A runaway crowdfunding success story, Agony and its grotesque realisation of Hell recently made it to market with the help of nearly 4,000 passionate backers. While there are plenty of grisly sights to quench the thirst of the gore hounds amongst them, anyone looking for anything more than the modern interpretation of a cheap video nasty will be sorely disappointed.
Anyone looking for anything more than the modern interpretation of a cheap video nasty will be sorely disappointed.
Sneaking slows the trudging pace to an absolute crawl, which means you’ll inevitably get bored and make a run for it, almost guaranteeing that you get spotted and face swift murder. After succumbing to a screenful of bare busters, your soul leaves the body and you’re presented a window of time in which to possess a lesser thrall and pick up where you left off. Possessions are automatic on easy difficulty, but require input on normal and send you back to the last poorly-placed checkpoint in the event of failure.
Finding and eating Forbidden Fruit - or Fanny Smith apples, as we call them for reasons you can probably extrapolate - allows you to acquire and upgrade skills that’ll at least give you a better chance at survival. That’s assuming you actually want to extend the trip, mind, as masses of alternate endings and a couple of additional modes - one offering endless procedurally generated challenges and the other the chance to replay the story as a succubus - did absolutely nothing to tempt us into holding the controller for any longer than absolutely necessary.
You might think all that seems a tad harsh, but we haven’t even touched on the crippling technical issues yet. Agony’s frame rate is choppy at best, glitches prevented us from making progress on a few occasions, and the audio is completely bust. Diegetic sounds emanate from the wrong directions, while ambient effects and voice overs constantly cut in and out and jarringly loop back on themselves; missing dialogue makes the unengaging narrative harder to follow than it should be, but, more egregiously, deprives you of relishing every syllable of the hysterically awkward scripting and delivery.
Let’s not mince words here: Agony is a sub-par, early access product masquerading as a finished release. Patches can only hope to make it stably abysmal, as opposed to plain broken, so you should absolutely avoid the unnecessary agony it’ll so ironically impose upon you.
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.
2014’s The Evil Within was renowned game director Shinji Mikami’s spiritual successor to the classic Resident Evil titles of his creation, so, with the seventh instalment of Capcom’s horror series successfully returning to its roots earlier this year, The Evil Within 2 needed to evolve to garner attention. Thankfully, that’s exactly what happened: TEW 2 improves and expands on its forebearer in almost every way, making for a great example of a sequel done right.
The Evil Within 2 improves and expands on its forebearer in almost every way, making for a great example of a sequel done right.
While perhaps a little difficult to wrap your head around initially, STEM’s alternate reality is a fantastic means to remove all barriers and let The Evil Within’s design run riot. You’re relentlessly shown exciting new visuals, bolstered by HDR compatibility, all of which are so considered in their grotesquery that they achieve a morbid beauty. Just as you wouldn’t generally link beauty and brutality, The Evil Within 2 revels in making further juxtapositions feel natural next to one another, be that in reality-based and abstract settings, affluence and dilapidation, or low and high technologies.
This serves to complement another of the game’s villains, the artist Stefano, a character that has more than a little in common with BioShock’s fantastic Sander Cohen, complete with his very own Fort Frolic. Using human flesh as his canvas, you’ll bear witness to many of his works, and, somewhat disturbingly, very likely stop to calmly admire them with the fitting accompaniment of an original (and excellent) classical music track.
Having gone quasi-open world, the game’s two truly sandbox areas (one of which is cheekily recycled as a faux third) are, thankfully, packed with exciting and significant optional activities. Compliments for open world design are thin on the ground these days - we, along with many others, have grown tired of the map-filling, tedious brand of busywork many games have come to rely upon. The Evil Within 2’s unique boss encounters, side missions, collectibles and secrets put that issue to rest however, maintaining consistently high quality whilst also serving to fill in the wider narrative and bridge the three-year gap between instalments. This makes scouring the crumbling streets of Union a thoroughly enriching experience, akin to exploring Batman: Arkham City for the first time.
STEM’s alternate reality is a fantastic means to remove all barriers and let the The Evil Within’s design run riot. You’re relentlessly shown exciting new visuals.
What’s more, especially if you up the difficulty to Nightmare, this nonlinearity sees the survival element begin to shine. You might clamber onto a rooftop and use your sniper scope to scout a location in the distance, spotting a tempting loot pile surrounded by enemies before weighing whether or not it's worth pursuing; perhaps you then make some supplies via the simple new crafting system, these convincing you to head in with stealthy intent. You’re spotted. An unnerving chase begins, more and more enemies emerging from all directions, drawn by the ruckus, as you narrowly avoid an incoming swipe and hurriedly slip into the nearest safehouse, breathing a heavy sigh of relief as you stand, shaken, behind the boundary door. That’s just one example of the many possible, and quite memorable, self-contained stories The Evil Within 2’s emergent gameplay can facilitate, in much the same vein as State of Decay.
Frequently breaking away from the open areas for more linear main story segments, as well as trips through a series of tunnels called The Marrow, had us longing to return at times. This feeling isn’t helped by the fact that these sections occasionally force either open combat or stealth on the player, rather than leaving them to choose their own method of approach. Both play styles are at least engaging, with a highly customisable loadout of loud, punchy firearms and a versatile tactical crossbow making up the bulk of your offence, while conventional-but-satisfying hidden melee kills and a slightly dodgy cover system mostly comprise the sneaky side of things.
Having a sizeable arsenal at your disposal unfortunately relieves many of the malformed cast of enemies of their scare factor; provided you’re actively scavenging for resources, you’ll never be in any desperate need for either ammunition or medical supplies, even on the hardest difficulty setting. Throughout a playthrough, which should last around twenty hours, ways to manipulate the dopey AI and reliably spot enemies lying in ambush also become apparent, further tipping the odds in your favour.
Other than some great late game boss encounters, The Evil Within 2 gradually leaks horror until there’s little left to be scared of; this might be either welcome or disappointing, depending on how much you like sitting in your own leakage. Maintaining the first game’s body burning mechanic - which saw enemies have the potential to spring back to life if their corpse wasn’t ousted using a limited supply of matches, à la the Resident Evil remake - would likely have helped the game remain more engaging on that front, however.
All in all, despite a weaker second act by comparison to the superb first, The Evil Within 2 is a mechanically gripping game. It’s a sophisticated mix of old and new, along with Western and Japanese influences, thanks to its diverse development staff. A considered audiovisual feast that, in a year where Resident Evil 7 convinced us first-person perspectives and VR were the unchallenged future of survival horror, compellingly challenged that notion.
Grip Digital and Teotl Studios’ first-person, single-player survival game released on PC and Xbox One to a middling critical reception last year. The addition of virtual reality support helps to elevate the PlayStation 4 release in many ways, though some issues still hamper the otherwise engaging and atmospheric adventure.
A thick air of mystery ebbs and flows as you explore environments and begin to peel it back, often only to uncover more secrets.
With that said, the absence of a formal tutorial means it’ll take a little while to get used to the button-heavy control scheme; once you wrap your head around it however, you’ll be walking, turning and teleporting comfortably without need for an analogue stick. Other VR issues include lengthy, awkward 2D loading screens that somewhat break immersion, and the galling oversight that you can clip your hand through many locked gates and use the teleporter (an item separate to the standard teleportation for travel) to bypass the game’s simple puzzles.
You can’t get up to similar tricks playing on a TV, which might be a good or a bad thing depending on how you’re inclined, but there are also definite boons to playing in our humble, real-world reality. There’s a closer connection to the protagonist as you hear more of their musings and see scenes cut for comfort from the VR experience, plus there’s a sharper presentation in terms of both resolution and a clearer UI, which can serve practical purpose in helping to find obscure collectibles that boost resistances and fill in the wider narrative.
Anything other than a temperature resistance buff is frankly a waste, as that’s the only one of the game’s survival elements that ever really comes into play. Food and water are plentiful, and getting enough sleep is easy done, but staying warm when outdoors at night is near impossible. While the straightforward crafting system can be used to start temporary fires that offer slight respite, the only real solution is to ride out the night somewhere safe. With no means to tell the exact time, you’re only ever acting on a best guess while judging an alien day/night and dynamic weather cycle, so, should you misjudge or spend too long exploring, you might be doomed to get hopelessly caught out from the moment you set off. Due to the game’s manual save points and infrequent auto-saves, it’s possible to lose a lot of progress to this - even totally bugger your save file - leaving you feeling decidedly cheated in the process.
Thankfully, the survival elements are fine tunable, so you can tone them down, turn them off completely, or, if you’re some sort of sadist, make them stricter. This goes a long way to remedying the issue, but being tempted to turn a survival game’s survival aspect off so that you can fully enjoy it is far from ideal.
While The Solus Project isn’t a great survival game, its focus on setting, atmosphere and storytelling make it more immediately engaging than its crafting-obsessed peers. Overall, the game succeeds in spite of failing within its genre - especially when played in VR, with the mode providing a fully-featured and lengthy campaign for headset owners to absorb in affecting fashion.
The story of Conan Exiles is one of two halves. On launch day (for Xbox One), we tried to give it a go straight out the gate and found it to be an extremely lag-ridden, buggy mess. In multiplayer players would drop out as soon as others joined and in single player things weren’t much better, with the game allowing you about five minutes of play before the sheer weight of everything which had to be loaded in around you caused a few seconds of lag for every second of normal gameplay. In short, it wasn’t something we were feeling too confident about as far as first impressions go.
One element which is yet to be explored in depth is the idea of religion, as you choose one of a handful of deities for your character to follow when creating them and each have their own altars with their own abilities. For example, if you character follows Yog, their shrine (the aforementioned fire pit) will let you cook human meat, which doesn’t spoil.
The combat is straightforward enough to be able to jump into easily, though the timing can be tricky as your character generally flinches when hit, and mashing attack at the wrong time can find you stuck in a loop of being pummelled to death. Fortunately your allies will generally (if they can be trusted) come to your aid, and the game is certainly enjoyed best as a co-op experience.
While everyone levels and learns recipes separately, crafting items for others isn’t an issue, meaning we were able to craft plenty of extra clothes and weapons in preparation for our game (before the team promptly threw themselves in a fire and wasted all that hard work...just watch the video).
As far as the endgame or wider story of the game goes, that remains to be seen. The in-game map feels quite vast and filled with different climates to explore once your party is ready to venture away from the comforts of home. Make sure you’re well prepared however, as hyenas and even dragons await you and will make short work of lone survivors.
Despite a shaky start, there’s a solid game to be enjoyed here - providing you’re happy to take the initiative and work a few things out for yourself. The soaring soundtrack feels like a cross between Jurassic Park and Mars from Holst’s The Planets Suite, adding to the sense of scale and grand adventure of proceedings. There’s still plenty of work to do before the full release in 2018, but in the meantime there’s no harm getting to grips with it, providing you think it’s worth £30, but all told it’s a yes from us.