Meet Mutant Year Zero: Road to Eden's Foxy New Hero

Game Informer News Feed - Wed, 11/28/2018 - 17:00

The Bearded Ladies just showed off a new recruitable character to its tactical adventure game Mutant Year Zero: Road to Eden. Farrow is a humanoid fox and combat-ready Stalker who can use her signature ability, Silent Assassin, to double her critical strike chance while hidden.

Players will encounter Farrow in the Metal Fields. This stealthy fox makes for a great assassin, but she has no memory of her origins and had no idea that anything other than her settlement existed until she meets your crew in Road to Eden. 

Mutant Year Zero: Road to Eden lets players choose from a number of mutations split into three categories: Passive, Minor, and Major. While Farrow has several options, you can only equip one from each category. Her mutations  include:

  • Passive
    • Super Tendons: Move and sprint to high places without a ladder.
    • Silent Assassin: Do great damage while in hiding.
  • Minor
    • Circuit Breaker: Identify and disable a mechanical enemy's critical functioning parts for 1 turn.
    • Sneak: Pass others unnoticed.
    • Gunslinger: Shoot multiple targets at once using only 1 AP.
  • Major
    • Corpse Eater: Eat fresh raw meat to replenish your health.
    • Moth Wings: Grow wings on your back to move vertically and hover in position.
    • Frog legs: Perform super-mutant leaps and cover long distances. 

Farrow also has passive stat boosts that will upgrade her chance of inflicting critical damage and increase her maximum health. 

You'll be able to try out the vulpine recruit when Mutant Year Zero: Road to Eden comes to PlayStation 4, Xbox One, and PC on December 4.  You can see the game in action in the 35-minute developer walk-through video here

Categories: Games

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Game Informer News Feed - Tue, 11/27/2018 - 19:35

The latest Jump Force trailer has revealed the character models and attacks for their new additions to the Shonen Jump brawler. Last week Bandai Namco announced that characters from the anime/manga Rurouni Kenshin would be joining the roster. The new trailer shows off the sword-based attacks of protagonist Himura Kenshin and Kyoto arc antagonist, Makoto Shishio.

Released as a manga in 1994, the story of Rurouni Kenshin follows Kenshin, a former assassin who in later life swears off his murderous past and becomes a wandering swordsman who pursues justice without taking lives. To do so he has the lethal edge of his katana turned inward making killing with it practically impossible. The antagonist Makoto Shishio, was likewise an assassin before being burned alive by the government, forcing him to adopt his covered-in-bandages look.

The trailer seems to give us a glimpse of Shishio's fiery finishing move, as well as Kenshin's ultimate slice among other moves.

Jump Force is set to release February 15. For more info on the power-packed anime roster, be sure to check out our video compilation of nearly every ultimate attack revealed thus far, or our news hub where we'll keep you constantly updated with all the latest powered-up transformations and energy bombs. 


Categories: Games

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Game Informer News Feed - Tue, 11/27/2018 - 19:30

You'll be able to play the one-man wrecking crew and leader of The Army of Chaos, Rico Rodriguez, when Just Cause 4 comes out next week. Three years after Just Cause 3, the fourth entry in the over-the-top action-adventure game is just around the corner and has already gone gold. To celebrate Avalanche Studios and Square Enix released a live-action trailer that gives us a hilarious glimpse of the enemies' stories about Rico Rodriguez.

In a struggle not unlike describing video games to a non-gamer, this trailer shows low ranking Black Hand soldiers attempting to explain how a man riding a tornado was able to destroy an entire base by himself to their incredulous and angry boss. The enemy soldiers get more and more enthusiastic about Rico's exploits – flying in on a tornado, infiltrating the base like a panther, and creatively using the environment to take them out – before their leader silences them with a gunshot. 

Just Cause 4 releases on December 4 for PlayStation 4, Xbox One, and PC. If you missed the last high-flying trailer for the game, you can check it out right here. Also, make sure you don't miss our impressions of the deliriously fun demo.

Categories: Games

Persona 3: Dancing In Moonlight Review - A Spotlight In The Dark Hour

Gamespot News Feed - Tue, 11/27/2018 - 14:30

"Wherever you are, we'll meet again," artist Yumi Kawamura sings at the closing of the theme song "Our Moment." It's a track that beautifully captures both the joy of seeing old friends again and bittersweet memories left by Persona 3. It's a sentiment that rings throughout Persona 3: Dancing In Moonlight, a wonderful rhythm game that celebrates the great RPG by reuniting its charming cast of characters and putting its incredible, unique soundtrack in the spotlight.

The rhythm gameplay system first established in Persona 4: Dancing All Night returns; six button inputs border the screen and notes flow from the center out to the corresponding input. Double notes, holds, and DJ scratches (with the flick of the analog stick or with L1/R1) keep note patterns varied, and makes things delightfully hectic on the highest difficulty. There are plenty of beginner-friendly options as well with four difficulty settings and several modifiers for assistance. It's a fun rhythm system that's supported by note patterns that flow seamlessly with the fantastic tracklist--there's an undeniable satisfaction to nailing perfect combos as the audible claps, tambourines, and scratches sync with the beat of the song.

Yukari's on her way to a perfect combo and dance routine in front of the Paulownia Mall fountain.

I'll be the first to admit that there's a thematic dissonance between dancing in flashy outfits and Persona 3's darker tone, which might be off-putting for some die-hard fans of that game. Still, it's an absolute delight to be with the SEES crew again, reincarnated in 3D models in the same vein as Persona 5's art style. It's a reimagining of Yukari's cheerful demeanor, Mitsuru's stern attitude, and Junpei's goofiness. Everyone goes all out and dances with impressive fluidity, especially with how partner/group dances are choreographed with natural imperfections. I do wish we had the fearless squad member Shinji from the start, but he's available in a DLC track. And sadly, the ferocious, adorable Shiba Inu Koromaru and the Persona 3 Portable female protagonist are missing. Regardless, there's an overwhelming sense of joy in seeing these characters together again. And the fact that old locations are renovated with modern visuals makes them feel new--the Iwatodai Dorms, Port Island Station, Paulownia Mall, Gekkoukan High School, Tartarus, it's all here.

The remixes and remasters evoke not just a sense of nostalgia, but have a striking quality that breathes new life into the series.

Most of all, Dancing In Moonlight stands out with a tracklist that spans the course of Persona 3's history, which includes songs from Persona 3 FES, Persona Q: Shadow of the Labyrinth, and Persona 3 Portable. It gives a musical variety that's attached to so many great memories but that's also exciting to play. The remixes and remasters evoke not just a sense of nostalgia, but have a striking quality that breathes new life into the series. "Heartful Cry" has an unrelenting melodic-punk twist, and "Memories Of You" gets an electro-pop remix that remains heartfelt. "When The Moon Reaches For The Stars" and "Light the Fire Up In the Night" are have their full-length versions that slap harder than ever. The ending montage for "Brand New Days" and video for "Burn My Dread: Last Battle"--two songs on opposite ends of the emotional spectrum--capture their vibes perfectly. Even the Persona Super Live 2017 performance of the Persona Q boss theme "Laser Beam" made it into the tracklist. It may not be playable, but the song that fills the background during conversations, which samples the melody of "Our Moment" and the backing vocals of "Want To Be Close", is a soothing track that beautifully blends the old and new. Dancing In Moonlight carries the lasting impact of Persona 3's soundtrack.

Unlike Persona 4: Dancing All Night, there is no traditional story mode; outside of dancing, there are Social Events. The overarching premise is that SEES gets stuck in a dream state where Elizabeth from the Velvet Room asks the crew to dance their hearts out. It's silly, but it's enough to provide the context necessary for Social Events; a series of jovial scenes where characters simply banter. There isn't much in terms of new character development, though they do have a newfound determination to dance. Social Events play off of what you already know about the cast; Akihiko is still obsessed with getting stronger and counting calories, Aigis is still working her way around typical human mannerisms, and Fuuka continues to embrace her supportive role. It's wonderful to hang out with them again and watch conversations play out, especially since most of the original voice cast has returned--you also have the option for the original Japanese voice acting.

Still, it's an absolute delight to be with the SEES crew again, reincarnated in 3D models in the same vein as Persona 5's art style. It's a reimagining of Yukari's cheerful demeanor, Mitsuru's stern attitude, and Junpei's goofiness.

Unlocking outfits and accessories for your squad is also tied to viewing Social Events, so if you're into customizing their getups, it's further incentive to hang out. Outfits range from modest to utterly ridiculous; the Gekkoukan tracksuit and casual winter clothes look great, but putting Junpei into a snowman costume and Ken in a reindeer suit is hilarious. Social Events also provide motivation for playing in different ways since each character has specific conditions for unlocking their scenes, like passing songs using certain modifiers or wearing several outfits or accessories. It's well worth it, especially for the room visits. Even if it's just the team's dorm rooms, visiting these places in first-person brings to life characters you've known for years.

Compliments from Mitsuru are hard to come by, great work Fuuka.

Persona 3: Dancing In Moonlight puts the spotlight on one of the strongest parts of the entire series: the music. Its fusion of pop, rock, hip-hop, electronica showcases some of the incredible work of series composer Shoji Meguro and company. Dancing In Moonlight is particularly special because of the strong remixes and remasters of familiar songs, recreations of places we've been, and reimagination of characters we've long known. You may find the overall premise a little strange, but if you let loose--just as the SEES crew has done--you'll find a brilliant rhythm game weaved into an amazing, evocative soundtrack.

Categories: Games

Persona 5: Dancing In Starlight Review - The Shujin Shuffle

Gamespot News Feed - Tue, 11/27/2018 - 14:30

One of the most important pieces of the Persona series, and a major reason why we remember each game so fondly, is the music. Each mainline game and spin-off has its own memorable songs that encapsulate its defining moments. And with Persona 5: Dancing In Starlight, the evocative soundtrack that wonderfully captured the journey of Persona 5 is brought to the forefront for a fun, exhilarating rhythm game with its charming personalities taking center stage.

Here, the rhythm gameplay system used in Persona 4: Dancing All Night makes a comeback. As songs play, you're tasked with hitting the corresponding notes that align with the six button inputs that border the screen. Notes come from the center and move outward to the corresponding input, with unison notes, double notes, holds, and DJ scratches (using the analog stick or L1/R1) keeping you on your toes. It's a system that's beginner friendly with lower difficulties and assist modifiers, but wildly challenging on the highest difficulty. There's an incredible satisfaction to nailing perfect combos as note patterns flow seamlessly with the tracklist. The audible claps, tambourine shakes, and scratches that come from these notes mesh impeccably with beat of the song. It's not far off to say that you feel the rhythm when note patterns start to come naturally as you grow familiar with each track.

A perfect combo and dance routine in the song "Price" for Makoto Niijima.

The style and swagger of the Phantom Thieves bursts at the seams in Dancing In Starlight; it's seen in a wink, nod, or smile as they move in ways that fit their personalities. They'll be getting down in familiar locations like Mementos, Shibuya Crossing, and Shujin Academy. Even deep within hostile palaces, they express themselves by going all out on the dance floor with an impressive fluidity. Tandem dances in Fever Time and group dances are choreographed with a natural imperfection, supported by the eclectic soundtrack.

The style and swagger of the Phantom Thieves bursts at the seams in Dancing In Starlight; it's seen in a wink, nod, or smile as they move in ways that fit their personalities.

The theme song "Groovy" is so beautifully drawn and animated that the unapologetic confidence of the Phantom Thieves comes through vividly--it's an inspiring microcosm of the original game's attitude. A number of hard-hitting songs like "Rivers In The Desert", "Blooming Villain", and "Yaldabaoth" are featured here alongside the more calming tones of "Life Goes On" and "Tokyo Daylight". And, of course, the best palace theme "Price" features Makoto throwing it down in front of Kaneshiro's bank in the Metaverse sky. The masterful fusion of jazz, pop, metal, and rock make for a great playlist that feels like a trip through the struggles and triumphs of Persona 5 all over again. There some decent remixes, like the house-style version of "Whims Of Fate", but many are a little underwhelming, such as the "Beneath The Mask" remix that doesn't quite make the same impact for a rhythm game. That's not to say they're bad songs, but with the bar set so high, you wish they had a bit more punch for the gameplay to thrive on.

There are also a few shortcomings in Dancing In Starlight when it comes to presentation. "Life Will Change", an empowering song with infectious conviction is paired to a fairly cheesy music video. But what's much worse is that the female cast members (who are also high school students) get oversexualized in the Last Surprise music video, which is some sort of bizarre burlesque show that's out of touch and wholly unnecessary.

Dancing In Starlight doesn't feature a traditional story mode, unlike its predecessor Persona 4: Dancing All Night. However, there are Social Events, which are scenes of dialogue where characters banter--these play out similar to a visual novel-style of Confidants in the original game. The overarching premise is that you and your crew are stuck in a dream state dictated by Caroline and Justine of the Velvet Room, and they're enforcing the one rule of Club Velvet: dance. Admittedly, it sounds silly, but it works to pave the way for some joyous moments in Social Events. You shouldn't expect much when it comes to further character development, although they embrace their newfound passion for dance. Conversations and references play off of what you already know about the cast; Ann's striving to be the next top model, Yusuke's enraptured by his artistic side, and Ryuji's as brash as ever. While these don't play into the high stakes and striking themes of the RPG, it's great to be with these characters again and watch the silly banter unfold, especially since the original English and Japanese voice casts return.

You're also incentivized to play in different ways since each character has specific conditions for unlocking their Social Events, like passing several songs using modifiers or customizing characters during your time playing. Viewing scenes grants you these cosmetics, too, so the game naturally guides you to seeing most of its features. And the conclusion to Social Events rewards you with room visits; even if its just the attic of the Leblanc coffee shop or a crew member's room, working towards them is worthwhile as you get to see familiar places in first-person and take a closer look at a world you thought you already knew.

The masterful fusion of jazz, pop, metal, and rock make for a great playlist that feels like a trip through the struggles and triumphs of Persona 5 all over again.

It might take some adjusting to the overall premise, but it's fitting to see this cast getting footloose across Tokyo and the Metaverse. Dancing In Starlight shines the spotlight on the original RPG's rich, wide-ranging soundtrack and highlights some of the best work from series composer Shoji Meguro. Although many of Persona 5's tracks struck a chord because of their evocative attachments to the events of that game, these songs come back around to remind you just how special that journey was. And the fact that these amazing tracks are tied to a great rhythm gameplay system make this game a fantastic new way to enjoy Persona 5's tremendous music and revisit the Phantom Thieves.

Categories: Games

Beat Saber Review - Bass-Boosted

Gamespot News Feed - Mon, 11/26/2018 - 23:35

A good rhythm game knows how to get you moving to the beat, but very rarely does it require your full physical exertion in the way that Beat Saber does. On one hand, Beat Saber is a delicately designed rhythm game that uses simple mechanics in increasingly complex combinations. On the other, it's a full-body workout--one that demands you get up and move to the many beats of its drum- and bass-heavy songs. It's a wonderful use of both virtual reality and motion control, with only a few campaign issues and a slightly disappointing lack of content holding it back.

Beat Saber is easy to pick up and understand immediately. You're equipped with two sabers (lightsabers in all but name), color-coded in red and blue. Each song plays out as a track of similarly color-coded blocks, each of which have arrow indicators signifying in which direction they need to be cut. You slice and dice your way through multiple songs, many of which mix up both speedy repetitive patterns with long avenues of tricky swiping angles that test your reflexes; there are also small hazards like explosive bombs and glowing red walls that you'll need to physically avoid. With difficulties ranging from the slow and simple Easy to the frankly ridiculous Expert, there's a gentle curve that lets you engage with Beat Saber on your own terms--from a light, manageable workout to a true test of your mobility and reaction times.

PSVR support and the mandatory use of the Move controllers are what give Beat Saber its sense of motion. Beat Saber's blocks fly at you from the same starting point but can have wildly different trajectories that force you to stretch out to cut them. These can come whizzing past exclusively on your left-hand side before quickly transferring over to the right and flipping the pattern or alternate between low diagonal positions to a flurry of blocks flying overhead. The way Beat Saber continually uses rotations and last-minute position swaps gives its simple two-color system a lot of depth, which often requires deft motion tracking. The limitations of the PS4 camera have made this facet of PSVR tricky in the past, but Beat Saber features precise tracking, allowing for a high level of breadth to movement without impacting the feel of playing.

Beat Saber's songs do a good job of differentiating themselves from each other. "$100 Bills"” for example, is a satisfying exercise in pattern recognition that rides along a punchy bass track, while "Be There for You" shifts between slow and melodic verses into an adrenaline pumping chorus that uses devious pattern swaps to keep you on your toes. There's a lot of standard electro and alluring drum and bass, but Beat Saber does dabble in genres that you wouldn't immediately expect from its neon-brushed presentation and effects-heavy levels that elicit the feeling of attending an intense music festival. Coming across a new type of melody is refreshing after hours of dealing with similarly intense beats per minute, even if there aren't that many songs in total.

The PS4 version has five exclusive songs, each of which have tracks that fit their corresponding songs well and highlight their unique rhythms with clever block positioning. But on console, you lose the ability to download custom songs. Users on PC have been able to create songs using unofficial tools, greatly expanding Beat Saber's limited song library. There's more officially supported songs coming as paid DLC, but the selection is a little slim currently.

Modifiers alleviate the repetitive nature of the limited library to an extent. You can play songs with altered tracks that only allow you to use one saber or have directional arrows disappear as they get close to you. Only a handful of modifiers are available for each song, with an entirely new subset used in the game's campaign mode (which is exclusive to PS4 for the time being). These include challenges that ask you to not only complete a song but also move your arms to hit a collective distance travelled or achieve a high combo. Each of these pushes you to get better at songs you've likely already played, helping you inch closer to a perfect run in a natural way.

Some challenges are frustratingly counterintuitive, though. Certain modifiers will inexplicably limit the amount of movement you're allowed to make, which detracts from the energy that makes Beat Saber so exhilarating. Other modifiers that force you to keep below a certain combo or make a certain number of mistakes before the end of a stage feel obtrusive to your progress. They require you to actively play worse, manually breaking out of great streaks or purposefully making wrong moves in order to progress.

The campaign gives you branching paths to follow on your way to its conclusion, so some of these frustrating challenges can be avoided. But you'll have to engage with each of them at least once, and they are disorientating speed bumps in an otherwise exciting journey. But Beat Saber's campaign is an otherwise well-paced training ground for your growing abilities. Its difficulty ramps up fairly--you can't change it like you can in other modes--consistently challenging you while also gently nudging you out of your comfort zone so that you can improve.

Beat Saber is an exhilarating rush and an exhausting game to play in the best way. It has great music that is more varied than you might expect, complemented by smartly designed levels that marry their complex patterns perfectly to the beat. It's difficult to get bored of Beat Saber, especially thanks to its extensive campaign that pushes you to get better with each step up in difficulty. But that same campaign is also uneven at times with confusingly counterintuitive challenges, which might frustrate you to the point of taking a break. And when you do, you'll realize that Beat Saber is also currently thin on content, with only a handful of songs and no means to upload customs ones. Yet despite those flaws it remains consistently satisfying to play, and is certainly one of the best PSVR games you can buy right now.

Categories: Games

Nidhogg 2 Review - En Garde

Gamespot News Feed - Mon, 11/26/2018 - 19:17

Editor's note: We've now tested Nidhogg 2's Nintendo Switch port, and we're pleased to report it runs as smoothly as it does on other platforms. Plus, local multiplayer with a single Joy-Con each is, well, a joy. Unfortunately, a lack of online players mean you're often left waiting to join an online match, and the matches you do get into are often subject to poor connectivity. Regardless, Nidhogg 2 remains an accomplished local multiplayer game that is thankfully now available on the best console for local multiplayer. -- Oscar Dayus, November 26 2018

The beauty of Nidhogg was in its simplicity. Its minimalist style and two-button gameplay fed into what was a wonderfully streamlined and focused experience. With Nidhogg 2, developer Messhof has attempted to expand the multiplayer fencing game with more maps, different weapon types, and a busier art style, with mixed results. Some of the changes--particularly the weapon selection and grotesque aesthetic--prove to be distractions from what is otherwise an excellent party game.

Nidhogg 2's concept, as with the first game, is to stab your opponent and race past their decaying corpse onto the next screen. Your enemy will respawn on the new screen within a couple of seconds to once again impede you from reaching your goal--a giant hungry worm. You can jab your sword at any of three heights--head, torso, or... below the torso--or throw it for a long-ranged attack. Of course, flinging your sword leaves you vulnerable, as does attacking at the wrong height, which creates openings for your opponent to counter.

This was the meta-game driving the original Nidhogg's competitive gameplay--except now there's more pieces to the puzzle. The sequel introduces three new weapons: a thicker broadsword, which can be swung from either top or bottom to bat your opponent's weapon away but leaves you vulnerable in the middle; a dagger, which has a much shorter reach but allows you to stab more quickly; and the long-range bow. Arrows can only be fired in the middle or bottom and can be hit back in your direction, but they're by far the longest ranged weapons in the game that don't leave you defenceless afterward.

The expanded arsenal is of course designed to add depth, and it does: wielding a dagger for a few seconds can be a refreshing change after three years spent playing Nidhogg with just the same old rapier. But the game's fast-paced nature and its lack of warning as to which weapon you'll spawn with next means that you're often left frustrated that your attempted swipe of a sword failed because you happened to reappear holding a bow instead. You can change the order of weapons you'll spawn with in Tournament Mode, but even there the speed at which matches unfold makes adapting in the split-second respawn window a struggle. In addition, those customization options are not included in Quick Play, Arcade, and online multiplayer--a minor but strange decision given some may wish to turn the new weapons off entirely.

The introduction of weapon variety also impacts balancing. The uniformity of map design and character types creates a level playing field, but this serves to further emphasize each weapon's weaknesses. The dagger in particular feels very underpowered--it's tricky to use its speedier stab when your opponent has a much longer sword keeping you at bay. Similarly, arrows take too long to fire, meaning a quick opponent can easily gain the upper hand. Even if they don't, arrows are pretty easy to dodge, and you'll be too busy hammering the Square / X button out of frustration to take advantage.

The pulsating electronic soundtrack helps each stage feel as enjoyable, as varied, and as weird as the last.

Messhof has taken a similar "bigger means better" approach when it comes to Nidhogg 2's art style. The minimalism seen in the original is gone in favour of a style that, while still retro, is noticeably noisier. At times, the lighting is lovely, and the greater color range allows for much more varied locales than the original's monochrome level design. But the style also makes it harder to immediately see what's happening on-screen, and this lack of clarity is representative of the sequel overall. Possibly the only area in which the increased amount of content has benefitted Nidhogg is in those added maps. The original arenas have been rebuilt, and they're accompanied by a number of all-new locations. They contain a number of environmental hazards such as pits, moving ice, and long grass--as well as a pulsating electronic soundtrack--helping each stage feel as enjoyable, as varied, and as weird as the last.

Despite all the distractions, however, Nidhogg 2 can be brilliant. The original's tense, frantic, hilarious nature has not been diminished, and local matches offer some of the best same-room multiplayer around. I think my ear is still ringing from a friend shouting so loudly (repeatedly) after he beat me (also repeatedly). Nidhogg 2 becomes a sport: even onlookers get swept up in the tug of war the game evolves into, and you'll cheer or cry more in each swing of momentum than most video games manage to muster in a whole campaign. It effortlessly creates moments of nail-biting tension and in the very next room uproarious hilarity: in the moment, simply batting an arrow back at an opponent can seem like the most daring maneuver ever attempted, while falling into a pit immediately after a momentus kill can paralyze a room with laughter.

You'll cheer or cry more in each swing of momentum than most video games manage to muster in a whole campaign.

Each strike is lethal, and every inch of ground gained over your opponent feels like a huge step toward victory. The controls have remained as natural as they were in the first game, allowing you to plan and execute strategies with ease, making it perfect for group sessions even if some haven't played before. And when you figure out your opponent's strategy, exploit it, and just before they respawn you reach the finish line to win a tournament, it's exhilarating. I just hope my ear stops ringing soon.

Nidhogg 2, then, adds a lot without really adding much at all. The new weapons and busy aesthetic can frustrate, making the overall package feel less refined, but the core gameplay still shines through. Despite its problems, Nidhogg 2 is spectacular, engrossing, funny, tragic, and dramatic in equal measure, and it will no doubt become another party game staple. Nidhogg 2 sacrifices simplicity for more options, and it doesn't prove to be a good trade. But when the underlying action is this good, I'll put up with the odd unwelcome dagger.

Categories: Games

Darksiders 3 Review: Soils-Like

Gamespot News Feed - Mon, 11/26/2018 - 11:00

Darksiders 3 has an identity crisis. On the one hand, the stylish, effect-laden combos at your disposal point to a game with combat encounters reminiscent of Devil May Cry's kinetic action. Yet your fragility and the tough challenge enemies present actively discourage you from approaching combat on the front foot, instead favouring a more methodical approach with an emphasis on tact and evasion. The Darksiders series has always worn its inspirations on its sleeve, but at least there was a sense of focus and consistent design omnipresent in all of its moving parts. Those first two games may have been derivative, but they took concepts and built on them in fun and engaging ways that elevated their strong points. Darksiders 3 is the antithesis of this approach, feeling muddled and unfocused, with an uneven design that trickles down and negatively affects each of its disparate systems.

After both War and Death had their fun in Darksiders 3's predecessors, it's now the turn of the perpetually angry Fury, as you take the reins of the third horseman of the apocalypse. Fury wields a bladed whip known as the Barbs of Scorn, which offers both decent range and a satisfying feedback of meaty hits once you're up close and personal in some demonic entity's face. Throughout the game you'll acquire Hollows that grant unique secondary weapons--like a lumbering mallet and rapid-fire chains--and open up your traversal options with different elemental effects. Combos are relatively easy to execute, with one button dedicated to primary attacks and another for those aforementioned secondary strikes. Button mashing is enough to get you through most encounters, but mixing in slight delays between button presses will allow you to pull off air combos and other similarly stylish moves. It certainly looks the part of a flamboyant action game, but these flashy combos are only really feasible against weaker enemies.

Darksiders 3 has taken some clear inspiration from Dark Souls, so Fury's low survivability forces you to approach combat in a way that belies its exuberant combos. Enemies are fast and hit hard, and are regularly found in groups. With no stamina meter to speak of, there's an emphasis on dodging and keeping out of danger that does deviate from Dark Souls' stringent use of energy management. Each perfectly timed dodge is rewarded with a slow-motion flourish and the chance to counter with a powerful arcane attack, and most clashes are built around Fury's ability to weave out of the way of incoming sword slashes and ravenous claws. There's a good variety of enemy types, too; reading their attack patterns and knowing when to evade is paramount to defeating almost every enemy you can't simply banish with a single combo.

This all sounds well and good on paper, and taken at face value there's nothing inherently wrong with a more considered approach to combat. But Darksiders 3 never leans into this method heavily enough, and out-of-place vestiges of its flashy counterpoint regularly cause frustration as it seems to split between wanting to be two very different types of game.

You may have air juggles and various strings of deadly moves at your disposal, but you're often forced to settle for safe combos because anything else will leave you wide open to a devastating attack. Then there's the way you lock on to enemies. This has remained relatively unchanged from Darksiders 2, opting for a 3D targeting system similar to the one used in The Legend of Zelda: Ocarina of Time. This was clearly designed with one-on-one battles in mind and certainly doesn't fit in a game as challenging as this. While there are undoubtedly some tough enemies in Darksiders 3, the real difficulty comes from facing more than one enemy at a time rather than a singular threat. This works twofold: groups of enemies are intrinsically tougher due to their numbers, and the unwieldy lock-on and a terrible camera make these fights a lot more challenging than they would otherwise be. The camera has a tendency to block your view with walls and any objects in the vicinity, which is only exacerbated by the claustrophobic environments that dominate the majority of the game. Dying because you can't see, or because switching targets is too fiddly, are constant annoyances. Not to mention the number of times you're hit by attacks from off-screen. There's an indicator for incoming attacks, but it's incredibly difficult to discern in the thick of the action, and no such warning exists for projectiles.

Dying because you can't see, or because switching targets is too fiddly, are constant annoyances. Not to mention the number of times you're hit by attacks from off-screen.

Darksiders 3 also strips out a lot of the RPG elements from its immediate predecessor. Killing enemies rewards you with souls which can also be found throughout the game world in consumable clusters. Each time you reach a checkpoint you can trade them to a demonic merchant in order to level up three attributes: health, strength, and arcane. It's a very simplistic progression system, and while you can lose souls by dying and must then retrieve them again, there's never any tension borne from the threat of perishing and losing them all because you can bank souls even if you don't have enough to level up.

Weapons can be upgraded to increase their damage output, and enhancements will augment your arsenal with buffs that might give you 4% health back for each successful hit, or add more invincibility frames to your dodge. But there's no sense of individuality here, and combat never evolves because all you're doing is boosting your damage output. It doesn't take too long before repetition settles in.

This is a problem when combat is all-encompassing. There are some rudimentary puzzles sprinkled throughout, but they're few and far between and generally revolve around hitting a large jellyfish creature into position so you can use its head to reach higher platforms, moving blocks, and using explosive insects to access different areas. None of this is particularly engaging, and that goes for the rare instances of platforming as well. Grabbing onto ledges is too temperamental, and Darksiders 3 lacks a cohesive visual language that makes some platforming sections more convoluted than they should be.

The apocalyptic wasteland of Earth just isn't that interesting to traverse either. The interconnected world is made up of dilapidated office buildings, grimy subways, and flooded industrial areas. Each of these locales is enveloped in muted colours dominated by beige and grey, with only a couple of areas deviating from this bland design. Your quest might revolve around tracking down and killing The Seven Deadly Sins, but the environments you're in rarely reflect their diverse personalities, which feels like a squandered opportunity. Sloth is a large grotesque bug, so it makes sense that you'll find eggs cascading around the walls of his subway lair, and face off against arachnids and four-legged creatures. Yet, bafflingly enough, Gluttony--a vulgar plant-like creature with multiple mouths--also resides in a subway littered with eggs and insectoids to fight.

Verticality plays a substantial role in these environments, but there's no sense of scale when you're regularly confined to dank corridors in subways and caves. It's a shame, too, because while the bulky, comic book art style of Joe Madueria is still reflected in the excellent character designs--even if he's not directly involved in Darksiders 3--the backdrop for these larger-than-life beings is this generic, insipid world. And while it underwhelms in the visual department, Darksiders 3 is still rife with constant framerate issues--even on a PS4 Pro--on top of crashes, sound glitches, and other technical misgivings.

There are other elements worth mentioning, like the way the game length is padded out by the exclusion of an vague in-game map that makes fast travel worthless since you never know where exactly you're going, or the counter-intuitive way letting an enemy kill you is the best option when it comes to replenishing your healing items. But saying any more at this point is just too disheartening. Darksiders 3 retrogrades on its predecessors with an unfocused approach that constantly clashes with itself. There are remnants of a good game here, buried within the vivacious combos of a combat style this game doesn't want to embrace. Unfortunately, it's buried far too deep to ever salvage.

Categories: Games

Underworld Ascendant Review - Going Under

Gamespot News Feed - Thu, 11/22/2018 - 06:40

Ultima Underworld was a game ahead of its time. A first-person action-RPG released in 1992, it foreshadowed the kind of creative problem-solving sandbox that would later be popularized through Deus Ex, Bioshock, and Dishonored. The legacy of Ultima Underworld is a design approach that prioritizes player-authored experiences. It was, essentially, the immersive sim that first asked the questions: Do you want to fight your way in? Sneak your way in? Or set off a chain reaction of chaotic, physically simulated interactions and emergent gameplay your way in?

Crowdfunded via Kickstarter and then signed by publisher 505 Games, Underworld Ascendant was first pitched as a spiritual successor to Ultima Underworld developed by a veteran team featuring several people who worked on the original, most notably its lead designer Paul Neurath.

Unfortunately, far from a tribute to an influential classic, the result is both a crushing disappointment for Underworld fans and a genuinely bad game in its own right. Ascendant is riven with technical glitches. Every player-empowering feature is undone by a series of bafflingly ill-conceived design choices. And wherever you go your progress is constantly chafed by an all-pervading lack of refinement.

The story, for what it's worth, tells an oblique tale of warring gods and carries only tenuous links to the original Underworld games. You play as a familiar chosen one burdened with the sole responsibility of saving the world from imminent catastrophe. The game's primary antagonist bellows his ghostly threats at the beginning of each new area as another hour ticks by on the doomsday clock, but it's all bluster. Nothing about the world feels imperiled until the game over screen descends and you're left feeling bemused rather than defeated.

One of Ultima Underworld's great strengths was its sense of place. The Stygian Abyss of its subtitle was a multi-level, interconnected dungeon populated by diverse, warring tribes who observed what felt like distinct cultural practices. Ascendant's version of this is composed of seven discrete levels whose haphazard design (here's a swamp, inside a fort, inside a volcano) obliterates any suggestion of internal consistency and a huge but empty hub area that is so tiresome to traverse it becomes genuinely frustrating to return to between missions.

Again unlike the original game, which let you wander freely throughout the dungeon and pick up quests from its inhabitants, Ascendant takes a more modern and compartmentalized approach. There's a job board in the hub from which you select one of four missions before you step through a portal to the relevant location. Critical path missions require you to find the abyssal key lost in each of the seven worlds, but other missions--each set by one of three factions with whom you can gain favor--may have you kill a particular enemy or collect a number of a specific item. You can only accept one mission at a time, however, so there's a lot of trekking back and forth between hub and dungeon level. And, oddly, any mission that asks you to collect items will ignore any of said items already in your possession and force you to collect fresh ones instead.

None of the missions are complex and all ultimately boil down to entering the dungeon, fighting or sneaking your way to a certain spot, picking up or killing what you need, and legging it back to the nearest portal to warp to the hub. There are no NPCs to talk to, no conversations to have, no story choices to make, nothing but a bunch of what feel like procedurally-generated fetch quests delivered over and over again. If you recall the random quests given to you by the various Jarls throughout Skyrim, that's pretty much the entire game here--except repeated over seven static dungeon levels instead of spread across a whole seamless continent.

The closest Ascendant comes to honoring Underworld's legacy is in how it affords players the ability to customize their playing style. During character creation, there is no choice of class as such, but once you begin earning "memora" you can purchase skills on a tree with three clusters of branches representing the typical Fighter, Mage, and Thief archetypes. Of course, you're free to mix and match these skills to tailor your character's strengths. Maybe you're an axe-wielding fighter who has also mastered healing magic? Or perhaps you'd rather dash from shadow to shadow and avoid enemies altogether?

In a nice touch, spells aren't simply a replacement for weapons, but are better suited to the more cerebral player who wants to use the environment to their advantage. One spell lets you create a ball of fire, for example, but it's not a typical fireball that you hurl at an enemy; it's instead used to set other things on fire to, say, collapse the walkway that enemy was standing on, or more mundanely, burn down a fence that was blocking your way. The skill tree is flexible and allows you to craft a character that reflects the way you want to play, and leaves plenty of room to experiment with alternative play styles should you ever want to roll a new character.

The chances of doing that are slim, sadly. Underworld Ascendant isn't just a bare-bones action-RPG, it's also full of bugs and glitches and carries a really weird save system. I've encountered glitches that I'd classify as trivial: frequent gaping, untextured holes in the world geometry; lines of dialogue repeating on loop until you leave the area; getting stuck momentarily on a staircase; struggling to get out of a knee-deep pool of water because the current is absurdly strong; standing too close to a chest when opening it and having the physics fling you across the room. These issues, and many more, I can cope with. They're irritating, sure, but they're not game-breaking.

But the bugs become game-breaking when, for example, your character gets trapped between two bits of geometry and the only way out is to reload. Or when you can no longer use your bow even though you still have loads of arrows equipped. Or when you can actually use your bow and see the arrow shoot across the world but it seemingly passes right through the enemy without doing any damage. Or when an enemy spots you and simply runs into a corner and keeps trying to run through a wall while you attack it from behind until it dies. Or when you pull a lever and a rolling spike trap vanishes from the world but is still actually there and kills you. Or when an enemy gets caught in a cycle of jumping in the air and throwing a smoke bomb at its feet. These issues, and many more, are ones I can't cope with.

But perhaps most crucially of all, I can't cope with the save system. To begin with, you cannot save wherever you like. You can save whenever you like, but loading this save will see you restart from the beginning of the level with your inventory intact but any changes to the level reset. You can, however, plant a tree sapling at certain points throughout a level to act as a respawn point if you die, similar to the Vita-Chambers in Bioshock. This would be okay if Underworld Ascendant was a run-based game where you're primarily interested in how far you can get and what loot drops. But it's not. It's a mission-based game where you're exploring a level for upwards of an hour each time, trying to complete a specific objective. You're already revisiting the same level over and over again by virtue of having to return to the hub to cash in a mission and pick up the next. Having to restart a level from the beginning each time you load a save is just adding insult to injury.

For many players, especially the time-poor, the save system alone will be enough to render Underworld Ascendant unplayable. But even if it were addressed, and a more conventional system patched in, it would be impossible to recommend this game to anyone. Framed as a spiritual successor to Ultima Underworld, Underworld Ascendant misses the mark with almost every shot, much like my aforementioned hapless archer. At the same time, even freed from the expectations its historical baggage brings, it is a clear failure. The spirit of Ultima Underworld lives on elsewhere.

Categories: Games

Fallout 76 Review - Scorched Earth

Gamespot News Feed - Thu, 11/22/2018 - 06:00

Well, war has certainly changed. Fallout, the RPG series with a 20-year legacy, finds its latest entry taking another chance at braving a new direction. It puts a major focus on cooperating with other people in a world with perpetual activities that seek to sustain your engagement indefinitely. But Fallout 76 is a game without a strong focus. It introduces significant changes to the set structure of Fallout 4 to make it function as both a single-player and multiplayer experience. In doing so, both styles of play suffer from major compromises that exist only to serve the other, and as a result, both are weak. Fallout 76 can look and feel like its illustrious predecessors at times, but it's a soulless husk of an experience.

Fallout 76 has no artificial human characters to interact with. The justification is that, because the dwellers of Vault 76 are tasked to be the first to re-enter and reclaim this post-apocalyptic America, there are very few coherent beings. Many of the folks who did survive nuclear annihilation conveniently died shortly before your arrival. Without established characters to populate the world, the vibe of 76 is an eerie one, and it often amplifies one of the series strengths: creating the feeling of desolation and otherness. There's a curiosity about the familiar but unknown environment that drives you to veer off the beaten path, visit places that once were, attempt to imagine what life might have been like before everything went to hell, and wonder what the hell has happened there since. Exploring a new wasteland and stumbling upon new settings, scenery, and oddities is one of Fallout's most enjoyable aspects, and it's 76's best trait.

However, the lack of inhabitants is also Fallout 76's biggest problem. The game goes to great efforts to paint a picture that includes towns and cities with different populations and cultures, survivors who have banded together to form factions, and stories of people who managed to survive against all odds. But without having any of those people present to tell their stories personally, 76's world is limited to being little more than just an environmental exhibit with things to kill. It means the art of conversation is disappointingly absent, but more critically, it means there are no strong emotional anchors to help you become truly invested in the world, a complication that diminishes the game's other core activities.

The biggest victim is the quest system. Without actually having people with needs and desires, initiating and undertaking quests frequently involves the use of explicit found-object storytelling tools--listening to audio logs, reading notes, and browsing through computer terminals for key information. A quest will often explore the stories of certain characters, but they're characters that have long since passed, and all you get are long monologues and one-way directives from a person who no longer exists and you can't interact with. Your actions ultimately won't affect anyone, or the rest of the world for that matter--every location you visit will be reset with items and enemies regularly--so it's difficult to stay motivated.

...there are no strong emotional anchors to help you become truly invested in the world...

Some of these stories are intriguing to be sure, and when you come across a tale about a character who piques your interest, you get excited to discover more about their last living moments. But there's such an over-reliance on listening to disembodied voices and digging through pages of text in every aspect of the game that these standouts are easily lost. The lack of a more relatable and personal connection between your actions, the world, and its inhabitants--combined with your lack of influence--means quests begin to dissolve into wild goose chases around the world to check things off a list, and feel meaningless. It makes the idea of continuing to progress the story--listening to more audio logs, running across the country to search for more doohickeys, reading through more diary entries--feel exhausting.

The reliance on things like audio logs and written notes also proves to be the biggest deterrent to playing Fallout 76 in multiplayer. By teaming up, you can explore the world together, get help in taking down difficult enemies, and complete any quest, but certain things are kept distinct to each individual player's experience. Containers that hold items, for example, will have unique loot for each person who opens them. But quest objective completion also isn't shared, and every member in your squad needs to activate things personally to have them count toward their progression.

This is a great idea on paper, as it makes sure everyone sees each piece of a story themselves. But in playing with both good friends and strangers, I found that each person's individual need to advance quests severely hinders the flow of progress. Because of the need to wait for your squad to catch up, have each member take their own time to listen to important audio logs (which is impossible when you've got voice chat going), and search terminals for pertinent information, questing in multiplayer requires a lot of patience and courtesy. Add to that the fact that Fallout is already a game that encourages constant, time-consuming gear management (which penalizes your movement speed for being over-encumbered), as well as a rudimentary, occasionally tedious survival system (which asks you to maintain meters representing hunger and thirst), and the idea of having another squad member just feels like an additional burden.

If you have a squad that is happy to skip the narrative content things will go much more smoothly, but then you're denying yourself the one vector that gives these quests flavor. Multiplayer is more enjoyable when you and your squad are just content to leisurely explore the world and get into scrapes, at least once the logistics of preparation are behind you. But the capacity for arbitrary fun is an unremarkable trait. The advantage of questing solo and not needing to wait around is definitely a big advantage, but it has its own obstacles too--packs of enemies will often have a handful of foes that are 10 or 20 levels above you, and having someone to watch your back is definitely a factor that needs consideration, warts and all.

Fighting enemies also doesn't feel that meaningful in 76, a more morbid consequence of the lack of in-universe characters. The new region of Appalachia is filled with an assortment of delightfully mutated creatures both new and old, including humanoid enemies like the Scorched and Mole Miners who can wield firearms. But it isn't as entertaining to take on enemies that haven't wronged you or anyone you know. Without sadistic raiders and their despicable actions to be appalled by, interesting gang factions to get on the wrong side of, or lucid ghouls and super mutants to make you think twice about raising your weapon, every living being you encounter in 76 just feels like cannon fodder.

The combat mechanics don't deal well with a lot of cannon fodder, either. Appalachia is filled with a large variety of multiplayer-focused public events that invite everyone on the server to gather and participate in a unique task tied to a particular location. But these mostly boil down to escort and defense missions that ask you to hold back multiple waves of enemies and perform basic objectives. The real-time shooting of Fallout 76 is mostly unchanged from Fallout 4 and is serviceable enough to make small skirmishes with either firearms or melee weapons feel fine, despite occasional technical hiccups. But the system is not good enough to make shooting hordes of enemies for 20 minutes in an event feel like anything other than a chore--the gunplay and movement are not satisfyingly responsive or kinetic enough to make them enjoyable for long periods.

That's also partially due to the changes to V.A.T.S. What was once a strategic pause-style ability that allowed you to take time to assess your surroundings, target specific body parts, and make the most of your combat strengths, is now a primarily an opt-in real-time auto-aim system, a change presumably made for the purposes of multiplayer. If you decide to upgrade the skill, it serves its purpose in being able to make precision hits on limbs when the action is manageable, but in more intense situations this version of V.A.T.S. does little to bridge the limitations of the real-time combat system as it once did.

Fallout 76 also has fewer opportunities to complete quests in your own unique ways, which exacerbates the sense that you don't really have a huge part to play in this wasteland. Traditional charisma skills are gone, but lockpicking, hacking, and stealth abilities remain and provide a little bit of variety. But the overwhelming majority of quests have clear linear throughlines to their respective goals, all of which involve shooting a lot of things.

Some of the decisions in Fallout 76 are positive, though. The flexibility of the new perk system (which is now card-based) allows you to change your abilities at will, which has encouraged me to use Fallout's weirder skills, depending on my situation. In my experience, the game's unique take on player-versus-player competition is effective at deterring unprovoked attacks when exploring the world--killing another person is a lot of work for little reward if your target doesn't retaliate. Base-building carries over from Fallout 4 and comes with a few quality-of-life changes. You have the ability to move your base camp for a trivial fee, and you can save blueprints of entire arrangements for easy placement elsewhere. It's straightforward and pleasant, but like the rest of 76, it lacks the feeling of permanence and importance of building settlements in Fallout 4.

Most disappointingly, when you do begin to find some small joy in exploring Fallout 76's world, you're often not far from falling victim to the series' now characteristic penchant for technical oddities. Whether caused by the game engine or the online server-based nature of the game, I've run into countless issues in the PC version, even after the game received a major patch within its first week of release. Problems like clipping through the world, frozen animations, entire buildings failing to load, enemies getting stuck in walls or just not moving, audio logs not playing, enemies spawning out of mid-air, delayed damage detection and world effects, server disconnections, and being unable to complete a quest because someone else in the world killed your target, requiring you to log on and off again until it respawns. These are just some examples, and experiences will vary, of course. But in my time with the game, Fallout 76 did not feel like it ran smoothly for extended periods, technical issues were severe and often frustrating, and they overshadowed any fondness that was, at that point, starting to grow.

Fallout 76 attempts to execute on some significantly new ideas for the series, but with few exceptions, they notably limit the major facets of the game. The novelty of multiplayer can be mildly entertaining, but it's not an ideal way to enjoy mainline progression, and the shooting mechanics aren't strong enough to make the focus on combat-heavy activities genuinely enjoyable. Things feel better as a solo player, and the Appalachian landscape certainly has interesting things to see. But the absence of in-universe characters and your inability to make a meaningful impact on the world means becoming invested in the whole journey is incredibly difficult.

Bethesda has stated it intends to continue supporting the game for a long time, but at launch, Fallout 76 is a poor experience. There are echoes of the series' admirable qualities, but look past that facade, past the cute Vault Boy animations, past the familiar radio tracks, and you'll find no heart--just an inconsequential wasteland doomed to be nuked over and over again.

Categories: Games

Taiko no Tatsujin: Drum 'n' Fun / Drum Session Review - Rhythm Party

Gamespot News Feed - Tue, 11/20/2018 - 23:38

The Taiko no Tatsujin games are staples of Japanese arcades, and once you see them, they're hard to forget: gigantic cabinets shining with bright lights, faux-paper lanterns surrounding a screen, and two huge taiko drums you use to play. It's an experience you can't easily recreate at home, but that hasn't stopped Bandai Namco from trying with Taiko no Tatsujin: Drum Session on PS4 and Taiko no Tatsujin: Drum 'n' Fun on the Switch--the first home console versions of Taiko games to reach the West in over a decade.

This isn't the first time Bandai Namco has brought over Taiko no Tatsujin--it released Taiko Drum Master on PS2 back in 2004--but it is the first time it's made the trek overseas with its Japanese tracklists intact. It's also available as two distinct versions for separate consoles, both with different tracklists, features, and play modes. The basic gameplay, however, is the same in each.

That gameplay is deceptively simple. Beats will roll along the top of the screen, and you need to hit the drum in certain ways in order to produce different sounds; hit the center for a deep boom, the rim for a lighter clack, and use both drumsticks at once on either the center or the rim for a stronger overall noise. Having just a single instrument with simple inputs might make the game seem easy at first, but once you move on to some of the harder difficulties, you'll be challenged with rapid-fire sound switches, incredibly fast beats, and gimmicks that challenge you to whack that drum as fast and as hard as you can. It's a ton of fun once you get the knack of it, and seeing a party of cute little yokai and personified taiko spirits emerge in a cheering frenzy when you've got a massive combo going is always satisfying.

Of course, the home versions are missing something from that above description--the drum. There's a custom drum controller that can be used with the game that recreates the arcade controls somewhat, but since it's not available outside of Asia as of this writing (even though the North American game supports it), you'll need to make do with either pressing controller buttons for drum hits, tapping an on-screen drum using the Switch's touch functionality, or using the motion control function of the Switch Joy-Cons to simulate using drumsticks on a virtual drum. (For Drum Session on PS4, your options are considerably more limited; you either press the controller buttons or spend an arm and a leg importing a drum controller. There's no Move support, either.)

All of these control schemes have their ups and downs. Controller button input is very accurate but doesn't really deliver the experience of drumming, and touch-screen input results in a chunk of the screen being taken up by a virtual drum. Joy-Con input is probably the most fun in that it comes closest to the feel of drumming, but at more difficult song levels it tends to be plagued with inaccurate input readings, so it's not recommended for tracks with rapid notes.

No matter what input you choose, though, you'll be playing one of many songs from the variety-filled tracklist. You won't find much in the way of familiar American pop hits here, save for a Japanese version of Let it Go or Moana's theme song; the tracklist has been brought over straight from Japan with little in the way of alterations. That means you can enjoy covers of Japanese pop hits like Zenzenzense, Linda Linda, and One Night Carnival, along with a handful of possibly-familiar anime themes (Pop Team Epic, Evangelion, Dragon Ball Z), game music, classical remixes, Vocaloid songs, and a whole mess of original Namco music. The lack of Western songs can be a bit daunting at first, but there's plenty of variety overall, and the original Namco compositions tend to be quite good.

Overall, the PS4 tracklist is significantly more robust, offering more tunes in each category, along with a lot of optional DLC songs. However, it's disappointing that some of the best tunes, like classic Namco game music medleys and beloved Vocaloid songs like Senbonzakura, are DLC-only. The Switch tracklist is smaller and differs a fair bit, but offers exclusive Nintendo songs like the Super Mario Odyssey theme, a Splatoon medley, and a Kirby medley. Overall, though, Drum 'n' Fun's tracklist isn't quite as strong as that of its PS4 counterpart, Drum Session, even with taking into consideration a tiny smattering of DLC songs. If musical variety is your key selling point and you don’t find forking over a bit extra for DLC, you’ll probably want to look at the PS4 version first.

What Drum 'n' Fun does have that its PS4 brother doesn't, however, are plenty of mini-games and unlockables. While the core game only supports local two-player play (four if everyone brings their own Switch with a copy of the game), up to four players can join in to enjoy a huge variety of competitive and cooperative rhythm-based mini-games. These range from simple party games such as jumping rope to the theme of classic Namco arcade game Hopping Mappy or running through a side-scrolling stage picking up food to more complex challenges like preparing sushi orders or cooking on a grill to a beat.

These party games are very fun overall, taking a noticeable influence in both theming and gameplay from Nintendo's own fan-favorite Rhythm Heaven series. Plus, playing them unlocks additional content, such as songs and player-aiding avatar characters, in the main game, so there's plenty of incentive to get a bunch of buddies together and play some Taiko rhythm volleyball.

Taiko no Tatsujin in any form is a solid rhythm game package that's easy to get into and rewarding the more you play it.

The PS4 version doesn’t have these minigames; instead, it focuses on a deeper music game experience. Besides the bigger song selection, it offers an online mode where you can download other players' "ghost" input data for songs to compete against. (If you want a direct head-to-head battle, however, you’ll need to do local play.) You also have a little personified Taiko avatar you can customize with goofy costumes and collectible items, which you get from lootboxes you can buy with currency earned in-game.

Overall, Taiko no Tatsujin in any form is a solid rhythm game package that's easy to get into and rewarding the more you play it--provided you're down with a mostly-unfamiliar tracklist. The inclusion of numerous mini-games and local multiplayer support gives Drum 'n' Fun an edge over Drum Session for people who want an offbeat (pun not intended) party game to play with their buddies before busting out some Head Cha-La or Heat Haze Shadow. While the various non-drum-controller control schemes aren't always optimal, the Switch version offers many nice options to pick from--and if you just want to play a couple of standard-difficulty songs with pals before competing in four-player noodle-slurping, motion controls prove to be plenty enjoyable. But if you've been longing for a quirky, enjoyable multiplayer music game, either version should scratch the itch quite nicely.

Categories: Games

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Game Informer News Feed - Tue, 11/20/2018 - 19:35

Bandai Namco has revealed the newest character for Jump Force, the Shonen Jump-based arena fighter bringing in characters from the magazine's long history. This time, both Himura Kenshin and Makoto Shishio from the 1994 manga Ruroni Kenshin are joining in for the crossover fighting game.

In Rurouni Kenshin, protagonist Kenshin was a former soldier/assassin renown for his swordsmanship, but was used by the military primarily to kill. As a consequence, a more adult Kenshin created a special blade with a blunt side facing forward so that he could defeat opponents without murdering them. Shishio is the primary villain from the manga's Kyoto arc, covered head-to-toe in bandages after being burned by the government.

While there is no video yet, presumably both characters will play with sword styles hewing close to their anime adaptations.

The manga Rurouni Kenshin is actually still running in a different form, as creator Nobuhiro Watsuki approached Shonen Jump in the mid-2000s with the intention to remake Kenshin with a modern sensibility. In 2017, Watsuki was arrested for possession of child pornography with a number of underage DVDs so large that prosecutors assumed he had an intent to distribute, but eventually ruled that he was collecting it for himself. Watsuki himself admitted an attraction to elementary school girls in a deposition. He was fined the equivalent of $1900 and continues to work on Rurouni Kenshin at Shonen Jump today.

Categories: Games

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Game Informer News Feed - Tue, 11/20/2018 - 14:38

Square Enix released another new trailer for Kingdom Hearts III (November 29 on Xbox One and PS4), further highlighting its partnership with Disney and Pixar, bringing in everything from Wreck-It Ralph to Frozen into Sora's battle against darkness.

For more on the game, check out the recent Winnie the Pooh trailer.

[Source: Square Enix]

Categories: Games

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Game Informer News Feed - Mon, 11/19/2018 - 20:05

Koei Tecmo held a Dead or Alive tournament last night where the developer made new announcements for the game, including a new character by the name of NiCO. Dubbed the Lightning Technomancer, the inexplicably 18-year-old scientist shows off her story relevancy and fighting moves in the trailer. Before that, though, the footage also reintroduces Helena's half-sister Kokoro and also scientist Lisa back to the game.

Check out the trailer below.

NiCO's glasses can be knocked off during the battle, much like most accessories characters wear. She's the second new character announced for the title, after Diego was revealed earlier this year in August. Considering the proximity to launch, NiCO might be the last new character for the game, with the rest of the roster mostly being returning characters from Dead or Alive 5.

Dead or Alive 6 is releasing on PlayStation 4, Xbox One, and PC on February 15.

Categories: Games

New Resident Evil 2 Footage Shows Claire Sneaking Past Lickers

Game Informer News Feed - Mon, 11/19/2018 - 19:05

PlayStation Underground, Sony's official PlayStation news source, has put up new footage of Resident Evil 2, which they're calling Licker gameplay. That is definitely the most succinct name you can give it, as the 15-minute footage of Claire and Sherry stalking through the halls of the Raccoon City Police Department and meeting some real monsters beyond Lickers is a lot to take in. 

You can check out the new footage below.

One of the noticeable changes is how much the Lickers being blind seems to affect their gameplay now. In the original release of Resident Evil 2, the Lickers were blind in theory, but there was little practical way to take advantage of this. There were very few rooms where you could walk slowly without firing another shot to keep from alerting them, but the remake seems to design areas specifically to let you do this. 

The footage also shows off the interesting gore tech and how it affects gameplay. At one point a zombie comes at Claire with his arms reaching for her and she shoots his hand. The zombie puts his arms down and the shot hand falls off a few seconds later.

Resident Evil 2 releases on PlayStation 4, Xbox One, and PC on January 25.

Categories: Games

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Game Informer News Feed - Mon, 11/19/2018 - 17:42

The third installment of the Darksiders series is coming out next week. In anticipation of the launch, THQ Nordic released a three-minute intro to prepare you for the battle. Watch the video below to remind yourself of the characters and the world before picking up the game.

Darksiders III releases November 27 on PlayStation 4, Xbox One, and PC. Watch our Darksiders III interview with David Adams to get the latest scoop on the game. You can also read about the two already-announced post-game DLC pieces for Darksiders III here. 

[Source: THQ Nordic]

Categories: Games

New Just Cause 4 Trailer Dives Into Biomes, Microjets, And Destructibility

Game Informer News Feed - Fri, 11/16/2018 - 20:04

The latest Just Cause 4 trailer has dropped, and with it, fans of the destructive, high-octane South American sandbox should have plenty of reasons be excited for the latest installment.

Set in the fictional city of Solis, the trailer showcases the new playable landmass which Avalanche Studios says will be the largest in series history, brimming with diverse biomes modeled after real-life South American geography. Built around its new Apex Engine the trailer also gives fans another glimpse into the new extreme weather systems, giving us blizzards and tornadoes, as Rico Rodriguez drop kicks enemies using his now-upgradeable grappling hook and fires off rounds with what appears to be a railgun. 

Promising more weapons, vehicles, and destructibility than ever before, Avalanche says this Just Cause will be a “landmark entry in the series,” and the way the trailer looks, this doesn’t seem too far off the mark. But you don’t have to take our word for it, check out the trailer below to see all the beautiful, over-the-top destruction for yourself.

Just Cause 4 is slated to release December 4 on PlayStation 4, Xbox One, and PC. For all the latest news and info on Rico's latest adventure, be sure to grapple your way over to our Just Cause 4 news hub.

Categories: Games

One Piece: World Seeker Trailer Announces March Release Date, Shows Off Gum Gum Abilities And Skill Tree

Game Informer News Feed - Fri, 11/16/2018 - 17:55

Get ready to stretch and glide around as Luffy in a big open world, as One Piece: World Seeker has been slated for a March release.

The new trailer shows off Luffy's Gum Gum abilities he can use for exploration and traversal, as well as for combat. We also get a glimpse of the skill tree players can work through over the course of the adventure.

You can see these and more in the trailer below.

One Piece: World Seeker launches on PlayStation 4, Xbox One, and PC on March 15.

Categories: Games

Battlefield 5 Review In Progress - On The Front Lines

Gamespot News Feed - Thu, 11/15/2018 - 23:48

Editor’s note: We are waiting to finalize this review until we are able to test Battlefield V’s server stability with more players and see if certain bugs persist after initial patches upon release. While the free Tides of War updates for Battlefield V are scheduled through March 2019, we are evaluating the game based on what is currently available as of its November 2018 launch. Look out for our final review in the coming soon.

Chaos and scale have always been the foundation of the Battlefield franchise, and Battlefield V is no different. Squads of soldiers relentlessly push towards objectives with either sheer force or improvised tactics while gunfire and explosions ring throughout the beautiful, but war-torn landscapes. It's an overwhelming sensory experience and a fine execution of a familiar formula--if you play the right modes.

Battlefield V goes back to where the franchise began by using World War II's European theater as the backdrop for first-person shooting and vehicular combat in large multiplayer matches. It's not too dissimilar to Battlefield 1, where every weapon has a distinct weight and impact hat comes through vividly in both sight and sound. The core conceits of Battlefield remain mostly untouched, but small tweaks have been made to the formula, most of which are welcome.

Ground troops are even more deadly this time around, with a revamped ballistics model (random bullet deviation is gone) that results in reduced time-to-kill for skilled players; floundering in open areas is now more dangerous than ever. Navigating the maps' messy terrain has a smooth, intuitive feel whether you're mantling obstacles or scrambling for cover. All players regardless of class can revive squadmates and highly encourages sticking together and alleviates the disappointment of dying without a medic around. Since it takes a few precious seconds to perform a revive and is limited to squadmates, it doesn't negate the importance of the Medic class' instant revive. The ability to spot enemies is now exclusive to the sniper-focused Recon class by using the manual spotting scope or having the subclass perk to reveal enemies you fire upon.

Another new mechanic introduced in Battlefield V is Fortifications, which consists of building predetermined structures--like sandbag walls, barbed wire coils, and Czech hedgehogs--within the environment. There are no resources tied to your ability to construct them, though the Support class builds much faster than other classes and can prop up a stationary gun in certain spots. Overall, building fortifications feels a bit tacked on and inconsequential given the pace of some modes, but there's no denying their effectiveness in the right situations. Something as simple as improvised sandbags for a little cover can go a long way by turning a sitting duck into a well-positioned defender who can better hold down an objective when every other building's been reduced to rubble.

As impactful as Attrition sounds, it's not so overbearing as to drastically shake up Battlefield's core, though it does make going rogue less viable.

Above all else, Battlefield V truly shines in Grand Operations, a series of three consecutive matches (or rounds) intertwined by brief narrative bits inspired by WWII events. Each round, presented as one in-game day in the same theater of war, is a specific game mode, and teams can earn reinforcement bonuses for certain rounds depending on the outcome of the previous one. The narrative dress-up is a nice touch, but the real reason Grand Operations works is because it keeps up the momentum from round to round and packages a variety of the game modes into one long match, encouraging you to see it through.

The success of Grand Operations should be primarily accredited to the more focused, well-executed modes like Airborne, Frontlines, and Breakthrough. Frontlines in particular plays out like a tug-of-war; teams fight over varied objectives in sequential order within defined sections of a map, depending on the phase of the match. Teams will struggle to hold capture points in sequence to push the other back, and other phases may be demolition-style attack/defend skirmishes. The opportunity to push back a phase also makes it so you can regain ground if your back is against the wall; by the same token, you can't get too comfortable with a lead.

These game types aren't entirely new; Frontlines was seen in Battlefield 1 DLC and borrows elements from Rush and Conquest, and Grand Operations is a variation--albeit improved--on the original Operations in Battlefield 1. However, the tools and mechanics built around Battlefield V along with how map dynamics shift at each phase make them an absolute thrill to play. It accentuates the best features of the map roster, and also makes the moment to moment firefights distinct since they're concentrated across different sections. The structure of modes like Frontlines naturally ushers a team's attention to a handful of clear objectives at a time and provides a method to the madness, creating a satisfying push-and-pull where success feels earned.

As great as Grand Operations is, the series staple of Conquest has become the weakest link. This traditional mode has devolved into a match-long carousel of flag captures, easy kills, and cheap deaths. Maps like Twisted Steel and Arras function well enough for Conquest, but that leaves a majority of the eight available maps lacking. Narvik, Fjell 652, and Devastation feel too condensed for the high player count and mechanics of Conquest; the action hardly ever stops, but cramming everyone together in compact, circular maps means you're often caught from behind or flanked by enemies that simply stumbled upon that fruitful opportunity. It goes both ways, as you'll frequently find yourself catching enemy squads with their backs turned because you lucked into a certain spawn and ran off in the right direction.

The success of Grand Operations should be primarily accredited to the more focused, well-executed modes like Airborne, Frontlines, and Breakthrough.

Battlefield V is also rough in spots. A few bugs are forgivable, like wild ragdoll physics, but some are more problematic. On rare occasions, the map goes blank when enlarging it, or health packs just don't work. Very rarely would you have to revive a squadmate by a door, but when this happens, you're likely to only get the prompt to interact with the door, leaving your friend to die. Thankfully, these issues are not enough to overshadow the game's best parts.

Regardless of your preferred mode of play, you'll be earning XP for a number of separate progression paths. There's overall rank, class rank, individual weapon rank, and for good measure, each tank and plane has its own rank as well. There isn't a whole lot to unlock for weapons given the WWII setting, but leveling up weapon proficiencies lets you customize them to your play style, like choosing greater hip-fire accuracy, faster reload, quicker aim-down-sights, or less recoil in ADS. Various weapons and pieces of equipment (such as the spawning beacon for Recon or the anti-tank grenade for Assault) unlock as you rank up classes. It's a fairly sensible system, though the same can't be said about vehicle progression. Vehicles are tough to come by in Battlefield V as it is and since each one ranks separately, it takes an extra-concerted effort to level them up. There are some useful perks to obtain for vehicles that can provide a slight disadvantage, but it can be a struggle to acquire them.

The structure of modes like Frontlines naturally ushers a team's attention to a handful of clear objectives at a time and provides a method to the madness, creating a satisfying push-and-pull where success feels earned.

Aside from weapon skins, you'll customize each class's appearance for both Allies and Axis. It's the cosmetic aspect where you can fit yourself with different parts of uniforms, though it doesn't bear much fruit since this is a first-person game that moves so fast, even your enemies won't really notice the 'rare' uniform you're wearing. Cosmetic customization is also how Company Coins, the in-game currency that you earn through completing challenges (daily orders or assignments) or completing matches, comes into play. Most cosmetics can be bought with Company Coins, which can be a grind to earn. You should note that unlocking weapon and vehicle perks are also tied to Company Coins, but at least they are relatively low-cost. There are no microtransactions at the moment, but they are said to coming in the future, and for cosmetics only.

Battlefield V isn't solely a multiplayer endeavor. War Stories returns as the single-player component that attempts to present a brutal conflict with a more earnest tone. The campaign highlights lesser-known parts of WWII, like the Norwegian resistance, and the Senegalese Tirailleurs who fought for the French Army amid racial discrimination. The effort is admirable, especially when it comes to the Tirailleur campaign as it sheds light on piece of history that has nearly been forgotten; the scale of Battlefield comes through in and the story speaks to the horrors of war. However, the campaign doesn't quite stick the landing in the end. Nordlys boils down to a mix of stealth and combat that casts you as a one-person army that's enjoyable at times, but doesn't go beyond lone-wolf skirmishes--at least it showcases some of the game's best setpieces. And the Under No Flag campaign for the English side is an eye-rolling series of tedious missions that goes for a lighthearted note that doesn't work. War Stories has its moments but is all over the place in tone and style.

The effort is admirable, especially when it comes to the Tirailleur campaign as it sheds light on piece of history that has nearly been forgotten.

Currently, Battlefield V still has features to implement as part of its game-as-a-service approach (designated Tides of War), but there's enough to chew on for now given the quality of the better modes. It's an exciting prospect that there's more to come at no additional cost, but you can't help but feel that the launch package could've been a bit more dense considering there's only eight maps. Additional modes (including co-op), new maps, another Grand Operations mission, and the Firestorm battle royale mode will be rolling out intermittently between now and March 2019. All that could make for the most feature-rich game in the series; unfortunately, we won't be able to evaluate those parts of the game until they arrive.

The Battlefield series has a winning formula that Battlefield V doesn't deviate far from, at least for now. Conquest and the map roster don't mesh well together, however, Grand Operations-- and the other modes within it--steal the show and foster some of the greatest moments the franchise has offered. You might be surprised by the impact of the slight changes made for Battlefield V, especially when you're deep into pushing objectives in Frontlines alongside teammates fulfilling their roles. That's when Battlefield is at its best.

Categories: Games

Left Alive's Character Trailer Shows Off The Interplay Between Protagonists

Game Informer News Feed - Thu, 11/15/2018 - 01:35

Square Enix dropped a new Left Alive trailer today, the newest game in the Front Mission universe that seems to be incredibly influenced by the Metal Gear Solid games. The title features multiple protagonists, survivors of a major military excursion in the city of Novo Slava, and interweaves the story between them, which the trailer does its best to show off.

You can check out the Survivors trailer below.

You also get a pretty good look at both the on-foot and mech gameplay of Left Alive, the first games of its type with the more strategy-based other Front Mission games. If the art reminds you of Metal Gear Solid as well, that's because Yoji Shinkawa of Metal Gear fame designed the characters.

Left Alive will be releasing on March 5 on PlayStation 4 and PC.

Categories: Games