Carbon Studio’s award-winning spellcaster has made its way to PlayStation VR in “enhanced” form - now featuring a new stage, new cutscenes, checkpoints, performance improvements and more - but do these tweaks see the game hold up one year after its initial launch?
New to this iteration of the game is an optional head-tracked form of auto-aim, which is enabled by default and that’s definitely a good thing. Throwing is a motion that doesn’t often play well with the Move controllers, at least not with any real degree of accuracy, so the slightly sticky reticule is a must for reliably guiding your projectiles to their target. What’s more, it does a pretty good job of discerning exactly where you’re looking, allowing you to easily pick out priority targets in a crowd.
In-game movement and real-world comfort are handled well too, as The Wizards accommodates both teleportation and free movement, alongside seated and standing play. Expect to fiddle with your height settings if playing seated, mind, as we had to register at a minuscule 80 cm tall in order to align with the UI.
Utilising two PlayStation Move controllers, you’ll motion to weave the arcane into existence while channelling your inner sorcerer.
Getting this right also helps to achieve the perspective required to spot traps and puzzle elements, which litter the game’s eleven brief and fairly nondescript levels. Punctuated by a couple of visually impressive, but mechanically underwhelming boss encounters, the three-to-four hour adventure is fairly replayable due to the inclusion of Fate Cards. These gameplay modifiers are found hiding in chests and can be activated to turn the tides in or against your favour, most notably applying score multipliers to help with climbing the online leaderboards.
Then there’s Arena mode, which tasks you with defending three crystals, once again sights firmly set on outlasting the competition in order to climb leaderboards relevant to each of the three maps. It’s very familiar territory and, without co-op, it doesn’t really have legs.
At its best moments, when you’re fluently fighting off a swarm of ogres without feeling like the real battle is being waged with imprecise motion controls, The Wizards is an intoxicating realisation of any long-held magical fantasies. The PlayStation VR version can cause that illusion to crumble though, which is a burden not entirely shouldered by inferior hardware, as other games have managed to pull off the transition just about seamlessly.
Upstart developer 3rd Eye Studios have an incredible pedigree, its staff owning credits on a long list of classic films and games, so it should come as no surprise that Downward Spiral: Horus Station effectively channels sci-fi cinema - specifically the likes of 2001: A Space Odyssey and Solaris - whilst also crafting a mechanically engaging interactive thriller.
Downward Spiral: Horus Station effectively channels sci-fi cinema, whilst also crafting a mechanically engaging interactive thriller.
The entire game takes place in zero gravity, which, to allay your immediate fears, isn’t the least bit nauseating in VR. It does take a bit of getting used to, but you always retain the same upright orientation and, as such, you’re never subject to that hopeless feeling of not knowing where’s up and what’s down. Once you’ve gotten to grips with pushing off of scenery to float around, you’ll acquire a grappling hook - which has a smooth, gradual reel to keep things comfortable - and a gun that’ll boost you onwards by expelling a charged shot of hot air.
Now that you’ve properly wrapped your brain around the revised laws of physics, it shouldn’t be long before you learn to string these initially disparate tools together into one seamless combo. There’s almost a balletic element of performance to it, which, had Marvel’s Spider-Man not just launched, we’d have said made it the best movement system we’ve seen for a while.
In similar fashion, the gunplay (toolplay?) takes a little while to really flourish, but as a steady stream of new toys come to comprise a complete arsenal, you’re actively encouraged to swap them in and out to counter the introduction of bigger and badder enemy types. We’d definitely recommend leaving the combat feature turned on, especially considering you don’t lose progress when you die.
Having a few battle scars won’t go amiss if you’re looking to play multiplayer, either. The campaign can be played in co-op, but if you want to venture into the PvP Deathmatch and/or PvE Horde modes, you’ll have to give up your pacifist ways. You’ll also very likely have to bring friends, as finding success with the barren matchmaking is unlikely.
Bar a few jarring frame drops, which are admittedly a cardinal sin in VR, playing Downward Spiral with a headset and a pair of Move controllers is a pretty great experience. That’s a big caveat for those without the proper equipment, however, as it’s also playable on a television and with the DualShock 4. Should you be required to play the game in one of those ways, it‘s an immediate no go.
Perhaps it’s a symptom of having explored Horus Station both ways, but, by comparison to VR, it’s incredibly drab to play on a flat screen. While that’s inherent to a degree, having lost a dimension in the transition, also losing the intuitive and tactile motion controls is a final nail in the coffin. Downward Spiral is a game quite literally designed around reaching out and pulling yourself into its world, which makes a stand-in button press both cumbersome and unsatisfying. It also negates the scope for creating memorable little asides, like instinctively grabbing a dart and launching it at a nearby board, only to find it hanging at the exact point you let it go - duh!
It’s swell having options and all, though when they harm the experience for anybody playing in the optimal fashion, it’s questionable as to whether they’re justified. The game doesn’t auto-detect when it should boot in VR mode, which means you’ll need to use a DualShock to activate it from the main menu, as Move inputs aren’t tracked in TV mode; we can easily live with that minor inconvenience, but a not-insignificant annoyance stems directly from it. If that standard controller is then disconnected, the game will pause and throw an error up, even when you’re actively using the Move controllers instead, meaning you’ll need to remove yourself from the atmosphere Downward Spiral so painstakingly works to preserve in order to reconnect a pad you aren’t even using at regular intervals.
Hopefully that’s something that can be hotfixed, as, when equipped with the right kit, we otherwise thoroughly enjoyed floating around the dark and mysterious halls of Horus Station. Unique movement, satisfying tools and an enthralling location sadly aren’t enough to salvage the experience for anyone without the PlayStation Move controllers and VR headset that are compulsory to a good time.
Coatsink’s puzzle room ponderer has been perplexing non-PlayStation players for a period, but now, thanks to a better-late-than-never port, owners of Sony’s budget-friendly headset can finally get in on the fun.
You’re encouraged to tinker with the tools at your disposal and learn from each unjudging failure, ultimately reaching logical conclusions grounded in real-world physics.
That’s no mistake, as the development team were careful not to outstay their welcome, limiting the game's length to less than the latest Marvel blockbuster. With a £6.49 price tag to compensate, Esper is an easy recommendation for fans of the genre, provided they can stomach its few faults.
Regardless of your chosen method of input - be that Move, DualShock 4 or head tracking - the game’s motion controls can lack fine precision and this occasionally leads to fumbles that are out of your hands, which can be extra frustrating in the rare event you’re forced into restarting the (admittedly short) section at hand. We also encountered a bug in the very last moments of the game that put a dampener on the otherwise intriguing finale, poised to lead into the currently-Oculus-Rift-exclusive sequel, though that’s another downer in itself for those without Facebook’s brand of 3D goggles.
Still, it’s hard to hold a grudge when Esper is such a well-executed little game. It’s thoughtful and requires a reasonably high level of execution at times, but consistent in being low intensity and incredibly laid-back, making it a great choice for novice through to journeyman VR voyagers.
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.
With a star-studded team of Rockstar and Bungie alumni at the helm, as well as a pint-sized protagonist that’s cute as a button, anticipation for PlayStation VR exclusive Moss has been riding high since it was unveiled. Now that it’s out, does the storybook tale of an unlikely heroine on a grand adventure deliver? Or does it not quite measure up?
Whether she’s offering a high five to reward a job well done, performing actual sign language in an attempt to communicate, or even chastising you for wasting too much time on petting her, Quill is an incredibly sweet and personable mouse who’s pretty much impossible not to love. I’m not the soppy sort when it comes to virtual animal companions (you could fill a pet cemetery with the Tamagotchis, Fable dogs and Mass Effect fishies I’ve left in my wake), which demonstrates the care and attention poured into bringing her very literal three-dimensional character to life.
Quill’s charmingly stout stature also serves to imbue locations with a mesmerising sense of scale, absolutely dwarfing her, yet at the same time being detailed down to the smallest minutia. Each exquisitely lit area, from lush forest to marble-clad castle, ties into a cohesive whole without sight nor sound of an intrusive loading screen or menu to hamper the presentation so painstakingly built. This is a colourful world in which mice ride tamed and saddled squirrels, but it’s so beautifully grounded as to be believable.
Environmental storytelling hints at echos of human habitation within the realm of Moss, as does the mechanical nature of many enemies you encounter; whilst no definitive answers to these sorts of larger contextual questions are offered, the whimsical soundtrack compels you to linger on them in humanity’s apparent absence. The game does reach a neat conclusion on the more immediate front, however, whilst also extending the tantalising promise that there's more from this world to come.
Quill is an incredibly sweet and personable mouse who’s pretty much impossible not to love.
More Moss is definitely welcome, not least because the three to five hour runtime will probably leave you wanting. Beyond the opportunity to spend more time with Quill, trophies and collectibles are really all that might serve to draw you back in for a second playthrough.
While it lasts, Moss is a charming, magical and gentle-natured adventure which establishes a compelling setting and an absolutely adorable protagonist that’ll bring a smile to even the sourest of faces. Though its simplistic gameplay sees the experience fall short of matching the Hylian escapades that inspired its core design, the team at Polyarc have brought a winning formula to virtual reality along with bucket loads of unique character. If that isn’t a strong foundation on which to build the upcoming sequel, we don’t know what is.
As its He-Man and the Masters of the Universe-inspired name and neon vision of the future suggest, Blasters of the Universe is a humorous homage to the VHS era. Grandmaster Alwyn, an arcade gaming savant, is so dominant a player that he’s become one with the eponymous game, prompting you to challenge his throne across four levels of intense shoot-‘em-up action.
By tapping into the bullet hell subgenre, the game takes on both a fierce urgency and an enticing element of performance.
This cumbersome issue isn’t something the pulsing synth soundtrack and sharp presentation can’t remedy, the pair drawing you back for another hit in tandem, but perhaps not before altering your loadout. Guns are crafted by choosing a frame and associated special ability, barrel, magazine, ammo type, and a module that provides a passive buff. A lot of possibilities open up as you progress and unlock new weapon elements, allowing you to rock an arcing beam rifle, explosive shotgun, ricocheting assault rifle, or really whatever you can dream up to fit your play style.
The game can only be played with two Move motion controllers (which are tracked particularly well here), one corresponding to your bespoke gun and the other being used to deploy your choice of ammo clips and a limited-use shield. This opens up a further layer of customisation, allowing you to, for example, equip a recharging magazine and focus exclusively on shielding with your off hand, or a small magazine with increased damage output that’ll need reloading on the regular, but should, in theory, eradicate enemies before they ever give you reason to deploy your shield.
If you’re anything like us, bigger will be better when it comes to the magazine, as the manual reload process is quite particular and differs depending on your choice of frame. Such is the precise art of reloading that we’d actually recommend using your dominant hand for it.
A lot of weapon crafting possibilities open up as you progress, really allowing you to rock whatever gun you can dream up to fit your play style.
Though swapping hands can initially prove disorienting, it ultimately lead us to slay all of the game’s long-form, large-scale bosses and emerge victorious on the other side. These battles require specific aiming and avoidance techniques that make them a challenging treat, though a glitch we encountered whereby each loss to the final boss caused an obnoxious buzzing sound until the game was rebooted did make the final leg slightly laborious. Fingers crossed that bug is squashed, which seems likely enough judging by the patch support already offered since launch.
Completing the campaign should take around three to five hours, though the exact number is really dependant on player skill and fitness levels, and that’s without taking into account time spent climbing online leaderboards and interacting with a couple of additional modes that round the package out. Challenge mode hands you a pre-built loadout and an objective to complete as quickly as possible, with the task at hand rotating after a set period of time, whilst Endless mode sees you, shockingly, survive for as long as possible to gain the highest score before meeting an inevitable end.
Despite relying on a played out concept, Endless is a highlight, placing trophies just out of reach to encourage a ‘one more go’ mindset. It randomises spawn patterns with each attempt to keep things fresh, though this does also affect balance, as luck of the draw can vastly impact your performance.
Still, with this mode in its repertoire, Blasters of the Universe might actually prove endlessly entertaining. Its thoroughly rewarding combat encounters can’t be bested with a lackadaisical approach, resulting in not just a fantastically fresh take on the bullet hell shooter, but also a workout regimen that makes you feel like a virtual deity... until your humanity comes a-knockin’ and the lactic acid takes hold.
The fact I’ve never played Skyrim has been a dirty little secret of mine for more than half a decade now; the role-playing game that took the world by storm, and its re-releases, have simply passed me by. While shameful, this does make me almost uniquely qualified to approach Bethesda and Escalation Studios’ Skyrim VR without Sony’s future goggles taking on a rose tint. With nostalgia out of the question, how does The Elder Scrolls’ fifth instalment hold up on PlayStation VR?
Skyrim VR is the rare kind of game that you think about all day at work or school, eager to get home in order to reprise the exciting role of your in-game character.
The technical foibles hampering its execution include a familiar, but no less irritating, image drifting issue that sees your display gradually migrate to the side now and then. If you turn to follow it it only gets worse, and holding start to realign doesn’t do the job, so a quick and easy fix is to cycle your headset’s power with the inline control. The otherwise strong motion tracking on our PlayStation Move controllers also tended to go awry as they started to run low on battery, but that’s probably more to do with the hardware’s ancient tech than the software itself.
Provided you can tough these issues out and stomach the omission of a third-person camera perspective - which isn’t a big deal in VR, but it does mean you can’t fully appreciate that swanky new armour set - the positives you’re presented far outweigh the comparatively insignificant negatives.
It’s the little things that stand out, like approaching a mammoth and bolting when the towering beast postures as though about to attack; getting a real-life shiver when clouds conceal the sun and rain starts to pour in-game; nearly dying of a heart attack when a swinging log trap abruptly falls from the ceiling and crashes directly into your face. The sense of scale and depth creates an immersion that transforms the run-of-the-mill into the extraordinary, plastering a smile on your face as you internally exclaim “Now that was cool!”
Rock solid fundamentals evoke a similar response, whether you’re playing with motion controls or a standard DualShock 4. In addition to this initial choice, you're also able to adventure either seated or standing, and can tweak a range of comfort options, meaning just about everybody can jump in regardless of their virtual reality prowess.
Menus in VR can often be much less accommodating, due to finicky motion scrolling and illegible low resolution text, so it’s a real relief that Skyrim - a menu-heavy game by any account - doesn’t fall victim to these pitfalls. Both a high level of polish and some beautiful reworking make it much less of a hassle to, for example, ditch any useless items you pick up at the game’s mercy, as its point-and-click method doesn’t quite boast the finesse necessary to pluck individual gold pieces from a bowl.
VR's sense of scale and depth creates an immersion that transforms the run-of-the-mill into the extraordinary, plastering a smile on your face as you internally exclaim “Now that was cool!"
While the menus are great and all, favourite shortcuts help you bypass them to access your arsenal toute sweet, and stay in the thick of the fight. Dual-wielding Move controllers is a perfect fit for Skyrim’s mix-and-match combat, in which you can combine a range of spells, melee weapons and shields across both hands. For the first time you’re afforded total independent control, meaning you can simultaneously attack different enemies in different directions, perhaps after anticipating a flanking manoeuvre thanks to PS VR’s 3D audio output.
Getting to grips with combat can be like spinning plates at first, juggling motion and button inputs across both hands at the same time, but once you’ve got your head around it you’ll start to feel like a truly badass death dealer. The conventional system is still passable, but very stiff by comparison; it’s simply so much more involving to physically swing a sword, raise your shield to block a loosed arrow, or shoot arcane elements from the palm of your hand.
Similarly, VR’s proclivity for creeping terror makes travelling the stealthy route just as intense. Nocking an arrow, pulling back the string, aiming and releasing is incredibly rewarding, as you’ll more often than not hit your mark without any kind of HUD element to serve as a visual aid. Just don’t get too comfortable sniping from a perch, as being caught unaware by the incoming axe swing of a virtual assassin-come-executioner isn’t the nice kind of surprise...
Skyrim does show its age in places, particularly with regard to its ugly and stilted NPC interactions, but small sacrifices to visual fidelity had to be made across the board in order to hit the necessary 90 frames per second for a non-nauseating time inside your headset. Just rest assured that, at its core, the game is perhaps more so than ever an incredibly in-depth and engrossing RPG with many meaningful choices of approach.
Whether you’re revisiting The Elder Scrolls V or venturing into its snow-capped mountains, vibrant countryside and deep, dark dungeons for the first time, Skyrim VR is an essential play for PlayStation VR owners. There’s more game for your money here than anywhere else on the platform, and, in spite of a few flaws, it’s pretty much all killer and no filler. With Bethesda bringing Fallout 4 and DOOM to virtual reality just next month, this is a very promising insight into what’s to come from one of the few major players supporting the burgeoning technology, and single player games along with it.
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.
SUPERHOT, a first-person shooter built around the uniquely satisfying concept that time moves only when you do, was an instant classic in our eyes. The feats of sheer badassery this central mechanic allows a player to achieve injects them with such an intoxicating power trip that they’re almost forbidden from putting the controller down. By being so moreish, SUPERHOT marries its narrative - which, without saying too much, features themes of virtual addiction - to its gameplay and presents one concise, cohesive whole. If you’ve played the original you’ll know that bringing the SUPERHOT experience to VR was really a no-brainer, but is it worth double-dipping?
The feats of sheer badassery this central mechanic allows a player to achieve injects them with such an intoxicating power trip that they’re almost forbidden from putting the controller down.
Despite the fact you’re all but fixed to the spot in SUPERHOT VR - rather than being able to run around freely, as in the original - the wider spectrum of movement available to you actually makes the change feel liberating. You can still employ the same tactics you would in vanilla SUPERHOT, but also incorporate those exclusively afforded by the introduction of motion control, like extending your arm out from cover to blindfire, or using your hands to physically snatch bullets out of the air. To counterbalance the extra tools at your disposal and keep things engaging, you’ll now need to complete sets of levels before reaching a checkpoint, rather than being awarded one each and every level.
While the switch to motion control brings with it both foibles and boons, the transition from 2D to 3D is entirely a positive one. The clean, simple aesthetic works wonders in disguising VR’s fuzzy edges, while the added depth perception helps to more accurately gauge distances and accordingly lead your shots. You’ll instinctively wince when an enemy pulls the trigger as you stare down the barrel of their gun, but, most importantly, playing in virtual reality is exciting because of the technology’s relevance to the SUPERHOT universe. For existing fans, being sucked directly into the experience they had previously taken in second hand is a real treat.
The one area in which we criticised SUPERHOT was its endgame content; after completing the somewhat short story you unlock a range of challenges that are each interesting in themselves, but ultimately amount to replaying the same levels over and over with slightly modified rule sets. The exact complaint stands when it comes to SUPERHOT VR, but the challenges are a less enticing prospect this time around. That isn’t due to any design shortfall - they’re good fun - but the fact that encountering the aforementioned tracking issues at the wrong time can cost you dearly.
Playing in VR is all the more exciting because of the technology’s relevance to the SUPERHOT universe. For existing fans, being sucked directly into the experience they had previously taken in second hand is a real treat.
SUPERHOT is a power fantasy, and the implementation of virtual reality and motion control helps to realise that fantasy in more vivid fashion, making SUPERHOT VR the best way to play this inspired shooter. For a while, that is, as the original has it beat when it comes to post-campaign challenges - it’s just a good job they’re different enough from one another to both thoroughly warrant purchases.
A dark take on the Ancient Greek myth of Theseus and the Minotaur, Theseus is one of the most engaging virtual reality games we’ve played, despite having its share of problems.
Every single element of Theseus’ presentation is incredibly well considered.
Encounters with Asterion offer up more legitimate scares, the beast being a liberal interpretation of the fabled Minotaur. Conventionally a man with the head of a bull, you’ll instead meet a towering, skull-faced monster with a vertical maw of sharp teeth dominating its torso. The design is definitely Dark Souls inspired, which only serves to make him all the more an imposing physical presence, especially within the 3D realms of VR.
Initially the Labyrinth’s guardian, Asterion was consumed by a literal darkness and coerced into doing evil. Luckily for you, this corruption blinded the creature, making stealth the proverbial sword of Damocles hanging over his head. There’s no fighting him, so you’ll need to take the time to creep when his back is turned and freeze when fixed in his gaze to avoid getting insta-killed.
You can battle his eight-legged offspring, though combat is the game’s weak link. Arachnophobes will be disheartened to learn spiders are the solitary enemy type, but can hopefully find solace in the fact they’ll get to stab and burn plenty of the blighters. Theseus fluidly switches between targets as you push the analogue stick in their direction and launch attacks with either his sword or, provided you have one to hand, flaming torch. There’s no real call for finesse here, just mash your way to victory.
Whilst the combat system won’t win any awards, it’s nonetheless exciting to see the choreographed fights play out right in front of you. The same applies to the final encounter, which isn’t anything special in terms of gameplay, but is spectacle enough that you likely won’t mind.
With an incredibly cinematic presentation - one that we find reminiscent of Guillermo del Toro’s work, specifically in its flair for presenting an engrossingly dark fantasy that incorporates elements of both Hollywood and art house - it’s perhaps no surprise that Theseus clocks in at about feature length. It’ll likely take two to three hours to complete, though returning for a second run to gather all of the collectibles and unlock the true ending is an enticing prospect.
If it wasn’t already clear, we adore Theseus’ understated narrative and grim aesthetic. The game draws positive comparisons to a lot of properties we love, but also maintains a strong identity of its own, really hitting a sweet spot in the process. As a result, in spite of the weak combat and linear progression, Theseus is an easy recommendation for PlayStation VR owners.