Yes, Earthfall does look a lot like Left 4 Dead. In fact, the comparison is welcomed by developers Holospark and something that they strived for as their key inspiration and focus. “We loved Left 4 Dead” said CEO Rusty Williams, when we spoke to him at EGX Rezzed earlier this year, “but we wanted more.” So, after a few years of development, including time in early access on PC, Earthfall is the end result.
While the presentation gets a solid “good” - Unreal Engine 4 would struggle to make a game look bad - it’d be nice to see a bit more fidelity in those textures (perhaps an Xbox One X update looms in the future?) and the game isn’t without some technical issues. We’ve seen a couple of crashes when things get especially hectic, plus the friendly AI more than once has stood in place, staring frantically into space as the rest of their team gets mauled around the corner.
In terms of level design, something so tightly managed in Valve and Turtle Rocks’ original, there are oversights too, with invisible walls being used to channel the player into a linear flow through areas which look as though they should be ripe to explore. Furthermore, giving players an objective marker to head for often makes the campaign feel like a pedestrian trudge between two points, rather than four survivors scraping together what they can in a desperate effort to survive.
It’s here we really must broach the subject of AI. Players can either run through levels with allied bots or open up proceedings to being joined by human players online, as in L4D, but the AI in question doesn’t have the same concern for your wellbeing as it did in that game, frequently leaving you to bleed out whilst prioritising reviving fellow bots and often snatching up helpful items and weapons from under your nose.
If they were able to trigger objectives or be commanded in any way they might be more useful, but they aren’t even fans of deploying barriers or using mounted guns, which can be an issue at some of the game’s choke points, referred to in-game as ‘holdouts’. You can punch up the AI ‘skill’ to limited results, only really boosting accuracy and the eagerness to shoot first and ask questions later. But hey, at least there’s no risk of incurring significant friendly fire damage from them.
Earthfall is difficult in general, with even two players experienced in working and communicating with one another, bolstered by a couple of filler bots, seeing the ‘Normal’ difficulty setting pose a serious threat. While the higher difficulties are a stretch, the ‘Easy’ level can at times be too much its namesake, making you long for a shuffle to give a happy medium.
With only two campaigns of five twenty-or-so-minute chapters a piece, you might find Earthfall a tad pricey at £24.99, since it’s inspiration gave us double the number of iconic campaigns and an additional competitive mode, which is conspicuously absent here at present. That said, the team at Holospark are already hard at work on further campaign content which will be released free to all players (cosmetic customisation items are premium), so there’s some added value to look forward to in the future.
One particularly fun element, which pushes the suspension of disbelief in a very different direction than accepting aliens are a thing, is the fact that many levels are peppered with 3D printers to requisition guns and health stations reminiscent of Half-Life. A great idea, which could have been taken further to include attachments and further customisations, as the risk/reward mechanic whenever you encounter them (turning the power on to use them will attract a mob) is always compelling.
Though it might not be Left 4 Dead 3, Earthfall does enough to scratch the itch for players pining for a similar experience. With games developing far more post-launch than ever before it seems likely this one will continue to mutate to the needs of its player base, which doesn’t undo the fact it could have used slightly longer in the oven before final release, but what’s on offer so far is ruddy good fun, if a tad disposable.
A building just fell on me. Before the likes of Battlefield and its 'levolution’ system came along, this 2009 Red Faction reboot and it's Geo Mod 2.0 technology was producing some of the most impressive environmental destruction to date.
What’s really under your control is the order in which you handle different zones, now a staple of any given Ubisoft open world title, to name but one frequent culprit. Here there's no handy radio tower to reveal the map though, so you'll need to roam the map the old fashioned way to discover all the EDF buildings you need to take down, tactically or by brute force.
There's something to be said for knocking the difficulty down to casual and just playing around without worrying too much about your health, but death isn’t too big of a hurdle, so (accidentally) blowing yourself up amidst the chaos isn't as bad as you might initially think. Not to mention that the AI is still extremely zealous, particularly when you're on foot, to the extent that once you have more than two enemy vehicles in pursuit it's basically a lost cause anyway.
As you tear Mars apart one smoke-less smoke stack at a time, you'll collect scrap metal which can be used to unlock and upgrade tools and abilities. It's all fairly rudimentary, but lets you boost things like the number of explosive charges you can place at once, or the number of enemies the fork-lightning-based arc welder will jump between.
Multiplayer was always a shining light for the original, seeing you don a plethora of combat and skill-enhancing backpacks that allow you to crash through walls, hover or beef up firepower for a short time. These variables made even a straight deathmatch, appropriately known as Anarchy, into a chaotic and exciting affair. In this Re-Mars-ter (we’re still undecided on whether the person that came up with that should be sacked or given a pay rise), the online community is fledgling and the early signs relatively encouraging, but you'll be left wanting if you envision yourself drilling down specific game types and levels.
While you’ll have fun regardless, especially since maps are often far more varied and interesting than the single player landscape, gameplay does show its age a bit. Elements are missing that were common even at the time, like iron sights and combat rolls, but after not too long it's fairly easy to adjust.
With that said, elements like mechs to pilot in true Aliens fashion and Wrecking Crew mode, which is a real playground for your destructive skills, do help to modernise the package a bit.
Lighting systems and draw distances (at least on the Xbox One X) showing a marked improvement over the original.
Despite gleefully ploughing through the story the first time around and it raising a nostalgic smile again in 2018, it's difficult to say revisiting Guerilla is essential. In the end then, it’s a good-not-great experience, as only a few bundled DLC missions fill out the package besides the expected suite of technical improvements.
On that front, the game holds up quite well, with the lighting systems and draw distances (at least on Xbox One X) showing a marked improvement over the original. Whether it's enough to warrant a return trip to Mars depends on how much you enjoy blowing things up, especially with a brand new Just Cause (or even, dare we say, Crackdown 3) on the horizon.
Red Faction is a franchise with a lot of potential, in both of its incarnations, which was sadly squandered by a lacklustre sequel (Armageddon) that failed to capitalise on what made this installment so good. Perhaps if the re-release does well for itself we’ll finally get the sequel it deserves.
Imagine being dropped into the blazing Egyptian desert with just a baseball cap, a lumberjack shirt and… a potato launcher. Well, now you can face that reality, as developer Crema’s twitchy first-person pyramid-crawler, Immortal Redneck, breathes a colourful, comical breath of life into the old school, arcade shooter genre.
Standing boldly between you and bragging rights are a dastardly array of enemies that range from lava-belching toads to floating skulls.
To combat these blighters you’ll have to rely on two things - your rapidly twerking thumbs and a suite of over 50 inventive weapons, found scattered across each of the floors you’ll navigate en route to the Apex. Our hillbilly hero begins with just a basic pistol, but can uncover anything from an electric flamethrower to a wololo staff (you can decide what that means). Each weapon will put a massive smile on the face of any arcade action fan; the shotgun blast is suitably explosive, machine guns are frantic and noisy, and Grampa’s Blunderbuss is simply a great name.
With all that awesome firepower, it’s a shame the environments themselves contribute little to the overall experience. Despite doing their job in offing up mythical monsters aplenty, plus accommodating hunts for crazy weapons and madman levels of strafing, areas come up short. They start out large and sprawling, like an Egyptian multi-storey car park, and narrow as the difficulty spikes, with the only real design variation being a few random platforms, more ramps and a few spread out pillars. Alas, that’s the inherent danger in opting for procedural generation over human craftsmanship.
It goes without saying that fans of Serious Sam, Timesplitters and DOOM will no doubt find a familiar home in Immortal Redneck, but those who crave a more narrative-driven experience may find that they get bored long before they ultimately reach the Apex. Even then, it could prove fun to dip in and out of whenever you fancy getting some sand between your toes, and, of course, kicking seven shades out of cute looking rattlesnakes with a taser sword.
EVERSPACE finally made its way to PlayStation 4 this week, both standalone and bundled with a few extra goodies in the Stellar Edition; whichever version might take you fancy, picking up ROCKFISH Games’ space-faring roguelike is an easy recommendation.
EVERSPACE has a more developed narrative than we’ve experienced in any other roguelike.
As such, it’s important to pick your battles by keeping a distance and utilising stealth where you can. Entering into a smart engagement - isolating enemies, prioritising targets, managing your shield and knowing when to retreat - can be the difference between life and death. It is possible to play too cautiously though, as you’ll need fuel to safely progress between areas and additional resources both to repair your ship and craft or upgrade items, all of which are dropped by defeated enemies.
Valuable resources can also be gathered from mining spots and containers, or purchased via ports and traders, though a looming threat ensures that you can’t spend too long scouring any one area for booty. Enemy fleets will spawn and hunt you down should you allow them to triangulate your position, meaning you’ll need to keep a considered pace at all times.
You’re sure to meet an early grave with so much working against you, which, as you may have already gleaned from our earlier mention of runs - you clever thing, you - will set you back to square one. Permadeath can be a scary concept, but EVERSPACE boasts extensive persistent progression that’ll help to make losing a time investment actually feel productive.
Any credits you earn during a run can be siphoned into a vast range of useful perks and upgrades, or even additional ships, though you have to spend what you’ve gathered before redeploying. Not allowing players to save towards more expensive purchases might seem unnecessarily harsh, but this simple tweak ensures you’re always heading back out into the unknown vastness of space with an added in-game advantage and a little extra motivation to hit your desired figure this time around.
Permadeath can be a scary concept, but EVERSPACE boasts extensive persistent progression that’ll help to make losing a time investment actually feel productive.
If EVERSPACE is sounding too difficult for you, then opting for the easy difficulty setting is the way to go. It’ll tip the scales in your favour while docking 25% of your earnings, slowing the upgrade process in order to maintain balance. Similarly, the elite can opt for hard mode and boost their income by 25%, whilst the dangerous can ‘enjoy’ a separate Hardcore game type that eliminates persistent forms of progression whilst throwing you the odd bone.
Whatever way you play, procedural generation will keep things varied and interesting between runs, subtly randomising area layouts and spawns. More significant are the occasional prerequisite area objectives and visually stunning weather anomalies that impact play, while the Encounters expansion (included in the Stellar Edition) makes an even greater impact by introducing numerous random character encounters that blossom into persistent quest lines.
Not only that, but Encounters adds a powerful new ship with an arcing lightning cannon and disabling EMP blast, loads more gear to kit yourself out with, new enemies to test everything out on, and even more, all while seamlessly integrating into the base game experience. It’s a no-brainer at just £7.99, which means the same can be said of the Stellar Edition, which offers a couple of premium themes and a digital soundtrack at no additional cost to buying EVERSPACE and Encounters separately.
Its sharp assets and striking juxtaposition of colours make the game really quite beautiful, especially on Pro hardware, where players can enjoy checkerboard 4K as well as the standard HDR support. Really then, EVERSPACE - Stellar Edition is the full package: challenging, tactical, highly customisable, rewarding, almost endless, and pretty darn gorgeous.
Unless you’re averse to taking to the skies, or refuse to succumb to your mortality at the hands of permadeath, you won’t regret climbing aboard the good (space)ship roguelike.
Based upon Games Workshop’s popular tabletop franchise, Space Hulk: Deathwing attempts to do for 40K what Vermintide did for old school Warhammer. While Deathwing is a unique and often exciting FPS onslaught in the vein of Left 4 Dead, it doesn’t quite meet the high standards set by its inspirators.
Deathwing is a unique and often exciting FPS onslaught in the vein of Left 4 Dead.
That tactic comes in particularly handy, as the game’s touch-and-go encounters can otherwise be overwhelming. Space Hulk: Deathwing bombards you with hostiles while requiring you to juggle priority targets between them, often as you’re confined to dark and claustrophobic spaces only sporadically lit by muzzle flashes. These moments invest you in the fight by making your squad of hulking marines - with infinite ammo to boot - feel small and vulnerable, but they could easily have been elevated further.
The game very sparingly utilises an ambient soundtrack, placing a focus instead on its (mostly) strong and encompassing diegetic sound. This isn’t inherently bad, but an adaptive soundtrack that ramped up alongside enemy spawns would’ve made for absolute magic in these situations.
Space Hulk: Deathwing also struggles when it comes to graphical presentation, largely looking fine in busy motion, but falling apart should you stop to smell the roses. Flat textures, strawberry jam blood effects, ropey animations and more stick out like sore thumbs as you traverse the darkly Gothic halls of the game’s labyrinthine spaceships.
On that note, environments are sprawling to their detriment at times, requiring you to frequent the map screen so as to not get lost in backtracking purgatory. Whilst a spattering of explosive barrels and flame-spewing pipes make areas lightly interactive, their similar aesthetics and objectives don’t offer up enough variety to maintain interest between missions or temp you off the beaten path in search of collectibles.
Unfortunately, this sews the seeds of tedium as you work through the campaign’s nine lengthy chapters, making the notion of revisiting areas to complete randomised special missions in a secondary mode an unattractive one, even if there are alternate routes to take.
Environments are sprawling to their detriment at times, requiring you to frequent the map screen so as to not get lost in backtracking purgatory.
Lacking replay value is easily Space Hulk: Deathwing’s biggest stumbling block, considering that’s generally the foundation for this breed of shooter and was no doubt intended to be here. Throw in technical issues like dropped frames and crashes and the experience definitely doesn’t feel “enhanced”, as the title suggests, though it’s worth noting that we were playing a pre-release version.
Overall, Space Hulk: Deathwing - Enhanced Edition is a game at odds with itself, boasting some brilliantly implemented ideas alongside weak alternatives. Its gameplay foundation is (mostly) structurally sound, yet the surrounding accoutrement hold it back. Despite the issues, as ever, gameplay is king, so we’d say it’s still worth a look if you’re in the market for a co-op shooter to dip in and out of with friends, especially if you’re fans of the source material.
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.
Space gets a bad rap. For a locale which, in reality, is largely empty space; film, TV and particularly video games have taught us that the great unknown is filled only with baddies who want to fire laser weapons at us (pew pew!)
A game steeped in the ever-present nostalgia factor with a few fresh ideas thrown in for good measure.
Such thrills are fairly short-lived on their own, but, if you keep an eye out, you can often string powerups together so your buffs keep the pressure on the enemy.
If it all sounds like a cheerful way to spend some times, particularly on the move with the portable powers of the Switch, then you’re in luck, as the game is fairly easy to pause at almost any point and jump in and out of. If you’re looking for something more however, you may wish there was a little more variety to its gameplay.
There are 12 levels on offer, split into five areas, but you’d be hard pressed to tell each of them apart at first glance, aside from a different vibe from the games authentically 8-bit soundtrack for each. Difficulty builds fairly gradually and increasingly you’ll find you’re taking hits from what you thought was just ship detail below but turned out to be a hull-mounted bomb or gun emplacement. The odd cheap shot here and there is understandable, with so much going on, but at times your health will take a huge hit in seconds when several dangers converge.
Of course, the challenge is part of the appeal, and your squishy health bar remains visible at the bottom of the screen at all times, reminding you of the impending doom. In fact, when your health hits that critical final square there’s even a stylish slowdown effect to alert you to that fact without peppering the screen with ‘helpful’ voiceover from some unseen supervisor back on Earth or a teammate that won’t shut up (we’re looking at you Slippy.)
After the main game’s first run, there’s a few things to go back to. Each level has five optional objectives, some of which you’ll probably stumble across as you play, such as the perpetual “Kill all four alienoids”, but others will require more strategic action.
Then there’s also survive and boss modes for each level, which are exactly what they sound like, but neither really do much to remix and change up gameplay. Speaking of mixing, the game’s Xbox version has a particular tie-in with streaming service Mixer, which sees the audience capable of sabotaging the player by introducing enemies and generally making life difficult, but whether that would be something you’d like to subject yourself to/rise to the challenge of, is for you to decide.
The end result is a game steeped in the ever-present nostalgia factor with a few fresh ideas thrown in for good measure. To really blow us away it would have been nice to see the game break the mould a bit more, but for many a title which makes retro-style games accessible, and slightly more forgiving, to younger audiences and new players is no bad thing.
Having hit HTC VIVE and Oculus Rift late last year, Killing Floor: Incursion has finally made the transition to more budget-friendly hardware in the form of Sony’s PlayStation VR headset. Bringing the Killing Floor series’ gory brand of sci-fi horror to a new dimension, Incursion is a mix of old and new that achieves varying degrees of success.
An annoying cooldown feature disallows teleporting multiple times in quick succession, wasting no time in convincing us that free movement was the only way to go.
Fortunately, the game fares better at instilling chills in other areas. In spite of some graphical pop-in and general fuzziness, the largely dark and moody settings make for tense and grimly detailed places to explore, aided every step of the way by incredibly effective use of 3D audio. The sound works best in confined spaces, which also happen to be locations where the aforementioned cheese strategy won’t do you any favours, making for a potent mix.
While the campaign is relatively brief at around four hours, bringing along a friend for co-op and/or graduating to the higher difficulty level are motivators for at least a second playthrough. That said, most of your time with Incursion will likely be spent engaging with Holdout mode, which is more the survival onslaught you’d expect going off Killing Floor’s past form.
Perhaps unsurprisingly, considering it centers on the series’ bread and butter, Holdout is the highlight regardless of relying on such a prevalent trope. Playable solo or two-player, just like the campaign, the mode introduces a range of power-ups and an over-the-top announcer that grows more and more excited as you build a score multiplier by chaining headshot kills.
Here any semblance of ambiance is dumped in favour of piping in Killing Floor’s signature heavy metal soundtrack, its breakneck tempo mirroring the frantic pace at which you’ll need to physically swing melee weapons or dual-wield firearms in order to survive the intensity. Two Move motion controllers are required to play, which you can do either seated or standing, and they mostly do a sterling job of keeping up with the frantic flailing as you make use of the game’s narrow selection of murder implements.
The overwhelming nature of Holdout’s pulse-racing encounters can easily get you flustered, causing you to fumble the somewhat button-heavy controls as your brain struggles to process inputs on top of inputs, inevitably seeing you mobbed and mauled by the ugly enemy troop with no concern for personal space. It’s here a few desperate weapon whips, punches or pushes come in handy, but not nearly as much as having a co-op partner capable of a well-timed rescue.
Holdout mode dumps any semblance of ambiance in favour of piping in heavy metal, its breakneck tempo mirroring the frantic pace at which you’ll need to act in order to survive the intensity.
Combat is satisfyingly visceral as standard, though there’s something supremely pleasing about cutting the arms off an enemy that’s reaching out to grab at your teammate; it’s also hilarious when said teammate then picks those severed limbs up and wiggles them around like wet noodles… Puppeteering the sagging jaw of a decapitated head for one another was a similarly macabre hoot, though more human interactions like simply reciprocating a wave to an online stranger or swapping weapons with one another is pleasing in itself.
Unfortunately, our time online has been hampered by spotty connections, which, coupled with a sparse selection of just five small maps (one of which is a timed PS VR exclusive), calls longevity into question for all but the most ardent highscore chasers.
When a simple horror shooter in the vein of The Brookhaven Experiment would’ve fallen so easily into place with the Killing Floor property, it’s a pleasant surprise to see Incursion go the extra mile and prove an adventurous experience more akin to Arizona Sunshine. Despite the comparisons, Incursion carves out it’s own niche by translating the Killing Floor series’ dark humour, heavy metal stylings, and sparing use of slow motion to highlight its most gloriously gory moments to a new format. On the whole, it’s an enjoyable VR shooter that unfortunately finds itself in the middle of a very crowded market.
Having started life as a free-to-play mobile title under the guise of Ace Academy: Skies of Fury, Illumination Games and Seed Interactive’s WW1 air combat game recently made its console debut on the Nintendo Switch.
The bold visuals help give the game plenty of character as you dogfight over the patchwork fields below and fly through giant, marshmallow clouds so thick you could seemingly hop out and walk on them.
There are optional challenges similar to the Halo series’ skulls that can be applied pre-mission to help add some level of difficulty to proceedings, without proving insurmountable, whilst the only significant downside is that you’re less likely to earn loot boxes that contain new plane skins and alternate reticule designs as you won’t be earning EXP as quickly.
Skies of Fury’s campaign is broken up into five chapters, with missions split between German and British forces. Completing all of the missions in a chapter sees you rewarded with a fresh set of comic strips that convey the game’s narrative.
As you progress, you’re also given skill points to pick out new passive abilities to mitigate/increase incoming/outgoing damage such as faster health regeneration, larger magazines and a deadlier special attack. Another cool feature is the ability to snap up your AI allies as wingmen, adding their firepower to yours for greater damage whilst simultaneously acting as shields against incoming attacks.
Despite the sheer number of missions available, it becomes obvious very early on that there’s a distinct lack of variety between them, with the game recycling the same dogfight, escort missions and bizarre time trials that require you to fly through a series of hoops over and over again. In addition to the lack of objective variety, no voice acting means there’s no real difference when playing as either a German or British pilot, save for the names and livery of the planes.
Given the nature of its setting, it would have been nice to see some sort of trench-based reconnaissance or attack missions included, which the narrative suggests played an important role in the build up to the Battle of Arras. It feels like a missed opportunity considering this is supposed to be a more substantial offering than the mobile original.
Yes, there’s local multiplayer and a new survival mode which can be played cooperatively (also only locally), but the overall lack of extra polish when it comes to the game’s focal point - the campaign - drags Skies of Fury DX’s otherwise fairly enjoyable arcade action back down to Earth.
Welcome to a world without consequences. Set in a twisted version of Montana, USA, Far Cry 5’s Hope County has become overrun by religious fanatics, and your nameless deputy is either a professional freedom fighter or a destructive terrorist in a fight to restore order.
It sounds nitpicky, but the problem extends further. You’re free to shoot a quest-giver or ally in the head, leaving them writhing in pain on the floor, but as soon as you get them back up again, they act like nothing ever happened. The game asks you to fight for the cause, even though your character, a new Sheriff’s Deputy - who gets merely a handful of customisation options in the way of backstory - represents an establishment that locals don’t care much for at the best of times.
None of this would be an issue, if the game’s plot didn’t ask you to take the situation so seriously. The visual presentation - particularly stunning on Xbox One X at times - gives a sense of realism, while the practicalities of the game suggest the opposite.
As you start to complete missions, specialists will offer themselves up to join you in your quest (you’re arbitrarily limited to taking one into battle at first, then two later), and they can range from the fairly believable, if stereotypical, redneck with a penchant for explosives, to a bow-sporting Lara Croft wannabe, and, even… a trained bear called Cheeseburger.
Far Cry 5's plot asks you to take it seriously, whereas the game itself suggests the opposite.
Fighting with allies in stride makes you less of a lone wolf and more of a tactical force, as you can dispatch them into combat on a whim - they’ll even try to do it sneakily if the alarm hasn’t already been raised. Unfortunately, while in a BioWare RPG like Mass Effect or Dragon Age these allies are a true extension of your character (as well as having plentiful character of their own), here their implementation is staggeringly basic and the AI not up to the task nine times out of ten, often giving the game away or spending too long dawdling to prove useful.
Far Cry 5 is at its best as you make your way across the map, perhaps in one of many vehicles, towards an objective. Here the game’s freedom is a blessing, giving you the choice to get involved or jog on, safe in the knowledge that nothing bad will happen if you don’t prevent the evil going on all around you. Where things fail to hold together is when the narrative presents you with one of the Seed siblings, confusingly referred to as both Lieutenants and Heralds in different places in the game, and demands you pass judgement on them by destroying their regime a piece at a time.
Take Faith (above) for example, the younger sister of Joseph: she’s busy getting the locals hooked on a euphoric drug called Bliss so that they can see the light of ‘The Father’ (Joseph). As you begin to loosen her grip on her section of Hope County, she pays you a visit a few times and forces you to complete tests, such as a literal leap of faith that represents your own descent into drug addiction.
This begins to play tricks with you as you wander around the world - showing you animals you’re looking for or civilians in peril only to have them disappear or change shape when you get to them - but the climax, your final confrontation with her, is relegated to an antiquated-feeling gun show. Compare this to a more cerebral experience in, say, BioShock Infinite, and you’ll find that the places where the game as a whole could have gone that extra mile begin to wrack up.
If you’re purely looking for some solid shooter gameplay, then everything on offer is fine, though many of the better guns are locked away until you’ve made a dent in the Seeds’ regime. That or held behind prohibitively expensive store fronts which gesture naggingly towards Silver, the game’s premium currency.
FC5’s extremes are perhaps more at home in user-generated content fest Far Cry Arcade mode (and, by the names of them alone, its zany DLC packs), which offers up a range of challenges to keep an itchy trigger finger satisfied, as well as the opportunity to create your own.
All of this leaves Far Cry 5 in a strange place. The main antagonist doesn’t have the charisma or interest of someone like Vaas, who sticks in the mind from Far Cry 3’s trailers alone, which makes meandering around the world more compelling than actually getting closer to a final showdown with The Father.
Those who want a more tactical experience already have Ghost Recon Wildlands, albeit in third-person, and the awkward, mismatched tone here takes away more than it differentiates. If you fancy a distraction which is fun and varied while it lasts, but ultimately does little to leave a lasting impression (whilst failing to ask any thought-provoking questions at a time when the US’s attitudes and values are more under the spotlight than ever), then Far Cry 5 could be what you’re looking for.