Bust out the hi-tops, gold chains, fluorescent trousers and square hair, gang, for it’s time to revisit the beloved 90s world of ToeJam & Earl. That’s right, the titular twosome are Back in the Groove.
Let’s not forget the baddies, though: the cast of irritants and nasties feature earthlings of all flavours, encompassing autograph-hunting fans, FBI agents, and even sharks. That’s neglecting to mention the likes of ghostly cows, that corpulent, bald casanova, Cupid, and tornadoes that’ll knock you off the edge of a level, back down to the previous one. These foes are rarely threatening, mind, as there’s always a Sunflower forest to hide away in, playing a sublime little jingle whenever you walk into one.
Waltzing around as a bodacious alien, dressed as Vanilla Ice, bopping to a superbly funky soundtrack, is quite the treat in itself.
Now, you could be forgiven for reading all of the above and wondering what the point of the whole shebang is. A fair assessment, perhaps, but that’d be to miss the essence of BITG completely. Waltzing around as a bodacious alien, dressed as Vanilla Ice, bopping to a superbly funky soundtrack, is quite the treat in itself.
Yes, the core gameplay of searchin’ ‘n’ findin’ might not lend itself to the most thrilling of loops, but throw into the mix procedurally generated levels, different difficulties, the kind of laughs that only local co-op play can provide, and mini-games that break up the monotony - on that note, the dancing game is great, but the auto-runner isn’t so much - and there’s scope for even the non-nostalgic to enjoy themselves.
Visually, ToeJam and Earl have thankfully been dragged punching and hollering into the can-only-meet-people-via-an-app age. Gawping at the cartoony wonder of trees, water, snow, desert and caricature-style NPCs is a dream, so it’s a real shame that performance can suffer on occasion, when, in all honesty, the game really isn’t pushing the limits of modern hardware. The mid-level elevator scenes are a prime example of this: fantastic Fresh Prince-inspired backdrops that chug and wheeze as the next level loads.
The undeniable presentational standout here, though, is the absolute funkathon of a score. Squelchy, popped ‘n’ slapped bass smashes through the speakers, throwing some serious aural shapes alongside subdued, crunchy beats. Kickstarter backers had the opportunity to get a copy of the soundtrack on vinyl, and of that fact we’re considerably jealous.
Where does all this leave us though, folks? In reality, ToeJam & Earl is as anti-mainstream as ever, and we appreciate that. If you like local multiplayer games, adore funkadelic basslines, or just have a hankering to revisit 1991, you’ll certainly have fun with Back in the Groove. Comrades with short attention spans, or who find early 90s pop culture and/or the basic trappings of dungeon crawlers abhorrent, though, should breakdance right outta here. PEACE.
Carbon Studio’s award-winning spellcaster has made its way to PlayStation VR in “enhanced” form - now featuring a new stage, new cutscenes, checkpoints, performance improvements and more - but do these tweaks see the game hold up one year after its initial launch?
New to this iteration of the game is an optional head-tracked form of auto-aim, which is enabled by default and that’s definitely a good thing. Throwing is a motion that doesn’t often play well with the Move controllers, at least not with any real degree of accuracy, so the slightly sticky reticule is a must for reliably guiding your projectiles to their target. What’s more, it does a pretty good job of discerning exactly where you’re looking, allowing you to easily pick out priority targets in a crowd.
In-game movement and real-world comfort are handled well too, as The Wizards accommodates both teleportation and free movement, alongside seated and standing play. Expect to fiddle with your height settings if playing seated, mind, as we had to register at a minuscule 80 cm tall in order to align with the UI.
Utilising two PlayStation Move controllers, you’ll motion to weave the arcane into existence while channelling your inner sorcerer.
Getting this right also helps to achieve the perspective required to spot traps and puzzle elements, which litter the game’s eleven brief and fairly nondescript levels. Punctuated by a couple of visually impressive, but mechanically underwhelming boss encounters, the three-to-four hour adventure is fairly replayable due to the inclusion of Fate Cards. These gameplay modifiers are found hiding in chests and can be activated to turn the tides in or against your favour, most notably applying score multipliers to help with climbing the online leaderboards.
Then there’s Arena mode, which tasks you with defending three crystals, once again sights firmly set on outlasting the competition in order to climb leaderboards relevant to each of the three maps. It’s very familiar territory and, without co-op, it doesn’t really have legs.
At its best moments, when you’re fluently fighting off a swarm of ogres without feeling like the real battle is being waged with imprecise motion controls, The Wizards is an intoxicating realisation of any long-held magical fantasies. The PlayStation VR version can cause that illusion to crumble though, which is a burden not entirely shouldered by inferior hardware, as other games have managed to pull off the transition just about seamlessly.
After making its way to Steam and North American Switch owners last summer, Sleep Tight has finally reached our shores this month, bringing its Pixar-inspired take on the classic horde formula to Europe.
During our early playthroughs we attempted to construct a square fort in the middle of the room, using barricades and the four upgrade stations as indestructible cornerstones. While visually pleasing, this left us open to attacks from all sides and required a much more hands-on approach to defence. Later runs brought about a change of strategy, namely hiding in a corner behind a wall of turrets, which allowed us to sit back and watch the automated fire do much of the dirty work for us. There was even a rather daring run which saw us eschew all defences in favour of ammo and shield power-ups, a strategy that proved surprisingly effective.
Every night survived sees you rewarded with suns and, along with stars dropped by downed enemies, these serve as a currency used for purchasing products at the aforementioned stations. You’ll need those to combat the evolving suite of enemies, which could easily pass for Monsters, Inc. movie extras, with small and speedy creatures being complemented by the introduction of bigger, stronger types capable of dealing serious damage to your base as rounds progress.
With only a few suns handed out each morning, you’ll need to spend wisely in order to stay alive for as long as possible, especially considering they don’t carry over to the next day. Do you repair a turret on its last legs, or stock up on shields and ammo in case things go south? It’s decisions like these that can make or break a playthrough, and while watching the inevitable downfall unfold on a particularly good run brings with it a tinge of sadness, last stands are always good, frantic fun. The game’s relatively speedy pace also means it’s never too long before you’re back in the thick of things, which helps.
From a technical standpoint, Sleep Tight appears to run well on Switch, both when docked and handheld. The only drawback was some screen glare when playing in handheld mode during daylight hours, as the game’s entirely set at night and obviously quite dark as a result. You can exit and save progress between rounds, but we often found that simply putting the Switch in sleep mode then returning some time later was a decent way to keep a playthrough going when interrupted.
Overall, Sleep Tight is another solid addition to the Switch’s growing roster of indies. Whilst it would be great to be able to team up with friends for a monster mash, the quick pace of rounds, satisfying gameplay and battery-friendly nature of the game make it a great candidate for solo commuters.
Spiritual successor to the classic Wonder Boy games, Monster Boy and the Cursed Kingdom is a strikingly gorgeous, achingly nostalgic adventure that gets better and better the more you play.
Monster Boy and the Cursed Kingdom is a strikingly gorgeous, achingly nostalgic adventure that gets better and better the more you play.
Some items come with associated abilities - like boots that enable a double jump manoeuvre - often granting access to new areas, or at the very least previously inaccessible nooks within explored locales. Monster World is pretty huge, so the detailed, screen-by-screen map that’s awash with hints pointing towards as-yet-undiscovered secrets is a real boon for completionists.
Fortunately, the game’s setting is as varied as it is vast, encompassing idyllic, bustling hub towns through dark, labyrinthine sewers. Not just visually diverse, areas also require different tactics to traverse, making each feel doubly distinct and effectively staving off any potential fatigue resulting from what’s, ultimately, quite a familiar overarching structure.
In basest terms, Monster Boy and the Cursed Kingdom is another retro platformer, but, given time, it blossoms into something altogether more complex and enthralling. The fact that the folks at FDG Entertainment and The Game Atelier managed to pull that off while remaining staunchly true to their ‘80s inspiration, Wonder Boy, results in a masterfully-executed game that fans of retro platformers and modern metroidvanias alike will adore.
Does Fallout need NPCs to work? That’s the question we’ve been pondering almost the entire time we’ve been thinking about this review. The short answer is, as always, the cop-out answer, which is - erm, probably not?
This Fallout adventure is designed with friends in mind, up to 23 others at a time in fact, as you share your instance of West Virginia with fellow survivors getting busy living. Teaming up works as you’d expect, though finding other players isn’t necessarily an easy task with so much real estate to roam, and even the invites only gingerly pop up in the corner instead of really pushing the co-op experience.
For those wanting to be more traditional lone wolves this is somewhat of a godsend, but it gives an indication as to Bethesda's odd approach to playing together. Teaming up with friends to build a ridiculous base is plenty of fun by itself, but even more so is picking a point on the map and just going there, collecting the materials required to build and bringing the gameplay loop full circle along the way.
There’s PvP as well, unlocked at level 5 along with the hassle-free pacifist mode, but so far most players have largely been behaving themselves (perhaps everyone’s focused on levelling?) and there's little to actively encourage player encounters this early in the game's life.
76’s story relies heavily on your patience (which will certainly be tested in a multiplayer environment) for discovering and engaging with holotapes and written logs, as there aren’t any human AI characters to bump into and have deliver exposition through conversations. At first you feel a glimmer of hope that one or two of the quests might end up with you, somehow, coming to the rescue of a relieved NPC, but alas, everything seems to end in death. Death, it seems, never changes…
Building and crafting makes a return in a big way, as opposed to the somewhat take-it-or-leave-it approach of Fallout 4, in that you now have a mobile workbench known as the C.A.M.P. With it, you can construct all manner of things, once you’ve discovered the relevant plans, of course, which have been absent-mindedly left strewn across the vast, open wasteland.
No longer limited to specific settlements, you can lug your C.A.M.P. across the map (which is now four times larger) and place it anywhere not too close to a named location. Honestly though, you probably wouldn’t want to anyway, as you’d forever be pestered by respawning enemies.
While there isn’t the same throughline narrative returning players might expect, there are still main quests which take you on a gradual tour of the sizeable map, as well as side quests which pop up as you might expect, but new to Fallout are more MMO-style daily and event missions, the latter of which generally involve clearing out or protecting specific locations, and can trigger very easily if you wander even close to the marker.
Fortunately, there’s fast travel to help you get around with relative ease, however, this brings us to one of the most significant and potentially deal-breaking areas of the game - bugs.
V.A.T.S. is a little different too... With no slow-motion at all there's a tendency for percentages to fluctuate widely and that led us, ultimately, to dispense with it altogether.
There’s no getting around it: Bethesda games have a reputation for… not performing to the best technical standard. Of course, huge open world games are particularly susceptible to bugs, and when you add multiplayer and base building into the mix, Bethesda certainly haven’t made it easy on themselves.
That being said, Fallout 76 has consistently thrown up more bugs than any other release we’ve experienced in 2018. One particularly nasty error repeatedly caused the console (an Xbox One X) to shut itself down entirely to protect it from overheating. Firstly, the console wasn’t at risk of overheating - ventilation was fine and the device wasn’t hot to the touch as you’d expect if that was a serious risk. Secondly, there’s almost no way to avoid the frightening issue creeping up on you, but particularly if you try to fast travel there’s a high chance of having to suffer through a hard restart.
Needless to say there are fixes coming, and the other, more visible reported bugs - like enemies getting stuck in place and walking at 45-degree angles, or event quests inexplicably failing - will likely be dealt with, but as a customer paying a substantial number of bottle caps to pick the game up, the reality is severely below standard.
Perhaps Bethesda didn’t realise the B.E.T.A. (boy, do they love their acronyms) would throw up as many issues as it did, but, for a game of its standing, the stability should really be a lot better.
To address the big question then, does Fallout really need NPCs? It definitely depends on the game you’re looking for. If you imagine this game as a Conan Exiles or Minecraft survival experience then it might exceed expectations, but if you go in looking for Bethesda-does-Destiny then it could go the other way.
While NPCs aren’t essential to make it feel like a Fallout game (76 does still feel very Fallout), there’s really no specific reason - putting Bethesda’s stance on it emphasising player interaction aside - that there shouldn’t be anyone around, particularly when compared to previous games. To implement a blanket ban seemingly on principle makes the world feel a little more empty and locations a little less exciting; just the odd bit of characterisation here and there (besides identical robots) would have made all the difference.
It may get better in time, but right now it’s hard to fully recommend Fallout 76 for anyone other than die-hard series fans that are hungry for more.
Sega spawned many a classic during their Dreamcast-era days, but have struggled to stay as relevant in the ensuing years. The original Valkyria Chronicles appealed because of its gorgeous looks and Dreamcastian demeanour, but we never quite got round to it, so came to this latest edition with some excitement. Let’s cast nostalgia aside though, and answer one of life’s truly great questions: is it any good?
Getting your tactics right and correctly reading the terrain will ultimately decide whether you prosper or fall.
So, the characters are amusing, but how does the dang thing actually play? To boil it down to its essence, each slobberknocker in Valk 4 sees you moving between a top-down map screen from which you issue commands (position/deploy units, request reinforcements, etc.) and the gloriously animated violence of the third-person running and gunning. We’ve played quite a few similar attempts at this mix, but none come close to the perfect blend achieved here.
The sheer variety of choices on offer is astounding, really shaping how you tackle a particular situation or foe. Do you load up on the bazooka-wielding Lancers to take out tanks? Should you employ many-a-sniper to sneak around and take out the enemy crumb by crumb? Perhaps the protective nature of Shocktroopers is more to your taste? Whichever way you decide to go, you’re bound to have fun, learn from your mistakes, and ultimately realise the potential of classes that originally seemed one dimensional (man, the engineers and grenadiers come in handy).
Vehicular combat also features prominently in Valk 4, with regular use of Claude’s tank, The Hafen, at your disposal, alongside the incredibly handy APC, which allows you to transport soldiers across the battlefield. Whether it be vehicles or infantry, getting your tactics right and correctly reading the terrain will ultimately decide whether you prosper or fall.
Much like the original Valk, version 4 boasts the same command points and action points gameplay system. Command points show you how many actions you can make per turn, whereas action points are relative to each individual unit (later on you can buddy-up groups to your sergeants for extra fun). You can only move/shoot freely until that unit’s meter runs dry, with certain units capable of moving faster/farther, adding extra tactical depth. Using your CP and AP wisely is vital to dominating the blasted Imperial Army.
Valk 4 also offers up a buffet of extras, including levelling up character classes, weapon creation, tank/APC improvements, and, best of all, squad building, which functions exactly as you’d imagine while opening up extra cutscenes and fights. All of the above add to the rich expanse of customisation available to the player, really helping to suck you into the story and gameplay on the whole.
Gawping at Valk 4 is simply sublime, too, amigos. The gorgeous watercolour style evokes a lost storybook feel, adding emotional depth to the characters and the horrors of war. It’s not just the perfectly animated and drawn characters and sets, but the tea-stained map and comic book bright text of moving foes in the command segments, all working in unison to add that extra layer of visual polish and personality.
We’re not finished with the positives yet, as you can also add the game’s audio into the mix (WHAT. A. PUN). Sweeping, swooping strings and stupendous orchestration follow Squad-E’s ups and downs perfectly, whilst the voice acting is charmingly corny.
As much as we’ve enjoyed Valk 4, we’d be fool not to point out a couple of its flaws. The many, many, MANY cutscenes can leave you feeling foie-gras’d (you bet your rectum that’s a verb), as it often feels like you’re never going to get into an actual battle. It doesn’t help that voiceovers move too slowly to keep up with the subtitles, seeing us jam the A button on the reg in order to speed through another scene of Claude feeling emo about his weakling past (Scaredy Claude is his nickname, in spite of being in charge). There’s also no getting away from the fact that a Japanese-centric third-person strategy RPG is just an insy bit niche…
Despite those minor negatives, we came away thoroughly entertained by Valkyria Chronicles 4. Its tactics and combat are fun; the characters and story sway between cliche, humourous and melancholy; and the audio-visual presentation is outstanding. We’ve been blessed with some cracking games already this year, but personally, this goes straight to number one for little-old-me. A Dreamcastian delight: thanks Sega.
Upstart developer 3rd Eye Studios have an incredible pedigree, its staff owning credits on a long list of classic films and games, so it should come as no surprise that Downward Spiral: Horus Station effectively channels sci-fi cinema - specifically the likes of 2001: A Space Odyssey and Solaris - whilst also crafting a mechanically engaging interactive thriller.
Downward Spiral: Horus Station effectively channels sci-fi cinema, whilst also crafting a mechanically engaging interactive thriller.
The entire game takes place in zero gravity, which, to allay your immediate fears, isn’t the least bit nauseating in VR. It does take a bit of getting used to, but you always retain the same upright orientation and, as such, you’re never subject to that hopeless feeling of not knowing where’s up and what’s down. Once you’ve gotten to grips with pushing off of scenery to float around, you’ll acquire a grappling hook - which has a smooth, gradual reel to keep things comfortable - and a gun that’ll boost you onwards by expelling a charged shot of hot air.
Now that you’ve properly wrapped your brain around the revised laws of physics, it shouldn’t be long before you learn to string these initially disparate tools together into one seamless combo. There’s almost a balletic element of performance to it, which, had Marvel’s Spider-Man not just launched, we’d have said made it the best movement system we’ve seen for a while.
In similar fashion, the gunplay (toolplay?) takes a little while to really flourish, but as a steady stream of new toys come to comprise a complete arsenal, you’re actively encouraged to swap them in and out to counter the introduction of bigger and badder enemy types. We’d definitely recommend leaving the combat feature turned on, especially considering you don’t lose progress when you die.
Having a few battle scars won’t go amiss if you’re looking to play multiplayer, either. The campaign can be played in co-op, but if you want to venture into the PvP Deathmatch and/or PvE Horde modes, you’ll have to give up your pacifist ways. You’ll also very likely have to bring friends, as finding success with the barren matchmaking is unlikely.
Bar a few jarring frame drops, which are admittedly a cardinal sin in VR, playing Downward Spiral with a headset and a pair of Move controllers is a pretty great experience. That’s a big caveat for those without the proper equipment, however, as it’s also playable on a television and with the DualShock 4. Should you be required to play the game in one of those ways, it‘s an immediate no go.
Perhaps it’s a symptom of having explored Horus Station both ways, but, by comparison to VR, it’s incredibly drab to play on a flat screen. While that’s inherent to a degree, having lost a dimension in the transition, also losing the intuitive and tactile motion controls is a final nail in the coffin. Downward Spiral is a game quite literally designed around reaching out and pulling yourself into its world, which makes a stand-in button press both cumbersome and unsatisfying. It also negates the scope for creating memorable little asides, like instinctively grabbing a dart and launching it at a nearby board, only to find it hanging at the exact point you let it go - duh!
It’s swell having options and all, though when they harm the experience for anybody playing in the optimal fashion, it’s questionable as to whether they’re justified. The game doesn’t auto-detect when it should boot in VR mode, which means you’ll need to use a DualShock to activate it from the main menu, as Move inputs aren’t tracked in TV mode; we can easily live with that minor inconvenience, but a not-insignificant annoyance stems directly from it. If that standard controller is then disconnected, the game will pause and throw an error up, even when you’re actively using the Move controllers instead, meaning you’ll need to remove yourself from the atmosphere Downward Spiral so painstakingly works to preserve in order to reconnect a pad you aren’t even using at regular intervals.
Hopefully that’s something that can be hotfixed, as, when equipped with the right kit, we otherwise thoroughly enjoyed floating around the dark and mysterious halls of Horus Station. Unique movement, satisfying tools and an enthralling location sadly aren’t enough to salvage the experience for anyone without the PlayStation Move controllers and VR headset that are compulsory to a good time.
Themed as a classic, old-timey adventure serial - complete with spiffingly British narrator and an affinity for alliteration (which can be toned down if the gusto gets your guts, though I’d advise averting your eyes if that’s the case) - Strange Brigade’s arcade action compiles and injects existing industry ideas with a persistent panache, shaking feelings of familiarity and raising a rip-roaring ride through 1930s Egypt.
Strange Brigade’s arcade action compiles and injects existing industry ideas with a persistent panache, shaking feelings of familiarity and raising a rip-roaring ride.
Though rifles are still very much present, here a more likely choice of primary weapon would be a shotgun or submachine gun, which can then be complemented by your choice of secondary firearm and thrown explosive. As you amass armfuls of gold throughout the course of any given level, you’ll also be able to roll the dice on a powerful prototype weapon - like an explosive crossbow or punch-packing blunderbuss - anonymously nestled within identifiable crates. These beefcakes have a limited ammo supply to counteract their immense strength, but perhaps more devastating are ultimate character abilities.
Unleashed after charging a magical amulet with the souls of defeated dastards, each brigadier has three additional bespoke abilities to unlock by collecting sets of relics generally hidden away within puzzle-gated nooks. These hidey-holes can also contain gems which slot into weapons to imbue them with passive buffs, allowing for easier crowd control and with that more efficient use of the booby traps that litter each uncharted environment.
Once you’ve familiarised yourself with the ins and outs of all the singular systems governing combat in Strange Brigade, there’s a real art to stringing everything together into one maintained and satisfying stream of destruction.
When you aren’t busy wreaking havoc, you’ll be exploring a range of lush, forgotten locales that are gorgeously vivid on Xbox One X. They’re surprisingly sprawling, often featuring multiple routes to your destination, all while the sounds of moving mechanisms and twinkling treasures beckon you to double back and scour every surface in search of secrets. The classic environmental enigmas you’ll uncover offer up tangible rewards and ensure that there’s reason to revisit the nine lengthy campaign missions in order to deeper delve their depths.
That said, before diving back into the campaign you’ll probably want to try your hand at the pair of accompanying modes in Score Attack and Horde. The former sees you undertake solo excursions on linear, re-purposed campaign sections whilst aiming to combo kills and satisfy a list of secondary challenges like beating par times and not taking damage. Think Mercenaries mode from more recent instalments of Resident Evil, but with greater consistency between runs to allow for really nailing the perfect strategy down.
Once you’ve familiarised yourself with the the singular systems governing combat, there’s a real art to stringing them together into one maintained stream of destruction.
Horde is almost what it says on the tin, only sharing more in common with Call of Duty’s fan favourite Zombies mode than Epic’s eponymous Gears of War 2 trendsetter. You’ll weather an insane undead onslaught across four exclusive maps that expand as waves progress, and also by your own hand, should you choose to spend gold on accessing new areas and their guaranteed goodies. Doing so isn’t exactly the no-brainer it sounds, as you’ll also need to piecemeal purchase a loadout having started with just a solemn sidearm.
This makes Horde a great place to experiment with new loadouts, which, coupled with a moving base of operations to prevent you from getting too comfortable in any one location, stops things growing stale as you’d otherwise be relying on the same old strategies across a whopping 75 total waves. That’s no small undertaking, so you can thankfully step away at any point and then pick back up from right around where you left off.
Weighing in at a reduced asking price, Strange Brigade feels anything but budget and features enough content that you might call it a steal. That’s certainly a relief, as outwardly it was easy to speculate that the Season Pass and its promise of new levels, characters and more might be required in compiling a complete package.
Strange Brigade bears its inspirations for all to see, but while many of the influential games and modes we’ve mentioned are overdone nowadays, Rebellion commit to their goofy theme with such enthusiasm that they’ve captured a formative time in cinema not previously brought to the medium with such verve. This unique sense of fun will make you nostalgic for a period you probably didn’t see, and by a long shot, while the copious conundrums make it an action co-op caper not quite like any other.
The final stretch of the journey to bring Inquisitor - Martyr to consoles was fraught with pitfalls, as the Xbox One and PS4 versions suffered two consecutive last minute delays said to have seen developer NeocoreGames (The Incredible Adventures of Van Helsing II) enduring 90-hour work weeks in a desperate effort to claw back time. While that definitely isn’t healthy, it did make the seemingly impossible possible, as now, still within the scheduled summer release window, console players are receiving a build that’s pretty much on-par with the PC version.
As your chosen Inquisitor, you’ll serve your leader by boarding the eponymous fortress-monastery, Martyr, to purge it of Chaos corruption.
It’s fortunate that the sides are equally as satisfying as the main, because those looking to engage in co-op play will be disappointed to learn that story missions are entirely off limits. There’s even more bad news for local parties, as they’re limited to two player sessions in which the guest is required to choose a pre-made character that doesn’t retain any progress. You also can’t play the game at all if you’re offline, regardless of whether you’re engaging with any online features or not. At least the frame rate doesn’t really suffer, even when opting to bump the resolution from 1080p to 1440p, but matchmaking/inviting some online friends is preferable when up to four players can converge as their own unique character builds and gain individualised loot and progression.
On the topic of multiplayer, there’s also a fairly sparse and unremarkable PvP offering in which you can hone your skills in 1v1 or 2v2 bouts for objective control.
That said, polishing your gory combat prowess does come recommended, as the higher you climb on the five-rung difficulty ladder the greater the rewards you’ll reap for mission success. Making efficient use of cover, destructible environments, your loadout and abilities - whilst also knowing how best to counter different enemy races and the sometimes overzealous auto-aim - is key to earning more Glory and with that weekly rewards.
Additionally, through standard gameplay you’ll accrue conventional space bucks, dubbed Credits, which are used to purchase gear and services, as well as the more exotic Fate, a valuable resource which is used to fund research projects, launch those custom missions we mentioned earlier, and, reportedly, even gain access to some otherwise premium DLC in the future.
With years of storytelling already under the tabletop franchise’s belt, the lore can be intimidating for newcomers, especially when it comes to the gobbledegook lexicon.
You’ll also work towards achieving Heroic Deeds - persistent challenges that, upon completion, can open up relevant skill trees in the game’s veritable skill forest - and, should you have joined/created one, collective assignments for your online Cabal (communities of like minded players). There are evidently loads of systems to manage, but once you’ve gotten your head around everything they serve as the dangling carrot that ensures you’re never far from your next reward. This constant affirmation cycle and, more specifically, the feeling of growth and progression that goes with it, will see Inquisitor - Martyr quickly sink its claws into loot fiends, especially since it’s so easy to adopt a “one more mission” mentality thanks to their short length.
How dedicated you are to perpetually tweaking stats on a micro scale is ultimately what’ll decide whether this is a game for you. ARPG fans will find it to be classic, satisfying stuff - especially if they’re keen on the Warhammer 40K connection - but newcomers may well find it to be bloated and lacking both the satisfying story and audiovisual flair to keep them around long enough to get to grips with the in-depth systems serving as the driving force in their place.
Having had the distinct pleasure of exclusively revealing the first glimpse of Warhammer: Vermintide 2 gameplay last October, the long wait for the first-person-shooter-come-brawler to arrive on console has been especially gruelling. Now that we’ve gotten our hands on it: was it worth the wait?
You’ll need to juggle priority targets and manage choke points as tidal waves of fetid flesh rage your way.
The level of customisation on offer gets altogether extensive when you also account for Vermintide 2’s loot and crafting systems. Taal’s Horn Keep serves as a sizeable hub area from which to launch your choice of the thirteen main missions, throughout which you can work towards satisfying daily challenges and career quests; completing these tasks awards the game’s strictly non-premium loot boxes, which rain a random array of weapons and gear that can be equipped to improve applicable characters, or, if you unbox a stinker, salvaged into materials used to craft new items and upgrades.
Refreshing a loadout can significantly impact how any given character plays, overhauling attributes and movesets, perhaps not always to your exact liking, but never compromising the viscerally satisfying core combat mechanics. Melee skirmishes can feel either hefty or agile, depending on your chosen armament, though always brutal as you gorily pop heads and lop limbs with each light or (particularly satisfying) charged heavy swing.
While mixing it up at close range you’ll need to be mindful to dodge and block incoming attacks from big bads, though opting for a character with more of a ranged combat style should keep you relatively out of harm's way to begin with. While letting loose with arrows, fireballs, bolts and bullets is good fun in itself, it’s almost a shame to snub one of the best first-person brawling systems around in favour of comparatively bog-standard blasting.
Still, variety is the spice of life, so mixing up your choice of hero whilst tackling repeat playthroughs of Vermintide 2’s semi-open levels - which accommodate multiple paths towards their culminating set-piece encounters, also randomising enemy and item spawns along the way - ensures things remain engaging. Throw in the lure of greater rewards when progressing to higher difficulty levels, as well as unobtrusive storytelling that allows players to easily consume their desired dose of action, and you have a package that’ll keep you busy for a good length of time.
Vermintide 2 is more in-depth than its peers in many ways, but retains the central simplicity that makes this brand of onslaught adventure so frantic and exciting. Doing so at native 4K resolution on Xbox One X, while mostly maintaining a solid frame rate, at no additional cost to Game Pass subscribers, makes for an experience that you (and preferably some friends) shouldn’t hesitate to get stuck into.