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.
Burning Bridges, the penultimate episode in the debut season of The Council, arrives at a tumultuous time for narrative-driven adventure games. Telltale, a company synonymous with popularising the genre and its incremental release format, are in the midst of a heartbreaking majority closure that’ll see many of the studio’s ongoing projects never reach their conclusion. This has, understandably, sewn doubt amongst the community as to whether investing in episodic games ahead of their completion is a good idea. In a case of bad timing, where developer Big Bad Wolf could have lain claim to the mantle with this latest release, it instead fuels the flames with their sloppiest technical work yet.
Each outlandish revelation injects a hit of adrenaline and the result is a faster, often more engaging pacing without as many filler moments.
A replay to see what might have been may be in order, so it’s a good job that feels justified now more than ever as The Council loosens the buttons on its ruffled collar to have a little more fun. Less po-faced politics doesn’t mean that diplomacy is out of the window, however, rather that it’s now waged on an even grander and more bizarre stage than merely influencing world events.
Previously we’ve said that the series’ micro choices prove more affecting than macro-scale decisions, but here that sentiment is flipped on its head. Many character decisions are arbitrarily black and white - good or bad - and underbaked this time around, whereas choosing how best to govern humanity, through equal moral greys that hold a mirror to modern society, is perplexing.
Throw in an elaborate new location and a couple of exciting abilities that’ll help to decipher even the most secretive guests, for a cost, and it’s commendable that Big Bad Wolf aren’t afraid to mix things up a bit at this late stage. The team of former Ubisoft developers also settle on a nice middle ground when it comes to puzzle design, having historically either spoon-fed answers or left players a little in the lurch, here uniformly making them taxing whilst allowing for a degree of circumvention through sleuthing or the smart investment of effort points/use of consumables.
With an abundance of problems both old and new, Burning Bridges is an undeniably messy experience. If you’re a purely mechanics-focused gamer, there’s absolutely naught but a veiny, enraged brow in store, but, that being said, you probably don’t fall into that camp if you’ve made it this far. Anyone that can forgive the many foibles in favour of being spun an intriguing yarn should still apply; we’re certainly eager to see how things conclude when the finale (fingers crossed) launches later this year.
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.
Following a lacklustre second outing, The Council reaches its midpoint faced with the unenviable task of recovering lost ground. Episode 3: Ripples shifts gears to have you focus on tackling conversational encounters with tactical turns of phrase, largely ditching the uninspired puzzle solving that shackled its predecessor, until a stifling blunder sees the experience nosedive just as it should be reaching a fevered pitch.
Whilst it’s possible to spark war between nations, the intimate consequences tend to prove more affecting.
With the old guard fond of early adjournments to retire to their rooms on exhausted whims, spritely Louis is left with spare time on his hands for pursuits outside of politics. Having reunited with his mother, all is not well, as she shares a thoroughly outlandish revelation alongside circumstantial evidence that almost makes it believable. Everything is called into question, making it crushingly unfortunate that, rather than being taken advantage of, any momentum grinds to a halt as you’re sent tottering off on a disconnected fetch quest.
Already the bane of gamers, this plodding section isn’t helped by inconsistencies like subtitles and verbalised dialogue conveying mismatched digits in a sequence, or conflicting quantities of objects to gather, whilst a written note incorrectly asserts that one of the items has already been found.
When you eventually return, gubbins gathered, they’re utilised in a puzzle which bravely requires absolute commitment. That closing conundrum helps to salvage things in the final moments, leaving us eager to see the consequences to follow, but far less so than we would have been if the fetch quest fat had been trimmed. While we did note that the second episode was less substantial than the first, blatant filler is most unwelcome.
Still, those familiar with The Council already know that you have to take the rough with the smooth, owing to its technical issues. Audio abruptly cuts out on the regular, the pitch of Louis’ voice drastically changes, some sections aren’t lip synced, extravagant period costumes clip through any and everything. Though we can’t deny it’s all a bit distracting, it’s just as often amusing, without muddying the game’s refined ambience all too much.
Ripples takes a step in the right direction, though not without catching the toe of its fancy buckled shoe and stumbling on the way. Despite the imperfections, we’re intrigued to see what curious events our remaining stays at the Mortimer estate hold in store, fingers firmly crossed that they’ll fully lean into the occult facade while refining the balance between serving a meaty helping that’s more killer than filler.
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.
The latest entry in the rapidly expanding Focus Home Interactive stable, Vampyr is brought to life by sleeper development studio DONTNOD Entertainment (Life is Strange, Remember Me). An ambitious action RPG, Vampyr casts players as Dr. Jonathan Reid and unleashes them on an occult interpretation of 1918 London, framed by relevant Victorian themes in class, disease, race and religion.
Every single citizen you encounter has a personality, relationships and community standing within their borough.
Furthermore, should your moral compass be broken, you aren’t entirely off the hook. Mounting homicide cases may lead people to flee, stores to increase their prices due to the dangers of operation, or, if you’re a real glutton, even plunge a district into irreparable chaos and eradicate its population. That’ll lock you out of any content tied to the unfortunates at hand and also prevent you from rearing any more meat in the area, so it’s best to use your skills as a medical practitioner to craft cures from looted gubbins and subsequently use ‘em to keep the health of a borough at an even keel.
When Shadow of Mordor and later Shadow of War were lauded for their ‘revolutionary’ Nemesis Systems, which supposedly served to build meaningful rivalries, we wondered if we might’ve missed something. The community systems within Vampyr don’t fall similarly flat, realising the potential in attaching a player to what would otherwise be secondary NPCs by making every exchange consequential on multiple levels.
Exploring the quasi open world, rich with environmental detail and written lore as it is, can be as fruitful as conversing in the pursuit of useful information. You’re often kept to a relatively linear path by unpickable locks that gate progress, which isn’t an inherent issue, but is somewhat galling when you consider Jonathan has the ability to teleport and could feasibly get anywhere, but arbitrarily can’t outside of designated contextual prompts. Regardless, streets and interiors alike are a dark and moody treat to turn over for crafting components, used to upgrade weapons and produce injectable buffs that aid in violent confrontations with humans, vampires and additional beasties.
As an immortal, Dr. Reid eats bullets for breakfast, but the likes of fire and holy symbols will quickly turn the tides. Each enemy has their own unique strengths and weaknesses, which, when coupled with a range of classes, create a varied opposition that present challenge in numbers. They’ll work in synergy to bring you down, necessitating knowledge of their respective attack patterns and target hierarchy.
The community systems within Vampyr attach players to what would otherwise be secondary NPCs, making every exchange consequential on multiple levels.
Bouts are fast paced and scrappy, very similar to Bloodborne both visually and mechanically, seeing you lock-on to a single target before launching attacks and dodges at the cost of stamina. Firearms can be equipped to the off-hand when using a one-handed weapon and unloaded without need to manually aim, or, alternatively, a secondary off-hand melee weapon can be used to inflict negative status effects, like a stun that presents feeding opportunities.
This is where the more unique aspects of combat come into play, as you’ll periodically want to clamp your jaws around someone’s neck to keep your blood gauge topped up - blood being required to perform a range of lesser and ultimate abilities that range from simply healing yourself to boiling an opponent’s blood. There’s really a lot at your disposal, but it’s hard to shake the feeling that combat here isn’t nearly as polished as its clear inspiration, lacking the same engaging challenge thanks to some simple exploits.
Animations can also come off as a little stiff, pulling you out of the moment in the midst of an otherwise satisfying combo, but even on the odd occasion that Vampyr underwhelms visually it continues to impresses aurally. Battlecries are particularly guttural, while theatrical voiceovers commit to the patchy script with convincing verve, all complemented by the bellowing chelos and screeching violins of an excellent - and also decidedly Bloodborne-esque - ambient soundtrack.
Whilst Vampyr can feel overly familiar in certain areas, it borrows from the top and at its core holds a unique and intelligent social framework that intertwines engaging themes and characters to birth an enthralling, meaningfully manipulable narrative. It mixes up the conventional RPG structure whilst maintaining a nice balance between management, conversation, combat and exploration to retain the same moreish X factor that made so many fall in love with the genre to begin with. If you can take the rough with the smooth, you’ll find a lot to love in what’s easily DONTNOD Entertainment’s best game yet.
Hide and Seek is a slightly disappointing second outing following The Council’s promising pilot, which kickstarted protagonist Louis de Richet’s adventure back in March. Continuing to search for his missing mother whilst hobnobbing with the social elite to keep up appearances, the game’s characters and tangled conspiracies continue to develop with intrigue, whilst a shift in focus away from the defining conversational confrontations towards solving puzzles is a very misguided one.
With that being said, things do fall a bit flat here by comparison to the first episode. Its meandering pace makes Hide and Seek a bit of a slog at times, often failing to either propel things forward or satisfyingly tie up loose ends, with the latter perhaps making the cliffhanger finish more cause for concern than suspense.
Few new areas to explore and a focus on slightly awkward puzzle solving are culprit to the episode’s pacing issues, placing bog-standard adventure fare over the thoughtful character interactions that made the pilot stand out. Acquiring a desired target can be cumbersome in the absence of a cursor, while spending Effort Points to utilise skills often leads to puzzle solutions being spelled out a little too plainly in blatant monologues. Conversely, not making use of Effort Points in select situations can leave you scratching your head until bordering on frustration.
What verbal confrontations remain generally prove more staunch brain teasers than the accompanying puzzles. Now that you’re an episode deep and should have the hang of them, some interactions no longer offer multiple chances and will instead have the brakes applied with one out-of-place utterance, which works in conjunction with the timer to ensure they’re more exciting than ever.
While not quite plummeting the series into the doldrums, Hide and Seek does disappoint at a stage where The Council should’ve been doubling down on its strengths to satisfy those making a return trip to Mortimer’s affluent estate. With the central narrative on a downturn it’s also harder to forgive the game its technical issues, making Hide and Seek an episode we wouldn’t recommend in itself, but would suggest you stick with as it’s not time to give up hope on The Council yet.
Valentina, Beta, Alexxis, Jay… they're dead. They're all dead. While we mourn their passing, their permadeaths serve as an example of one of the greatest strengths of State of Decay 2.
As a newcomer to the series, it turns out that the complete breakdown of society can be pretty brutal.
Later, when your community swells and you gain enough influence (the game’s de facto currency), you can claim locations ranging from small, resource gathering outposts, to electricity generating power stations and even makeshift forts constructed from shipping containers. Each new locale has its own advantages and how you manage your growing empire, customising locations further with mods and upgrades, is up to you.
That said, it’s advisable that you take council from your community as morale upkeep is a constant battle in such dire circumstances, as one might expect. Sacrificing a building slot to set up a garden or fashion a lounge (in which you can install an original Xbox) can work wonders in keeping everyone cheery.
As time goes on, your survivors will improve their skills based on what actions they perform. While the game wants you to feel you're developing fleshed out characters in a manner akin to the likes of Skyrim, the reality is that skills are fairly limited, and you'll just want to make sure most of your population go for a run once in a while to boost their stamina, or they'll quickly become overwhelmed in a bout of fisticuffs.
What is unique to SoD2, and arguably the main motivator in investing you in its characters, are a collection of 100+ more mundane traits such as “Car crash survivor”, “Cat lover” and “Flatulent”, all of which have passive effects. When each survivor gains enough standing in the community their individual skill is unlocked, such as “Yoga instructor”, offering an amusing look at their pre-apocalypse lives. While these abilities sadly don't unlock a suite of oddly juxtaposed mini-games, they do offer depth at fairly low effort.
There's another side to this of course, in that not everyone gets on, so they can start fights in your absence or generally become disgruntled. If it comes to it, you might have to take the difficult decision to exile them for the greater good, though generally they do go quietly.
The same is true of the different AI factions, known as enclaves, which can get cheesed off if you repeatedly ignore their requests for help or side with other enclaves over them in disputes, potentially leading them to become hostile and spoil for a fight.
All of these elements comes together in a very compelling simulation, with the downsides to the experience so far (much of which lacked the minor polish brought by the game's hefty 6GB day one patch) being technical.
Zombies can drop in from about 20ft in the air as you approach, using vehicles places your life in the game’s hands as they can randomly flip out or explode, and the AI often behaves unpredictably, to the extent that more than once our fellow community members have perished in relatively mild peril.
Using vehicles was something we hardly dabbled in throughout the game's opening hours, assuming them to be too much of a zombie magnet, but in reality to reap the full rewards when scavenging around the map - in particular valuable resources like food or medicine - their boot/trunk space is quite essential. Casually opening a car door to obliterate a squishy zombie as you pass them at speed also never ceases to be messily fun...
Everything comes together in a compelling simulation, with the downsides to the experience so far being technical.
Another significant drawback is the lack of direction on hand for new players; a handful of prompts keep recurring, but seemingly there's little to lead you into new experiences as you’re drawn deeper into the game. On top of this, plenty of basic options like trading items between you and a follower out in the field are far from a simple button press away, taking us back to pre-Resident Evil 5 levels of AI buddy management.
Same applies in co-op, where up to three guests can venture into the host’s world and loot their own unique supplies to take back home with them, but should you want to swap items amongst one another it’s a cumbersome case of using menus to drop them on the ground before rifling through piles of stuff and picking up the relevant drops. There’s also a limiting tether that stops players from straying too far apart, but if you’re committed to watching each other’s backs that shouldn’t be too big of an issue.
Setting a few more minor bugs aside, the overall experience is stable, no doubt aided by the graphical sacrifices that see SoD2 appear visually underwhelming even with the added oomph of the Xbox One X at its disposal.
Whether SoD2 is for you depends on how you attribute value based on look and feel versus raw gameplay. If you favour the former, it certainly doesn't have many “wow” moments to entice you, or make for a particularly good sizzle reel, but the gameplay over time is undeniably compelling.
This post-apocalyptic world effortlessly encourages you to leave the safety of your home and explore just one more area, run over just one more zombie or pick up just one more follower, without drowning you in endless map symbols. Nor does it penalise you too much if you decide to be really heartless and ignore individuals’ needs (*cough* Sam *cough*), resulting in an unparalleled sense of freedom that allows you to craft your own narrative without completely abandoning you to your own devices in the process.
In all, at its basic price point, the game is well worth picking it up, and if you nab it as part of a Game Pass subscription you'll likely find even better value for money. With different areas to settle, origin stories to experience, and enclaves and survivors to encounter, there's plenty to keep you busy until the previously outlined DLC expansions arrive, but, for the time being, if you'll excuse us, we have a wind power station to claim.
Masters of Anima is a charming action strategy game in the vein of Pikmin and Overlord, where the player guides a young man named Otto on a quest to save his betrothed.
Excellent balance is struck between the game's three key pillars in exploration, puzzle solving and combat.
Stocking up on a certain type of Guardian as a situation dictates - bow-wielding Sentinels for a boss that cuts a swathe through melee fighters, for example - can help to secure not just victory, but a pat on the back and some extra experience points too. You receive a letter grading at the end of each engagement, with the lofty S rank often taking a few failed practice attempts to reach.
Upgrading Guardians can help to make them useful in more situations, but with skill points shared between each class and Otto himself, deciding where to invest them can take a bit of thought; luckily, you can respec as many times as you like between levels in order to really nail the perfect loadout. Replaying stages will net you extra experience to keep improving your build, which is a nice little motivator to do so, as is the opportunity to improve upon letter gradings and gather any remaining collectibles.
Outside of the odd technical performance dip and a few proofreading oversights (just note that we were playing a pre-release version), Masters of Anima is a game that’s very easy to admire. Rich with personality and considered design, joining Otto on his quest is a no-brainer for fans of the often overlooked action strategy genre.
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.