The sea turned a blood red as my shipmates and I struggled to get our galleon back under control, begging for mercy from Poseidon and panicking, unsure of what exactly was going on. This was a tale of old, from Sea of Thieves’ beta (which you can watch below), and, unbeknownst to us, was the game’s clever way of telling us that we had strayed off the map and out of the area.
You also need to decide the size of crew you’re looking for from the off. Do you want to play by yourself? Or as a duo? Do you need a full crew of four? Or are you already partied up with two willing friends, ready to do your bidding as Captain? The choice isn’t the issue, but rather the fact that you’re locked into that choice for your entire session, unless you quit back to the main menu and start the process again.
When you do finally enter the game - greeted by an animated map sequence, complete with cryptic messages and a dropped hint here and there - you awaken in a daze at a tavern. If you aren’t careful, you could dash to your ship and set sail without even picking up a voyage to keep you busy.
Sea of Thieves is steeped in Rare’s trademark charm.
Being a game focused on player freedom, there’s nothing wrong with that of course, but you’re probably better off getting a mission from one of the factions if you feel like making some money for your time. The Gold Hoarders are all about treasure, making their missions treasure-hunting affairs, either following an X marks the spot map or solving a riddle to dig up your plunder.
The Merchant Alliance tend to ask for an assortment of animals, caught in traps and cared for on your voyage - chickens soothed with music, pigs fed on copious bananas - which isn’t a lesson the game teaches you actively, you need to pick it up for yourself or rely on the experience of your crewmates.
The final of the big three is the Order of Souls, mercenaries who pit you against undead skeleton pirate Captains and ask you to bring back their skulls for payment.
The other ‘currency’ all three deal in is reputation, which grows as you complete voyages and sell their spoils to the respective faction. In theory this grants you access to higher level voyages, which can potentially have multiple parts and bring greater rewards, but in our experience it’s just as likely they’ll be much the same as those that came before, and fail to introduce new ideas and challenges to the table to keep them fresh.
Once you’ve completed your first voyage, you’ve likely seen much of what the game has to offer. Sailing your ship, of either size, is accessible, and even possible with random players thanks to a context-friendly text emote system, though for whatever reason the wind has a nasty habit of always coming from the direction you’re heading and slowing things down to a crawl.
There are chests and artifacts to uncover randomly as you search various islands, or if you take a chance and investigate an abandoned shipwreck, but quickly these finds become pedestrian as well, rarely giving you something to feel really excited about.
There are skeleton strongholds to take on, which see a large number of enemies defend their turf and offer up rewards for those brave enough to defeat them, but these skirmishes feel like a distraction or a brief departure more so than something you can invest a lot of time and planning into.
In our experience higher level voyages are much the same as those that came before, and fail to introduce new ideas and challenges to the table to keep them fresh.
Some of the game’s best moments come from trading blows with other crews. Seeing another galleon on the horizon prompts a quick decision about the potential risk of taking them on, and how much loot you stand to lose should they send your ship to the briny depths. Firing cannonballs wildly as the two ships dance around one another is exhilarating and takes a certain amount of skill and team coordination. Taking cannonballs, in turn, brings its own challenge, as crew members patch up the holes with wooden planks and bail water from the ship to bring it back from the brink.
Other classic pirate activities fill out the experience, giving you something fun to do with your chums, including playing music and drinking grog, either from a tavern or a bottomless barrel aboard your ship. Of course with the active weather effects potentially bringing on storms at a moment’s notice, there can be little time for larking around if you don’t want to find a new home in the drink, encircled by deadly sharks.
The most heartbreaking thing about Sea of Thieves is that there’s little that’s really wrong with it - other than our main gripes in that it’s often impedingly dark at night, avoiding pursuing players can grow tiresome, and the misbehaving wind can make for slow progress - it’s more that it doesn’t have the depth or breadth of activities you might hope for in a game you’re expected to pay full whack for (unless you’re an active Game Pass subscriber) and keep on coming back to.
As soon as you’ve gained a few levels of reputation, standard chests hardly make a dent in bringing that number up higher, and the only real endgame items to go after once you’ve cosmetically kitted out your pirate are the pricey ship and sail skins, which bring a bit more personality to your vessel. There’s a telltale gap waiting for your ship to be named, something expected in a post-launch update, but as it stands (or floats, I suppose you could say) right after launch, you’ll find yourself getting through most of the range of activities the game has to offer in only a few days.
That’s not to say the game isn’t fun. There’s certainly good times to be had, and like many games of this nature, bringing friends along for the voyage makes all the difference in creating those memorable moments which really show off the game’s potential. Currently though, there’s so much potential and so little substance, some might not have the patience for it.
Perhaps the brightest spot for the game is its presentation. Thanks to the colourfully stylised visuals, it’s a real showcase for the technical powerhouse that is Xbox One X. Alongside the ability to cross-play with others on PC seamlessly, Sea of Thieves presents endless beautiful vistas, expertly realised water and lighting effects, and a fairly steady frame rate, all of which really show off just how good games can look on console.
Sea of Thieves is the first big title to leave Microsoft’s stable this year, and one which carries a lot of expectation for the future of Xbox, but it doesn’t feel like it’s done quite enough from the word go to really say “Yes, the Xbox is a great place to play fantastic first-party games”. Hopefully some of the areas which feel bare at the moment will fill out and the game will continue to go from strength to strength, but if you’re after something that will blow your socks off right now, it might leave you lost at sea.
The Isle of Man TT. Even those with only a passing interest in the world of motorsport will most likely have heard of this iconic event. Now, thanks to the arrival of TT Isle of Man: Ride on the Edge, fans can (safely) get closer than ever to the infamously dangerous race.
The developers have nailed the sense of speed, danger and authenticity.
Fortunately, the game gives you the option to slice up the large course and enjoy it piecemeal, letting you practice specific sections or simply replay a favourite part at your leisure. If you fancy a break from it altogether, there are also nine fictional tracks much more suited to shorter play sessions.
It’s these courses, along with the individual Snaefell sections, that make up the early parts of the no-frills career mode, where your goal is to win fame, money and, eventually, the Tourist Trophy (that’s four laps of the full track). This is something easier said than done, as winning races in Ride on the Edge is hard, even on the easiest difficulty settings - crank up the realism and simply pulling away in first gear becomes a challenge.
Without wins, there’s little chance of earning enough cash to buy faster bikes and, therefore, progressing to later tournaments. It’s also frustrating to see what wealth you do have frittered away as monthly bills pile up, though the real problem with career mode lies in the aforementioned clumsy AI that comprises your competition.
These infallible racers stick to the yellow chevrons like glue and streak along with little regard for your safety or ambitions, often sneaking up from behind and running you off the road while you’re just focussed on finishing a perfect lap. It’s a problem that effectively renders mass start races - which make up a large percentage of the tournaments on offer - obsolete, along with a big chunk of potential winnings.
Multiplayer doesn’t fare much better, with the game’s small player base limiting the race options available to those who do choose to venture online.
Unless you’re really into time trials and leaderboards, most will find there’s not much to keep them coming back for more once TT Isle of Man: Ride on the Edge’s initial thrills have worn off, meaning this is one best suited for hardcore enthusiasts only.
A lot can change in ten years, and after a decade of working on Need for Speed titles - and playing second fiddle supporting the likes of Battlefield 1 and Star Wars Battlefront II - Criterion finally return to the franchise which put their name on the map to re-release its crown jewel: Burnout Paradise.
There’s some variety to be found in the challenges you can take on, presuming you enjoy driving cars fast, of course. Simple races start and finish between eight predefined locations on the map - mirroring compass points - and let you take any route, with an indicator at the top of the screen letting you know if you’re on the right track, and even flashing road signs indicating whether to turn left or right to course correct you if necessary.
Road Rage and Marked Man behave in much the same way, asking you to take out or avoid being taken out by AI drivers across a set route respectively. Here, arguably, is where the most fun is had thanks to the game’s cinematic approach to both takedowns and even your own crashes, should you find yourself dramatically spiralling off the road and into oblivion.
Stunt Races do pretty much what they say on the tin, placing you at a specific starting location to rack up as many points as you can. There are multipliers for moves like barrel rolls and spins, or taking out a billboard or two, but it can be hard to make the most of them early on, before you know where the best ramps and shortcuts are.
Burn Races are speed challenges for specific cars, which can be hit and miss depending on how much you enjoy the car in question. The time limits involved can be quite challenging, even from the beginning, so this is another set of events to come back to when you really know what you’re doing.
Progress through the game is gated by your driver’s licence, which starts as a learner permit and graduates through graded letters from D. Each time you achieve a new rank, your wins on completed events are reset, meaning you can revisit races and challenges you’re familiar with in order to push towards the next licence upgrade.
As you gather wins, new cars are unleashed upon the city, making it a simple case of taking them out to add them to your junkyard - the haven where your suite of vehicles live. You’ll find a selection of special cars here too, thanks to all the DLC being included, giving you the chance to take to the streets in lookalikes of some of pop culture’s most iconic vehicles, including the Delorean from Back to the Future, complete with hover mode.
Of course, as these cars are legendary (just like police cruisers and toy cars), they have pretty impressive stats, making them an easy shortcut for race wins in particular. There is a trade off though, in that many can be quite flimsy, and the ability to take a bit of damage without being obliterated is crucial in some modes.
Despite the AI’s aggression building as you climb the ranks, you’re often the biggest danger to yourself. With so many obstacles to navigate, including meandering traffic (though, thankfully, not pedestrians) you’ll find yourself slamming into walls and wrecking constantly, at least for a while as you get the hang of boosting around in your car of choice.
Each vehicle falls into one of a handful of classes, which have different ways of racking up nitrous, suited to the type of car it is. For example, a standard stunt class car gives you a big chunk of boost or fills your bar completely for going over ramps or pulling off tricks, whereas the aggression class is more risk/reward based, in that taking down other cars is a big win, but crashing out or being taken down takes away some of that hard-earned boost.
It’s elements like this which allow you to play the game in a way that’s more tailored to you, and the various systems all stem from previous games in the series, so if you had a particular penchant for Burnout 3: Takedown, you can feel right at home.
Venturing online - with a simple press of right on the D-pad - is a mixed bag. The forward-thinking drop-in/drop-out approach to multiplayer is a marvel which defines a “seamless online experience” even today, but the support systems in place around it are less effective.
You’ll launch you into Freeburn Online almost seamlessly, and other players will be loaded into their respective areas of the map. There’s a garage-full of challenges the tackle between two to eight players, as well as races which can be kicked off by the host.
The fact that challenges often require a specific location is the first major stumbling block, as without players making the most of voice chat (generally the norm in our limited experience pre-release) it can be tricky to get everyone together. There aren’t modern conveniences like group waypoints or text commands to try to coordinate everyone, and with an emphasis on making rivals online by taking down opponents, you can find yourself being smashed to pieces whilst parked at the side of the road navigating a menu.
While these are limitations also present in the original game, it could have made a big impact on longevity to have implemented a few community-friendly features, though, admittedly, as we were dealing with a pre-release audience, there’s still opportunity to be pleasantly surprised moving forward.
From LCD Soundsystem to Beethoven, the variety gives you the opportunity to cruise around with a soundtrack that works for you, with every song feeling like it belongs.
Of course, with friends it’s a whole different kettle of fish and the unhelpful map aside, players who’ve got to grips with where things are shouldn’t have too much trouble taking on a fairly wide variety of challenges, from performing near misses on traffic as a group to one player jumping clean over seven others lined up below.
Burnout has always been up there with the Tony Hawk’s Pro Skater and SSX series in terms of iconic and engaging soundtracks, and Paradise Remastered brings that magic back with all but two of the 92 original tracks making the cut. The variety on offer, from LCD Soundsystem to Beethoven, gives you the opportunity to cruise around with a soundtrack that works for you, with every carefully curated song feeling like it belongs.
That’s especially complementary to the vast, over-the-top playground of Big Surf Island, which feels a little hidden away, located to the east of the city. Another expansion, here there are unique cars and mega jumps, which crank up the more common super jumps across the rest of the city to 11, often seeing you hurtle halfway across the entire island.
In fact, so extensive is the amount of unlocks and areas to explore, Paradise Remastered could prove a near-endless rabbit hole for completionists. Not only do you have 475 no entry gates to smash, but also 165 billboards. Once you’ve done all that, there’s over 140 cars to unlock (though some are available from the get go) and you can set speed times for every single road on the map, both online and offline.
It’s perhaps forgivable then that one of the staples of the franchise, Crash Mode, where you attempt to cause as much damage as possible at a single intersection, is absent from this game entirely, thanks to Criterion’s past decision to spin it off into its own little game called Burnout Crash!. With such a vast amount of content to explore though, across a stunningly beautiful world, it’s easy to forgive this omission.
Burnout Paradise Remastered is a slice of pure joy in a gaming landscape which has arguably become unnecessarily complex. Re-releases aren’t everyone’s cup of tea, and making a habit of such things is an issue in itself, but this case feels well-deserved and expertly executed. The original Paradise raised the bar for what racing games could be, and it arguably hit a high Criterion themselves have failed to recapture since. Remastered has us feeling things we thought were long gone and is an outstanding and hugely rewarding addition to any arcade racing fan’s library.
The Council isn’t your typical narrative adventure game, serving up a side of role-playing mechanics to complement the impactful decision making and branching story paths you’ve come to expect. You play Louis de Richet, a Parisian aristocrat and leading member of The Golden Order, a powerful secret society headed by his ageing mother. When she mysteriously disappears on a private island owned by the elusive Lord Mortimer, you board a vessel and set sail in search of her.
The Council isn’t your typical narrative adventure game...
New interactions open up across the game as you acquire their corresponding skills, but you’ll have to pick and choose which instances to take advantage of, as performing actions draws from a limiting pool of Effort Points. What’s more, whether you might be forcing entry into a room, translating a document, or noticing small behavioural traits, there’s always a risk your efforts are misplaced and you won’t actually discern any useful information. When you pick your moment and do uncover a relevant morsel, character-specific vulnerabilities and immunities are compiled for reference and help you to politic with the best of them moving forward.
Ingeniously, real-world historical knowledge can also be used to your advantage, for example, knowing Napoléon’s plans for the future of France makes it easier to curry favour by telling him exactly what he wants to hear. For the most part that’s off the cards though, so being afforded a few blunders during tense linguistic jousts helps to avoid blowing an encounter and negatively impacting your story - which it always will, in the absence of game over states. Before it comes to that, tactically popping one of four consumables, which offer a range of helpful buffs, can drag you back from the brink of disaster.
Once you’ve gotten to grips with the ins and outs of the non-violent confrontations, they prove a fascinating advancement over the comparatively humble dialogue systems seen elsewhere. At this stage, The Council also seems set to dispel the infamous illusion of choice by actually bringing more significant differences between two given paths to the fore. You’ll visit contrasting locations and interact with different characters dependant on what you opt for, with each of these separate scenes then featuring more granular deviations within themselves. Ultimately, this leads to one of two very different cliffhanger endings, which certainly seems promising, though only time will tell how divergently the story continues to unfold across the series’ four remaining episodes.
At the end of a chapter you’re informed of the events that you missed, putting the web of opportunities into perspective, and coupled with achievements for making opposing choices this provides compelling reason to start all over again.
At this stage, The Council seems set to dispel the infamous illusion of choice by actually bringing more significant differences between two given paths to the fore.
The first of The Mad Ones’ endings we encountered left us more intrigued than the second, but either way we’re eager to see where The Council takes us next. Until then, this rough-around-the-edges introduction to the series illustrates the strengths of its unique approach, placing it head-and-shoulders above anything from genre leader Telltale Games in terms of gameplay. While it utilises similar techniques to perpetually trap you between a rock and a hard place, keeping you actively engaged with its story, when it comes to scripting and performances, the experience just isn’t comparable.
Puzzles are designed to make you think. Everything from putting together a 1,000-piece snowy scene with loved ones at Christmas, to collapsing into a heap as the clock ticks down in that escape room challenge your friend Dave insisted would be fun.
The game’s 80+ puzzles ramp up fairly gradually, reaching what may feel like a natural conclusion around half way through, only to open up to a far more colourful and interesting environment, though to share more would stray somewhat into spoiler territory.
The visual style is stunning, taking mechanically impressive creations and fleshing out the world with sleek design and quality textures.
Unfortunately, thanks to a lack of ability on our part, a single puzzle got the better of us, stopping our progress dead in its tracks - despite feeling like we were on the right track, our usual font of knowledge (the internet) wasn’t able to offer a way out ahead of release day. As a result, we weren’t able to discover the “devastating truth” hinted to lie at the journey’s end, but the mid-game twist alone takes the narrative side of the game up a level, giving an experience which would be perfectly serviceable without the extra flourish.
Particularly compared to the first game, the visual style which Toxic Games have delivered here is quite stunning, taking mechanically impressive creations and fleshing out the world with sleek design and high quality textures - certainly up to the high standards of current console heavyweights - made even shinier with full Xbox One X support.
While the game undoubtedly still owes some inspirational cues to Portal, with this sequel the team have more than moved past such obvious comparisons to deliver something with character and intrigue as well as solid, compelling gameplay that’s well worth your time and the somewhat chunky asking price of £19.99.
Following in the footsteps of Battlezone 98 Redux, the second game in Rebellion’s classic PC strategy series has now been lavished with the same spa treatment. Originally released nearly two decades ago, Combat Commander’s remaster expectedly shows a few cracks, but an intriguing blend of RTS and FPS mechanics still make for some uniquely exciting skirmishes.
Combat Commander’s remaster shows a few cracks, but an intriguing blend of RTS and FPS mechanics still make for some uniquely exciting skirmishes.
Not all of the changes are to your advantage, though. Obviously you can’t just jump back to your base of operations or an outpost that’s under attack in Combat Commander, upping tension and encouraging a careful approach.
While very subtle tweaks help the gameplay to endure, changes on the visual front are a little more drastic. The game simultaneously looks sharp and slightly retro, clearly being a modernisation of aged assets in place of genuine current design, which there’s a certain charm to. Old school wonk like shooting a chain link fence with a standard round causing it to explode, or hilariously bad walking and on-foot death animations, don’t translate quite so well.
Having largely remained true to the original means that the remaster isn’t too taxing to run. Its range of graphics options ensured we had no problem maintaining 1080p/60FPS on a GTX 1060, though it’s possible to reach the heights of 4K resolution and a higher unlocked frame rate with a more powerful rig. Unfortunately, Combat Commander is less technically accommodating elsewhere, with alt + tabbing causing temporary choppiness, and badly implemented controller support.
On the solo front, Instant Action mode caters to an itchy trigger finger, while the lengthy campaign slowly introduces new concepts to players across 24 varied missions. Set in the 1990s, the discovery of a hostile alien race dubbed Scions prompts the US and Russia to combine forces. You play Lieutenant Cooke of the International Space Defence Force (ISDF) and embark on an interplanetary crusade that’ll lead you down one of two branching paths dependant on a pivotal decision.
The narrative is really what you make of it, delivered through introspective loading screen monologues, written briefs and audio logs that it’s up to you to interact with. Jarringly untouched cutscenes are fortunately a rarity, but worse is the often inaudible mission chatter that gets drowned out by obnoxious sound effects, even after lowering audio levels.
The game simultaneously looks sharp and slightly retro, which there’s a certain charm to.
While hopping between six planets provides a welcome change in scenery now and again, differences in mission parameters aren’t always as easy to appreciate. Combat Commander’s campaign can stray from its strengths, dumping you in an on-foot stealth section, or tasking you with building a base then not allowing you to make use of it. Throw instances of generally poor design into the mix, like needing to leave the area you’re defending to proximity trigger enemies, or placing a particularly difficult section at the very end of a long stretch when the game has no checkpointing, and some outings are a recipe for frustration.
They aren’t all bad - a few objectives are particularly good fun, in fact - but with the multiplayer suite there’s less chance of being let down. Up to 14 players can compete and cooperate locally via LAN or online with cross-play between Steam and GOG Galaxy. Eight modes include the conventional Strategy game type, Deathmatch, Capture the Flag, and also more more outlandish undertakings like Loot (steal as much money as possible from a bank) and Race.
You may struggle to find active servers for anything other than Strategy and cooperative Online Instant Action, in which a group of players wage war with challenging AI, but already having ‘dead’ game types doesn’t throw up too many concerns about longevity. With modifiers available to hosts, an endless supply of maps thanks to an extensive editing tool, plus mod and add-on support that anyone can get to grips with, the Battlezone player base has a lot at their disposal.
Much like Rogue Trooper Redux before it, in being ahead of its time in many ways, Rebellion ensured that Combat Commander would remain engaging for future audiences way back when. Its central coupling of genres is still genius, but a concept now held back by some dated execution.
With a star-studded team of Rockstar and Bungie alumni at the helm, as well as a pint-sized protagonist that’s cute as a button, anticipation for PlayStation VR exclusive Moss has been riding high since it was unveiled. Now that it’s out, does the storybook tale of an unlikely heroine on a grand adventure deliver? Or does it not quite measure up?
Whether she’s offering a high five to reward a job well done, performing actual sign language in an attempt to communicate, or even chastising you for wasting too much time on petting her, Quill is an incredibly sweet and personable mouse who’s pretty much impossible not to love. I’m not the soppy sort when it comes to virtual animal companions (you could fill a pet cemetery with the Tamagotchis, Fable dogs and Mass Effect fishies I’ve left in my wake), which demonstrates the care and attention poured into bringing her very literal three-dimensional character to life.
Quill’s charmingly stout stature also serves to imbue locations with a mesmerising sense of scale, absolutely dwarfing her, yet at the same time being detailed down to the smallest minutia. Each exquisitely lit area, from lush forest to marble-clad castle, ties into a cohesive whole without sight nor sound of an intrusive loading screen or menu to hamper the presentation so painstakingly built. This is a colourful world in which mice ride tamed and saddled squirrels, but it’s so beautifully grounded as to be believable.
Environmental storytelling hints at echos of human habitation within the realm of Moss, as does the mechanical nature of many enemies you encounter; whilst no definitive answers to these sorts of larger contextual questions are offered, the whimsical soundtrack compels you to linger on them in humanity’s apparent absence. The game does reach a neat conclusion on the more immediate front, however, whilst also extending the tantalising promise that there's more from this world to come.
Quill is an incredibly sweet and personable mouse who’s pretty much impossible not to love.
More Moss is definitely welcome, not least because the three to five hour runtime will probably leave you wanting. Beyond the opportunity to spend more time with Quill, trophies and collectibles are really all that might serve to draw you back in for a second playthrough.
While it lasts, Moss is a charming, magical and gentle-natured adventure which establishes a compelling setting and an absolutely adorable protagonist that’ll bring a smile to even the sourest of faces. Though its simplistic gameplay sees the experience fall short of matching the Hylian escapades that inspired its core design, the team at Polyarc have brought a winning formula to virtual reality along with bucket loads of unique character. If that isn’t a strong foundation on which to build the upcoming sequel, we don’t know what is.
As its He-Man and the Masters of the Universe-inspired name and neon vision of the future suggest, Blasters of the Universe is a humorous homage to the VHS era. Grandmaster Alwyn, an arcade gaming savant, is so dominant a player that he’s become one with the eponymous game, prompting you to challenge his throne across four levels of intense shoot-‘em-up action.
By tapping into the bullet hell subgenre, the game takes on both a fierce urgency and an enticing element of performance.
This cumbersome issue isn’t something the pulsing synth soundtrack and sharp presentation can’t remedy, the pair drawing you back for another hit in tandem, but perhaps not before altering your loadout. Guns are crafted by choosing a frame and associated special ability, barrel, magazine, ammo type, and a module that provides a passive buff. A lot of possibilities open up as you progress and unlock new weapon elements, allowing you to rock an arcing beam rifle, explosive shotgun, ricocheting assault rifle, or really whatever you can dream up to fit your play style.
The game can only be played with two Move motion controllers (which are tracked particularly well here), one corresponding to your bespoke gun and the other being used to deploy your choice of ammo clips and a limited-use shield. This opens up a further layer of customisation, allowing you to, for example, equip a recharging magazine and focus exclusively on shielding with your off hand, or a small magazine with increased damage output that’ll need reloading on the regular, but should, in theory, eradicate enemies before they ever give you reason to deploy your shield.
If you’re anything like us, bigger will be better when it comes to the magazine, as the manual reload process is quite particular and differs depending on your choice of frame. Such is the precise art of reloading that we’d actually recommend using your dominant hand for it.
A lot of weapon crafting possibilities open up as you progress, really allowing you to rock whatever gun you can dream up to fit your play style.
Though swapping hands can initially prove disorienting, it ultimately lead us to slay all of the game’s long-form, large-scale bosses and emerge victorious on the other side. These battles require specific aiming and avoidance techniques that make them a challenging treat, though a glitch we encountered whereby each loss to the final boss caused an obnoxious buzzing sound until the game was rebooted did make the final leg slightly laborious. Fingers crossed that bug is squashed, which seems likely enough judging by the patch support already offered since launch.
Completing the campaign should take around three to five hours, though the exact number is really dependant on player skill and fitness levels, and that’s without taking into account time spent climbing online leaderboards and interacting with a couple of additional modes that round the package out. Challenge mode hands you a pre-built loadout and an objective to complete as quickly as possible, with the task at hand rotating after a set period of time, whilst Endless mode sees you, shockingly, survive for as long as possible to gain the highest score before meeting an inevitable end.
Despite relying on a played out concept, Endless is a highlight, placing trophies just out of reach to encourage a ‘one more go’ mindset. It randomises spawn patterns with each attempt to keep things fresh, though this does also affect balance, as luck of the draw can vastly impact your performance.
Still, with this mode in its repertoire, Blasters of the Universe might actually prove endlessly entertaining. Its thoroughly rewarding combat encounters can’t be bested with a lackadaisical approach, resulting in not just a fantastically fresh take on the bullet hell shooter, but also a workout regimen that makes you feel like a virtual deity... until your humanity comes a-knockin’ and the lactic acid takes hold.