You are Dr. Jonathan Reid, recently returned from the front lines of the war to help London overcome this gripping epidemic. However before you can make it all the way home you’re murdered by an unforeseen foe, only to rise once again stricken with an insatiable lust for blood. You are so blind with bloodlust that you don’t notice you first victim is your sister who came looking for you after you didn’t return home on time. After being chased through the streets of London by vampire hunters who saw your first feed you stumble into a local bar and try to make sense of what has happened to you.
Vampyr’s development began just after the release of current generation consoles so it surprises me that it looks as dated as it does. The Unreal 4 engine that powers it is capable of some quite impressive visuals (Hellblade: Senua’s Sacrifice and LawBreakers are two recent examples) so it’s most certainly not a failing of the platform. My best guess is that it was a deliberate choice due to budget constraints with much of their resources spent on other aspects of the game. Honestly if it was from some small time indie studio or a Kickstarted game I’d understand but Dontnod has 10 years of experience in the industry. Heck even Remember Me looks better than this and that game is 5 years old at this point. The upside of this is that it’ll likely run like it was a game from that long ago, giving some reprieve to those who’ve put off buying a new graphics card for the last few years.
Mechanically Vampyr is an action-RPG with a heavy focus on dialogue, both in terms of narrative as well as a core part of the game play. There’s all the usual trappings you’d expect in a modern action-RPG: levels, talent trees, crafting, items and a combat system that took some inspiration from the Dark Souls games. The levelling system isn’t a straightforward kill things/get XP/get levels deal however (although that is part of it) as to make any meaningful progress you’ll have to feed on people, all of which play a part in the story. This ties into the game’s larger emphasis on player choice, giving you a lot of control in how the larger story plays out. Indeed this appears to be where Dontnod spent the vast majority of their resources in building Vampyr as the game can play out vastly differently depending on what you do and what you don’t.
Combat is a little unpolished, suffering from many of the same issues that other games have when trying to replicate a Dark Souls-lite type experience. It’s set up much how you’d expect, with your main combat resources being stamina and blood (to power your abilities). Enemies telegraph their moves pretty openly although their movesets are much more random than I’d ever encountered in a Souls game. The hitboxes act a bit weird at times, with hits that shouldn’t have connected managing to land and vice versa. Locking onto enemies is a bit of a mixed bag too as it seems to limit your movement options somewhat, making dodging a lot harder than it should be. The jumps in difficulty are also area dependent and not at all smooth so you’ll likely find yourself going from competent to struggling at the drop of a hat.
All of this is a bit of a shame as when you’re extremely overpowered the game actually becomes quite fun, allowing you to run through areas without a care to who might be in your way. Whilst I understand that the game wants to make the choice of levelling up impactful (I.E. you can only be that powerful at the cost of others) if you, like me, didn’t enjoy the large amount of dialogue that the game throws at you then it’ll be hard to find a lot of enjoyment in Vampyr. Indeed this is one of the few games where I felt like the heavy amount of dialogue was getting in the way of the larger game; bogging me down in meaningless interactions that didn’t add much to the overall story.
This is probably my biggest gripe with the game as it takes quite a long time to churn through all the dialogue options with all the characters. Indeed past the first 2 chapters I simply stopped bothering with the majority of it. Sure, I probably missed out on some quests and some other bits and pieces, but honestly finding all the clues to unlock all the dialogue options just didn’t feel worth it. I mean it’s great that they endeavoured to give nearly everyone in the game a backstory but most of them only exist within the confines of the area you find them in. Only the campaign missions seem to build the story in any meaningful way, the others are just there as flavour text. I’m sure there’s probably 40 or 50 hours worth of game in here but honestly I would’ve preferred a solid 15 with better mechanics, tighter story and maybe a little more time spent on the visuals.
The other parts of Vampyr are similar to the combat in their implementations: rudimentary implementations of otherwise good ideas. None of the choices in the talent tree will impact the game in a major way (I.E. no abilities will unlock otherwise hidden parts of the map, say) but there are some cool things in there. I ended up with a simple build relying on the blood spear and the shadow ultimate as Vampyr tended to only throw a few enemies at me at any one time. My weapons were focused similarly, using a hacksaw for my main and alternating between the blood knife and stun focused gun for my offhand. Given the steep cost for levelling abilities there wasn’t much room for experimentation unfortunately. That is unless you decided to go on a mass murdering spree.
Which I did once, after I was able to clean out the hospital when my mesmerise level was high enough. That bumped me up around 12 levels in one sitting and was enough to ensure that I didn’t need to do it again for the rest of the game. However whilst there weren’t any direct consequences in the game doing so meant I was locked out of all but one of the endings, something I wasn’t aware would happen until right at the end of the game. Now the game does mention that it’s up to you to choose how difficult the game will be, indicating that feeding on London’s residents will lead to very bad things, however in the grand scheme of things I didn’t chow down on that many people. To be sure I devastated the hospital but the rest of London was untouched and that gave me the absolute worst ending in the game (although, to be honest, I liked it). Reading more into it you have to be very strict with your feedings to get the other 2 endings and the “best” one can only be obtained without feeding at all. The latter is especially devious given the game essentially guides you into feeding on the first one, making it look like a tutorial rather than an actual choice.
Credits where credit is due though the amount of effort put into crafting the story elements is quite phenomenal. Should you want to dive deep into this world and its inhabitants you can, even going as far to have some modicum of influence over it should you want. Although it’s not always exactly clear what your decision will lead to and often you won’t find out that until it’s far too late to undo it. I didn’t mind that so much as it meant that some of the throwaway choices I made did come back to bite me in some of the most interesting ways. It’s reminiscent of older BioWare games in that way with dialogue being the main mechanic by which the game revealed itself to you.
Unfortunately I found it quite hard to engage with the overall story for a number of reasons. The greater story moves far too slow at the beginning with the major questions getting basically no air time until the final couple hours. I couldn’t really empathise with the main character at all and the fact that all the NPCs would spew forth their life story at the drop of the hat just didn’t feel that believable. Towards the end I simply ignored all the ancillary dialogue and quests and, honestly, the game started to feel a lot better. Perhaps my completionist tendencies worked against me in this instance, my want to min max everything I could being at odds with my actual enjoyment of this game. I will never know but if you, dear reader, find yourself in much the same position hopefully that may help you.
Vampyr is an aspirational title from Dontnod and, unfortunately, it didn’t pay of well for this time around. Released some years ago it may have found itself among good company but in today’s market it feels two steps behind the norm. The graphics, combat and other mechanics are all simplistic in their implementation with the vast amount of effort spent on the dialogue and interaction with NPCs. It strives to be among games from the RPG greats but fails to do so, maybe not as badly as others have, but still fails nonetheless. I honestly had zero expectations going into Vampyr (only finding out it was made by Dontnod after I bought it) and have come away from it wanting more. I applaud Dontnod for experimenting as much as they have but, perhaps, in future they could limit their vision a little bit in order to make a stronger overall game.
Vampyr is available on PC, PlayStation 4 and Xbox One right now for $49.99. Game was played on the PC with 17 hours of total play time and 71% of the achievements unlocked.
After my Curse of Osiris review last year I didn’t put many more hours into Destiny 2, opting instead for the much greener pastures of the holiday releases. Usually I’d stick around for much longer, at least running the new raid enough so that it became second nature. However, after hitting max light and running it maybe twice, I found little desire to go back. Coming into the Warmind DLC I wondered, nay hoped, that this would be the one that’d reignite my interest in the game. Unfortunately, whilst there’s to spend your time in the game now, none of it was as compelling as previous expansions to the original Destiny was. So here we are barely 4 weeks after the release and I think I’m probably done with this expansion.
I haven’t run the raid nor am I at max light, and that should say something.
Guardians aren’t supposed to dig into their pasts, at least that’s the unspoken rule among those who were brought back to life by the traveler’s light. Ana Bray has spent much of her new life trying to rediscover who she was and her quest has brought her back Clovis Bray, the place of Golden Age miracles. Her journey has unfortunately awoken some ancient hive evil that frozen alongside the pinnacle of Clovis Bray’s achievements: the warmind Rasputin. So it is up to you once again guardian to safeguard our solar system against the dangers that lurk on Mars. This time however the danger might be one that we created ourselves.
Right from the outset Warmind promises a great deal more grind than any other Destiny expansion I’ve played before. The level cap has been raised to 30 and the maximum light level is a staggering 385 which, for those who previously maxed it out, gives you no less than 50 light levels to push through. Of course should you do all available activities there’s about 21 chances to get powerful engrams but only the most dedicated players will be able to get that all done. Like the previous expansion there’s a new world to explore (Mars) along with a campaign, a new raid layer and a smattering of other smaller things to keep you interested. For a certain subset of players I’m sure this is exactly the kind of content they’re looking for but I think the majority of players were seeking something a little more substantial given the feedback that Curse of Osiris received.
Right now the game feels like it’s suffering from an identity disorder. On the one hand it’s great that a lot of the older content is still relevant, with the raids staying at their old light levels but still dropping powerful engrams. This means that players who missed out on it originally now have a chance to play it as there’s people still running it. On the other hand content which has been upgraded, like the strikes, hasn’t had its rewards changed to match making them a laborious task that no one really wants to run. That’s changed a little bit recently, but having to run 4 strikes to get 1 piece of 365 loot isn’t a great prospect. So this means we’re basically back to square 1 in terms of progression, especially for solo players, hoping that the meagre weekly milestones and maybe a raid or two will give them the light boosts they need. I’ve done all the milestones every week and 2 raids since the release and I’m at light level 360. Sure that’s enough to do everything but that means 385 is probably a month or two of grind away, not something I’m particularly looking forward to.
Comparatively the DLCs for Destiny 2 feel a lot less…meatier than their counterparts did in the original. I can distinctly remember each of the ones I played having a hook that kept me coming back. The Dark Below had a raid that could be partly cheesed if you knew what you were doing, The Taken King brought with it the idea that a gun only attainable in the raid made the raid a whole bunch easier, and Rise of Iron extended on that idea beautifully. Curse of Osiris then just managed to drop at the right time, extending my original enjoyment of Destiny 2 when it would have otherwise withered away. Now, having been away from the game for 6 months and coming back to it for this DLC, I can understand better the greater Destiny community’s gripes they had about the previous expansion. It’s just not enough.
The campaign experience is as good as it ever was though, and the fact that it furthered the lore behind Rasputin extensively is something I thoroughly enjoyed. The whole journey will last you maybe 2 hours, at the end of which you’ll be max level and likely around 340 light if you play your cards right. Typically this is where you’d transition into strikes to gear out until you hit the soft cap but, as mentioned before, that’s not something you’re really going to be able to do. It’s a shame really as I saw the beginnings of some of the mechanics that were present in Rise of Iron that led to Outbreak Prime and thought I’d be in for another great gun hunt. As it turns out that’s not so much the case which is a damned shame. I was really looking forward to some kind of Rasputin powered AI super gun.
So where does this all leave us? For me it’s likely the end of the road for this expansion as I don’t feel like there’s much more for me to get out of it. For Destiny there’s likely one last chance to right the ship before a good chunk of its players give up on it forever: the “comet” DLC coming in September this year. If the leaks are to believed it could be Destiny 2’s Taken King equivalent, revamping the game completely with a ton more content than any of the previous DLCs. If Bungie manages to pull that one off it might very well be the shot in the arm the IP needs to placate its playerbase. If it goes the same way as these past 2 expansions I’m not sure there’s much they could do to rebuild their goodwill with the community. Stranger things have happened though.
Destiny 2: Warmind is an unfortunate second stumble for a game that was already having trouble staying upright. Whilst the core of the game that makes Destiny great is still there, accompanied by another fantastic (albeit short) campaign, there’s just not enough there to keep a player like me coming back for months at a time. This is the first expansion where I haven’t bothered with the new raid nor do I have any desire to max out my light level before I leave it to rest. Given that it may only be 3 or so months until Comet hits I feel like my time is likely better spent in other games rather than burning myself out on the Destiny grind. It’s a shame as I really used to enjoy that grind and I can only hope that Comet reignites that fire that once burned so brightly.
Destiny: Warmind is available on PC, Xbox One and PlayStation 4 right now for $19.99. Total time spent in Destiny 2 is now at 86 hours with approximately 12 of those spent playing the Warmind expansion.
Rewind the clock a decade or two and co-op games found themselves in something of a dark age. Most publishers were attempting to get players on the multi-player bandwagon, driven by increasing Internet penetration and a want to keep players engaged for longer on big name IPs. Titles like Left 4 Dead and other small squad based games breathed new life into the co-op playstyle and the indie renaissance brought with it the innovation to keep players interested. For many of the games co-op is an add-on, something to be enjoyed if you and your friends have the time to play together. Fewer are the games in which co-op is a hard requirement like it is for A Way Out. The premise, a co-op prison break, was enough to interest me with the developers (those who brought us Brothers: A Tale of Two Sons) sealing the deal. Whilst it falls a few steps short of my must-play games for this year it was certainly an interesting experience, if only for the fact that my wife and I shared a good few laughs while playing it.
Vincent Moretti is freshly incarcerated and sent to jail for murder. In jail, he meets thief Leo Caruso who had been arrested for grand theft. A group of thugs sent in by crime boss Harvey tries to murder Leo, but Vincent intervenes. While the two recover in the infirmary, they get to know each other and Leo requests Vincent’s help to steal a file from the office. Vincent complies. After the theft, Vincent senses that Leo is planning on a prison break and offers to help so he can escape too. Leo initially refuses, but begrudgingly agrees to collaborate when Vincent reveals he also has a grudge with Harvey. So begins their quest to hunt him down and exact the vengeance they crave.
Considering that this is Hazelight Studios first game (although not their first title as a team) the quality of their visual work is quite impressive. Whilst it might not reach the dizzying heights that say Far Cry 5 did it still does manage to do a lot with what its got. For people like me who are playing the game on a single console (original PlayStation 4 for reference) there are definitely some sacrifices being made in order to support the split screen parts of the game. Mostly this comes in from the lack of detail when you get up close which can become quite noticeable in the in-game cutscenes. I haven’t done a blow by blow comparison between my screenshots and the same from PC but I can hazard a guess that they wouldn’t suffer the same fate, given that the Unreal 4 engine is powering everything.
A Way Out is a split screen co-op game where you’ll be tasked with all sorts of different challenges, most of which will require you cooperating with your partner in order to complete. Some of these take the form of the usual co-op puzzle affair, like you holding down a switch to keep a door open while they go through, to some unique and interesting puzzles which I don’t think I’ve ever come across before. All the scenes are also littered with things for you to interact with from people (providing dialogue and story background) to objects which may or may not be related to the puzzle at hand. All the challenges will have multiple ways of approaching them, something which is not always readily apparent. There’s stealth and combat sections as well which will quickly make you realise that even the biggest TV will feel cramped when half of it is gone. If it sounds like there’s a lot to this game then you’re right and one the game’s weaknesses is the lack of focus on the elements which mean the most to the overall experience.
The core puzzle solving mechanics are well done, making good use of the fact that you’re required to work together. Most sections play out in a similar way: you’re given your object, a little spiel about how you might go about it and then are let loose in the room to figure it out. That room will usually have a bunch of things for you to look through although, honestly, most aren’t worth your time. Whilst its nice that some of the NPCs have a background story none of them will ever help you with anything, nor will learning random things about your environment. Indeed the objective you’re given is pretty much all the info you’ll need, all you need to do is find the requisite items and execute the right sequence. If you’re a seasoned gamer you’ll likely breeze through most of them however if, like my wife, you’re not exactly the gaming type things can get…well…
You see my wife, bless her socks, whilst having a solid history of titles she’s enjoyed (Animal Crossing, World of Warcraft and Until Dawn to name a few) she doesn’t have the same twitch reflex muscles that someone who’s invested over 200 hours into Destiny might. So there were quite a few puzzles where we’d fail in spectacular fashion, often with quite hilarious results. To her credit though towards the end she started to perform quite well, even saving my ass a couple times during the shooting sequences. This is, of course, one of the joys of local co-op and A Way Out does ensure that mismatched experience levels are catered for relatively well. Suffice to say if you’re thinking of giving this game a go the only thing stopping you was the experience of your chosen co-op partner I don’t think you have that much to worry about.
Combat could really have used more attention as the shooting feels clunky and unrefined. It’s your typical third person, cover based shooter with infinitely regenerating health but even I was struggling to reliably take down enemies. There’s also not a great deal of room to experiment with the different weapon types as you select one to begin with and there’s only a few places where you can change your selection later on. Combining this with the 50% loss of screen real estate, which makes enemies just that much harder to make out, and the shooting sections are more of a chore than they need to be. I’ll lay the blame for this partly on the fact that there are so, so many mini-games in A Way Out that it’s not surprising that some aspects received a lot less attention than they should have. Given the pedigree of the developers I had expected a relatively high amount of focus on the core elements they wanted to make good. Maybe the combat just wasn’t one of them.
A Way Out is a mostly trouble free experience although it does still have a few issues that will crop up from time to time. The above screenshot is a great example of what happens when the physics engine gets confused, rocketing my wife straight up after she rolled into a crate. The cover system is also a little finicky, sometimes not responding in the way you’d expect it. Thankfully these issues are both minor and uncommon so they don’t mar the overall experience too much. We did avoid a great number of the mini games however so it’s quite possible there’s all manner of bugs hiding in places I simply didn’t look.
The story of A Way Out takes a really, really long time to get going enough that my wife wasn’t particularly interested in picking it back up after our initial 2 hour session. I did manage to convince her to come back to it and, whilst the second half is a lot better, it’s probably still a bit too drawn out. Additionally given that a great deal of the story is told in retrospect a lot of tension is taken out of many of the critical plot points. Given the fact that the strongest part of the game, the final hour, is the only part that’s not told in retrospect I have to wonder why it was presented in that way in the first place. All things considered A Way Out’s story is probably best described as interesting but forgettable.
A Way Out brings another unique perspective on what co-op games can be, eschewing the current trend for drop-in/drop-out play. Hazelight Studio’s first release is of a very high standard, especially considering that it’s available on all major platforms. The game is bristling with detail something which is both one of its strongest points and also its greatest weakness. Certain parts of the game that could have used a little more love, like the stealth and combat, don’t feel as polished as they need to be. The mini games and other parts are nice but I’d trade most of them out for more focus on the core elements of the game. Finally the story suffers in its delivery, only finding its feet once it casts off the shackles of its retrospective narration. All this being said I don’t regret giving A Way Out a go and I’m sure more gaming couples could find something to love in it.
A Way Out is available on PC, PlayStation 4 and Xbox One right now for $29.99. Game was played on the PlayStation 4 with approximately 5 hours of total play time and 29% of the achievements unlocked.
There’s a fairly predictable cycle in games when it comes to new genres. Typically there’ll be a bunch of relatively unknown titles that will experiment with various mechanics, setting the groundwork for the games that follow. Then comes the breakout hit, now usually an Early Access title, which gets heralded as the next big thing. Then come the clones, dozens upon dozens of clones, all of which attempt to emulate the breakout’s success. Most of these will fall by the wayside although a few will go on to develop the idea further, finding a dedicated niche for their particular brand of the new genre. Warhammer: The End Times – Vermintide did exactly that, taking the essence of the Left 4 Dead formula and reworking it into a truly unique experience. I wasn’t aware a sequel was in the works so when I saw Vermintide II, had been released I was keen to see what direction Fatshark had decided to take this IP in. By and large it’s the same game but far more of it; much of it streamlined for a much more enjoyable experience overall.
Following the events of the first game, Grey Seer Rasknitt has successfully captured the five Heroes of Ubersreik. Without the interference of the heroes, the city of Ubersreik fell to the forces of Clan Fester. Rasknitt has since ordered the construction of a massive portal known as the Skittergate, which will allow the Chaos Champion Bödvarr Ribspreader and his Rotblood army easy access to the border-city of Helmgart. However, the Skittergate continuously fails to properly operate, disallowing Bödvarr to summon the entirety of his forces. When the Skittergate disastrously fails to activate again, the resulting destruction frees one of the heroes, Markus Kruber, from captivity. He fights his way through the skaven lair and reunites with the rest of the heroes: Viktor Saltzpyre, Bardin Goreksson, Sienna Fuegonasus and Kerllian. They then band together once again to push back against the Skaven and the Rotbloods.
Vermintide II makes use of the same Autodesk Stingray engine that its predecessor did, albeit with a bunch of modern improvements such as: DirectX 12 support, volumetric lighting and fog, texture streaming and an enhanced fluid system. The levels are noticeably less barren than its predecessor too, brimming with details at nearly every corner. There’s also a lot more variety in the levels than there was previously with not every level taking place in a run down medieval town. There are a few areas which could do with some attention though, like the ones bathed in fog which seem to torpedo your performance no matter how beefy your system is. Whether or not Fatshark will continue developing on this engine though is anyone’s guess as Autodesk has discontinued development on the engine as of January this year. Suffice to say I wouldn’t expect Vermintide III in the next 2 years or so if an engine change is on the books.
The core game mechanics of Vermintide II haven’t changed much from its predecessor, retaining the same game play that made the original fun. It’s still a melee first game, one with 5 different characters and a varying array of loot to change them up a bit, however there’s also now 3 “careers” per character. Each of them changes the passive and active ability of the character whilst retaining your level, giving you an opportunity to try different playstyles without having to change classes and start levelling all over again. The loot and crafting system has been streamlined, making progression a little more clear than it previously was. The mission structure has also been streamlined, making it a bit easier to follow the campaign’s story (if that’s of interest). Overall the Vermintide II experience is very much the same as its predecessor, just refined and polished with the lessons that Fatshark has learnt over the past couple years.
Combat still feels the same with you facing down untold legions of enemies in face-to-face melee combat. With the introduction of the Chaos into the mix there’s a wider variety of enemies although, truth be told, most of them are just different skins on the same kinds of enemies. The same depth of combat remains with the intricacies of dodging, blocking and using the right weapon type all making a big difference in how challenging a particular level is for you. This time around I decided to play as the elf which, whilst incredibly fun, probably wasn’t the best choice given my penchant to get far too personal with large groups of enemies. This was largely negated by her passive (allowing me to heal up to half health) though so I think it worked out in the end. I have heard (and seen) that the dwarf is currently stupidly overpowered but haven’t had a chance to give it a go myself.
The loot system has been streamlined although the same modifier mechanics remain. Hidden throughout each of the levels are 3 tomes (which replace your healing potion), 2 grimoires (which replace your potion slot and reduce your party’s health) and potentially some loot dies. Each of these will increase the quality of the loot box you’ll get at the end of the level, should you complete it. Each of those boxes contains 3 items with the higher grade boxes having a higher chance of better gear. All of the items power is directly related to your current power so, at least in the early stages, its best to just equip whatever the highest power items are that you have. The quality of the items just increases the number of additional buffs and traits they have with exotics, the highest tier, having unique abilities. Just like its predecessor this allows for an insane amount of customisation for your character, granting you the ability to hone your playstyle to its ultimate perfection.
Crafting is best used to replace that one item you’ve had that’s lagging behind all others. Much like the loot boxes crafted items will be rolled at your current power so it’s quite unlikely that you’ll be able to get a big boost from crafting something which is already close to your current max. Instead if say all your gear is at 100 but one is at 90 crafitng a replacement for that slot will likely yield the biggest gains. Similarly, whilst you can upgrade the quality of the items, it doesn’t change their power. This is somewhat unfortunate if you have a build centered on one item and its power starts to lag but such is the loot treadmill in this game. Crafting up to exotic level is possible however, just rather expensive, so you’ll likely be able to re-craft a certain item if you need to bump up its power level. There’s also apparently “veteran” level items which are red and max stat rolled versions of their exotic counterparts but I’ve yet to see one since I’m still a scrub playing around in Recruit difficulty.
The additional polish means there’s fewer issues in Vermintide II than there was in its predecessor but it’s far from bug free. My poor dwarf friend in the screenshot above got stuck in a piece of the environment which, whilst hilarious, left him stranded there. Thankfully we had a boss spawn shortly afterwards which knocked him out but without that he would have had to leave the game completely. Some levels still have the rather irritating bug of enemies spawning behind walls or being able to clip through them, so sometimes you can end up with a packmaster pulling one of your colleagues away to a place where you can’t get to them. We even had a globedier spawn behind a wall at one point, allowing him to lob gas grenades at us unhindered whilst we tried to deal with a bile troll at the same time. If your group is skilled enough issues like this won’t stop you from completing a level but given that this doesn’t feel like intentional behaviour it’s more of a chore than a challenge.
There is a story here, one that I’m sure has some detail to it, but it seems to fade into the background. The banter between your characters is as good as ever, ensuring that I quickly grew to despise the elf I was playing because she’s just an insufferable ass. But apart from that I’d be hard pressed to tell you anything about the game’s overall story beyond the fact that the skaven teamed up with the chaos in order to sack Ubersik and we’re trying to stop them. I’ve also not managed to complete a single chapter either, my attempts at the final boss in Act 1 always meeting with disaster either through players leaving or the not-so-great bots providing little help in those fights. That all being said I have played this game for far longer than I did its predecessor so maybe, eventually, I’ll figure out what’s going on in the story.
Warhammer: Vermintide II is a solid improvement over its predecessor, retaining the core of what made the game fun and cutting away much of the extraneous cruft. The improved game engine ensures that the new, highly detailed environments are able to shine through even if a few of them could do with a bit more optimisation. Combat, levelling and crafting have all been streamlined for the better, making the overall playing experience that much better. Some of the same issues that plagued its predecessor still remain however but aren’t beyond fixing through a few good patches. Overall, for a gaming I wasn’t expecting a sequel to so soon, I’m impressed by what Warhammer: Vermintide II brings to the table and I’m sure I’ll be spending a few more good hours in it over the coming months.
Warhammer: Vermintide II is available on PC, PlayStation 4 and Xbox One right now for $29.99. Game was played on the PC with a total of 12 hours game time and 27% of the achievements unlocked.
Games as a medium have matured extensively over the past decade or so. Numerous ideas and stories which would have never previously been explored now find their way into game form. Increasingly we’re seeing games based around cultures and their mythologies, providing a new and interesting lens into these worlds that typically wouldn’t have been explored in this medium. Mulaka, the second game from indie developer Lienzo, explores the lore of the Tarahumara people through a 3D platformer beat ’em up. It’s one of the few examples where I can say that the developer knew their limitations and chose to focus on where to best spend their effort. The result is a simple, relatively short game that achieves what it set out to do with only a few minor hiccups along the way.
You play as one of the Sukurúame, a Tarahumara shaman who has tasked themselves with ridding the world of the corruption that has begun to plague it. To do so you will have to enlist the help of the demigods who will imbue you with their powers in order to cleanse the corruption from the land. The path before you won’t be easy however as many of the normal creatures of the land have been warped and changed by the corrupting magic that now infuses the world.
Mulaka utilises a low poly visual style with bright, solid colours and little texturing to be seen. The art style is somewhat reminiscent of older Nintendo 64 like Zelda: Ocarina of Time or Goemon’s Great Adventure with the NPCs having flat faces with simple textures. Under the hood this is all powered by Unity but, thanks to the customised art style, manages to avoid that trademark look and feel. Consequently the game runs absolutely lightning fast on any semi-modern PC and, given it has a Switch release, would likely run quite well on nearly anything you cared to throw at it.
The game can be largely categorised into 2 major parts: the 3D platforming and puzzle sections, and the now standard “Dark Souls-esque” style of combat. Each of Mulaka’s levels requires you to find 3 stones in which to unlock a door to progress to a small final section, most of which are found via exploration or completing a quest set by one of the NPCs. Initially they’re your stock standard platforming puzzles but as you unlock new abilities they change into more of a traditional puzzle experience. The combat follows a similar progression, starting off with your typical dodge/roll/parry and quickly building into more complex encounters thanks to multiple different types of enemies and the new abilities you unlock. There is a small progression system in the form of currency you’ll receive from defeated enemies but, honestly, I did the vast majority of the game with only buying one (and that was actually a mistake). Overall there’s actually not that much to Mulaka in terms of game mechanics but for things it does do it does them well.
Combat isn’t exactly a challenging experience as most enemies can be defeated by simply spamming one attack at them. Whilst challenge initially comes from trying to figure out how to tackle new enemy types it unfortunately tends towards simply throwing more enemies at once at you. The upgraded enemies you’ll come across later in the game are simply bigger, badder versions of their earlier incarnations and so they don’t really feel like that much more of a threat. The bosses are however all quite interesting, attempting to recreate that same feeling you get in the Dark Souls series of being a very small person going up against an unbelievably giant threat. Suffice to say you’re not going to be playing this for the challenge (or taunting your friends to “git gud” at it) but it was somewhat refreshing to have a combat experience that didn’t feel like it was getting in the way too much for once.
The puzzles are similarly none too difficult with the majority of them being a follow the bouncing ball kind of deal. The 3D platformer puzzles can be solved in numerous ways, many of them I’m sure weren’t entirely intended by the developer. Other smaller puzzles (like the water one shown above) only have a single solution and can usually be solved in a few minutes. Mulaka could do a slightly better job of communicating when you’re not able to solve a particular puzzle due to you not having the requisite ability as this is one of those games where not everything in every level is available to you from the start. For instance you’ll likely find items behind a big rock with red claw marks on it, something which can’t be cleared until you get the bear ability. The game doesn’t tell you this (nor for any of the other blockers) so it can sometimes be a bit of a guessing game as to what you can access right now and what you’ll have to come back for.
There’s also some quality of life improvements that could be made, 2 of which jump immediately to mind. First off the upgrade vendor is only in one map which means you’ll have to trek back there every time you want to purchase one. Since the game already has characters that travel from map to map with you it’s not out of the question to bring said upgrade vendor along with you. Secondly the potion crafting, whilst simple and concise, is needlessly laborious in its resource collection mechanic. In order for you to craft a single potion you’ll need to get 4 of a certain item and then you’ll automatically create one. As far as I can tell those resources will spawn an unlimited number of times meaning that the second you find a resource you can, in theory, fill your potion inventory. However the time taken to do so is a little bit too long in my opinion and instead could take inspiration from the estus flask idea in Dark Souls (I.E. refilling them all at certain points). I admit that there is a small lore reason for the gathering mechanic but I’m sure that could be worked in other ways.
The game is well polished in most respects although there are a few minor issues here and there that could use addressing. As the above screenshot shows there are numerous places on several maps where you can fall through the world. Thankfully instead of outright killing you the game will simply teleport you back to a safe place after you fall for a while so it’s not a major issue when it happens. The hit detection, both for your character and enemies, could do with a little tuning as well as some of the enemies attacks connect when you’d think they’d miss. Thankfully these are minor gripes in the overall scheme of things and I’m sure future patches will work most of them out.
The story is steeped in the mythology and culture of the Tarahumara people with many of the places, stories and even game mechanics taking inspiration from it. With your character being an entirely mute protagonist it is a little hard to engage fully with the story. There are some interesting pieces here and there and the story’s ultimate climax is cool but, overall, I didn’t get that much out of it. Looking at the Steam page there’s a bunch of videos that the developer made diving into the culture and how it influenced the game so had I watched those before playing I might be saying something different.
Mulaka’s greatest strength is that it achieved what it set out to. Too often I’ve seen both indie and AAA developers strive for grand visions that can never be fully achieved, resulting in games with half baked ideas and broken implementations. Mulaka instead had a simpler, narrow vision which helped it focus more on what mattered. The game that came out the other end is simple, short and concise. There’s improvements to be made though with some levels needing a little more polish, a few quality of life improvements here or there and a little more story work could elevate this title to much greater heights. None of these are terminal issues though and, should the developers decide to revisit this world, I’m sure a follow up game could strive for a much greater vision.
Mulaka is available on PC, PlayStation 4, Xbox One and Nintendo Switch right now for $19.99. Game was played on the PC with a total of 5 hours play time and 50% of the achievements unlocked.