Category Archives: Reviews

Crossout Review (PS4)

Crossout is the latest in the free to play genre of vehicular battles published by Gaijin Entertainment. Much like War Thunder or Star Conflict, in essence you are customising a vehicle then taking it into various PvE or PvP modes that don’t last too long, where you only have one life to get as many kills as you can or complete simple objectives, before taking your rewards and moving on to the next. The essence of these games is the progression, the idea that with every match you are moving closer to a more powerful machine, until eventually you move on to end-game PvP where all the customisation in the world is open to you. Or of course you can simply pay to get there quicker.

Crossout’s unique selling point is just how far that customisation goes. Taking inspiration from Mad Max and perhaps even Vigilante 8, in this you take control of cars, trucks and even small tanks that appear to be cobbled together from scrap pieces of other vehicles. In your garage you can build up these vehicles piece by piece, rotating and painting each part and then bolting it on to create something as intimidating or ridiculous as you’d like. Somehow your creations rarely look like some sort of Minecraftian monstrosity, instead they all fall within a wider aesthetic of grime and rust that makes them look ‘right’ somehow.

It’s hard to overstate just how far the customisation can go. We’ve built tanks that are compact and hide each weapon effectively. We’ve also buillt trucks with all our guns on one side, then an arm sticking out to the other with a giant wall of metal and spikes on it. Of course all of this affects the handling and where your weapons can fire, but that’s part of the fun. Do you want tonnes of armour that might get in the way of your guns? Or do you want something hyper-mobile that can escape quickly? You can only add so many parts to your vehicle (this limit increases as you level up so you’re not too overwhelmed initially) but within that there’s plenty of scope.

Once you get into a game, it’s surprisingly strategic rather than the chaos you might expect. Your guns are aimed by the analog stick (or mouse on PC) and you can shoot individual parts of enemy vehicles. You could go for their wheels to disable them, go for their weapons to disarm them, or just go straight for the hull to take them out quickly. Often in matches you’ll find yourself spinning around with one wheel left and a single weapon, trying to work out what you can do to keep helping your team. If you want you can put explosive barrels on your truck, making it a dangerous proposition for enemies with close range weapons to attack you. Having your machine guns stripping shards of armour off your opponent is immensely satisfying and gives every single weapon in the game a huge amount of weight and impact.

Of course, this being a free to play game, microtransactions are always going to be a sore point. For the purpose of this review we were granted two founders packs, and it’s undeniable that they gave us a huge advantage in early matches. Everyone else had a truck with three machine guns on while we had a tank with a 30mm cannon and two solid machine guns. Pay-to-win is definitely a thing in this game, as in the lower brackets if you’ve spent money you simply will be more powerful. The longer you play, the less important this becomes, as everyone gets randomised loot from matches and will start finding the same things you paid for. That being said, if you want to get a lot out of this game you will be spending money. The grind is so slow, it’s hard to get much value out of the game for the first ten hours or so. Games get repetitive and you’ll be itching to get your hands on some more significant firepower sooner rather than later.

We don’t see the need to pay some money as a negative thing. If this game was £40 we’d be recommending it in a heartbeat. If you spend that kind of money on it you’ll be well placed to level up while having fun and feeling powerful, you can realistically get away with spending far less. This game is definitely fantastic value for money, just don’t expect it to be completely free-to-play and still get the same enjoyment out of it as others do.

Our only real complaint with the game is the graphics on console. We played this a long time ago in the PC alpha, and it looked phenomenal. On the consoles textures are bland, geometry is simple, and particle effects are dull and flat. While the vehicles have interesting (player made) designs, this simply isn’t a good looking game. You forget about that as soon as you really get into the game, but it’s a shame when the PC version can look so good.

In conclusion, this is a fantastic entry into the vehicle combat genre. If you like War Thunder, World of Tanks, or Star Conflict, you need to take a look at this. Thankfully it’s free-to-play so you can try it and get a long way into it without paying a penny, but if you want to get the most out of it, perhaps stump up a little cash for one of the starting packs.

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Injustice 2 Review (Xbox One)

Last year Street Fighter V came out and many of us (including me) were shocked at just how little content it offered. This was a game created almost purely for the hardcore tournament goers, no single player to speak of, no progression, just a roster of character and a solid offline multiplayer and slightly shaky online. For people who are really into fighting games, that might be all they need, but for the millions of casual fighting games fans around, it felt far too sparse. Enter Injustice 2, possibly the most generous fighting game I’ve ever seen.

For starters, Injustice 2 is a direct sequel to the first game. While the roster has changed (lots of heroes have been taken away including Zatara, Lex Luthor, Doomsday, etc) the campaign follows on directly from the first game and the fighting systems are all intact. You still build up a super meter that can be used to augment attacks, bet on a wager, or unleash your super-move; you can still hit people off the stage into a new one; you can still interact with all kinds of things in each area (if you want, all of this is customisable).Anyone familiar with how the first one played will be instantly at home, but there are some new toys for anyone who was put off by the simplicity of the first game.

Now that super meter can be used for something much more technical than just adding damage to your moves. You can now use a bar of it to do a counter mid-combo to make sure you always have a chance to break free. This is a combo-heavy game and the ability to do an air-counter when you’re juggled into the air is an absolute godsend as some characters can destroy you as soon as they bounce you up. This new feature seems to make the game a lot fairer and even online all of my games have been incredibly close, with far fewer whitewashes just because someone gets control early on.

Of course all of this doesn’t mean much if you’re just here for the fancy fighting and characters you know, and that’s where the campaign really shines. It might be cheesy and over-the-top, but it manages to fairly intelligently weave in every major character (except the pre-order exclusive Darkseid) into a plot that sees many of the DC heroes facing off against Braniac and a collection of the villains. If you haven’t played Injustice the roster might be confusing, with Superman now a villain in prison and Harley Quinn on Batman’s side, but with a couple of YouTube videos you can catch up quickly and enjoy the ride.

The campaign is a series of fights with cut-scenes in between and the occasional choice of which character you’d like to fight as. The cut-scenes are fantastic with some spectacular set-pieces and outstanding facial animation. The characters sometimes look a little odd, but the animation on characters such as Gorilla Grodd and Braniac sets a new bar for in-engine scenes.

Speaking of the characters, no-one can accuse the developers of playing it safe. Alongside series stalwarts like the Justice League, the Joker, and Bane, we’ve now got a group of new additions from characters made popular by recent TV shows (Supergirl, Captain Cold, Firestorm, Gorilla Grodd), classics of the comics who aren’t given enough screen time (Swamp Thing, Darkseid), and some strange characters who I’d never heard of before (Cheetah and Atrocitus). The roster is incredibly diverse with no two characters playing the same. There’s no group of ‘heavies’ anymore, each character has their own quirks and ways of holding control, from Grodd’s incredible rushing potential to Deadshot’s extreme zoning.

All the characters also have a tonne of dialogue with specific lines for every single match up, often with references to the comics or films. Some of the designs are perhaps less convincing this time around, with the Joker being more inspired by Leto’s Suicide Squad version moreso than other popular takes on the character, and Green Arrow oddly going for the classic comic version rather than the TV show. Still, there’s always the potential for new skins and I sincerely hope (I can’t believe I’m saying this) there’s a bunch of DLC packs for skins in the near future.

To top off the progression system there’s a huge number of collectables that serve as gear on your characters. If both players agree this gear can be used in multiplayer, boosting stats as well as having a visual impact. If you like the stats of one piece (and there are hundreds of different items) but not the look, you can even transmogrify everything to keep the look and shaders you want, but with the bonuses you need. The idea of having stat-enhancing gear sounds terrifying, but so far online it doesn’t seem to have too much of an impact as most of the boosts are relatively minor or only activate until very specific conditions, like never jumping, or being in a certain part of your health bar.

To get all this gear you unlock loot boxes, which are liberally given out through the campaign, levelling characters, levelling your profile, or possibly my favourite thing about the game, the Multiverse. The Multiverse gives you loads of sets of challenges that rotate on timers, from hourly, to daily, to weekly. If you finish a challenge (with interesting mutations like being able to call in Constantine to help, or both players being able to heal by collecting pickups) you get gear and box and xp rewards, and can face off with other players on leaderboards. This means there’s constantly more things to do and if you just fancy a quick fight without the pressure of fighting online, there’s always plenty for you to do.

Of course there’s even more to this game that I haven’t really mentioned. There’s a guild system, there’s progression challenges, different difficulties, a whole season of DLC coming and built-in tournament options. It’s basically everything you could ever want in a fighting game, with gorgeous graphics, a fantastic roster, and engaging mechanics. If you’re into DC, or fighting games, this is an essential purchase.

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The Surge Review In Progress

So I haven’t finished ‘The Surge’, because it’s really hard. The first boss kicked my ass four times before I bested it, then strange quadruped monsters ripped me to shreds so much we stopped playing. I’m sure I’ll heads back into it tomorrow, but I thought I’d share my thoughts on the game so far here ready for the game’s launch.

If you’ve heard that The Surge is made by the studio behind Lords of the Fallen and it’s set in a futuristic dystopia that features a lot of mechs and robots, then you’re pretty far into understanding everything about the game. There’s definitely a lot of innovation hidden away in the game mechanics, but this game is never going to escape the label of ‘Dark Souls in Space’ – at least until From Software bring out a proper sci-fi game.

I won’t spoil the opening, but early on you are strapped into a mechanised suit that greatly enhances your strength, then everything goes horribly wrong and you’re left for dead in a strange industrial complex where husks of people completely taken over by their mechanised armour roam the environment just begging to tear you limb from limb.

The early enemies are fairly simple to dispatch, either buzzing little drones that can be blocked, enemies with simple blades that can be dodged, or heavier enemies with giant hammers of fast dual blades. All of these have around three attacks each, and once you’ve got the rhythm down, you can dispatch them surprisingly efficiently.

The big headline feature of the game is the ability to target specific limbs. Once you’ve locked on quick flicks of the right stick target individual parts which will be highlighted yellow if they’re armoured and blue if they’re vulnerable. Vulnerable limbs obviously cause more damage, but making the system interesting is the fact that by chopping limbs off your enemies, you can get pieces for your own gear. So if you need a new helmet, get cutting those heads off, want a new weapon? Go for their arms. If you build up enough energy while attacking an enemy’s limb, you can do a spectacular finisher and sever it from the body, getting you something nice in the process.

Once you start getting mods that give you bonuses for finishers, each fights becomes a tactical little game of risk vs reward, where you want to get the most health back, metal (xp), or a quick kill, and you need to decide where to attack and how to finish them to achieve that.

The rest of the game is very much like Dark Souls, you have hubs (bonfires) where you can spend metal (souls) to level up or craft/upgrade gear. Out in the field you drop your metal if you die, but you can go back within two and a half minutes to collect them as long as you don’t die again.

Missing from this title is co-op, in Dark Souls if you get stuck on an area you can summon a phantom to help you out. In ‘The Surge’ you’re sticking it out on your own. This can be a good thing, after our fourth death on the first boss, we probably would have called in a summon, but we gave it another go and managed to kill it, barely getting hit in the whole fight.

Of course, while the game owes a lot to Dark Souls, it would have to be amazing to stand alongside it, and it’s not quite there. That first boss fight featured only a handful of moves, and once you worked out a safe pattern it took many minutes to take down, doing the same thing over and over. It lost its magic and just became an exercise in maintaining my concentration to take it down. The combat is definitely satisfying (and there’s some terrifying enemies we still haven’t been able to take on so the alternate routes are a blessing) but it does feel almost unnecessarily punishing when the ops centre shortcuts are a long way apart from each other and a single mistake can easily get you killed, forcing you to repeat the same (not very fast) fights over and over.

The environments are also less interesting so far, with every room being a variation of ‘factory room number one’. Once I saw a tree and that was pretty exciting, but otherwise it’s been a soulless (no pun intended) jog through generic industrial areas. It’s not that the graphics are bad, the enemy design is good and the animations are pretty great, but the overall art direction is unbelievably bland, in a similar way to how Lords of the Fallen couldn’t hold a candle to the worlds of Dark Souls.

If you’re after another Dark Souls fix, this is definitely a great buy. It’s super cheap on CDKeys (check the link in the sidebar if you want to get us some affiliate pennies) and it’s definitely a worthy challenge. That being said, it’s definitely not of the same quality and is unlikely to stick in your memory once you complete it. Other than the opening, which is great and I can’t spoil.

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Rick and Morty: Virtual Rick-ality Review

If you’re a fan of Rick and Morty and have a HTC Vive, chances are you’ve already played Accounting. If not, go play it, it’s ok, I’ll wait.

Right, great wasn’t it? From the writers of Rick and Morty, Accounting combined their zany and tasteless humour with some interesting uses of the VR medium to create something truly special. Virtual Rick-ality promised to be an authentically Rock and Morty experience in the same vein, and that’s exactly what it is. It’s just a shame that Accounting was actually better.

We won’t spoil anything but in Virtual Rick-ality you are a character within the Rick and Morty universe and the whole game takes place almost entirely within Rick’s garage lab. There’s three areas you can move between, and there’s even a mechanic to interact with things you can’t reach, but can see. The game is very aware of its own limitations, highlighted by restrictions like trying the door to get out of the garage, only for the door handle to fall off.

In the garage you can interact with plenty of objects from the show, most of which work exactly the way you’d expect them to. There’s plenty of hidden items in the way of tapes that can be played, and there’s loads of hidden achievements for doing particularly strange things with the tools at your disposal.

There’s also a campaign of sorts, a series of missions and quests that involve you searching the garage for the right tools, or taking part in a few minigames. Some that involve shooting are pretty dire, like the most bare-bones shooting VR games, one that involves a kind of Simon-says is actually a lot of fun and could almost be a game by itself.

The thing that holds this title back is that you’ve seen it all before. Despite VR being a relatively new medium for gaming, this title seems to borrow lots of other ideas without really introducing its own. The licence is leaned on heavily to make stale mechanics feel fresh, but even the writing just feels like a Rick and Morty clip show, with beats from episodes of the cartoon, rather than a real story in its own right. Generally the jokes are likely to raise a smile rather than a laugh and just like the Simpsons 3D games, seeing Morty’s family in three dimensions is unnerving more than it is familiar.

There’s some little moments in this title that any Rick and Morty fans will really enjoy, particularly the inclusion of a reasonably hefty game within the game, and once you’ve finished the campaign you have access to everything to do what you want with, but after the two or so hours you’ll spend with it, there won’t be that much more you want to see.

For £22.99 – there’s not a lot of value in this title. Two hours to see almost everything and no incentive to go back to it after that. I imagine there’ll be a lot of Steam refunds because it’s possible to get everything you’re ever going to get out of it so quickly. This feels like a missed opportunity. If this was a single episode, with more taking part in other locations, or if there was some kind of multiplayer side based around the multiverse, they could have made something really special, but this is just another little VR sandbox to play with, but this one happens to have a hefty price tag attached to it.

If you’re a big Rick and Morty fan, wait for a sale, if you’re not interested in the show, this is a VR title you can safely give a miss.

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Mr. Shifty Review (PC)

Mr Shifty is much, much easier than its clear inspiration, Hotline Miami. Thanks to your ridiculously overpowered ability,  there’s only a couple of rooms in the whole game that gave me any problems. That being said, there’s nothing wrong with some serious power tripping in video games.

If you’ve seen X-Men 2, you can understand the main innovation in Mr. Shifty, you can teleport just like Nightcrawler. Your bamfing is even accompanied with a little puff of smoke, and you can do it five times in quick succession before it needs a few seconds to recharge. With this ability you can charge headfirst into full rooms of enemies, all pointing machine guns at you, and dispatch them all before they know what’s happened. Bamf. Punch. Bamf. Punch. and so on. Over the course of the game you also find a variety of melee and thrown weapons that can help you out like a broom, a metal pipe, a shield, and even a trident.

The whole game only took us just under three hours to beat, but that was in three sittings and we loved every second of it. Levels are short and most stages introduce some kind of new mechanic like new enemies or traps. The levels ramp up just after they’ve introduced a new idea so, for example, when you first find proximity mines you have all the time in the world to figure out what sets them off and the fact you can pick them up and throw them once they’re activated. Within a couple of levels you’re sprinting at full pelt through a minefield, grabbing one, teleporting through a wall into a room full of enemies, throwing it on to someone’s chest, teleporting back in to the room that just exploded and watching the enemies disintegrate. Moves like this are surprisingly common in the game.

The whole thing is played from the top down perspective, similar to Hotline Miami, but it doesn’t have the same visual style. The animations are quick and sometimes impressive, and the fact that bodies will stay on the floor even when you return to an area is a nice touch, but it’s not a spectacular game and you’ll be hard pushed to remember anything about what even the main character looks like once you’re done.

Everything from the music to the dialogue is incredibly generic for a video game, I think on purpose, and this gives it a certain blandness which is unfortunate when the main mechanic of the game is so engaging.

If you’ve got a spare afternoon and £10 free, Mr Shifty is definitely a worthwhile play. It might not be a classic but we really hope we see this mechanic return for more games.

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Yooka-Laylee Review (PC)

Originally we expected Yooka-Laylee to be the next best thing to Banjo Kazooie Threeie. Turns out it’s defiantly a game of it’s own, and stands up against Banjo-Tooie without relying on it for the sake of Nostalgia.

Taking heavy cues from the N64-era of games where genre conventions were basically set in stone, Yooka-Laylee will be immediately familiar to anyone who played games like Banjo, Super Mario 64, or Donkey Kong 64. You have a central hub world, and from this you can travel to other worlds via books assuming you have enough pages (think stars or jiggies). In each world (and the hub) you can complete a range of challenges to get more pages, or you can gather the hundreds of feathers. You can also upgrade your abilities as the game goes on, gaining access to new areas.

The core gameplay is very reminiscent of the old games, but the level of polish demonstrates how Playtonic have made a modern entry into an old genre, rather than just making an old game in the modern era (like so many 8bit indie games are doing lately). You can jump, glide, roll, and spin attack and it all feels just right, with just enough extra movement to give the illusion of weight and just the right height to the jump to makes distant jumps feel impossible even when they aren’t. The abilities you can upgrade get a little confusing, but all of them make previously difficult challenges much easier, allowing you to go back and get even more out of previously-completed levels.

Speaking of this, once of the new features in the game is that you can expand each world. When you first enter a new zone it will seem huge, and have a full compliment of challenges, pages and feathers. Go back outside and spend a few pages and you can expand the zone, often to double the size. It’s an impressive mechanic and sometimes a little dismaying when you think you’ve nearly completed an area only for it to grow immensely (and often vertically).

The music is another accomplishment for Playtonic. It’s all original, but has the same uplifting jauntiness that we came to love from the music by Rare (I still have the Diddy Kong Racing theme stuck in my head nearly two decades later). The graphics too are extremely polished with particularly good character models and draw distances. Of course on PC everything is as customisable and you’d expect – this definitely isn’t a shoddy console port.

The only real issue we have with the game is the camera. During some of the games more challenging sections (usually involving a boss or big fight of some kind) the camera has a tendency to flip around, ruining the way you move. This was an issue for Super Mario 64 and I’d like to think that we’ve progressed since then, but the exact same problems are rearing their ugly head. I’m not sure if this could be fixed with a patch, but for now it’s a mild annoyance that only crops up during a handful of sections.

Overall, Yooka-Laylee is everything I wanted from this game. It’s good enough to deserve its own franchise and in many ways replace Banjo Kazooie rather than simply exist as a homage to it. Looks like Playtonic really are Rare reincarnated, and that can only be a good thing.

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Stationeers Preview

Yesterday, at EGX Rezzed, we go to go hands on with Stationeers and speak to the man behind it all, Dean Hall. For those who haven’t been following RocketWerkz, Dean Hall is the man behind the DayZ mod for Arma II that eventually became the DayZ game on Early Access. Unfortunately remembered for broken promises, an incredibly long development cycle, and Hall leaving the project unifinished, it’s easy to forget just how amazing DayZ is. A huge open map, realistic combat, the constant risk of losing everything not just from a stray sniper, but from hunger, cold, or thirst. We put over 500 hours into the DayZ mod and another 100 into the full game, mostly because the player interactions were unlike anything else. In the early days of the mod, people didn’t just kill on sight, people would trade, gang up, help each other, and even travel across maps to fix someone’s broken leg. Some of our favourite gaming moments came from the emergent gameplay afforded to us by Dean Hall trying something different, and it looks like he’s going to try again.

His new company RocketWerks have taken the approach of not wanting to show anything until they have something to show, and it’s worked. In a small room in the basement of Tobacco Dock, London, Hall and two other developers from the six-man development team stood near four computers running their latest game, Stationeers.

In Stationeers you are in charge of building and maintaining a Space Station. The graphics are simple and blocky, but that’s purposeful, it takes attention away from what looks realistic and focuses on what matters, the systems. In Stationeers as much as possible is properly simulated. The space station itself doesn’t move through space, it’s on a fixed plane and everything else moves around it, and as this is a very early version of the game, plenty of systems are quite there yet, but as a proof of concept it’s enthralling.

As I sat down to have a go I found I was in some kind of engineering room surrounded by pipes and what looked like large pumps or boilers. On every machine and on plenty of the pipes there were readings, describing the exact pressure inside them. There were loads of numbers that I didn’t know how to interpret alongside complex interactions of conveyer belts, machinery, and supporting structures. Hall explained that the idea behind the game is to not take the player out of game too much by giving them information directly. Instead things must be read from displays. If you can’t work out why not enough Hydrogen is being provided to your water creation, you need to find where the pressure is dropping. Perhaps a valve has been left open, perhaps it’s being re-routed somewhere else, perhaps you have an unfinished pipe leaking into space.

Currently the game is strictly creative mode, there’s no way to get new raw resources, but you can refine them using the machines. Different elements react and combine in the way you’d expect so you need to be careful about the oxygen mix in the air, or hydrogen leaks leading to catastrophic fires.

The game we were playing had four people all in one server, but I was assured they’ve got it working with up to 16 players so far and are still finalising how big they want these servers to be. As I pottered about exploring the station I regularly game across the other players doing their own thing and editing the station as they saw fit.

I opened up an airlock and went for a float outside. Seeing a long tunnel of girders I ventured inside the end and travelled up to what looked like an airlock that was holding back a great deal of fire. “You probably don’t want to go in there” a dev explained, ” that guy’s trying to build a railgun.” Another guest at the show had apparently spent most of the day before and all of that day stuck to the game, seeing how far he could push the simulation. He had built up a huge amount of energy and pressure within one compartment then used an airlock system to load some shot (in this case some loose canisters) into the ‘barrel’ and a final airlock to hold it all in while he built up the required power. I rush out of the barrel and took a vantage point a little way away. Quickly a mass of blue fire enveloped the space station, what he was doing was incredibly destructive, but impressive. The fire raged through the compartment, built up to the airlock, then when it was remotely opened, canisters fire at speed out of the barrel. A success! As I was marvelling, the shockwave hit me and sent me tumbling a little bit backwards.

It’s not all 100% scientifically accurate (yet), and many are going to be wary of any promises that Hall makes, but I’m already eager to put my money in for Early Access. It’s a fantastic project and what little there already is would be more than enough to provide hours of entertainment to anyone with a mind towards experiments. Here’s hoping the world of internet negativity doesn’t stifle this kind of creativity in games development. Yes Rocketwerkz might be taking a lot of risk, but I’m glad they are.

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Super Bomberman R Review (Nintendo Switch)

Super Bomberman R might be the first game I’ve ever reviewed where I feel like the police should probably get involved. This game is a crime and should be avoided at all costs.

First some context, after our Switch was delivered on Friday alongside Zelda I took a trip down to Sainsbury’s on a console-launch-day whim to get some more games. I wanted something multiplayer so I decided on 1-2 Switch and Super Bomberman R. 1-2 Switch is already overpriced at £34.99 (it should have been included with the console) but Super Bomberman R was £44.99. When I saw that price tag something strange happened in my brain, I came to the conclusion that somehow price and quality were linked. I thought the single-player campaign must be substantial to warrant that price tag. I thought that the online and local multiplayer must be at the very least a competent ‘best-of’ from the many iterations in the series. I was very very wrong.

Launching into local multiplayer with my wife, we were immediately struck with the distinct lack of options. You choose the basics like the number of lives etc, then you choose an arena (from a selection that looks poorer than the SNES version), then your bomberperson. The bomberpeople are all given strange superficial characters so there’s the noble white one (I’m sure someone could write an angry Tumblr post about that), the arrogant black one, the violent red one, the sleepy blue one etc. They have no real personality beyond their single trait and this is demonstrated by their singular facial expression and annoying voice clips before and after matches.

Launching into our first game, it was hard to understand how this game came to be. Visually it looks about on par with the N64 version, albeit at a higher resolution (what looked to my amateur eye like 720p) but the background behind the maps is like a horrible stretched 2D image and the arena, although built out of 3d polygonal blocks, is made up of stretched and repeated textures. Imagine what a Bomberman game would look like if an 11 year old learning to code decided to make an Android port for phones from 2013. It looks worse than that.

Once the game began we realised the ugliness is more than skin deep. The framerate is atrocious, running at an aspirational 30fps that it usually falls well short of during important moments (like when bombs are going off). This really does have a significant impact on gameplay and is what makes this version impossible to recommend over its predecessors. This isn’t just the worst Switch game, it’s the worst Bomberman game I’ve ever played.

In desperation I turned to the online multiplayer, thinking somehow local play was just broken, but the online multiplayer is the same, with lag on top of it. Every time you finish a game you are kicked back into matchmaking (no finding a lobby to stay with all evening) and the only kind of progression you get is based on gaining points in a linear fashion to move you up through the leagues. You start in Baby League B and if you win a game, you get some points towards moving up. If you lose, you don’t lose any points, you just get nothing.

The single player campaign is a similar disappointment. Wrapped in an offensively terrible Saturday morning cartoon wrapper with poorly animated cutscenes, the game is split into six sets of levels (we assume, we only completed the first set) followed by two boss fights. The levels themselves take place in barely-modified arenas and you are tasked with either killing all of the enemies or pressing a number of switches. There’s no AI to speak of, the enemies just move in a semi-predictable fashion, with the randomness being present just to make sure this game doesn’t have any value as a puzzler. Instead you just do the same thing over and over, putting bombs down to trap enemies, until you’ve killed them all. Do that a handful of times and you get to fight the first boss, an evil bomberman who has some kind of special power. The first one has magnet bombs that technically are attracted to you, but you barely even notice because your own bombs stop them. This mechanic didn’t change the fight at all, and instead it was just a matter of playing until the AI got itself stuck near one of your bombs (or one of its own). After that there was an almost-interesting boss fight in an open arena against a giant spider robot. Even though the arena was open your bombs still fired off in a grid, so you had to place bombs to take out its legs while avoiding getting killed yourself.

If you do get killed in the campaign, you simply restart the level, until you are out of lives. If you run out of lives you can continue with a new set of lives if you spend 300 of whatever the currency you get is. This currency can also be spent on cosmetic items (things to go on your head that all look like they were lifted from a poundshop Nintendogs catalogue) and is earned painfully slowly through online multiplayer matches. Hopefully you’ve immediately realised the problem that should have occurred to Konami. If say, a child, wants to progress through the campaign and dies a lot (perfectly reasonably thanks to the input lag caused by the unstable framerate), they can’t continue until they grind out enough credits through the online multiplayer. The multiplayer that is terrible and will be locked behind a paywall for Nintendo’s online service in Autumn. It’s like they tried to ruin this game.

This is without a doubt the worst game I have ever reviewed. It’s a complete scam and represents all of the worst things about the gaming industry. It’s a cash in to take advantage of nostalgia and the weak launch lineup priced far too aggressively with zero creative ideas or technical prowess. This game is an abomination and Konami should feel bad.

 

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The Wonders of Werewolves Within on PSVR

Werewolves within is an adaptation of a board-game where you sit around a campfire with seven other people and lie to them. It’s also the best game currently in VR.

 

Taking the general structure from games like ‘One Night Ultimate Werewolf’, Town of Salem, and Mafia (the card game, not the open world video game), Werewolves Within has a devastatingly simple premise. Eight of you are all given roles in secret, each with their own (individually useless) power, and you have a few minutes to work out who is lying and actually a werewolf.

There’s no visual signs to look for, no way of knowing for sure who you can trust, just a random selection of weak powers and your own powers of deduction, and a lot of name-calling and the occasional spot of begging.

Balance is key in any multiplayer game and although there’s a random element that can stack the odds for or against team werewolf, there’s very rarely a game where you can be absolutely sure you’ve made the right choices. The Saint, for example, does get to know exactly who one of the werewolves is, but if the werewolves all vote for him, the werewolves win regardless of whether they die or not. This leads to a precarious game where you try and push the rest of the group in the right direction, while keep your true identity a secret. It forces you to lie, which makes you suspicious, which might make the village inadvertently turn on their only saviour. Houndsmen are powerful as they can whisper with the players either side of them and discover their true roles, but the werewolves have the exact same power, so you can never be sure if a houndsman is really who they say they are.

Every game starts with the group going round in a circle announcing their roles and inevitably some people will claim the same role. What do you do if someone claims your role? They could be a werewolf, so you should get everyone to vote for them. They could be a Turncloak, who is working with the werewolves but wins if they die instead of the werewolves. They could be a deviant, who wins if they get killed. They could be the saint! It’s an incredibly complex psychological game that runs lightning fast thanks to the simple rules and fantastic community.

Players quickly learned to adopt certain unenforced rules, like everyone praying at the start to hide who the real saint is (they have to pray to find out who the werewolf is). While the community is small (you’ll often run into the same players night after night), that leads to friendships and vendettas. I play nearly every night and I know who’s a good liar, who’s a lot of fun, and who to avoid.

Thankfully the number of players you want to avoid is incredibly low, as players can be kicked at any time. People who are racist, homophobic, or just can’t play by the rules get kicked mercilessly, leaving lobbies full of like-minded people to play with.

In terms of the actual VR, it’s used in a subtle but effective way creating an effect you couldn’t really get any other way. Only your head is tracked, and whenever you talk your mouth moves and your character gestures. It’s surprisingly convincing so it’s easy to tell who is speaking and who people are looking at. You can also use a set of emotes if you’d like to emphasise a point or hint at someone. All of the games take place in various different environments around a small town, and while they become quite repetitive, they’re appropriately atmospheric and well designed.

If you’ve got a PSVR, Oculus Rift, or HTC Vive, you owe it to yourself to try this game. It’s entirely a seated experience, the VR will never make you the slightest bit nauseous, and the gameplay is almost entirely unique to videogames (Town of Salem is a little similar). Check out the video at the top of the page if you’d like to see a game, then come and join us to hunt some Werewolves!

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Titanfall 2 Review (Xbox One)

We’ve been excited about Titanfall 2 for a long time purely because it’s a sequel to one of our favourite multiplayer FPS games of all time. That being said, we were worried. We’d been on holiday over the beta so had missed out on that, and with Battlefield 1 being released a couple of weeks ago (and being excellent) and Call of Duty coming out a week later, we thought it might get buried, forgotten, and ignored like so many brilliant games that were released at the wrong time. Thankfully Titanfall 2 is being to shine through it’s unfortunate (or incompetent on the part of EA) release window and has actually managed to drag us away from Battlefield. Titanfall 2 is everything we wanted and so much more.

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The multiplayeris very similar to the first game in nearly all the right ways. You still fight over control points, or kill AI opponents, or capture flags, or kill enemy players in order to get points. As you gain points yu also gain percentages towards your Titan meter. At a specific point on this meter you unlock a boost like a Smart Pistol (no longer a normal equippable weapon) or a turret or mines. Once the meter reaches 100%, you can call down your Titan. The Titans make exactly the same sounds and visual impact on the game as they did before and I genuinely can’t see what Respawn could have done to improve it. Screaming from the sky in a fireball of cloud and steel they smash into the ground and await your instructions or get ready to help you climb in. Jumping into your Titan is incredibly empowering. You go from an agile but flimsy weakling darting around the battlefield to a 30ft tall death machine. Obviously as the game goes on other players will get theirs too and it quickly separates into a war of two fronts with pilots duking it out in the buildings and on objectives while Titans do their best to gain map control and prevent the pilots from going around their business. When it works and your team manages to keep a few titans while destroying all of your opponents’, it feels amazing. Suddenly you can lock down the map and quash any resistance.

Of course Respawn didn’t want that to be the end of a round so now pilots have even more abilities designed to help them get around and avoid the Titans’ attacks. There’s a grappling hook that lets you clamber up ledges and onto Titans quickly, a phase shift that lets you shift out of real space for a while and then reappear at another point, and even a decoy that will run ahead of you and hopefully confuse the opponents into shooting the wrong way. Games of Titanfall never get boring and there’s always something to do or a problem to solve, within short spaces of times it’s amazing how quickly you transition between different tactics and strategies alongside a team you’re not even speaking to, from armoured warfare to guerilla defenses to free-running sprints across the map. Even when you lsoe a game the desperate sprint to the (now much more fragile) escape dropship feels exciting and meaningful.

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In terms of what’s new for Multiplayer, there’s now six Titans instead of three, but you can no longer select the weapon for them. There’s still a 40mm cannon attached to Tone who plays the most like the old Titans, but then there’s some interesting new takes on the machines like Scorch who can set down petrol bombs ready to ignite large areas, or Ronin who can dart around and phase shift then lay waste to enemies with a giant sword. It might not be practical or realistic, but it looks amazing.

The weakest part of the multiplayer offering is definitely the maps. Although the layouts are quite interesting and work well, visually they’re very dull and nowhere near as good as those found in the base game. Thankfully Respawn have said that all future maps will be free, so perhaps they can change things up with DLC, but at the moment every map essentially feels like a series of boxy buildings. One has caves and a crashed ship, and one is in a giant building, but the rest are all pretty forgettable. We’re also a little annoyed by the lack of viewable stats, but it’s understandable that Respawn didn’t want people working to improve their K/D ratio at the expense of the rest of their team as happens so often in Call of Duty and Battlefield. At least having some basic stats like kill streaks and win percentage would be really useful.

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Now the most surprising thing about the game package is the single player. The original Titanfall didn’t even have a single player – it was purely multiplayer combat, but Respawn decided to do more than just dabble with a campaign and have created a short but incredibly impressive story that doesn’t just help to explain what’s going on in the Titanfall universe, but actually makes you care about the characters. The level design is top notch with each mission introducing you to a new mechanic or tool that feels natural to use in the situations you are presented with. Interestingly there’s plenty of platforming involves in the campaign and trying to find some hidden helmets that serve as collectibles is actually one of the most entertaining things we’ve done in a game this year. The free-running puzzles involves have been far more engaging then the entirety of Mirror’s Edge Catalyst.

Overall Titanfall 2 is an absolute no brainer for anyone who enjoyed the first game. If you’re new to the series this is a refreshing and entertaining take on the FPS genre and easily up there in terms of quality against the big hitters. We only hope it survives well enough against BF1 and COD to warrant a Titanfall 3.

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