Frivolous Waste of Time

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Archive for the tag “xbox”

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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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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Lego Dimensions: The Lego Batman Movie Story Pack for PS4, PS3, Wii U, Xbox One and Xbox 360

The Lego Dimensions story pack for The Lego Batman Movie is the last currently announced and, fittingly, it’s easily the best. The Ghostbusters 2016 and Fantastic Beasts packs were good, but the transfer from their respective franchises into Lego, at times, felt a bit weird. Lego Batman is, well, already Lego, so the transfer of franchises is essentially seamless, presenting one of my favourite Lego Dimensions experiences yet, and definitely the strongest in Phase 2 since Adventure Time.

Unsurprisingly, this is a fairly straightforward adaption of the movie, which sees a lonely Batman find a family in adopted orphan Robin, Barbara Gordon and even, oddly enough, in his rivalry with The Joker. I liked the movie a lot and the game adapts it well, with a lot of the best gags landing jut as well here. There are a handful of changes to keep things moving at a better pace, but generally this is as faithful a game version of the movie you could ask for.

This is a Lego game, so you know what to expect. In the box you receive a cool Bat-computer template for portal, the Batwing and, pleasantly, two new characters unlike the one in the other packs. Robin is athletic and can squeeze through vents and Batgirl is essentially Batman, but she can use some special computers. Batman himself, using the model from the Starter Pack, can now activate certain detective skills to find clues. It never amounts to much from the usual hit shiny things, build thing, watch thing do its thing and progress, but, for whatever reason it’s something I don’t seem to stop finding fun.

The only Phase 2 Adventure World I’ve liked has been Adventure Time’s, with most simply being dull cities and Sonic the Hedgehogs making me, quite literally, feel physically sick. Gotham is another city, and whilst it has more personality than lots of the others, it still wound up being the least interesting part of the package.
Lego games don’t vary in quality much, but insomuch as this means anything, the Lego Batman Story Pack is one of the better ones.

 

XCOM 2 for PS4, Xbox One, PC, OS X and Linux

XCOM: Enemy Unknown was a great little game and the sequel builds upon its predecessor in interesting ways. The core mechanics and loop are the same, but a few clever twists keep things interesting and provide a very strong strategy experience.

In the previous game, the aliens were the guerrilla fighters, popping up, inflicting damage, then vanishing again. XCOM 2, in an interesting narrative twist, assumes that the player failed in Enemy Unknown and so the aliens have taken over the world, with the role now reversed. It is 20 years after the fall of Earth, with the planet now in the grips of the puppet ADVENT administration, with propaganda persuading the people of Earth that the aliens are benevolent and kind. XCOM are now an insurgent group, operating from a mobile military base hidden in the arctic. Word reaches XCOM that the alien administration is pursuing the mysterious ADVENT project. No one knows what it is, but they know it is bad and must be stopped.

XCOM 2 feels a little bit more plot heavy than the predecessor, but as with the last game the real joy will be in the stories you craft for yourself. Your base has a handful of scientists and military men and engineers you may be meant to care about, but I never really did. I did care about my squad of randomly generated squaddies. By sheer chance and not my radical feminist SJW agenda, I ended up with an all-female core squad and by the end I grew rather fond of my ass kicking team of alien stomping women. I felt this way about the first game as well, but it felt like there were more boring cutscenes this time around. Give me the context for what I’m doing then leave me alone, I’m not interested in anything else.

The core feel of the turn based battle system is unchanged from the previous game, but a couple of nifty adjustments shake up how the whole thing feels. Enemy Unknown was a bit easier to cheese, with the Overwatch ability being somewhat overpowered. This move meant any movement by the enemy would then cause them to be fired upon, meaning that a strategy of ‘creep forward, Overwatch, creep forward, Overwatch’ would work more often than not. Most missions in XCOM 2 are on a timer. I thought I’d hate this, but in reality it forces you to play more aggressively. You have to actively pursue your goals with every turn, taking risks to survive. I got through the last game by playing very conservatively, something which XCOM 2 refuses to let you do. The battles themselves are still hugely satisfying, with a simple class system which nonetheless allows for significant customisation. There’s a moment when your squaddies become predators rather than prey which us hugely exciting. The moment for me came when my sniper unlocked the ability to have a move refunded every time they make a kill. This meant that I could operate a strategy of whittling down the alien’s health with explosives before finishing them all off with my sniper, often going through my entire ammo pool in one round. Some may call this cheap, but I had to earn the ability to do this, by keeping my team alive long enough to develop these abilities.

A core part of XCOM is the metagame between missions, which sees you developing your base and researching new weapons and armour. This element was so satisfying in the last game and is even more so now. The sense of satisfaction from developing a new technology or building a new facility is intoxicating, all the more so because the decision about where to allocate resources is so risky. Resources are tight, particularly at the beginning and it’s more than possible to screw yourself over before a battle even begins. The core focus is on linking rebel cells into a global resistance. All the while, a bar counting up to the launch of the ADVENT project is above the map. This can be lowered in a variety of different ways, but it’s a constant reminder hanging over the player. A sense of urgency pervades the whole experience. Something about the XCOM gameplay loop of build/fight, build/fight is just so dang lovely.

The general visual design is decent, with some nasty new alien design and decent music. All told, the actual visual upgrade from the previous game is minimal, minor spit and polish aside. The biggest issue is punishing load times between missions; this is a pretty good disincentive against save-scumming, but I doubt this was intentional. A bit of added visual flair would be a neat little addition, but the general visual conservativeness doesn’t do much harm.

XCOM 2 is, pretty much, more of the same, but seemingly minor tweaks are more significant than they first seem. Strategy games often allow players to retreat to comfort zones, but XCOM 2 refuses to let you do so. It’s always pushing the player on, never allowing them to relax, which can make it an intense, but highly rewarding experience.

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Lego Dimensions: The Simpsons Level Pack for PS4, PS3, Wii U, Xbox One and Xbox 360

Ok, this will be the last Lego Dimensions review for a while, I promise! I skipped out on buying this one as the lack of new voice acting put me off, but I saw it on sale so picked it up anyway. Through excellent animation and the already brilliant vocal performance from the show itself, the lack of new voice acting mattered less than I’d expected, at least in the main level.

The level included in an adaption of the classic episode ‘The Mysterious Voyage of Homer’, which sees Homer eat several powerful chillies, hallucinate a strange desert landscape and seek his soulmate. It’s a great episode, one of the most visually experimental episodes with a heartfelt conclusion which shows Simpsons at its best. Lego Dimensions can’t really claim the credit for how entertaining this is, but it certainly does the episode justice.

The actual level felt a bit on the short side as these things go, but it’s certainly fun enough. The level pack gives you Homer Simpson himself, his iconic pink car and, oddly, the TV set which explodes when removed from the portal. It was a smart choice to adapt this episode, as the trippy chilli induced dream scape offers something more visually interesting than Springfield itself. There’s not much to this pack at all, but it’s certainly a fun curio for any Simpsons fan.

The Adventure World is extensive and fun to explore, but here the lack of new voice acting became a much bigger problem for me. Springfield is only such a great setting because of the characters in it and that element is pretty much missing, aside from a few archival recordings from major characters. Considering how much the Simpsons cast costs these days I understand why this wasn’t possible, but it undeniably lessens the experience.

Still, Springfield and its characters are charmingly rendered in Lego. The lack of music from the show is disappointing too, with a grating theme song ‘sound-a-like’ replacing the main tune. I can’t help but compare it to the vastly superior Adventure Time pack, which had much greater attention to detail to things like music and voice than this one.

It’s not a terrible pack all around, but I’m glad I didn’t pay full price for it. It sits above the Sonic the Hedgehog pack because this one is actually fun to play, but it sits below pretty much every other one I’ve played too.

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Lego Dimensions: Fantastic Beasts and Where to Find Them Story Pack for PS4, PS3, Wii U, Xbox One and Xbox 360

This is the second of the more extensive ‘Story Packs’ for Lego Dimensions, after 2016 Ghostbusters reboot. My feelings towards Fantastic Beasts as a movie is very similar to my feelings towards Ghostbusters; somewhere between lukewarm and positive. I’m a big Harry Potter fan but Fantastic Beasts as a movie just didn’t quite land for me; nonetheless, I liked it enough that I was happy to receive this pack as a Christmas present.

Just as with the Ghostbusters pack, this is essentially a straightforward retelling of the story of the movie. There are some funny asides and visual gags from other franchises, but nothing side-splittingly hilarious. The presentation is held back by the use of a lot of archive sound from the movie, with more subdued delivery which made sense in the movie just coming off as weird here. The newer voice acting from some of the cast is much better.

As ever, the Fantastic Beasts story pack doesn’t do anything new in terms of gameplay. The pack gives you Newt Scamander and the Niffler. Newt doesn’t offer anything unique; in fact, he has essentially the same move set as Gandalf from the starter pack and the Niffler simply allows you to use dig spots. Playing through the six story missions will take you a couple of enjoyable hours. The same enjoyably structured if entirely uncreative general unfolding of the environments which makes these games so mindlessly satisfying is in full force here and it is lacking the over-abundance of irritating boss fights which can slightly hamstring these games.

The Adventure World is fine and has some nice missions, but I must say that I’m a bit over New York as an Adventure World setting. It’s definitely more exciting than the Ghostbusters one, but compared to the beauty of the Adventure Time world or the labyrinthine complexity of the Portal 2 world, it ends up coming off a bit bland. I think these worlds are better when they move away from cities; it forces the developers to be a bit more creative. The general look is great and the voice acting solid, with the excellent soundtrack from the movie helping to elevate the experience.

These packs are getting harder and harder review because generally I feel the same about all of them. There are some I’m more enthusiastic about (Adventure Time) and some I’m less (Sonic the Hedgehog), but in general they all operate at the level of decent. Fantastic Beasts and Where to Find Them is another decent Lego Dimensions entry and I think that’s all I’m really asking for.

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