The time has long since past when it was taboo for a game to not take itself seriously or take a hammer to the fourth wall. Indeed many titles have made their fame and fortune on just such a premise like the Saints Row and Just Cause series. The latter series longevity can almost wholly be attributed to the modding community that sprung up around it, allowing you to engage in rampant carnage with your friends at your side (along with other fun things). Expectations were then high for the sequel to include many of these improvements into the core game. Whilst not all of them made it in you can definitely see the influence the modding community has had on Just Cause 3, even if those improvements can’t cover some of the more lacklustre aspects of this latest instalment in the series.
6 years after the events of Just Case 2 Rico Rodriguez makes his triumphant return home to Medici. His island has fallen under the iron fist of General Sebastiano Di Ravello, a not-so-benevolent dictator. His return home sees Rico pairing up with his childhood friends and some familiar faces from previous games all in the hopes of overthrowing Di Ravello. Of course his plan of attack is a simple one: cause as much chaos and destruction as possible, weakening the infrastructure upon which Di Ravello relies. It’s no small task but Rico is not one to shy away from a challenge like this.
Compared to nearly any other current generation game Just Cause 3 feels behind the times graphically. Indeed this contrast is no more stark than when compared to another recent release from Avalanche studios, Mad Max, which makes use of the same engine. After some initial tweaking I got it to look a little better however there’s really no hiding the fact that the graphics were simply not a priority. They’re serviceable, and to some extent expected given the level of chaos that can be on screen at times, but Just Cause 3 feels like it has more in common with the B-grade titles I’ve played rather than the rest of the AAAs it was released with.
Staying true to its roots Just Cause is an open world game where there’s little difference between running missions and simply blowing up stuff at random for the fun of it. You’ve got a long campaign to follow if you so wish, but if you’d prefer to just have a bit of fun there’s more than enough to keep you interested. There’s various challenges which unlock mods for your gear, towns to liberate and an endless supply of collectibles and novelty items for you to scrounge up. Realistically though we all know what people are buying this game for: destroying anything and everything they set their eyes on, something which the game wholeheartedly enables and encourages. Everything else that’s contained herein is just icing on the destruction sandwich.
Combat is like any other 3rd person shooter with an incredibly generous infinite health mechanic. You can literally run and gun your way through entire army bases without having a care in the world, only needing to grapple away for a second or two when things go really south. It’s initially limited to aim-assisted console style shooting, which feels a little weird on the PC, but unlocks later change that up if you so wish. However killing enemies is really only a distraction from setting things on fire, blowing things up or making things fall on other things. This can be incredibly satisfying when you manage to pull off massive chain reaction, unleashing explosion after explosion as you sit back and watch the carnage. Other times it can be an exercise in frustration, searching for that one last thing you need to blow up in order to move to the next mission or objective.
This is certainly fun for a little while however once you’ve liberated the 30th town things really do start to feel incredibly repetitive. There’s literally no variety to be found at all as once you’ve done a couple towns the rest are simply a different mix of the objectives you’ve seen. Worse still most of them feel visually identical, just the buildings rearranged slightly. Sure you can tackle the challenge in different ways but there’s only so many times you can drive a tank through the middle of a town and still be entertained. In all honesty I had thought that I had conditioned myself to be able to tolerate this for the sake of the main storyline. For Just Cause 3 though I was honestly so bored by the end that I just couldn’t be bothered to open the game up any more.
One thing that did keep me playing for longer than usual were the little challenges that popped up in the right hand side. Shown above is my failed attempt to beat one of my friend’s long standing wing suiting records, only to miss out by a mere 7 seconds right at the end. Whilst many of them are easy to game if you go on YouTube it can be quite a bit of fun to figure out how to maximise a certain thing in order to get to the top of the list. Less useful was the “X beat you 1 hour ago” pop ups which mentioned dozens of random players who I don’t know as I really couldn’t care if they beat my record or not. Still it’s a good mechanic, even if it isn’t the first game to use it.
Of course no review of Just Cause 3 would be complete without mentioning the numerous glitches, bugs and annoyances that are permeated throughout the entire game. You’ll likely get stuck more than once trying to grapple to something, either resulting in your instant death or necessitating a reload. Wingsuiting anywhere close to terrain can result in your untimely death as well, often without any obstacle near you. Probably the worst thing though is the insanely long loading times which are especially frustrating when you’re trying to max out a challenge or going through a rough patch of crashes or glitches. Suffice to say I, whilst my expectations weren’t exactly high for Just Cause 3, I certainly wasn’t expecting the Bethesda levels of jank in Avalanche’s latest title.
Similarly Just Cause has never really been known as a game with high aspirations for the story and Just Cause 3 is no exception. The plot is paper thin at best with all of the characters being thoroughly 2 dimensional. Most of them are outrageous stereotypes that border on being racist with none of them being even remotely believable. This time around I couldn’t even be bothered to look for a mod to get me past the main missions so I could finish the main campaign, it was really that uninteresting. The one thing it has going for it is that it fits the whole B-grade feeling the game has, although I’m not quite sure that counts as a positive.
Just Cause 3 is pretty much what you’d expect it to be: a destruction sandbox and little else. The combat and destructible world, whilst not exactly inspired, does the job it was set to do. The world is large and expansive however it starts to feel repetitive very quickly given the lack of variety. It is unfortunately a bug and glitch ridden affair, something that is only made worse by the lacklustre story. Had Just Cause 3 come with multiplayer by default I may have been more forgiving as with all things B-grade they’re far better when enjoyed with a few beers with your mates. However Avalanche have left that task up to the modders once again, forgoing an opportunity to capitalize on the frenzy that they had created. Just Cause 3 might be worth the asking price for some, but for others it might be worth waiting until it goes on sale.
Just Cause 3 is available on PC, XboxOne and PlayStation4 right now for $59.99, $78 and $78 respectively. Game was played on the PC with 8 hours of total play time with 32% of the achievements unlocked.
The complete break away from backwards compatibility with the current generation of consoles was definitely a shock to the gamer community. Whilst it’s true that most people don’t use their new consoles to play their old games we still wanted the opportunity. Indeed the announcement from Microsoft that the XboxOne would be able to play some 100+ titles was met with wide praise, with hopes that list would increase over time. It was enough for the wider community to start questioning what Sony would do in response as, up until then, they had been the leaders in current generation’s console war. Some details about Sony’s response have begun to leak through and it looks like they’re going a completely different route to that of Microsoft.
Certain PS2 games will be brought to the PS4 thanks to some new emulation software which Sony has developed. Indeed there are a few titles which are already available on the store which are said to be making use of it. This emulation software however won’t be capable of reading games directly from an old disc, meaning your library of old games will still require a PS2 if you want to play them. Instead Sony wants users to subscribe to their PlayStation Now service which will have a host of classic titles available. Of course when compared to the offering on the XboxOne platform this seems a little mediocre as most people aren’t looking to pay again for a game they already own.
From a business standpoint it’s easy to understand why Sony is doing this. Ever since their current generation console launched they’ve been absolutely dominating sales, almost 400% of Microsoft’s by the latest estimates. This has put Sony in a position of confidence, something which means they likely feel a lot less pressure to deliver on fan requested features. Microsoft on the other hand was backed into the corner on several things, starting with the whole disc sharing saga. In order to regain some market share they’re introducing features that they had explicitly ruled out before and whilst it hasn’t been enough to spur their sales on it has raised questions about what Sony should be doing.
Unfortunately I don’t think that the current path Sony is going down now is changing any time soon. It’s been shown time and time again that re-releases and ports like this are a pretty good moneymaker, both for the publishers and the console makers alike. Making the emulation work with current PS2 discs (I think PS3 emulation is likely out of the question for a little while) would mean that that potential revenue stream would evaporate. Given the rather heavy investment they made in developing the PlayStation Now service, what with it’s crazy rack mounted PS3 hardware, that’s money which Sony probably can’t afford to leave behind.
The following that Bethesda games have is anything but unwarranted. Their games are some of the greatest examples of giant, open world RPGs that are packed to the rafters with detail. Their continuing support of the modding community has meant that many of their titles have had life well beyond any other similar games. They do, however, have a tendency to be released with a number of quirks, glitches and issues that dramatically affect playability. Fallout 4 continues the Bethesda tradition (and the Fallout franchise) in earnest, giving players an exceptionally large world to explore whilst suffering from some incredibly rough edges that severely tarnish this otherwise brilliant game.
Fallout 4 throws you into a post-apocalyptic wasteland based in the pre-war state of Massachusetts, now called The Commonwealth. You were one of the lucky few to be granted into one of the numerous Vaultec bunkers, protecting you from the war that raged on outside. However your bunker was not like the others, instead of living out your days underground you were instead frozen in stasis, left to dream away the years. You awoke only once to bear witness to a terrible event before you were quickly frozen again. When you awake again and find the world in ruin you have only one goal in mind: to right the wrong that was done to you on that tragic day.
With 7 years between titles you’d be expecting a large upgrade in graphics and Fallout 4 certainly delivers that. All of the expected current generation trimmings are there like advanced lighting effects, dynamic weather and scenes that are chock full of detail. When compared to its current peers though it’s a little below average, with lower poly count models and less detailed textures, however that’s likely a function of the large draw distance that Fallout 4 favours. Indeed there are many other areas that likely received a lot more focus than the graphics and, considering the mod-centric approach Bethesda takes towards their games, it’s likely something they felt would be remedied without a lot of additional effort on their part.
Fallout 4 has a breadth of detail that’s hard to do justice in a single summarizing paragraph and I’m sure there’s things in the game I simply didn’t see even with the large amount of time I spent in it. At its core Fallout 4 is an open world FPS RPG with city building thrown in as an extra distraction and progression mechanic. There’s a main quest line you can pursue if you so wish or you’re free to wander off into the wasteland, searching for hidden places or doing battle with the various inhabitants. You can barter for gear or craft your own, something which takes a rather large amount of investment but is most certainly worth the pay off. You can join factions and help them in their crusade to better The Commonwealth and bring companions along with you who provide interesting dialogue and can do certain things for you. In all seriousness there’s something for pretty much everyone in Fallout 4 as it can be pretty much whatever kind of game you want it to be.
Combat feels very much the same as its predecessor, retaining the VATS percentage based attack system alongside the more traditional FPS style play. I had chosen to not invest points in VATS skills in order to put them elsewhere, hoping that my FPS skill could make up for the difference. Whilst that’s true to some degree Fallout 4’s combat is most certainly based around the use of VATS and I found myself relying on it more and more as I continued to play. That could be partially due to the fact that the FPS experience isn’t as polished as say Call of Duty‘s as the reticle didn’t always seem to be in complete alignment with where my bullets were going. Your mileage may vary depending on your build though as I’ve heard aiming isn’t much of an issue if you’ve built yourself a melee slugger.
Levelling up in Fallout 4 seems to come often enough so long as you’re engaging in some form of activity. Pretty much everything you do, from exploring to building cities to doing quests, will grant you some amount of XP. If you’re looking to power level (like I was) then investing heavily in INT early on is a must as I was rocketing past my friends who had a similar amount of play time. If you’ve focused your build elsewhere there are other ways to increase your XP gain, like the Idiot Savant perk. Whilst the inclusion of a respec ability or service would’ve been great the relatively easy levelling means that you were never too far off unlocking a perk you wanted. Again if you’re reading this some time after Fallout 4’s initial release I’m sure there’s already a mod that can help you in that regard.
The city building part of Fallout 4 is anything but shoe horned in and provides a very effective way to progress other aspects of your character that might be lacking. The picture below is my purified water farm out at Sanctuary, something which provided me both with a reliable supply of caps as well as a relatively effective and free healing item. Getting your settlements up to a good size, with all the right trimmings, does take some effort to get done (especially if you need to go hunting down certain materials) but the rewards are most certainly worth it. It would be nice to have a bit more clarity around what influences certain things, like what attracts more settlers or what influences raids, but after a while you start to get a feel for what works and what doesn’t.
The crafting system feels like a double edged sword. On the one hand it’s hard to deny that the crafting system is deep and rewarding as some of the things you can craft (or mod) are really quite overpowered. On the other hand however it’s marred by the age old inventory problem, where you can never be sure what you’ll need and so you feel compelled to grab everything in sight. Whilst the tag for search system is a great addition it would’ve been nice to have something akin to a recipes book that I could consult whilst in the field. Sometimes I know I wanted to make a certain mod but hadn’t flagged the items for search before I had left my workshop. Jumping out of the quest, going to a workbench, and then trucking back in isn’t something that I’d call fun which is why I often left it. Once your settlement gets to a certain level you can get around this a bit with stores, but it’s still a bit of a pain.
It wouldn’t be a Bethesda game if it wasn’t extremely janky and Fallout 4 is no exception. In my first hour I encountered no less than 3 bugs which completely broke the game for me, leaving my character unable to progress. The most irritating one of these was when I’d go to use a console and then get stuck when I quit out of it. As it turns out this was an issue with systems that would render higher than 60fps, as the physics simulation is tied to the render rate. This meant my character would jerk out too fast and get stuck in his own body with every control proving to be unresponsive. To fix this I had to set an FPS limit on my graphics driver in order for the game to work properly. I have not once had to do that before and honestly it’s astonishing that you could have a PC that’s too good to play a game. It’s telling that my in game save says I’ve played for about 27 hours but Steam says 31 as that’s how much time I’ve lost to bugs that could only be solved by reloading the game.
It’s not just game breaking bugs either, there are some design decisions made in Fallout 4 that just don’t make sense on the PC platform. The 4 choice dialogue system, with its summaries that often don’t match up with what your character actually says, feels like a backwards step. I can understand the pip boy interface is part of Fallout’s aesthetic but actually using it on PC is an exercise in frustration. The city building, whilst brilliant in almost all other regards, lacks an overarching interface to manage many of the banal tasks like assigning resources to task or identifying new settlers. These are all things that aren’t above being fixed but it’s obvious that Bethesda’s priorities were elsewhere and a lot of the clean up is going to have to be done by the modding community.
The main storyline is pretty average with the clichéd opening cinematic giving you a pretty good indication of what to expect. When I was discussing it with some of my Smoothskins we came to the conclusion that if you’re looking for a solid, directed narrative in a Bethesda game you’re likely to be disappointed. Instead the real story comes from your experiences in the game, how you influenced events and what decisions you decided to make. Indeed after finishing the main questline I felt like nothing had really happened apart from being made to eradicate the opposing factions with extreme prejudice, no choice of saving them or bringing them under my wing. With that in mind I think Fallout 4’s story is best left alone and the tales of your wasteland journey take over instead.
Fallout 4 is exactly the kind of game we’ve come to expect from Bethesda: a grand sweeping world upon which you can build your own story (whilst enduring the trademark jankiness). The incredible girth of the game cannot be understated as it can be easily described as a FPS, an RPG and even a fully fledged city builder and simulator. The numerous ancillary mechanics are all well done, allowing you to really craft a character the way you want. However it’s irreversibly tainted by the numerous issues that are guaranteed to plague anyone who wants to brave the wastelands of The Commonwealth, something which can only be solved by mad quicksaving. Overall Fallout 4 is one of this years must play games but it might be best served after a patch or two with maybe a mod on the side.
Fallout 4 is available on PC, PlayStation4 and XboxOne right now for $59.99, $59 and $59 respectively. Game was played on the PC with 31 hours of total play time with 52% of the achievements unlocked.
The 3 year, 3 developer cycle that Call of Duty switched to has meant that it’s been a little longer between drinks for Treyarch, once considered the poor step child to Inifinity Ward. For players like me, who enjoyed Treyarch’s slightly more story oriented style for the single player, it’s been a bit of a wait but all hopes were that the extra polish would be worth it. After spending the last week with Call of Duty: Black Ops III I can definitely say the wait has been worth it, although Treyarch might need to come down from the giant ivory tower that they’ve crafted themselves.
The year is 2065 and you’ve been sent to rescue hostages from the NCR, the latest terrorist organisation to begin its war against the western world. You, along with your partner Hendricks, have been sent to Ethopia to rescue hostages and a VIP who’s been captured by this group. Whilst the extraction was a success you were left behind and mortally wounded by one of the NCR’s combat robots. You’re transported back to the Coalescence HQ for emergency medical treatment, bestowing upon you cybernetic abilities that elevate your combat capabilities far beyond that of any normal soldier. What follows is your exploits as a CIA black operative following a terrible conspiracy that goes all the way to the top.
Considering that Black Ops 3 was released on nearly all platforms (including 2 last gen ones) it’s great to see it able to use all the grunt of a modern PC to render some truly stunning graphics. On first release though this was unfortunately at the severe cost of performance as smoke and other particle heavy systems would drag an otherwise buttery smooth experience down to a slideshow. Thankfully this was a bug and was fixed in a patch last week, allowing me to once again ratchet all the settings up to maximum. Unlike other Call of Duty titles though you’ll rarely have any time to stop and take in the view as the game is all about action all the time (save for the last section which I’ll dive into more later).
Black Ops 3 is the definition of a corridor shooter, putting you in tight spaces with hordes of enemies that you’ll need to mow down in order to progress. Like Advanced Warfare before it though there’s a few extra mechanics thrown into the mix to keep things fresh, most of which come in the form of various powers granted to you by your cyber augments. Also, unlike most Call of Duty games where your load out is specified for you, Black Ops 3 gives you the option to build out your own kit for each mission. You’re even given a briefing panel which allows you to judge which kit would be best for each engagement. Apart from that (and the multiplayer, of course) there’s not much more to say about Black Ops 3 as it really does feel like Advanced Warfare with the trademark Treyarch psychological twist.
The buttery smooth, fast paced FPS combat that’s a hallmark of the Call of Duty series is back once again in Black Ops 3. The additional enhancements you’re given as part of your cybernetic upgrades goes a long way to alleviating some of the issues that plagued previous instalments in this series. Notably this includes things like target highlighting, “danger zones” shown on the floor to give you an idea of what might happen if you go there and the vast array of powers you have to devastate your enemy. However one piece of advice I’ll give is that, if you’re just looking to enjoy the single player, avoid the higher difficulties. Instead of making the enemies tougher it essentially makes you weaker with the hardest difficulty allowing any enemy to one shot you. Sure that does provide some form of challenge but, honestly, it’s just more tedious than anything.
For all its polish though there are still some rough bits in the single player. Quite often enemies will be able to shoot through or glitch through walls which, if you’re playing on anything above normal difficulty, will mean your instant demise. This became painfully clear on the final mission when you’re storming the last building and mechs, flying drones and anything else would just pass through terrain to get to you. I can handle getting nailed by unseen targets, that just means you need to be aware of where they are for next time around, but when you literally can’t do anything to stop them it really does grate on you.
The story retains Treyarch’s signature psychological thriller style, this time around with a sci-fi twist. To begin with it’s interesting as the characters deal with the implications of technology and the enhancements it brings them. Things start to come unstuck a bit as they dive deeper into the (highly predictable) conspiracy aspects of it and it comes completely unglued towards the end when the symbolism gets dialled up to 11. Probably the worst part about it though is that, if you read a couple specific things in game, the whole thing is basically naught anyway. In all honesty it started off strong before it tried to M. Night Shyamalan everything and completely disappeared up its own ass with that one piece of text.
The multiplayer is your mostly standard Call of Duty affair with levels, unlocks and customizations galore. It uses the familiar “choose 10” system, allowing you to create a character that fits your play style perfectly. The biggest change that comes with Black Ops 3 is the inclusion of “specialist” classes which are essentially base character models that come with abilities. These can be either a weapon, which can be incredibly devastating when used right, or an ability which usually gives you a tactical advantage over the enemy. This combined with Call of Duty’s typical huge array of weaponry makes for some incredibly varied combat, something which can be a bit overwhelming when you first start out.
Probably my only gripe is that the levelling is a bit too slow for casual-core players like myself. I’ve played about 4 hours at this point and my main weapon, the Kuda SMG, is no where near unlocking all the mods that I want to use. This means that, for nearly all of my current multiplayer time, I’ve been using the Vanguard starting class since it has a fully customized Kuda as part of the loadout. Treyarch is aware of this and is making up for it by making this weekend a double XP weekend but that feels like a bandaid solution on the problem honestly. Having a rested system or something similar would make the experience a lot better for players like myself as otherwise the longevity of the multiplayer will be severely limited.
Call of Duty: Black Ops III maintains the level of quality we’ve come to expect from the series, adding the Treyarch signature psychological thriller style to the future combat motif that has permeated the last few instalments. The single player is pretty much as you’d expect, maintaining the same fluid FPS experience even if it does overstay its welcome a little bit too long towards the end. The multiplayer, whilst suffering from a rather slow levelling system, is just as good as it ever was. As always the Call of Duty series might not be for everyone but for those of us who enjoy a spectacle, along with a few solid hours of multiplayer fun, then there’s really no other title to turn to right now other than Black Ops III.
Rating: 8.75 / 10
Call of Duty: Black Ops III is available on PC, PlayStation3, PlayStation4, Xbox360 and XboxOne right now for $79, $59, $79, $59 and $79 respectively. Game was played on PC with a total of 43% of the achievements unlocked.
I, like many of my generation, spent far too much of my time in Games Workshop stores as a teenager. I’d go there to gawk that the miniatures, painted in such exquisite detail that I tried and failed to replicate. That was only half of it though, the sense of community among those of us who’d spend as much time as we could at these places was far and above anything else. Thus the rather tumultuous path that the Games Workshop has walked these past few years has been tough as many of us felt they no longer cared about us, their biggest fans. However one good thing has come out all this and that has been Games Workshop’s more generous attitude towards licensing out its IP. The latest such incarnation comes in the form of Warhammer: The End Times: Vermintide, a Left 4 Dead-esque co-op survival game that breathes new life into the genre.
You are a band of warriors in the town of Ubersreik, a city that has been overrun by the Skaven, a race of devilish rat people. With the town in peril everyone has been looking towards you to save them and there are numerous quests you must complete to keep the town safe. Some of these are simple, stopping the Skaven from poisoning the wells or destroying the food stocks, others will require you to climb to the top of massive towers to stop powerful magic from falling into Skaven hands. These will not be easy quests, dear warrior, and you’re likely to face much more than just hordes of rats along the way.
Vermintide comes to us care of the Autodesk Stingray engine, essentially a revamped version of the BitSquid engine that powered titles like Gauntlet and Magicka: Wizard Wars. In terms of capability and performance the engine really does shine, with great visuals that don’t drag your system down when the action heats up. The visual style is also very distinctive, being slightly stylized but still feeling as if it was pulled directly out of the Warhammer universe. Of course there have been some sacrifices in order to ensure performance remains consistent, meaning that some areas do feel a bit barren with little detail, but you’re usually too busy dealing with rats to notice. Considering the rather low asking price for the engine I hope to see more indie titles make use of it and the capabilities it can provide.
As I alluded to earlier Vermintide is a co-op survival game modelled directly on the framework Left 4 Dead so successfully created. You’re a band of four heroes who must make it from the start to the end whilst completing objectives along the way. You’ll be beset on all sides by hordes of Skaven including various special versions which have abilities to disrupt your team and take them out of the fight. Unlike Left 4 Dead however this is not a PVP game, instead Vermintide’s variety comes from the various character classes you can choose, the RPG like levelling and loot system and the rather deep combat mechanics that make the game much more than a simple hack and slasher. Honestly the first hour had me thinking I was simply playing the latest version of Left 4 Dead but once I dug under the surface I was incredibly impressed by the level of complexity that Vermintide has.
Unlike other survival games where melee is a last resort in Vermintide it’s your primary damage dealing mechanism. You still have a ranged weapon, limited by ammunition, but they’re usually reserved for special situations like dealing with special vermin or clearing a path through swarms. This melee focus means you have to be much more aware of what is coming at you, when its attacking and when you should either dodge or block. Sure you can ignore all of that and just go charging in however you’re likely to find yourself running out of health very quickly, something which is at a premium in this game. Indeed we were barely able to finish the first mission on easy by using that tactic and it was only after a more seasoned friend of mine showed us the ways did we start to appreciate just how complex the combat was.
The different character classes have different abilities, strengths and weaknesses, all of which you’ll need to take into consideration when crafting your party. Each character class isn’t locked into a specific role either as different items can change the way you play. I was playing the Empire Solider for the most part and could change from a damage dealer/special slayer into a front line tank by equipping a sword and shield. For other classes weapons can change them from single target to AOE focused or impart some insane abilities like arrows that are guaranteed headshots. Suffice to say there’s a lot to keep you coming back to Vermintide over and over again as the loot and character variety ensure that there’s dozens of hours of gameplay to be had.
That’s not to mention the loot system’s ingeniously evil risk vs reward system. Essentially there are various loot bolstering devices hidden around the map and each of them will reduce your ability to survive the rat onslaught. However should you make it all the way through with them you’ll get bonus loot dies at the end. Some of them are innocuous, like taking away your healing slot (but you can just drop the tome and use the healing then pick the tome back up) to others which reduce the entire parties health by 25% permanently. Suddenly a simple run becomes a balancing game of how much loot you can get vs how well you think you can survive.
There’s also a crafting system, allowing you to upgrade, salvage and “forge” better weapons for yourself. The forge is essentially just a dumping ground for all the loot you don’t want as you’ll get, at most, 2 weapons per run (1 from the roll and 1 from a level up) and you’ll need 5 to make it work. Green and higher tier items have upgrades on them which need to be unlocked using certain coloured rocks. Those rocks will come from salvaging other items that you no longer want. Overall it’s a pretty simplistic crafting system but at least it gives you the opportunity to make something of the drops that you’d otherwise get nothing from.
For all its polish though Vermintide still has a couple issues which could do with fixing. The hit detection can get a bit crazy at times, resulting in strange behaviour like pack masters being able to pull players through walls. It works two ways though so sometimes you can get special rats, like the gattling gun one, stuck in a place where they can’t hit you but you can hit them. There’s also some lag induced issues which can cause rats to flit all over the place, fall through the ground or randomly spawn out of no where. I’m assuming this is born out of its P2P hosting nature which means that game sync can get a bit weird if one or more people have a tenuous connection to the host.
Vermintide would be easy to write off as a Left 4 Dead clone but after a couple of hours you quickly realise it’s anything but. Sure the combat and core mechanics are definitely inspired by the grand daddy of this genre but the extra elements that Vermintide has makes it on its own. The character classes and loot system help keep the game fresh, even after you’ve played the same map a dozen times over. The combat retains that same high tension feeling that we all grew to love in Left 4 Dead whilst distinguishing itself with a bunch of Warhammer inspired mechanics. The crafting system and few rough edges are the few let downs of vermintide but it says a lot that those are the only negative things I have to say about it. For those who were let down by Evolve Vermintide could very well be the game that resells you on the genre.
Warhammer: The End Times – Vermintide is available on PC right now for $29.99 and coming Q1 2016 to PlayStation4 and XboxOne. Total play time was 6 hours with 22% of the achievements unlocked.
Long time readers will know that horror and I don’t really get along. As a genre I don’t find it particularly engaging although there have been several examples which have managed to break through my disdain. Still even those few examples haven’t been enough to change my base dislike of nearly everything that bears the horror tag. Indeed that’s the reason why I deliberately avoided Until Dawn for as long as I did and it was only after thumbing through numerous reviews of it did I change my mind. Whilst Until Dawn might not be the title that finally gets me to see the merits of the horror genre it is an exquisitely built game in its own right, one deserving of all the attention it has received.
It was just like any other winter getaway when eight close friends went to one of their parent’s mountain lodges for a weekend of partying. They were to spend the week revelling like all teenagers do, indulging in things that their parents would likely disapprove of. However their night quickly turns sinister as they are reminded of the tragic past that brought them here that seems to haunt them at every corner. Your decisions will guide them through this night and determine who makes it to the end and who meets their untimely demise at the horrors of the mountain.
Until Dawn makes good use of the grunt of the PlayStation4, bringing graphics that are far beyond anything that the previous generation of consoles was capable of. Whilst most of the time the graphics are hidden behind the dark horror movie aesthetic There are still numerous moments that allow you to appreciate the level of work that’s gone into crafting the visual aspects of the game. There are a few rough edges though with performance taking a dive regularly, especially in outdoor scenes or action heavy sequences. The game isn’t unplayable because of it however you can definitely tell that the priority was aesthetic over optimization, meaning a constant 30fps experience isn’t guaranteed. Considering this is Supermassive Game’s first PlayStation4 title I’m willing to give them a little leeway however I’d expect future titles to not make the same mistake.
In terms of game play Until Dawn is in the same league as other interactive fiction titles like Heavy Rain and Beyond: Two Souls. For the most part you’ll be wandering around the mostly linear environment, looking at various objects and interacting with other characters to further the story. Until Dawn’s flagship feature is the “Butterfly Effect” system which chronicles most of your decisions which will have an impact on the story down the line. There’s also collectibles called Totems which when found show you a glimpse of a possible future event, allowing you to get some insight into how they might unfold. Finally for all the action parts of Until Dawn you’ll be using a pretty standard quick time events system. All in all at a mechanical level Until Dawn is pretty much what you’d expect when it comes to an interactive fiction game.
The walking around and looking at things part is mostly well done (with some issues I’ll discuss later) with interactive objects that are in your character’s field of view being highlighted by a small white glowing orb. This typically means that as long as you do a full 360 of a room you’re likely to find everything in it which is good as I can’t tell you how frustrating it is to try and figure out sometimes in games like this. Until Dawn does reward exploration, meaning that if you think you’re going down a non-obvious section chances are you’ll find something juicy at the end of it. Thankfully the walking speed can be sped up some as well, meaning you’re not going to double your play time just because you wanted to explore a little bit.
Whenever you perform an action or make a certain dialogue choice the screen will explode in a cascade of butterflies, indicating that your choice will impact on future events. This is a more extravagant version Telltale’s “X will remember that” feature with the added benefit that you can go back and review your choices at any point. Unlike most other games though, where decisions that will have major impacts on the story will usually be showcased as such, Until Dawn rarely makes such a distinction. If I’m honest I found that to be a little frustrating as it was hard to tell when what seemed like a minor decision actually had major consequences. In reality though that’s much closer to a real world experience so I can definitely appreciate it for that reason.
The quick time event system works as you’d expect it to, giving you a limited amount of time to respond by pressing the right button or moving the control stick in the right way. It’s broken up every so often by having you make decisions, like taking a safe route vs a quicker one or hiding vs running, which can have similar butterfly effect impacts as dialogue choices do. The one interesting differentiator that Until Dawn has is the “DON’T MOVE” sections which can actually be something of a challenge when your heart is racing and your hands are shaking the controls. So nothing revolutionary here, not that you’d really be expecting that from games in this genre.
Whilst Until Dawn does show an incredible amount of polish in most regards there’s still some rough edges in a few key areas. The collision detection is a bit iffy, being a little too wide at the character’s feet which makes you get stuck on objects that you’d think you could just walk past. This also extends to things your character holds like a burning torch which seem to lack collision detection, allowing you to put your character’s hand through walls. There’s also the performance issues which I noted previously which, whilst not degrading the game into a slideshow, are definitely noticeable. Still for a first crack at a game of this calibre it’s commendable that Supermassive Games was able to put out something with this level of polish, especially on a new platform for them.
Now being someone who’s avoided the horror genre it almost all its incarnations I don’t feel entirely qualified to give an objective view on how good the story is. Certainly it seems to share many of the tropes that you’d associate with a teen horror movie but whether they’re well executed or not is something I’ll have to leave up to the reader. To me it was a predictable narrative, one that attempted to use jump scares and triggered music to try and build tension. Whilst it didn’t bore me to sleep like so many horror movies have done I still wouldn’t recommend it on story alone.
Until Dawn is a great debut title for Supermassive Games on the PlayStation4 showing that Quantic Games isn’t the only developer who can create great interactive fiction. The graphics are what I’ve come to expect from current generation titles, making full use of the grunt available on the platform. Mechanically it plays as you’d expect with only a few rough edges in need of additional polish. The writer’s aversion to horror though means that the story didn’t strike much of a chord although it’s likely to delight horror fans the world over. In summation Until Dawn is a superbly executed game one that both horror fans and interactive fiction junkies can enjoy.
Until Dawn is available on PlayStation4 right now for $78. Total play time was approximately 7 hours.
Destiny was the first game to break my staunch opposition to playing first person shooters on consoles. Being a long time member of the PC master race meant that it took me quite a while to get used to the way consoles do things and had it not been for Destiny’s MMORPG stylings I might not have stuck it through. However I’m glad I did as the numerous hours I’ve spent in Destiny since then were ones I very much enjoyed. The time between me capping out at level 32 and the release of the House of Wolves expansion though was long enough for me to fall back to DOTA 2 and I missed much of that release. The Taken King however promised to completely upend the way Destiny did things and proved to be the perfect time for me to reignite my addiction to Bungie’s flagship IP.
Six of you went down into that pit, looking to end the dark grip that Crota held on our Moon. His death rung out across the galaxy, sending ripples through the darkness. His father, Oryx, felt his son slip from this plane and immediately swore vengeance upon you and the light. Oryx has appeared in our system aboard a mighty dreadnought, capable of decimating entire armies with a single attack. Slayer of Crota it is now up to you to face Oryx as he and his Taken are swarming over the entire solar system and threaten to snuff out the light once and for all. Are you strong enough to face this challenge guardian?
Graphically Destiny hasn’t change much, retaining the same level of impressive graphics that aptly demonstrate the capabilities of current generation console hardware. There has been a significant overhaul to the UI elements however with the vast majority of them looking sharper and feeling a lot more responsive. It might sound like a minor detail but it’s a big leap up in some regards, especially with the new quest/mission and bounty interface. It’s the kind of stuff you’d expect to see in expansions like this and I doubt we’ll see any major graphical changes until Destiny 2.0.
The core game is mostly unchanged, consisting of the same cover based shooter game play with the RPG elements sprinkled on top. Every class has been granted a new subclass meaning that each of them now has one that covers each of the elements (fire, void and arc). The levelling and progression system has been significantly overhauled, providing a much smoother experience to levelling your character up both in level and gear terms. Many of the ancillary activities, like the Nightfall and Exotic Bounties, have also been reworked to favour continuous progression rather than constant praying to RNGJesus. Additionally there’s been many quality of life improvements which have made doing lots of things in Destiny a lot easier, much to the relief of long term players like myself. This is all in concert with a campaign that’s about half as long again as the original, making The Taken King well worth its current asking price.
The new subclasses might sound like a small addition but they’ve given new life to a lot of aspects of Destiny. Each new class essentially filled a hole that was lacking in the other two, allowing each class to be far more versatile than they were previously. The only issue I have with them so far is that the new subclasses feel a lot better at more things than their predecessors do which means pretty much everyone is solely using those classes now. Sure the Defender Titan’s bubble is still the ultimate defensive super however it pales in comparison to the toolset that the Sunbreaker has at their disposal. This might just be my impression given my current playstyle (mostly solo) and may change when I finally attempt the raid this week.
The revamp of the levelling system is probably the most welcome change. Unlike before where your level was determined by the light your gear had the new maximum level is now 40, achievable through grinding XP like any other RPG. Then once you hit the maximum level you have your Light Level which is an average of your gear’s damage output and defensive capabilities. As it stands right now that’s pretty much the only thing that matters when you’re attempting an encounter and so the higher your light level the easier it will be. Whilst it’s not a huge change from the previous system it does mean that there’s quite a lot more variety in terms of what gear you’ll end up using. This also means that a lot more pieces of gear, even those lowly blues which we used to disassemble immediately, are now quite viable.
This comes hand in hand with a revamp of how you can obtain gear in the game. Whilst there are still guaranteed ways of obtaining gear through marks (now Legendary Marks which are slightly hard to come by) you’ll mostly be looking for engrams. The engram rate has been significantly increased and when you get them decrypted they’ll roll a random light level in a +/- range of your current light level. This means that, in order to progress, it’s best to equip your highest light level gear and decode engrams. Doing this I was able to get myself to light level 295 in a relatively short period of time, more than enough to attempt the raid. This, coupled with the new avenues to better gear, mean that progression is far smoother than it was before.
The revamped quest and bounties system has everything in it that guardians have been asking for from day one. There’s now a separate tab that has everything in it, allowing you to track objectives so you can quickly see your status without having to pop out into the menu. This has allowed Bungie to include multiple questlines that all run simultaneously, something which was just not possible before. Many of these quests will help you get solid boosts in your light level and, if you follow some of the longer ones, unlock some of the best gear in the game. By far the stand out piece, in my mind, is the heavy sword which (when fully levelled) makes PVE encounters a breeze and the crucible a punchbro’s dream.
The Taken King expansion also gets massive kudos for fleshing out the lore of Destiny significantly. Part of this comes from the extended campaign missions that take you deep into the world of the Hive and the Taken but there’s also dozens of new bits of information scattered throughout the world (accessible through ghost scans). The Books of Sorrow provide a lot of background detail to all the races and their involvement with the Darkness as well as providing some insight into the events that led up to the Traveller’s current state. I’m still picking through it myself but it’s honestly great to see Bungie fleshing out this world as there’s so much potential here and I’d hate for it to go to waste. Additionally Nolan North replacing Peter Dinklage as the voice of your ghost is a welcome change, as is the addition of many more hours of voice acting from all the central characters.
Destiny: The Taken King is the expansion that all guardians had hoped for, bringing with it all the improvements that were sorely needed. It’s a testament to Bungie’s dedication to this IP as the amount of extra content they’ve released for Destiny in just one year is, honestly, staggering. The changes they made with this latest expansion have improved the experience dramatically, both for casual players and the hardcore alike. If you’d been staving off playing Destiny then now would definitely be a great time to give it a whirl as this is the game many are saying it should have been at launch. For long time guardians like myself it’s what was needed to bring me back to the fold and keep me playing for a long time to come.
Destiny: The Taken King is available on PlayStation3, PlayStation4, XboxOne and Xbox360 for $79, $79, $79 and $79 respectively. Game was played on the PlayStation4 with approximately 20 hours of play time, reaching light level 295.
Movie tie-in games are some of the most derided games ever to grace our presence and with good reason. Often they’re given a woefully insufficient amount of time to come up with a playable product and quality is the first thing that hits the chopping block, leaving them bug ridden messes of half finished dreck. The last few years have seen a few titles rise above the filth however and whilst none of them have been game of the year material they have been pleasurable surprises. Mad Max is one such gem, taking the essence of the movie and distilling it down into a very playable experience.
The world lies barren, scorched by an intense nuclear war. Those that survived the collapse struggle to survive, scavenging what they could from the remnants of society that lie scattered about. This world now belongs to the ruthless and violent with gangs and war bands patrolling the sandy dunes looking for people and places to pillage. You are Max, a survivor who has lost everything since the collapse and wants nothing to do with this world any more. So he has resigned himself to cross the Plains of Silence in his Black on Black, an Interceptor capable of making the long journey. However his plans are foiled by Scabrous Scrotus, son of the warlord Immortan Joe who steals everything from him. You are not so easily beaten however and you turn your eyes to recovering your Black on Black and making Scrotus pay for what he did.
The wasteland setting for Mad Max is quite beautiful with the plains stretching out to the horizon in every direction. It’s the definition of an open world game with nearly every bit of scenery that you can see being accessible and part of the game. There’s definitely been a lot of effort put into crafting certain aspects of the scenery, like the dust you kick up when going offroad and the slight changes in the howls that each engine emits. It’s also got enough visual variety that you don’t feel like you’re driving through the same place all the time as each area has its own distinct theme. Thankfully this all comes to you fully optimized, something which games with lots of open space like this often get wrong.
On first blush Mad Max is your typical open worlder, with all the standard trimmings of campaign missions, side missions and a lack of direction of which one you should do when. If I was to compare it to recent open world titles it’d be somewhere in the middle between Far Cry 4 and Batman: Arkham Knight. You’ve got your typical progression in the form of skills and equipment, both for your vehicle (the Magnum Opus) and Max himself, some of which are locked behind story missions whilst others through open world objectives. There’s camps for you to capture, places for you to explore and hordes of enemies bounding around for you to take out or avoid. Combat comes in two flavours: the stylized beat ’em up hand to hand combat while on foot as Max as well as some in-car combat which is a little more rudimentary. Suffice to say I was surprised at just how much was crammed into this game given its origins as a movie tie-in.
If you’re a fan of the Arkham series of combat then Mad Max is right up your alley with the controls and style being instantly familiar. There’s not as much variety in moves and finishers however it’s still quite a challenge to rack up long combo streaks without getting interrupted. There’s a few rough edges on the combat though which really start to show in the later stages of the game. Essentially you can get yourself into a situation where there’s no way for you to block or counter an incoming move, ruining your chain (and potentially losing you an upgrade point). Usually this happens when you’re doing a finisher which triggers a mini-cutscene which, when interrupted, feels unfair. There’s also a heavy reliance on consumables which aren’t readily available or farmable in the world for a lot of the big finisher moves so they often go unused. Overall it’s a good emulation of Rocksteady’s combat style, just in need of a little more tuning.
The car combat is pretty simplistic by comparison, usually involving you ramming the other car into submission. As you progress through the story missions there are weapon upgrades that allow you to more effectively dispatch your enemies, like a harpoon that can rip wheels off, but the heavy investment requirement means you’ll have to forgo quite a few other upgrades to get them. Additionally for the most part you don’t really need all the bells and whistles, just having the fastest car (both in terms of top speed and acceleration) is all that’s needed for most encounters. The final boss battle is the only exception to this as you’ll struggle to finish it in a timely manner if you don’t have at least a Level 4 harpoon and another similarly upgraded weapon. It’d probably be made a lot better if the driving controls were a little more refined as the slightly janky steering, even on cars with the top handling, makes things more difficult than they should be.
As you’d expect from an open world game there’s numerous activities for you to do most of which will provide you some form of benefit. Clearing out camps for instance will net you a periodic amount of scrap, the currency that underpins the economy of Mad Max. Doing “projects” in strongholds will unlock certain benefits like giving you a full water canteen or opening up new types of missions for you to complete. Winning races will unlock a permanent location where you can fuel up your car whenever you want. For people who like to meander through games, picking and choosing whichever mission takes their fancy, this kind of thing is probably what they’re after. For me though these little side distractions just didn’t feel rewarding enough for me to bother with them for long. In the end I’d only go on scrap hunting missions if I needed it to unlock the next campaign mission which I only had to do a couple times.
It’s not a perfect experience by any stretch of the imagination as the above screenshot will attest to. You see there’s no jumping in Mad Max but there are multiple heights and in some instances you’ll find yourself trapped in a place you can’t get out of. Some of them aren’t even as obvious as the one pictured above. In one particular mission I managed to roll over some pipes which I couldn’t roll back out of. It’s clear what’s missing here, the movement system isn’t coded to deal with situations where the difference in terrain height is above a certain threshold. Whilst not every game needs to have the parkour stylings of Assassin’s Creed a more robust move system would be key in alleviating the unfortunately frequent problems that arise from the current simplistic implementation.
The story, if it were standing on its own, is fairly rudimentary although since it serves as a kind of prequel to the world of the movie it’s a little more interesting. Strictly speaking it’s a separate story in terms of canon and indeed Max’s character is quite different to the one portrayed in the cinema. However it does give you a little bit more insight into the reasons why Max ends up the way he is in the movie. Still it’s not much more than your typical action script, albeit it bereft of some of the more common components in favour of more talk of cars as a religion and all the craziness that the movie demonstrated.
Mad Max is an example of what tie-in games can achieve if they have more than a token effort put into them. The barren wasteland world is beautifully realised with the landscapes reaching out from horizon to horizon. The core game mechanics are mostly well realised, often getting close to their more mature brethren from which they draw inspiration. For fans of the open world genre there’s more than enough activities to keep you going for numerous hours on end. For people like me though who aren’t so interested in the distractions the game is still readily playable if you do pretty much campaign missions only, you’ll just have to use your skill rather than your scrap to win fights. Suffice to say I was surprised by just how playable Mad Max was, especially given its tie in origins. If you’re one of the many raving fans of Fury Road then Mad Max is probably worth a look in.
Mad Max is available on PC, XboxOne and PlayStation4 right now for $59.99, $99.95 and $99.95 respectively. Game was played on the PC with approximately 13 hours of total playtime and 29% of the achievements unlocked.
It’s been almost 2 years since the release of the current generation of consoles yet, strangely, it doesn’t really feel like it has. Usually this long after a new console generation the previous one has become a ghost town, long abandoned by developers in favour of the latest and greatest hardware. However here we are 2 years later and games are still be released for the PlayStation3 and Xbox360. This isn’t just isolated to a few small titles either, pretty much every AAA title that has a cross platform release will end up support no less than 5 distinct platforms, 2 of them almost a decade old at this point. I honestly couldn’t fathom why this would be the case, that was until I followed the money.
If you head over to VGChartz’s global weekly chart and have a trawl through previous week’s sales figures you’ll begin to see what I’m talking about. Whilst we don’t have the very latest figures (you’ll have to pay them a rather large fee to get that) it’s clear that the previous generation consoles are still generating massive revenues in terms of game sales. Indeed until the end of March this year the platforms with the most game sales were previous generation consoles. It was only after then that the PS4 managed to stay at the top but it’s always been closely hounded by both the PS3 and Xbox360 for the top position ever since.
Some of the blame for this lies at the feet of the XboxOne which has unfortunately failed to pull as many people across into the current generation as its competitor has. The XboxOne sales have been about half that of PlayStation4 for some time now, a trend that doesn’t seem to be changing any time soon. This also feeds into the trend of the Xbox360 routinely outselling it’s current generation counterpart, only changing when a new release comes out. Considering how close the previous generations were in sales this disparity will continue until the majority of current Xbox360 users make the switch. How long until that happens I couldn’t tell you, but it still seems like a fair way off at this point.
Primarily though it’s due to the unprecedented longevity of the previous generation. Prior to the PS3 and the Xbox360 you could expect a new console generation every 5 years or so, with developers having fully transitioned to the new platform within a year or two afterwards. The previous generation of consoles is well past that point and that means there’s going to be a lot more more inertia in switching away from them. It’s just like what happened with Windows XP and the transition to Vista and beyond, consumers and third parties alike got comfortable with the platform and held onto it for far longer than was healthy. Thankfully the turn around rate doesn’t seem that bad when you compare it to Windows XP vs 7, but it’s still slow enough to mean that the previous generation is here to stay for some time.
The tide is turning however. Every new release sees a new wave of people upgrading their consoles in order to enjoy the latest game. Exclusives too are still proving to be a powerful motivating force for consumers, even critical flops like The Order 1886 being able to boost console sales by 10% or more. It’s going to be a far slower transition than we’re used to, I’d hazard a guess for at least another year of cross platform releases targeting previous generation, but the trends are clear. Hopefully the transition will mean more resources dedicated to actual games rather than cross platform code but I’m not holding my breath in that regard.
In the 3 or so years since I reviewed Dear Esther, a game which in my opinion was an incoherent mess, I’ve come to appreciate the walking simulator genre. They’re definitely not for everyone, what with the achingly slow pace and reliance a strong story to really make them, however they can shine beautifully when done right. If I’m honest though had I known that Everybody’s Gone to the Rapture was done by The Chinese Room (the guys behind Dear Esther) I probably wouldn’t have played it. Thankfully though I didn’t find that fact out until I was a fair way in as Everybody’s Gone to the Rapture deserves to be judged on its own merits and not its heritage.
It’s a beautiful day in the quiet small town of Yaughton in Britain. It’s one of those places where you feel like you could hear a pin drop a mile away, the only sounds being the rustling of the leaves with the occasional bird chirp or quiet rumbling of a car off in the distance. That stillness belies something far more sinister however as you quickly discover that this town is bereft of people and the only thing that remains is an eerie ball of light that dances through the streets. As you walk through the town it begins to reveal its story to you and that of the people of Yaughton.
Everybody’s Gone to the Rapture utilizes the Crytek 3 engine and definitely makes good use of the capabilities that it provides. Whilst it’s not the pinnacle of graphical mastery that the engine’s flagship game was it’s still a decidedly pretty game. Indeed the sweeping views of an idyllic English countryside backdropped by columns of light are some of most enjoyable and serene set pieces I’ve seen in a long time. However what really sets Everybody’s Gone to the Rapture apart from all others in its genre is the absolutely stunning soundtrack, one that wouldn’t be out of place as a movie score. It definitely pleased me to find out that Jessica Curry, the composer, has received a BAFTA for her efforts as her current work shows just how capable she is.
As the genre would suggest Everybody’s Gone to the Rapture is essentially a sightseeing tour, one that will walk you through the town of Yaughton and gradually reveal the story to you. Unlike most walking sims though there’s a guide to show you the way, a small ball of light that will dance and flit around from point to point, urging you to follow it. Then, when you reach certain trigger points, you’ll see events of the past rendered in a shower of light, the voices clear but the people seeming like ghosts playing out their past lives. The only real game mechanic to speak of is tilting your controller one way or the other to sync up with the light but beyond that it’s a lot of holding the left stick forward.
Walking sims generally encourage you to explore the environment, usually with the promise of revealing more of the story to you or opening up a shortcut. The addition of a guide, in this case the ball of light that races around from place to place, would seem to be contrary to that but it’s something that I actually came to enjoy later on. You see, whilst it’s easy enough to figure out what general direction you should be heading in, there’s a lot of places you can get yourself into which don’t lead anywhere. Following the ball, and straying from the path where it seems obvious to do so, seems to be the best way to play Everybody’s Gone to the Rapture.
One mistake that was unfortunately repeated by The Chinese Room was providing avenues of exploration, ones that seemed wholly intentional, that lead to absolutely nothing. The best example of this was the church early on in the game which, when you first go to it, you can’t access the second half of. However if you look around it’s clear there’s another path available to you but you’ll have to go all the way around to get to it. Naturally I did that only to be greeted by sweet fuck all when I arrived there. In any other game this would be a minor annoyance but in a walking simulator it was a 15 minute ordeal, even with the sprint button pegged down. This was the same issue I found so much frustration with in Dear Esther and it pains me to see them making the same mistake.
Thankfully the one mistake they didn’t repeat was delivering the story to you in randomized, disjointed sections. Whilst the story is still far from linear, delivered in vignettes as you stumble across key locations, it at least has a sense of flow and timing to it. Each section follows a particular individual’s story over the course of the events that preceded your arrival, revealing more and more details about their particular part they played. There’s also optional bits of dialogue that you can trigger by picking up phones or turning on radios which are key to understanding the central character’s motivations.
For me the way the story was delivered was the key difference between Dear Esther and Everybody’s Gone to the Rapture. In Dear Esther I struggled to have any empathy for any of the characters as it was hard to tell where I was in the story and how that section fit into it. With Everybody’s Gone to the Rapture on the other hand whilst the vignettes might be told in any order they’re at least internally consistent and often reference a point in time in the larger story. This means that there’s a flow to the larger story that its predecessor lacked, giving you a much better sense for how the events that led up to your arrival unfolded.
The story itself does meander a bit but it’s interleaved with enough background and character development that you feel drawn into their lives and the minutia of this small town. It grips you early on, especially with one scene (pictured in the second screenshot) where a desperate mother struggles to understand what’s going while being comforted by the local priest. The slightly disjointed nature means you know the ending long before it happens however the final few reveals were still an emotional journey. It may not have left me an emotional wreck like other similar games have done but it was definitely one of the more memorable stories in recent memory.
Everybody’s Gone to the Rapture aptly demonstrates the talent that The Chinese Room team has. Everything about this game, from the graphics to the story to the soundtrack, are well above par in all regards. They may make the same mistake of opening up paths of exploration without reward however there’s many more issues that plagued Dear Esther that are simply not present in their latest title. Indeed Everybody’s Gone to the Rapture is one of the few games in this genre that I feel would have appeal beyond that of genre fans as it truly is a great experience.
Everybody’s Gone to the Rapture is available on PlayStation4 right now for $29.99. Total play time was approximately 5 hours.