A roguelike Arabian Nights adventure from the former BioShock developers at Uppercut Games, City of Brass finds itself on the receiving end of our latest Quickie.
That sounds great, but what about the systems surrounding combat?
Exploring involves some light platforming and plenty of pilfering, as you grab artefacts used to purchase upgrades and services that’ll (hopefully) help you eke closer to making it out of the titular city alive. Initially there’s something slightly cumbersome about the controls on console, especially in comparison to the far more fluid PC version (which also looks noticeably sharper than even the Xbox One X build), but some options menu tinkering and time to adjust should set you straight.
Is it something you’d recommend, then?
Provided you’re willing to spend a little time grappling with those initial control gripes on console, absolutely. City of Brass has an opulent aesthetic and satisfying mechanics that’ll keep you coming back, always met with an engaging new challenge to surmount.
We wrestle with Iron Galaxy’s Extinction in our recurring quick look series.
And that's all there is to it?
Unfortunately, yes. The controls are basic, a bit clunky too, and each level just pits you against one or multiple Ravenii. There’s some NPC blathering on top, but really there isn’t an awful lot of depth here. The experience barely changes as you progress (one of the alternate modes is the classic endless waves of enemies affair) and, as such, the game quickly begins to feel like a bit of a slog. Disappointingly, Extinction is difficult to recommend if you're already enjoying Attack on Titan or something similar to satisfy your giant-slaying needs.
Spiritual successor to PC cult classic The Ship, Murderous Pursuits is the latest sneaky multiplayer murderthon from developer Blazing Griffin, and the latest game to receive our quick look treatment.
How’s the presentation? Do I need a monster PC to run it?
Nope, it runs at a solid 60 FPS with full graphics settings on a GTX 1060 and looks great. The eight playable characters - caricatures, really - are diverse and immediately likeable, while minimalistic menus complement more detailed and bustling in-game environments.
It’s all tied together by narration from Mr. X and a tiptoeing soundtrack that’s charmingly true to the period and genre.
So, would you recommend a stint as Mr. X’s personal hitman?
If Murderous Pursuits sounds intriguing to you, then definitely. Its laser-focused design delivers moreish and tactical fun, but only for as long as the central conceit remains exciting to you. Multiple hours in, win or lose, each match still ends with a smile.
Hades Betrayal, the penultimate premium campaign in Raiders of the Broken Planet’s debut season, was accompanied by a stellar free update that overhauled the game’s systems and pretty much fixed all of the wider issues we’ve raised in our past coverage. Whilst the patch is an overwhelming success, Hades Betrayal is a strong outing that wraps up with a bit of a whimper.
New recruit Ayana is a characteristically bizarre prospect within the Raiders universe - a tribal future pirate with an accent that flits between Jamaican, Indian, German & Welsh.
Having inadvertently recruited the red-headed teen, he’ll soon be added to the roster as a universally purchasable playable character, whereas Ayana is a free exclusive to Hades Betrayal owners.
Breaking from established convention, a boss battle rounds out mission number three. Taking place in a gorgeous interior, you’ll aim to draw a big ol’ chainsaw-wielding mech towards explosive plant life, utilising the bulging buds to damage its armour and expose the vulnerable pilot within. It’s a hugely chaotic encounter, true to Raiders form, but one we ultimately could’ve done without.
Hades Betrayal’s culminating confrontation proceeds to shoulder the blame for this; what’s typically a spot reserved for grossly malformed behemoth bosses that beg for you to put them out of their misery, is instead occupied by another mech requiring similar tactics to take down. Once again, there’s nothing technically wrong with the fight, but it would’ve been so much more effective to see Hades Division’s Gundam-style tincan descend without it ringing incredibly familiar. While the shoe fits - General Krausher is exactly the kind of character that’d send a series of giant robots to do his bidding - it just isn’t worthwhile to end on such a comparative creative low.
Samey bosses set aside, Hades Betrayal does boast good mission variety and a heightened sense of scale to build towards Council Apocalypse, which is set to close out the current season of content at some point soon. As ever - in fact, especially so following the update - what’s here is highly revisitable thanks to digestible mission lengths, a sustained level of challenge, the ability to replay as an Antagonist, and now, to earn greater rewards than ever before.
Couple that with access to the brilliant Ayana Kwena and plenty of kooky, character-driven cutscenes to build upon the burgeoning lore, and Hades Betrayal is another standalone campaign that Raiders of the Broken Planet fans won’t want to miss.
If you fancy trying Hades Betrayal for yourself, free of charge, why not enter our giveaway for a chance to win one of two PS4 keys? Click the banner below for details on how to enter.
Bypassing the troublesome Shadwell Overground stairs via the elevator once again proved a dream, especially the smell, but the lack of fish in the ornamental canal was of great concern to me. Where had they gone? Why? And could they ever truly exist in those two-inch deep waters? So many great questions, but only one certainty: I was back at Tobacco Dock for EGX Rezzed 2018.
This year’s show had so many playable games that even two days worth of attendance was insufficient to see them all.
First up was Lake Ridden, a first-person puzzle-adventure set inside the guts of a gloomy lake, largely devoid of water. The puzzles are cryptic enough, the setting has a creepy edge, and the story is intriguing. Let’s see how it develops.
I followed-on with a selection of games from cracking London-based publisher Chucklefish. I’ve mentioned Wargroove a few times on the site - most notably as one of my most anticipated games of 2018 - and I have no qualms in reiterating that this is going to be essential gaming. They also had “Stealthvania” game The Siege and the Sandfox on show, as well as Pathway, another fabulous strategy game. All three titles are a great showcase of Chucklefish’s brilliant expanding roster.
Curve Digital - another splendid publisher - had a few games on show ‘ere too. I thoroughly enjoyed the arcade-stylings and twin-stick fun of Rogue Aces, cartoony aircraft-sim Bomber Crew, and strategic RPG For The King. The former is available now on Switch and PlayStation platforms (that’s PS4 and Vita), whilst the middler and latter are currently available on Steam.
My time in the Indie Room (above-ground branch) came to a close with two biggies: Disco Elysium and Phoenix Point.
Disco Elysium sees thee cast as a detective with problems-a-plenty; be they booze, smoking, drugs, memory and/or mental health related. Tasked with solving a murder, this unique isometric police RPG gives the player a staggering amount of choices, featuring multiple skill sets (these affect your character’s perception of the world, and how he interacts with people), a gorgeously gritty hand-painted art style, and ever so much replayability. I can’t help but be excited!
Phoenix Point is the latest strategy game from master of the genre Julian Gollop. In time-honoured fashion, you take control of a team of grunts armed with big guns, rippling muscles and cheesey dialogue as you tackle objectives and blast alien scum. Fans of all things XCOM can PARTY now.
What goes up must surely come down, so, like morning toothpaste finding its way to trouser leg, I stumbled downstairs to the Indie Room (basement branch). Just like its above-ground brethren, the basement room was chock fulla great games.
Disco Elysium sees thee cast as a detective with problems-a-plenty, and I can’t help but be excited about this unique isometric police RPG!
PQube’s selections caught my eyes and ears first, which lead me to enjoy time with sinister text adventure Stay, 8-bit side-scrolling slasher Aggelos, and produce-focused karter All-Star Fruit Racing. They also had the wonderful Cat Quest on the go - if you haven’t already, go and check it out!
It was great to see Aperion Cyberstorm being enjoyed by many in its Switch incarnation, Hipster Cafe Simulator providing many laughs, and beautifully animated (and darkly funny) adventure game Unforeseen Incidents, all running side-by-side.
The highlight of the room was local multiplayer communicate-‘em-up Catastronauts. You and your associates are placed in charge of a spacecraft, tasked with blastin’ away other crews. Much like the genre-defining Overcooked, Catastronauts uses the rising panic of putting out fires, removing bombs and firing lasers to create real laughs. Look out for this one when it drops later in the year.
By now the bells were tolling, so off I toddled to the land of the well established: that’s right, it were time for PlayStation, Sega, Xbox and Nintendo.
PlayStation had a paltry amount of titles on show this year, but as if to paint quality over quantity, what was there was truly fabbo. Guacamelee 2 provides more hectic, Mexican rasslin’-infused fun, there was silliness aplenty in The Adventure Pals, and irresistibly cute graphics in The Swords of Ditto.
Gorgeous adventure Heaven’s Vault is what really stood out, though. Featured in my seven to look out for at Rezzed piece, HV surpassed my already high expectations of what the open-world point-and-click adventure would be. Taking control of archeologist Aliya, I interacted with helpful/humourless robot chum Six, investigated the ruins of a beautiful lost world, and attempted to translate lots of hieroglyphics. The alluring blend of 2D character art and 3D environments is a triumphant success, as was the slow-burn quality of the gameplay. One of my games of the show, for sure.
Microsoft’s ID@Xbox room was lacking in space (at least for corpulent Milky Bar men like myself), but did exhibit some superb games. Our esteemed Editor, Monsieur James Michael Parry, joined me for a blast at Metal Slug-like Huntdown - which is really good old-school fun - Terratech’s Minecraftian vehicular combat, and the joys of reigning over the proletariat in Kingdom: Two Crowns. The highlight here, however, was Strange Brigade, which is a send up of the British Empire and English buffoonery under the guise of third-person cooperative shooting. It was great fun, and even better when played in a group, as Jim lad will testify to.
The ID@Xbox highlight was Strange Brigade, which is a send up of the British Empire and English buffoonery under the guise of third-person co-op shooting. It was great fun, especially when played in a group.
Nintendo and Sega offered slim pickings this year, as they both showed games already available on other platforms. Mega Drive Classics will definitely be a day one pick up for myself, but I don’t see why they needed to bring it; the just-announced Shenmue re-releases would’ve made more sense. Nintendo’s appeal rested solely on Travis Strikes Again: No More Heroes. We’re pleased to announce that it’s shaping up to be another Suda 51 classic, the auteur's crazy combat, retina-destroying colours and self-aware dialogue all being intact.
Are you still with me, comrades? If so, let’s travel into the dark heart of the Unreal Engine Showcase to sample Another Sight, Metamorphosis, Space Cows, some fishing, and the brilliant Lost Ember.
Another Sight puts you in the dual-role of blind gal and nimble cat, as you explore Victorian-era underground London - sewers, trains, et al. Space Cows carries the same charm as clumsy controllers Octodad and Manuel Samuel, as you traverse a colourful world in search of milk and cows. It was hilarious.
Metamorphosis casts thee as a man trapped in the body of a spider: Why are you here? What are those men doing to your friend? How will you return to human form? The game's sneaking and scuttling was good fun, as was currently-available-on-Xbox-Game-Pass carp-botherer, Dovetail Fishing - maybe this is where the ornamental canal’s dorsal-equipped water breathers had vanished to?
Lost Ember was the real winner here though, with its attractive visuals and possessing gameplay mechanic. You play a wolf, who, with the help of a spirit mate, can possess other animals to help traverse a natural world free of humans. I got tinges of Journey and Abzu playing the game, but there’s definitely plenty of originality lurking in Lost Ember’s characters and story. Once polished, this has serious potential.
Coatsink and Wired Productions had some quality stuff up their sleeves this year too, with games that really honed in on fun.
Wired had gravity-defying speedster Grip on show, as well as the glorious return of Shaq-Fu. Shaq was a personal favourite, featuring Saber Interactive’s pleasing NBA Playgrounds art style and side-scrolling, button-mashing bouts straight outta the 90s. Add to that rich colour comic book cutscenes with hilarious writing and voice over, and I cannae wait for this one.
The hockey/football/Micro Machines mash-up that is Coatsink’s ClusterPuck 99 thoroughly entertained myself and herr-Editor, as we managed to win both of our games against fellow attendees. Coatsink’s highlight, however, was the fabulous Phogs, a bonkers ‘physics dog adventure’ so beautifully realised that we have to name it as one of our games of the show.
Jam and I played in co-op mode, using the same controller to immensely increase the hilarity of the experience. You each control one end of a double-ended dog, aiming to progress through some exquisite locales via the medium of hungry giant worms. The game had a real Nintendo-at-its-most-joyous feel to it, and trust us when we say, this is going to be the game to play at parties.
The fabulous Phogs is a bonkers ‘physics dog adventure’ so beautifully realised that we have to name it as one of our games of the show.
My voyage around Rezzed finished at the glorious Leftfield Collection this year, a place that truly encapsulates the spirit of the show, in one’s humble opinion. The feeling of community was present as soon as I entered, gazing upon hand-drawn posters above each title, friendly faces from all over the world, and some superb games.
Leftfield was a true exhibition of the arts; from design, to visual presentation, to music, it all came together as my personal combined star of the show. A cop-out maybe, but there’s no doubting the reality: Leftfield displayed the true nature of gaming, and maybe even life (if you’ll forgive my pretension) - personal, meaningful, fun. It’s for that reason you can expect to see an article focused squarely on the great Leftfield games on show, which really deserve the spotlight.
With that, I downed my last coffee of the weekend, checked one last time for fish, and disappeared into the night. So long, farewell, auf wiedersehen, farvel - see ya next year, Rezzed!
For plenty more EGX Rezzed 2018 coverage, stay tuned to Pass the Controller.
Infinite State Games’ light-hearted take on aerial warfare, Rogue Aces, landed on PS4, Vita and Switch this week and is the latest to be given a quick one.
If you’re specifically looking for some mindless plane-based carnage, and nothing more, then Rogue Aces just about fits the bill.
Despite the drawbacks, would you recommend it?
If you’re specifically looking for some mindless plane-based carnage, and nothing more, then Rogue Aces just about fits the bill. If you’re willing to spend a touch more than Rogue Aces’ £9.99/€12.99/$12.99 asking price and have access to an Xbox One or PC, however, we’d have to say Flying Tigers: Shadows Over China offers far superior aerial arcade action.
Music rhythm games are pretty old hat these days, having been run into the ground at the height of their popularity, around ten years ago now, through a greedy and endless stream of cookie-cutter releases. By throwing shoot-‘em-up elements into the mix, alongside an apocalyptic story and a cast of corny characters, Double Kick Heroes seeks to draw disillusioned fans of the genre back into the fold when it hits Steam Early Access on 11 April.
By throwing shoot-‘em-up elements into the mix, alongside an apocalyptic story and a cast of corny characters, Double Kick Heroes seeks to draw disillusioned fans of the music rhythm genre back into the fold.
Whilst carving a bloody path through the USA - across 15 stages set to the game’s original soundtrack, which spans light rock through heavy metal - you’ll get to know the head-banging fivesome comprising the Double Kick Heroes. Text-based interactions during interludes make reference to all aspects of pop culture, but they’re so ham-fistedly frequent and obvious that it can feel like there’s a sleeve-tugging child shoving their collection of “cool” toys under your nose. The aim here was never to produce an artsy, postmodern pastiche though, with the foul-mouthed stereotypes quickly establishing the desired sense of character.
Story mode currently runs around three hours, but that’s set to double as DKH continues its development and the band embark on a European tour. There’s also the mysterious Hellgate mode to be added, but in the meantime polishing your skills in Arcade mode and creating/downloading custom stages via the in-depth-but-straightforward Level Editor should be plenty to keep you busy.
Most user-generated levels are based on established songs, for example Metallica’s Master of Puppets, which means you’ll need the relevant MP3 file for the game to sync up and have you play along with. It’s a clever little way around hefty licensing fees and should serve to keep devoted metalheads indefinitely busy.
Provided you held on to them, you can also use your old Guitar Hero or Rock Band peripherals to play; you’ll have no issue plug and playing with a USB drum set, but old wireless guitars require forking out for a signal receiver, which is unfortunate when they’re precisely what most people will have to hand.
That’s not an insignificant blunder, but it’s ultimately outside of developer Headbang Club’s control. The team have otherwise done a great job on the technical front, maintaining a solid 60 frames per second during gameplay to ensure there’s no chance of dropping notes through no fault of your own.
Even at this pre-Early Access stage then, in spite of some largely par-for-the-course flaws, Double Kick Heroes is a very playable evolution of the music rhythm genre. It’s a game with a specific audience that does everything it can to cater to its niche, so, if you fit the bill, add DKH to your watchlist as it can only get better from here.
We’ve taken a saucy peek beneath the façade of this love letter to 90’s era platformers as part of our regular first impressions series, so go on, don’t be shy - read on for the juicy deets!
Is it easy on the eyes and ears as well?
Very much so. It’s incredibly sharp and vibrant, spilling over with loving little details from background to fore. Add in punchy retro sound effects that mix with a thumping modern soundtrack, and you have a presentational powerhouse.
Seems to have it all - presumably it comes recommended?
Rad Rodgers is chucklesome, satisfying sexiness wrapped in an attractive price point (£15.99 on Xbox One and PS4, £17.99 on Steam). If that sounds like your bag, there’s no reason not to get involved.
Join us down in the funk-bunker as we get vigorous, personal and brief with German developer Phantom 8’s new third-person story-driven action game, Past Cure.
Third-person action, you say?
For the most part, yes, though Phantom 8 do also shoehorn in some puzzle solving and survival horror elements as you play out sequences both in reality and in Ian’s dreamworld. The bad news is that everything fails: the third-person shooting is naff, the puzzling is as dull as an Ed Sheeran tune, and the telekinesis/sanity bending mechanics are just utter dross. Every aspect is a rip-off of a better game, or a story element taken from a better film.
So it doesn't play well?
Honestly, it’s clunky, gutless and devoid of fun - voice acting notwithstanding, but we’ll get to that - quite the killer triple-threat. It’s obvious that Phantom 8’s intentions were well placed on paper, but the finished form falls well short of modern standards.
What about the presentation?
Once again, it’s plain to see the minimalist chic that Phantom 8 are aiming for, but it just looks flat. The frame rate doesn’t help matters, chugging along whether you’re in the thick of an action sequence or just walking around.
The real winner, however, is the wondrously bad voice acting. Every cast member appears to have attended The Kevin Costner Conservatory of Thespianism, spinning all manner of emotionally charged lines in a vacuum-bag of monotonous drivel - we do hope Phantom 8 didn’t pay them much...
Well, all sounds swell thus far… Anything else to be wary of?
Endless, vacuous cutscenes. Seriously, where a standard narrative-focused game allows the player to explore environments and discover information for themselves, Past Cure instead slams in a non-playable sidebar. Want to see Ian walk across a path for three seconds? You’ve got it!
Also: The main character’s name is Ian. Ian!
Hard to recommend, then?
At its current retail price of £24.99, it’s simply impossible to recommend. Whilst it’s almost commendable that Phantom 8 tried to mash all these different styles together, it just never works. If you’re a real sycophant, wait for the price to drop to around a fiver and dive on in.
Join us for another quickie, as we take a look at Marooners on Xbox One.
Trying to remember the objective, or if you’re even alive, as play jumps back and forth leads to memorable moments as players meet their untimely ends amidst the confusion.
Does it support couch co-op?
In theory, Marooners lets you blend both local and online multiplayer, but the fiddly nature of setting up the former combined with the small player base of the latter means your only real option for a decent match is finding several other friends who own the game and organising some online mayhem.
For an idea of the type of fun to be had with that setup, check out our let’s play and see how we handled Marooners’ madness.
Failing that, there are bots to help make up numbers, but they negate both the challenge and humorous moments human opposition offer.
Would you recommend it?
Given the game’s only $9.99/€9.99/£7.99, yes, we would (with a caveat). There’s a good time to be had in Marooners, provided you can scrape together a few online friends to squeeze it out.