2014’s The Evil Within was renowned game director Shinji Mikami’s spiritual successor to the classic Resident Evil titles of his creation, so, with the seventh instalment of Capcom’s horror series successfully returning to its roots earlier this year, The Evil Within 2 needed to evolve to garner attention. Thankfully, that’s exactly what happened: TEW 2 improves and expands on its forebearer in almost every way, making for a great example of a sequel done right.
The Evil Within 2 improves and expands on its forebearer in almost every way, making for a great example of a sequel done right.
While perhaps a little difficult to wrap your head around initially, STEM’s alternate reality is a fantastic means to remove all barriers and let The Evil Within’s design run riot. You’re relentlessly shown exciting new visuals, bolstered by HDR compatibility, all of which are so considered in their grotesquery that they achieve a morbid beauty. Just as you wouldn’t generally link beauty and brutality, The Evil Within 2 revels in making further juxtapositions feel natural next to one another, be that in reality-based and abstract settings, affluence and dilapidation, or low and high technologies.
This serves to complement another of the game’s villains, the artist Stefano, a character that has more than a little in common with BioShock’s fantastic Sander Cohen, complete with his very own Fort Frolic. Using human flesh as his canvas, you’ll bear witness to many of his works, and, somewhat disturbingly, very likely stop to calmly admire them with the fitting accompaniment of an original (and excellent) classical music track.
Having gone quasi-open world, the game’s two truly sandbox areas (one of which is cheekily recycled as a faux third) are, thankfully, packed with exciting and significant optional activities. Compliments for open world design are thin on the ground these days - we, along with many others, have grown tired of the map-filling, tedious brand of busywork many games have come to rely upon. The Evil Within 2’s unique boss encounters, side missions, collectibles and secrets put that issue to rest however, maintaining consistently high quality whilst also serving to fill in the wider narrative and bridge the three-year gap between instalments. This makes scouring the crumbling streets of Union a thoroughly enriching experience, akin to exploring Batman: Arkham City for the first time.
STEM’s alternate reality is a fantastic means to remove all barriers and let the The Evil Within’s design run riot. You’re relentlessly shown exciting new visuals.
What’s more, especially if you up the difficulty to Nightmare, this nonlinearity sees the survival element begin to shine. You might clamber onto a rooftop and use your sniper scope to scout a location in the distance, spotting a tempting loot pile surrounded by enemies before weighing whether or not it's worth pursuing; perhaps you then make some supplies via the simple new crafting system, these convincing you to head in with stealthy intent. You’re spotted. An unnerving chase begins, more and more enemies emerging from all directions, drawn by the ruckus, as you narrowly avoid an incoming swipe and hurriedly slip into the nearest safehouse, breathing a heavy sigh of relief as you stand, shaken, behind the boundary door. That’s just one example of the many possible, and quite memorable, self-contained stories The Evil Within 2’s emergent gameplay can facilitate, in much the same vein as State of Decay.
Frequently breaking away from the open areas for more linear main story segments, as well as trips through a series of tunnels called The Marrow, had us longing to return at times. This feeling isn’t helped by the fact that these sections occasionally force either open combat or stealth on the player, rather than leaving them to choose their own method of approach. Both play styles are at least engaging, with a highly customisable loadout of loud, punchy firearms and a versatile tactical crossbow making up the bulk of your offence, while conventional-but-satisfying hidden melee kills and a slightly dodgy cover system mostly comprise the sneaky side of things.
Having a sizeable arsenal at your disposal unfortunately relieves many of the malformed cast of enemies of their scare factor; provided you’re actively scavenging for resources, you’ll never be in any desperate need for either ammunition or medical supplies, even on the hardest difficulty setting. Throughout a playthrough, which should last around twenty hours, ways to manipulate the dopey AI and reliably spot enemies lying in ambush also become apparent, further tipping the odds in your favour.
Other than some great late game boss encounters, The Evil Within 2 gradually leaks horror until there’s little left to be scared of; this might be either welcome or disappointing, depending on how much you like sitting in your own leakage. Maintaining the first game’s body burning mechanic - which saw enemies have the potential to spring back to life if their corpse wasn’t ousted using a limited supply of matches, à la the Resident Evil remake - would likely have helped the game remain more engaging on that front, however.
All in all, despite a weaker second act by comparison to the superb first, The Evil Within 2 is a mechanically gripping game. It’s a sophisticated mix of old and new, along with Western and Japanese influences, thanks to its diverse development staff. A considered audiovisual feast that, in a year where Resident Evil 7 convinced us first-person perspectives and VR were the unchallenged future of survival horror, compellingly challenged that notion.
Grip Digital and Teotl Studios’ first-person, single-player survival game released on PC and Xbox One to a middling critical reception last year. The addition of virtual reality support helps to elevate the PlayStation 4 release in many ways, though some issues still hamper the otherwise engaging and atmospheric adventure.
A thick air of mystery ebbs and flows as you explore environments and begin to peel it back, often only to uncover more secrets.
With that said, the absence of a formal tutorial means it’ll take a little while to get used to the button-heavy control scheme; once you wrap your head around it however, you’ll be walking, turning and teleporting comfortably without need for an analogue stick. Other VR issues include lengthy, awkward 2D loading screens that somewhat break immersion, and the galling oversight that you can clip your hand through many locked gates and use the teleporter (an item separate to the standard teleportation for travel) to bypass the game’s simple puzzles.
You can’t get up to similar tricks playing on a TV, which might be a good or a bad thing depending on how you’re inclined, but there are also definite boons to playing in our humble, real-world reality. There’s a closer connection to the protagonist as you hear more of their musings and see scenes cut for comfort from the VR experience, plus there’s a sharper presentation in terms of both resolution and a clearer UI, which can serve practical purpose in helping to find obscure collectibles that boost resistances and fill in the wider narrative.
Anything other than a temperature resistance buff is frankly a waste, as that’s the only one of the game’s survival elements that ever really comes into play. Food and water are plentiful, and getting enough sleep is easy done, but staying warm when outdoors at night is near impossible. While the straightforward crafting system can be used to start temporary fires that offer slight respite, the only real solution is to ride out the night somewhere safe. With no means to tell the exact time, you’re only ever acting on a best guess while judging an alien day/night and dynamic weather cycle, so, should you misjudge or spend too long exploring, you might be doomed to get hopelessly caught out from the moment you set off. Due to the game’s manual save points and infrequent auto-saves, it’s possible to lose a lot of progress to this - even totally bugger your save file - leaving you feeling decidedly cheated in the process.
Thankfully, the survival elements are fine tunable, so you can tone them down, turn them off completely, or, if you’re some sort of sadist, make them stricter. This goes a long way to remedying the issue, but being tempted to turn a survival game’s survival aspect off so that you can fully enjoy it is far from ideal.
While The Solus Project isn’t a great survival game, its focus on setting, atmosphere and storytelling make it more immediately engaging than its crafting-obsessed peers. Overall, the game succeeds in spite of failing within its genre - especially when played in VR, with the mode providing a fully-featured and lengthy campaign for headset owners to absorb in affecting fashion.
Lagging six months behind its Oculus Rift and HTC Vive counterparts, Arizona Sunshine has finally made its way to Sony’s PlayStation VR platform. Has the transition to weaker hardware sullied the acclaimed first-person shooter? Or has the extra development time made all the difference?
Vertigo Games have utilised everything at their disposal to comfortably accommodate the experience on console.
Outside of the DualShock 4's issues, aiming is pretty spot on with both the Move and Aim controllers; you’ll utilise point-and-shoot motions in an entirely natural way, satisfyingly lining up shots as if you were in a real 3D environment. Closing one eye and looking down the ironsights allows you to execute strings of carefully-crafted headshots against the intentionally docile and dozy enemy AI, but, in the event a horde springs to life and swarms, you’ll be forced into a spray-and-pray panic, which gets the job done, but at the cost of a chunk of your ammunition.
Ammo should be a limited resource, but if you explore environments thoroughly enough you can scavenge quite the stockpile. Opening up cars, drawers, cupboards and more via occasionally finicky, telekinetic interactions uncovers all sorts of strange hiding places, with certain ammo types being rarer finds than others. You’ll keep track of what you’ve accrued through the innovative, HUD-busting inventory system that sees you look down to inspect the bullets, grenades and firearms holstered on your belt before physically grabbing them to use them. While immersive, the main drawback of this is that, when playing seated, it’s all too easy to accidentally grab items when your arms are held close to your core, so you’ll need to keep them awkwardly outstretched.
You can carry up to four weapons at once, though you’ll find an abundance of them, so it makes sense to choose as diverse a range as possible - namely a shotgun, submachine gun, pistol/magnum and grenade launcher - to tactically meet differing situations head-on. You’ll also sporadically encounter stationary sniper rifle and machine gun emplacements, which offer up an empowering and gleeful temporary twist on combat, helped along by the protagonist’s excited exclamations that will no doubt mirror your own (if you're anything like the psychopaths we are…).
Though they are comparatively empowering, standard zombie encounters aren’t exactly emasculating. This is largely due to the aforementioned healthy levels of ammo, however the (mostly) bright and breezy setting and lead character sap any real sense of horror from the experience. That’s fine, especially with so many VR horror games already on the market, but in doing so it readily passes up on leveraging the genre that is perhaps virtual reality’s greatest asset.
Despite that, it’s still very frightening on the odd occasion you turn around and find a member of the undead ranks invading your personal space, with the resulting unnerved excitement only making us wish it happened more often. Upping the difficulty can draw you closer towards true horror by nixing ammo pickups and buffing zombies, should you desire that, while harsh checkpointing means you’ll actually be invested in staying alive and fear death that little bit more (or possibly just curse the devs).
Aiming is pretty spot on with both the Move and Aim controllers; you’ll utilise point-and-shoot motions in an entirely natural way.
Regardless of your skills, death is something that always comes in Arizona Sunshine’s Horde mode. This is exactly what it says on the tin, or the cassette, in this case, challenging you with surviving increasingly difficult waves of enemies that attack from all sides as you’re confined to a small central area. Playable alone or with up to three partners online, co-op is definitely the way to go, and not just to have someone watching your back. Thanks to the game’s motion control, interacting with players is often cause for hilarity - you might wave to greet one another, dance and fist-pump to celebrate a wave well defended, or even get weird and spend some time stroking each other's faces, locked in prolonged eye contact… Whichever way you play, there’s a relevant leaderboard to track your performance and give you something to strive towards.
While the level of interactivity in Vertigo Games' post-apocalyptic take on the sunny state of Arizona can leave a little to be desired (you can pick up axes, shovels and pans, but can't use them as melee weapons, for example), its nonetheless rich and immersive environments are a pleasure to explore. When combined with seriously satisfying shooting mechanics and entertaining co-op, both thanks to great motion control implementation when using the Aim and Move controllers, Arizona Sunshine takes mantle as one of the first full fat FPS experiences to reach PlayStation VR.
The Town of Light covers bold new ground with its story of a young woman’s treatment in a 1940s mental health facility; with this narrative the clear focus, however, could the moment-to-moment gameplay suffer? Join us for a stroll around the corridors of Volterra asylum, won’t you?
We can’t praise Lka.it enough for attempting to tackle such important, heavy subject matter.
The former, however, is a disappointment. The linear nature of the game could be forgiven if there were puzzles to vary the pacing, but they never really materialise. In the early stages you’re asked to find “warm lights” to keep your doll, Charlotte, nice and toasty, which takes no rocket-surgeon to figure out as there’s only one room with such lights. Similarly, towards the back end of the game you’re tasked with finding your old stuff in the storeroom, but once you’ve interacted with one bag your gaze is automatically directed towards the actual parcel, removing any potentially engaging investigation/problem solving elements - this kind of thing happens a lot during the game’s short duration.
Interactive gameplay may be almost non-existent, but the setting has plenty of depth, thanks largely to the asylum’s design being based on a real-world facility in Italy. Once you finish the game, you’ll be presented with a short live action film that really showcases how spot on Lka.it got it. It’s a pity, then, that the graphics are rather poor, especially when you take into account the always excruciating load times and occasionally stuttering framerate.
Outdoor sections are the real offenders here: there’s ugly texture pop-in and the lighting effects look off, making the whole presentation seem a generation out of date. Inside the facility things fare slightly better, but everything still has a grainy, blocky look to it. The Town of Light does pull it back somewhat with some wonderful graphic novel-inspired flashback scenes - think Deadlight - and marvellous visual effects during playable memories. Corridors wobble, colours revert to monochrome, and light sources pierce as music and voice screech and decay. These are the best sections of the game hands-down, when the story, visuals and sound effects finally align to create a truly affecting blend.
It’s just a shame that the game fails to make good on its early promise with the mighty gut punch of achieved potential. The story rips the veneer off mental health treatment and many other significant issues, but fails to truly discuss the complex depths below the surface and the effect they can have on the individual, family and society itself. Renee’s memories become more and more confusing as the game plows to its denouement, vastly eroding the impact the story could have had.
The Town of Light’s short length, combined with the lack of any truly engaging gameplay mechanics, leaves us with the feeling that this story would’ve been better served as a graphic novel or film. For us, that unrealised potential is a real blow - the game flirts with the idea of being the One Flew Over the Cuckoo’s Nest of gaming, but ends up falling well short.
A reboot of 3D Realms’ 2006 shooter, Prey finds itself fighting an uphill battle. Sharing little but its name with the original, while standing in for what looked to be a promising sequel in Prey 2, many fans of the property are approaching this 2017 reimagining with a justified degree of trepidation. Whether you fall into that camp or not, reset assured, Prey was always very safe in the hands of Arkane Studios (Dishonored).
Uncovering Talos I’s many dark secrets is an unending treat.
You’re free to prowl the detailed station at will, though certain areas are cordoned off until you acquire the relevant skills or items to proceed; as a result, the world slowly unfurls around you in a way that’s not dissimilar to a classic ‘metroidvania’ game. With high character mobility and constant branching paths to accommodate different playstyles, the lavish level design saw us obsessively scour every surface not for medkits, ammo and crafting components, but for the sheer pleasure of it.
Mind-bending microgravity sections in which you fly through claustrophobic maintenance tunnels and around the ship’s huge exterior further contribute to making Talos I a thoroughly memorable - and, dare we say, iconic - setting that ranks amongst gaming’s very best.
Of course, the encounters you face in these quintessential halls play no small part in the achievement. Prey’s enemies are the otherworldly Typhon, a pitch black alien race that look and act as though they stepped out of the static on a television screen. Harvesting human life to multiply, they come in many shapes and sizes, from the hulking Nightmare that crops up for repeat mini-boss encounters, to the invisible Poltergeists that violently throw you around via telekinesis, to the spider-like Mimics that hide in plain sight.
Mimics in particular imbue the experience with a suffocating sense of unease, posing as unassuming, inanimate objects to ensure you’re never certain of your immediate safety. Their unpredictable nature rarely affords you the opportunity to stand at ease, making Prey a game you play on edge, constantly scanning environments with a critical eye for anything that looks out of place. When a Mimic attacks, generally blindsiding and causing you to jump in the process, the ensuing panic has seen us forget about the shotgun in our hands and frantically throw mugs instead.
Paired with a lack of regenerating health and limited resources, enemies become imposing predators, relegating the player to the fitting role of prey. Despite that, there’s a relatively vast breadth of options when it comes to combatting the Typhon threat; a range of satisfying firearms and alien abilities can be used in conjunction with one another to create powerful combined attacks, set traps and get the drop on your opposition.
Enemies are imposing predators, relegating the player to the fitting role of prey.
Neuromods - the game’s eye-injected upgrade currency - are used to purchase skills from a whopping six trees, with the embarrassing wealth of abilities on show making it difficult to choose. Everything looking enticing is a great problem to have, mind, especially as diversifying can position you to take the upper hand. Scanning enemies with the Psychoscope gleans knowledge on their abilities, strengths and weaknesses, so it pays to be somewhat a jack of all trades to ensure you have the tools to take advantage of this information. That said, whatever your build, it’s generally a good idea to disable an enemy with the stun gun or innovative GLOO Cannon (which can also be used to create makeshift cover and platforms) before launching your attack.
Talos I’s security measures are configured to target Typhon DNA, so there’s a risk associated with acquiring abilities from the alien trees. Accruing enough will eventually turn the system against you, but, while investing in some hacking upgrades will remedy that by bringing them back onside, it won’t help quite so much when the Nightmare makes you a higher priority target. Rather than being drawbacks that prevent you from experiencing some of the game’s most fun and powerful abilities, these mechanics materialise as dynamic balancing tweaks that shouldn’t put you off experimenting with everything on offer.
Prey’s audio is worthy of special mention too, thanks by and large to legendary sound designer and composer, Mick Gordon. After delivering last year’s face-melting DOOM soundtrack, heavy metal gives way to a building, synthetic sound that’s menacing and intense. Atmospheric ambient sound, harrowing, distorted Typhon murmurings, punchy explosions and gunfire, along with repeating motifs that accompany specific events make for an all-round aural treat.
Whilst we’ve lavished Prey with a lot of praise, rough inevitably comes with the smooth. Distracting texture pop-in is prevalent, FPS dips crop up occasionally and load times between areas are fairly lengthy. In addition to these technical issues, a number of glitches were peppered throughout: dialogue went awry when we accidentally skipped straight to a later objective, items would randomly be absent from animations, and an objective marker became stuck directly in the centre of the screen throughout the duration of an entire area.
Though these niggles did impact Prey’s otherwise stellar sci-fi horror experience, in the grand scheme of things, they barely put a crease in Morgan Yu’s space suit. Prey is tense and unnerving, while at the same time playful and explorative. Its central mystery compels you to delve deep into the bowels of the expertly-crafted setting, Talos I, engaging in (or even avoiding) rewarding and tactical combat along the way. Arkane have a fundamental understanding of quality game design, utilising that here to produce another fantastic video game for their growing collection.
Little Nightmares is a welcome change from the typical puzzle-platformer; it's a dark, twisted tale that's riddled with questions from start to finish, playing upon the whimsical nature of childhood all the while. Unfortunately, it's also a game that's marginally let down by its lacklustre length.
You're encouraged to interact with your environment in Little Nightmares, leading to some bizarre and inventive exploration.
Being unable to take these creatures on toe-to-toe means resorting to stealth, resulting in hurried attempts to scurry under furniture for cover, or to reach the safe embrace of a cramped vent to gain a moment to catch your breath. It's exhilarating stuff, made even more pulse-pounding by the faint flicker of heartbeats that are introduced and become progressively louder the closer you get in proximity to an enemy. This strategic use of sound enforces a sense of imbalance at pivotal moments, further complemented by the likes of The Janitor's clawing swipes. The more you play, the less effect it'll have, however, as strictly scripted enemy behaviour starts to make their pathing predictable.
You're encouraged to interact with your environment in Little Nightmares, leading to some bizarre and inventive exploration. Be it clambering on top of toilet paper to reach a switch, climbing up bookshelves, or creating a string of sausages to use as a swing, these child-like solutions are fantastic at creating a playfully absurd environment. With new and imaginative ways to progress to the next level, there's barely ever a dull moment, despite the oppressive nature of The Maw.
Little Nightmares has combined elements of the survival horror and puzzle-platformer genres into one enticing and inventive package. With a story that gets progressively more malevolent, and an impressively eerie soundtrack to match, the game's lacking three-hour runtime never fully manages to explore the bizarre world in its entirety, however. Despite that, Little Nightmares takes a bold step in a satisfyingly fresh direction, making it an easy recommendation for fans of horror and/or puzzle-platformers.
The Resident Evil series has had almost innumerable ups and downs during its more than two decades on the market, but despite faltering on occasion, Capcom’s willingness to innovate has been nothing short of admirable. The seventh mainline entry continues that trend, taking bold strides in new directions, yet simultaneously bringing the core mantra full circle by serving up horror on an intimate scale.
The decaying mansion is inhabited by the crazed Baker family, who are only too glad to extend their twisted brand of hospitality.
Enhanced by its Beginning Hour and KITCHEN demos, which we now know served as establishing prequels, the Baker compound may well be remembered for years to come in much the same way the Spencer mansion is now. You’ll be intimately familiar with its layout by the end, to the extent that you could probably draw a map from memory.
As you investigate the lavishly detailed residence, the mysterious Zoe Baker reveals herself through a series of guiding phone calls. It’s an uneasy relationship, mostly due to her surname, but she’s never totally explicit and it’s easy to assume she’s holding something back as a result. This air of ambiguity means her tips are never coddling, which is good, because you won’t need more than the occasional hint she offers.
Puzzles, while placed under a brighter spotlight than they have been in recent instalments, are incredibly simple. There aren’t any head-scratchers, just intellect-strokers, which regardless provide necessary moments of respite between unnerving enemy encounters.
The ageing complex doesn’t host shambling hordes of the undead in addition to its leading family, but rather tar-like relatives of Resident Evil 4’s Regenerators - the Moulded. They lose limbs under maintained fire, yet continue to imposingly lumber towards you, sporadically breaking pace to lunge with intimidating intent. Though there are slight variations on the base model, they all quickly become predictable as you learn their behaviours through repeat encounters. This makes them considerably less scary in time (unless they’re introduced with a jump scare), while Normal difficulty sees them fall too easily when you consider it’s the highest challenge available on an initial playthrough.
As you accrue an arsenal ever-increasing in firepower any difficulty is gradually chipped away. While ammunition for these firearms is technically limited, in typical survival horror fashion, the return of the item box makes it incredibly easy to hoard every resource without ever passing anything up. You’ll not go without provided you take the time to journey to and fro to make frequent deposits.
While the interdimensionally-linked item boxes harken back to the innovative 1996 original, it’s in supporting an emerging technology that Resident Evil 7 really innovates. Arguably the first true, committed implementation of virtual reality into a high profile release, it’s also one of the best experiences available on the fledgling platform.
Every element of the game is significantly more impactful when experienced inside the PlayStation VR headset. It places you directly into the world, adopting a dimension intangible on a television screen to seamlessly become totally encompassing. Environments gain an immersive sense of scale and enhanced detail, head-tracked aiming is supremely accurate, and new gameplay opportunities are afforded as you peek around corners and through windows.
Every element of the game is significantly more impactful when experienced inside the PlayStation VR headset.
While it never quite matches the sheer, creeping dread of the VR-exclusive KITCHEN demo (which was to be expected, as Capcom need to cater to all players here), the headset can elevate a spooky situation into one that genuinely paralyses you in a fight-or-flight limbo. You really won’t want to set foot in dark, foreboding corridors; uncomfortably close, even invasive, encounters will require a moment’s pause thereafter to recompose yourself; leaning in with a morbid curiosity to inspect gory details might even turn your stomach.
The addition of 3D audio when connecting a pair of stereo headphones to the PS VR’s integrated processor unit also improves upon the already stellar audio design. The increased spatial acuity helps prevent enemies from sneaking up on you, but hearing tormenting knocks, rattles and bangs from multiple directions around a room is horribly, horribly disconcerting.
It’s seriously intense, and in these moments it’d be easy to call it a night if it weren’t for the incredibly consistent pacing. There’s an engrossing sense of progression that’ll see the desire to power on and discover what comes next prevail - unless you really can’t hack horror.
Motion sickness is a very real concern when it comes to VR, but we didn’t experience a moment of discomfort during twelve hours of play across four marathon sessions. This is due to a couple of things: a wealth of options mean you can customise the experience to fit your personal needs, whilst quality implementation of the technology sees distracting issues like image drifting (which frequently requires you to reposition and/or recalibrate) eradicated. If you’re somebody that opts to turn in set increments, it’s also a somewhat fitting return to the series’ tank-controlled roots, rather than an annoyance.
All that being said, the implementation of VR still isn’t perfect. There are some distracting clipping issues, missing animations, and the odd cutscene jarringly appears on a 2D screen suspended in a black abyss. Those drawbacks are minuscule in comparison to what you gain, however, and to put that into perspective, a second playthrough on a TV (even in 4K with HDR) felt decidedly flat and uneventful by comparison.
To be clear, RE7 is more than serviceable if you don’t own PS VR, but it’s definitely the best way to play. That much is clear not just from our own experience, but the way some scenes are otherwise reminiscent of watching a 3D film in 2D, whereby it’s clear to see the director’s intent while not getting the actual effect.
Whichever way you play, you’ll need to piece the full story together by compiling information from multiple sources. Documents, characters and items all gradually unfurl secrets, whilst compelling VHS tapes expand upon the Baker’s past exploits as you experience them first-hand. If you aren’t into detective work, the central narrative of Ethan’s struggle to save Mia stands alone, but either way there are intriguing implications for what’s to come. The immediate conclusion leaves as many questions as answers, admittedly, but free DLC “Not a Hero” looks set to try and remedy that later in 2017.
You’ll need to piece the full story together by compiling information from multiple sources. Documents, characters and items all gradually unfurl secrets.
If it wasn’t commendable enough that Capcom essentially made two different versions of RE7 - one for VR and one for the telly - the unlockable Madhouse difficulty significantly changes the game's dynamic, rather than just plain ramping the difficulty up. Throw collectibles, some of which can be used to purchase upgrades, as well as unlockable weapons and buffs into the mix, and there are a lot of factors that encourage repeat playthroughs.
Play it again you very likely will, because Resident Evil 7 is precisely what fans have been clamouring for over the course of a number of years. Capcom delivered a classic survival horror experience, with just a tinge of action flare, that brings the series inline with modern expectations. They bravely took risks and it has proven most lucrative, just as it did with the pivotal release of Resident Evil 4. Through its outstanding setting and cast that go hand-in-hand, in addition to providing perhaps the defining virtual reality experience, Resident Evil has reclaimed its place atop the horror genre pile.
VR is often at its best when coupled with horror, which The Brookhaven Experiment seems to understand, despite retaining issues from its original HTC Vive release and introducing new ones in the porting process.
Campaign is the meat of the experience, spanning ten locales as you journey to close the otherworldly rift that was opened when the titular experiment went awry.
As you collect new weapons and upgrades hidden around maps they become less of an issue, thankfully. Loadouts can significantly impact play, comfortably accommodating a range of gamers. All avenues of approach are satisfyingly empowering, whether you might choose to carefully pick enemies off at distance with a laser-sighted magnum, blast them Mad Max-style with a capacity-boosted sawn-off, or spray, without needing to pray, courtesy of a recoil-reduced submachine gun.
In these latter stages, scares somewhat give way to the power trip, though the age-old trope of limiting flashlight batteries and forcing you to face the dark unknown remains unnerving throughout. The same goes for taking your eyes off approaching enemies in favour of hunting bigger, badder alternatives first, inevitably leading to a slow turn back, filled with dread, to find them lurking within touching distance before filling your pants.
The Brookhaven Experiment won’t so readily fill your pockets, however, as it’s pretty light on content. Campaign is the meat of the experience, spanning ten locales as you journey to close the otherworldly rift that was opened when the titular experiment went awry. You’re guided by an involved scientist’s monotone narration, but you’ll probably phase it out - if not through disinterest, then pragmatism, as you focus instead on your surroundings - it’s total fluff, so there’s no real loss.
A Cloverfield-inspired behemoth makes recurring, obscured appearances throughout, menacing with its gaunt appearance and imposing size. The campaign culminates in an unsatisfying encounter with the creature, dragging on just long enough for you to begin wondering whether it’s actually taking damage.
Completing a game’s primary attraction is generally a graduation of sorts, leading into any secondary modes, but that’s somewhat backwards here. Survival poses very little challenge on normal difficulty when compared to the campaign - we exhausted the associated Trophies and continued to progress with no apparent end in sight on our first run. Definitely crank the difficulty up and opt for one of the later maps to get the most out of it.
You’ll take more from the game if you own a PlayStation 4 Pro console as well, thanks to a recent enhancement-enabling update. Having played both pre and post patch, resolution, lighting and colour depth seem improved, if not so much as to be immediately pronounced.
If you’ve played Until Dawn: Rush of Blood to death, then The Brookhaven Experiment is the next best thing. That’s not a knock; it’s an accurate and immersive horror shooter that transitioned to PlayStation VR surprisingly well, but, unfortunately, some irritating issues and a lack of content mean it just doesn’t have the legs that would otherwise make it essential.
The original Killing Floor had a budget charm, largely thanks to its roots as an Unreal Tournament 2004 mod; the sequel manages to maintain that unique identity, whilst a cash injection smooths over most of the rough edges.
A lifetime of headbanging doesn't seem to have had any adverse effect on the team, because the folks responsible for level design certainly have their wits about them. Settings play on recognisable horror tropes while seamlessly incorporating open outdoor areas to kite Zeds around, looping corridors to funnel targets through, and defensible interiors in which to hunker down for the long haul.
Take care to ensure there’s an escape route if adhering to that latter tactic, especially when welding doors shut, or all you’ll succeed in doing is quite literally sealing your fate. There’s a relatively steep learning curve to Killing Floor, due to it having defined right and wrong ways to play - without knowing how, where and when to choose either fight or flight, you won’t graduate from the lowest difficulty level.
As a result, there’s an immensely satisfying sense of progression when you eventually do. Each notch climbed rejuvenates the game, requiring somewhat vast advancements in playstyle to succeed. Playing with randomly matchmade teammates also becomes decidedly less tedious, everyone now beholden to the knowledge that anything other than a close-knit unit is doomed to fail.
Unfortunately, whilst the dedicated servers seldom suffer lag, provided you pause any active downloads, we did encounter an issue that often left us stuck on the loading screen and kept some degree of disappointment in the matching process. The glitch was most frequent when searching the new competitive match variant, which sees a team of players take control of the enemy in an all-too-easy effort to quell the human forces.
It’s incredibly unbalanced in favour of the Zeds, who suffer few to no concessions to counterbalance the fact they’re now powered by someone’s grey matter, rather than predictably regimented AI. Most egregious is what this does to boss battles, removing the staple design behind their patterned behaviour and telling animation, and with that, what makes for hard-fought, but fair, encounters.
Despite a high likelihood of victory, you’ll probably want to avoid playing the Zeds due to some inherent flaws. They’re subject to lengthy periods of downtime, not just at the hands of frequent respawn timers, but for upwards of a minute come the conclusion of each and every wave. In addition to seeing decidedly less action, the Zed side lack any form of customisation or progression, meaning time spent with them can feel wasted.
Sticking to the balanced cooperative play is recommended, and, thankfully, you’re well accommodated in doing so. Match lengths can be customised and don’t feel overly stilted or long at either end of the spectrum, difficulty scales dependant on the number of players, and quitting mid-game won’t negate the experience points you’ve earned up to that point. These simple, quality of life features make KF2 perfect for both quick sessions and hefty all-nighters.
Though it’s displayed at a sharp 1080p on standard PS4 hardware and 1800p upscaled to 4K on the Pro, (which is how we played) the visuals aren’t really anything to write home about. It’s a typical case of sacrificing graphical fidelity in favour of increased on-screen carnage at a sustained frame rate - not that that’s a bad thing.
While there are niggly issues elsewhere, like the touchpad routinely throwing dosh on the floor, despite that function being mapped to right on the d-pad, the biggest foible isn’t a technical issue at all. KF2 carries a large console tax that sees the PS4 version retail for 75% more than its Steam counterpart, while simultaneously charging for the same cosmetic DLC and offering less content in the absence of mods.
Despite the dodgy value proposition, we’d still argue you get your money’s worth. Killing Floor 2’s brutal combat and demanding difficulty are presented with a light-hearted character that, along with great accessibility, make for a winning formula that’s hard to resist.
When Microsoft purchased the Gears of War franchise back in 2014 and announced that The Coalition would be given the task of taking the series forward, the pressure was on to match the already high standard set by Epic Games’ previous four titles – yes, Judgment does count.
DeeBees also bring a few new toys to the battlefield - a personal favourite being the Enforcer, a fast firing SMG that was so good at turning mechs into scrap it remained firmly in the back-up weapon slot until the campaign’s conclusion roughly ten hours later.
Fun as they are, Jinn and her army of mechs were only ever destined to play second fiddle to the game’s true antagonists, the Swarm. Don’t let the name fool you though, if it looks, sounds and fights like Locust, chances are it is one. Still, it wouldn’t be a proper Gears game without some big scaly bastards to kill, and the Swarm fill that role quite nicely.
Swarm mostly come in three types: the classic Drone, the Wretch-like Juvies, and Scions (think Boomer and you’re pretty much there), but there’s a few mini boss types that keep things interesting. Snatchers were a highlight, and aptly named as it turns out. These powerful creatures will target any downed player, hoovering them up in a mess of tentacles and ooze before attempting to leave the battlefield, ending the player’s progress.
As well as new enemy types, The Coalition also introduces us to some new tech in the form of the Fabricator, a piece of kit that allows players to build defences such as barriers, decoys and turrets to take on waves of enemies at certain points in the story, offering up a bite-sized take on the series’ iconic Horde mode.
While these moments may be a more condensed version of the real thing, packing a room with six auto turrets and watching them decimate any enemy foolish enough to come within range is still immensely satisfying.
It’s undeniably pretty – ripping enemies to shreds with a chainsaw bayonet has never looked so good.
Such thrills can be found in the dedicated Horde mode, but it’s much more of a slow burn process – be prepared to settle in for the long haul if you want to complete all 50 waves. Here, the Fabricator acts as your team’s home base and can be moved to whichever spot on the map players decide is the most defendable. Unlike in the campaign, the currency used to purchase or repair fortifications, known as Power, must be earned.
This is done through a sort of ‘kill confirmed’ method, where Power that has been dropped by downed enemies must be collected and deposited back at the Fabricator before the next wave begins. All Power is shared amongst players and needs to be treated as a team resource, otherwise selfish players may find themselves quickly abandoned by their fellow Gears.
It’s good to see Horde back in its true form after Judgment’s experiment with Survival mode, and it bridges the gap nicely between the campaign and competitive multiplayer.
It’s in the PvP side of things that we see one of the biggest changes from previous Gears games, with all the action taking place at a silky smooth 60fps. The jump in framerate can be a little jarring at first, but once you get used to the upgrade it feels like a perfect fit for the brutal, close-quarters combat the multiplayer is famed for.
Series veterans will instantly feel at home one-shotting opponents with Gnashers (which still dominate, despite my attempts to introduce longer ranged combat), and new abilities like the ‘Yank and Shank’ - which grants players the ability to grab and gut enemies in cover - improve upon the existing formula without drastically altering it.
The only real issue was found in the multiplayer’s customisation options, which are unlocked through Crates that can be purchased with micro transactions or with in-game currency earned through matches.
It’s a system similar to the one found in Halo 5’s REQ packs, but unlike 343’s game which readily hands out points needed to unlock said packs, the in-game currency in Gears 4 is a little harder to come by. Even after putting in a decent performance there’s very little reward, and it feels like you are being shepherded towards spending real cash on Crates if you don’t want to be stuck with the vanilla character and weapon skins.
The Coalition have said they are considering tweaking how Crates are earned, but at the time of writing the system feels a bit broken.
Other than this minor issue and as far as series debuts go, Gears of War 4 is a solid first effort from The Coalition. They’ve righted the perceived wrongs of Judgment, while adding in a few changes of their own that complement the series’ tried and trusted formula rather than altering it too much, ensuring that the game feels both familiar and fresh.