Quite often I surprise myself when I go back to previous reviews. I’d forgotten just how much I had enjoyed Battlefield 1 when it came out, seemingly loving the new Operations mode which kept me coming back for a while (although no longer than what I did for the review it seems). I hadn’t really been following the development for Battlefield V but on the surface it’d seem that, if you liked its predecessor, you’d like the enhancements that were coming along with this latest instalment. However this time around it felt like more of the same as there was nothing particularly innovative or novel about this latest Battlefield that grabbed me. That coupled with some rather egregious launch day issues made for a very middle of the road experience, neither completely terrible nor something I’d recommend you’d seek out and play.
Much like its predecessor Battlefield V retains the same story vignette style for its campaigns, although there was far fewer of them this time around. They all follow pivotal stories of World War II but they are all, of course, entirely fictional which seems to annoy the history buffs to no end. They’re incredibly simple in their construction, taking place in the multiplayer maps and almost entirely consisting of running from one base to another, completing some rudimentary objective before moving onto the next. It seems that DICE is taking a kind of softly-softly approach to killing off the single player experience, rather than take the direct (and more controversial) route of just killing it off completely.
The Frostbite 3 engine is looking as good as it ever has although it is starting to show its age in some places. Mostly this comes up when you’re in tight environments or up close to things where the numerous visual tricks that the engine uses start to come into stark relief. The Battlefield games have always been at their best in giant environments where you can enjoy the wide vistas before a sniper takes you out from the other side of the map. Performance is still workable although it seems that DirectX 12 support is still a little patchy, glitching out hard on me and causing a few crashes even after installing the latest drivers. I’ll touch more on that later though as there’s definitely some larger issues at play here with the usual DICE jankiness turned up a couple notches in this release.
At its core Battlefield V feels the same as it has for quite a while now, retaining its penchant for large battles on in huge spaces with all the trimmings you’d expect from a large war simulator. The classes are the same, sticking to the same 4 tropes that were defined so long ago. There’s supposedly some improved versions of other game modes but, in all honesty, I never really got around to playing them. No I spent the majority of my time in the game playing with friends in the one game mode that they never get wrong: conquest. In that regard the Battlefield experience I had felt pretty much the same as it always did, for better and for worse.
Combat remains much the same, favouring a slower paced strategic type of engagement rather than say Call of Duty’s flurry of bullets and respawns. That still brings with it all the less desirable aspects of course, like snipers being able to one shot you from places you can’t see them and one shot kill headshots from guns that really have no right to be that effective (like the Medic’s MP5 which netted me far more kills with that then even I felt was fair). The large scale battles in conquest do retain their larger than life feeling though, something which precious few games have been able to achieve. Surprisingly though even with many players taking advantage of the insane 11 day head start (my mate being one of them, dumping some 52 hours into the game before its official release) I didn’t feel as disadvantaged as I previously did. Indeed unlike previous games where a maxed out tank player could ruin the game for an entire team this time around things felt an awful lot more balanced. Either that or I’ve improved dramatically over the last few years but I doubt the countless hours I’ve spent in COD have really helped me that much in Battlefield…
The single player missions are a relatively short affair with most of them being over in an hour so. If you’re so inclined there’s a bunch of hidden collectibles strewn about the place which, if you complete the associated challenges for the mission, will give you an unique melee weapon for use in multiplayer. Honestly given how basic they are I really wasn’t inclined to search blindly around the giant maps looking for them, especially when the combat wasn’t exactly fun or enjoyable. You see most of the missions are meant to be tackled stealthy, but they don’t equip you with many tools for doing so outside of throwing shells to distract people or highlighting them with your binoculars. The AI is so extrucingatly dumb that DICE counteracted that by making them all top tier marksman, able to hit you with a pistol with sniper like accuracy. Of course you can counter this by alerting them and then running behind a door, which they’ll all then happily run towards allowing you to mow them all down.
Honestly I’m starting to get on board with the idea of not having a single player campaign at all if they’re going to be this basic. I can understand the idea of wanting to provide glimpses into various parts of the setting but I’m not particularly interest in that as a subject and, from what I’ve seen, the things depicted in there aren’t exactly what the history buffs enjoy either. Honestly I’d prefer a shorter campaign, maybe say 3~4 hours or so, that was a polished end to end experience. Heck that used to be what most of these games delivered (although I admit many derided them for the short length) so maybe their return to their roots simply hasn’t gone far enough.
I’d probably be a little more generous if Battlefield V wasn’t so unpolished on release, both for the single and multiplayer experience. Every new release of Battlefield seems to bring with the same old bugs, chief of which is a physics engine which gets routinely confused on how to simulate the most rudimentary of things. I had one instance in the single player campaign where someone spawned inside a vehicle, immediately died then started to vibrate violently as they bounced between the outside and inside of the vehicle. I had the bomb on a couple maps spawn in the ground (in an area that wasn’t destructible either, see below screenshot), preventing the team from picking it up and forcing the game into a neverending stalemate. This is somewhat par for the course with Battlefield games but, honestly DICE, it’s time for you to either develop Frostbite 4 to address these problems or find a new engine entirely.
All of this culminates into an experience that isn’t so much different from those of Battlefield games past which, depending on what you’re looking for in this game, can be a good or a bad thing. For me personally the Battlefield games have always had a pretty limited lifetime for me; the lack of repetitive hits to my dopamine centers that other competitive shooters provide meaning I’ll go and seek out my fix elsewhere after I’ve had my fill of Battlefield. For others though, those who play Battlefield as their goto hobby, it’s going to mean that they’ve got more of the same experience that they want.
For me though? Battlefield V feels like it was off the mark a bit, getting just enough things wrong to make it feel a bit more middle of the road than it otherwise has. Many of the things that make the series great are still there: the massive environments with huge battles, a deep progression system that will keep players engaged for ages and new game modes which, whilst I didn’t particularly engage with them, shows that DICE at least wants to try some new things. But for every one of those positives there’s a handful of negatives as well, enough so that after 12 hours in the game I think I’ve had my fill. Sure, part of that is because Black Ops 4 has managed to get its hooks into me again, but even then I’ve played this Battlefield for longer than its predecessor and I liked that one far more. I know there’s precious few people who read these reviews to figure out what game to play but if you’ve been sitting on the fence for this one, waiting patiently for my opinion on it, I’d probably say give it a miss for now.
Maybe pick it up just before Christmas so you can own all the noobs when they get their copy 😉
Battlefield V is available on PC, PlayStation 4 and Xbox One right now for $59. Game was played on the PC with a total of 12 hours play time and 26% 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.
5 years ago I attended my first (and, as it turns out, only) PAX event in Australia and, despite the teething issues, managed to have a rather enjoyable time. Whilst I was there I went through the expo hall and picked my way through the various indie developers who were there to showcase what they’d been working on. There I stumbled across The Voxel Agents and I spent a few moments talking to them about their game, though for the life of me I can’t remember what it was. I asked if the game contained any voxels, to which they replied no and, in what I now see as a total dick move I asked them if any of their games did which they answered no. Sensing that I was probably being one of those people, something that might be especially considering I was in full Adam Jensen cosplay at the time, I made a swift exit stage left. Imagine my surprise then when I stumbled across The Gardens Between, an intriguing time puzzle game, by those very same developers I annoyed all those years ago.
Although, and I can’t stop myself from writing this, it appears that their most recent game is still voxel-less. Sorry…I’ll see myself out…
Arina and Frendt are best friends who’ve shared many pivotal moments of their childhood together. However one day Frendt tells Arina that he’s moving away for good and they head up to their tree house to spend one last night together there. They then embark on a whimsical journey through their collective past, reliving their most cherished memories together through fantastical worlds littered with the everyday objects that played background to their story. Arina, the headstrong one, pushes forward lighting the way for the pair whilst Frendt is the thinker, manipulating the world’s objects. It’s a bittersweet tale that many of us can relate to, of close childhood friendships that are torn apart by circumstances beyond our control, but also a reminder that we’ll never lose those memories we forged together.
The Gardens Between has a stylized, simplistic art style that’s light on the textures but heavy on environmental detail. The fantastical worlds it presents are cobbled together out of everyday objects that are scaled, warped and twisted making the environments seem paradoxically real and otherworldly at the same time. Under the hood its powered by the Unity engine and thanks to the heavy investment in assets, lighting and shading effects it avoids that typical unity game sheen. Working hand in hand with the great visuals is a fantastic backing soundtrack and extensive foley work which makes the whole world come alive. Looking at their back catalogue at games it’s honestly out of left field for them and shows that they’re wanting to grow as game developers. Kudos to you.
The game’s main mechanic is a Braid-like time travel mechanic where you move time forwards and backwards to complete the puzzles. There are various items that are time independent which you can then use to change the flow of how events come to pass. How you manipulate time also has an impact on many puzzles, like some requiring you to stop time and hold it there or moving back and forward a certain amount to repeat actions. There’s also a bunch of achievements for doing less than intuitive things in certain puzzles which can be a bit of fun to chase down if the main puzzles don’t feel challenging enough. All in all it’s a relatively simple game mechanically but therein lies its charm as you’re unlikely to get stuck for very long, ensuring the story keeps moving at a steady pace.
Probably the only gripe I have is that moving forwards and backwards through time is a little slow for some of the larger puzzles which can take quite some time to unwind. This becomes quite noticeable for puzzles where you have to follow (sometimes multiple) things bouncing around a level to figure out which one you need to put your lantern on. With a start to finish time of only 2 hours though I get why they might not want to put that in, the game is short enough as it is, but even something like speeding it up the longer you hold it down would be much appreciated.
If I’m honest the story didn’t do much to grab me early on, feeling like I was looking through someone else’s picture album: interesting to be sure but no emotional involvement from my side. Towards the end though, and I can’t quite put my finger on what did it, I started to get more invested in their story. Perhaps it was remembering similar stories from my childhood that did it, the many people I spent so much time with but then lost them to moving away or them growing apart from me. Whatever did it though the story hit home and that bittersweet feeling hit me like a truck. Growing up is filled with such sweet sorrow as what The Gardens Between shows us and, whilst we may not like to be reminded of it, I’m sure we can certainly all relate to it.
If annoying developers at conventions can lead to games like The Gardens Between I’ll be sure to do it more often as what The Voxel Agents have done here is certainly worth the price of admission. The audio visual experience is exceptional, defining a style that I hope they take forward into whatever they choose to pursue next. The game mechanics, whilst not exactly novel, do bring a new view to what time travel games can do. The story, whilst it takes some time to find its feet, is one that I feel is quite relatable to a lot of people, especially those who aren’t lucky enough to still be in contact with their childhood friends. Suffice to say if you’re looking for a break from the AAA release firehose (like I have) then The Gardens Between is certain to fit the bill.
The Gardens Between is available on PC, Nintendo Switch and PlayStation 4 right now for $19.99. Game was played on the PC with 2 hours of total playtime and 35% of the achievements unlocked.
It’s 2006 and I’ve just moved into a new house with 2 of my friends. It was all our first time living in a share house but we were convinced that we’d avoid the disasters that had befallen all those before us. That hubris lasted about 3 months before the expected happened but shortly after something happened: we started playing Soulcalibur III together. From then on we spent many nights and weekends battling each other, refining our skills on our chosen characters. We played so much that the edges of our thumbs callused over, which we nicknamed the Soulcallus. It was also the only time I’ve ever thrown a controller across the room in frustration after an appalling 12 run losing streak against one of my mates. So the Soulcalibur series holds something of a special place in my heart and the long time between drinks for the series (6 years since V was released) has left me very much wanting. Whilst that special ingredient of my mates sitting around the couch might still be missing it’s been great to see that the Soulcalibur series is still very much in form so many years on.
Soulcalibur VI takes us back to the beginning of the series, taking us back to the 16th century. The stories will be familiar to long time fans of the series although if you’re like me, joining the series somewhat late in the piece, the campaign missions give you a good insight into the background to the main recurring characters of the series. Similarly the Libre of Soul missions, which put you as an unknown character in the same world, explore some of the events that happened around the main plot. So whilst there might not be much added to the main plotline of the Soulcalibur series it does build out the history a lot more. It should also help to attract those who may have given the series a miss until this point, even though no one really plays fighting games for the plot.
As you’d expect from a fighting game, where framerates are key, the graphics aren’t cutting edge and the art style is reminiscent of previous instalments’ highly stylized art direction. There’s certainly a lot more particle effects and in-battle cutscenes though following the current trends among fighting games to make them feel grander in scale. It certainly achieves that as pretty much every fight feels like a scene out of a shonen anime. It follows then that performance is consistent across the board with even the most visual heavy moves unable to bring about a drop in framerates. This being built on the Unreal engine (just as Tekken 7 was) I’m sure the look and performance will be the same across the multiple platforms.
Soulcalibur VI builds upon the series’ long heritage by adding on a few new mechanics and reverting others. The largest addition to the core fighting mechanics is the reversal edge, a defensive counter that locks you into a kind of rock-paper-scissors mini-game. Guard impacts have reverted back from their change in Soulcalibur V, making them a lot more straightforward in their execution. The Soul Gauge remains but now has 2 levels to it and can be used to execute high damage attacks. The previous soul gauge mechanic, whereby blocking for a long time drained it, is still there although it’s decoupled from the gauge and will now show up as a red outline on your health bar. The changes follow the larger fighting game trend to make games faster, flashier and to prevent long beatdowns from which you have little hope of recovering from. For a mostly aggressive player like myself I like these changes, even if it means that I’m more open to counters than I ever was before.
The returning characters retain their signature styles and will be instantly familiar to long time fans of the series. My personal favourite character, Ivy, felt a lot more streamlined than I remember her being with the previous instalments making her feel clunky and slow when compared to previous instalments. Looking at the world leaderboards it’s quite possible that’s due to her being a current top tier pick so maybe I’ve just lucked out this time around. Raphael by comparison feels a little more unwieldy than I remember him being although I will admit I never really did get a good handle on his preparations. I haven’t had a chance to thoroughly test out Talim, a character I lamented the omission of in Soulcalibur V (I replaced her with Viola in my roster). Suffice to say Soul Calibur VI retains the tradition of keeping the cores of the characters consistent whilst mixing them up slightly, ensuring that it doesn’t feel like the same old game.
The main campaign is well done, following Kilik’s origin story with his quest to destroy the Soul Edge. Whilst I do appreciate that there’s been a bit more effort put in than what has been done in the past I’m still not a huge fan of the visual novel style. Sure, it allows a lot more content to be created for the same price, but it’s always a lot less immersive than in-game or cinematic cutscenes. Part of this is also due to the pace, which is a little stilted thanks to the numerous loading screens that you have to go through in order to watch the dialogue, load into a fight (which you only get to do a couple of in the first hour of the campaign, which was a little annoying) and then load again to see the post-fight scenes. Still once the pace starts picking up towards the end it stands out as the best fighting game campaign I’ve ever played, even if that’s a relatively low bar to jump over.
Libre of Soul is the ancillary mode where you can level up a character of your own creation. It has all the trappings of a light RPG game with weapon upgrades, XP and gold that you’ll need to gather to do things like travel, hire mercenaries to fight for you and buy food to regen health between fights. It’s a similar mode to what Killer Instinct has, essentially pitting you against an endless stream of enemies. There is a storyline in here but it’s pretty minimal and mostly serves as background to the main campaign mission to give you an insight as to why certain characters were there when they were. I played a decent amount of it and it certainly served well as a kind of extended tutorial, allowing me to get familiar with my preferred character whilst still making some progress. After spending some time in that I decided it was time to test my meddle against some real human beings and this is unfortunately where Soulcalibur VI is a bit of a let down.
Fighting games have always struggled to get online right, owing to their unique set of challenges in requiring low latency between players and the niche appeal of the games limiting the size of said playerbase. Perhaps it’s better in more populated countries but here, in Australia, I can’t name one fighting game where I’ve been able to get matches consistently. Soulcalibur VI is no exception as I’d often be waiting 5+ minutes for a ranked match, if I could ever find one. Worse still is the casual mode which takes the form of a King of the Hill game style. Essentially whoever won the last round is at the top and you have to wait your turn to beat them. If you lose, back to the bottom of the pile. When I did get in the matches were great though, the lag seeming to make little impact on my ability to pull off big combos.
What keeps me, and many others, coming back to games like this is a solid quickplay mode where we can drop in, play a few matches and then bug out. I mean sure, the ability to train while you wait is nice but it’s not enough to keep you coming back time and time again. This, coupled with the fact that I don’t live in a house with multiple other Soulcalibur players anymore, means that I haven’t put much more time into this one than I would have otherwise. It’s a bit of a shame really as I was certainly hyped for the release, hoping that I’d get suckered back into the fighting game world. Maybe it’s a good thing that I didn’t splurge $300 on that Hori Real Arcade Pro N…
Soul Calibur VI revitalises the series that’s laid dormant for the past 6 years. I’d usually lament retreading ground but, as someone who came to the series late in its life, going back to the beginning has been great in order to see the game’s history that I was only vaguely familiar with. The campaign and its ancillary story mode are great additions, even if they’re not enough by themselves to keep me coming back. The online is, unfortunately, the biggest mark against this instalment, lacking the right mode to keep people coming back for that quick fighting game hit. Still I’m hopeful that it’ll improve and hopefully the dedicated niche of fighting game enthusiasts will mean that I’ll be able to get my fighting game fix for a long time into the future.
Soulcalibur VI is available on PC, PlayStation 4 and Xbox One right now for $59.99. Game was played on the PC with 4 hours of total playtime and 12% of the achievements unlocked.
The past 2 Call of Duty games weren’t really up to the standard that I’d come to expect from the franchise. Part of this can be attributed to Black Ops 3 being my favourite in the series, the multiplayer keeping me going for a good 150+ hours before I decided to call it quits. So my expectations were probably higher than they’d otherwise be for Black Ops 4, hoping to rekindle that love of the COD multiplayer which I’d lost for the last couple years. Whilst on one hand all the ingredients are there for that to happen again there’s been some glaring omissions and strange launch-day decisions that have marred what could’ve otherwise been yet another solid COD game from Treyarch.
This is typically where I’d give a brief synopsis of the initial plot for the game but since Black Ops 4 lacks a single player campaign I have none to give. Sure they’ve buried some meagre bits and pieces on the specialists training modes, giving you a brief cutscene here or there that speaks to why each of the character classes have their abilities, but that does not a single player campaign make. After it was announced that this was the case Treyarch confirmed unequivocally that they never intended to put a single player campaign in, citing the fact that most players simply jump straight into the multi. I have no reason to doubt that but out of the 3 Call of Duty developers they were always the ones who made the most interesting and engaging stories. Leaving that out seems like a missed opportunity, one that this reviewer certainly laments. Of course it wasn’t taken away for just any old reason as it was replaced with Blackout although whether or not the trade off was worth it will be entirely up to you. For me it certainly wasn’t (more on that later).
The Call of Duty games were never known for their cutting edge visuals, instead favouring higher performance to go along with the game’s rapid pace of combat. This trend continues with Black Ops 4 with the game striving to maintain a smooth, high frame rate experience over providing Crysis-like eye candy. There’s also less opportunity for level and set designers to showcase what the engine is capable of doing due to the game being multiplayer only. All things considered though the game looks perfectly fine for what it wants to be: a fast paced shooter. I will admit though that I figured that for the handful of cutscenes they created they would’ve spent a little more of their ridiculous budget on making them a little more cutting edge.
Black Ops 4 retains its 2 core game modes that most players will know, regular multiplayer and zombies, along with the new Battle Royal mode called Blackout. The base multiplayer games don’t deviate from the COD formula much, retaining the same Pick 10 system alongside a familiar cast of weapons. Some weapons now have the option of an Operator Mod which will significantly change the way the gun operates from simple things like massive rates of fire increases to strobe lights for one of the shotguns. Deviating from the last few titles as well is the lack of loot boxes with the only microtransactions in sight being used for buying different cosmetic skins for the specialists. Perhaps the biggest change though is the lack of automatically regenerating health, instead relegated to a piece of equipment which you’ll have you manually trigger to regenerate health. Most interesting of all is that the stim pack is actually a choice, you can replace it with another piece of gear if you so wish. For those who are really at the top of their game this gives them a very high risk/reward balance to play with, one I’ve seen used to both great and ill effect. Suffice to say the core of Black Ops 4 doesn’t deviate too much from the formula with the exception of Blackout.
To be completely open here I’m not the biggest fan of the Battle Royal format. I’ve played my share of PUBG, both on PC and mobile, and it can be enjoyable with a bunch of mates. However I like my FPS games fast and furious, something which the COD franchise has supported me with for many years. Battle Royal on the other hand is very much a slow and considered game, one that favours being patient and formulating a strategy if you want to win. Sure I could just parachute into a hot zone and likely die in the first couple minutes if I wanted to speed things up a bit but honestly, given that there’s a much more capable TDM and other modes available right there I’m far more likely to want to play that. Still in the interests of seeing everything that Black Ops 4 had to offer I figured I should give Blackout a try and, well, it’s pretty much as you’d expect: PUBG with COD weapons. I’ve heard from many that it’s a pretty great experience (which is likely given that Black Ops 4 has seen incredible sales) but for me, as a rusher type player in these kinds of games, it’s the antithesis of what I want from this kind of game. Your mileage may vary, though.
A good chunk of content for Black Ops 4 comes from 3 so right off the bat you’re going to be back in familiar territory. The same goes for the character classes with half of them being direct copy and pastes of their former selves. At first I was a little miffed at that, wanting a whole new experience, but I got over that relatively quickly as I realised it gave me a headstart on knowing the maps and which character classes I’d fit best into. A lot of the weapons have been changed around and there’s a much more wide variety of mods to choose from, making a great deal of the game’s weapons viable in PVP (so long as you can get the right unlocks done, of course). The starter classes are also well rounded as well, one of them coming with a fully kitted out gun that you won’t be able to get until level 50 or so. I’ve found the most success running with the Spitfire SMG, a bullet hose of a weapon that feels like a long range shotgun when you upgrade it with laser sights 2 and the extended mag. The ARs and shotguns were also somewhat viable depending on the map but SMGs felt like the better all round weapon if I wasn’t quite sure what I was getting into.
The class abilities are a bit of a mixed bag given that they all seem to have rather lengthy cooldowns and can be real hit and miss affairs. The shock drone, radar beacon, assault pack and razor wire ones seem to be the most useful, having a direct impact on your performance in a match. Other ones like the cluster grenade and trip wire feel hit or miss, unlikely to provide a consistent boost to your ability to win matches. For some of the ultimate abilities you’ll be lucky to get 1 off per game (like the vision pulse one) whereas the other, less impactful ones (like Crash’s overheal) you’ll likely be able to get off 2~3 times easily. I’m sure this is going to be a boon for competitive teams as there’s a clear delineation between support and offensive ultimates, allowing them to fine tune team comps quite well. For pub players like me though it’ll just come down to whichever one feels best to you. I’ve standardised on Crash for the most part since that seems to help my team out the most.
I couldn’t do this review without talking about the current state of the multiplayer networking, specifically the 20hz server debacle. To put it simply the Black Ops 4’s server engine runs at 20hz, meaning all in-game events are updated 20 times per second. That sounds plenty fast enough however most modern games run at double or triple that and even Black Ops 4 itself ran at 60hz during its beta phase. The problem with this is that it leads to really inconsistent play with players able to one shot kill each other, seemingly land shots on you when you’re around a corner or, if you’re lucky, seemingly grant you super powers with the ability to kill anyone before they have a chance to react. This issue only seems to be amplify the host advantage problem as well, making some games an absolute nightmare for the opposing team. Treyarch has said that the limit on server tick rate was done to ensure that they could maintain the service during the initial rush and that it would eventually be put back up to 60hz. If they stay true to their word then Black Ops 4 might actually be a great game to pick up around the holiday season but for now, if you’re someone who’s interested in playing competitively, it may be best to give it a miss until 60hz makes a return.
The lack of single player and the 20hz servers might not sound like big issues but for someone like me, who really enjoyed Treyarch’s cerebral plots and glass smooth multi, they’re huge marks against the best Call of Duty game I’ve played in the last 3 years. To be sure I still feel that Treyarch is the one the others should follow but even this instalment feels like the weakest one from the developer to date. Perhaps I’ve begun to outgrow the series or maybe it’s taking a new direction that leads it away from me, I’m not sure, as all I really know is that the near unmitigated fun I found in previous titles has been gone for some time. Black Ops 4 has a potential redemption story ahead of it in the form of better multiplayer servers but I’ll still have that hole in my heart which only a Treyarch COD story can fill.
Call of Duty: Black Ops 4 retains the trademarks of the Treyarch style that, in my opinion, makes their version of the IP the best. The combat is still great, the various weapon options still a joy to fiddle with and the familiarity of old maps made the transition in that much smoother. Blackout is something that I personally could do without but it’s likely to be a drawcard for the numerous players out there who love the format and have tired of current offerings. The lack of a campaign is certainly disappointing and the inclusion of a token effort felt more insulting than if they had just left it out completely. The 20hz server issue is certainly annoying but I’m hopeful that it will be fixed as the player base declines from its launch highs. For what it’s worth I’m still enjoying the multi and I’ll probably put a few more good hours into it before I call it quits completely. Perhaps the residual hype from Black Ops 3 is what has doomed me here but I can’t help feeling that I wanted just a little bit more from Treyarch this time around.
Call of Duty: Black Ops 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 8 hours of play time.
Shadow of the Tomb Raider’s release surprised me as I hadn’t really kept track of where the next instalment was at. You’d think then that I’d have no big expectations for it but reading back over my reviews though I think they were set high given the previous game, Rise of the Tomb Raider, rated up there among many of my favourite games of that year. This is always a challenge for follow up titles and it seems that unfortunately the developers just weren’t up to the task this time around. Don’t get me wrong, there’s still a lot to like in the newest Tomb Raider game, but like many other long running AAA titles they’ve stumbled and they’re going to have to shake things up considerably if they want the IP to be successful.
Following almost directly on from the events at the end of the previous game we find Lara and Jona tracking down the leaders of the Trinity cult. They track them down to a town in Mexico where they discover that they’re looking for an ancient artifact that can bring about the remaking of the world. Lara then finds her way into an ancient temple and steals the Dagger of Ix Chel, one part of the two things needed to accomplish this. Shortly after however she’s captured by Trinity who take the dagger from her, informing Lara that she’s just begun the end of the world. You then follow Lara’s quest to find the other half piece, the Silver Box of Chak Chel, so she can stop Trinity before they remake the world by purging everyone from it.
I can strongly remember Rise of the Tomb Raider opening with a wide sweeping in-game cinematic that was absolutely stunning, showing right from the start that it was a visual marvel. Shadow of the Tomb Raider by comparison doesn’t, feeling decidedly last-gen with its muted colour palettes and tendency towards tight, closed in set pieces. Now I’ll admit that it’s quite possible some of this is due to the limits of the hardware it’s running on, given my PC is nearing 4 years old at this point, but even looking back at my old screenshots they just look so much better than the ones I have here. Rise of the Tomb Raider still has its moments, some of them which can be improved dramatically by using the built in photographer mode (not used for any of these shots), but on the whole it feels like a step back in visual quality. Given that this was supposed to be the biggest budget Tomb Raider game yet, up to $100 million possibly, it does make me wonder why the graphics took a bit of a back seat.
Where Tomb Raider reinvented, Rise refined and Shadow, unfortunately, simply copies most things wholesale from its predecessors. The game play will be familiar to those who’ve played the previous two instalments with a handful of new mechanics being thrown in. You’ll start off with a lot of abilities now I vaguely remember requiring skill points to unlock previously, many of which were necessary quality of life improvements. The upgrade and crafting system is much the same, requiring a mish mash of different items gathered from both humans and beasts in order to get the best items the game has to offer. There’s also a bunch of outfits and other weapon types available for you to find if you’re into exploring every inch of the maps that the game has to offer. Many other reviews have criticised the game for becoming stale and it’s a valid point as Shadow of the Tomb Raider doesn’t bring enough new things to the table to make it feel truly distinct from its predecessor.
The stealth/combat is almost identical to Rise of the Tomb Raider with really only two new notable mechanics: covering yourself in mud and hiding on leafy walls. They’re introduced early but they don’t really make much of an impact in how combat plays out. It’s only towards the end when the enemies get infrared goggles does the mud mechanic make some sense but even then it’s not a huge change in the way stealth sections play out. So the combat flow follows the same pattern that a lot of games do: stealth around and take out as many enemies as you can before you inevitably trip up and have to go full gunslinger mode. There doesn’t appear to be much (if any) penalty for just shooting up everything in sight either so if you’re not really a fan of the stealth sections then you can simply blast right past them all. This would be more glaring if there was the same amount of combat in Shadow of the Tomb Raider as there was in previous games but I probably spent less than half of my total game time in combat.
There’s definitely a much heavier emphasis on platforming this time around with a lot more of the environments explorable. Shadow of the Tomb Raider does make that most annoying choice of showing you parts of the map you can’t access until you get a certain item, something which always gives me the shits. This was especially annoying given that the fast travel system never seemed to be available for me, preventing me from going back to places even after I had unlocked the requisite gear. There also appears to be some gear that you don’t get from completing the campaign missions as well (the rope ascender being the first that comes to mind) and I never saw it at any vendors either. So I’m not sure what happened there but even at the end of the game I didn’t have all the tools I needed to explore every part of the game. I’ll admit that towards the end I was starting to lose interest quickly so I might have missed some important side quest or some such which might’ve given me those tools I needed. Still my point stands: showing a player somewhere they can explore but forcing them to come back later is crap and I don’t like it.
Progression comes at a pretty steady pace throughout the game with basically every action you take giving you XP. There’s still a lot of skills which aren’t particularly useful and some that honestly shouldn’t be there at all. For instance the one that allows you to buy bigger resource bags from vendors feels a bit shit, it should just increase the one you have already. In fact the steady levelling is offset somewhat by the rather high cost of items bought from vendors and the fact that you have to buy the lesser version of something before you can buy the bigger one. Had I known that going in I might’ve been a little more strategic with how I spent my cash. Still it’s not like anything I bought from the vendors make a great deal of difference to how I played. The different bows and other types of weapons all feel basically the same, none conferring any real advantage or disadvantage over the other. Indeed you’re probably best placed just fully upgrading the defaults as you won’t really need much else.
Shadow of the Tomb Raider has a few rough edges, most notably in the platforming sections when Lara doesn’t respond to inputs as you’d expect her to. Quite often I had her leap in an unintended direction because I wasn’t angled in exactly the right way, causing her to leap to her doom. There’s also a few sections which, for some reason, instantly kill you when they shouldn’t, like the big tower which you can explore if you take one path down but will die instantly if you jump to it (even though it’s a fully survivable jump). The aiming also feels a little unrefined with a lot of shots that should have connected whiffing their target completely. None of this is game breaking but it does feel a little more rough than an AAA title like this should.
The story dives deeper into the Lara’s family history and the ties it has to the Trinity organisation which is, on the whole, not bad. It does jump around a fair bit with events unfolding a bit too fast which makes some plot points a little unbelievable. This has nothing to do with the mystic elements either, more you have character relationships developing too fast, events taking place in weirdly accelerated time frames and a lack of moments to let the story breathe. Indeed a lot of the flavour of the game is hidden in the collectibles which are all fully voiced but will only play if you stay in the inventory screen. It’s a big missed opportunity to have them playing in the background as you walk around as some of them are quite interesting. It’s not like they didn’t do that for other parts of the story too, like when you sit around the camp to upgrade your skills and Lara will either chat with people that are around or go through her internal monologues. Overall I think the story was probably one of the stronger elements of this instalment, it was just let down by the so-so game play.
Shadow of the Tomb Raider would be a fine game by any other standards but it seems small compared to the shoulders of the giants it stands on. The game feels like a step back for the series as a whole, with a lack of innovation and refinement in nearly all aspects of the game. It’s still very much the kind of game that rekindled the IP over 5 years ago, which might be great for some, but I’d want to see a lot more for the kind of investment the developers have made in it. To be fair it would’ve been hard to continue going from strength to strength, the weight of the hype train always weighs heavily, but for this reviewer Shadow of the Tomb Raider feels to be the weakest in the series. I still have hope for the franchise but at this time of year, when competition for a gamer’s attention is never greater, these kinds of missteps can be lethal.
Shadow of the Tomb Raider is available on PC, Xbox One and PlayStation 4 right now for $59.99. Game was played on the PC with 11 hours of total playtime and 52% of the achievements unlocked.
Given my last 2 reviews have been for MMOs you can probably guess that I’ve been a little strapped for time to get around to playing other titles. It even got to the point where I was playing Destiny and WoW in the same night, something which I knew wasn’t going to be particularly sustainable if I wanted to keep my 1 review per week cadence going. So I went in search of some shorter titles and stumbled across Donut Country, another Annapurna Interactive published title, which seemed to be charming and, thankfully, quite short. Whilst I might have been drawn in by the game’s brevity the visual style, kitschy dialogue and simple mechanics made it far more enjoyable than I was expecting.
Racoons have moved into the quiet town of Donut County, taking over the local donut shop. Every time someone orders a donut however a mysterious hole shows up at their house, devouring everything in sight. The hole is piloted by none other than BK, one of the new racoon residents, who’s doing so in order to get enough points to get his hands on a sweet new drone. However once he falls into one of his own holes he finds the citizens of Donut Country trapped 999 feet below the surface and they’re understandably quite mad about his recent shenanigans. What follows is the story of how the town became swallowed up and their journey to get back out.
The single developer behind Donut County, Ben Esposito, set himself a few constraints when designing the game’s visual style: no lighting effects, textures or gradients. Whilst those rules aren’t adhered to 100% they are the driving force behind the games minimalistic aesthetic. The result is a kind of flat, cartoon like environment filled with bright, solid colours which is really quite charming. Indeed whilst there’s a lot of games with a similar visual style I’m actually struggling to come up with one that’s exactly like it as most games won’t go so far as to abandon the use of textures, nor even simple gradients. As someone who’s worked as a sole developer on a couple projects I can definitely appreciate setting yourself boundaries and working within them; sometimes there’s really nothing as liberating as working within a strict ruleset.
The game’s mechanics are simple: your a small hole which grows bigger as it consumes things (kind of like a reverse Katamari Damacy). There are a bunch of small challenges which will require you to get a little inventive with how you use a few mechanics but other than that the game play doesn’t deviate too much. That being said it’s kind of fun to try and figure out which things will fit and which ones don’t as sometimes you can get away with getting bigger things in if you know how to position them right. That being said this is a physics based game so there’s many opportunities for things to go pear shaped, with items flinging themselves wildly across the level and getting stuck in areas that you won’t be able to reach. Of course you’re only a restart of the level away from fixing that so it’s not that much of an issue.
The story is a simple affair, seemingly reflective of the developer’s own conversational style (as evidenced in their Gamasutra interview here). It’s a lighthearted commentary on their experiences in Los Angeles and it issues they want to touch on certainly come through. Overall though there’s not much to write home about, it’s simply there to set the scene for the various puzzles and to tie the whole thing together.
Donut County is a fun little distraction, combining simplistic art work with lighthearted dialogue for an interesting experience that’s really like no other. It’s exactly what you’d expect from a game idea that was born out from Peter Molydeux; something completely left of center that pays little heed to the creed and conventions of modern game design. After chewing my way through too very heavy game experiences over the last couple weeks I was incredibly glad to cleanse my palate with something a little lighter. So if you like me are experiencing a little fatigue with the AAA barrage that comes this time of year then Donut County is most likely the game for you.
Donut County is available on PC and PlayStation 4 right now for $12.99. Game was played on the PC with 104 minutes of play time and 55% of the achievements unlocked.
Destiny 2 wasn’t in a great spot. The last 2 expansions were met with derision from the community and many were questioning whether or not Bungie was really listening to the community. Curse of Osiris might have been a well timed injection of content for PC players but for others it didn’t even touch the sides after months of waiting. Warmind did little to address this, failing to bring enough to the table to even keep casualcore players like myself interested. For many then Forsaken was a make or break moment, either bringing them wholly back into the fold or pushing them away for good. Thankfully it seems Bungie took some inspiration from The Taken King expansion and revamped many aspects of the game, providing a vastly improved experience for all players. Whilst the changes might not be for everyone, indeed more casual players might feel a little left out in the cold, there’s no denying that this expansion has breathed much needed life into the franchise.
The Prison of Elders has suffered another breakout and you travel there alongside Cayde-6 in order to put a stop to it. When you arrive there however you discover that Uldren, brother to Mara Sov Queen of the Awoken, has escaped from his prison and now commands a bunch of Fallen with disturbing new powers. It is there, in the depths of the prison, that Cayde falls to Uldren; his light snuffed out. Upon returning to the tower the Vanguard is split about what to do: Zavala stating that they’re not an army and they won’t step into a war with the Reef and Ikora grieving heavily for the loss of one of her closest friends. It is there where you, the Guardian, begin to walk the path of revenge seeking out Uldren by picking apart his army and discovering the darkness that now binds the Reef.
Destiny 2 is looking is as good as always, exemplified by the absolutely incredible level design that has become their signature style for this franchise. All the new areas are simply stunning, smothered in details both large and small that make exploring each environment an absolute joy. I wasn’t on board with it the initially, the cramped confines of the Tangled Shore feeling somewhat antithetical to the typical massive, open space environment. However that all changed once I was in the Dreaming City which was a visual marvel all of its own. I’ve yet to explore all of the strikes, dungeons and the raid yet but I’m sure the trademark visual style is present there too. Whilst games are rarely made or broken by their visuals it certainly doesn’t hurt when they’re as good as what Bungie is putting out here.
Forsaken shakes up Destiny 2 significantly by adding in a lot of mechanics (some new, some old), integrating various quality of life improvements and revamping the progression systems. Each of the subclasses get a new talent tree that comes along with a new super, giving players a whole bunch of new mechanics to tinker with. The max light level is now a whopping 600 although you’ll find yourself at 500 before the campaign ends. The various kiosks that were present in the original Destiny have now come back in the form of a collections tab, enabling you to track your various armour sets and access them instantly from anywhere. Bounties have returned and function much like they used to, although they now (thankfully) share their own inventory tab with other pursuits and quests. A new PvEvP mode called Gambit as been added in, something which both myself and the wider community enjoys immensely. The end game area of the Dreaming City is a seemingly ever changing landscape, one that is still yet to reveal all of its secrets to us. Suffice to say Forsaken is the shot in the arm that Destiny 2 needed, even managing to bring back many players I never thought I’d see playing Destiny again.
Progression up to 500 is a whirlwind of loot, much of which you’ll be casting aside as you push your way up through the levels. For someone like myself who wasn’t 400 at the start of the expansion there’s a little bit of grinding to do between missions to ensure you’re at the right light level but once you’re beyond 440 or so it doesn’t appear to be an issue anymore. Once you’re at the first soft cap things slow down a little bit, powerful engrams being your primary source of power ups moving forward. There’s a second soft cap at 520 where powerful rewards outside of the Dreaming City only bump you up one light level or so, making them far less useful for progression. For casuals like myself this means you’re not going to be hitting the max light cap anytime soon and unfortunately there’s no real way to catch up either. This is directly geared towards those who view Destiny as their hobby with 3 characters that they max every expansion. Whilst I admit it was somewhat disappointing to learn that I probably couldn’t raid for a month or two I’m hopeful that it’ll be worth it once I do finally get the chance to do it. Going by the light levels in the tower it seems like there’ll be a lot of people who will be right there with me.
The return of random rolled loot, along with the much more expensive infusion system, is a bit of a mixed bag. On the one hand it does make duplicate drops less of a let down as there’s always the option of getting a god roll on one of your favourite weapons. On the other because infusion costs so much you’re likely going to be wearing a mixed bag of items for quite some time as keeping your favourite items upgraded is going to be too expensive. This does mean you’re far more likely to experiment with your loadout than you previously were which is probably a good thing (especially given that I’d been using the same armour and weapon set for the last 2 expansions). One of the saving graces is that infusion the same items into each other is very cheap, just glimmer, giving you a relatively easy way of keeping your god rolled items around. The previous item type lockout has been reverted to the old Destiny 1 style as well, meaning if you do really want to keep an item in a particular slot at max light level you’re no longer restricted. That’s probably out of necessity however, given the radical changes to the weapon system.
Weapon variety has been dramatically increased thanks to nearly all weapon types being available for all slots. Power weapons are still restricted to their slot but fusion rifles, sniper rifles and shotguns can now roll for both your kinetic and energy slots. This means that, if you’re so inclined, you could roll a build that’s all shotguns but you’re likely not going to want to due to the ammo types. You see weapons now also carry with them an ammo type which is aligned to the old Destiny 1 style. That means the more powerful special ammo weapons, even if they roll in the kinetic slot, will still use that ammo type. They all have independent pools , so say if you’re using 2 primary ammo type weapons and run one dry the other one won’t run out as well, but you’ll still probably want one of each type for a balanced load out. If that sounds confusion it is a bit but once you’ve figured out what kind of load out you want to run balancing around it isn’t too much of a challenge. To be honest I’ve been running 2 primary and 1 power weapon for most of the game, only switching in a shotgun or fusion rifle when it makes sense.
My love/hate relationship with Destiny’s PVP scene continues with Forsaken although the reasons for each have shifted somewhat. The core PVP remains unchanged although the meta has shifted significantly from what I remember (pulse rifles being the bees knees? Weird…). Gambit is certainly one of the more enjoyable modes, even if it’s being ruined somewhat by the overuse of Sleeper Simulant, something which can’t be nerfed fast enough. Iron Banner was honestly a complete shit show for someone who was somewhat underleveled like myself, being routinely matched with guardians 20+ light levels above me. The new talent trees seem to be dominating over their older companions, much like they were back in the Taken King. Given that there’s one for each subclass though that’s less of an issue than what it was back then but it still feels a little sad that the old guard has been left out in the cold once again. Still I’ve managed to top out my share of games here and there, both in Gambit and regular PvP, so it hasn’t been all bad.
The story takes a while to find its feet due in no small part to the whole CAYDE IS GOING TO DIE IN FORSAKEN hype that Bungie unceremoniously engaged in leading up to Forsaken’s release. The initial part of hunting down the Barons and chasing after Uldren though is really just a long setup for this expansion’s on-going story which keeps on evolving as the game progresses. I mean Cayde’s death was treated well given the pivotal role he’s played in the franchise up to this point but really it’s a secondary point to the game’s main story: that of the Awoken and the dreaming city. Given that I was discovering new story elements even as recently as yesterday says something about the narrative depth of this expansion. I’m quite keen to see how it progresses and am excited to see how the story evolves as I get to experience more of the content.
Destiny 2: Forsaken is the expansion that many of us long time fans of the franchise were hoping for. The improvements to the game’s various core mechanics, quality of life improvements and the large injection of content are all things that the community had been desperately waiting for. Some of those things might not be for everyone, like those of us who don’t have nor want to dedicate the time to the new grind, but it’s undeniable that the game has been vastly improved. This does mean that some of us will have to wait until we can fully experience everything that this expansion has to offer but, strangely, I’m ok with that this time around. I may not hit max light again this time around but I certainly feel like I’ll be sticking around to get a few raid completions under my belt. That’s honestly all I’ve ever asked of Destiny in the past anyway so it’s great to have the franchise back in full form.
Destiny 2: Forsaken is available on PC, PlayStation 4 and Xbox One right now for $59.95. Total time spent in Destiny 2 is now at 130 hours with approximately 44 of those spent playing the Forsaken expansion.
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.
A tried and true path to making a successful sequel is to hone in on what made the original great and build from there. For some games this is an easy road to tread, sometimes involving just dusting off ideas that couldn’t make the cut originally or streamlining certain things to focus on the game’s core. For others though it can be a more painful process, forcing the developers to shed parts of the game that they felt were core to the overall experience. Unravel 2 feels like a combination of these two ideals, adding in something that I never I knew I wanted in the original (co-op) whilst dropping what I felt was the weakest part of the game (the story) which I know the developers felt was the cornerstone of their game. The result of those two changes is an experience that far exceeds that of the original, one that my wife and I thoroughly enjoyed playing together.
Whilst there appears to be some semblance of a story going on in Unravel 2, told through ghost like figures playing out scenes in the background, it is most certainly not the focus of the game. Instead, if you play the game the way I feel it’s meant to be played (with another person), the story that will develop is one of the trials and tribulations you face as you try to progress through the game. For gamer/gamer pairs it’s possibly not one of much note, but for any other kind of pairing it’s going to be about how you figure out how best to work together, the hilarious situations that evolve when you don’t and the joy you’ll experience when everything just starts working.
Unravel 2 retains the same gorgeous, lovingly detailed art style that made the original so distinct. The models, texturing and environment design are all done with near photorealistic accuracy, aided by the clever use of other visual tricks. I have the feeling that, had we played this on PC, the visuals would have shown a marked step up but regardless they still looked absolutely amazing on the PS4. Yet again the backing soundtrack is wonderful, flowing along with you as you progress through a level. Coldwood Interactive have proven yet again that they’re capable of some exceptional levels of craftsmanship when it comes to a game’s audio visual experience. I look forward to whatever project they throw themselves into next just based on that alone.
At a nuts and bolts level Unravel 2 retains the same basic mechanics as its predecessor in its puzzle/platformer mechanics. The main difference is, of course, the fact that you have another player with you and most of the novel puzzle mechanics are based around that. I’m sure there’s some differences in the single player version since not all of the puzzles could be done with just one person, even if you were controlling both Yarnies. The challenge, for me at least, was helping my dear wife through various sections and the various hilarious things that would happen along the way. To her credit though she became quite apt at the game as we continued through the levels, even completing a few of the challenges once we really started to find our groove.
Many of the puzzles aren’t exactly novel in their design, taking the form of one player needing to do X so the other player can do Y which unlocks the path to the next section. The more advanced puzzles later on and the challenges do require a good amount of lateral thinking, some of them stumping us for a good few minutes before we could carry on. The later puzzles end up mostly relying on timing and your platforming prowess which, whilst a good challenge for a gamer like myself, proved to be extremely challenging for someone like my wife who doesn’t play as often. Of course for those sections you can just hitch a ride on the more capable player, something we did every so often after a few solid tries.
The team work aspect of Unravel 2 isn’t to be underestimated and you won’t simply be able to rely on a single skilled player to make it all the way through. For instance if you’re swinging around or in mid air and your partner decides to grab the yarn (to climb up to you, for instance) you’ll instantly lose all momentum and, if you’re airborne, fall to the ground like a rock. Initially I couldn’t figure out what was happening until I accidentally did it to my wife at one stage and it was then I realised that she was the cause of the seemingly random physics engine quirks that had been plaguing us to no end. Additionally there’s a number of puzzles where you won’t simply be able to run to the end and then hoist your partner up with you as your yarn simply isn’t long enough. This means either finding a creative way to get them closer or attempting the puzzle together.
Probably the most challenging (and by extension enjoyable) puzzles were the ones where you had to each get on a platform at opposite sides of the screen. This often required a bit of lateral thinking and planning your moves out in order for it to all work out. Some of those later puzzles use mechanics which you’d either not been introduced to or weren’t explained well (like the tension of a string when you’re tying it off) which can make them a tad frustrating to solve. The hint system here was good though, initially giving you a few nudges in the right direction before just outright telling you what to do. We only needed to use that once though but for lesser skilled players I’m sure it’ll be a saving grace.
There’s definitely been a lot of improvement in terms of the game’s overall polish when compared to its predecessor. Most of the original issues with Yarny are gone and the platforming mechanics feel a lot more solid than they previously did. Part of that is due to the lower reliance on physics based puzzles as the ones that do make use of that are still some of the more janky experiences the game has to offer. We did end up breaking the game completely at one stage where our respective Yarnies were on two sides of a stick which, for some reason, caused the physics engine to freak out and dropped the frame rate through the floor. This then buggered up the sound engine and made the game’s music start looping in a really weird fashion. Try as we might to fix it we had to restart to a previous checkpoint which, thankfully, solved the issue.
The story of my wife and I playing through Unravel 2 was an exceptionally enjoyable one, warts and all. She’s your typical sometimes gamer, able to grasp the basics quickly but hasn’t got the tens of thousands of hours of game time that I do which has honed my hand/eye coordination significantly. This lead to many great moments where she’d inadvertently hit buttons, controller flailing and all sorts of other amusing behaviours that made our time together with Unravel special. To be sure I’m not blameless here either, my bravado often resulting in my untimely demise because I figured I could make it through a puzzle quickly without considering the consequences. We did give up after doing a couple of the challenges though as they just weren’t as fun given their reliance on timing and technical skill rather than problem solving.
Unravel 2 took the best elements of the original and made them better through the addition of the co-op mechanics. The gorgeous visuals and amazing soundtrack are now signature items of Coldwood Interactive’s games, something I hope they continue to work on with any upcoming titles. Defocusing the story in favour of letting players craft their own through the simple act of playing the game results in an experience that will be very personal to those who play it with someone else. The increased polish on the core mechanics is very much welcome, even if there’s still a few minor edge cases to sort out. The original was a game that struggled to achieve its ambition whilst its sequel does so admirably, making it a much better experience overall. For gamers and non-gamers alike Unravel 2 is an experience that is well worth investing the time in.
Unravel 2 is available on PC, PlayStation 4 and Xbox One right now for $29.99. Game was played on the PlayStation 4 with approximately 8 hours of total game play and 14% of the achievements unlocked.