Frivolous Waste of Time

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Archive for the category “PS4 Games”

Shantae: Half-Genie Hero for Switch, Wii U, PS4, PS Vita, Xbox One and PC

I’ve never played a Shantae game before, but I’ve been aware of the series ticking over on a range of Nintendo consoles. Shantae: Half-Genie Hero has an abundance of charm, but ultimately lacks the depth or the tightness of controls needed in the best platformers.

Shantae is, as the title suggests, a half-genie, who protects her town from a range of menaces, most prominently her pirate nemesis Risky Boots. This game focuses on Shantae helping her uncle build a strange machine, as well as uncover some of the secrets of her origin. Half-Genie Hero is a soft reboot and entirely understandable if you haven’t played the previous games. The writing is very self-aware and quippy in a way which treads a very fine line between irritating and endearing. It just about landed on endearing for me, but I suspect lots of people would feel differently. Expect lots of jokes about the game industry and DLC, but it’s the simple but likeable supporting characters that made Shantae’s story a bit more engaging.

Half-Genie Hero, for all its charm, somewhat stumbles out of the gate. The core platforming is pretty unsatisfying, awkwardly floaty with pretty straightforward level design. There are people out there who can tell you exactly what constitute tight controls and strong platformer design and I am not one of those people, but I know it when I see it. The lack of ingenuity in the level design is masked by the charm and style of the environments as well as the range of transformations Shantae can perform. By the end of the game, Shantae had access to eight different transformations with different abilities. Examples include a monkey which can climb walls, an elephant which can smash blocks and a crab which can scuttle around underwater. Transforming to get around is fun and I liked the surprising range of abilities available to Shantae, but I’d prefer fewer transformations and better platforming. One element I did really like were the boss battles; which were generally clever and epic and an area where the game really excelled.

The basic structure of the game annoyed me. You regularly return to a core hub town, where you can purchase upgrades and talk to the locals. Between the levels you will usually need to take part in a Zelda style trading quest, with the items you need usually hidden in previously beaten levels with areas which can now be accessed with new transformations, adding a light element of Metroidvania to the proceedings. I do love a good trading quest, but this felt more like padding than anything else. There aren’t actually that many levels in the game, so Half-Genie Hero seems to feel the need to extend the run time artificially. When returning to the levels you are rarely given a new or fun challenge, it’s more likely going to be crabbing around on the sea floor picking up collectibles, or climbing a tower and elephant stomping on flowers to pick up collectibles and blah blah blah. Games for which the genre are named, Super Metroid and some of the latter Castlevania games, take place in a singular world and the approach doesn’t work nearly so well in discreet, linear levels.

For all I’m complaining, Shantae really is a lovely looking game. The art style is bright and clean and the characters are full of life, constantly moving and jiggling around. My favourite was the zombie girl Rottytops, who seems to never stop dancing. The music is very good too and adds a sense of grandeur, with scatterings of likeable voice acting too. There’s a rather pervasive feeling of style over substance here, but I’d rather have that than neither.

Shantae: Half-Genie Hero is not a bad game, but it lacks the cleverness and tightness of level design the best platformers need. It may not be a bad choice if it goes on sale, but it’s not exactly a classic.

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Mass Effect: Andromeda for PS4, Xbox One and PC

Genuinely bad AAA games are rare nowadays. Your annual Call of Duty is probably always going to be at least competent and well put together; so much money is poured into these things that the most common issue is blandness, rather than actual disaster. Actual disasters are few and far between, with Assassin’s Creed: Unity being one of the few that springs to mind. Mass Effect: Andromeda is one of the roughest, most frustrating AAA games I’ve played in years. Unlike some of the more hyperbolic reactions it has garnered, I don’t think it’s awful. There are things to like here, but troubled game development is writ large over almost every part of the game. Some rough AAA games such as Final Fantasy XV can be so oddball and weird that they loop round to being loveable, despite their flaws, but Mass Effect: Andromeda is simultaneously too ambitious and conservative in design to achieve even this. Mass Effect: Andromeda has its moments, but it’s difficult to view it as anything but a failure.

Sidestepping the endings of Mass Effect 3, Mass Effect; Andromeda takes place 600 years later, in the Andromeda Galaxy. The Andromeda Initiative sent forth massive arks of Milky Way species in stasis, to awaken in their new home and establish a new frontier. Upon arrival, the Initiative discover that the Heleus Cluster of the Andromeda Galaxy is more dangerous than they thought, with a mysterious phenomenon known as the Scourge damaging the ark ships and a hostile alien force, the Kett, determined to wipe them out. Commander Shepard is gone and replaced with Pathfinder Ryder; the Pathfinder is the one who is in charge of scouting planets and establishing new outposts. Only the human ark, the Hyperion, as well as the central hub of the Nexus, have made their way to the intended destination. Ryder must set out with a new crew and her ship the Tempest to establish new homes for the Initiative, fight the kett and find the missing ark ships.

Andromeda’s story stumbles out of the gate. It attempts to take the series in a whole new direction, but in the process forgets what people liked about the original trilogy. The original trilogy had a brilliant sense of humanity as the new kids on the block, the upstarts. There was a real sense of defined history which impacted the events of the story: the Rachni Wars, the Genophage, the Quarian creation of the Geth. The setting felt full and alive and engaging. Mass Effect: Andromeda goes for a more Star Trek approach, focusing on exploration and discovering new lands. Without this sense of culture and society, the whole setting feels unbearably bland. Everyone keeps going on about how utterly alien it is, but it’s no more unique than anywhere from the original setting; we still have an ice planet, a jungle planet, a desert planet etc. The returning races from the original trilogy are the Asari, Salarians, Turians and Krogan. A lot of the weirder and funnier species make no appearance, such as the Quarians, Hanar, Elcor or Volus. The new species don’t exactly fill the void; the Kett are mindless and lack in any sort of personality. The Heleus natives, the Angara, are generally likeable, being built on empathy and emotional connection, but really they just feel like a combination of the original Council races. They have the empathy of Asari, the intelligence of the Salarians and the battle-prowess of the Turians, but I don’t think people are going to be clamouring for the return of the Angara whenever this series comes back. The new galaxy setting had the opportunity to double down on some of the glorious weirdness from the original trilogy, but ends up as far more conservative.

There’s little sense of narrative drive, with frustratingly vague goals. This may be a consequence of the open world approach taken, but Dragon Age: Inquisition did the same thing and I felt still managed to tell a coherent story. Where the original trilogies had an unknowable and terrifying foe, the Reapers, lurking in the background, it was fronted by believable and engaging villains, with even forces like the Geth and the Rachni imbued with depth and clear motivation. The lack of an engaging antagonist makes the whole thing feel directionless. I overall liked the new crew, particularly the elderly warrior Krogan Drack and the Angaran charmer Jaarl. Still, when you look back at the squad in Mass Effect 2, possibly the best team of characters I’ve seen in an RPG, they never come close to the same status. The voice acting is generally good, but the writing is much more mixed. Outside of some core main characters, there are dozens, perhaps hundreds, of entirely forgettable quest givers and NPCs. Much was made of Hainly Abrams, a transgender woman who within seconds of meeting reveals that she is trans, as well as her deadname. Transgender representation in games is a good thing; Bioware themselves pretty much nailed it with Krem in Dragon Age: Inquisition. Although the dialogue has been altered and patched, it reveals how utterly shallow these characters are. I could tell you much more about Krem than the fact he is trans, but with Hainly Abrams I could tell you nothing else about her. So much of the writing is entirely shallow, with characters I spent hours with but could tell you almost nothing about. The best parts of the game are the loyalty missions and there are some lovely character moments, but we lack the tension and conflict which undercut the ‘BEST TEAM EVAR’ dynamic if the Normandy. One area that did work for me was Ryder herself. She’s a bit more of a defined character than Shepard and you can’t really be a complete bastard, but that wouldn’t have been appropriate for the story told here. More often than not, Ryder is sardonic and irreverent, but never irritating. Overall, I think I liked Ryder more than Shepard but unfortunately the people she was interacting with were never as good.

I normally mention technical issues towards the end of a review, but they have to be brought to the forefront here. Now, I’m played this game a couple of patches deep, so the now infamous animation issues weren’t quite as pronounced as they were at launch but, well, they’re still not good. Almost every scene is undermined by them; the characters always look off, never quite seem right, in the way they stand, the way they move, their facial expressions. I’ve read and watched a lot of interesting stuff about this and I totally appreciate the nightmarish complexity of a dynamic animation system a game like this requires, but taking into account the reasons why this problem exists doesn’t actually stop it from being a problem, as sympathetic as I am for the fact that this likely was not the fault of the animation team themselves. There are major issues with the plotting and writing already, but even the stronger scenes (and there are plenty of good ones) are undermined by the animation issue. I suspect that the issues are more fundamental than any patch can solve.

The core structure to Andromeda is very different to the previous games, and resembles Dragon Age; Inquisition more than anything else. Now, I actually really liked Inquisition, although I’m aware that a lot of people didn’t. Sure, not every side quest was a winner, but the focus on exploration was well married to a central plot and I liked the variety of zones. It got blown out of the water by The Wtrcher 3 a few months later, but I still feel that Inquisition is underappreciated. Andromeda attempts the same structure, but is less successful. There are a handful of explorable worlds, which are usually pretty big. All but one use the Nomad, a replacement for the Mako from the first game, an all-terrain vehicle which lets you race around the planet. It controls pretty nicely and has quite impressive grip for more vertical movement, particularly after a few upgrades. Most of your time in the game will be spent getting a mission, driving somewhere in your Nomad, shooting some stuff, and returning. Mission variety isn’t great, but I did like how the game makes it very clear which missions you can avoid. The missions are categorised four different ways; main story quests, loyalty quests/quests attached to a particular supporting character, Heleus tasks which see you improving the different planets, and ‘additional tasks.’ Do the first three, but ignore the ‘additional tasks’, there’s almost nothing worth doing there. I wish more games made it so clear what was filler; one thing I hated about Fallout 4 was the way I would feel tricked into doing boring procedurally generated quests because they were sorted alongside proper ones made by an actual game designer. If you take this approach and ignore the boring missions, the issue of padding and filler becomes much less egregious.

Possibly the only unqualified success of Mass Effect: Andromeda is the combat; it may initially look similar to the original trilogy, but this is mostly superficial as this is most certainly not a cover shooter. It took a while to adjust, but this is a combat system which relies on constant movement and momentum. I went all in with biotics and shotguns, so my approach was largely based around teleporting across the environments and blasting enemies up close. With some cleverly placed upgrades, you can almost break the entire combat in some quite pleasing ways. It stopped being challenging in any way after a few hours, but as a sheer power fantasy I never quite got tired of it. I don’t know how fun other builds are, but I can’t recommend a biotic/shotgun build more highly. My enjoyment of the combat helped to alleviate a lot of the pacing issues; sure, the side quests mostly are of a ‘go here, kill this’ variety, but that never really bothered me.

Mass Effect: Andromeda is a disappointment; it has some strengths, but it’s clear that it’s fascinatingly troubled development has left it damaged in a way no patch can fix. There was a lot of potential here, but I think now the best thing that Bioware could do is give it a few years, then return to the Milky Way for an actual Mass Effect 4, leaving Andromeda as a spin-off. I didn’t have an awful time playing this game, it’s OK, but when it was released in the same month as Breath of the Wild, Nier: Automata and Horizon: Zero Dawn, OK isn’t good enough.

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Thumper for Switch, PS4, Xbox One and PC

Thumper has one of the best marketing descriptions I’ve ever seen; ‘rhythm violence.’ It’s a lovely way to put it and sums up the general vibe of Thumper very well. I’ve played a fair few rhythm games in my time, but none that filled me with the anxiety and genuine sense of dread that Thumper does. A mechanic introduced later in the game killed a lot of my enjoyment, but for most of my time with it Thumper was an intense and unique experience.

In Thumper you play as a little beetle thing, making its way along a track in a bizarre, fractal hell-scape. There are 9 levels, with each culminating in a boss battle with a hideous, demonic face. It may not have a story, but it certainly has an atmosphere and it can be genuinely unsettling and oppressive. You must avoid obstacles in a variety of ways. The simplest are barriers, where you must simply hold a button to smash through them. Some require you to lean your beetle in a particular direction, or change into different lane to avoid sinister snake things. It’s fast, intense and noisy and it’s easy to get into the trancelike groove that the best rhythm games create. The boss battles involve you having to tap a button on these green glowing patches on the track; if you hit them all, you can launch a laser at the evil face and after four hits it goes down. It’s an interesting way to apply the mechanics to a boss fight structure. The whole thing can be punishingly hard, with it only taking two hits for you to die and then have to retry the section you’re on. For most of the early parts of the game, it generally feels fair, but an infuriating mechanic had me turn on Thumper somewhat.

Around midway through you are introduced to these gates, which mean you have to hit blue glowing paths like in the boss fights for the particular run. If you miss even one, a laser descends and damages you. This was fine at first, but when combined into boss fights it becomes punishing for the sake of being punishing. Normally when you are fighting a boss, if you miss one of the green patches you simply restart the section, with no damage or death. There’s an element of trial and error, of getting better and better at each section’s timing that’s very satisfying. In some of the later bosses you’ll hit it three times, with one to go, but then the gates will descend and you know that if you fail you will not be able to try again, but have to start the entire boss fight again. It’s a needlessly cruel mechanic and one which punishes you simply by wasting your time, utterly negating the fun sense of trial and error seen in the rest of the game.

The visuals are striking and there’s a sense of barely restrained chaos at all times. This being a rhythm game, most credit should go to the music. It’s not something I think anyone is going to be listening to for fun anytime soon, being mostly made up of pounding drums and intense synths. The sounds of your beetle as it careens around the track, smashing off walls and through barricades, adds more percussion to the brutal rhythm which pervades the whole experience. I could maybe have done with a bit more musical variety between levels, but I can also see why they went for one style of music and completely leant into that.

Thumper is one of the weirdest rhythm games you’ll play. I felt that in the latter portions its difficulty tipped too much towards arbitrary and cruel, rather than challenging and engaging. Still, when you’re working your way through the levels, utterly immersed in the beat, Thumper takes that classic rhythm game experience and twists it into something evil and oppressive. That’s pretty cool.

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Dreamfall Chapters for PS4, Xbox One, PC, Linux and OS X

1999’s The Longest Journey is one of my favourite games of all time, and certainly my favourite adventure game which doesn’t contain Guybrush Threepwood. Wonderful world-building and a truly epic journey which loved up to the name were held together by April Ryan, one of my favourite game protagonists ever. 2006’s sequel/spin-off Dreamfall: The Longest Journey impressed me less and I feel has actually aged much worse than its 7-year older predecessor. The long awaited Dreamfall Chapters is the third in the series and, unsurprisingly based on the name, is very much is the vein of Dreamfall rather than The Longest Journey. It is likely to be the concluding game of the entire saga and whilst elements work very well, it ultimately falls rather short. It could have worked as a 2017 style adventure game, it could have worked as a revival of a 1990s style adventure game, but instead it feels like a revival of a 2006 adventure game, which I don’t think anyone would argue is the genre’s golden age.

Dreamfall Chapters picks up a few months after the end of the last game; over in our world, the technologically advanced Stark, Zoe Castillo awakens from a coma, having forgotten the events of the previous game. To rebuild her life she moves to the continent wide mega city of Europolis, but it isn’t long before she is caught up in a new intrigue and local politics. Despite Zoe’s efforts in Dreamfall, Wati Corp have managed to release their sinister Dream Machine, which has turned many into lifeless husks, addicted to lucid dreams. Over in Arcadia, the apostle Kian Alvane has been imprisoned for betraying the Azadi Empire, who have invaded Marcuria and begun a system of oppression against magical races. To atone for his part in the death of April Ryan, Kian is recruited into the Resistance to fight his former masters and help the magicals he had previously despised. Finally, in the House of All Worlds, a strange child with mysterious powers, Saga, is born.

I’ll start out with the things I liked about the story of Dreamfall Chapters. The actual dialogue is as good as ever, with the same sharp, engaging and fully rounded characters that the series should be known for. Returning characters form The Longest Journey and Dreamfall are welcome, particularly the cowardly, sarcastic and intensely loyal Crow, my favourite sidekick in gaming history. I also really enjoyed the development of the stoic and powerful Dolmari Likho from Dreamfall, whose character develops in some interesting ways. I also really liked some of the new characters, particularly the nervous and endearing member of the magical resistance Enu, who forms an unlikely and very sweet bond with Kian. Zoe was never the most engaging protagonist, but she’s a bit better here, helped by a new and improved voice actor. I didn’t expect to like Kian as much as I did, but we find out that there is a fair bit more to him than we saw in Dreamfall and he even gets some endearingly funny moments.

There are elements of Dreamfall Chapter’s plot which work very well, but it’s origins as an episodic game expose major plot issues, which are exacerbated when the five chapters are played back to back. Seemingly major plot elements from earlier chapters vanish in later chapters, either without a trace or in brief dialogues. A seemingly key plot point in the first couple of chapters about an upcoming election in Europolis, on which Zoe works as a campaigner, fizzles out into nothing. Seemingly vital characters vanish into the aether, with the final episode in particular introducing a dazzling number of concepts and locations in its dash for the finish line. I totally get why this game had to be episodic due to the realities of crowd funding and publishing, but I can’t deny that it hurt the eventual release. If this is the final Longest Journey game as has been suggested, I would be pretty sad due to the fact that the fascinating reveal at the end of the first game has still not been addressed; the reunification of Stark and Arcadia and the so-called War of the Balance. In fact, a lot of plot points from The Longest Journey are glossed over, such as The Balance itself, the Draic Kin and the multiverse. They are referenced and touched upon, but the focus is always on the vaguer notion of ‘The Dreaming.’ During the Kickstarter, game director Ragnar Tournquist suggested a potential direct sequel to the first game, The Longest Journey Home. He has recently suggested that this is unlikely to happen which is heart-breaking as it honestly feels that there is a story left to be told. Dreamfall Chapters does a decent job of wrapping up the series, but it simply doesn’t have the time to address everything.

Dreamfall Chapters is mechanically very basic, only a very slight step up in interactivity from Telltale. There are a handful of puzzles, but they’re simple and not particularly engaging. The Longest Journey infamously went too far in the other direction, with some the most hilariously obtuse puzzle solutions in the genre. Still, at least The Longest Journey felt like, well, an adventure. Although some other locations are included, Dreamfall Chapters mostly sees you running around a smallish open world in Europolis as Zoe and in Marcuria as Kian. Most puzzles just involve wandering around these environments and there’s little sense of discovery or satisfaction in your travel. I almost wish that they’d gone the whole hog and made Dreamfall Chapters an entirely narrative, Telltale-esque experience rather than this weird hybrid, because it doesn’t really work.

For the relatively low budget, Dreamfall Chapters looks pretty nice. The environments are particularly impressive, bursting with character and life. The character models fare less well, generally stiff and fairly expressionless, but the voice acting and writing are to a high enough standard that it doesn’t feel like a major problem. Some dramatic moments come off as stiff and a bit awkward, with the visuals feeling more like an early Xbox 360/PS3 game rather than something more modern, but it never really hurt the experience for me.

There was a lot I liked in Dreamfall Chapters and I’m happy to have got some kind of ending, but ultimately the stuff I wanted to see the most does not appear. I truly hope that this isn’t the end for the series, but for something as obscure and niche as this to get an ending at all, with roughly a decade between instalments, is a hell of a thing. It may not be exactly what I wanted, but I’m still glad it exists.

Deus Ex: Mankind Divided – A Criminal Past DLC for PS4, Xbox One, PC, OS X and Linux

The second DLC for Deus Ex: Mankind Divided is much meatier than the first and stands out because it offers a much more interesting setting and premise, which feels distinct from anything in the main game, something which could not have been said for the competent but familiar first DLC, System Rift. A Criminal Past starts out very interesting and takes the turn which makes it become much less interesting, but it stays engaging throughout.

A Criminal Past is framed as a therapy session for Jensen at TF-29, as he recalls a mission from before the events of Mankind Divided. He is sent undercover to infiltrate a state of the art prison for Augs, to extract a deep undercover agent who is feared to have gone rogue. Upon arrival Jensen quickly finds himself caught between the callous and sadistic warden Stenger and the charismatic leader among the inmates Flossy and it isn’t long until things escalate out of control. The setup is interesting, but a found myself zoning out of a lot of the story stuff, hitting essentially similar beats to everything we’ve seen before.

The prison setting, seeing Jensen stripped of his Augs and forced to rely entirely on his wits, was interesting in theory and starts out very well. The prison is split into two blocks, with those in one wearing red and the other in yellow. Jensen starts in red but must make his way over to yellow, where you could sneak around or you could simply steal a yellow uniform and walk around freely. There was an indication that there would be some interesting mechanics about having to follow the routine of prison life for a while to find your target, but things go wrong almost immediately and the setting quickly become much like any other Deus Ex location. Much of the DLC takes place during a riot, which is frankly much less interesting than the social stealth elements of the early section. Perhaps I was expecting too much, but there are DLCs out there that do fundamentally interesting and different things with the base game and A Criminal Past initially seemed like it may be doing the same. Instead we have a competent enough Deus Ex experience that offers more of the same.

The future for the Deus Ex series is uncertain at the moment, so A Criminal Past may be the last we see of it for a while. It’s a decent enough experience, and certainly beats the much slighter System Rift, but it doesn’t follow through on it’s interesting premise and ends up feeling like a missed opportunity.

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Watch Dogs 2: Human Conditions DLC for PS4, Xbox One and PC

Watch Dogs 2 was far better than it had any right to be. It ended up being one of my favourite games of 2016, which I don’t think I would have seen coming. Dipping back into it with DLC, I wondered if somehow I’d been bamboozled by its in-your-face energy, but the Human Conditions DLC reminded me that, no, Watch Dogs 2 really is a bloody good game.

The meat of the DLC lies in three new missions, all centred around moral lapses in Silicon Valley. One mission focuses on self-driving cars and an algorithm which determines the value of an individual’s life in the event of a crash. Another brings the return of foul mouthed rival hacker Lenni as you investigate inhumane testing of nanotechnology. The final mission is about a hacking of a hospital, which ties into a storyline involving the Bratva Russian mob. The writing for Watch Dogs 2 was so sharp and fun and it’s all the same here, genuinely well written and charming. The core DedSec team have become a hugely loveable bunch of goons. Sure, the satire hits with precisely zero subtlety, but I enjoy its message about resisting corporate control and taking back freedom. Of course, being developed by megacorp publisher Ubisoft undermines this a little bit, but there’s more political and social engagement in Watch Dogs 2 than most AAA games will attempt. The storyline about the hacked hospital felt particularly relevant, given the recent NHS hack in the UK.

Watch Dogs 2 worked itself into an immensely satisfying groove, as you control your three tools: Marcus, your little RC car thing and your drone. The missions were, in many ways, your standard base assault stuff we see in Assassin’s Creed and Far Cry, but the range of genuinely useful and engaging tools at your disposal made them feel more like playgrounds for you to use all your toys. The missions in Human Conditions offer more of the same, but if they’d been a part of the main game I think they’d have been considered among the best. The only real change can be found in the addition of enemies which can jam your hacking. I’m not sure about this; adding difficulty by removing your ability to do what makes the game fun feels artificial, but unfortunately is fairly commonplace. It doesn’t ruin the experience by any stretch, but my feeling upon coming across a jammer was usually more irritation rather than a sense of excitement of a new challenge to overcome.

DLC is almost never worth it full price, so I’m happy I waited for a PSN sale. For what I paid, I think Human Conditions was worth it. If spending a bit more time with Marcus, Wrench, Sitara and Josh appeals to you, Human Conditions is certainly worth a look.

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Snake Pass for Switch, PS4, Xbox One and PC

Snake Pass is exactly the kind of game you buy when a new console comes out, software is thin on the ground, and you want an excuse to use your fancy new machine. It’s interesting and something a little bit different, but ultimately something I don’t think will be remembered as much more of an oddity. It asks the question; can you do a platformer without jumping? The answer is technically yes, but you probably shouldn’t.

Snake Pass resembles a 90s mascot 3D platformer, as we control adorable snake Noodle through a series of levels to collect a bunch of maguffins. Snakes aren’t known for their jumping skills, so we instead slither through the semi-open environments, traversing the levels by clinging to poles and stretching your long body across chasms. Controlling Noodle is weird and takes a bit of getting used to. In some ways Snake Pass resembles the ‘fumblecore’ genre, where games have intentionally difficult or fiddly controls for comic effect, like Octodad or QWOP. Moving through an environment in a good 3D platformer should be elegant and satisfying and Snake Pass is rarely either. There is however a certain satisfaction in getting better at the odd controls and I’m sure some people will become very good at moving Noodle around, although I suspect I lack the patience. My main gripe came with the introduction of failure states later on. In earlier levels it’s almost impossible to die, but many later levels have bottomless puts and spike traps and fire which can finish off poor Noodle. In the earlier levels failure felt like an opportunity to just pick up and try again, but regular deaths saw me taking on the same obstacles over and over again. I don’t think this game needed death to be a thing and I think that the core of the challenging gameplay could have been kept without it.

There are 16 levels overall and to complete each one you must collect three gemstones and return them to a plinth. This is far from all the levels have to offer through, and they’re all incredibly dense with extra collectibles to pick up. These collectibles are usually much more difficult to gather than the main gems. There are no difficulty settings in Snake Pass, but the range of collectibles add layers of difficulty within the levels themselves. You can play easy mode like me and just get the gems, but you could also go up to hard or extra hard modes and go for some of the truly evil challenges. This kind of design, simultaneously offering several layers of difficulty, isn’t easy to pull off but Snake Pass does it with an impressively light touch. I was happy with my money’s worth just making my way through the levels. I found that challenging enough, although I suspect that I may just be really bad at this game. If you want more out of Snake Pass it’s there for you; this seems like a game with really interesting speed running potential.

Snake Pass is bright and colourful, with a nice, if slightly generic, Aztek influenced world and cute character design and animation for Noodle. David Wise, best known for Donkey Kong Country, composed the soundtrack and his unique skill for jungle based platformer compositions work unsurprisingly well for Snake Pass.

I liked Snake Pass, but I found difficulty spikes towards the second half of the game more frustrating than anything else, often being based on simply balancing for a longer period of time rather than clever structures to climb. Still, I doubt you’ll play anything else like it and it suits the Nintendo Switch quite well. Digital sales aren’t yet a thing for the Switch, but when they are that might be the time to give Snake Pass a go.

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Deus Ex: Mankind Divided – System Rift DLC for PS4, Xbox One, PC, OS X and Linux

Deus Ex: Mankind Divided didn’t exactly set the world on fire and I was lukewarm on it too. It was a decent enough experience, but it felt ultimately lacking. Oddly enough, System Rift in its microcosm helped me to appreciate Mankind Divided a little more.

System Rift sees Adam Jensen contacted by former colleague from Human Revolution Frank Pritchard to execute a data heist. It’s your standard Deus Ex plot and could have been one of the meatier side missions from the main game, but it contains a few twists and turns and has a bit more to it than you might expect. It doesn’t tell a vital story to the Deus Ex canon but it’s DLC so it probably shouldn’t.

Aside from some brief prep work, the vast majority of System Rift lies in the heist itself, which is a lot of fun. For all Mankind Divided felt a bit undercooked, the core mechanics really are bloody solid. As a stealth-RPG, it’s difficult to fault. System Rift is largely vertical in construction, as you make your way upwards through a facility. The only real gameplay change lay in heat sensors, which require you to mask your body temperature by hiding next to other heat sources. It seems at first like this is going to be a bigger deal than it is. You rebuild your Jensen from scratch, so it’s easy to min-max your way into an unstoppable killing machine/hacking ninja, whatever suits your preferences. Again, System Rift offers nothing more than more Deus Ex, which I didn’t realise I wanted until I started playing.

It’s not a long DLC by any stretch, but if picked up on a digital sale for a couple of quid like I did it’s hard to fault. It’s a really solid couple of hours if you fancy dipping a toe back into the Deus Ex universe, but you won’t exactly be missing out if you give it a miss.

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Prey for PS4, Xbox One and PC

Prey is a game which has been through many iterations, so it’s impressive that such a well realised and coherent product was eventually produced. Prey is a game with a lot of really interesting ideas which don’t always amount to much and I wish had pushed further down some of its weirder paths, but functions well enough as an enjoyable and sometimes clever experience.

Prey takes place in an alternate timeline where JFK was never assassinated and his presidency led to massive expansion in the pace and ambition of the space race. It is 2032 on the research space station Talos I, which orbits Pluto on the far edge of the solar system. The protagonist, who can be male or female, is named Morgan Yu and their brother Alex runs the station. Alex has been experimenting on the Typhon, alien beings who have been harvested to bring humanity Neuromods, which alter the user’s genetics to instantaneously give them skills and powers. Predictably, the Typhon have escaped and overwhelmed the station and an amnesiac Morgan Yu must discover what happened, how to stop the Typhon, and escape Talos I.

The actual narrative at the heart of Prey is competent, but never really climbs above that. There are some very cool ideas at the beginning and again towards the end, but it’s pretty straightforward for the vast majority of its run time. Convoluted ways to get you to explore the station make the plot feel a bit cumbersome; you must get two keys, you must get to the top of the station, then go to Deep Storage but the door is voice activated so you have to go to the Crew Quarters to get a voice sample blah blah blah. The plot rarely elevates above an excuse to send you to cool places, but those cool places really do save the experience. Environmental storytelling is somewhere Arkane have really excelled in the Dishonored series and they bring that expertise to Prey. It’s a bit of a cliché by now to say that the setting is the main character but, er…well, the setting is the main character. Sorry. Where settings in similar games, such as BioShock’s Rapture, position you long after it’s downfall, Prey’s Talos I only fell hours before and there’s a constant eerie sense of being just too late. The bodies are fresh and so the little tragedies and stories you find scattered through the environment all the sadder.

The actual atmosphere in Prey is, at least in the early stages, incredible. The world design is fantastic. Unlike Dishonored, Talos I is open and explorable, with some light Metroidvania elements. Talos I holds together as a coherent location, with a sense of variety matched with a general tonal consistency. I like settings which place you in one, dense, fully realised location and Prey pulls this off well. The thrill of exploration is somewhat hindered by brutal load times on PS4, which becomes a particularly significant issue during backtracking heavy later portions of the game. Exploring the station, poking about and finding little secrets, is the best part of the game by far. Alongside the main quest there are a handful of side quests, some of which are straightforward but some are really interesting and can directly affect the ending. There are some really interesting NPCs clinging onto life on Talos I, and I enjoyed lending them a hand.

The Typhon foes themselves are a bit of a mixed bag; the humanoid Phantoms aren’t particularly intimidating and some of the latter foes are more annoying than anything else. The standout enemies are the Alien facehugger-esque Mimics, which can disguise themselves as random objects. This is such a clever idea I can’t believe it’s never been done before. As you walk around you might see an object that seems a bit out of place, or catch a movement out of the corner of your eye. When you return to a location you’ll be asking yourself ‘was that mug there last time?’ At least in the early stages, it’s genuinely frightening. Of course, when you batter a few dozen with a wrench they become less engaging and more of a nuisance. The weapons don’t feel great in general, but the most interesting is definitely the multi-purpose glue gun, which can freeze enemies in place, put out fires or even create platforms allowing you to get to out-of-reach areas. It’s another clever idea in a game with plenty of them.

The actual core feel of the controls take a while to get used to, with a clunkiness that never quite goes away. This isn’t necessarily an issue at first; this is a horror game after all, but it becomes more and more pronounced as the game goes on. There are a range of upgrades available, some being to improve hacking and physical strength, as well as your standard health or stamina, but later on you can access Typhon abilities, with powerful attacks or the ability to transform yourself into any object like a Mimic. These work really well from a traversal standpoint; the promise of genuinely being able to pursue your own playstyle persists from Dishonored. You could hack open a door, or crawl through vents, or you could turn into a mug and roll through a gap. It really does work very well, but the combat abilities never quite work so well. The game speaks to you like you’re becoming an inhuman badass as you amass powers, but everything feels so clunky that you never feel it. I avoided combat at all costs, which was fine because for much of the time Prey is a perfectly serviceable stealth game. A late game twist makes stealth much more difficult and combat harder to avoid, but despite being bulked up with powers I never wanted to use them because they weren’t satisfying and the enemies were bullet sponges. I resorted to just running everywhere dodging enemy fire, which worked a little bit too well and got me thorough most encounters quite nicely, even if I did have to contend with the horrendous load times. It’s not exactly the way I think the game was meant to be played, but unfortunately that way just wasn’t fun. As I said, this only really becomes an issue in the latter parts of the game, but it did leave a stain on the experience.

Prey looks very nice, both in the setting and in the stylised human characters. The Typhon are creepy enough, but a bit vague and shadowy and PG. Aside from the Mimics, their designs are generally a bit lacklustre. An area Prey really shines in in the sound design. Prey uses ambient sound very well, where the falling of a coffee mug can herald the launch of a Typhon ambush. The voice acting is solid as well, but Prey also has a hell of a soundtrack. Heavy on the synths, it avoids feeling too kitschy and retro. The soundtrack elevates otherwise irritating action beats. It runs well and I encountered no glitches, so Prey seems to be a well put together package.

Prey is an interesting game, but I don’t think it’s a classic. It pulls from many sources of inspiration, but aside from the already iconic Mimics, it’s difficult to imagine it having much of an impact of its own. I had a good time for the most part, but the truly dreadful final act mars the experience, for the sake of what feels purely like an artificial inflation of the play time. Still, this is exactly the kind of game worth picking up in a couple of months after a price drop. In fact, considering the sales weren’t great, you probably won’t have to wait that long.

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Nier: Automata for PS4 and PC

I don’t even know where to start with this one. I never played the original Nier, although I’m aware of its cult following. I approached Nier: Automata more as a fan of Platinum Games than anything, but it’s the storytelling and fascinating themes of the game’s director, Yoko Taro, that ultimately lingers in my mind.

Nier: Automata is a sequel to the original game, but it’s set thousands of years later and the connections are slight. I didn’t feel like my enjoyment was in any way impacted by the fact that I had not played the original. Thousands of years into Earth’s future, the last vestiges of humanity have fled the Earth after an alien invasion, and now live on the moon. The aliens do not fight directly, but instead send machine lifeforms to do their dirty work. Project YorHa is an organisation of androids that fight the Machine menace on behalf of humanity. Androids 2B and 9S are sent to the surface to take down a massive machine, but soon they discover some machines acting strangely, as if they have emotions, thoughts and complex feelings and that the conflict between the androids and the machines may not be as clear cut as first thought.

It’s difficult to talk too much about Nier: Automata’s plot without spoiling what makes it so special. It does all the fundamentals right; likeable characters, clear motivations and satisfying resolution, but it also explores some pretty heady and intense ideas. The machines resemble toys more than anything else, rounded and generally harmless looking, and it is through these that Nier: Automata explores some complex philosophical themes. The nature of humanity is the core theme of this game and Nier: Automata explores this from a lot of different angles. Storylines which would just be too dark to touch with humans become explorable with machines and some of the true horror seen in Nier: Automata isn’t readily apparent. This is a story which sticks around, thought provoking and, at times, desperately moving.

The indie scene is stronger, but AAA games rarely use unique qualities of the medium in interesting storytelling ways. Examples such as BioShock and the Spec Ops: The Line are few and far between, but Nier: Automata is fascinating. I had heard beforehand that the game required multiple playthroughs to get the whole story and I was not really up for it in terms of the time investment. Actually, Nier: Automata’s multiple playthroughs are more like chapters of a larger story and it takes three to see everything. Nier: Automata is very aware of itself as a videogame, but not in an irritating, masturbatory fashion that some post-modern experiences can be. Things get weirder the longer they go on, with the first playthrough is told in a relatively straightforward fashion. It all crescendos into an audacious and hugely moving finale that simply could not have been pulled off in any other medium.

The story was my favourite part of Nier: Automata, but the core mechanics are certainly very solid as well. It’s an action-RPG, but there’s significant gameplay variety. As android 2B you’ll be hacking and slashing your way through a variety of enemies. With two weapons available at a time and a variety of ranged attacks, there are lots of options. You can also heavily customise your character using ‘plug-in chips’, some of which give passive and straightforward buffs to health or attack strength, but some are more interesting, such as introducing a counter attack. You have a limited number of slots, which can be upgraded, with elements of your UI taking up slots. You can uninstall things like the health bar or text pop ups to make room for more interesting things. The game is full of clever little things like this, even if the actual upgrade menu is cumbersome and awkward. The core combat is really fun and never fails to look stylish as hell, but it doesn’t land as one of the better Platinum combat systems. I felt myself missing the heft and variety of Bayonetta, with the combat is Nier: Automata sometimes feeling a big floaty and lacking in impact. I kept waiting for a new layer of complexity to fold into the combat and it never really does. Instead, the game introduces a clever new mechanic, which I won’t spoil, which is a lot of fun but exists almost parallel to the core melee combat rather than as an additional layer. Again, I never had a bad time slicing and dicing hordes of machines, but it would have been nice if there was a bit more to it.

Nier: Automata takes place in an open world, but I’d be hesitant to call it an ‘open world game.’ The world is quite small, and feels more like a series of connected zones rather than a coherent setting. That’s fine! After Zelda and Horizon I can’t claim to have been denied vast worlds to explore, but there is an awful lot of unnecessarily running back and forth. I don’t think a huge amount would have been lost for turning this into a more linear game. There are a range of side quests; some are pretty straightforward, but some are genuinely wonderful and contain some of the most devastating stories in the game.

One area where Nier: Automata really shines is sheer gameplay variety. There are semi-regular shoot-em-up sections in your mech suit, as well as shifts to a 2D platforming perspective. The bullet hell genre, where much of the challenge is focused on simply dodging increasingly dense waves of attacks, is a really interesting influence on Nier: Automata, and pervades all elements of the combat. I haven’t really encountered 3D bullet hell before. I still think it works best from a top down perspective, but it’s still interesting and speaks to Nier: Automata’s ambition to be a genre polymath.

Nier: Automata is a fascinating experience and a testament to the fact that interesting things can be done within AAA game development. It’s a game which waits to reveal its true cleverness and ambition, but the dawning sense of awe at what this game attempts to do was truly special. This is my first Yoko Taro game, but after Nier: Automata I don’t intend it to be my last.

 

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