Now is the time for the independent games to take center stage as the AAA developers rest, scheduling their big releases for later in the year. For me this time of year always presents a challenge, forcing me to look afar from what I might typically play. In some respects Ghost of a Tale isn’t too different from what I usually play, adventure/rpgs are one of my mainstays, but I honestly hadn’t heard about it until I went looking. The promise of great graphics and a good story were enough to intrigue me but unfortunately, after playing it for 3 hours, I’ve decided it’s simply not for me.
You play as Tilo, a minstrel mouse who’s been caught up in a perilous adventure. Separated from your wife you’ve been thrown into prison to await your sentence and, quite unfortunately, the possibility of the hangman’s noose. So you take it upon yourself to break free of the prison and begin the search for your wife. The prison is full of unlikely allies however including a few of your former captors. You’ll need every bit of help you can get as breaking out of the rat infested prison will be no small feat, even for a small mouse like yourself who can fit into some incredibly small spaces.
On the surface you’d think that Ghost of a Tale was running on the Unreal engine given its overall look but it is in-fact a Unity based game, something I honestly did not expect. The aesthetic then is not born out of the engine defaults or limitations but instead is an active choice by the one and only developer behind the game. The environments aren’t particularly large but they are brimming with detail, a lot of which is unfortunately hidden away quite often due to the dark areas you’ll be exploring. Whilst many reviewers laud the visuals they’re honestly not that great, but the fact that they come from a single person is quite impressive. It has taken them over 5 years to get to this point though.
Ghost of a Tale is an adventure game in the truest sense, giving you an environment to explore and a set of puzzles to solve in order to progress. There are a few RPG elements thrown in for good measure, like a rudimentary level and perk system, which helps with giving you a small sense of progression (outside of unlocking new areas). It’s a stealth based game without a true combat system, instead giving you some options to cope with situations when you’re discovered like hiding or knocking them out. The adventure game elements are well developed as well, going as far to incorporate things like what you’re wearing into how NPCs react and what dialogue options will (or won’t) be available to you. Overall Ghost of a Tale is a surprisingly complete game and is certainly the product of someone passionate about bringing it to life.
The stealth mechanics are done well, giving you the usual “awareness meter” that will fill up as your enemies become aware of where you are. If you’re discovered you’ll have to break line of sight and then hide somewhere for a time until your pursuer gives up the chase. This can get a little buggy at times as the rats can get stuck on corners and other places which, for some reason, prevents them from entering their non-alarmed state. You can also throw bottles at them to knock them out which is sometimes necessary in order to steal a key from them or to get through an area quicker. Running drains stamina but the rats don’t move faster than you do at your normal pace so really all you need to do to avoid getting hit by them is run past once then trundle along until you can find a hiding spot. Once you get the hang of it navigating the map becomes a lot quicker as you can judge when you can quickly dart through or when you need to take your time. This well done stealth is what kept me playing for the first hour or so but after then things started to drag on a bit.
Pretty much all of the missions are fetch quests, sending you around the map looking for different things that you’ll need to bring back to someone in order to progress the story. If you loot anything and everything in sight (which there’s no penalty for doing, by the way) you can sometimes preempt some of these but most often you’ll be sent to find a bunch of things that you couldn’t collect beforehand. Given how much of a maze the map is this quickly became tiring as I’d often forget where I was or where I’d looked already and then have to spend the next 5 minutes staring at the map to figure it out. Whilst I’ll admit that this is probably what a lot of people enjoy about the game for me it was simply frustrating. If at all possible I’d love an option to guide me in the right direction for my current quest, even if it was just to the general area. That’d certainly have kept me playing for much longer.
Those who played the game will now likely point out that the game has a kind of in-built walkthrough in the form of florens and the blacksmith. Basically you can find some currency in the game and spend it on hints which I honestly quite like. However there’s not a lot of them around and I feel like I’d probably run out of them before the game was half over. Sure I could also consult a walkthrough guide but I just wasn’t that interested in what the game had to show me.
A lot of that is probably due to the fact that the story wasn’t exactly resonating with me. I’ll wholeheartedly admit I’ve been spoiled by many games that were fully voiced and so my tolerance for wall of text based games has dropped considerably. That, coupled with the fact that it didn’t feel like Ghost of a Tale’s story wasn’t going anywhere fast, meant I didn’t have anything driving me to play it beyond the few hours that I did. It’s a shame as based on the wildly positive reviews I’ve seen for it on Steam and elsewhere I had good expectations for it but, unfortunately, it just didn’t deliver for me.
Ghost of a Tale is one of those few games where I seem to find myself on the opposite end of public opinion. There’s no doubting the amount of love and effort that’s gone into this game, something that’s especially commendable given it was all done by a single person. However if The Witness taught me anything great craftsmanship only goes so far if the result isn’t fun to play. There’s perhaps a few small changes and additions that could bring someone like me into the fold but, honestly, it feels like that might be antithetical to what Ghost of a Tale wants to achieve. So whilst I might not have enjoyed this game that certainly doesn’t mean you won’t and the review score below is simply reflective of my experience, not necessarily the quality of the game itself.
Ghost of a Tale is available on PC, Xbox One and PlayStation 4 right now for $24.99. Game was played on the PC with a total of 3 hours playtime and 15% of the achievements unlocked.
One of the most critical factors in a game’s success is the ambition driving its creators. It’s not a simple case of more is better however, instead ambition needs to be tempered with the ability to realise it. I’ve often chided developers for reaching beyond their grasp, attempting to emulate others with far better means and ending up harming their game in the process. There have been many great examples, even recently, where a focused vision results in a much better experience. Omensight is one such game where the concise focus on what makes this game unique has produced a well rounded experience.
You are the Harbinger, a mythical warrior who only appears in times of crisis. The land of Urralia is torn by war, and as night falls, you witness its destruction at the hands of a dark God. As the eyes and the sword of Urralia, it is up to you to reverse this fate. All you know is that it started with a mysterious murder of the Godless-Priestess, a deity whose soul is destined to return upon her passing. This time however her soul has failed to return and it is up to you Harbinger to find out why.
Omensight presents a highly stylized cell shaded aesthetic, lavished with bright colours, numerous glow effects and particle systems galore. It may not be a particularly unique art style but it’s certainly one of the better crafted examples I can think of in recent times. The environments are absolutely swimming in detail from the large vistas that show wide cityscapes to the closed in dungeons littered with various miscellania. This is undoubtedly helped by the fixed camera angles, allowing the artists to focus more time on what the player will see and leaving out detail where they won’t. My internal bias initially made me think that it was built on Unity but it is in fact running on the Unreal 4 engine, something which the developer Spearhead Games has some experience with. This, coupled with the low-poly art style, ensures that this will run pretty well on nearly anything you care to throw it at.
Billed as an action-rpg murder mystery Omensight could have easily made the mistake of trying to include far too much but, thankfully, the developers instead chose to focus on a few key mechanics. The combat is reminiscent of the Arkham series, a kind of tempo based beat ’em up style that rewards combos and utilising your environment to pull off flashy fighting moves. Gaining levels is done in the usual way and each of them either grants you a new ability or improves one you already have. The upgrade system allows you to further refine those abilities as well as base things like health, stamina and damage. Whilst there are a few simple puzzles in each of the level the main one is the overarching murder mystery. This takes the form of deciding which one of the main character’s day you want to relive in order to gain more information about the death of the Godless-Priestess. There is, of course, an optimum route but it seems no matter which path you choose you will get closer to your end goal. Overall Omensight might not be the most complex or comprehensive game I’ve played but for the things it does it executes them well.
Combat is a largely enjoyable experience although rarely is it a challenge. Even in the beginning (and on the hard setting no less) most of the enemies can be dispatched pretty easily and since there’s not a lot of them most encounters are over pretty quickly. As you level the difficulty does increase but so do your abilities with some trivialising some encounters. For instance the time warp ability coupled with the speed up from one of your NPC friends can make quick work of basically any group of enemies and even bosses. Considering the amount of replay you have to go through this probably isn’t the worst thing though as there’s nothing less fun than repeating the same encounter a dozen times over, especially if it takes forever to do. One thing that I was never quite clear on though was what counted as being a “flashy fighter” to get the XP bonus at the day end. I had many encounters where I pulled off multiple combos and got nothing, whereas there were other days when I did nothing but left click all day and got it. I’m sure the exact requirements are out there somewhere, but the game never explains it to you.
The platforming in Omensight, whilst not the weakest point of the game, is certainly one of the less great parts of it. Like all 3D platformers there’s a bit of awkwardness when it comes to jumping around which is helped a little bit by the dim shadow showing where your character will land. The real issue though is the fixed camera angles and how they interact with your movement on screen. You see it’s hard to tell just which direction you’ll move in when the camera starts to move on you and sometimes this happens just after you’ve jumped. This leads to some frustrating moments when you’ll try to course correct mid air and end up dying because of it. Similarly it can be hard to control your character along narrow ledges and other obstacles because the camera reoriented (and thus your controls did too), leading you to walk off a ledge when you thought you’d walk along it. Once you know the level layout, and by extension the camera changes, it becomes less of an issue but I’d be lying if it didn’t make the first couple hours of the game a real chore of trial and error.
Progression comes with a nice cadance, ensuring that you’ll either level up or be able to buy an upgrade or two at the end of each day. This also means that if you find yourself struggling for whatever reason you’re never too far off being able to remedy it. Indeed there was one point where I noticed I was taking a ton of damage from certain enemies and all it took to counteract that was a few choice defense upgrades I got after finishing the level. Omensight rewards those who explore the levels, hiding a lot of upgrade currency and XP in chests strewn throughout hidden pathways and passages. It starts to get a little ludicrous towards the end once you have all the seals, giving you enough upgrade points for 3~4 upgrades per run. I didn’t bother trying to max out my character as past a certain point the upgrades are just for convenience sake more than anything else.
Omensight’s greatest weakness however is the repetition of each of the levels. There’s about 5 or so main levels you’ll visit in your travels and you’ll visit each of them multiple times throughout your playthrough. Not much changes between visits: maybe an additional path is unlocked, different dialogue since you’re there with a different NPC or the environment changes slightly, but by and large they’re much the same each time. The game does grant you some small mercies if you’re replaying a day by allowing you to skip to the critical moment but for most of them you’ll have to trudge through the same areas time and time again. I’m all for focusing effort where it will be best utilised, and indeed the environments they have crafted are fantastic, but asset reuse on this scale is something that’s pretty hard to ignore.
The story does make up for this somewhat though with the additional bits of narrative revealed to you on multiple level completions aiding in your understanding of the overarching plot. There are some holes that appear due to the game’s non-linear nature and depending on which paths you choose when some elements will make sense whilst others won’t. It’s slow going at the start where you seem to be treading already well worn ground but it does start to pick up as you’re allowed to change the flow of each days using your Omensight. I could do without the trite revelations (Oh that thing you saw happen, that wasn’t exactly what it was! groan) though, especially considering the major ones are all basically exactly the same. Overall whilst it might not be the most emotionally engaging narrative it’s still enjoyable, even with its flaws.
Omensight executes well on its vision, focusing in on the things that matter to the core game experience. The graphics, level design and combat are all well executed making Omensight a game that’s easy to play for hours on end. It falls down in a few key areas though, namely the extreme reuse of each of the levels and the platforming, both of which significantly hamper the otherwise enjoyable experience. Still for those who, like me, are struggling to find titles worth playing in the yearly AAA draught that plagues us Omensight is a great game to fill the gaps until your next big title fix.
Omensight is available on PC, PlayStation 4 and Xbox One right now for $19.99. Game was played on the PC with a total of 6 hours play time and 74% of the achievements unlocked.
Dontnod almost didn’t make it to where it is today. Whilst I quite enjoyed their first game, Remember me, the wider gaming community wasn’t as enthused. To be sure it sold well enough, some 2 million copies or so, but it was Life is Strange that brought them the commercial and critical success they needed to survive. Not one to rest on the laurels it seems they quickly got to work on Vampyr with many of the Life is Strange team moving across to work on their next major title. It’s most certainly an aspirational title for them, yearning to be included alongside other RPG greats like the titles from BioWare, Bethesda and CD Projekt Red. However much like other developers with such aspirations (I’m looking at you Spiders) Vampyr falls short, including too much of some things and not enough of others.
The Spanish Flu grips London, striking down even the strongest in mere days and forcing much of the city into quarantine. You are Dr. Jonathan Reid, recently returned from the front lines of the war to help London overcome this gripping epidemic. However before you can make it all the way home you’re murdered by an unforeseen foe, only to rise once again stricken with an insatiable lust for blood. You are so blind with bloodlust that you don’t notice you first victim is your sister who came looking for you after you didn’t return home on time. After being chased through the streets of London by vampire hunters who saw your first feed you stumble into a local bar and try to make sense of what has happened to you.
Vampyr’s development began just after the release of current generation consoles so it surprises me that it looks as dated as it does. The Unreal 4 engine that powers it is capable of some quite impressive visuals (Hellblade: Senua’s Sacrifice and LawBreakers are two recent examples) so it’s most certainly not a failing of the platform. My best guess is that it was a deliberate choice due to budget constraints with much of their resources spent on other aspects of the game. Honestly if it was from some small time indie studio or a Kickstarted game I’d understand but Dontnod has 10 years of experience in the industry. Heck even Remember Me looks better than this and that game is 5 years old at this point. The upside of this is that it’ll likely run like it was a game from that long ago, giving some reprieve to those who’ve put off buying a new graphics card for the last few years.
Mechanically Vampyr is an action-RPG with a heavy focus on dialogue, both in terms of narrative as well as a core part of the game play. There’s all the usual trappings you’d expect in a modern action-RPG: levels, talent trees, crafting, items and a combat system that took some inspiration from the Dark Souls games. The levelling system isn’t a straightforward kill things/get XP/get levels deal however (although that is part of it) as to make any meaningful progress you’ll have to feed on people, all of which play a part in the story. This ties into the game’s larger emphasis on player choice, giving you a lot of control in how the larger story plays out. Indeed this appears to be where Dontnod spent the vast majority of their resources in building Vampyr as the game can play out vastly differently depending on what you do and what you don’t.
Combat is a little unpolished, suffering from many of the same issues that other games have when trying to replicate a Dark Souls-lite type experience. It’s set up much how you’d expect, with your main combat resources being stamina and blood (to power your abilities). Enemies telegraph their moves pretty openly although their movesets are much more random than I’d ever encountered in a Souls game. The hitboxes act a bit weird at times, with hits that shouldn’t have connected managing to land and vice versa. Locking onto enemies is a bit of a mixed bag too as it seems to limit your movement options somewhat, making dodging a lot harder than it should be. The jumps in difficulty are also area dependent and not at all smooth so you’ll likely find yourself going from competent to struggling at the drop of a hat.
All of this is a bit of a shame as when you’re extremely overpowered the game actually becomes quite fun, allowing you to run through areas without a care to who might be in your way. Whilst I understand that the game wants to make the choice of levelling up impactful (I.E. you can only be that powerful at the cost of others) if you, like me, didn’t enjoy the large amount of dialogue that the game throws at you then it’ll be hard to find a lot of enjoyment in Vampyr. Indeed this is one of the few games where I felt like the heavy amount of dialogue was getting in the way of the larger game; bogging me down in meaningless interactions that didn’t add much to the overall story.
This is probably my biggest gripe with the game as it takes quite a long time to churn through all the dialogue options with all the characters. Indeed past the first 2 chapters I simply stopped bothering with the majority of it. Sure, I probably missed out on some quests and some other bits and pieces, but honestly finding all the clues to unlock all the dialogue options just didn’t feel worth it. I mean it’s great that they endeavoured to give nearly everyone in the game a backstory but most of them only exist within the confines of the area you find them in. Only the campaign missions seem to build the story in any meaningful way, the others are just there as flavour text. I’m sure there’s probably 40 or 50 hours worth of game in here but honestly I would’ve preferred a solid 15 with better mechanics, tighter story and maybe a little more time spent on the visuals.
The other parts of Vampyr are similar to the combat in their implementations: rudimentary implementations of otherwise good ideas. None of the choices in the talent tree will impact the game in a major way (I.E. no abilities will unlock otherwise hidden parts of the map, say) but there are some cool things in there. I ended up with a simple build relying on the blood spear and the shadow ultimate as Vampyr tended to only throw a few enemies at me at any one time. My weapons were focused similarly, using a hacksaw for my main and alternating between the blood knife and stun focused gun for my offhand. Given the steep cost for levelling abilities there wasn’t much room for experimentation unfortunately. That is unless you decided to go on a mass murdering spree.
Which I did once, after I was able to clean out the hospital when my mesmerise level was high enough. That bumped me up around 12 levels in one sitting and was enough to ensure that I didn’t need to do it again for the rest of the game. However whilst there weren’t any direct consequences in the game doing so meant I was locked out of all but one of the endings, something I wasn’t aware would happen until right at the end of the game. Now the game does mention that it’s up to you to choose how difficult the game will be, indicating that feeding on London’s residents will lead to very bad things, however in the grand scheme of things I didn’t chow down on that many people. To be sure I devastated the hospital but the rest of London was untouched and that gave me the absolute worst ending in the game (although, to be honest, I liked it). Reading more into it you have to be very strict with your feedings to get the other 2 endings and the “best” one can only be obtained without feeding at all. The latter is especially devious given the game essentially guides you into feeding on the first one, making it look like a tutorial rather than an actual choice.
Credits where credit is due though the amount of effort put into crafting the story elements is quite phenomenal. Should you want to dive deep into this world and its inhabitants you can, even going as far to have some modicum of influence over it should you want. Although it’s not always exactly clear what your decision will lead to and often you won’t find out that until it’s far too late to undo it. I didn’t mind that so much as it meant that some of the throwaway choices I made did come back to bite me in some of the most interesting ways. It’s reminiscent of older BioWare games in that way with dialogue being the main mechanic by which the game revealed itself to you.
Unfortunately I found it quite hard to engage with the overall story for a number of reasons. The greater story moves far too slow at the beginning with the major questions getting basically no air time until the final couple hours. I couldn’t really empathise with the main character at all and the fact that all the NPCs would spew forth their life story at the drop of the hat just didn’t feel that believable. Towards the end I simply ignored all the ancillary dialogue and quests and, honestly, the game started to feel a lot better. Perhaps my completionist tendencies worked against me in this instance, my want to min max everything I could being at odds with my actual enjoyment of this game. I will never know but if you, dear reader, find yourself in much the same position hopefully that may help you.
Vampyr is an aspirational title from Dontnod and, unfortunately, it didn’t pay of well for this time around. Released some years ago it may have found itself among good company but in today’s market it feels two steps behind the norm. The graphics, combat and other mechanics are all simplistic in their implementation with the vast amount of effort spent on the dialogue and interaction with NPCs. It strives to be among games from the RPG greats but fails to do so, maybe not as badly as others have, but still fails nonetheless. I honestly had zero expectations going into Vampyr (only finding out it was made by Dontnod after I bought it) and have come away from it wanting more. I applaud Dontnod for experimenting as much as they have but, perhaps, in future they could limit their vision a little bit in order to make a stronger overall game.
Vampyr is available on PC, PlayStation 4 and Xbox One right now for $49.99. Game was played on the PC with 17 hours of total play time and 71% of the achievements unlocked.
After my Curse of Osiris review last year I didn’t put many more hours into Destiny 2, opting instead for the much greener pastures of the holiday releases. Usually I’d stick around for much longer, at least running the new raid enough so that it became second nature. However, after hitting max light and running it maybe twice, I found little desire to go back. Coming into the Warmind DLC I wondered, nay hoped, that this would be the one that’d reignite my interest in the game. Unfortunately, whilst there’s to spend your time in the game now, none of it was as compelling as previous expansions to the original Destiny was. So here we are barely 4 weeks after the release and I think I’m probably done with this expansion.
I haven’t run the raid nor am I at max light, and that should say something.
Guardians aren’t supposed to dig into their pasts, at least that’s the unspoken rule among those who were brought back to life by the traveler’s light. Ana Bray has spent much of her new life trying to rediscover who she was and her quest has brought her back Clovis Bray, the place of Golden Age miracles. Her journey has unfortunately awoken some ancient hive evil that frozen alongside the pinnacle of Clovis Bray’s achievements: the warmind Rasputin. So it is up to you once again guardian to safeguard our solar system against the dangers that lurk on Mars. This time however the danger might be one that we created ourselves.
Right from the outset Warmind promises a great deal more grind than any other Destiny expansion I’ve played before. The level cap has been raised to 30 and the maximum light level is a staggering 385 which, for those who previously maxed it out, gives you no less than 50 light levels to push through. Of course should you do all available activities there’s about 21 chances to get powerful engrams but only the most dedicated players will be able to get that all done. Like the previous expansion there’s a new world to explore (Mars) along with a campaign, a new raid layer and a smattering of other smaller things to keep you interested. For a certain subset of players I’m sure this is exactly the kind of content they’re looking for but I think the majority of players were seeking something a little more substantial given the feedback that Curse of Osiris received.
Right now the game feels like it’s suffering from an identity disorder. On the one hand it’s great that a lot of the older content is still relevant, with the raids staying at their old light levels but still dropping powerful engrams. This means that players who missed out on it originally now have a chance to play it as there’s people still running it. On the other hand content which has been upgraded, like the strikes, hasn’t had its rewards changed to match making them a laborious task that no one really wants to run. That’s changed a little bit recently, but having to run 4 strikes to get 1 piece of 365 loot isn’t a great prospect. So this means we’re basically back to square 1 in terms of progression, especially for solo players, hoping that the meagre weekly milestones and maybe a raid or two will give them the light boosts they need. I’ve done all the milestones every week and 2 raids since the release and I’m at light level 360. Sure that’s enough to do everything but that means 385 is probably a month or two of grind away, not something I’m particularly looking forward to.
Comparatively the DLCs for Destiny 2 feel a lot less…meatier than their counterparts did in the original. I can distinctly remember each of the ones I played having a hook that kept me coming back. The Dark Below had a raid that could be partly cheesed if you knew what you were doing, The Taken King brought with it the idea that a gun only attainable in the raid made the raid a whole bunch easier, and Rise of Iron extended on that idea beautifully. Curse of Osiris then just managed to drop at the right time, extending my original enjoyment of Destiny 2 when it would have otherwise withered away. Now, having been away from the game for 6 months and coming back to it for this DLC, I can understand better the greater Destiny community’s gripes they had about the previous expansion. It’s just not enough.
The campaign experience is as good as it ever was though, and the fact that it furthered the lore behind Rasputin extensively is something I thoroughly enjoyed. The whole journey will last you maybe 2 hours, at the end of which you’ll be max level and likely around 340 light if you play your cards right. Typically this is where you’d transition into strikes to gear out until you hit the soft cap but, as mentioned before, that’s not something you’re really going to be able to do. It’s a shame really as I saw the beginnings of some of the mechanics that were present in Rise of Iron that led to Outbreak Prime and thought I’d be in for another great gun hunt. As it turns out that’s not so much the case which is a damned shame. I was really looking forward to some kind of Rasputin powered AI super gun.
So where does this all leave us? For me it’s likely the end of the road for this expansion as I don’t feel like there’s much more for me to get out of it. For Destiny there’s likely one last chance to right the ship before a good chunk of its players give up on it forever: the “comet” DLC coming in September this year. If the leaks are to believed it could be Destiny 2’s Taken King equivalent, revamping the game completely with a ton more content than any of the previous DLCs. If Bungie manages to pull that one off it might very well be the shot in the arm the IP needs to placate its playerbase. If it goes the same way as these past 2 expansions I’m not sure there’s much they could do to rebuild their goodwill with the community. Stranger things have happened though.
Destiny 2: Warmind is an unfortunate second stumble for a game that was already having trouble staying upright. Whilst the core of the game that makes Destiny great is still there, accompanied by another fantastic (albeit short) campaign, there’s just not enough there to keep a player like me coming back for months at a time. This is the first expansion where I haven’t bothered with the new raid nor do I have any desire to max out my light level before I leave it to rest. Given that it may only be 3 or so months until Comet hits I feel like my time is likely better spent in other games rather than burning myself out on the Destiny grind. It’s a shame as I really used to enjoy that grind and I can only hope that Comet reignites that fire that once burned so brightly.
Destiny: Warmind is available on PC, Xbox One and PlayStation 4 right now for $19.99. Total time spent in Destiny 2 is now at 86 hours with approximately 12 of those spent playing the Warmind expansion.
“Surely there’s no more games I helped Kickstart” I keep telling myself every time one pops up (7 more to go, it turns out). For the most part these are happy surprises, games that for one reason or another sold me enough on a concept for me to splash some cash to get them made. For the most part they’ve lived up to my expectations, even if my tastes as a gamer changed in the years since I backed them. I had yet to feel the sting of bitter disappointment in one of my Kickstarted children but Confederate Express, a game for some unknown reason I backed almost 5 years ago, gets the unenviable award of being the first to fall horrendously short of its mark. Whatever this game is it’s not the one I thought I was backing, nor is it one you should be buying.
Confederate Express describes itself today as MOBA/RTS style game where “you assume a role of a brutal exterminator trying to deliver a mysterious package”. Whilst this is similar to the Kickstarter pitch in spirit the vision is significantly reduced, now pitting you against 50 fixed levels rather than the randomised Roguelike experience that was envisioned. Indeed anything beyond the most basic of elements appears to have been thrown out, leaving us with a rudimentary experience that can’t have seen a lot of development effort over the past 4 or so years. It’s honestly quite strange as looking back over the Kickstarter page it looks like it was much further along in development than what the end product suggests.
There’s obviously been a lot of effort put into the pixel art assets that were created for Confederate Express. Each individual item is definitely of a high standard and the tile based layout system does indicate that procedural generation was on the table at one point. However these assets are just sort of lumped together in a hodge podge manner, thrown together in a hasty rush to get 50 levels out so they could ship the game and call it a day. Honestly it wouldn’t surprise me to see this appear on an asset resale site as “dystopian future pixel art set” in the not too distant future. Suffice to say that the art is probably the only good thing about Confederate Express as everything else is downhill from there.
Whilst Confederate Express bills itself as a “MOBA/RTS” style game it’s much closer to a twin stick shooter in reality. You control one character and you have to dodge projectiles and enemies whilst shooting back at them. Each room is filled with a bunch of enemies which you’ll have to clear out before you can proceed to the next level. Over time additional enemy types are added in and in increasing numbers, making the levels progressively harder as you go on. All of the enemies drop gold which you can use to purchase upgrades at the shops which appear every so often. There’s nothing else beyond that though so once you’ve gotten past the first few levels you’ve basically seen everything the game has to offer in terms of raw mechanics. Sure the different enemies present their own challenge, but it’s not like the core of the game evolves much.
The combat is very basic, kind of like asteroids but all your enemies are slow moving zombies. The controls aren’t exactly intuitive either with one mouse button being attack move and the other regular move. There’s also no way to have your character stand still and shoot in a direction unless there’s an enemy there, making a lot of the levels far more frustrating than they need to be. The upgrades you’ll get along the way do change things up a bit but many of them are far less impactful than they’d lead you to believe. For instance the passive upgrades are near worthless as extended range and faster walking speed don’t seem to make one lick of difference. Indeed it feels as if the other enemies actually get the same upgrade, rendering your spent cash worthless.
After completing it I was left wondering what the hell I was thinking when I backed it. Taking a look back at the Kickstarter campaign it’s clear that the game had much grander ambitions. Before each mission you’d have a world randomly generated around you and would receive a briefing of the mission at hand. You’d have your choice of different character classes, crew members and a deep weapon upgrade system. Indeed it felt like it had aspirations of being closer to something like XCOM, complete with a home base and a large crew of people you’d be using on your delivery missions. None of those elements are present in the “finished’ product. Instead you have a fixed 50 level experience that doesn’t even attempt to emulate even 10% of that aspirational goal. Not that anyone would think you could achieve something like that for $50K, anyway.
This is, of course, the risk we run as Kickstarter backers. Honestly I’m surprised it has taken this long for me to run into something this bad. Sure I’ve been left waiting for many years at a time to receive some of my pledges but by and large they’ve hit their mark (even if I didn’t enjoy them). Confederate Express on the other hand fails to meet even the most generous interpretation of the vision they put forward, instead attempting to phone it in many years after they took funding from over 2,000 backers. Am I disappointed? Not really, whatever interest I had in the title vanished in the many years between my pledge and the time I played it. Instead I’m left wondering what happened to the developers and why they decided to release such a lacklustre product into the market.
Confederate Express fails to deliver on the goals it set by a long margin, so much so many Kickstarter backers will likely be wondering why the hell they backed it in the first place. The game as it stands today (and likely forever more if the updates are anything to go by) is a pale shadow of what was promised, lacking any of the features that likely attracted a pledge in the first place. There’s definitely been a lot of love poured into the assets used but even those are presented as a jumbled mess. Honestly even though the game is short I couldn’t in good conscience recommend that anyone buy it, even if you manage to catch it on mega sale. Such is the risk that Kickstarter represents and this time, unfortunately, it has not paid off.
Confederate Express is available on PC right now for $9.99. Total play time was 2 hours with 31% of the achievements unlocked. Game was backed at the $10 level on Kickstarter.
There’s a fairly predictable cycle in games when it comes to new genres. Typically there’ll be a bunch of relatively unknown titles that will experiment with various mechanics, setting the groundwork for the games that follow. Then comes the breakout hit, now usually an Early Access title, which gets heralded as the next big thing. Then come the clones, dozens upon dozens of clones, all of which attempt to emulate the breakout’s success. Most of these will fall by the wayside although a few will go on to develop the idea further, finding a dedicated niche for their particular brand of the new genre. Warhammer: The End Times – Vermintide did exactly that, taking the essence of the Left 4 Dead formula and reworking it into a truly unique experience. I wasn’t aware a sequel was in the works so when I saw Vermintide II, had been released I was keen to see what direction Fatshark had decided to take this IP in. By and large it’s the same game but far more of it; much of it streamlined for a much more enjoyable experience overall.
Following the events of the first game, Grey Seer Rasknitt has successfully captured the five Heroes of Ubersreik. Without the interference of the heroes, the city of Ubersreik fell to the forces of Clan Fester. Rasknitt has since ordered the construction of a massive portal known as the Skittergate, which will allow the Chaos Champion Bödvarr Ribspreader and his Rotblood army easy access to the border-city of Helmgart. However, the Skittergate continuously fails to properly operate, disallowing Bödvarr to summon the entirety of his forces. When the Skittergate disastrously fails to activate again, the resulting destruction frees one of the heroes, Markus Kruber, from captivity. He fights his way through the skaven lair and reunites with the rest of the heroes: Viktor Saltzpyre, Bardin Goreksson, Sienna Fuegonasus and Kerllian. They then band together once again to push back against the Skaven and the Rotbloods.
Vermintide II makes use of the same Autodesk Stingray engine that its predecessor did, albeit with a bunch of modern improvements such as: DirectX 12 support, volumetric lighting and fog, texture streaming and an enhanced fluid system. The levels are noticeably less barren than its predecessor too, brimming with details at nearly every corner. There’s also a lot more variety in the levels than there was previously with not every level taking place in a run down medieval town. There are a few areas which could do with some attention though, like the ones bathed in fog which seem to torpedo your performance no matter how beefy your system is. Whether or not Fatshark will continue developing on this engine though is anyone’s guess as Autodesk has discontinued development on the engine as of January this year. Suffice to say I wouldn’t expect Vermintide III in the next 2 years or so if an engine change is on the books.
The core game mechanics of Vermintide II haven’t changed much from its predecessor, retaining the same game play that made the original fun. It’s still a melee first game, one with 5 different characters and a varying array of loot to change them up a bit, however there’s also now 3 “careers” per character. Each of them changes the passive and active ability of the character whilst retaining your level, giving you an opportunity to try different playstyles without having to change classes and start levelling all over again. The loot and crafting system has been streamlined, making progression a little more clear than it previously was. The mission structure has also been streamlined, making it a bit easier to follow the campaign’s story (if that’s of interest). Overall the Vermintide II experience is very much the same as its predecessor, just refined and polished with the lessons that Fatshark has learnt over the past couple years.
Combat still feels the same with you facing down untold legions of enemies in face-to-face melee combat. With the introduction of the Chaos into the mix there’s a wider variety of enemies although, truth be told, most of them are just different skins on the same kinds of enemies. The same depth of combat remains with the intricacies of dodging, blocking and using the right weapon type all making a big difference in how challenging a particular level is for you. This time around I decided to play as the elf which, whilst incredibly fun, probably wasn’t the best choice given my penchant to get far too personal with large groups of enemies. This was largely negated by her passive (allowing me to heal up to half health) though so I think it worked out in the end. I have heard (and seen) that the dwarf is currently stupidly overpowered but haven’t had a chance to give it a go myself.
The loot system has been streamlined although the same modifier mechanics remain. Hidden throughout each of the levels are 3 tomes (which replace your healing potion), 2 grimoires (which replace your potion slot and reduce your party’s health) and potentially some loot dies. Each of these will increase the quality of the loot box you’ll get at the end of the level, should you complete it. Each of those boxes contains 3 items with the higher grade boxes having a higher chance of better gear. All of the items power is directly related to your current power so, at least in the early stages, its best to just equip whatever the highest power items are that you have. The quality of the items just increases the number of additional buffs and traits they have with exotics, the highest tier, having unique abilities. Just like its predecessor this allows for an insane amount of customisation for your character, granting you the ability to hone your playstyle to its ultimate perfection.
Crafting is best used to replace that one item you’ve had that’s lagging behind all others. Much like the loot boxes crafted items will be rolled at your current power so it’s quite unlikely that you’ll be able to get a big boost from crafting something which is already close to your current max. Instead if say all your gear is at 100 but one is at 90 crafitng a replacement for that slot will likely yield the biggest gains. Similarly, whilst you can upgrade the quality of the items, it doesn’t change their power. This is somewhat unfortunate if you have a build centered on one item and its power starts to lag but such is the loot treadmill in this game. Crafting up to exotic level is possible however, just rather expensive, so you’ll likely be able to re-craft a certain item if you need to bump up its power level. There’s also apparently “veteran” level items which are red and max stat rolled versions of their exotic counterparts but I’ve yet to see one since I’m still a scrub playing around in Recruit difficulty.
The additional polish means there’s fewer issues in Vermintide II than there was in its predecessor but it’s far from bug free. My poor dwarf friend in the screenshot above got stuck in a piece of the environment which, whilst hilarious, left him stranded there. Thankfully we had a boss spawn shortly afterwards which knocked him out but without that he would have had to leave the game completely. Some levels still have the rather irritating bug of enemies spawning behind walls or being able to clip through them, so sometimes you can end up with a packmaster pulling one of your colleagues away to a place where you can’t get to them. We even had a globedier spawn behind a wall at one point, allowing him to lob gas grenades at us unhindered whilst we tried to deal with a bile troll at the same time. If your group is skilled enough issues like this won’t stop you from completing a level but given that this doesn’t feel like intentional behaviour it’s more of a chore than a challenge.
There is a story here, one that I’m sure has some detail to it, but it seems to fade into the background. The banter between your characters is as good as ever, ensuring that I quickly grew to despise the elf I was playing because she’s just an insufferable ass. But apart from that I’d be hard pressed to tell you anything about the game’s overall story beyond the fact that the skaven teamed up with the chaos in order to sack Ubersik and we’re trying to stop them. I’ve also not managed to complete a single chapter either, my attempts at the final boss in Act 1 always meeting with disaster either through players leaving or the not-so-great bots providing little help in those fights. That all being said I have played this game for far longer than I did its predecessor so maybe, eventually, I’ll figure out what’s going on in the story.
Warhammer: Vermintide II is a solid improvement over its predecessor, retaining the core of what made the game fun and cutting away much of the extraneous cruft. The improved game engine ensures that the new, highly detailed environments are able to shine through even if a few of them could do with a bit more optimisation. Combat, levelling and crafting have all been streamlined for the better, making the overall playing experience that much better. Some of the same issues that plagued its predecessor still remain however but aren’t beyond fixing through a few good patches. Overall, for a gaming I wasn’t expecting a sequel to so soon, I’m impressed by what Warhammer: Vermintide II brings to the table and I’m sure I’ll be spending a few more good hours in it over the coming months.
Warhammer: Vermintide II is available on PC, PlayStation 4 and Xbox One right now for $29.99. Game was played on the PC with a total of 12 hours game time and 27% of the achievements unlocked.
Kickstarter opened the gates to underserved gaming niches, allowing us gamers to vote directly with our wallets and see incredible games come to fruition. Not every game was a hit of course and even looking at my backing history there’s several titles in there that, had I known what they’d become, I would have put my cash somewhere else. Kingdom Come: Deliverance falls somewhere in the middle for me; on the one hand I can remember wanting to back this game as even at the concept stage it looked fantastic. However 4 years after I pledged to the Kickstarter campaign (at the Duke level) much of that hype had disappeared, lost in the some 100+ games I played in the interim. That’s possibly what has led to my lukewarm impressions of the game, even though I can definitely appreciate the amount of effort that Warhorse Studios put into it.
Kingdom Come: Deliverance starts off in the silver mining town of Skalitz with young Henry, a simple peasant, living under his mother and blacksmith father, Martin. After finishing some errands for his father, Henry joins him in completing a commissioned sword for King Wenceslaus’ hetman, Sir Radzig Kobyla. While Henry wishes to explore and see life outside of the village, Martin insists that a quieter life is much safer. Immediately after an army of Cuman and Czech soldiers under Sigismund of Luxembourg’s control attack and raid Skalitz, killing all who do not flee. Henry holds on to the sword and runs but later comes back for his mother and father, and witnesses their murder under Sigismund’s crony, Sir Markvart von Aulitz. Henry flees to the safety of the castle, but is too late, and is forced to ride out to the nearest castle of Talmberg.
Depending on what kind of rig you’re running it might not be immediately obvious that Kingdom Come is running on CryEngine. The reason is that, at least on the PC, the game wasn’t exactly optimised at launch. Now my PC is no slouch although it is just over 3 years old at this point but even it struggled to get things running properly with its default configuration (as the below screenshot will attest). Searching around the forums revealed that the game really, really struggles if it’s running on a traditional hard drive, even if that hard drive is say a RAID 10 array capable of 400MB/s throughput (like mine). Using a custom user.cfg file fixed most of the issues but moving it onto my main SSD fixed the rest. Even with all those fixed Kingdom Come is a game that, strangely, looks a lot better up close than it does from afar. Usually most games are the opposite. These issues run deeper than just the graphics though, something I’ll dive into a bit more later.
Kingdom Come: Deliverance is a true to its roots RPG, taking its inspiration more from the pen and paper variety rather than its more action oriented brethren. There’s a bevy of different stats for you to build up, each of which will require you to do certain things (like say, running to increase vitality) to level them up. Similarly there’s a lot of skills, many of which will require you to be trained in them first before you can start improving them. There’s the usual array of loot along with the requisite inventory management to go along with it. Combat also takes the form of more “traditional” medieval fights which typically means that taking on more than 1 or 2 enemies at a time is a recipe for disaster. There’s also a bunch of status mechanics like hunger, sleep and injuries, all of which will need to be addressed if you’re to stay in top fighting condition. I’m sure I’ve missed quite a few features in here too as the game is quite massive in scope and I’ve only seen a small fraction of it (for reasons I shall explain). All of this is presented in a period correct medieval setting, meaning there’s no magical powers or fantastical elements.
FPS games that deal in melee combat have always been somewhat awkward and Kingdom Come is no exception to this. The mechanics of it are pretty simple, you have an amount of stamina (tied to your current health, which is an interesting mechanic) which you use to throw punches, swing your sword and dodge/counter/block enemy attacks. With a sword or other weapon equipped you choose the direction of your strike which has a direct impact on your enemy’s ability to block it. What this results in is a game of cat and mouse with the NPCs, trying to figure out which angle to hit them from. I do get that they were going for a more realistic feel to what medieval combat would be like but it just wasn’t particularly enjoyable.
One feature that’s notably missing, and I think one that sucked a lot of the fun out of it for me, was an unlimited, on demand save. Whilst that’s changed in a recent patch (now with a save and exit function) it did mean that the game was a lot more laborious than it would otherwise be. There were a few times where I lost quite a bit of progress, whether due to my own fault or the numerous technical glitches, because the save point was quite a while back. This also meant that one of my more favourite things, quicksaving and then being a total jerk for no good reason, was stripped away. Say what you will about save scumming and what have you but things like that really do help to keep me engaged in games like this. With such a restrictive save system I no longer feel like experimenting or just having fun for 10 minutes before I break for the night. The save and exit feature somewhat addresses that but, honestly, without a quick save/load it’s really only a halfway solution.
This isn’t even mentioning the larger game design issues which made what was supposed to be the games opening hours more frustrating than they could be. You see an early mission requires you to pick a lock in order to get an item. No worries, you’re given some lock picks and a practice lock to work with to get going. So I spent a few minutes honing my skill until, unfortunately, I broke my lockpick. Alright, I thought, I’ll go into town and buy a new one. Not a single vendor in the town I was in had any and, looking up places to buy them showed that I’d probably have to spend another 30 minutes travelling (I didn’t have a horse) to get more. Great, that mission is now dead to me until I figure out a way around it. Sure it’s not like I couldn’t do other missions but these small issues are numerous and they all make Kingdom Come less enjoyable than it would otherwise be.
This isn’t to mention the numerous issues it has with performance, optimisation and game breaking glitches. In addition to the texture pop in issues the game will lag horrendously in cut scenes if you have G-Sync enabled, yet again requiring a custom config to fix. Lock picking, for some unknown reason, enables mouse acceleration meaning that you’ll need a custom mouse profile or something similar to counteract the effects (making that particular mini game incredibly frustrating). Timed events for NPCs will sometimes simply not work, like when I was told to go to the training ground to meet the captain. I waited next to it for 2 days and he never showed up, requiring me to restart the game to my last checkpoint and try again until it worked. I’m not the only one to experience weird behaviour like this either as many of the Let’s Play videos on YouTube will attest. I know that, as gamers, we’ve come to expect this kind of jank from large RPGs but that doesn’t excuse it. For some I can imagine these things are actually a source of fun but, for me, they just soured me even further on the whole experience.
Which is a right shame as the story seemed quite good. Sure it was relatively predictable how things were going to start but it was truly refreshing to play a game from the perspective of a nobody from nowhere with no prophecy or powers behind him. Careful attention was paid to fleshing out the world with bits of story, interesting conversation between NPCs and a range of dialogue options that were all dependant on how you built your character. Indeed I feel that I should probably wait another 6 months or so until the major issues have been patched out and the mods start rolling in, allowing me to mold the core game of Kingdom Come into something I’d enjoy. That way I could experience the story without having to worry about all the other elements I’m not so keen on.
To be sure Kingdom Come: Deliverance is a great game for a certain subset of gamers: those who’ve been lusting after a true to form RPG in a medieval setting. 4 years ago I thought I was one of them, my pledge on Kickstarter a testament to that, but since then it seems things have changed. I’ve become less tolerant of the jank that these large scale RPGs seem to bring with them, no longer wanting to have to deal with troubleshooting performance issues just so I can play the damn thing. I do recognise the amount of effort that goes into producing something like this though as there are many aspects of this game that I can appreciate for their objective quality. The attention to detail in the world and the story are two such elements, ones that I might be able to enjoy at a later date. If this is the first you’re hearing of Kingdom Come: Deliverance then the game might not be for you but for those Kickstarter faithful I’m sure they’ve got their moneys worth.
Kingdom Come: Deliverance is available on PC, PlayStation 4 and Xbox One right now for $59.99. Game was played on the PC with a total of 5 hours play time and 8% of the achievements unlocked.
It was only last month that I reviewed Destiny 2 and so you’d be forgiven for thinking that Bungie was quick to pull the trigger on releasing the first expansion, Curse of Osiris. For us PC only players it is indeed quite a short time, I myself only reaching light level 305 the week prior. However for console players (who I assume make up the majority) there’s been a dearth of content for the past month and many have cried out in anguish over the lack of things to do. For a multi-title gamer like myself that’s a non-issue, there’s always something else to play, but for those who’d like to make Destiny their single game of choice it has become a constant source of angst. This expansion then would hopefully satiate the crowd long enough so that Bungie could implement more wide reaching changes to incentivise players to come back again and again.
Unfortunately for those dedicated players I don’t think Curse of Osiris accomplishes that but, for people like me, it’s a well timed injection of content that will likely keep me around for just that little bit longer.
Curse of Osiris takes you to Mercury, the forward base of the Vex and home to the Cult of Osiris, a group of people who’ve dedicated themselves to an incredibly powerful warlock that was exiled by the Vanguard. He hasn’t been heard from in some time however some of Ikora’s agents relay some information that indicate he may still be alive. This then takes you to Mercury, a world that was once transformed by the Traveller into a lush garden world which was then converted into a massive machine by the Vex. That machine is actually a massive simulation engine called the Infinite Forest, a place where the Vex attempt to gather data in order to formulate strategies to accomplish their goals. Rumour has it that Osiris is alive in there, thwarting all of the Vex’s attempts to simulate their way to victory.
Graphically there’s been no changes but the new patrol area of Mercury and the raid lairs retain Bungie’s signature level design, renowned for its high level of detail and quality. Personally I’ve always been a fan of the Vex artistic direction, the Cabal and Fallen feeling rather boring and routine by comparison. So it follows that this is probably my favourite expansion so far from a visual perspective. The new patrol area isn’t particularly big nor very diverse so it does wear on you quickly. However the other environments retain the typical visual diversity I’ve come to expect from the Destiny franchise so it’s not all bad thankfully.
In terms of new content Curse of Osiris brings with it a new campaign that will run for about 2 to 3 hours, a new “raid lair” which amounts to a couple jumping puzzles and a single boss fight, and a few more progression related mechanics to make a few activities relevant. In terms of how this compares to previous expansions its pretty much as expected, the only one that seemed to drastically deviate from that being The Taken King. For this writer it came at almost the perfect time as I had cleared the raid multiple times (to the point of being able to do it in an hour with the right group), hit 305 and was starting to question whether or not I’d continue playing. So for a casual-core player like myself Curse of Osiris fit in perfectly however, for others, it’s likely too little too late.
Destiny 2 brought with it a lot of streamlining of the original’s mechanics, quite often to the benefit of both players and Bungie. However some of the changes took away some of the reasons that kept old school players coming back. Indeed many of the recent changes that have been introduced were things that were already present in the original, making it feel like we’re simply restarting the development process that was already completed. So for those who made a home in Destiny as their game of choice I can definitely understand where their concerns come from as many of the things that kept them back before simply aren’t there anymore. However for someone like myself these changes have been fantastic, allowing me to do so much more in much less time.
This is, of course, the long running debate of any MMO game: hardcores vs casuals. The hardcore players want mechanics that reward the long slog, things that take time to achieve and put them on a pedestal above those who don’t spend as much time in the game as they do. Casuals on the other hand want to experience everything the game has to offer in a much reduced timeframe. This war is, typically, won by the casuals as they usually make up the majority of a game’s player base. As I’ve grown older and I find myself with less and less time to put into games like this my consumption of these titles has shifted and those that provide mechanics to cater to my more casual-like habits get rewarded with my hard earned dollars. That’s the only reason I still play World of Warcraft from time to time as I know that I can see all the game has to offer without signing my life away. Of course I’m not every player, but I think I’m closer to the average than most hardcore players would like to think.
I mention all of this because it seems that the Destiny community at the moment is at something of a crossroads. Previous expansions typically had a decent honeymoon period where everyone would sing its praises for about 2 weeks. Then slowly the issues would start to emerge and maybe a month or so later there’d be the usual bitching about there being no content or nothing for them to do. Right now we’re just over 3 months into Destiny 2’s live and with the first expansion under its belt we’re already seeing those complaints and Bungie has even cancelled livestreams in order to address them. Regardless of the outcome of the changes the decisions Bungie makes today will set the direction of what the game is to become over the next few years; whether it follows World of Warcraft or becomes a hardcore nice like EVE: Online.
Despite all this however Destiny 2: Curse of Osiris is a fantastic, if a little short, expansion to the Destiny 2 universe. For players like myself it dropped a just the right time, hooking me right back in when I was getting ready to jump out. Fleshing out the world’s backstory through a solid campaign has always been one of my favourite parts of Destiny and this expansion delivers that well. The new progression mechanics are interesting if a little grindy for my tastes. The new raid layer brings with it some of the more interesting and unique encounters we’ve seen to date and, hopefully, that trend continues with further expansions. Overall whilst it might not be worth $20 just on its own as part of the collector’s edition or as a season pass Curse of Osiris certainly provides some good content at a reasonable price point.
Destiny 2: Curse of Osiris is available right now on PC, PlayStation 4 and Xbox one right now for $19.99. Total time spent in Destiny 2 now totals 59 hours, approximately 8 hours spent in Curse of Osiris.
Coming back to Destiny has always felt like slipping back into an old pair of shoes. Every time I’d go through the same process: be overwhelmed with the changes, find my footings through the campaign and then grind my way to the requisite light level before running the raid until I got bored. I must admit that whilst I did come around to playing a FPS on a console part of me always wanted it to come to PC as I just knew it would be a killer experience. With Destiny 2 I got my wish and whilst I’ve had to spend the last month or so carefully avoiding everything to do with its release on consoles I’m glad to say it has been well worth the wait.
Earth has come under attack by the Red Legion, a band of Cabal warriors who have never known defeat. Led by their Dominus Ghaul they caged the traveller and robbed all guardians of their light. You are left powerless, the gifts that the light granted to you seemingly gone forever. Soon after you are cast back down to Earth however you are flooded with visions that draw you to a shard of the Traveller that it flung away from itself during the collapse. The area surrounding it though has been heavily corrupted and no one who has entered the region has ever returned. This is where your quest begins to restore the light and defeat the unbeatable Red Legion.
On first look the graphics of Destiny 2 felt like they’d gone backwards from what I remembered of the original Destiny and its expansions. However after tweaking a few settings and spending a good deal of time in-game it became obvious that there have been a vast number of improvements made both to the underlying engine and the artwork the game uses. Of course I’m no longer introducing artefacts by running the game through a capture card although I had largely eliminated those when I moved to an Elgato HD60 Pro a year or so ago. The big bonus is the fact that I can now run the game at a buttery smooth 144FPS, something which I can still manage on my near 3 year old rig. Interestingly I know this game is pushing the limits of my system not because of stuttering but because my PC gets noticeably warm (since I usually rest my feet on the sides of it) during play. There have been some issues of course although the last couple patches have fixed most of the more glaring ones that popped up as part of the PC release.
By and large Destiny 2 remains faithful to the original in how it plays however there’s a lot of changes made for the sake of balance and quality of life (both for the developers and the players). The weapon classes have been reworked with primaries now being locked to kinetic damage, secondaries (now “energy”) all have an element type but also share the same weapon classes as primaries. Lastly some weapons (shotguns, fusion rifles and sniper rifles) have been moved to the heavy (now “power”) slot. Classes are mostly the same with a few tweaked and some replaced outright. You’ll still do the usual level thing until you hit the max at 20 at which time you’ll begin the same kind of light grind that we’ve been familiar with for the past couple expansions. Progression is now lightening fast up to a point after which you’ll be relying on weekly milestones, exotics and rewards from being in a clan to make any meaningful progress. At its core however it’s still very much the same game as it has been for almost 3 years and that is not a bad thing.
Whilst combat hasn’t changed much it is made that much better by being on PC. Of course I’m extremely, unabashedly biased in this regard but the fact that it was a great shooter on console was always going to mean it’d be a great one on PC. It did take me a fair while to get over my controller muscle memory, reaching for triggers that no longer exist, but it wasn’t long before I felt just as home on the PC as I ever did on console. The changes to the weapon system mean that your choice of heavy is much more meaningful than it used to be although, if I’m honest, the weapons that have moved into that slot now see much less use because they’re just not as good as the alternatives. Perhaps that will change as I find myself more gear but since I’m already at 281 light I don’t think that will change much. Unfortunately some of the lag issues are still present due to Destiny’s “complicated” P2P network architecture but they’re at least not as bad as they were at the original’s launch.
Levelling up is as much of a breeze as it ever was, happening organically as you progress through the campaign’s main missions. There were only a couple times that I had to drop out of it in order to get a level or two before being able to tackle the next one. This, coupled with not needing to go back to orbit after every single mission, means the pacing of Destiny 2’s campaign feels a lot more consistent with a lot less down time. Whilst the time to max out your level is about the same overall (8 hours or so) it does feel like a lot less thanks to the streamlining. They also do a pretty good job of re-introducing everything which is great for new players although it will be somewhat confusing to long time players (doesn’t my ghost know what the taken are?). Whilst the story is probably about on par with the original its overall execution does feel a lot stronger.
The gear grind is mostly the same as it was in previous expansions however now there’s a much heavier focus on the weekly activities. Whilst you can certainly keep levelling up your light without them it’s a much longer process, reliant on exotic drops more than anything else. Gone are the days when gear would randomly roll a light level around your current one, instead (past a certain point) they’ll always roll at a predefined level. The RNG comes from whether or not they include a legendary mod which bumps their light up by 5 levels. Once you have a weapon or piece of armour in a slot with one of those you’ll then be infusing it repeatedly until you reach light level 280. After then you can craft your own legendary mods and so all gear drops basically become on par. The only gear that will drop above your light level comes from the weekly events, the raid and the exotic quests (of which there are 4 I believe). This means you’re likely to hit a plateau each week before being able to progress. Still you should be able to get raid ready in a week and be able to blast past that easily in the second.
The renewed focus on Clans, with all the benefits that come from being in one and actively participating with it, was an interesting choice by Bungie. Certainly it ran against the way I used to play the game, preferring to just do everything on my own and hitting up DestinyLFG whenever I came up short. Joining a clan with an old friend of mine has been a pretty rewarding experience and I do look forward to doing more with them as time goes on. The clan interface could be a little better however, starting one requiring you to go onto Bungie’s website, something which the in-game client doesn’t tell you about. Once you’re past that point however it’s all pretty easy and, to be fair, you’ll likely be doing most of your co-ordination in Discord anyway.
As I mentioned before the story feels like it’s very much on the same level as it has always been, scraping just the top of the greater world’s lore. The grimoire is gone and there’s a bigger focus on putting much of what was in there actually in the game. A lot of the stuff is then hidden in the side missions, something which even I haven’t really gone through yet. That being said for those that I have played they’re a lot more upfront with bits of information, especially if you take the time to follow your ghost to scan things of interest. The great voice acting by the big name cast continues in Destiny 2 and the host of new characters brings a lot of life and levity that was missing previously. That being said it’s still not a game I’d say you’d play just for the story but it’s none the less an enjoyable one.
Destiny 2 takes the legacy that the previous game and its DLCs and rebuilds it for a new era. As a long time player of Destiny on the PlayStation 4 I can say unequivocally that it’s best experienced on PC as the platform gives the game all the things it needs to really shine. Bungie have done a great job of making the game approachable for new players whilst also ensuring it’s still got the things that the fans were looking for in the next instalment in this IP. Whilst I’ve yet to fully experience everything the game has to offer (which is saying something given the fact that I’m 26 hours deep at this point) it feels like the Destiny I’ve come to know and love with a few tweaks here and there to make everyone’s life just a little easier. I look forward to dumping many, many more hours into the game and its successive DLCs.
Destiny 2 is available on PC, PlayStation 4 and XboxOne right now for $89.95. Game was played on the pc with 26 hours of total play time.
The sophomore release in a new game IP is always a telling experience. For the developer it means that the original release had merit, enough to warrant a sequel getting the green light. This provides them with an opportunity to hone in on what made them successful and what else they could do to improve the experience. Most critically though it sets the expectation for the overall direction of the series, showing us gamers what the developers want the game to become should it garner further future releases. For Shadow of War that direction is clear: it’s aiming to be the next big open world RPG to rival those from other veteran developers like Bioware and Bethesda. In many respects they have met this goal, delivering a game that’s several times the size of its predecessor, but that size has come at a cost.
SPOILERS FOR SHADOW OF MORDOR FOLLOW
Shadow of War takes place directly after the events of Shadow of Mordor with Celebrimbor’s memory fully restored he agrees to join with Talion to fight Sauron. Together they journey to Mt. Doom and forge a new ring of power, one that is free from Sauron’s corrupting influence. However shortly after crafting it the spider Shelob takes Celebrimbor hostage and forces Talion to hand over the newly crafted ring. Not all is lost however as she uses the ring to provide visions of the future to Talion who uses them to keep the human denizens of Mordor safe. However the ring, whilst free from Sauron’s control, still draws his eye and it’s only a matter of time before the Nazgul will come to take it away.
Just like its predecessor Shadow of War is a visually stunning game, absolutely overflowing with detail in all aspects. The aesthetic remains true to the original, retaining a muted colour palette with few flashes of colour to break things up. Whilst the opening credits of the game would have you believe it’s developed on a whole engined, dubbed Firebird, it’s still the same LithTech engine under the hood, albeit likely without the cruft required to support previous generation consoles and some improvements that 3 years worth of development typically brings. The visual fidelity didn’t come at a heavy cost either with my near 3 year old rig still able to run it at high FPS at 1080p. I’ll admit that good graphics are a shortcut to my heart and it’s great to see the series continue with the high standard that was set in the original.
On the surface Shadow of War feels familiar with the main game mechanics staying the same. The combat retains the same beat ’em up core however it’s now augmented by a whole slathering of new mechanics which add a lot more diversity to how your typical encounter plays out. The nemesis system is back again and the procedural generation system backing it now includes a whole swath of additional traits, adding a lot of variety to the Orcs that you’ll be facing. The world you’ll be playing in has also grown considerably with 5 different areas to explore, 4 of which contain keeps for you to overthrow to gain control of the region. The loot system has been significantly revamped and, much to the chagrin of everyone, now includes a microtransaction system which allows you to swap real world dollars for in game loot. Finally an online element has been added into the game, allowing you to avenge other player’s deaths and assault their keeps (both in a “friendly” way and in a ranked system). If I had to guess I’d wager that there’s about 3 to 4 times the content in Shadow of War when compared to its predecessor. Depending on how you feel about these kinds of open world games that’s either a great thing or giant red flag.
The increase in overall scale applies to the combat as well with Shadow of War really feeling like an all out war whereas Shadow of Mordor felt a lot more like isolated skirmishes. The reaction based beat ’em up core is still there however you’ll quickly find yourself dealing with many more enemies than you ever did in the original. Unfortunately the difficulty curve is mostly numbers based, throwing ever more grunts and captains at you in order to increase the challenge. The revamped nemesis system does mean that there are some ability combinations that are more deadly than others (like a top level cursed, no chance, assassin class orc that managed to kill me no less than 5 times before I could get rid of him) but once you get to level 30 or so you will have seen every combination the game has to offer. There also seems to be less tools available for dealing with large groups although I’ll admit I can’t exactly remember what made my build in the original so overpowered. Towards the end I did find a gear set that added explosions to the glaive attack, something which was an incredible amount of fun, but there wasn’t much beyond that.
Progression comes regularly both in terms of gear and skills. Unlike most RPGs where your early choices will dictate how the rest of the game unfolds for you Shadow of War’s skill trees are non-exclusive and unbound to your level. Some of the skills require campaign missions to unlock and most of the skill upgrades are level bound but, for all the base skills, there’s nothing stopping you from getting them at whatever level you chose. Considering the numerous different paths you have to get skill points (levelling, certain missions, side quests and collectables) it’s rare that you’ll ever find yourself wanting for a skill or upgrade. Indeed after about halfway through my playthrough I struggled to figure out where to spend my skill points because I already had basically everything I wanted. Of course if you want to unlock every upgrade you’re going to need all those skill points but, honestly, I don’t think there’s much point to doing so. Once you have all the base skills you’re basically as combat ready as you’ll ever be with a few key upgrade points giving you that slight extra edge should you want it.
Loot comes thick and fast but it’s tied to a RNG system that ensures getting the perfect piece for your build and/or playstyle will take some grinding to get. Pretty much every captain you defeat will drop a piece of gear and, should they have the Epic or Legendary title, a piece of gear will drop with that level. There’s some 54 pieces of legendary gear to collect and, unfortunately, they all drop at a random level that’s close to your current one. That means finding that sweet legendary early on is no where near as good finding it 10 hours later and there’s also no way to upgrade them, meaning they’re destined for the trash bin. This is, of course, part and parcel of why the microtransaction system exists, giving you a shortcut from the gear grind should you want to shell out a few bucks. There are in-game ways to earn some currency of course, the weekly challenge giving you enough to score a few chests, but the one you earn the most of can really only get you a few pieces of epic gear. The gem crafting system I pined for in Shadow of Mordor actually made it into Shadow of War and, honestly, if they had extended that to the entire loot system in some way I think it would’ve been fantastic. Instead the only way to make use of loot you don’t use anymore is to recycle it for silver which isn’t as useful as it first seems.
The grand scale of Shadow of War comes from taking the original’s ideas and copying them out about 4 times over. You now have about 5 areas to explore, 4 of which include fortresses for you to capture. So now you’ll spend a good chunk of time hunting down captains, turning them against their warchiefs and taking down fortress defences all so you can then overtake it and claim the region for yourself. The orc captains also seems to be far more aggressive in terms of when they’ll show up with the number of ambushes, blood brother revenges and other random encounters being far more frequent than I ever remember them being in the original. Indeed it got so ludicrous at one point that I had a betrayal, ambush and blood brother revenge all in one fight, pitting me against no less than 4 captains and their associated armies. I’m all for mechanics that enable emergent game play but honestly this was probably a little too much at times.
The fortress and nemesis system now extends online with you being able to take revenge on captains for killing other players and being able to attack other players fortresses with your own army. Both of these reward you with various chests and a spoils of war currency which, you guessed it, can be spent on more loot boxes. Whilst its kind of cool to see another player taking revenge for you there’s really no interaction beyond a notification. The fortress assaults are similar, only showing who was victorious. Personally it would have been nice to see something like a small movie of the player taking out the captain or the assault on your fortress as otherwise it’s just another piece of noise in the already overflowing world that is Shadow of Mordor. Of course if ranking high on a leader board is your thing then there might be a bit more in it for you with the ranked play but honestly I can’t see the attraction.
With a game of this size it’s inevitable that there’s going to be some bugs that slip through the cracks and boy, there are some doozies in Shadow of War. The physics system can get confused at times, contorting your character into all sorts of weird shapes or doing other amazing things like launching you in random directions when it can’t figure out what it should do with you. The free run system is also a little janky, at times being too aggressive in locking onto climbing points whilst at others being completely oblivious, sending you flying down to your doom. I also had numerous times when orcs voice lines would just refuse to play, the camera locked on their faces as their expression changed randomly whilst it waited on the sound file to time out. There is a watchdog timer for that thing though so whilst it appears that the game is stuck there it will eventually recover. This happened a lot during one of the scenes where you face a horde of undead orcs who, presumably, had their voices replaced with zombie like noises. These are all things that can be addressed in patches going forward so those of you who are waiting I’m sure your experience will be more polished than mine.
The story of Shadow of War is a step up from its predecessor, partially because it has a lot more room to explore the various elements it introduces. Of course thanks to the open world nature of the game the various story lines are almost wholly separate from each other which means there’s not a lot of depth to be garnered from completing them all. I was annoyed that different versions of the game seemed to include more story than the others but it seems that those campaigns are just ancillary ones, not forming part of the main story line. The retcons to the Lord of the Rings story are an odd duck to say the least, transforming some characters into different entities completely whilst also changing the main story arc in ways that only support the game’s version of the story. I’m not a die hard Lord of the Rings fan by any stretch of the imagination but the developers had to know that making such changes wouldn’t exactly be welcomed by long time fans of the IP. Still it was interesting enough, even if I didn’t have much emotional investment in any of the characters.
One main gripe I do have to level at the overall construction of Shadow of War is the final act called Shadow Wars. After spending 21 hours in the game, 7 more than I did in the original, I thought I had come to the game’s ultimate conclusion. Not so I was told, instead I would now have to do 10 siege missions to get through to the end. Considering the grind required for 1 was on the order of an hour or so I wasn’t entirely keen to spend another 10 hours going through non-story based content to see the ending. Indeed all the reviews I’ve read since then have said that the Shadow Wars grind was simply not worth it and instead I tracked down the 3 minute ending on YouTube. Let’s just say that I’m glad I didn’t waste my time on it.
Middle Earth: Shadow of War is a monster of a game, growing the scope of the original to something that’s numerous times its size. The core of what made the original good remains in Shadow of War, providing a solid base upon with Monolith has added in a truckload of more content. However much of that content is simply copy and pasted versions of the same thing, something which open world fans are likely to enjoy but those who fell in love with the original are likely to find tedious. For this reviewer I certainly enjoyed the majority of my time with Shadow of War however I can’t say that there weren’t times I wanted to shortcut the grind. That is, of course, why the microtransaction system exists but I’ll be damned if I spend money on digital items in a single player game. Overall, whilst I think Shadow of War is a successful sequel in its own right, it is weaker in comparison to the original, if only because it seeks to exploit the success of the past rather than build on it.
Middle Earth: Shadow of War is available on PC, Xbox One PlayStation 4 right now for $59.99 (base edition). Game was played on the PC with 21 hours of total playtime and 52% of the achievements unlocked.