The trouble with space is that it's mostly empty. Venturing into the unknown in a tiny spaceship in Subdivision Infinity DX, you feel that sense of scale immediately, as enemy ships, gun turrets and collectables flicker as pixels in the distance - particularly in handheld mode.
Subdivision Infinity DX as a whole doesn’t offer a huge amount of variety, and with limited progression and customisation on offer, at least early on, momentum can start to drain fairly quickly. If you absolutely need a space shooter to play on the go, though, Subdivinity offers a taste of the sort of experience you might expect from something like Everspace at a fraction of the cost. What you’ll miss out on is the depth, variety and graphical polish - though it’s a step up from something like Event Horizon or Vostok Inc. - and experience the odd bit of slowdown when things get busy. It all depends what you’re looking for in a space adventure.
It's a well-known fact that there simply aren't enough hamsters in games these days. Fortunately for the sake of humanity, Hamsterdam is here to put the world to rights. Self-styled as an arcade brawler in which you'll become a "Hamster-fu master" patrolling a charming iteration of (you guessed it) Amsterdam, the game seeks to overpower you with cuteness from the word go.
Mini-bosses and bosses shake up the gameplay with a more side-scrolling approach to action, featuring a few QTEs for good measure. This succeeds in effectively mixing things up, but robs you of some of the satisfaction of taking down the game's beefiest villains. As a result, the difficulty curve also feels a little spikey, since these sections require completely different timing and skills, but after a few determined attempts it’s possible to power through.
Fortunately, the experience remains on the entertaining side of challenging even at those sticky moments, and it's impossible not to fall in love with Pimm and her adorable, increasingly impractical outfit choices. At the price point (less than £10, whatever your platform of choice), Hamsterdam poses great value for money and is an absolute joy.
When Wolfenstein: The New Order came out in 2014, conventional wisdom said multiplayer was king. The hottest games were Call of Duty: Advanced Warfare and Destiny, yet Wolfenstein came back and blew the doors off with a gripping singleplayer narrative.
Enemies respawn as well, bringing more of a Borderlands vibe, minus the loot, to exploration and quickly making you lament rather than fear running into varying sizes of Nazi. There's a sprinkle of variety in suicide dogs and endoskeletons straight out of The Terminator, but the Panzerhunde and other imposing enemies lack that flash of panic we felt the last time we came toe-to-toe with them.
There is something different about this particular release which doesn't often change where AAA titles are concerned, and that’s the price. Unlike the last Wolfenstein, you can pick up Youngblood for a mere £25, or £30 for the Deluxe Edition.
With the latter, you'll get a Buddy Pass which lets you invite a friend - as many as you want, but only one at a time. Your friend's progress is saved and will carry over to the main game if they decide to pick it up, at which point they’ll also be credited with achievements, though we struggled to get it to work smoothly during our playtime.
Arguably the main draw of Youngblood is as a Wolfenstein game with co-op, and on that front (when working without issue) it largely delivers. There's a few key things missing, like easy-to-use level maps, waypoints or pings beyond one enemy at a time, and a more significant reason to take on foes cooperatively.
Otherwise, there seems to be less here even than a lower price point would lead you to expect. The story and weight of earlier games is mostly absent, the level design feels increasingly generic the more side missions you complete, and even new features, like the RPG-lite elements, leave us wanting more.
Perhaps there are some elements, like the Buddy Pass itself, which will go on to be greater than the showing they had here, but for now there's not much more to say than Youngblood is quite good; we just wanted more.
There's something quite satisfying about pulverising someone with a large axe. While Redeemer (the prettier Enhanced Edition, in this case) isn't the first game to offer that combat experience, it is an experience which defines it, or at least the broad strokes of its main character Vasily, who utilises elaborate melee strikes and environmental executions to deal devastating killing blows.
Melee weapons quickly degrade too, leading to a map littered with half-broken hatchets and electric batons which are largely interchangeable, but crucial to dismantling some of the larger enemies. There are guns on offer as well, but they’re often difficult to use at range due to the aforementioned camera perspective.
Overall, while Redeemer: Enhanced Edition might be a fun way to pass the time on your commute (should you opt for the Switch version), it's difficult to wholeheartedly recommend you devote your time to it at home.
The world of strategy has been simmering away under the surface of the mainstream for a few years now. Long since the heyday of Westwood Studios, which ruled the real-time strategy genre with its Command & Conquer and Red Alert series, it’s been turn-based games which have been all the rage, thanks to the rise of Firaxis’ excellent XCOM revivals.
Soon, such is your efficiency at producing and preserving units, either by merging wounded squads or healing them at a player-owned city or facility, you’ll quickly find the map overrun and units begin to block each other from moving around effectively, leading to a major risk of bottlenecks if you aren’t too careful.
While the game works well in docked mode, this title has more of a handheld feel, and the turn-based nature lends itself to pulling it out for a few stops on the bus or morning train commute. Matches themselves, even early in the campaign, can easily last over half an hour a piece as games run across 15 or 20 in-game days (or turns) before one team’s HQ is ultimately vanquished.
Tinymetal’s music is fairly unmemorable and doesn’t get across the sort of drama and excitement you might hope for, especially compared to some of those iconic Red Alert or XCOM tunes. It should be noted that we haven’t unlocked the additional tracks with in-game currency, however. Visually, it’s fairly straightforward, but certainly more stylised, exciting and accessible than the somewhat similar Tiny Troopers Joint Ops XL.
Those looking to scratch a strategy itch won’t be disappointed here, with fun and games to be had for a budget-friendly asking price, but the repetition of the experience will start to grate for some before too long.
On top of the main campaign there’s Skirmish, where you battle AI using custom maps and settings, and also an online multiplayer component - but seemingly one too sparsely populated to find a game, even during peak hours.
In the end, Tinymetal: Full Metal Rumble on Switch is a fun little way to spend some portable gaming time, but doesn’t do too much to be exciting or bring a new twist to the genre or platform. There’s little to master, other than the patience for slow-moving and resource-limited units, but there’s still something endearing and easy to enjoy about the game.
Three months ago we previewed Etherborn and opined that the indie debut from Altered Matter - helped to fruition by FoxNext and investors on crowdfunding platform Fig - looked set to impress when the full game landed. Now it’s here; an excellent puzzle-platformer which ignores the laws of gravity, requiring you to throw out conventional logic in order to wrap your head (and featureless in-game avatar) around its brain-teasing levels.
Etherborn isn’t a game where puzzles are a brief aside that mostly serve to control pacing, rather it is in itself one large-scale problem to solve.
Based on our early look at Etherborn, which we now know featured quite a large portion of the game, we wondered aloud how it might evolve in terms of its structure. There are only two additional stages in the final product, both built around the same concept of using light orbs tucked away within them to transform the landscape and allow for your passage. Much the same then, but not disparagingly so, since aesthetic diversity partners with a greater focus on platforming elements and more sprawling real estate to keep things engaging right to the end.
So engaging as to warrant an immediate second playthrough, in fact. Game + mode takes place across the same suite of levels, but the light orbs within them are now deviously concealed from view. This is the first time you’ll really need to manipulate the camera, which closely tracks your movements on an initial playthrough in order to help guide you, whereas in Game + those viewpoints are utilised to mask solutions instead. Again, it’s hard to protest it being unfair that something is hidden off-screen when at the same time you’re serenaded by Etherborn’s gorgeous, equilibrium-maintaining soundtrack.
Our preview also left us with an impression of the game’s story we deemed “vague and introspect”, based essentially on its first half. Having now seen it through, the narrative is largely open to interpretation, but does a good job of getting its abstract concepts across. Our take? A sombre and gleeful exploration of the eternal struggles of the human mind. Fitting, as the game being an effective form of meditation means it also doubles as mental medication.
Etherborn is poignant and not precisely like any other game, perhaps feeling closest to Tetsuya Mizuguchi’s focused body of work (Rez, Child of Eden, Tetris Effect) in the flow state it so easily elicits. It’s a thoroughly lovely, meditative experience that’ll have you sink deep into your seat and slow your breathing while exploring the 3D environments in all of their dimensions. It’s outstandingly clever and effortlessly spellbinding, despite the work it no doubt took the talented team at Altered Matter to get there.
For more on Etherborn, check out our interview with the game's Creative Director, Samuel Cohen.
Mention the word “chippy” to someone in the UK and you’ll most likely induce mouth-watering thoughts of battered cod, mushy peas and chips drenched in salt ‘n’ vinegar. Having spent some time with Rust developer Facepunch Studios’ latest effort, however, the word now conjures up delicious memories of epic boss battles, as well as deep fried fish.
You can ‘hijack’ replays, letting you take control and practice a specific phase of a fight. It’s a fantastic idea and a feature that should be the new standard in future boss rush games.
Occasionally, bosses will throw out power-ups surrounded by a red hue. Grabbing one of these glowing orbs grants the ability within, but also surrounds your ship with an encircling wall of death that’s very tricky to avoid, introducing a further risk-versus-reward element to collecting pick-ups.
Boss fights are multi-staged encounters that have you duking it out with at least two versions of your opponent, with the difficulty, intensity and scale of enemies ramping up after every successive victory. And boy, do things get tough. Enemies eventually fill the small, square battlefield with a dizzying, hypnotic mass of projectiles in an attempt to stop you. Dying is something you’ll be doing a lot in Chippy, but respawning is instant, and each failure is more a learning opportunity than a frustrating setback.
If you do find yourself completely stuck – as we did during one particularly gruelling fight with a boss that could regrow its missing tentacles and cores – scrolling up through the leaderboards and watching the readily available replays of top players is a rather neat way of learning how to beat tougher enemies. By mirroring the fastest player’s technique, we went from utterly hopeless to 15th in the global leaderboards in less than an hour.
You can even ‘hijack’ a replay at any moment, letting you take control and practice a specific phase of a fight without having to put in the work beforehand. It’s a fantastic idea and a feature that we think should be the new standard in future boss rush games.
While most bosses share similar fundamentals – destroy or remove multiple secondary cores as quickly as possible whilst avoiding attacks to expose a larger, central core – there are occasional outliers, such as a fight that has you surviving waves of minions while automated lasers drill through their leader’s thick shields, which help to keep things fresh.
Facepunch have also done a decent job of imparting character and personality - there’s a very creepy maggot-like creature, for example - to what are essentially sentient mazes through just a few lines of text. Unfortunately, the same can’t be said of the arenas that house them, with the same plain black backdrop used for fights regardless of the type of environment bosses are supposed to inhabit.
Even if, like this reviewer, you’re not that into bullet-hell or boss rush games (despite having also enjoyed Furi), we’d recommend you try Chippy. While we’d love to see the game reach additional platforms, it’s inexpensive and doesn’t require a top-tier gaming PC to run. It might be tough as nails in places, to an almost daunting extent, but it’s also exhaustingly moreish and incredibly satisfying. Like any good chippy, really.
Bloodstained: Ritual of the Night is a triumph. Crowdfunded to the tune of more than $5.5 million at the height of the Kickstarter craze, many of its peers released to lukewarm critical and commercial reception, but Koji Igarashi and company took the extra time to produce something truly special.
Igavania? More like egovania, amirite? ... Seriously though, Igarashi (above) is one of the greats!
Gameplay has always been the bread and butter of metroidvania games, and Ritual of the Night certainly doesn’t disappoint on that front. Largely it’s very familiar in that you travel an enormous, satisfyingly interconnected map collecting new abilities - such as the power to fire yourself through narrow gaps like a ricocheting bullet - which in turn grant access to new areas. The well-established gameplay loop is incredibly moreish when executed in exacting fashion, as it is here, almost defying you to leave any small segment of the map unexplored.
From torchlit castle halls to moonlit cathedral towers, to dank sewers and myriad exotic locales beyond, a wide range of seemingly disparate areas are convincingly tied together by a unified aesthetic and intelligent, looping shortcuts. You’ll get to know the world of Bloodstained quite intimately as you backtrack to solve puzzles you’ve since discovered the answers to, or to reach designated save and fast travel rooms, which never becomes a chore.
That’s thanks not just to the exquisite 2.5D level design, but the tight platforming and deep combat systems you’ll engage with along the way. Miriam can acquire and equip outfits and weapons throughout her journey, the former of which offer various stat boosts and aesthetic changes when items are worn on the head, while the latter can completely change how the game plays.
Depending on preference you might opt for the greater range of a whip or a spear, the close-quarters finesse of a dagger, the balance of a one-handed sword, or the brute force of a laboured greataxe swing. That’s not to mention firearms and their different ammo types. Every harebrained enemy - be it a frog, a dragon, or a scissor-handed marionette straight outta Devil May Cry - has their share of quantifiable strengths and weaknesses, so it makes sense to switch things up on the regular. If you can master enemy attack patterns and Miriam’s graceful backstep dodge, as well as the necessary timing and spacing for your favourite weapons, hostile encounters become akin to dance.
An undisputed retro classic made modern, without sacrificing an ounce of appeal or introducing current industry ailments.
Combat has incredible nuance for those who seek to discover it, be that in hidden techniques for specific weapons, attack hit boxes that extend behind and/or directly above your person dependant on the animation, or the realisation that a weapon might be doubly efficient when used while crouched. A small complaint would be that once you do grow proficient, due to normal difficulty being the only option available on an initial playthrough, bosses especially go from an engaging challenge to a complete cakewalk. That and the game's technical performance can take a big hit when your screen-filling, death-dealing prowess matches theirs.
If you’re all about preserving the challenge, limiting your selection of Shards would be a good start. These crystallised forms of demon power randomly drop from enemies and tend to either grant access to one of their abilities or allow you to summon the relevant beast to fight alongside you temporarily. You can equip quite a few at once and they’re more often than not very potent, theoretically balanced out by limiting their use with a mana resource, but, unlike health, mana automatically regenerates over time so there’s little reason not to make liberal use of them.
Familiars are ever-present AI helpers that don’t consume mana, even auto-levelling alongside the leading lady, whilst elsewhere upgrades are carried out via a vendor at a peaceful hub location. Here you can buy/sell and cook/craft using materials most often discovered in chests, dropped by defeated enemies, or gifted as rewards for completing optional side quests.
With Hideo Kojima's Death Stranding also releasing in 2019, we wonder if Konami are feeling ashamed of their words and deeds...
Somewhat uncharacteristically, we’ve been loving the grind to gather ingredients, cook and consume all of the game’s recipes in order to claim their permanent stat increases, perhaps because it’s a simple pleasure to spend time in the Bloodstained universe. Another uncharacteristic find, at least for me personally, is the appreciation of quite an anime visual style; I’m coming around to the character models, but the colourful backdrops evoking the game’s stained glass motif I universally adore! More predictable is our love of the orchestral soundtrack, looping and grandiose in its modern interpretation of catchy retro classics.
In fact, that sums Bloodstained: Ritual of the Night up pretty well - an undisputed retro classic made modern, without sacrificing an ounce of appeal or introducing current industry ailments in the process. There’s a lot of game here, and it’s so compelling in its mechanics and audiovisuals that you’ll want to drain every last drop from the experience like a vampire affixed to its succulent neck.
The original RAGE, released back in 2011, was a bit of a technical marvel; it utilised innovative ‘megatextures’ to hit 60 FPS on console and accommodated that trademark id Software freneticism on last-gen hardware. It played beautifully, but everything surrounding that was pretty monotone, resulting in an ultimately forgettable experience. RAGE 2 looks to remedy this by spray-painting the wasteland neon pink and partnering with Just Cause developer Avalanche Studios to inject some vigour.
It’s familiar and largely uninspired stuff, but, to be fair, better implemented than in its peers. Speaking personally, I’ve never been a fan of Borderlands and I tapped out on the increasingly tedious Far Cry series years ago, both of which share structural similarities to RAGE 2, yet here I am happily playing Bethesda’s latest for the gross number of consecutive hours which are required for the TV to assume I’ve fallen asleep.
So what’s different here? id Software, to put it plainly. The originators of the FPS are still doing it best, crafting on-foot combat encounters that are giddily exciting. Action is supremely fluid at 60 FPS (which does come at the cost of 4K support on enhanced consoles), allowing for the necessary precision to utilise the wide array of tools at your disposal whilst staying on the move. As in DOOM, defeated enemies drop time-limited health pick-ups, so it pays to remain in the thick of a fight in the absence of fully regenerating health.
The originators of the FPS are still doing it best, crafting on-foot combat encounters that are giddily exciting.
Whether using the exquisite shotgun or one of RAGE 2’s more unique firearms to pop heads with a satisfying squish, devastating active abilities like a ground pound and an essential force push can also be executed as often as their cooldowns dictate, fully encompassing the supersoldier power fantasy. There’s a frankly massive amount of maneuvers to unlock, to the extent you probably won’t remember to implement them all, though they’re gradually introduced in an effort to avoid that and also maintain a constant feeling of growth throughout the reasonably-lengthed campaign and much longer road to 100% completion.
While there isn’t any concrete incentive to do so, at least beyond boosting your own ego by looking damn cool, experimenting and discovering effective combinations of abilities allows for immense showboating on the level of Bulletstorm. Stringing kills of any fashion together in quick succession will increase your combo and more efficiently charge the Overdrive meter, which can then be activated to massively boost the effectiveness of all your other offensive and defensive capabilities for a short period, filling the screen with a psychedelic techno haze as you go ham.
Outside of Overdrive you can’t always afford to be so reckless, as different factions and the enemy types within them pose different levels of threat, encouraging slightly altered tactical approaches. Using the Focus ability lets you see through walls to formulate plans of attack, which can then be executed against clever AI which appear in numbers and play to their strengths in order to quickly overrun overzealous players. We particularly like the fact that throwing an uncooked grenade at an enemy can prompt them to intercept it and return to sender, then, with a well-timed melee strike, you can even volley it right back at ‘em!
RAGE 2’s first-person firefights are honestly worth sticking out any of the game’s hardships for, and to a lesser extent, so too are the third-person vehicular combat sections. These only really come into play when you encounter and engage a convoy in the open world, which visually plays out like one of the best scenes from Fury Road, but is less exciting to actually control. Ramming riders from their bikes and quickly dispatching the smaller four-wheelers at the rear is explosive fun, but the leading boss vehicles are comparatively uninteresting since you can mostly just hang back, automatically lock-on to their weak points as they’re periodically exposed, then hold down the fire button to win. Convoys were far more involved in Mad Max, where you might need to remove armour plating with a harpoon in order to expose a weak point, then use a specific ammo type to destroy it.
Swapping out vehicles would help to spice things up a bit, but we’d go as far as to say switching is actively discouraged, despite being able to hijack and even unlock a variety of transports directly to your garage. Similar to the Magnum Opus in Mad Max, only minus any of the context, the Phoenix is your starting vehicle and the only banger capable of being repaired and upgraded.
RAGE 2 ’s first-person firefights are honestly worth sticking out any of the game’s hardships for, and to a lesser extent, so too are the third-person vehicular combat sections.
One benefit of opting out of upgrades would at least be avoiding RAGE 2’s painfully sluggish menus, which hang momentarily whenever you switch between the numerous tabs. Elsewhere there’s graphical pop-in (not great considering the so-so visuals in general), invisible and unresponsive NPCs, we’ve fallen through the floor and had to reload a save, and the audio can cut out completely or persist where it shouldn’t (hearing continuous gunfire from a dead enemy, for example). In fact, the audiovisuals are disappointing on the whole, falling well short of the colourful, Andrew W.K. party atmosphere RAGE 2 was made out to feature and instead sticking closer to your archetypal post-apocalypse.
Still, if you’re looking for a substantial shooter to enjoy in all its gory single-player glory, RAGE 2 most definitely fits the bill. The game achieves its main goal in being sheer and unadulterated fun - it doesn't take itself even slightly seriously and favours gameplay above all else, to the extent that tackling what’s essentially the same side mission for the tenth time isn’t any bother, because along the way you can spartan kick a dude and then decapitate him with a boomerang as he sits up. What, pray tell, is not to like about that?
Let’s be blunt here: snooker hasn’t been in the mainstream since TV’s Big Break, featuring the chauvinistic “charm” of Jim Davidson and trick-shots aplenty from John Virgo. We appreciated our first foray onto Snooker 19’s green baize at this year’s EGX Rezzed, but is the final product “Rocket” Ronnie O’Sullivan quality snooker, or “Rancid” Rob Holt level play?
Difficulty in the single-player modes can often feel out of balance, too. We’ve played multiple games with the AI set at the low, middle and high ends of difficult and nothing much seems to change. Making one mistake will definitely lead to a loss in the mid to top tiers, though two mistakes are still enough to see you off at lower rungs. You can change your own aim assists and the like to make tricky pots easier, though we’d advise playing with this enabled to begin with so you can get your eye in.
Multiplayer options are solid, if unspectacular. While there are your standard online 1-on-1s and tournaments, it’s local multiplayer that lifts the trophy for us. Playing in the room with an enemy or good associate is absolutely grand, their fixed gaze making for tense moments which lead to simple pots being bodaciously blundered.
As previously mentioned, Snooker 19 really does look and sound the part. Balls are super shiny, John Higgins’ face is accurately morose-y, and the arenas and tables look superb...y. The thoroughly satisfying sound of cue-on-ball and ball-in-pocket are truly authentic, while the commentary from Neal Foulds and David Hendon follows the action most of the time - a regular slip up for sports games of this budget/niche. There is a lot of silence during gameplay, but that’s befitting of a concentration-based sport like snooker, so we won’t hold that against developer Lab42.
As we reach the end of the frame, we cannae help but feel a touch disappointed with Snooker 19. Yes, it’s a niche sports title at a competitive price (~£25) but the lack of customisation, modes and training really hurt it. Big snooker fans will love it, that’s for certain, but it doesn’t have enough mainstream appeal to reach a wider audience.