My history with fighting games runs long and deep. Street Fighter 2: Turbo was my introduction to the scene with my brother and my local friends often battling it out for hours on end. The obsession continued through multiple console generations and titles like Tekken and Soul Calibur. It’s always been a genre that has only ever done well with local multiplayer, the few forays I’ve had into online fighting games stymied by lag (a sin in a frame perfect world). So when I saw For Honor, a fighting game/hack and slash hybrid, I was instantly intrigued. However the execution has unfortunately brought back some bad memories whilst cementing a few not-so-great ones.
For ages the world of man has been at war, spurred on by the upheaval of the world that came without warning. But the world has always searched for peace and for a time it has come. However there are those who seek to return the world to war; to find the strongest to rule over the weak. You are but a pawn in this war, ordered to do the bidding of Apollyon: the one who seeks nothing more than eternal conflict. Are you a sheep who awaits their slaughter? Or will you rise as a wolf among those sheep and feast upon those who fall to your blade.
For Honor is a spectacular looking game, one that’s sure to make good use of all the horsepower available to it. This comes to us care of the AnvilNext 2.0 engine which has powered the last 2 Assassin’s Creeds, Steep and Rainbow Six Siege. All the modern trimmings like physically based rendering, proper global illumination and realistic cloth and weather systems are all present and very noticeable. It’s one of the few games which, at least on my system, looks far better in the cut scenes that aren’t pre-rendered. If you’re playing on PC it’s probably worth tweaking a few settings as the selected defaults are a little weird, like turning v-sync on by default (a sin for us G-Sync/FreeSync users). It also manages to maintain fairly consistent performance even when there’s a lot going on, something which is unfortunately rare these days.
The combination of a fighting game with a hack and slash is For Honor’s selling point; an attempt to recreate the kind of epic knightly battles we’re all used to seeing in movies. How it works in practice is thus: you’re on a battlefield with other players (and AI, if you’re playing a mode with them) and when you and another player lock eyes with each other you go into fighting mode. After that point it’s quite like a traditional fighting game with all the combos, blocks and parries that fighting game veterans will be familiar with. Of course if you’re playing with more than one other player there’s every chance you’ll be ganged up on (or be doing that yourself to others) which changes the fighting dynamics considerably. Outside of that part of the game you’ll likely be running around slaughtering the AI whilst capping points. There’s 12 classes to choose from and as you play through the game you’ll unlock new abilities and loot to customise both your looks and stats. It’s a lot to take in at first look but the mandatory tutorials ensure that you’ll have a firm grounding before you’re thrown into the mix with other players.
The online combat however unfortunately suffers from what all online fighting games have: lag. For Honor is probably the only game that I know of that utilises a peer to peer netcode that also includes each player running their own simulation. What this means is that, instead of one player keeping the game state consistent (which can give rise to the “host advantage” issue) each and every player is calculating the game state. When you’re playing this means that your ping is different to each and every player on the battle field, leading to rather inconsistent results. Moves that would appear to work perfectly on one player will seemingly fail to work on others, some players will glitch around whilst others don’t and, worst of all, one person desynching can end up completely trashing the entire game state and killing the game (I had this happen no less than 3 times).
Part of this is due to the matchmaking which seemingly struggles to find a game even at the busiest periods of the day. Even during “very high activity” periods, as identified by the game itself, it would still have to look at all regions and all player skill levels to find me a game. Undoubtedly this has led to me being matched with people who have pings in the hundreds of milliseconds to me which means we’re dozens of frames apart from each other. It might not sound like much but it can be the difference between being able to parry attacks and getting hit every single time. This lacklustre matchmaking meant that no two games played out the same way, each of them having some kind of annoying lag or netcode related glitch that impacted on game play.
The UI, which was obviously designed with consoles in mind, also needs some love in order for it to be usable. Menu items appear to defy common conventions for where they should be with numerous things stashed under Social or Multiplayer for inexplicable reasons. Further to this the party system, whilst allowing you to send invites in game, requires you to Shift + F2 to accept an invite through Uplay instead. I wouldn’t even bother mentioning a minor annoyance like that if it wasn’t for the fact that the parties also seem to randomly drop players whenever the game feels like it. Honestly for a game that had a relatively long closed beta, as well as a shorter open beta, I would have expected teething issues like this to be sorted already.
The loot system teeters on the edge of being pay to win with obvious gaps between players who’ve dumped cash on it and those who haven’t. Whilst it’s tempered by the fact that all loot is a trade off some are far, far better trade offs than others. This means that, when you’re not matched against similarly geared players, it’s an order of magnitude harder to win than it is otherwise. If you’re skilled enough sure, you can still beat them, but if they’re even mildly co-ordinated there’s really no point in sticking around. Indeed since there’s no penalty for leaving games you should do exactly that if winning is a distant possibility.
The amount of effort put into the single player is surprising, given that much of the game’s marketing focused on the online multi aspect. Unfortunately it’s not particularly engaging as fighting AIs are either outright cheaters or a push over. The story is also somewhat confused, seemingly searching for a reason to match up all the various factions against each other at least once and to demonstrate all the multiplayer maps. Personally if they had gone multi-only I don’t think I would’ve missed the campaign as it felt like a chore more than anything else. After I got bored of playing on hard I dropped it down to easy hoping that would improve things (being an unstoppable killing machine can be fun, for a while) but even that couldn’t slake my boredom.
Despite all this I do appreciate what Ubisoft Montreal tried to accomplish here. It’s rare these days that a game can be truly unique and For Honor, for all its faults, really is a new kind of game. There are some issues that could be fixed easily enough, like the UI and loot system, but further fundamental improvements likely aren’t possible. Fighting games and online play have always had a troubled past and Ubisoft’s attempt at fixing it simply doesn’t work as intended. I honestly don’t know how you’d go about making this work either but there has to be a solution that doesn’t lead to the consistently inconsistent experience that I had whilst playing For Honor. Hopefully Ubisoft sells enough copies this time that they can revisit the IP, potentially with a new idea for improving the netcode in hand.
For Honor is available on PC, Xbox One and PlayStation 4 right now for $59.99. Game was played on the PC with 13 hours of total play time and 78% of the achievements unlocked.
If there’s one genre I’ll go to great lengths to avoid it’s survival horror. This wasn’t always the case though. Back in my youth I spent many a night playing my way through the top titles of the genre like Silent Hill and Resident Evil. However after about Resident Evil 3 I found myself attracted to other genres and left survival horror behind me. Looking back over my reviews the only real game I’ve played in this genre recently would be Dying Light, some 2 years previous. Try as I might to avoid the hype around the latest Resident Evil it seemed like, if I was ever going to dive back into the series, now would be the time. I’m glad I did as whilst I’ve affirmed that survival horror still isn’t my favourite thing in the world it’s hard to deny that Resident Evil 7: Biohazard is a very well crafted game.
In a stark departure from (what I remember of) the Resident Evil series you play as a civilian called Ethan. Your wife, Mia, went missing 3 years ago after taking a job at sea for an undetermined period of time. Out of the blue you received an email from her, saying that she needed help and to come and get her. So you make your way down to a derelict plantation estate in Dulvey, Louisiana to try and find her. What you discover there though is beyond any reasonable explanation and you soon discover the horrors that have kept Mia away from you all that time.
Biohazard is Capcom’s first full game to use the new RE Engine which, if I’m honest, doesn’t seem that impressive on first blush. There are some parts which are definitely impressive, like Mia’s hair and some of the more…lively parts of the environment. However the level of detail is probably a step or two behind what I’ve come to expect in games of this calibre. Since the majority of the game is spent in dark areas this isn’t an issue most of the time. However when you get up and close the lack of detail becomes readily apparent. This is made up for somewhat by the animations which are much better done. Of course you’re not playing a survival horror game for the visuals, you’re playing it to get the pants scared off of you.
Biohazard’s game play feels similar to other successful survival horror games like Outlast and Amnesia. The trademark mechanics of the series are still here, like the inventory management, crafting and obscure puzzles. However with everything taking place in the first person you’re now up close and personal with everything that’s going on (and for those brave enough to try this out on PlayStation VR you can fully immerse yourself in it, joy!). This does make some things easier, like combat, but of course there’s trade offs like not being able to see around corners to see some things before they have chance to induce a pants soiling moment. Indeed Biohazard tends much more towards horror than previous instalments have.
Combat is as you’d expect it to be: frustrating, panic inducing and often at times completely futile. This is, of course, by design as something that had the glass smooth FPS combat mechanics of Call of Duty would not make for great survival horror. Still your FPS skills aren’t completely useless with well placed head shots ensuring that you use less ammo overall, giving you a bit of a buffer to play with. Mastering the block will ensure that you don’t burn through as many healing items but, honestly, you shouldn’t need to use it most of the time if you know how to kite the enemies around properly. One thing (and most survival horror games are guilty of this) that really irritated me is that it’s sometimes impossible to tell when an enemy has actually died save for pumping a few more bullets into them. Again, this is a design decision (done to make ammo even more precious) but it does get annoying when that moulded gets up for the billionth time in a row.
Biohazard isn’t a fan of holding your hand and will only sparingly grant tips upon your death. For the most part this is fine as it encourages you to explore and figure things out for yourself. Sometimes though it’s an exercise in frustration, like when you learn that the first big enemy you face can’t actually be killed (only after wasting several clips on him). After a while though you’ll get familiar enough with the various quirks and things start to get a lot better from then on. There are some parts that are maybe a little too subtle in the way they hint at what you’re supposed to do, leading to a lot of unnecessary back-tracking to try and figure out what you missed. This might just be me though, having not played the Resident Evil series for the better part of 15 years.
The horror aspect is done exceptionally well, making you scared of the smallest bump or scrape that you might here. I can’t tell you how many times I had to step back and forwards over a little patch to make sure it was me making the noise and not something else. The jump scares are used sparingly enough that they really are quite shocking and do their job in putting you on edge for the rest of the game. Moments of panic are used to great effect, ensuring that you’ll blow through a lot more ammo than you’d otherwise would have. Whilst this isn’t the type of game I’d regularly play it’s hard not to admire the way they use the environment to keep you on edge all the time. It does start to run out of puff in the last third of so, which is probably my biggest gripe with Biohazard.
You see in games like this I pride myself on being able to build a massive stockpile in order to take some of the “survival” out of the horror. Now it seems most games have a horrible habit of stripping that horde away from you in aid of an artificial challenge bump. Biohazard does this at a pivotal moment, forcing you to start from the beginning again. The game does provide context for this, and to its credit does give you back everything at the end of that section, but that means that particular part drags on significantly. The last section then just feels unnecessary as you’re packed to the rafters with very little that can challenge you. I’m sure veterans of the series could blast through this in no time flat, and thus the last third be much less of an issue, but 8 hours of being on tenterhooks did tire this old gamer out.
The story is somewhat predictable with the standard “Choose A or B for a different ending” scenario presented to you just before the final third. Ethan seems weirdly at peace with a lot of the crazy stuff that goes on around him (although that changes during cut scenes), something which, if changed, might have added a bit more depth to the experience. There’s also one character which we’re supposed to empathise with but, since your interaction with them is severely limited and they’re given no backstory, it’s pretty hard to care for them. I’ve also checked both endings and, honestly, choosing the non-obvious path seems like a total waste of time. It’s a bit of a shame as previous Resident Evil games had some cool, super secret endings that completely changed how you’d view the entire game. That’s what I remember of playing Nemesis at least, anyway.
Resident Evil 7: Biohazard is a fantastic horror experience. Whilst the visuals might not win any awards they serve their purpose well, creating a foreboding environment that keeps you suspicious of every shadow. The lean towards horror makes for a high adrenaline experience with every creak, scrape and whine cause to get your gun ready. The game does include my usual gripes about games in this genre, namely the artificial challenge increase through taking away your stash and the lack of a decent story. Still I can recognise quality when I see it and, whilst I personally won’t rate this game as high as some of my peers, it does stand above others that I have played in this genre.
Resident Evil 7: Biohazard is available on PC, PlayStation 4 and Xbox One for $59.99. Game was played on the PC with a total of 8 hours played and 57% of the achievements unlocked.
Like many of my peers I spent many of my afternoons loitering around a Games Workshop store. The displays of intricately painted models tempting me to spend my meagre retail earnings on that next model to round out my army. I was rubbish at painting though, often just playing with unpainted models or enlisting my more talented friends to do the work for me. Once I was hooked into PC gaming however I left the models behind, but the love for the Warhammer universe was still very strong. So when I heard about Space Hulk: Deathwing I was incredibly excited as it’d been far too long since my last dip in this universe with Warhammer: Space Marine. However Deathwing falls appallingly short, so much so I couldn’t be bothered playing beyond the first hour.
You are a Librarian of the Deathwing force, the most secret and feared arm of the venerable Dark Angels chapter. You have stumbled across an ancient craft known as a space hulk, likely teaming with relics and technology from a forgotten age. It’s your charge to investigate the space hulk and to uncover the secrets locked away within its walls. This won’t be an easy task however as it is infested by armies of Tyranid genestealers, eager to tear into space marine flesh. Your powers as a psyker however give you an advantage few others have, allowing you to decimate hordes of enemies with a single thought. You are the blade of the Emperor space marine and it is time to cut through the blasphemers.
Deathwing does a great job of capturing the Gothic feel that Warhammer 40K games are renown for. The bigger environments do a great job of selling that feel with high cathedral ceilings dripping in banners and other Gothic imagery. It does have that Unreal engine vibe to it though which does make the graphics feel a step or two behind current generation titles. Since I came into this game past its initial few patches I didn’t have any performance problems to speak of, the game running fine even in high action scenes. That being said however any performance problems encountered are surely in the realm of poor optimisation or porting issues as I don’t think it’s that graphically intense.
This is where the positives of Deathwing stop however.
Taking inspiration from the tabletop game Deathwing puts you inside a massive ship laced with corridors punctuated by massive rooms. You’ll be given an objective to walk towards but you’re also free to explore the ship to find secrets. Along the way you and your squad will be set upon by the Tyranids that infest the ship and it’s your job to take them out. You’ll do this using your various bits of weaponry and psyker powers. Overall it has a very Left 4 Dead kind of feel, pitting you and a couple team mates against a horde of enemies. You’d think this would be great, the game format and IP are both exceptional in their own right, however this implementation is anything but. Indeed it commits probably the worst sin you can make with the Warhammer 40K universe.
It makes being a Space Marine boring.
The combat is just simply not enjoyable at all. Walking through hallways your radar will ping up with enemy activity and, inevitably, you’ll be jumped by something. These enemies aren’t varied nor are they smart so you’ll just sit there killing one after the other. Unlike Left 4 Dead or other similar games there’s no sense of tension at all so it’s just long periods of plodding along that are broken up every so often by holding the trigger down. This is made worse by the fact that you have a limited amount of sprint, meaning that exploration takes forever. It’d be ok if the rewards were worth it but from what I can tell they’re only cosmetic. Even the one end part of the mission, where I was supposedly set on by a “massive horde” turned out to be nothing more than me standing at a ladder and whacking at genestealers for 5 minutes.To top it all off your AI companions, whilst having some interesting banter, are as dumb as they come. Whilst this isn’t unexpected it’s yet another thing that detracts from the small amount of fun you might derive from playing Deathwing.
You’ll get upgrade points after each mission, up to a total of 4, for your performance in the mission. According to other reviews there’s only enough points to max out one of the talent trees and no way to go back and play through again with your now unlocked powers. Considering that the only interesting abilities appear to be at the end of the trees this seems a bit short sighted, severely limiting the game’s replayability appeal. Not that it really matters though as I doubt anyone who buys this game will play it more than once. The 3 talent points I got were invested in getting a psyker ability upgrade which, upon using, appeared to simply be a fire variant of the storm ability I already had. Not the most enthralling upgrade, if I’m honest.
I tried to play more, I really did, but there was simply nothing in Deathwing that kept me coming back. Many other reviewers have praised how true to the lore Deathwing is but that does little to make the game enjoyable. By contrast Space Marine did a great job of making you feel like an unstoppable war machine whilst still providing challenge. Deathwing instead makes it so a handful of genestealers could take you out whilst your brothers sit there and watch. I had really low expectations on Deathwing going in and even then I’ve been left disappointed.
Space Hulk: Deathwing does exactly what it shouldn’t: taking the idea of the venerable Space Marine and turns it into something mundane. The only commendable feature is the graphics, which do a great job of capturing the gothic feel of the Warhammer 40K universe. Apart from that all you’re left with is mediocre combat with confused AI partners at your side. Maybe this game gets a lot better past the first hour, I don’t know, but the fact of the matter is I honestly couldn’t bring myself to find out. I tried multiple times over several days but every time I just gave up, I was just not interested at all. Perhaps lore fans will find something to love here, but I certainly didn’t.
Space Hulk: Deathwing is available on PC, Xbox One and PlayStation 4 right now for $39.99. Total play time was 65 minutes with 17% of the achievements unlocked.
This time of year lends itself to catching up on things that may have otherwise passed you by. For this humble game reviewer it means looking back at those titles I missed, looking for something to fill the usual holiday lull. Quite often I’ll find something that I regret not playing on its release, the most obvious of which was The Talos Principle. Hyper Light Drifter was one game that I passed on multiple times: first when it found success on Kickstarter and secondly when I saw it released on Steam. When I saw it come up again during the Steam Winter sale I figured, with nothing else better to play, it was time to give it a look in. I’m glad I did too as it hearkens back to games of yesteryear, and not simply because of its graphics.
I’d usually give you a brief summation of the starting plot here but I don’t think I could rightly do that here. Hyper Light Drifter is very much a game of “show, don’t tell” and to explain the opening scenes would be reveal too much of the story. Indeed the entirety of the main plot is told through pictures and simple in-game cut scenes, leaving the interpretation of what’s actually going on up to the player. So I’ll leave the usual plot analysis until the end but I’m more than happy to discuss the various theories about the game in the comments.
Hyper Light Drifter takes the traditional approach to its pixelart visuals, favouring a more authentic recreation of the styles of games long past. Numerous new wave pixelart games favour high definition versions of pixelart graphics which, technically, aren’t faithful to what was possible during the period. Hyper Light Drifter retains much of the other aesthetic elements, such as limited colour palettes and fixed lighting, which were also present in titles from this generation. There are some elements I’m not quite sure are completely true to the era, like the overlayed glitch effects, but I’m no purist by any stretch of the imagination. It’s one of the few games that’s built on GameMaker Studio that doesn’t look like every other title built on it, a testament to the amount of effort put into honing Hyper Light Drifter’s visual aesthetic.
Hyper Light Drifter takes after classic games like Zelda: A Link to the Past and other top-down adventure games. There’s a large map with distinct sections that you’re able to walk around at your leisure, although some parts are locked off until you complete certain actions. There are various upgrades scattered around, some of which can only be obtained through defeating certain bosses or completing challenges. Where it differentiates itself is through the combat which is much more twitch focused and relies heavily on precise timing by the player for certain moves to be pulled off perfectly. Honestly it was hard to shake the “Zelda set in a sci-fi landscape” feeling when I was playing it, a feeling that it seems many other fellow reviewers share. In my opinion this is the best way to utilise a player’s nostalgia: use it as a basis to create something new and interesting rather than beating them over the head with it.
Combat has an almost Dark Souls kind of feel to it; where the real boss of the game is yourself. I can’t tell you how many times I died just because I wanted to do something fast rather than taking my time with each enemy. Indeed none of the regular enemies are that complicated and most have really obvious telegraphs that you can pick up on quickly. However, if you’re like me, you’ll want to try and kill as many as you can as quickly as you can. This will often lead to you making mistakes and, of course, your inevitable demise. Once you get a feel for the enemies, and have a couple upgrades under your belt, the combat becomes both challenging and rewarding. This is then most expertly demonstrated in Hyper Light Drifter’s standout feature: the bosses.
The bosses of Hyper Light Drifter aren’t going to win any awards for originality but they are the most enjoyable aspect of the game. Nearly all of them are multi-phased, meaning that you’re unlikely to one shot any of them. It’s refreshing to see that many upgrades, like the projectile deflecting upgrade for dash and the sword, working on bosses as well. This leads to some interesting approaches to bosses and, of course, far more interesting ways to die to them. Overall the bosses themselves aren’t particularly challenging (I don’t think I was stuck on any particular one for long) but they are hard enough to ensure that you feel somewhat accomplished when you do finally beat them. The final boss is by far the coolest out of the lot and makes for a fitting finale when you finally get to face it.
The upgrade process is done well, consisting of finding little upgrade parts all over the map which you can then spend how you wish. There are some must have upgrades, like the aforementioned projectile reflecting ones, whilst others can probably be left behind (like the unlimited dash upgrade, you get 3 dashes by default). There’s also 5 additional weapons you can find scattered around the map which are mostly a matter of preference. Sure some of them help in certain situations, like the rain gun, but I stuck with the normal blaster for the most part. If you fancy yourself something of a completionist then there’s also numerous sets of armour around the map, each of which bestows a certain unique bonus to you if you’re wearing them. I myself didn’t go after them and didn’t struggle at all.
My main gripe with Hyper Light Drifter would have to be the lack of visual clarity. It’s a very busy game with highly detailed environments however it’s not completely clear what’s say, navigable ground, a drop into a bottomless pit or just part of the background scenery. Whilst the punishment for falling off the edge is low (1 health bar and being sent back to your last safe location) it can become somewhat frustrating when you’re searching for secrets. The forest map is the worst for this, its visual cues for “hey there’s something over here” often confused with your run of the mill props for the area. Further this means that some of the visual story telling is simply lost unless you really know what you’re looking for. It’s a shame because in certain aspects, like the above screenshot, it’s done brilliantly but in others it’s simply a visual mess.
Much like Dark Souls again Hyper Light Drifter’s story is told mostly through vague allusions to events with drips and drabs of text around the place explaining some points in a little detail. This means that the events of Hyper Light Drifter are very much up for interpretation and you’ll find many fan theories out there to explain events. Whilst the game play is more than sufficient to keep you engaged throughout the game’s duration it would have been nice if there was a little more of the story built into the main narrative. This is one of the cases where the lack of direct storytelling doesn’t harm the overall game that much and a troll through the forums after finishing it was a rather rewarding experience.
Hyper Light Drifter is a prime example of nostalgia done well; using the past as inspiration for a new experience that captures many of those feelings many of us felt all those years ago. The visual style is very true to the time, eschewing the current norms of high definition pixelart for a more traditional aesthetic. The combat is approachable yet challenging, ensuring that all players approaching this game will find reward in it. The bosses are by far the best aspect of Hyper Light Drifter, conjuring up many memories of the times I spent beating similar bosses back in my younger days. The only faults I can level at Hyper Light Drifter are its lack of visual clarity and direct storytelling, things that don’t detract too heavily from the core game but could definitively be improved. Overall Hyper Light Drifter is an exceptional title, one that I now wish I hadn’t passed on all those times.
Hyper Light Drifter is available on PC, Xbox One and PlayStation 4 right now for $19.99. Game was played on the PC with approximately 5 hours of total play time and 13% of the achievements unlocked.
There are some games I play for all the wrong reasons. Sometimes it’s to reaffirm certain biases (although there have been titles that have changed my mind) but other times I just want to play something horrendous to remind me of how good some games are. Here enters the developer Spiders, a French developer who routinely puts out B-grade games that always aspire well beyond their station. Their two previous titles, Bound By Flame and Mars: War Logs, both tried ever so hard but failed in almost every account. The Technomancer, set in the same universe as Mars: War Logs, again aspires to be an AAA title but fails in such a delightfully horrible way.
You are Zachariah Mancer, a young cadet aspiring to join the ranks of your fellow Technomancers. Your quest begins as you are initiated fully into the rank of lieutenant by journeying to an old settlement dome with your master, Sean. There you learn of the secret that Technomancers have kept ever since their founding: your powers are born out of genetic engineering that caused mutations in your body. Such a secret would see all the Technomancers enslaved like the rest of the mutants are and you are sworn to keep the secret. However one colonels obssesion with learning the secret forces your hand, pitting you against the very corporation that has been your home since birth.
The Technomancer’s graphics are a generation behind in most aspects, lacking any of the graphical enhancements that many games of this generation now have as standard. The environments have a decent amount of detail in them but it’s all relatively low poly work. The lighting effects help to hide the more egregious faults but they aren’t enough to wash away that previous gen feel. Considering other games that use the same engine (like Unravel) seem to do a lot better in this department it does make you wonder just what modifications Spiders made to the engine and if it was really worth the development time.
The Technomancer is a mostly standard RPG affair; taking inspiration from other, better games in this genre and attempting to make its own special version of it. There’s 3 different fighting styles, each of which roughly equate to something from the RPG holy trinity. Each of them has a talent tree to match with an additional 4th talent tree for your Technomancy (read: electricity) spells. There’s also an additional 2 talent trees which are used for further character customization, focusing on what gear you can use and what ancillary abilities (like crafting) you have. There’s a mediocre crafting system which appears to be half done which coupled with the mediocre loot system makes for a repetitive and lacklustre gearing experience. You can also bring along 2 companions with you as well, each of which will mimic one of your fighting styles. Honestly there’s a surprising amount of stuff in The Technomancer but, unfortunately, that’s probably why it has so many issues.
Combat is unintuitive, confusing and worst of all unreliable. I can’t tell you how many times I’d appear to hit an enemy with my staff only to have it whiff through them completely without a hint of why. No damage meter saying “Miss!” or “Dodged!”, just the sound of my staff sailing through the air like it wasn’t touching anything. The combat is a half hearted attempt at recreating the Dark Souls system but unfortunately fails miserably. It doesn’t help that most of the stats appear to be totally meaningless, like when I had 140% disruption but still wouldn’t disrupt enemies when hitting them. Maybe there’s an explanation somewhere about how these stats work but they’re not explained in the game at all, not even in the stats spreadsheet that lists all these things off. So in the end you’re left to simply flip the coin at most encounters, hoping the RNG swings in you favour this time around.
Loot and crafting are similarly disappointing. The loot you’ll get will be all the same based mostly on which chapter you’re in although it seems that old areas have a high chance of yielding old loot when you revisit them. Strangely it seems like there was supposed to be more variety to this since there are some named items in the game but no where near enough to build a full character out of. Worst of all is the fact that you’ll be flooded with mats, most of which become entirely useless once you move up to the next level of crafting. Previous Spiders games allowed you to combine lower mats into higher ones, and indeed there’s text in the game that implies that this can be done, but there’s no way to do it. This wouldn’t be so bad if the system to sell the mats wasn’t so annoying to use, requiring a single click to increase the quantity you want to sell. This means that if you want to sell 200 mats, you’ll click 200 times.
Questing is also pretty unrewarding with nearly all the quests simply awarding XP and maybe some serum (cash). There are some multi-part quests which span chapters, something which you would think would lead to some awesome quest reward. Unfortunately that never happens which is a real disappointment, especially for the more involved side quests. This wouldn’t be so bad if there were amazing items that you could only buy from vendors but there aren’t and so you’re just left with a pile of serum and nothing else to show for it.
Worst of all is the endless retreading of ground you’ll do throughout the game. Sure you’ll visit new areas as the chapters roll on but the vast majority of the game takes place in the first town, Ophir. This wouldn’t be so bad if it wasn’t for the fact that enemies will respawn pretty much every time you traverse through there, necessitating a laborious 10 minute trudge to get to where you’re going every time you go there. There’s no fast travel system to speak of either, so once you’ve finished what you needed to do you’ll have to walk (and likely wade through respawned enemies, again) back to your rover to return home. I can understand that creating new levels is one of the most expensive things developers will have to do (something even legendary developer Bioware got raked over the coals for) but setting more than half the game in one area is just…boring.
As always I could forgive the majority of this game’s sins if the story was passable but, frankly, it’s not. Whilst it is interesting to see the world that was set up in Mars: War Logs continued in The Technomancer there’s just not much about it that is captivating. This is probably not helped by the fact the lines are delivered in a flat and lifeless way by pretty much all of the voice actors involved and the poor quality of the lip syncing with the character models.
Realistically all these issues are symptomatic of one thing: trying to do too much with not enough resources. All of the ideas that are implemented in The Technomancer are solid however their execution is sorely lacking. It smacks of a development team that simply didn’t have enough people or time to get the things done that they wanted to. With the average game completion hovering around 26 hours or so they could have easily cut it in half and still had a great length RPG on their hands. Instead however Spiders chose to try and pack as much in as they could and the overall quality of the game suffered as a result. Whilst this should be unsurprising (since this is kind of their thing) if Spiders ever wants to drag themselves out of the B-grade hell they’ve found themselves in they’re going to have to change the way in which they approach building games.
The Technomancer is another unfortunate swing and miss for Spiders, once again aspiring to the greatness that it never achieved. Whilst The Technomancer has all the trappings of an AAA RPG none of them are implemented well or fully, leaving the resulting experience feeling half-baked at best. To be sure though this is Spiders’ best effort to date but the mistakes that they’ve made before still seem to haunt them even to this day. I can really only recommend this if you’re as twisted as me and like playing a train wreck from time to time, just to remind you how good most games are these days.
The Technomancer is available on PC, Xbox One and PlayStation 4 right now for $45, $57 and $57 respectively. Game was played on the PC with 14 hours of total play time and 40% of the achievements unlocked.
It is rare to find games that manage to blend all of their components together into a cohesive whole. Even the most well resourced project will still suffer from the pains of integrating everything together, often leading to one or more parts just not feeling right. Games that do manage to do this however set the standard for those to come, showing that mechanics, story and sound can all be joined together to become greater than any one component. Such is The Turing Test, a near perfect combination of all its elements that makes for one of the most enthralling gaming experiences of this year.
You play as Eva, a pilot put into hibernation in orbit around Europa to act as a safe guard for the ground team on Earth. You are awoken to find out that your station AI, Tom, has lost contact with the ground team and needs you to re-establish contact with them. Upon landing you find that the entry to the base has been reconfigured in such a way that Tom cannot make his way past it alone. It is now up to you to make your way deep into the base to find out what happened to the crew and, hopefully, bring them back under the watchful eye of Tom.
The Turing Test does quite a lot with very little, the graphics erring towards visual simplicity more than anything else. It’s very reminiscent of Portal with all of the set pieces feeling like they were born out of the same design team. In puzzle based games like this such simplicity is definitely a plus, drawing your focus to the challenge at hand. The game definitely has that Unreal engine feel to it with its trademark visual flairs like its specularity mapping. It should come as no surprise then that The Turing Test ran flawlessly on my current rig and I’d suspect it’d run just fine on run of the mill hardware.
Mechanically The Turing Test is just your typical first person, physics based puzzler. Each room contains within it all the tools for you to progress through to the next challenge which is always just getting to the next room. The puzzles start off simple, requiring you to just find the right combination of what goes where, but quickly ramps up after that. In the end you’ll be facing timing puzzles, non-linear progressions and various other challenges that all seem impossible at first until you look at them from the right angle. The simple mechanics means it’s very quick to pick up and, honestly, not too hard to master either.
Now for some this might be seen as a downside as the satisfaction in puzzlers comes from the challenge in solving them. However in The Turing Test’s case the simple puzzles are part of the game’s overall rhythm. They’re designed to be solved at a certain rate, one that allows the story to progress at a steady rate. Indeed even with perfect knowledge of how to solve them I believe you’d still only just get through one puzzle before the dialogue dried up. Too often developers would include other time-wasting mechanics to extend the game’s play time but The Turing Test doesn’t. This means that both the story and game progress together, ensuring that the neither one gets in the way of the other.
This is then all brilliantly amplified by the sound track which ebbs and flows in sync with the game. Too often game soundtracks are overlooked, left as just something that needs to be there rather than an integral part of the game. Indeed for many of the recent games I’ve played I couldn’t really tell you if I enjoyed the sound track or not, it simply left no impression on me. The Turing Test however does a wonderful job of integrating the background music into the events happening in the game, amplifying all of the game’s pivotal moments.
The story itself, whilst not original nor inventive by any stretch of the imagination, is aptly paced and perfectly in sync with all of The Turing Test’s other elements. That is on the proviso though that you only play through the main areas and don’t go to the sides however. If you do unlock the secret rooms (which aren’t hard to find nor solve) the story has a very weird disconnection between what your character should know and what they appear to know. Whilst I’m sure there are some great theories as to why that could be due to the way the game’s world is set up that’s a conversation for another day.
Each of these elements, simple and concise in their own right, would only make for an average game if simply thrown together. The real beauty of The Turing Test is how well these are all worked together, the various elements integrated so well that they are much more than they are separately. Had this game been released in a world that was bereft of Portal or The Talos Principle it would be a shining star of inventive, thought provoking game play. Even in the shadow of those titles The Turing Test still stands out as an excellent piece of craftsmanship, one that should be lauded for aspiring for greatness that it easily achieves.
The only real niggle I’ll have at this otherwise exceptional game is that, due to the nature of its physically based puzzles, emergent game play can sometimes lead you astray. I’m quite sure there were several puzzles I solved in ways that wasn’t intended, mostly because I ended up at the exit door with more puzzle pieces than were required to solve it. Depending on how you swing though this might be part of the charm as I’m sure there’s numerous ways to break the puzzles. It should say a lot that that’s my only complaint about this otherwise fantastic game.
The Turing Test is a brilliant, well crafted example of what games can accomplish when all of their elements work with each other. Each element on its own is simple, from the visuals to the mechanics to the sound track, however together they form a cohesive whole that’s very much greater than the sum of its parts. The total game time doesn’t run long, maybe 3~5 hours depending on how much of a puzzle nut you are, but that entire time could be easily done in a single sitting. The Turing Test is one of those games that I will wholeheartedly recommend to any gamer as it really is worth the time.
The Turing Test is available on PC and Xbox One right now for $19.99 on both platforms. Game was played on the PC with 3 hours of total playtime and 93% of the achievements unlocked.
The original Watch_Dogs was in many ways a success for Ubisoft Montreal, ticking all the required boxes for it to meet the standard of a AAA open world title. However the hype that built up around it, specifically from that one E3 video, led many to be disappointed with the final product. To their credit Ubisoft remained committed to the franchise and has spent the following 2 years developing Watch_Dogs sequel. Whilst at a base game level this sequel features many of the mechanics that made the original great the tone and feel of the game is radically different. That combined with improvements in some of the original’s more glaring issues makes Watch_Dogs 2 a notable improvement over its predecessor.
Watch_Dogs 2 takes place in San Francisco, the next city to install the ctOS system which integrates all city subsystems into one giant interconnected grid. You’ll play as Marcus Holloway, a young hacker who’s been targeted by ctOS for a crime he didn’t commit. Because of this he decides to join Dedsec, the hacktivist group responsible for wrecking havoc and exposing corruption. What follows is a story of Dedsec’s crusade against ctOS, the people in power who use it and any of the numerous corporations who would seek to exploit the citizens of San Francisco.
The original Watch_Dogs was criticised for failing to live up to the visuals that were seen in its E3 demo and Watch_Dogs 2 goes a long way to closing that gap. The environments are far more detailed with more cars, people and interactive objects scattered across the San Francisco backdrop. There’s notable improvements to the lighting engine, draw distances and other modern post-processing techniques like motion blur. Taking into consideration that open world games tend towards the lower end of the graphical spectrum (due to their scale) Watch_Dogs 2 is certainly one of the better looking titles in this genre. It’s still a hair shy of that fated demo, however.
As I mentioned before the core game of Watch_Dogs 2 hasn’t changed much from its predecessor, staying true to the open world norms with the inclusion of their trademark hacking mechanics. The progression mechanics have been reworked to focus around you gaining “followers” to help boost your cause, most of which you’ll gain through Watch_Dog 2’s main and side missions. The online components have been reworked significantly and are far more seamless than they used to be; the transition between offline and online play a much smoother experience. Driving has been improved significantly, no longer feeling like you’re trying to drive a boat through a sea of molasses. The stealth mechanics are also retained however there’s a little less variety in what you can hack, something which is made up for in a few new choice abilities which can cause all sorts of mayhem. Overall Watch_Dogs 2 improves on the original in nearly every respect something which Ubisoft Montreal should take some pride in.
Combat feels largely the same, still following the same two stage formula that its predecessor did. Whilst you can likely complete every mission with just hacking alone it’s very likely you’ll do something to be detected, forcing you into combat. Interestingly there doesn’t seem to be any downside to killing anyone and everyone in your path but there is a very notable downside to taking the non-lethal approach. Enemies downed in that way will eventually get back up and will alert everyone else to your presence when they do. This does add an extra element of challenge if you want to go full non-lethal, stealth based approach but without additional rewards it doesn’t seem like there’s any reason to. Indeed by the end I’d just end up using my vast hacking abilities to simply run past everyone, forgoing any notion of stealth or even non-lethal attacks.
The hacking powers are a little more interesting this time around, especially some of the end-game abilities which allow you to affect everything in the area around you. It didn’t take me long to max out the powers I wanted to get and I spent most of the game with 20 or so research points ready to spend should the need arise. Some are simple quality of life improvements (like the car unlocking one) whilst others don’t have much of a purpose other than causing a bit of mayhem here or there. Probably my favourite out of the lot was the ability to call the police on a target NPC, something which can be used to great effect when you need to get into a restricted area. If I had one complaint it’s that all the higher end powers require you to go and find another item to unlock them which becomes a bit of a chore when you have to do it for the 10th time.
The driving is thankfully much improved over its predecessor, making it actually fun to drive around rather than fast travelling. Watch_Dogs 2 also reduces the number of car chases you’ll find yourself in so you won’t be spending hours trying to escape from the endless supply of police. There also appears to a be a larger number of vehicles to choose from including my favourite: the single person electric car that seems to be as fast as any of the sports cars. The NPC drivers though still seem to suffer from random fits of craziness every so often with cars just randomly running off the road or into each other, even when I hadn’t gone near them. That could very well be intentional, to give the city a more lively feel, but I do wonder if it’s just an errant part of the AI.
The multiplayer aspects are far better done than its predecessor was. I can remember trying to do some of the online activities in the original with most of them failing to even connect to other players. Watch_Dogs 2 by comparison (by default, you can change this) drops you in and out of other player’s games on a whim. It can be pretty awesome when you’re just driving around and a bounty hunter challenge comes up, putting you alongside law enforcement to chase down a rogue enemy player. Some of the other, hacking focused games are a little one sided, being incredibly hard for the hacker to actually successfully hack someone and get away with it (especially if the other player is armed in any way). Still they’re a fun distraction, one that I hope Ubisoft explores even further in future releases.
Watch_Dogs 2 drops the serious tone of its predecessor in favour of a more kitschy, light-hearted take. The characters are stereotypes or satires of particular hacker tropes with the overriding them following the hacktivist ideas that have been popularised by the various real world incarnations of other -sec entities. Weirdly, whilst the game has the usual disclaimer about it being a work of fiction unrelated to the real world, numerous events are carbon copies of their real world counterparts (like Martin Shrekli buying an exclusive Wu Tang album). The pacing and character development is weirdly out of step, seemingly moving at a faster pace than what the missions would imply. This might be because I was mostly doing campaign missions but surely that’s where you want the bulk of your character development to occur. Realistically I don’t think you’re supposed to read much into Watch_Dogs 2’s story but it’s disjointed nature mirror’s some of the mistakes that its predecessor made.
Watch_Dogs 2 is a solid improvement over the original, addressing many of the concerns that players had whilst retaining the core mechanics that made it worth playing. It may not be a revolutionary instalment in the series but the incremental improvements go a long way to making Watch_Dogs 2 the game that many were hoping the original would be. It’s not perfect, with some of the previous issues rearing their ugly heads again, but it definitely feels closer to what the original should have been. For fans of the open world genre there’s a lot to love in Watch_Dogs 2 and is most certainly worth checking out.
Watch_Dogs 2 is available on PC, PlayStation 4 and Xbox One right now for $60.95, $77 and $77 respectively. Game was played on the PC with 18 hours of total play time and 51% of the achievements unlocked.
Dishonored was a breath of fresh air for many. Stealth games of the time were anything but; their stealth mechanics nothing but tacked on features that weren’t given the love they so desperately needed. Whilst it had its faults Dishonored was a pivotal release for Arkane Studios, catapaulting them into the limelight. It’s been 4 years since the release of the original Dishonored and expectations were high that Arkane would be able to deliver yet another solid stealth based title. Dishonored 2 brings with it all of the things that made the original great but also many of the shortcommings. Indeed whilst some of the design choices are commendable it begs the question of whether or not the effort would have been better spent elsewhere, possibly addressing some of the mistakes of the past.
Dishonored 2 takes place 15 years after the events of the original with Emily Kaldwin taking her place on the throne, succeeding her late mother. The city of Dunwall is no longer the rotten town it once was, prospering greatly under Emily’s rule. However a serial murderer, dubbed The Crown Killer, has been dispatching Emily’s opposition, leading many to conclude that Corvo is responsible for it. During a ceremony in remembrance of her mother’s assassination, Delilah Copperspoon, who claims to be Jessamine’s older half-sister and the true heir to the throne, assaults Emily in her throne room. The story from here is determined by who you choose to play as: either Emily or Corvo.
Under the hood Dishonored 2 is powered the new Void engine, developed in-house by Arkane. The engine is based on id’s Tech 6 platform and brings with it many improvements. However like its predecessor Dishonored 2 is probably about half a step behind current generation titles in terms of graphics, something that is painfully obvious when you’re up close to NPCs or bits of the environment. The world does feel a lot more full than it used to though, with more characters on screen and much more detailed environments. The initial release was unfortunately plagued by horrendous performance issues on PC, indicating that the engine hadn’t gotten enough optimization love. This was fixed rather quickly and by the time I got around to play it I didn’t see any issues at all. This couldn’t come soon enough though and is likely responsible for the game’s mixed review status on Steam.
Dishonored 2 stays true to the original’s ethos, providing you with mutliple avenues to complete a mission that can make use of any number of powers, abilities or gadgets. What’s available to you depends on whether you choose Corvo or Emily although there’s a core set of non-power abilities availble to both. If you choose Corvo the abilities will be instantly familiar to you with Emilies being completely different in all aspects. The upgrade systems are largely the same, you’ll still hunt down runes and charms to upgrade your powers, however there’s also the opportunity to improve your character further through crafting runes of your own. There’s still a multitude of things to discover in any one level with numerous side missions and hidden items for you to seek out. If you were a fan of the original there’ll be a lot for you to love in Dishonored 2, perhaps even more so if you’re an achievement hunter.
Combat is largely the same as it’s predecessor however the choices you make in building your character have a much bigger impact in Dishonored 2. Unlike previously where I could stealth or shoot my way through a level Dishonored 2, where I primarily built my character as stealth, I couldn’t take on more than one enemy at a time. Personally I liked this aspect as it meant that my choices had a real impact, no longer could I be both the stealth master and combat warrior. This did mean that the mechanical upgrade system went largely unused through my play through but it did make the rune and bone charms that much more valuable. Indeed I spent much, much more time exploring to make sure I got every power upgrade I could, lest I find myself wanting.
The stealth system works as you’d expect it to although I have to admit I think the detection rate of NPCs is a little too fast for my liking. Indeed if you don’t notice the meter immediately, like if it’s at the bottom of your screen, you will likely be detected. Some of the power upgrades help you get around this, like the stop time part of blink, but it still leaves you very little time to react. It does feel a bit more realistic in that sense, you can’t hover around in front of enemies and have them not detect you, but it does detract from the enjoyment a bit at times.
The crafting system, whilst basic, was probably one of the more rewarding aspects of Dishonored 2. With the right combination of talents and a lot of farming for the right runes you can craft yourself a set of incredibly powerful boosts. In the end I was rocking around 8 quad bone charms (the other 2 taken by specific power upgrades) that amplified my power abilities significantly, like being able to essentially sprint in stealth mode if I was crouched and my weapons sheathed. Of course I save-scummed my way to perfect bone charms without any negative traits on them but hey, even if I didn’t do that I think a grand total of 2 of them would’ve been cursed. One point of note, which I wished I had known earlier, is that not all runes are simply somewhere in the world. For some missions a certain NPC will hold 2 of them, something which can make your life a little difficult if you want to get them all. Thankfully those ones aren’t usually ones you can break down for crafting anyway, but they’re still worth seeking out.
Overall Dishonored 2 is well polished (bar the initial teething issues) however it makes one horrendous design misstep that I’ll never forgive any game for doing. There’s one level that, if you’ve chosent to take powers, you’ll have them stripped away from you. For those, like me, who’ve invested heavily, in their powers this strips you of all the tools you had available. The resulting mission is a tedious mess, the time-switching mechanic that it was designed around becoming a nusiance more than anything else. The hour or so I spent on that level was the most frustrating section of the game by far and completing it was a relief more than a reward. I can understand the rationale behind it, wanting to challenge the player in a new and inventive way (like many of the other levels do) but taking away their investments is a cheap trick that does nothing to endear the player to the game.
The story, and its delivery, suffer the same issues as its predecessor. Whilst you have control over how the narrative develops, both through direct choices and how you actually play the game, it’s still predictable and not particularly rewarding. The voice acting again falls flat, a complaint that was levelled at its predecessor which I had hoped would be addressed in the sequel. Again there are a few standouts like The Outsider and the manick mechanical creator Jindosh, but they aren’t enough to carry everything forward by themselves. Honestly I was hoping that I’d feel differently this time around, I really was.
Dishonored 2 is a solid follow up to the original, retaining everything that made it great (and some things that didn’t). The stealth and combat is well done, the choices of how you build your character now more impactful (for better and for worse) than they were before. Crafting is a welcome addition, one that helps you craft your character further down your desired path. Unfortunately some poor level design choices and the continued flat delivery of Dishonored 2’s script means that the game doesn’t reach beyond its predecessor in terms of overall quality. Still I did enjoy my time with Dishonored 2, the stealth game play unparalleled in today’s market. Hopefully future instalments in this IP will address these core issues which would elevate Dishonored 2 to the same level as the games that inspired it.
Dishonored 2 is available on PC, PlayStation 4 and Xbox One right now for $59.99, $77 and $77 respectively. Game was played on the PC with 16 hours of total play time with 36% of the achievements unlocked.
The yearly Call of Duty release belies the fact that there are 3 developers behind the franchise: Infinity Ward, Treyarch and Sledgehammer. The last game we saw from the original developer was all the way back in 2013 when they debuted Call of Duty: Ghosts, an uncharacteristic stumble for them. By comparison both Sledgehammer and Treyarch’s entries were both superior, signalling that Infinity Ward was no longer the king of the franchise it created. Infinite Warfare was then their chance to prove that they knew how to do Call of Duty best but, unfortunately, they’ve missed the mark once again.
Infinite Warfare is set in the distant future, one where humanity has expanded its presence throughout the solar system. However over time tensions between the United Nations Space Alliance and the denziens of Mars have led to the formation of the Settlement Defense Front; a ruthless militaristic organisation hell bent on Mars becoming the one and only super power in the solar system. You are Nick Reyes, a captain of the Special Combat Air Recon force who commands a fleet of futuristic warplanes, charged with the defense of Earth and all UNSA protected territories. With news of a specialist strike team being taken out by the SDF during a tenuous cease fire agreement tensions are running high and a system wide war is a very real possibility.
Infinite Warfare is the first Call of Duty to be release only for current generation platforms, leaving the PlayStation 3 and Box 360 behind. The improvement in graphical fidelity from Black Ops III is slight but noticeable, the inclusion of more modern effects like physically-based rendering evident the more realistic lighting effects. The automatic graphics selection does a good job although it priortises frame rate over better visuals. With a few tweaks however it’s quite easy to knock up the detail a few notches without any noticeable drops in framerates. Like all other fast-paced shooters the environments are mostly designed to look good as you’re rushing past as up close the lack of detail becomes rather evident. Overall it’s a solid improvement over its predecessors.
Infinite Warfare follows the tried and true Call of Duty formula, pitting you agains the enemy of the day with an array of weapons and abilities to combat them with. The missions are your standard corridor shooter affair with some rudimentary stealth sections thrown in here or there. New to the series is the ability to choose between a variety of different missions, a good chunk of which take place wholly in your futuristic warplane/ship. The missions also give you upgrades to both your ship and your player character, slowly building you up into the war machine every player imagines themselves to be. Other than that there’s not too much difference between Infinite Warfare and the numerous futuristic shooters that have preceded it.
Combat is, as always, fast paced and polished to the nth degree. Whilst you’ll still suffer from the enemy AI that’s able to snipe you with a pistol from across the map (especially at higher difficulties) you’ll still be able to run and gun your way through the majority of the game. One particular letdown here is the weapon variety as a lot of them feel very similar and thus you don’t feel as compelled to experiment as you would have in previous Call of Duty titles. There are some truly inventive ideas though, like the shotgun that has a lock-on sight, something which even made it into the multi-player version. The various grenades and gadgets provide a decent amount of combat variation although once you’ve used them all once it becomes clear that the shock grenades and the shield are probably the only ones you want to keep on you.
The non-campaign single player missions are unfortunately quite bland, especially the SCAR ones which are all basically the same, just played out in different locations. Thankfully they can be ground out pretty quickly, enabling you to blase through the campaign without a smattering of side quests constantly begging for your attention. In all honesty it probably would’ve served Infinite Warfare better to not have the overworld and instead focus on the core missions, feeding you upgrades through optional objectives or something similar. If a space nut like myself gets bored with flying around space in a futuristic warship then you know something is terribly wrong.
The story is typical Call of Duty: heavy on action and light on the details. Infinity Ward tried halfheartedly to avoid the typical America vs The Evil Foreigners trope but with all the key good characters being Americans and the bad ones foreign sounding it fails the sniff test instantly. There’s also too little development given to the numerous characters thrown at you so when the inevitable happens the emotional impact is essentially nothing. The fact that I’m struggling to come up with any memorable moments in the game should tell you just how little of an impact the story had on me.
The multiplayer experience was unfortunately marred by several launch issues, most notably a horrendously broken matchmaking system. After finishing the campaign I immediately dove into the multiplayer only to be met with no games to play. I tried all the options in the hopes it was just one game mode that was broken to no avail. After sitting there for 15 minutes I figured I’d try out Titanfall 2 just to see if I could still get a game and, lo and behold, I was playing not 30 seconds later. This has been fixed for the most part but I still can’t get a game of Domination to save my life. It’s sad really as I had such a good time with Black Ops III’s multi I was really excited to get back into the scene. It seems this time around it’s simply not to be.
One thing that bears mentioning is the new weapon crafting system which, unfortunately, has some of the troubling features of a pay to win system. You see you can craft variants of guns which have perks, all of which stack with their attachment counterpart. These weapons require salvage, a good deal of it for the higher end variants, something which comes in drips and drabs if you play normally. However, and this is the key, rare supply drops come with salvage, something which you can buy with actual money. I was ok with the new weapons in Black Ops III being locked behind supply drops since they were on par with the regular weapons but these ones are by definition more powerful. It’s a pity because I think the system is great otherwise.
Call of Duty: Infinite Warfare is an unfortunate continuation of Treyarch’s previous stumbles, failing to live up to the standard that the other developers of the series are setting. For the most part it’s still your tried and true Call of Duty game however there are several issues which mar the overall experience. The repetitive single player missions distract from the much higher quality campaign missions and the effort developing them would have been better spent elsewhere. The multiplayer had some uncharacteristic teething issues, something which I’m sure turned thousands of players away for good. Finally the inclusion of a system that allows players to pay to get ahead of others isn’t something that should be encouraged, even if the underlying system was novel. Overall whilst Infinite Warfare keeps the core aspects of the Call of Duty franchise in tact it’s additions do nothing but distract from what makes these games good. I hope Infinity Ward takes the lessons learned from this second stumble and turns their next title into something worthy of their pedigree.
Call of Duty: Infinite Warfare is available on PC, Xbox One and PlayStation 4 right now for $89.95, $99.995 and $99.95 respectively. Game was played on the PC with 14 hours of total play time and 64% of the achievements unlocked.
Titanfall was well received when it was first released, garnering numerous awards and praise from both the industry and players alike. It was also something of a redemption story for the studios founders, proving that their decision to leave Activision was the right one. For me personally, someone who enjoys traditional FPS games and lost many an hour to the Mechwarrior series as a teenager, Titanfall was a perfect blend of FPS and mech based combat. However the lack of variety in the multiplayer did mean that I left the game shortly after reviewing it, racking up another 6 hours before I finally gave it up. With the success it garnered however I was hopeful that Respawn’s next title, whether it was Titanfall or not, would be a much more well rounded. Thankfully that hope was not misplaced.
Titanfall 2 takes place shortly after the events of its predecessor with the Militia now on the offensive after their success in segregating the IMC’s fleet at the Battle of Demeter (if you don’t quite remember which map that is, like I did, here’s a good summary). You take the role of Jack Cooper, a rifleman in the Militia who’s undertaking pilot training at the hands of veteran pilot Captain Lastimosa. When you’re sent to attack the IMC held world of Typhoon Lastimosa is struck down but with his final breath he transfers his titan, a vanguard class called BT-7274, to you. It’s now up to you and your new titan to complete the mission.
The heavily modified Source engine that was used in the original is back in Titanfall 2 with a few improvements to bring it into line with more modern engines. The engine improvements bring things like physically based rendering, a new texture system, HDR, bloom and DOF. This means that whilst the models and environments all feel about the same when you get up close to them it definitely feels like a more modern game overall. The trade offs here are most certainly in aid of ensuring a smooth, consistent framerate even in high action scenes, something which happens quite often in both the single player and multiplayer experience. If I’m honest I probably expected a bit more of a step up from Respawn graphics wise, but I can definitely understand the reasons for not going for Crysis levels of fidelity.
The core of Titanfall 2 hasn’t changed much from its predecessor, retaining all of what made it good whilst adding in more variety in both the single player and multiplayer components. There’s now double the number of mechs to choose from, numerous weapons for your pilot, a multitude of modes in the multiplayer and a fully fleshed out single player campaign. You’ll still be alternating between playing as a pilot on the ground, jumping and wall riding to your heart’s content, and the venerable titan mech. The single player campaign functions as an extended tutorial to the main game, giving you a view of all the weapons and titans so that once you jump into multi you’ll be instantly familiar with the arsenal at your disposal. However like all good multi player games these days most of the weapons are hidden behind a persistant levelling system, something you’ll have to grind out to get your weapon of choice. Overall Titanfall 2 feels like a fuller, more rounded game than its predecessor was; one that could potentially have the longevity its creators hope for.
Combat is well executed, maintaining the same levels of polish that the original Titanfall brought with it. Considering Respawn’s pedigree this is no surprise but it’s good to see them not messing with things that weren’t broken. The weapon roster has been expanded considerably although the controversial smart pistol (which honestly was my favourite) relegated to being a boost rather than a primary weapon you can choose. You’ve also got a wider choice of various augments for your weapons and pilot allowing you to really specialize in your preferred method of combat. Thankfully even though most of these things are locked behind levels (or in-game currency, which I don’t think is available for purchase) the base weapons are still highly competitve.
One of the major complaints many had for the original was that the multiplayer campaign was somewhat confusing and underdone. Indeed whilst I didn’t mind it myself, I do recognise that it was far below the standard set for your typical FPS campaign. Respawn have taken this feedback to heart and Titanfall 2’s campaign is true to its name, giving you an extensive single player experience. As I mentioned before it serves well as an introduction to Titanfall’s mechanics and weaponry, giving you a taste of what’s to come in the multiplayer experience. The highlight of it is definitely the exploration of the relationship between Titan and Pilot, something which I don’t think was really elaborated on much in the original. It might not be the deepest story around, following your typical one man army action trope, but it’s definitely more than enough to keep you motivated and pushing forward through the campaign.
The multiplayer follows the current FPS norms pretty closely with your profile, guns and titan all having separate levels attached to them. This does mean that players who’ve played for longer have an advantage over you, something that can be a little frustrating when you first start out. However the levels come with a relatively reliable pace so you shouldn’t be without a particular upgrade for too long. The in-game currency, which comes in at a slow but reliable pace, is one avenue to short circuit the levelling system and buy a particular thing that you’re after. One improvement for this system would be the use of a trial of a certain upgrade (even just a one time trial would be useful) as the cash I’ve spent has, honestly, been completely wasted. That’s on me though really, I should’ve probably looked into them a bit more before laying out my cold hard in-game currency.
Again I preferred to stick to my anti-titan build for both my pilot and titan, although the delineation between specs of titans is somewhat murky in Titanfall 2. The reasoning for this is pretty simple: titan damage and take downs charge your abilities way faster than pilot or AI kills do. Of course this means early game is a bit hit and miss, especially if the other pilots are heavily anti-pilot geared, but afterwards it usually means that I’m rarely without my titan. Of all the titans I tried the Tone seems to be the overall best, having great all round capabilities and not as many drawbacks as the rest of them seem to have. It does require you have a bit better aim than some of the others but honestly the hit boxes are so generous in Titanfall that I don’t think many would struggle with it.
Whilst the overall experience in Titanfall 2 is bug and crash free there is one irritating aspect of it that has caught me out multiple times. If you’re inside a room and you call your titan it appears that whatever determines the fall location doesn’t clip with certain walls. This means that, if you position cursor in the wrong place, you can end up spawning your titan all the way on the other side of the map. This can sometimes be the difference between getting your titan instantly and losing it to the enemy team since it’ll become active and start ploughing head first into them with the usual AI tactics. I’d much prefer a “titanfall out of range” error or something similar as it has happened often enough to be something of an issue.
Titanfall 2 is a most worthy successor, building on all the great core aspects of its predecessor whilst addressing many of the issues that the community raised. You now have a full single player campaign, one that you can actually get engrossed in rather than distracted by. The expanded multiplayer experience is much welcome and the promise to provide free DLC packs in the future will go a long way to ensuring the game doesn’t become a graveyard. Titanfall 2 is definitely one of those rare sequels that manages to markedly improve on its predecessor, no small feat given the high bar the original set. It will be very interesting to see how this game tracks in the coming months given its rather interesting release date that was smack bang between two other heavy hitting AAA titles.
Titanfall 2 is available on PC, Xbox One and PlayStation 4 right now for $79 on all platforms. Game was played on the PC with 13 hours of total play time and 68% of the achievements unlocked.