Posts Tagged‘pc’

Cloudpunk: I Don’t Think We’re in the Eastern Peninsula Anymore Camus.

You know, I’ve really missed driving games. I spent a great deal of my youth in seminal titles Gran Turismo and the early Need for Speeds, even playing some of the more esoteric titles like the very first cel shaded game I ever played Auto Modellista. Later on I’d spend countless hours with my mates playing Need for Speed Underground, spending most of the time customising our rides before spending what time we had left together racing or trying to beat each other’s drift scores. The want to go back is definitely still there, heck I was staring down buying a racing wheel for far too long recently, but I just haven’t dived fully back in yet. So dipping my toes back in with something that notionally straddled the “driving” genre with one I’ve gravitated more heavily to over the past few years seems like a good middle ground to start off with. Cloudpunk is that game and there’s certainly a lot to love here, from the unique visuals to the simple pleasure of simply driving around the surprisingly large world, the open world tropes that have made their way into the game really detract from the game’s solid core.

You are Rania, a young woman from the Eastern Peninsula who’s moved to the big floating city of Nivalis to escape the debt corps who chased you out of home. You’ve taken a job with a delivery called Cloudpunk; their business? Simple: they’ll deliver a package from A to B for you without any questions asked and they’ll do it faster than anyone else can. This is your first night on the job and it becomes clear that life in the city is nothing like where you come from and just making it through this first night is going to be a challenge in and of itself. You don’t have much time to think about that however as Control tells you that you have a delivery and it’s time to get to work.

I honestly can’t remember the last time I played a voxel based game (quick search shows it was over 5 years ago, The Deer God) so it was refreshing to see agame go back to this art style. Given that you spend a great deal of the game zoomed out though it’s easy to forget that it’s essentially 3D pixel art that you’re looking at, especially given the incredible amount of detail that the developers have packed into the game. Truly the game’s scale is really impressive, especially with the amount of diversity there is in the various details (like different levels having different styles befitting their status). Of course when you do get to zoom in close the extreme lack of detail in things becomes abundantly clear, like just how few blocks make up the majority of the items on screen. Still though it’s the best looking voxel game I’ve seen to date so hats off to the art team behind this.

As the opening plot summary would indicate this is basically a game of fetch quests, sending you between two points with the usual array of challenges mixed in. It is an open world game though, allowing you pretty much free reign of the entire game right from the get go. Exploration is encouraged and rewarded too as you’ll find tons of items, side quests and other tidbits of plot or worldbuilding scattered around everywhere. Thankfully everything is helpfully displayed on your map too, ensuring that if you want to go item hunting you won’t be spending a lot of time trying to discern one clump of voxels from another. There’s also some market mechanics although they’re never explained, but should you want to make a bucket of lims you could do trade runs once you find some arbitrage to exploit. Finally there’s a whole host of cosmetic upgrades for your character and apartment although they have absolutely no impact on the game whatsoever. All said and done there’s quite a bit to unpack in Cloudpunk and for those who simply love driving around and exploring I’m sure this is a game that’d give you quite good value for your money.

The main campaign ticks over at a steady pace throughout game, which you’re most welcome to ditch at any particular point (save for a few specific missions) to go off and do other things that interest you. All of the side missions are self-contained as well and don’t have any bearing on how the main campaign plays out. Your choices in the main campaign will have an effect on the story and the world however, although in all honesty I don’t think you can really move the needle too much in one way or the other.

After a while though the monotony does start to set in however as you’re often sent from one side of the map to the other only to find out that you’ll have to switch to another level and then traverse that to get to your destination. This wouldn’t be so bad if the driving was a bit tighter, or at the very least had upgrade options that’d make it a lot more enjoyable. To be sure there are upgrades but most of the handling ones didn’t seem to make much of a difference. I can understand that it’s part of the game’s design, hover cars after all probably wouldn’t drive like they’re on rails, but when the main thing you’ll be doing for more than half the game isn’t particularly enjoyable perhaps it’s worth looking at sacrificing authenticity for enjoyment.

It’d also help if the upgrades were somewhat rewarding but they’re honestly not. I was pretty excited to see that there was a retro console upgrade and retro game cartridges as collectible items. Figuring that I’d put 2 and 2 together and get something cool, maybe even an achievement, I bought the upgrade. Trouble is I couldn’t tell you where in my apartment it was nor could I interact with it at all. This goes for basically all the upgrades which are simply just more voxels for your PC to render. The clothing upgrades for your character are worse still, some of them just being basic colour changes. It feels as if the game was built with a reason for you to need a truckload of lims but never got around to implementing it fully. So instead we just have what amounts to cosmetics in a single player game, not particularly worth it if you ask me.

There’s also a few items which could use some fine tuning. The physics engine sometimes gets real confused when you bump into another car and shoots you directly upward as far as you’re allowed to go. This would be an edge case issue if the hitboxes for the cars weren’t quite a bit bigger than the models themselves, making unintended bumps and skyward punts more common than you’d expect. It would also be nice to have a way to upgrade your walk speed (for the record I did try the caffeine drink, whatever it was, and it seemed to make Rania run faster but I couldn’t tell you if she really did) as walking back through the same area for the 5th time does get a bit laborious and it’d be nice to be able to rush through them. Apart from those small issues though the game is basically fault free.

The story is kind of middling although it does have a great cast of characters that are given enough screen time to build them out substantially. In the beginning it is a bit much to have everyone you meet vomit their life story at you but after a while they do start to build together into an expansive world which is quite intriguing. However the story told within that just doesn’t really hit the mark and the emotional highs it tries to put forward feel unearned. The ending is also sub-par, taking the end-o-tron 3000 approach after spending most of its time trying to impress upon you the gravity of the choices you’ve been making. I’d definitely play a sequel if the devs choose to revisit this world, though.

Cloudpunk crams a lot into one place with vast voxel environments for you to explore from the comfort of your trusty hover car. There’s been a lot of care and attention paid to the visual experience and they’ve really managed to capture that dystopian, cyberpunk future feel. However the actual gameplay is very middle of the road, with the repetitive nature of the core game loop, unrewarding progression mechanisms and so-so story making for an experience that’s good, but not great. If all you’re looking for is an excuse to drive through a neon-soaked futuristic dystopia then I don’t think there’s many better alternatives around right now.

Rating: 7.25/10

Cloudpunk is available on PC, PlayStation 4, Xbox One and Nintendo Switch right now for $28.95. Game was played on the PC with 7 hours of total playtime and 63% of the achievements unlocked.

Bright Memory: Proof of Concept.

The level of content coming out of one person studios these days is frankly astounding. Part of that is definitely due to the great level of community developed IP available for anyone on their engine of choice as well as the host of ancillary tools and assets available that can make some challenging tasks trivial. I’m also a fan of short concept games that are then used to garner interest from the general public or from publishers as they’re much, much better than a short Kickstarter video which always writes more cheques than the developer could ever cash. Bright Memory is the latest one-person studio wonder to hit Steam and whilst there’s only a morsel of a game here what’s there is good and worthy of being developed further.

The game opens with a rapid fire of what I assume are relevant plot details but they’re largely forgotten in the unrelenting combat that begins pretty much immediately. The best way to describe it would be Bulletstorm meets a JRPG (I’d say Devil May Cry but I’ve never actually played it, just seen a few vids). Whilst the mainstay is the gunplay there’s a trove of abilities to go along with it, all the while you have a points meter ticking over up in the right hand corner, grading you on your every move. You’ve also got something resembling a talent tree powered by XP that drops from all the enemies you defeat. Honestly even taking into consideration the game’s short length the amount of stuff crammed in here is pretty darn impressive.

The combat is ridiculously fast paced and thoroughly enjoyable. From memory there’s only 2 guns to choose from: your standard assault rifle and a somewhat disappointing shotgun. You also seemingly have a limited ammo supply with no drops in sight but even if you miss every second shot I doubt you’d run dry. The guns seem pretty effective although there’s a couple types of enemies which don’t seem to really react to the numerous bullets you put into them which is why, of course, you have your magical abilities to fall back on.

The abilities follow the standard RPG tropes pretty closely, giving you all the kinds of choices that wouldn’t be out of place for a caster class in another game. None of them drastically change how combat encounters play out but there’s a couple of them that will make your life easier at some points (like the giant dome of slashy things that basically levels all the low level enemies for you). The combination with the gunplay makes for a great experience, even if it’s not exactly an original concept. Being fair of course though games that have done a similar kind of FPS/RPG hybrid like this have usually had a few more developers on the books.

Of course there’s a ton of rough edges but they’re mostly forgivable. Enemies can get themselves stuck in all manner of places which can make for a rather frustrating time as you try and track them down so you can trigger the next section to open up for you. The double jump is a bit finicky in its implementation which isn’t a problem for most of the game but when it’s part of a platforming puzzle it does become a little frustrating. There’s also some really wooden animation, not to mention the fact the dev apparently nicked a bunch of models from other games to bolster his game a little more. All these are sins that can either be fixed or made up for when they start working on the full game, something which they should be able to do given the’ve sold almost 200,000 copies of it.

When all is said and done Bright Memory is mostly just a testament to how far one person can go these days when they’ve got an idea and time to see it realised. There’s nothing particularly novel or new here but the game’s short play time manages to demonstrate the majority of core mechanics that we’ve come to expect from AAA developers. The experience could use a couple layers of polish and a fleshing out of the core ideas the dev wants to explore to make this concept really shine but honestly, at this point, I think it’s probably done its job. Should you buy it though? That I’m less sure of as at this point it’s really only for those who’ve bought into the concept in one way or another. If you’re looking for the next game to really sink your teeth into this isn’t it but hey, if you’ve got a few dollars and 30 minutes to kill well there isn’t much else out there at the moment.

Rating: 8.0/10

Bright Memory is available on iOS and PC right now for $14.50. Game was played on the PC with a total of 37 minutes play time and 50% of the achievements unlocked.

LOST EMBER: The Sins We Carry With Us.

If you’ve been reading my game reviews for any length of time it’s probably quite clear that I have a few…types that I like. Of course there’s the usual mix of must-play AAA’s and the long running franchises that I’ve become a fan of but mixed in between all that is a subset of games that I’ll dub review-bait. Basically any indie/small studio title that’s pretty looking, has a good narrative or is experimental in some way is likely to catch my eye. LOST EMBER fits into that subset perfectly and was on my to-play list last year but I just never got around to giving it a go. It seems I wasn’t missing out on too much as whilst it’s a competent game in many respects the overall experience is decidedly middle of the road; the sum of its parts not being anything greater than its whole.

The people of the Inrahsi believe that those who follow their religion faithfully are rewarded with entry to the City of Life upon their deaths. For those that stray from the path however they’re cast back down into the world as beasts, forced to roam the world once again. You are Wolf, a beast of this world who appears to have the uncanny ability to see the spirits of the Inrahsi people and to possess all other animals in this world. You’re approached by a wayward spirit who’s become lost on his way to the City of Light and seeks out your help. What follows is a journey through the memory of the world that you live in and the spirit’s journey to the life hereafter.

The hallmarks of the Unreal 4 engine are all over Lost Ember from the various particle and lighting effects to just that overall “feel” you get from Unreal games that don’t muck with the underlying engine code too much. Lost Ember is at its best when you’re playing in the wide open spaces, able to soak in the seemingly endless vistas in front of you. That facade disappears quickly when you get up close to anything however where the lack of detail in both the modelling and the textures becomes readily apparent. Some of this can be explained away by artistic choices but in reality it’s more an artefact of trying to make large environments without spending an inordinate amount of time populating in the detail (something indie/kickstarter funded devs rarely have the opportunity to do). Worse still it’s clear that a lot of the animal is hand done with a lot of the animals seeming stiff or incredibly unrealistic in their motion. Lost Ember certainly has its moments, as my screenshot directory will attest to, but it’s very middle of the road when all is said and done.

Lost Ember is effectively a walking simulator, not really requiring much from the player in order to progress to the next section. There are some levels which will require you to possess a certain animal in order to progress but every time that animal will be right there next to the puzzle, making the challenge of figuring out what to do rather moot. There is an exploration aspect to it as well with a bunch of collectibles and “legendary” animals to find but apart from getting an achievement or two there’s really no reason to track them down. Checking out its Kickstarter page it’s clear that the gameplay was supposed to be mostly second to the narrative but what they’ve delivered here is pretty far from that original vision.

The exploration, for instance, is absolutely not worth your time at all. The collectibles are either “artefacts” which are random things that are partially related to the memory that you’ve just seen/about to see but they don’t include more than a sentence or two about them. For instance one item, which would be pretty central to one of the main characters, is given a single sentence simply restating what was said in one of the memories. At the very least the collectibles should give you something you can’t get elsewhere to make seeking them out worthwhile. Collecting the mushrooms is 100% pointless as far as I can see as the game doesn’t give you an indication of whether or not anything will happen should you collect all of them. Finally the “legendary” animals are simply glowing versions of the ones you already had access to, giving no benefits or deeper insights into the story.

The game also could use a couple layers of polish as there’s some unrefined edges that make themselves apparent far too often. The controls feel mushy and unwieldy most of the time making it rather annoying to control the majority of the animals. This is exacerbated by the camera which gets a real mind of its own in certain places and will routinely clip through the level, especially in tunnels or when you’re underground. The platforming controls are also incredibly wonky, often taking several attempts to get them to register what you’re trying to accomplish. Many animals will also get stuck in animations for seemingly no reason at all, some will even get stuck in animations that seemingly affect your input keys as well. The levels are also not 100% vetted as there’s numerous places where you can get yourself into a situation which you can’t get out of (save for hitting a checkpoint). All of these issues are fixable of course but we’re 5 months post-launch now so I can’t say my confidence is high to see them remediated anytime soon.

The main issue I have with Lost Ember’s narrative is that it’s all delivered via endless exposition from your spirit companion and the various cutscenes. The Kickstarter page billed it as a joint exploration that led to a deep bond between you both but in reality all it boils down to is your spirit telling you what you’re seeing. You, as the Wolf, have absolutely zero to do with anything that the story is putting forward and the relationship you have with the spirit is really only skin deep. Now to be fair there are some emotional moments later in the game but they don’t feel like they’ve been earnt, instead relying on cheap narrative tricks to make you care about the characters put forward in the game. All said and done it’s a very mediocre story, made all the worse by the fact that the overall game experience does nothing to add to it.

Lost Ember certainly started out with all the best intentions but it’s lack of polish, uninteresting core game loop and mediocre story make for a rather lackluster experience. On the surface it has all the elements of something that I’d thoroughly enjoy: pretty (even if simplistic) visuals, light gameplay mechanics and a focus on storytelling. But whilst all those elements are there none of them are interlinked with each other, nor is any one of them a standout in its own regard. To sum it all up: Lost Ember is neither good nor bad, it’s just rather forgettable. Fixing up some of the core gameplay issues would push it more towards the good end of things but there’s some serious rework needed if it could ever be considered great.

Rating: 6.0/10

Lost Ember is available on PC, PlayStation 4, Xbox One and Nintendo Switch right now for $42.95. Game was played on the PC with a total of 3.9 hours playtime and 42% of the achievements unlocked.

Kentucky Route Zero: Everything Changed When the Power Company Showed Up.

You know how there’s always a few games or a series you missed when it came out and just never got around to playing? One of them for me was Kentucky Route Zero as ostensibly it’s right up my wheelhouse: indie, story heavy adventure with a bent for the experimental. Heck I even had a friend of mine recommend it to me when it first came out but still I just let it slip by. Then as the years rolled on I kept hearing about it, learning that it was an episodic adventure that’d be released over the course of many years. So I resolved myself to play it end to end when it finally finished and it just so happened that the final episode was released this year. Imagine my surprise too when I found out that I already owned it, picking it up over 4 years ago. What’s followed over the last week has been an incredible journey, witnessing nearly a decade of work and experimentation unfold before me.

If I’m honest though, I’m glad I waited.

Conway, a truck driver, works as a delivery man for an antique shop owned by a woman named Lysette. Being hired to make a delivery to 5 Dogwood Drive, Conway travels the roads around Interstate 65 in Kentucky to locate the address, accompanied by his dog, Blue. After searching around, Conway elaborates that he is lost and stops off by a gas station, Equus Oils. It’s here where your surreal journey into this slice of the rust belt begins as you try to track down the elusive address which apparently can only be found by taking the road that can’t be mapped, the Zero.

So much of the recent indie fare I’ve played has utilised similar low poly stylins and if I’m completely honest I had a hard time seeing where they would’ve drawn the inspiration from. Given that Kentucky Route Zero is nigh on a decade old (and extremely popular in the indie/experimental game scene) I feel somewhat confident in saying it’s likely that it is the one who popularised this art style. There are some trademarks that are unique to it though, things like the low poly foliage that appears to be 2D or the slow fade to black of the background as you dive deeper into a text block. Backing all this is some solid foley work and an absolutely stunning soundtrack, the highlight of which is each of the act’s bluegrass standards performed by one of the developer’s bands, the Bedquilt Ramblers.

Kentucky Route Zero fits firmly within the point-and-click adventure genre although most of the usual mechanics (like inventory management) aren’t present. Instead the game is more of a wandering adventure, inviting you to explore around, see what’s what, and carve out your own path through the game’s surprisingly large world. Whilst most of the traditional mechanics aren’t present there are numerous progression blocking puzzles that you’ll need to solve although, thankfully, they are all self contained. Each of the acts has its own…theme so to speak, constructed in such a way to change how you interact with it and, by extension, how you view the story. Played as they came out it certainly would’ve been quite the whirlwind of different styles but played through from start to finish the various elements actually blend together rather well.

The adventure game elements are pretty basic, verging on walking simulator territory given that there’s not a whole lot of puzzles to solve. However there’s exploration aplenty to be had, both in terms of actual exploration around the map (in the many forms that it takes) and through the various dialogue choices that the game presents to you. This does then beg the question of whether or not the exploration is worth it and the answer is: well it depends. At a nuts and bolts level most of the exploration you’ll undertake will build out the world first and, only if you’re lucky, give you a little more insight into the characters. However herein lies the rub for pretty much everything that goes on in Kentucky Route Zero: none of it really matters.

The game has an inordinate amount of dialogue choices for you to pick through however I’m 99% sure, bar for a few choice sections, your choices have basically no impact on how the story plays out. There are various dialogue options which are obviously in direct contrast to each other but often they’re backstory elements or other things which don’t really matter to the core narrative per se but, in a larger sense, are part of the who the characters are to you in the story. For instance the dog that accompanies you for much of the game could either be your loving pet which you confide in regularly or simply that mangy mutt you keep around for whatever reason. Does that change how the story plays out? Not in the slightest but it does change what you think about that character, how they interact with others and ultimately the kind of person you want them to be.

Digging more into the construction of the narrative it’s interesting to try and figure out which parts are allegorical and which parts are true to the world. Obviously quite a lot of the world built up in Kentucky Route Zero is surreal however the game bills itself as being “magical realist” which would then lead you to believe that much of what you’re seeing is 100% true to (this world’s) life. Much like the game’s namesake trying to figure this out is likely to lead you in circles which, I gather, is pretty much the point of the whole thing. I can’t say much more before I dive into spoiler territory but suffice to say the world built up in Kentucky Route Zero has a lot to pick through no matter which way you look at it.

PLOT SPOILERS BELOW

With the benefit of only just finished my full playthrough a couple days ago, completed mostly in single chapter per night stints, I went through a lot of different emotions over the course of the game. The initial chapter hooked me into the concept, giving me just enough to want to see where things led from there. The second, with its proper introduction and implementation of the Zero route, piqued my interest further. However Act 3 (and to a lesser extent, the last few sections of Act 4) began to drag somewhat, the game dwelling a little too long on some of the more esoteric narrative concepts that I simply didn’t find that interesting. However Act 5 brought everything back home, giving the game the emotional climax that I think many had been seeking but may not have appreciated the brevity in which it was delivered.

Though had I played this before it was completed I don’t think I would feel the same way I do now. Back in the day episodic content was all the rage to keep players coming back time after time, but it’s fallen out of fashion lately and for good reason. Many gamers, myself included, simply don’t come back around when the content is drip fed to us over a long period of time. Played all the way through Kentucky Route Zero feels like a masterpiece, an experience that’s been carefully crafted to elucidate a particular feeling. Played over the better part of a decade? I would’ve forgotten character’s names, the reasons they were there and all sorts of other things that made Kentucky Route Zero as enjoyable as it was. I know this opinion will run contrary to most who’ve enjoyed every morsel they’ve been able to savour but I know myself, and I’m glad I didn’t cave into it beforehand.

PLOT SPOILERS OVER

Kentucky Route Zero is an exceptional storytelling experiment in the medium of games. The craftsmanship is absolutely top notch and played as an entire experience it’s amazing to see their progress as developers over the over 10 year journey it took to bring this vision to life. It may be a little simplistic and slow for some but for those of us who relish the opportunity to play something truly different to the norm there’s not many other titles that can be thrown in the same basket as this one. If you are like me and have snoozed on Kentucky Route Zero for all these years then I’m glad to say that now is the time to get into it, you won’t regret it.

Rating: 9/10

Kentucky Route Zero is available on PC, Xbox One, PlayStation 4 and Nintendo Switch right now for $35.95. Game was played on the PC with a total of 7 hours play time and 54% of the achievements unlocked.

DOOM Eternal: The Only Thing They Fear is You.

This blog is basically just my gaming journal at this point but that serves an important purpose for me: capturing what I felt about a game at a particular time. I couldn’t tell you how many times I’ve thought about a game many years after I’ve played it, figured I had kept the same opinion about it only to then go back to the blog post I wrote to see how differently I actually felt. This has taught me an important lesson about a lot of things, chief among them is that time brings with it new experiences, opinions and it tends to colour our past with its own brush.

I tell you this as with DOOM Eternal, as it has been with many games and genres of late, I felt that I had drifted away from the intense action that I seemingly loved in the original DOOM in 2016. Talking to my mates about it they were all loving it, whilst I was struggling to really find something to enjoy. That changed over the course of my playthrough but even after finishing the game I feel like something fundamental has shifted in my tastes over the past few years and I don’t find myself agreeing with my opinions of the past.

DOOM Eternal takes place 8 months after the original and Earth has been overrun by demonic forces, wiping out two thirds of the planet’s population. What remains of humanity has either fled Earth or have banded together as part of ARC, a resistance movement formed to stop the invasion, but they have all gone into hiding after suffering heavy losses. The Doom Slayer, having previously been betrayed and teleported away by Dr. Samuel Hayden, returns with a satellite fortress controlled by the AI VEGA to quell the demonic invasion by killing the Hell Priests. These priests serve an angelic being known as the Khan Maykr who seeks to sacrifice mankind in order to save her own world from destruction. So continues the saga of a man too angry to die, hellbent on saving humanity no matter the cost.

This DOOM, like many before it, brings with it an update to the id Tech engine, taking it up to version 7. The list of improvements in brings in are mostly focused on the backend for the most part although it does claim to bring with it 10 times more geometric detail and higher texture fidelity than when compared to the previous engine’s iteration. Comparing some of my screenshots against each other the differences are pretty hard to spot, save for things that honestly could just be down to aesthetic choice. The addition of “destructible demons” is definitely noticeable although it’s honestly a bit of a gimmick considering you’re not going to be spending long looking at them. To id’s credit the game runs perfectly well on my now aging hardware, something I didn’t really expect without having to make a few tweaks to it. I’m sure there’d be a more stark contrast between the games if I’d upgraded my rig in the interim. All this being said DOOM Eternal is still a very good looking game, especially some of the later levels like Urdak.

At a fundamental level DOOM Eternal is very similar to its predecessor, copying and pasting all the core elements that made the original as good as it was. The progression system has been revamped significantly though, breaking up various elements into their own systems most of which can be progressed through simply playing the game and doing the usual hunt for secrets. There’s definitely been an investment in quality of life improvements to take the edge of the original’s more frustrating elements, making overall progression a bit more predictable. All this being said that if you liked the original then you’re probably going to like this one as well, that is unless you’re like me.

Fundamentally I think keeping the same combat loop was probably a good thing as it shook up the established formula enough to make things interesting and that hasn’t really changed in the interim. I couldn’t tell you of any other games that have tried to emulate DOOM’s style with most corridor shooters instead keeping true to their namesake. So DOOM Eternal then still feels like a fresh perspective even though it isn’t given that everyone else has stuck true to their roots. However for me I think there’s one key element that made the first 30% or so of my playthrough not as enjoyable as I would’ve liked it to be.

That would be the game’s unrelenting intensity.

I remarked in my review of DOOM 2016 that I couldn’t really play for more than one level at a time due to how exhausting it was to play and nothing has changed in that regard. My first few hours with DOOM Eternal were split between multiple sittings because I was mentally exhausted at the end of them and I didn’t really feel like putting myself through another level until I’d had some time doing other, less intense activities. Perhaps it’s an artefact of the times we’re living in now as it’s far more common for me to be mentally exhausted at the end of the day, what with all the video conferences and calls I have to be on given that we’re now all working remotely. Whatever it was this meant that I struggled to a) spend time with the game which meant that b) I just couldn’t find much about it to like.

This steadily changed as I was able to progress a little more and gain a few more upgrades, things that didn’t make the game that much easier but did make me feel like I had more options available to make up for any mistakes I might make. This got me through the middle third of the game pretty easily and for a good while I figured it was just that I wasn’t used to the real challenge that DOOM Eternal was throwing up when compared to other FPS titles of recent memory. However after a while the addition of certain enemy types (like the Marauder and Doom hunter) and the extended fights which were just more waves of the same enemies made the game a right chore to churn through. The final boss is probably the best example of this, effectively making you repeat the same bullet sponge fight twice over.

This was made all the worse by the fact that the various progression mechanics don’t feel as effective towards the game’s latter points. Half of the suit upgrades are effectively just quality of life improvements and once you’ve settled on a decent rune combo you likely won’t be changing it at all for the rest of the game. The weapon mastery upgrades are also pretty lacklustre, the initial upgrade points necessary to offset the downsides of the particular mod and the mastery usually just making things a little more convenient to use. At a base level there’s really no way to increase a gun’s overall effectiveness, meaning that every enemy is basically as challenging from the first time you meet it until the last. I get why that’s done from a game design and challenge perspective, but it would’ve been nice to be able to more easily deal with trash monsters rather than them being an continuing annoyance throughout the game.

There were no noticeable bugs or glitches in my playthrough, even in the few times where I was trying to deliberately break things in order to cheese my way through a section. I do have some qualms with some design decisions made about certain interactions (like not being able to dash past certain enemies or terrain of a particular height) but those are obviously intentional so I don’t really count them as a bug. The id Tech 7’s focus on simplifying the codebase seems to be paying off in spades here as I remember the original DOOM needing a little more polish than Eternal does.

Now the story is, to be blunt, completely opaque should you not spend an untold number of hours reading through all the in-game lore pickups. To start off with it’s not made clear at all how you ended up hovering over earth in a spaceship that’s built like a castle and it’s even less clear as to why (or how) the demons are invading earth. To be sure your character’s motivations are made clear enough but there’s no reference I can recall to the 8 month gap between the end of DOOM and the start of Eternal. Towards the end of the game they do a better job of revealing the game’s plot elements without resorting to walls of text but it’s honestly too little too late. Of course you don’t need to understand the story to enjoy the game but it certainly doesn’t help if the game’s narrative is actually detracting from what’s happening on screen.

This puts me in a bit of an odd spot with DOOM Eternal. On the one hand there’s dozens of improvements made to the original DOOM that I think are for the better and the core elements that made it great are still there. On the other though I really struggled to enjoy a good chunk of this game which made those improvements feel less innovative than they really are. Even looking at reviews things are mixed with no real agreeance as to whether or not DOOM Eternal is as good, better or worse than its original. For me I’m definitely in the worse camp, but the things that made that experience worse for me are the same things that I thought were great all those years ago. So honestly I don’t know and all I can really say is that those who enjoyed the original seem enjoy this one too. Objectively I think it has all the hallmarks of a great title, I just didn’t enjoy it as much as the review score might indicate.

Rating: 8.0/10

DOOM Eternal is available on PC, Xbox One, PlayStation 4 and Nintendo Switch right now for $99.95. Game was played on the PC with around 10 hours of total play time.

Ori and the Will of the Wisps: The Life of the Spirit Willow.

Strap yourselves in everyone, we’re taking a feel trip today.

Ori and the Blind Forest took out my game of the year for 2015, beating out many other worthy competitors such as The Witcher 3 and Bloodborne. The reason at the time, and it still holds true today, is that there’s been no other game that’s made me care so deeply about the characters so quickly and then used that against me. From the early moments on I was hooked and all the other aspects of the game’s craftsmanship just served to amplify those deep feelings I had. So to say that I had high expectations for the sequel is putting it lightly; I was expecting the kind of near perfection that they had delivered the first time around and was extremely nervous that they wouldn’t be able to match it. Spin forward to the game’s first moments and suddenly I’m back there, 5 years ago, just after the game finished with all those feelings rushing back again. Now here I am today having finished the game and taking a good week to process it emotionally before I could write the review.

Suffice to say, Moon Studios has done it again and I’m an emotional wreck because of it.

SPOILERS FOR ORI AND THE BLIND FOREST FOLLOW

Picking up right where The Blind Forest left off you follow the story of how Ori, Naru and Gumo raised the lone hatchling of Kuro (the original’s protagonist) who they’ve named Ku. She was unfortunately born with a broken wing, rendering her unable to fly. However Gumo finds a feather which he then attaches to Ku’s wing, giving her the ability to fly. Her and Ori then set off on their first journey together and follow a band of owls to the old forest of Niwen. However before they can return a storm hits and the pair gets separated. This is how your journey begins, a simple quest to reunite with your little owling, but the destination is far more meaningful than you can possibly imagine.

Ori and the Will of the Wisps maintains the original’s art styling with a little more emphasis towards the 3D elements than the 2D ones. The environments still have that wonderful dreamlike quality about them with their lavish use of bright colours, unreserved use of bloom and lighting effects galore. The simple fact that I have a screenshot directory with some 34 screenshots in it is a testament to just how gorgeous this game is, every one of the frames it renders not feeling out of place in a concept art reel. The only downside with the heavier focus on the 3D elements is that during some cutscenes the resolution of some models becomes apparent which draws away from the impact those close in scenes should have. There are some solutions for this available thankfully although none of them natively supported by the in-game graphics options. I’m hopeful that these will become available in future patches however as I’d love to play this again in full 4K resolution with all graphics settings pushed right to their limit.

I also have to give a special mention to the soundtrack that Gareth Coker, who was responsible for the original’s as well, created for The Will of the Wisps. Once again he’s managed to create a brilliant set of emotional pieces of music that beautifully match the events happening on screen. For many games the sound track is an afterthought so it’s always great to see when it’s given just as much care and attention as everything else that’s put in.

The Will of the Wisps retains the same core game loop as the original with some of it’s newer elements borrowed some elements from some modern metroidvania titles. The progression system has been significantly increased in breadth and complexity, no longer being a simple choice between a couple different skill talent trees. Instead you’ve got multiple different paths to progress through, each of them with different mechanics for their progression. The level design has also been significantly improved as whilst it follows the standard metroidvania trope (I.E. unlocking new areas in already completed mission with new abilities) not once did I feel like I was missing a significant part of a level because I didn’t have a certain ability. There’s also a myriad of quality of life improvements as well, making the journey to 100% a run through something I actually considered doing for the first time in…quite a long time. With this release Moon Studio has proven that they’re dedicated to developing extremely high quality titles and aren’t satisfied with simply retreading old successes.

The game’s platforming starts off from the basics once again, a good thing considering it’s likely been quite a while for many players since they played the original. Some of my old muscle memory was still there, like expecting double jump and wall sticking from the get go, but it didn’t take long before I had those few abilities and the game started lumping on more things on me to make the platforming sections more varied and challenging. Each of the games…I want to call them biomes… comes with a new ability that will be the main trick that you’ll use to progress through it. That ability then also unlocks other areas in other biomes as well, typically granting access to upgrades and other collectibles that you couldn’t get ahold of. Towards the end of the game this will also get you into situations that were obviously not designed for, like skipping entire sections, but that’s mostly to your benefit. There’s also a bit of emergent behaviour you can exploit here too, like in the main Moki town which you can easily clear out of most of its collectibles before you complete the requisite side quests. Overall the platforming is as solid as it ever was.

Combat feels much the same as it used to although, I admit, this may partly be because I didn’t invest as much time in progressing the combat abilities as I did the other parts of the game. There are new abilities, some of which are also required for unlocking certain areas of the game, but for the most part it’s still a dodge/attack game loop. To be sure there’s going to be some broken skill builds out there that will have you wrecking all sorts of havoc but I played it safe for the most part, favouring instead being able to recover from my mistakes rather than going full glass canon. Still though for a few of the boss encounters I’d switch out to a different build that then made those encounters a lot easier going as without some kind of damage buff some of them could take forever to complete.

Progression comes at a pretty steady clip thanks to the multiple different progression mechanics. For starters you’ve got your simple life/mana orbs which you can easily find throughout the levels and most will be available to you immediately or soon after unlocking the biome’s ability. The main avenue for progression is spirit shards which modify your current abilities or attributes. Initially you can only equip 3 at a time but that can be upgraded to a total of 8 if you complete all the combat shrines. Most of the shards can be found around the place but a choice few will need to be bought. About half can be upgraded as well, although none need to be upgraded to be useful. You can purchase and upgrade new combat abilities from a vendor as well, a couple of which you’ll need to purchase in order to unlock some of the areas of the map. I tried the spirit surge initially but it’s pretty underwhelming. The spear was by far my favourite as it did an absolutely insane amount of damage and is pinpoint accurate. The downside is the mana cost but that can be made up for with the appropriate shard selection. There’s also a myriad of side quests which change the world around you although I don’t believe they have an appreciable impact on how the game plays out (apart from opening up more secrets to you).

There’s also a bunch of time trials scattered throughout the game, pitting you against a ghost Ori in a race to the finish line. I think originally they may have included a wide variety of rewards but they only now give spirit light, the game’s main currency. Whilst this is certainly helpful it’s not like you’re always scrounging for it. Indeed if you complete the side quests and find most of the secrets then you’re likely going to be rolling in it. I usually kept above 6000 as I wanted to max out the damage buff from a shard I had but even when I did go and splurge on something I don’t remember it taking that long to get it back up again. Regardless the challenges themselves aren’t too difficult, especially considering you can just follow the ghost and then overtake them quickly right at the end (doesn’t matter if you win by an inch or a mile, right?).

You’d be forgiven for thinking that all these mechanics would make for a game that’s too busy but they all work together to give the game a steady, moderate pace. There’s always something you need to do but the game doesn’t punish you for taking your time to explore around and uncover all the secrets they’ve hidden around the place. This makes it really enjoyable to simply take your time with the level, figuring out all the tells they’ve built in that lead to secrets or hint at how the current blocking puzzle could be solved. The fact that I only got stuck a couple times is a testament to how well the game is designed.

The same niggle I had with the original makes an unfortunate return in The Will of the Wisps; that being the use of long platforming sequences that must be completed in one shot. There’s more than one in this but they’re thankfully 1) shorter than the original’s final boss fight and 2) somewhat better designed so that you don’t feel like you’re running up against unfair mechanics designed to make you fail. That improvement is then offset by some slight…mushiness in the keystroke detection which makes doing some of the more involved platforming a bit clunkier than it should be. To be fair it could be that I was attempting things you weren’t intended to do as I distinctly remember this grumble coming to the front when I was clearing out the Moki town before I’d done all the plants and building improvements.

PLOT SPOILERS BELOW

The game’s narrative follows a very similar trope to the original but god damn do they know how to find your heart strings and tug on them relentlessly. It wasn’t enough that the game’s opening moments made me remember the original’s tragedy with such vivid recollection that I needed a minute to compose myself before playing they then had to set up yet another tragedy after I had already bought into the game’s premise emotionally. To be sure the plot is simplistic and predictable but I couldn’t help but feel for each and every one of the characters. This is only made better by the fact that it didn’t rely heavily on the story that came before it either, the original’s characters only having a passing role in this game.

Probably the biggest thing that stuck with me, which is possible fertile ground for a sequel, is that they didn’t resolve Shriek’s storyline positively, instead condemning her to misery that she’s known her entire life. That honestly hurt me more than anything else given what you know of her backstory. But, having had some time to process it, I can see it for what it is: great storytelling that didn’t go the way I wanted to. That doesn’t make it bad, just sad for me.

Now I’d usually chide a game for hinting at a sequel but I’m happy with the way it was done here, for a couple reasons. Firstly it’s already established canon in the world and the current story threads (bar Shriek’s) are resolved. That means that any further games in the series will have to stand on their own and, quite likely, lose “Ori and” from the title. Whilst it’s beautifully sad how Ori’s thread resolved I’m glad it did as it’d be all too easy to keep riding that cute little spirit’s goodwill until all the money was squeezed out of him.

SPOILERS OVER

Ori and the Will of the Wisps is an exceptional sophomore release from Moon Studios, demonstrating that they’re exceptional craftspeople when it comes to the genre of metroidvania that’ll make you cry. If you’ve made it this far in the review then you know what I think about the game’s various elements and I’m not going to rehash them again. All I’m going to do is say that, no matter what kind of gamer you are, Ori and the Will of the Wisps is worth your attention. If you haven’t played the original then do yourself a favour and give it the once over so you can play its sequel immediately, I can guarantee you won’t be disappointed.

Rating: 9.75/10

Ori and the Will of the Wisps is available on PC and Xbox One right now for $39.95. Game was played on the PC with 11 hours of total play time and 43% of the achievements unlocked.

The Division 2: Warlords of New York: You Have No Idea What’s Coming.

It’s been just under a year since I last spun up The Division 2 as whilst I thoroughly enjoyed the numerous hours I dropped into it that initial wall I hit with the raid meant I ended my time with it shortly after the review. The various drops of content between now and then didn’t really pop up on my radar. Indeed I was beginning to get worried that we’d seen the end of expansions or other meaty DLC drops given other games like Destiny have switched to the more regular drip feed of tiny updates, none of which are ever enough to bring me back into the fold. Imagine my surprise when I started to see The Division 2 subreddit lighting up with excitement about the impending launch of Warlords of New York for The Division 2, promising a return back to the place where the original took place and even the return of the main antagonist. Given I’d spent the last couple weeks playing casual-ish games I was ready to get into something a little more engrossing and boy was it ever.

You receive a distress call from Faye Lau who’s still the lead agent in charge back in New York. Agent Keener has unleashed a new and instantly lethal version of the original Green Poison bioweapon which has been called Eclipse. Upon arrival you’re informed that Agent Keener’s current whereabouts are unknown however they’ve identified 4 of his lieutenants and with their SHD watches they should be able to triangulate him. So with little more than that to go on you’re sent out into lower Manhattan to start the brutal search for the rogue agent once again, hoping to find him before he’s able to strike again and put an end to him once and for all.

As you’d expect from an expansion there’s no real changes graphically apart from the differences in the setting of DC vs New York. It’s definitely a major shift in the feel of the game as I distinctly remember DC feeling a bit more flat and open, whereas New York retains its usual high skyscrapers and dense urban environment. The change from winter to summer is interesting too as that, combined with the dynamic weather systems, means that this feels very different to the New York I remember from the original Division.

There’s been a few tweaks to The Division 2’s core game loop since I’ve been away and a few changes which I believe are unique to this particular expansion, although I couldn’t tell you which is which. For starters loot now drops less frequently, with the idea that there should be less trash and hopefully more useful pieces of gear. On the surface that doesn’t really ring true however the inclusion of the new re-roll system, which allows you to extract a single stat roll from a piece of gear and save it for use forever, suddenly means that trash drops with god rolls are no longer trash. The skill power system has also been reworked, now being fixed to “tiers” which each piece of armour can provide 1 of. There’s also now an infinite progression system in the form of your SHD Watch which is basically The Division’s form of the paragon levels from Diablo III. There’s a bunch of stuff I don’t even remember coming across listed here so if you want the full story I’d say head over there and get it directly from the horse itself.

The core fighting mechanics feels identical, save for the fact that skills appear to regenerate a lot quicker but are also a lot weaker as a result. My chem launcher no longer instantly heals me up to full, instead taking quite some time to get me even to halfway health. On the flip side my artillery turret, which use to feel like it was always on cooldown no matter what, was seemingly up every 30 seconds which seemed ridiculously broken given how good it is at clearing out large groups or slow moving elites. That seemed to be counterbalanced by the specialist weapon now feeling downright useless, especially considering my turret seemed to do the same thing and could manage more than 2 shots every 30 seconds. I’m not sure how all of this plays out at higher gear levels though as I haven’t put in the requisite grind hours to get there. Looking at some of the absolutely silly builds I’ve seen online though it seems like there’s a lot of fun to be had mixing things up, which is a good thing my opinion.

I did however run out of puff with Warlords of New York once I got past the missions and started on the end game grind proper. Part of this was a lack of direction for what the grind would be for as in the original game it was clear what I needed the upgraded gear for. With Warlords of New York, even though it’s now got one of the best progression systems I’ve seen in any looter shooter to date, it’s not so clear what I should be gearing up for. The raid? But technically I was already gear for that when I left the game last time, I just couldn’t be arsed manually looking for a group to do it. I did a quick search around to figure out what exactly I should be aiming for but it seems like it might just be the gear for gear’s sake at this point. Well that and the Dark Zone but I’ve never been one to solo in there.

The expansion’s story is what we’ve all come to expect from The Division: linear, predictable and chock full of action. I think my friend said it best when he mentioned that Massive and Ubisoft are known for creating great worlds, but not amazing characters or narratives within it. To prove his point he then asked us to name one NPC in the game and it was honestly embarrassing how long it took to come up with someone (even the main antagonist, this was during the original campaign). Still it’s enjoyable, following the not-so-subtle plot threads through to their conclusion. The expansion does setup the core game for some shenanigans down the line so I’m hopeful for another juicy story expansion in the not too distant future.

So for those of us who enjoyed The Division 2 and have been back since Warlords of New York is definitely a great time to come back. Much like the original release it’s familiar yet different enough to be engaging and all the changes seem for the better. The lack of a clear endgame goal (and a squad of mates also) meant that the end-game grind doesn’t seem like it’ll be for me this time around but I might find myself back in here again should any of my mates pick it up soon. There’s also the 3 episodes to catch up on (which I haven’t) so if Warlords doesn’t satiate you then there’s still enough drip content left to chew on. Overall I very much enjoyed my time with the expansion and hope for another one like it in the near future.

Rating: 9.25/10

Tom Clancy’s The Division 2: Warlords of New York is available on PC, Xbox One and PlayStation 4 right now for $29.99. Game was played on the PC with a total of 11 hours played, bringing the total time in The Division 2 to 53 hours.

Taur: Defend the Prime Canon.

I can remember getting into the custom Warcraft 3 map scene back in the day, churning through map after map just to see what people had created. This is where my love of DOTA came from but I also lost many an hour on the other, less strategic maps like the numerous variants of X-Hero Siege or Tower Defense. The latter spawned its own genre of games which, due to their relatively low barrier to entry (both in dev and player terms), have mostly remained squarely in the casual/mobile space ever since. That’s the main reason I haven’t played any of them in quite some time as they just don’t provide the kind of gaming experience that I’m usually looking for. Taur however looked to be an interesting blend of strategy and tower defense mechanics so I figured it was worth chucking a few dollars at. Whilst it’s certainly a competent enough game it’s longevity feels somewhat limited as the challenge/risk vs reward just isn’t there to keep you long term.

The setting of Taur is simple: you’re a high tech race focused on weapons development that, for some inexplicable reason, hasn’t invested anything into your own defenses. So when the Imperion comes knocking demanding that you surrender all your technology to them your only hope is to deploy it on your home soil to defend yourself from the incoming invasion. This is what sets up for the game’s main loop: you’re put in control of the Prime Canon and given free reign to build out the requisite defenses to ensure that you don’t lose territory. You’ll do this by building out towers (duh), various small units and upgrading your canon with different weaponry and special abilities to fend off the oncoming onslaught.

Taur’s graphics are simplistic by requirement as whilst initially you’ll only be fighting a handful of enemies at any one time it quickly ramps up to dozens, if not hundreds, of units on-screen. The devs have taken the typical low poly no texture route for the models, relying on the standard red vs blue colour palette to make enemies and friendlies visually distinct. There’s liberal use of advanced lighting effects and particle systems, all of which seem to be well optimised even when there’s a good number of things happening on-screen. The only downside is that your buildings are a little hard to distinguish visually, both when they’re built and even in the build screen itself. Other than that the graphics are wholly appropriate for a game like this.

Unlike other tower defense games where you’re either building a maze or attacking waves of enemies as they walk a defined path Taur instead places you right in the middle of the battle field and enemies will trudge their way towards you. You have control of the main canon which allows you to pick off enemies directly whilst your various buildings either provide support in some way (like units on the ground or a shield for instance) or attack the enemies directly. The blend of units does matter as the various different types of enemies have differing strengths and weaknesses, so you’ll have to have the right blend if you want to take on any situation. The mission structure takes one of a few different forms, most of them wave based but some with specific unit types (like all heavy tanks or just air units). Suffice to say there is a decent amount of variety in how each of the battles play out, even if it is slow going initially.

Progression is a mixed bag as it can come in a couple forms, one of which is gambling and the other is the more tried and true research system. Both of these rely on specific kinds of resources that will drop from the missions you choose. Whilst there’s some correlation between the difficulty of a particular mission and the rewards you get it’s honestly pretty weak and the lack of a system to trade one kind of resources for another often has you in a situation where you can’t make any meaningful progress for multiple turns because the key resource you need just simply doesn’t show up. Worse still should you attempt the gambling part (upgrading the damage of the Prime Canon) you can end up with something much, much worse than you currently have which can gimp your entire build. This is the kind of mechanic that makes me steer clear of Roguelikes as I much prefer having a steady path to progression rather than random chance dictating whether or not I’m able to get the next upgrade.

Which is why, after about 3 hours of play time, I gave up on playing any more of Taur. Once you reach level 50 you get the big bad bossman and he’s likely downright impossible to beat the first time around. However from there it was a steep step up in difficulty but no additional rewards to go along with it. This made continuing on a rather pointless affair as I didn’t feel like I could keep up with what was happening. Sure I could’ve started again but the amount of downtime between missions early on is phenomenal and I didn’t really feel motivated to try again with a more optimised build. For some though I can imagine this is part of the charm but for me I just wasn’t interested in trying again.

Taur certainly delivers on what it promises, giving you an interesting tower defense experience that can be played infinitely if you find yourself getting into it. The graphics are simplistic but well done, fitting both the game and the setting perfectly. The combat is varied enough to keep you going and with the deep customisation there’s obviously numerous strategies to explore for those who wish to. However progress is a haphazard beast, relying on resources that randomly drop and even including gambling mechanics that can set you back significantly if the roll doesn’t go your way. It’s why I’ll say that, whilst I enjoyed my time with Taur, it hit a hard wall once I saw how much influence RNG had on everything and I just wasn’t interested past that point.

Rating: 7.0/10

Taur is available on PC right now for $35.95. Total play time was 3 hours.

The Pedestrian: I Was Strolling Through the Park one Day…

Way back at the very first PAX Australia (which was, gosh, 7 years ago now) I remember roaming through the indie booth and stumbled across FRAMED. I’m ashamed to admit that I never actually got around to playing it even though I was thoroughly intrigued by it’s panel puzzle design that was unlike anything I’d seen before. Since then there’s been a few imitators but none of them really caught my attention. That was until I stumbled across The Pedestrian in the Steam recommender and it’s combination of the panel puzzle design and absolutely fantastic background art design. That was enough to get my attention and keep my curiosity for a little while after however unfortunately I didn’t find much to keep bringing me back after just an hour or so of play time.

The premise of the game is pretty easy to understand: you’re a little man trapped inside the various signs , drawings and other wall coverings that are part of our everyday life and you want to travel through them. It starts off easy enough, you just need to run from one side of the screen to the next, but you’ll quickly find yourself needing to rearrange panels in certain ways to make sure you can progress. Initially this is just a simple task of not dead-ending yourself but it’ll quickly turn into a problem of figuring out which order events can happen and when they need to happen. It’s kind of hard to explain via text but you’ll immediately understand the premise when it’s first presented to you.

The Pedestrian’s graphics are, put simply, wonderful. A lot of attention has been paid to the smallest of details like the metal grains you can see on the outside of galvanised metal pipes, the various textures of the different kinds of signs you find yourself in and even the vast detail in areas that the camera whips past in just a few seconds. That kind of dedication to detail is, to be honest, quite astonishing and reflects the high level of craftsmanship that’s gone into developing this game. It does make you wonder what kind of person loves the minor details of the mundane world so much that they want to make a game that’s ostensibly honouring it in this way. Possibly someone who’s able to see the joy in the little things… 😉

The puzzle mechanics build up over the course of the game, starting as a simple platformer (with an extra step or two) but quickly adding in more and more mechanics as the levels go by. There are some really clever ones in there, like the puzzles where you have a hole through the card that you go through, but for the most part they’re the standard 2D puzzle tropes that you’ve seen before. The rearranging frames part is the game’s main claim to fame and it uses it to good effect, often making you wonder just how the heck things are meant to go together and forcing you to just try things out.

However past a certain point I just lost interest in seeing more puzzles as, whilst the game does add more mechanics and challenge, I just didn’t feel motivated to go back. Part of this could be because of the lack of story, although there seems to be some narrative around somewhere if the achievements are to be believed, as once I’d lost interest in the puzzles themselves there wasn’t anything to fall back on. That’s saying something given the fact that I think the game is probably only 2 hours long total, and really I could probably slog through it, but I just don’t feel like going back to it. Perhaps if I’d played it through to the end in one sitting I’d be singing a different tune.

The Pedestrian is a well crafted game with it’s beautifully realised renditions of the everyday world around us. The mechanics are a solid blend of the traditional and the new, slowly building the challenge as you tick over each of the levels. However for me it just failed to capture my attention much beyond the first hour, the repetitive nature of the puzzles and lack of any other driving factor (such as a story) making it far easier for me to put it down than to pick it back up again. All this being said I still think The Pedestrian is worth playing for those who enjoy these kinds of games, and those with perhaps a little more patience than I.

Rating: 7.5/10

The Pedestrian is available on PC right now for $28.95. Total play time was 78 minutes with 40% of the achievements unlocked.

Wolcen: Lords of Mayhem: I Can’t Believe it’s Not Diablo/Warhammer/etc.

Ah the launch days of a new online game. They’re almost always filled with bugs, server problems and teething issues the developers and their play testers never managed to come across. You’ll be forgiven for thinking that Early Access would be a solution to this, even if you spent oh I don’t know something like 4 years in it. Wolcen: Lords of Mayhem debuted to an audience that was hungry for a new arpg and the hype it had built up to its release ensured that its release date was not so dissimilar from the AAA games it sought to emulate, plagued with numerous issues that made the game chuggy and problematic for many and downright unplayable for an unlucky minority. However like many of its other brethren after the initial furor died down what was left was an extremely competent arpg, just one that I lost interest in after the real grind set in.

In Wolcen: Lords of Mayhem, you, Valeria, and Edric, are the three only survivors of the slaughter of Castagath. Rescued by Grand Inquisitor Heimlock, you were drafted into the Republic’s Army of the Purifiers at a very young age to be trained in the military academy and become perfect soldiers. You also had the chance to benefit from Heimlock’s occasional advice and training. This special treatment led you and your childhood friends to be named the “Children of Heimlock”. However one day it’s revealed that you’re able to channel some devastating forms of magic, something that’s very much frowned upon in this world. This begins your quest to survive and determine what your true fate really is.

I honestly couldn’t believe that the dev team chose Cryengine as the basis for their game, given its propensity for seriously high end graphics and not-so-great multiplayer support out of the box. However what the team has created is really quite something, making full use of the engine’s capabilities. The environments are massive and filled to the brim with detail although in the later, predominantly procedurally generated levels, things do start to get a bit samey. The game does shy away from the Blizzard/Diablo style of using more bright and varied colour palettes to keep visual interest up but there’s still a good helping of lighting and particle effects to keep everything from blurring into a dark background. All of this runs amazingly well, even when you get a good number of enemies on screen. That’s not to say I didn’t have any performance issues at all but I do have to admit I was trying to see how far I could tilt the thing before it fell over.

Wolcen follows the standard isometric dungeon crawler formula pretty closely with its own spin on the various tropes that I’m sure we’ll see emulations of in future games in this genre. There’s no formal classes to speak of however what weapon you decide to wield dictates which skills you’ll be able to use and, by consequence, which talents and attributes you’ll be prioritising. Skills themselves aren’t a given either, you’ll have to find them in drops from enemies or purchase them with a particular kind of currency from the right vendor. The talent tree is also quite novel, consisting of 3 rings that branch out in a constellation like fashion allowing you to choose your own path to the talents you want. There’s also a rudimentary crafting and gem system although if I’m honest I don’t think they’re actually worth using at all. Finally there’s a kind of rift like system which makes up the bulk of the end-game content, servicing as an endless grind to help rebuild a city which will confer back to you some benefits. Honestly using the term “Diablo clone” here would be a disservice to Wolcen as whilst it certainly draws inspiration from it there’s enough new things in here that I think Blizzard will be taking notice.

Combat is, for my build at least, a fast paced balls to the wall killfest that literally doesn’t stop for anything. Now I’m quite sure that the build I was running has likely been nerfed into oblivion since I stopped playing but suffice to say, when I can 2 or 3 shot pretty much any boss or mob I come across in the game it’s not likely to be long for this world. Still it was certainly fun, especially considering that it was such a glass cannon build that I had to ensure I was actively using particular skills constantly lest I cop a few hits in a row which would see me downed in short order. Of course being basically unstoppable did also mean that there wasn’t a lot of challenge left for me in the game once I reached that point, especially without an end-game grind that was building to something interesting.

It probably also didn’t help that I settled on a skill build and playstyle early on and all other variants seemed to be far, far less effective. To be sure there seems to be a lot of build variance available but speaking with my mate who tried numerous other builds none of them were as effective or useful as the good old slow 2 hander with bleeding edge. Some of the skill modifiers did make for more interesting rotations but most of the time they just allowed me to do the one thing I needed to do more efficiently or with a greater margin for error. I’m sure for those seeking to craft the one true ultimate build there’s a lot to explore and experiment with here but without a goal to work towards I can’t imagine there’s going to be much enjoyment in doing so.

Like most arpgs the progression comes thick and fast at the start but begins to slow down measurably once you hit the end game. When once you’d be able to find an upgrade or two during a dungeon run now you’re likely to go multiple runs without finding anything. Worse still you’ll likely have to spend quite a bit of time sifting through all the gear you’ve picked up to find that one upgrade, a rather tedious chore that’s unfortunately not made much easier by the inclusion of gear archetypes that are supposed to make the culling easier. I found a pair of rogue gloves early on in my endgame grind that were just flat out better than anything else the other types could provide, even though I should’ve rightly been using bruiser or heavy gear. Towards the end I was just looking for gear that appeared to be as good or better than what I was currently using and then saw if equipping it upped my character sheet DPS. A blunt tool, to be sure, but comparisons beyond that just aren’t really feasible.

It doesn’t help that the crafting system is pretty much useless, allowing you to reroll or add random attributes to your gear. Gems are also somewhat moot as you can’t combine lower tier gems to higher tier ones and the effects they provide are minimal at best. Not having a comprehensive crafting system isn’t really a major issue but it does mean that there’s really only one path for progression in the end game and that’s to grind, grind away at those dungeons. For some this is probably exactly what they want but for me? I’d kind of like the option of doing something else with my overflowing pack of loot other than vendoring it all. That or some semi-meaningful goal to grind towards.

All this taken together you’d think that I was somewhat dour on the whole Wolcen experience but apart from the last couple hours I actually really enjoyed it. Tooling around in the campaign was always fun, especially when I teamed up with my mate and we had stupid banter over the dialogue whilst we waited for the next quest step to appear. With loot being so plentiful too it was a no-brainer to share everything as well and the game’s catch up mechanics made questing with my much higher level mate very much worth it for both of us. It’s just that it feels like there’s an expiry date on the experience as once you hit a certain point with the game there’s likely not going to be much going back to it. This was much the same as Diablo III for me as whilst I spent a good lot of hours in it initially after hitting Inferno 1 and seeing the grind ahead I just decided to call it quits. I think I’ve only been back a couple times since.

There’s no denying that Wolcen was a buggy mess during its 1.0 week. For the first few days my group of mates and I would routinely get put on servers all the way around the globe which led to a less than stellar experience, even at 180ms ping. There were also the raft of issues around joining games in progress, how quest progress was handled and just a general set of problems that could only be ascribed to launch week teething issues. To be sure a lot of these got better but for one of my mates the game remained unplayable for a week and when it was useable he’d frequently crash if he used certain skills. Right now though the game seems to be in a good spot so if the initial negative press put you off it might be time to revisit it.

The world and story of Wolcen is certainly interesting although it is somewhat predictable given its use of the standard tropes for many of the game’s protagonists and their motivations. The whole thing is predicated on the big bag thing coming to town and you doing everything you can to stop it. There’s definitely more of this world to explore and I can definitely see myself coming back if they drop any story content in the near future. However for this particular instalment it’s decidedly middle of the road but hey, at least you’re not going to be playing this for the narrative right?

Wolcen: Lords of Mayhem is an extremely well thought out arpg, taking inspiration from all the right places and then applying their own brand of creativity to provide a game experience that’s quite different to what you’d expect from a run of the mill Diablo clone. The game’s initial teething issues appear to be sorted out for now and hopefully, if you’d decided to give it a miss because of that, this review can convince you that it’s still worth a look in. You might not sink as many hours as you did in Diablo or Path of Exile but it’s still something to tide you over until Diablo 4 releases sometime this year.

Rating: 8.75/10

Wolcen: Lords of Mayhem is available on PC right now for $56.95. Total playtime was 18 hours with 36% of the achievements unlocked.