Has-Been Heroes Review (Switch/PS4/X1/PC): “Still-Are Heroes”

Has-Been Heroes is the latest title from developer Frozenbyte, known for their Trine series. This new title is a unique strategy RPG in the market with rogue-like elements. Are these heroes worth joining?

Gameplay: 3/5

Has-Been Heroes is unlike any other game in the genre. You start off the game with a bit of exposition, laying out the ground work of who these heroes are, and what has become of them. These old, tired heroes are tasked with one last quest: to escort the king’s daughters to school…and man, what a treacherous path it is to this school! That’s as much exposition as you’ll get, and that’s honestly fine since it’s enough to get the game going.

Has-Been Heroes is not your typical RPG, and thankfully provides you with a proper tutorial to have you understand the intricate mechanics. When starting an area, you will use the right analog stick to choose a location to go to from the map. Highlighting the area next to you will show if it contains a battle, has a merchant to buy things from, has treasure chests, or may be empty so you can just safely pass by.

Battle mechanics are very engaging. When in battle, your characters are always moving, as are the enemies. You will have to press the button that corresponds with the character you’d like to attack with (X, Y, or B), and once chosen, you will attack with the A button. Each character will have to wait before attacking again, and they each vary with cooldown timers. More integral to survival is understanding the stamina mechanics. Enemies not only have health (indicated by the red bar next to them), but stamina boxes as well (indicated as green boxes next to their health). Stamina basically works as a shield before you can chip away at their health bar. If you chip away their stamina enough to stun them, and then give them a quick attack afterwards, you will knock down their stamina capacity, making it easier to stun them the next time you attack them. Stamina does build back for enemies after attacking them, so knocking down their stamina gauge is absolutely pivotal to victory.

The same applies for your characters as well. They each have a specific amount of stamina and health that you’ll need to keep an eye on. Naturally, the knight is like a tank and can withstand the most damage. The elder monk is fairly weak, but is utilized more as a knockback character. The young rogue character has speed in her attacks and can dish out more hits in a combo. On top of this, each character has a spell that can be summoned. Spells all vary on whether they’re elemental or not, passive or aggressive, and ultimately can change the course of battle if utilized right. Combat can (and will) get very overwhelming and thankfully you can pause the time so you can carefully plot your attacks across the three lanes of battle.

So here is the thing about Has-Been Heroes: It’s difficult…insanely difficult actually. Demon’s Souls, Dark Souls, Bloodborne, Nioh…you’ve heard of those games by now for their high difficulty (all of which I’ve beaten for the record). Has-Been Heroes’ difficulty is a whole new breed though. This is where gameplay experiences will vary among players. If you like your games to be easy and a walk-in-the-park, well this may not be your cup of tea. If you welcome a challenge, then Has-Been Heroes will certainly do so. All it takes is for you to get frazzled and overwhelmed in combat to quickly fall to your demise. If a single hero dies, it’s game over. No continues, no checkpoints. After all, this is a rogue-like game.

Now, Has-Been Heroes has some issues that hurt the gameplay a bit. First off, the game has a feature where the camera zooms in with certain attacks. This is nice and all, but the problem I had was that the game would glitch and the zoomed-in camera would be stuck, leaving me with no view of the battle. This happened twice during boss battles and resorted to my characters dying. Thankfully, this camera feature can be shut off in the options menu, but it’s still something that needs to be addressed. Secondly, the game’s difficulty, while more than welcome for this reviewer, feels unbalanced at times. There were times where I was able to blast through both regular battles and boss battles, and there were other times where I would falter at the first regular battle due to an absurd amount of enemies randomly generated. Boss battles are also an exercise in frustration, as some of them throw far too many enemies into the mix, making it inevitable for your characters to meet their doom. Also, it would’ve been a great feature to be able to choose a spell loadout based on the spells acquired in each playthrough. Instead, you will have to randomly come across spells at each merchant and hope for the best. Ultimately, it just feels like there are numerous times where the game relies on luck, regardless of how skilled you are at it.

Issues aside though, there’s no denying the amount of enjoyment I had playing this game. The gameplay was addictive, and no matter how many times I died, I always found myself coming back for more.

Graphics: 4/5

Visually, Has-Been Heroes is a more simplistic approach from the developer’s previous Trine series. At first glance it may appear like a mobile title, but don’t let that dismiss you. What we are treated with here are nicely drawn environments and characters, each with their own unique animations. The game does run at a solid 60 fps and the overall aesthetic is very crisp. The main gripe is the text font when playing on the TV. While on the Switch screen it’s easy to read, it’s pretty tiny on the TV. Despite that though, the overall game is easy on the eyes and quite vibrant (which is expected from the team that made the visually stunning Trine games).

Sound: 4/5

The audio design is incredibly well done in Has-Been Heroes. Outside of the narrator, characters have minimal voice acting, but what is here is completely fine. Sound effects are strong and capture the intensity of battles. When entering a level, the narrator actually sounds almost reminiscent of that from the Gauntlet games. The majestic score is great here as well. Whether advancing through the land, in combat, at merchants, or the spell gambler, the tunes all fit the setting superbly. I found myself really getting into the soundtrack and humming it outside of playing the game.

Replay Value: 5/5

For the $20 price tag, there is an insane amount of content and unlockables to be found here. Has-Been Heroes contains 10 different endings, a ton of additional characters to unlock and play as, and countless spells and enemies to discover. As mentioned in the gameplay segment, this is a game that was very addictive no matter how difficult it was. The Switch version in particular really shines in this department, as it is a perfectly suited game to have on-the-go. There’s a lot of bang for your buck here and it will keep you coming back for a long time.

Overall Score: 16/20 = 8.0 out of 10

Has-Been Heroes may seem like a simple, mobile style game from first glance, but what’s here is an incredibly difficult, yet very rewarding game. The engaging combat system, crisp visual art style, strong audio and plethora of content makes Has-Been Heroes a great package for the asking price. Again, this game may not be for everyone. Even with its unbalanced difficulty curves, it never discouraged me from trying again repeatedly. For those who do appreciate the challenge and invest the time into it, there’s a very deep game overall that will have you coming back for quite some time.

Second Opinion
Written By Karl Upman

From the developers of the Trine series comes a very different, very new experience. Has-Been Heroes tells the tale of old, retired heroes who really shouldn’t be put in charge of guarding anything but their own front lawns. But nonetheless here we are, guiding our time-worn travelers through treacherous terrains. Accompanied by a third member of the group, an aspiring heroine, the unlikely lot set out to deliver the king’s two daughters to…school. If that doesn’t set the precedent for the game, I don’t know what will. Has-Been Heroes is set up to be funny, and in many cases it succeeds! However, the amount of laughter quickly died out for me because I kept…well…dying.

Has-Been Heroes is a rouge-like, strategy, dark souls-esque game where you have a starting and end point, and in between are procedurally generated pathways and “rooms”. I tend to like this set up; give me a dungeon with areas to explore and I’ll be content for hours. But this is a different formula and the key to enjoying it comes down to one thing – luck. In my first two hours of the game, I couldn’t beat a single enemy encounter. It was only after playing for a bit longer and really understanding the mechanics that I realized I had been totally getting screwed over! I was getting loads of enemies thrown at me when I had no clue what was going on and I was expected to just learn. After a few frustrating attempts at making progress, I finally faced a relatively easy mob, only two handfuls of enemies compared to the waves upon waves I had faced before. This allowed me to finally learn the mechanics and progress… until of course I was overwhelmed time-after-time again.

I don’t mind the mechanics of battling in Has-Been Heroes, it’s unique, clever and requires a lot of planning – which the developers clearly recognized since you can pause the game to think of your next move at almost any time. What it comes down to is the consistent “enjoy-ability” of it. From the start, you’re incredibly overwhelmed with just the system alone, but you’re treated as though you’ve been playing it for weeks right when you jump in! It also would have been nice to get some recognition for making any progress at all, but the unlocks you get are seemingly useless other than to learn what you may or may not pick up in a future adventure. This was partially beneficial however, because the text is incredibly small and smooshed together, I could barely read anything during a playthrough. I did manage to defeat the first world boss once, and naturally was thrown into an impossibly difficult first battle in the next playthrough – so back to square one! Personally, I don’t get much out of games where your only goal is to see how well you can make it through an ever-changing labyrinth of suffering and frustration, only to walk it out with some new text to read.

That being said, I did take a few things away from Has-Been Heroes. The art style was playful and stimulating, and the music was a great balance of intense and out-of-the-way, allowing you to really focus on what was going on. When I could read the dialogue (playing in handheld mode on the Switch), I found the humor quite enjoyable. Although after dying so many times, it did tend to get repetitive.

I think some people will find satisfaction in Has-Been Heroes, but it’s definitely not just a game you can jump into and expect to enjoy – you’ll need to work at it and appreciate it for what it is: a rouge-like dungeon crawler that hands out dull consolation prizes and wants you to die…a lot.

Second Opinion Final Score: 6.5/10

 

 

A special thank you to the publisher for providing us a review copy for Has-Been Heroes! Copy reviewed on Nintendo Switch.

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Yooka-Laylee Review (PS4/X1) – “Return to a Golden Era of Platformers”

Yooka-Laylee is a three-dimensional platform game developed by Playtonic Games and published by Team 17. It’s essentially the spiritual successor to a popular Nintendo 64 game called Banjo-Kazooie, since it shares many elements from its audio and gameplay. In fact, a few of the original members from Rare who helped design Banjo are reprising their roles to bring Yooka-Laylee to a new generation of gamers. The title of Yooka-Laylee is a word play with the ukulele instrument, in much the same way as Banjo-Kazooie was a play from the musical instruments of a Banjo and Kazoo. If you were a fan of N64 titles such as Banjo, or even Super Mario 64, then you’re going to really enjoy what Yooka-Laylee has to offer. That’s not to say that today’s gamers won’t have plenty to enjoy as well, but Yooka-Laylee is a nostalgic trip down memory lane when open-world collectibles such as this were very popular back in the 90’s.

The story of Yooka-Laylee begins when a businessman known as Capital B, and his first-hand scientist, Dr. Quack, search for a rare magical book that will bring about total destruction and aid them in their global corporate takeover. They unleash a giant device that sucks up all types of literature in order to find the magical book, which so happens to be in the possession of our heroes, Yooka and Laylee. As the magical book begins to get sucked through the air however, pages from the book, called ‘Pagies’, begin to rip free from the book and scatter around the vast area that incorporates Yooka-Laylee’s world. Yooka and Laylee now venture out from their Shipwreck Creek home and enter Hivory Towers to locate the missing golden ‘Pagies’ before they fall into the hands of Capital B.

Gameplay: 4/5

There is much to do in Yooka-Laylee, but you’ll quickly learn that not everything is available to you from the start. Many of the Hivory Tower areas are locked away, and much of your move sets are unavailable at the beginning. As you progress though the campaign however (which took me approximately 20 hours), you’ll find that there is much to explore and unlock during your playtime. There are five separate worlds located within Hivory Towers: Tribalstack Tropics, Glitterglaze Glacier, MoodyMaze Marsh, Capital Cashino, and Galleon Galaxy. Each one focuses on a specific theme, and can be entered by locating a Grand Tome hidden somewhere within Hivory Towers, which is the hub portion of the game.

Once you locate the Grand Tome, you’ll need to unlock it by having a certain number of Pagies.  As you reach newer Tomes (worlds), the amount needed to enter the world increases. What’s interesting in Yooka-Laylee is that there are two modes to each world. For instance, you can unlock the first world with only three Pagies, which opens a small portion of the level. If you spend 7 additional Pagies, you expand the world to its full extent, giving you every option to explore and locate each collectible item. I normally would expand each world from the start, but towards the end only had enough to unlock the basic fifth world. What was nice about this was that it slowly introduced you to the world without it being overwhelming, as the expanded version felt too large at times. These worlds are huge, so having a small portion to peruse actually helped me to understand the level structure a bit more and make it feel more manageable in the long run.

The main goal of each world is to locate and collect Pagies, which range from easy to obtain, to incredibly challenging at times. Still, this gives players a nice balance of how they’d like to achieve their goal, as there are 145 Pagies in all. However, you only need 100 Pagies to reach the final boss. One of the gripes I had with the game, is actually about the boss encounters in each level. Unlike traditional video game bosses, the bosses in Yooka-Laylee can be found at any point during your play time. The five world bosses are all hidden at different locations, and as you search for ways to free the Pagies, you sometimes come across a boss battle. While I didn’t mind the bosses, I didn’t like how all you received from them was another Pagie. After feeling as if the boss of each world was a big deal, I thought that the reward of just getting one Pagie felt ungratifying. After all, you can acquire Pagies in numerous ways throughout your adventure, so getting another one after a boss was kind of a letdown. I would have preferred if the boss gave you something else of importance in return. But this is a minor gripe I had regarding boss battles. There is also a minor boss battle that appears three times in the Hub world of Hivory towers as well, as Dr. Quack makes you play a Quiz game before you can proceed. Very similar to Banjo-Kazooie, you’ll need to answer 10 questions correctly before you can win, so pay extra attention to the levels and characters within the game. If you answer correctly, you actually move up two spaces so you can shorten your Quiz, but you can only have three incorrect answers before being sent back to the beginning of the Quiz. Originally I thought this would be annoying, but it was an enjoyable break in-between levels. I will say though, that the final boss is quite challenging, so make sure to collect as many items and moves as possible before reaching Capital B.

There are many other items in Yooka-Laylee to collect in addition to Pagies. Quills are a basic feathery item that are scattered all around each location. The more you collect, the better the chance you’ll have at acquiring each upgraded move ability, which are needed to progress further throughout the game. The move sets can be purchased by a slithery character known as Trowzer, who can be found in each world. There are 200 Quills in each world. There are also five ghosts known as Ghost Writers in each world as well. Each one has a unique way to capture them, such as feeding them with some of the various projectiles, or using your sonar move to make them visible after hearing their laugh. The Ghost Writers are hidden very well around each world, so you’ll definitely need to keep your eyes and ears open. If you collect all five, you’ll receive a Pagie in return. Another interesting collectable in Yooka-Laylee is the Mollycool. If you locate this item (one in each world), you can then bring it to Dr. Puzz who uses her D.N. Ray to transform you into different vehicles, such as a snowplow, helicopter, or ship. This opens up the gameplay in a diverse way to offer you new ways to explore areas. One other item you can find are Play Coins, which after locating them, are handed to an 8-bit inspired character named Rextro, who then lets you play various arcade style mini-games to earn more Pagies. Finally, there are Play Tonics, which are game modifiers that help you enhance certain stats or abilities, such as giving you an extra Butterfly icon (which is the health item for Yooka and Laylee) or the ability to warn you when you are close to an item. Only one Tonic can be selected at a time, so you need to choose wisely.

As I stated earlier, there is much to do in Yooka-Laylee, and I found myself easily playing for hours without realizing how much time passed by, or wanting to come back to the game when I was away from it. But while I enjoyed the various exploration objectives of the game, there were some problematic areas as well. The camera for instance would fight you for control at times. It’s as if you had free reign of the camera but then if you neared a certain corner or obstacle, the camera would adjust itself to a fixed position. This became frustrating at times as I couldn’t see where I was going, and would get harmed or lose a Pagie challenge unnecessarily. More freedom from the camera would have been nice. I also found myself lost in the large worlds without knowing where to go, or how to reach a certain location I had found earlier. I know that Yooka-Laylee is supposed to be a throwback to earlier 90’s open-world games, but having a map of some sort would have definitely helped. Still, these are minor issues that can hopefully be ironed out if there were ever a sequel, and won’t deter you from enjoying the game itself.

Graphics: 3/5

For a Kickstarter game such as this, I’m actually impressed with the graphics. Each world is well designed, and the lighting effects definitely create the mood that each world calls for. Yooka-Laylee is a colorful and vibrant looking game, and the character designs all look great. There are some areas that affect it from achieving a higher score however. I noticed some areas with draw distance issues, and in today’s gaming world, that’s not something you see much of anymore. From far away, it was difficult to see where I was headed or which items were visible. This made collecting a bit more challenging. The water effects also looked a bit last gen as well, as they didn’t display much movement and seemed flat. At times, I couldn’t tell if something was water, or actual land. Again, this didn’t keep me from enjoying the game, but there were some graphical areas that could have been improved.

Sound: 5/5

The sound design in Yooka-Laylee really excels. It has the same charm as Banjo-Kazooie did, and I found myself humming to some of the melodies in the game even when I wasn’t playing. The soundtrack is catchy and the sound effects are perfect for this type of game. You can easily tell that Grant Kirkhope, the composer of Banjo, tried his best to mimic the same orchestral score that they had achieved with their previous iteration on the N64. The characters themselves don’t speak, but instead have a strange mumbling sound during their conversations. This was popular with Banjo and they continued that sound design option here as well. While some may find it annoying, you can skip most of it by pressing X and just read what the characters are saying instead, which are often humorous. Overall though, I really enjoyed the various music styles of each world. Each level has a fitting musical theme that matches the environment, and sound effects for each item and character are distinguishable from each other.

Replay Value: 5/5

Yooka-Laylee is a game that you’ll think about even when you’re not playing it, and you’ll look forward to visiting the world once more to see if you can find that collectable you were looking for, or realizing you may have found a way to collect that Pagie you couldn’t originally get to. There are so many collectibles to find and areas to explore that you’ll want to come back again and again. The game can sometimes be challenging, but I appreciate the fact that Yooka-Laylee didn’t hold your hand as many games today do. You need to learn how to complete objectives on your own, explore locations by visiting every possible area, and solve puzzles with little help from any on-screen tips. There’s also a hidden character from another indie game that shows up to lend you a hand, but I’ll leave that to you to find (if you haven’t already read about it online, that is).

Overall Score: 17/20 = 8.5/10

Overall, Yooka-Laylee is a great game, and despite some minor flaws, I really enjoyed playing an original IP that reminded me of games like Banjo-Kazooie or Conker’s Bad Fur Day from the Nintendo 64 days. Games like Yooka Laylee are few and far between, so I’m hopeful that there’ll be a Yooka-Tooie one day in the future!

Pros:

+ Nails the Banjo vibe

+ Outstanding soundtrack

+ Addictive gameplay

Cons:

– Camera takes control at times

– Graphics, while nice, could be more refined

A special thank you to the publisher for providing us a review copy for Yooka-Laylee! Copy reviewed on PlayStation 4.

Enjoy our review? Be sure to follow us on Facebook and Twitter: @GamersXTREME for the latest in gaming news and reviews.

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Snow Moto Racing Freedom Review (PS4/PC) – “Stuck on Ice”

Zordix certainly has a labor of love when it comes to jet-ski and snowmobile games. Known for their Aqua Moto Racing and Snow Moto Racing series, Zordix has released the latest in their snowmobile series, Snow Moto Racing Freedom. When their previous title released a few months ago (Aqua Moto Racing Utopia), we found it to be a great title that was easy to get into. Does Snow Moto Racing Freedom have an equivalent hook that Aqua Moto Racing Utopia had, or is this snowmobile racer stuck on ice?

Snow Moto Racing Freedom is, as the title insinuates, a snowmobile racing game at its heart. There are three types of Championships to partake in: Sprint League, Snocross, and Freedom League. Sprint League has you racing opponents in vast open environments to hit checkpoints that link to the finish line. Snocross is a more traditional method of racing, doing laps on actual tracks. Freedom League is a mix of both Sprint League and Snocross races together in a Championship. Each league has about eight championships to tackle, each containing three to five races roughly.

Sprint League is an open-ended race style, approaching checkpoints that is reminiscent to something like Smuggler’s Run or Midnight Club. Checkpoints need to be approached in specific directions. However, the checkpoints are handled a bit poorly. Each checkpoint is a fairly large object that requires you to turn into it just right, and go through the gate. Worse yet, certain checkpoints have you approaching it head on, and require you to have to do 180 degree turns into these cumbersome gates. It wouldn’t be so bad if the checkpoint design was more liberating or didn’t have this massive object to maneuver around just to get into the gate. It honestly just ruins the flow of races. Some of the game’s physics are also wonky (more on that below), so colliding into the object once inside can lead to easily flipping over. When respawning on the track, the game automatically points you in the right direction to the gate. However, if you pass the gate, you may as well restart the race, because there’s no way you’ll be able to turn around, go through the gate, and catch back up to the AI. There’s no manual respawn button to get you back on track quicker either, which could’ve rectified this issue. Snocross races are more straightforward, but to be honest were definitely not as enjoyable as Sprint League races. The biggest issue here is the lack of memorable tracks to race on. Each one here feels appropriate, yet generic.

Snow Moto Racing Freedom’s physics engine works decently enough, but there are some odd instances that are hard to avoid. First off, rocks serve more as a ramp than actually colliding with them. It’s a bit comical and while I wouldn’t normally complain about something that doesn’t ruin the flow of gameplay, it actually does mess you up more than help. There were also numerous times I’d land upside-down off a jump, but I’d still drive for a second upside-down and the rider would shoot out of the ground. Again, comical but wonky. Also, the game’s control are a tad on the sensitive side. This is more noticeable during Snocross than Sprint League races, but it makes for some very difficult times with Snocross events. There were even times when the snowmobile would do an almost 180 degree turn when landing from a jump because the vehicle’s tracks were slightly off-center (and I mean slightly). It just felt like if I lost a race that I was holding the lead in, it was usually due to inconsistent physics.

Aside from the game’s Championship events, there are also Single Events you can do like Time Trials, Freestyle, and Leisure events. Time Trials have you going for either a bronze, silver, or gold medal to get the fastest track times. Freestyle has you competing for medals by pulling off as many tricks as possible on specifically designed levels. Tricks are handled exactly like the developer’s previous game, Aqua Moto Racing Utopia. You pull off tricks using the right analog stick, and can use the L1 button as a modifier for more complex tricks. Leisure lets you ride on three of the game’s open-environments: Scandinavia, Rocky Mountains, and the Alps. You have plenty of terrain to freely ride around and explore. However, unlike AMRU where there were easter eggs and items to collect while free roaming, this game has zero of that. Nothing to collect, nothing hidden to find. It’s just a basic free roam in environments devoid of personality. It wouldn’t be so dull if there was more to the environment, but there’s ultimately not much.

The game does have both local and online multiplayer. While we were not able to test out the online multiplayer due to servers being empty at the time of review, we did test the local multiplayer. Similar to Aqua Moto Racing Utopia, the game supports four-player split-screen multiplayer. You can do any of the race types, freestyle events and even free roam in Leisure mode. Unfortunately, you cannot choose your vehicle, nor can your buddies customize their character. You just drop right into the game. That’s the thing too. You can customize your character…but only their gear color. There’s only one outfit and one helmet, so the only difference from everyone is color variation. Lastly, the game is lacking any mini-game modes that Aqua Moto Racing Utopia had. Overall, it just lacks the personality and identity that AMRU had.

Visually, the game looks pretty solid for the most part. The most impressive thing visually is that it runs at 60 fps, which is always a huge plus. Riders animate pretty well, as do the vehicles. The cool feature that returns from AMR Utopia is the first-person view, and the detail put into that to really simulate the feeling of riding these beasts. The sense of speed is also very well done. On the flip side though, there is a good amount of screen-tearing happening. It’s not immensely distracting, but it’s certainly very noticeable. Weather effects are in play and all looks good, including the lighting for night races. It would’ve been nice to see some wind effects though. This would’ve helped breathe some life into the environments in an otherwise lifeless world. The other issue was the gamma in the visuals. Many times I found determining the depth and level formation to be difficult due to washed out snow detail. Funny enough, if you pause the game, the screen dims slightly and then I can actually see the snow terrain better. There’s no gamma option to tweak either so this just made some races difficult to determine the terrain. In terms of audio, snowmobiles sound as they should and the music here, if a bit generic, accompanies the game pretty well. Nothing overly memorable, but gets the job done.

There may be a lot of comparisons made here with the developer’s previous game, Aqua Moto Racing Utopia, but it was very difficult not to compare the two. While AMRU was a game we rather enjoyed, Snow Moto Racing Freedom feels devoid of what made AMRU great. The gameplay is mediocre, the environments are lifeless and the game just lacks personality. The overall package doesn’t seem as energetic and creative as AMRU. If you’re looking for a snowmobile game, there’s some enjoyment to be had here, but not enough to fully recommend it.

Overall Score: 5.5 out of 10 = Wait for a Price Drop…

A special thank you to the publisher for providing us a review copy for Snow Moto Racing Freedom! Copy reviewed on PlayStation 4.

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Aqua Moto Racing Utopia Review (PS4/PC) – “Refreshing Ride”

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Extreme sports racing games are a dime a dozen nowadays, but there are some developers trying to rekindle relatable experiences, while also aiming for a new market. Swedish developer Zordix has been establishing themselves with a series that started on the iOS/Android called Aqua Moto Racing. In years to come, they brought their series to the 3DS, and now, they’re bringing the series to home consoles for the first time ever. Aqua Moto Racing Utopia is the latest installment in the series, available on Steam and PS4 (with a Wii U release in the near future). Is this worth braving the waves of the ocean, or is it stuck in open-waters?

Aqua Moto Racing Utopia is essentially a racing game that most closely resembles Nintendo’s “Wave Race” series. You will race through a series of championship events, each with different CC engine speeds, as well as jet-ski types (sit-down and stand-up models). The sit-down jet-skis are much more speed-focused, whereas the stand-up ones excel in stunt flexibility. Before hitting the waters though, you will start off by creating your own character. This is a nice way to kick things off by giving the player a bit of customization. There are a decent amount of options to tinker with to ensure not everyone looks similar out on the waters.

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Races rely on racing alongside the buoys in place on each track. You’ll be bobbing-and-weaving your way on the water to ensure you’re on the right side of the buoy you need to pass. If you miss three of these in a race, you’re disqualified. As you progress, you will earn cash based on your placement (as well as some to earn out on the track). This can be used to purchase newer and better jet-skis, with multiple attributes that are affected. Each jet-ski can be customized with a variety of colors, whether it’s the body or decals.

Each environment has a distinct feel, with multiple variation tracks to tackle throughout the game’s championship mode. Whether it’s the lush jungles, a water filled town in China, the open-ocean around tanker ships and oil rigs, or tropical paradises (to name a few), all of these locales are as fun to ride as they are unique. Another cool aspect is the option to race in first-person mode. The way the camera handles in this really adds to the immersion, whether you’re whipping around turns or doing flips in the air.

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Any game revolving around water is reliant on its physics, and honestly, the physics in place are quite good. The jet-skis handle more or less like they should on both calm and intense waves, with an arcade-style feel to it. It may be a little less interactive than Wave Race’s water physics, but what’s in place here works great. When going off of jumps and high waves, you’ll be able to pull off tricks as well. Doing so will allow you to gain boost. You can also pull off specific tricks while on water. The tricks are fairly simple to pull off, with some more advanced ones that take some time to master. There were some instances though (more evident during trick events) when the trick inputs didn’t respond, or the trick name was displayed but the animation kicked in after releasing the buttons. It worked well enough for the most part, but this particular instance is something that could be patched.

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There are plenty of modes to explore as well. Aside from the game’s core championship mode, there are time trial and free roam modes. Time trial is standard fare, except you’re provided times to beat to go for a gold medal in each track (aside from beating your own times). Free roam has you go around any of the game’s environments, but with a twist. There are “Z Balls” to collect in each environment, as well as a hidden collectible to find. Also, there are interactive events that can be triggered in each area, which is a great little feature to incorporate here. Then there’s the multiplayer modes. The game supports both local and online multiplayer. Local multiplayer has 4-player split-screen action, whether you’re racing against each other or tackling the party games together. The party games are a blast, whether it be Aqua Moto Hockey, King of the Hill, Capture the Flag, or our personal favorite here, Duckling Mama (think Super Rub-a-Dub from the PS3 launch days…if you ever played that). The online multiplayer strangely only consists of racing against others, with no party games to be found. While the party games are tailored more for the couch multiplayer, it would be nice to get friends together online to do this as well. That being said though, we were able to test out the online amongst staff members here and can say it ran quite smooth. Oh, and there’s a fairly attainable Platinum trophy to be found in this game as well.

I think we're going to need a bigger jet-ski...

I think we’re going to need a bigger jet-ski…

Visually, Aqua Moto Racing Utopia is an incredibly clean and vibrant looking game. Environments look great, with some nice texture work and immensely inviting water. The objects and jet-skis are also well-detailed and appropriately scaled. Characters on the other hand are a bit lacking detail-wise, and have some stilted animations. There’s one odd animation too when landing from a trick. If you’re not fully complete with the trick, the animation doesn’t finish and goes right to the rider and his jet-ski being perfectly leveled with the water. Is it immersion-breaking? Not entirely, but it’s noticeable. On the flip-side, the game runs at a smooth 60 frames-per-second, which is a huge feat. The audio in AMRU is also right-on. Each environment has music that matches the locale very well, and the audio effects do a good job capturing the arcade-style feel to the game. The announcer on the other hand sounds mundane and unnecessary. Honestly, just going to the options and shutting him off makes it better.

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All-in-all, Aqua Moto Racing Utopia is a great game that can easily be recommended to fans of arcade-style racers, and more so, fans of Nintendo’s Wave Race series (since Nintendo still has yet to return to the series within the past 15 years). Zordix has really evolved this series since its conception on iOS, and continues to get better each time. While the $30 price tag may be a bit steep for those on the fence, it’s certainly a worthy game to add to your collection. Between its vibrant visuals, addictive gameplay, and strong local party games, Aqua Moto Racing Utopia is one wave you’ll want to ride.

Overall Score: 8.0 out of 10

A special thank you to the publisher for providing us a review copy for Aqua Moto Racing Utopia! Copy reviewed on PS4.

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Exile’s End Review (PS4/Vita): “Average Jameson”

There’s no question that while gaming technology advances, there’s still a soft-spot for old-school style games. Enter Exile’s End: a 16-bit, 2D Metroidvania game where players take controls of Jameson. Add in the fact that Keiji Yamagishi (the famous composer known for his work on the Ninja Gaiden and Tecmo Bowl soundtracks during the NES era) is on board to compose this game’s soundtrack and we’ve got a sure fire bet, right? Well, let’s see how this indie fares.

As mentioned, players assume the control of Jameson, an older, yet much more experienced worker of a mining crew. Contact was lost with a crew set out at a planet and a new crew is sent in to discover their whereabouts. However, things go wrong really quickly, leaving Jameson trying to find any survivors from his crew, as well as the ones already missing. Upon landing, Jameson’s equipment is damaged and will need to find comparable equipment to go about his search. As you explore, you start to uncover a conspiracy that was occurring at the installation on the planet, and things tend to develop more. It’s a standard fare storyline that’s ultimately forgettable, but still passable.

Now, Metroidvania style gameplay is a great start to the idea of the game. But here is where things are not as great as it sounds. Exile’s End does its best to replicate games of its stature, whether it be Metroid, Flashback, Another World, etc. The problem is the game’s slow-pacing. Upon starting the game, Jameson has no weapon other than rocks. Unfortunately, just throwing these to take out worms on the planet is a chore. You have to guestimate the distance Jameson throws the rock, and seems to have a much more overarching throw than expected. Later on, you finally acquire a handgun. However, the gun controls feel really stiff. As a matter of fact, the combat in general is just plain dull and uninspired.

The game is a bit punishing on difficulty as well, and for the wrong reason. The game constantly saves your progress every time you enter a room or area. So should you enter an area with the slightest sliver of health and then die, you will continue the game from the beginning of that room, with that exact health amount. Even ammo or any items all remain exactly as is. While I’m all for a good challenge, this issue could’ve been rectified by just having save rooms so that you’re not forced to stick with your current status in case you screwed up. Also, enemy placements will leave you firing off the screen constantly to ensure they don’t fire at you first.

Throughout the game’s 3-5 hour story, you will explore a variety of environments. Exile’s End does a great job utilizing its old-school presentation and conveying a really great atmospheric feel. Backdrops and foregrounds look really good, where some nice attention is indicated from planet life showcasing in the backgrounds. Whether you’re in the jungle, a research facility or caves, they each have very moody tones to them. Animations are a little on the stiff-end, but completely serviceable. Cutscene art looks quite good though, having a bit of a Ninja Gaiden look to them.

The game does really push atmosphere, and composer Keiji Yamagishi does a superb job lending to a dark soundtrack. No matter the location, the soundtrack really nails each area. It’s great to see such an iconic composer return and still produce some amazing stuff. It’s honestly the strongest aspect the game has going for it. Even if the tunes get a little repetitive due the game’s pacing, they’re still very memorable. Sound effects are also well done. Firearms, creatures’ audio cues, and ambiance, are all appropriate and sounds like a 16-bit era game.

Exile’s End is a solid effort at tackling the Metroidvania concept. The thing is that it’s not all that engaging to keep sticking with. Outside of the great art style and soundtrack, the gameplay itself is just serviceable at best. Die-hard Metroidvania fans may be interested in giving it a go, and fans of Yamagishi-san’s soundtrack will want to experience his work, but players will have to endure the slow-pacing and odd design choices.

Overall Score: 6.0 out of 10

A special thank you to the publisher for providing us a review copy for Exile’s End! Copy reviewed on PS4.

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Aragami Review (PS4/X1): “Embrace the Shadows”


Lince Works takes us back a step in the stealth genre with Aragami. With many so-called stealth games to dilute the pool (Dishonored, Thief, Styx), it would have appeared as though the formula was set in place. Luckily for us, that’s where Aragami comes in and shakes things up a bit. By forcing the player to use their wits and plan accordingly, Aragami takes a well-needed step back. So does it succeed? Or does Aragami sulk in the shadows? 

Story: 4/5

You play as Aragami, a vengeful spirit summoned by a sorceress, Yamiko, who is being held captive by the pillaging “Warriors of Light”, Kaiho, who have been at war with the “Shadow Warriors”. Beyond what you are, Aragami starts off as a mystery that slowly unfolds as you meticulously make your way through the game’s 8 chapters, for a total completion time of around 12-15 hours. You are told that in order to free the sorceress and allow her clan to take vengeance upon Kaiho, you need to collect 6 talismans, each of which are heavily guarded. As you reclaim the talismans, you are reunited with lost memories; some of which belong to the sorceress, while some belong to the person you were before your death, and consequently your resurrection. Uncovering these memories is key to the story of Aragami, but so is paying careful attention throughout each chapter. Enemies talk amongst one another and provide valuable information that can sway your perspective as to what is going on with the mysterious sorceress and where you come in as the deadly assassin (or ghostly shadow depending on your preference). 

After paying attention to enemy NPC’s conversations, I was sure I had the story figured out way before I thought I was supposed to. And then Aragami did something… mischievous. It kept me guessing. Not enough to definitively change my mind, but just enough to ensure I wasn’t sure. This was achieved by playing with the child-parent-like bond between Yamiko and Aragami in the main cutscenes. Aragami, really not sure of anything, knows he can only trust one person – Yamiko, who gave him life. However, as Aragami discovered more memories of both himself and Yamiko, he begins to become troubled and confused. Nonetheless, his faith in his creator and the knowledge of his only living purpose, revenge, keeps him moving forward. While Aragami did end how I anticipated, I thoroughly enjoyed the character development and the slight toying with my emotions throughout the story. Through the main cutscenes and small gems riddled in the gameplay through AI conversations, you are able to see all sides of this feud and you come to an understanding of how everyone got to where they are. It was almost poetic how at the last scene unfolds. And just when you think you know how it all will end, the developers throw one line – two words – to make you sit back and truly understand the struggles of these warring factions.

Gameplay: 5/5

Aragami is not like the stealth games we’ve come to know. In fact, after playing Aragami it is difficult to consider most other games as actual “stealth games”. Aragami himself has actually no combat capabilities, meaning once you are discovered you must run and hide, or carefully remove your opponents with finesse. This sort of limitation is not seen in many stealth games, as many of them offer you a chance to fight back and then flee if necessary. You are however given a small set of skills that are carefully designed for different scenarios.

You start out with the basics: shadow teleportation. It’s a simple concept to start, you can only move quickly between shadows, using up a small amount of shadow power that is displayed on your cape. This shadow power is the basis for all of your abilities. It restores in shadows and gets quickly removed when standing in light sources. You soon gain the ability to create shadows to teleport into, albeit at the hefty cost of shadow power. After this however, you are on your own to develop Aragami as you see fit. You discover cleverly (and frustratingly) placed scrolls which offer skill points that can be spent on different shadow powers. There are six of these powers in total, three are deemed as defensive, while the other three are offensive. It is an interesting classification as I personally would not consider many of them offensive (save for the kunai, which when thrown instantly kills a single opponent). A better nomenclature for all of the skills would simply be “strategic”, and that is definitely the theme of the game and I believe what the developers were trying to drive home. Almost any of the abilities can be used in a number of different ways, something that was truly a pleasure to explore and trial! My personal favorite was a shadow vortex trap, that when placed could be triggered from any location and instantly (and silently) move any number of nearby enemies into another realm. I found that in order to progress through certain situations, some skills were more useful than others. By the last chapter, I discovered uses for all skills that I hadn’t thought of before and was using each of them frequently! Some might consider these abilities overpowered but luckily there is a limitation to them. You are allowed only two uses per ability. However, shrines that restore all abilities are located throughout each level, and a particularly badass stealth kill skill can restore one use to the equipped ability. 

Like most stealth games, you are provided the option of killing everyone, no one, or somewhere in the morally unsound grey area. Unlike most stealth games, you are given natural tools to aid you in your endeavors as well. The first two talismans you acquire offer you a marking ability, which upon upgrading can track enemies through walls, and something I feel every true stealth game should have: a noise maker. Previous games we’ve seen whistling or banging your sword on objects to distract nearby guards, in this game it is a simple bangle. This small tool is revolutionary in stealth games and has a huge impact on gameplay, so I was thrilled to see it included. 

Aragami gets something else right that honestly was completely unanticipated: boss fights. Besides a rather fast-paced technical section, there were in fact three distinct boss fights and each of them were expertly handled and impressively varied. Considering the limited nature of most stealth games, it is often difficult to incorporate mechanics outside of the normal gameplay. However, Aragami’s clever abilities payed off well here. By thinking outside of the box, I was able to use my abilities in ways I didn’t even think of before in order to overcome a more challenging threat. This was truly a unique experience as many previous games that attempt this often result in an awkward encounter for the player.

Boss fights aren’t the only thing Aragami does different than its “not-so-stealthy-anymore” predecessors; it also does co-op. You can play through the entire campaign with a friend on a separate console and vanquish your enemies (or not) in all-new and exciting ways! Tag teaming using different abilities in conjunction actually works very well, and having two sets of eyes on the playing field can result in a much smoother run – so long as you’re both on the same page!

Completion of the main story allows your character’s progression to persist so there is plenty of replay value in Aragami. Whether it’s going back to collect all of the scrolls; completing missions with different objectives; or simply going through it cooperatively, this is by far not a single playthrough game.

Graphics: 3/5

Aragami’s simple nature of shadow-versus-light is an easy contrast to play with, and the developers at Lince Works executed it very well. Aragami himself takes on a very satisfying form, changing from tones of black, grey and vibrant red when in the light, to a terrifying all-black when in shadows to let you know when you’re in better hiding. Environments are well decorated but sometimes can feel un-blended depending on the level. There were frequent instances when upon moving the camera, the point of view would jump out of bounds and then suddenly back in; and quite frequently the framerate would drop massively. This led to experiences of stuttering or input lag that in more than one instance resulted in death. Unfortunately, all the careful timing and planning in the world cannot hold up to random spikes and dips in framerate, and in a game where timing can be everything, this can be quite an issue. Luckily the game didn’t seem to suffer any additional consquences of playing online and most deaths are easily recoverable. The animations of various abilities were well thoughtout, smooth and satisfying. I could watch Aragami’s shadow snake coil an enemy and bring him to the shadow realm over and over again and never tire! There was only a handful of clipping cases and overall I felt it was a smooth experience playing through each of the levels, save for a few light intensive ones.

Sound: 4/5

Not only do you have to watch your surroundings and enemies’ movements, you also need to listen to them and the environment. Something that can be overlooked at times in stealth games is carefully handled in Aragami and that is the ambience of the game. The soft and delicate soundtrack plays lightly in the background of each mission. If you didn’t focus on it, you wouldn’t know it was there – and that is exactly how it needs to be to allow your complete, undivided attention to the matter at hand. Only when you are discovered does the music quickly escalate to the heart-pumping chase track that will ensure you’re filled with panic as you realize your mistakes. Footsteps from all sources project well; small light fire sources glisten in your ear and conversations from enemies are clearly heard. Interestingly, the main characters are not completely voiced, relying on text to comprehend any dialogue, but the emotion is there. Regardless, Aragami succeeds in the delicate addition of important sound balancing.

Overall Score: 16/20 = 8.0 out of 10

Aragami is a unique and enjoyable stealth game that succeeds in the minimalistic inclusion of its core elements. Its story was somewhat predictable, but it did a decent job of keeping me interested through a carefully crafted relationship, along with addicting skill and planning-based gameplay. While some graphical issues would occasionally remove me from the full experience, I was pleasantly surprised by the addition of actual boss fights and a well-functioning co-operative mode. With great replay value for those who enjoy proving themselves, it is well worth at least a single playthrough for those who enjoy taking their time in a game.

Pros:

+ Simplistic stealth mechanics that create a true stealth game
+ Creative abilities to aid in problem solving
+ Clever and original boss fights
+ Functioning co-operative mode

Cons:

– Some graphical issues
– Story shows its hand very soon

A special thank you to the publisher for providing us a review copy for Aragami! Copy reviewed on PS4.

Enjoy our review? Be sure to follow us on Facebook and Twitter: @GamersXTREME for the latest in gaming news and reviews.

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Bladestorm: Nightmare Review (PS4/X1/PS3/360) – “A Nightmare Worth Conquering”

Bladestorm Nightmare Wallpaper

In 2007, Tecmo Koei and developer Omega Force brought a new IP to the PS3 and Xbox 360, Bladestorm: The Hundred Years’ War. With the current generation currently running amok with remasters and definitive editions of game, Tecmo Koei and Omega Force decided to actually revitalize their IP in more of an expansion than a port called Bladestorm: Nightmare. Is this game worth the revitalization or is it a nightmare to steer clear away from?

Story: 4/5

Bladestorm: Nightmare contains two full-fledged story modes to experience. The first is Hundred Years’ War mode, which tells a fairly accurate historical rendition of, you guessed it, the Hundred Years’ War. Here you will create a mercenary that will take on contracts that work with either the English or French. You will aid famous characters such as Joan of Arc and Edward the Black Prince. You will see events unfold through the battlefield, as well as through diaries and conversations with soldiers in the main pub.

In the second and brand new mode, Nightmare, the developers decided to provide an alternate history with fantasy elements in place. Instead of a war between England and France, demons and mythological creatures are running rampant across the lands. The twist is that Joan of Arc, whom is known to be quite the heroine, is now the villainess commanding these demonic armies. Controlling the mercenary you created, you and Magnus (another mercenary) are both imbued with a sword that can take control of hordes of the demonic army. With this, you and Magnus are what actually stands a chance against the ever-growing army. You will be tasked with getting key characters to join your cause. Throughout Nightmare mode, you will see the events unfold in a familiar storytelling method that’s akin to Warriors Orochi 3 (Ultimate).

The stories in both modes are intriguing and promises something for those looking for a historical aspect or those looking for a fun, fantasy take on the history. In all honestly, it’s quite easy to get hooked into the game’s story and it’s cool seeing these characters care about the events unfolding.

 

Joan of Arc went through a bit of a change...

Joan of Arc went through a bit of a change…

Gameplay: 3/5

Bladestorm: Nightmare is an interesting game to describe genre-wise. It takes elements from various games where it’s part RPG, part strategy, and part action hack-and-slash. Seeing as how there are two games included with Bladestorm: Nightmare (Hundred Years’ War and Nightmare), each plays mostly similar with a few notable differences that will be mentioned. Let’s start with Hundred Years’ War.

You’ll start off by creating your own mercenary. Creating a character is fairly in-depth, allowing you to customize practically every single feature from body weight, facial structure, voice tone and pitch, skin color, etc. From there, you will enter the story and begin learning some basics to battle, such as how to command your squads, how the battle system works, and a few other elements to ensure you are off to a good start. Before actually partaking in battles, you will select your contract to accept at the local pub. This area provides to be the main area where you’ll take a break from battle to upgrade your character, buy and sell items, talk to other NPCs with information about the events unfolding on the battlefield, read diaries, and save your game. Upon taking a contract, you will begin your mission. Whichever side you choose to aide will not have any dramatic changes in the storyline, but how you play may change how missions will pan out.

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When out on the battlefield, you will have a squad follow you and listen to you on command. The type of squad varies, whether it is sword, bow, axe, etc. There’s an insane amount to choose from. Each can level up their stats so that more units follow your squad, and that their traits can improve as well. In terms of combat, if you are expecting to be a one-man army and just decimate your foes single-handedly, good luck because that most certainly isn’t happening. Combat is primarily handled by holding down the R1 button. Doing so will have you command your units to attack while your character will do the same to the nearest enemy automatically upon holding the button down. Depending on what you unit you have, they will either have an upper hand or lower hand to the opposing unit. This means that essentially certain units can deal more damage to the opposing specified unit. The game actually has a chart in-game to highlight which units go up against others best. When you form an army of squads, you can even unleash a “mass attack” to obliterate enemies with dramatic results.

Depending on the unit you control, the game’s dynamics will vary a bit. For example, if you’re part of a spear unit, you’ll most likely have a horse to ride on, which will make traversal a little faster than foot but will make you more prone to missing attacks. If you utilize the bow unit, you’ll be able to manually aim your well-placed arrows but shouldn’t take a chance leading a unit into close-quarter combat. The strategy plays a deep element into the overall gameplay in a satisfying way. Now in Hundred Years’ War, the more bases you take over on the battlefield, the more of advantage you will have overall. This will actually affect the next contract you take because the bases you took over will actually carry over. The battlefields are massive, with each feeling almost the size of an open-world in a separate game. Although, as cool and grand in scale as these battlefields look, traversing them takes forever…almost painfully so. Unfortunately, with these battlefields being massive, you’ll find yourself traversing more so than not with no enemies or NPCs in the area, leading to dull traversal.

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In Nightmare, the gameplay is essentially the same concept but is handled differently. Instead of being at a local pub to tackle contracts as a mercenary, you will progress in a straightforward chapter system. Throughout the game’s nine-chapter story (which can take between 6-12 hours depending on the difficulty you choose), you will work alongside Magnus and other key characters to form a united army to take down the demonic forces. Unlike Hundred Years’ War though, no matter how many bases you conquer on the battlefield, it will not stay that way should you return in a later chapter.

In terms of combat, it remains exactly the same but now with one key difference, you can control an army of monsters. Whether it is goblins, griffins, Cyclops, or even dragons, the dynamic switches up a bit with this. For example, you can actually ride a griffin, cyclops and dragon, which makes the scale of the battles even more grand. Actually leading a squad of these is just plain cool. It must be said that out of the two modes (Hundred Years’ War and Nightmare), Nightmare had me hooked a bit more since the progression was paced better.

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A cool feature is that both Hundred Years’ War and Nightmare are transferable amongst each other. Upon completing Nightmare mode, you can summon monster armies in areas that allow you to in Hundred Years’ War. Also, your character progression is seamlessly integrated between both games/modes. The entire game can be played in co-op, both local and online. However, if you’re playing the PS4 version, the infamously awesome Share Play feature is shockingly blocked.

As enjoyable as Bladestorm: Nightmare is, there were a decent amount of issues that hurt the experience a bit. First off, there are some bugs in the game. There have been several instances where my characters would run at a fraction of their speed and then revert to normal for absolutely no reason. I would be in the middle of an empty battlefield and this would occur, so I knew it wasn’t from some sort of enemy attack. While I understand that in reality they wouldn’t be moving that fast out on the battlefield, in a game, it can be daunting. Second, some missions have you protecting a key character who must traverse from point A to point B. The movement speed for this character is ludicrously slow that it becomes a real chore to complete these missions. Third, the final boss fight in Nightmare completely stopped at a halt during the final phase, where animations were frozen and AI wasn’t responding properly. I even accidentally broke apart my formed army and the controls wouldn’t respond at all to reform them; it wasn’t even showing the sub-menu to do so. Navigating menus can also be a bit convoluted to go through. Another issue was invisible walls. There were several times on the battlefield where my squad and I couldn’t advance at a certain point in town for no explicable reason. Despite the gripes that held back the experience a bit, I still found myself enjoying Bladestorm: Nightmare to return to it and keep taking over the battlefields.

BLADESTORM: Nightmare_20150317130656

Graphics: 3/5

Visually, Bladestorm: Nightmare isn’t the flashiest looking game. After all, it is a revamp of a 2007 game but without a lot of effort focused on the graphics. Yes, the game is now in 1080p and depending on whether you play on the PS4 or X1, the framerate will vary. While the developers stated the PS4 version runs at 30 fps, I found several instances more so where it dropped below that. However, that’s not to say Bladestorm is a poor looking game. The lighting and environmental designs are done quite well, breathing some life into the battlefields. Trees sway in the background and grass blades lend to that extra terrain effect. Characters look fairly detailed with flashy pieces of armor. The game showcases hundreds of characters on-screen at once which lends to that “battlefield” feel. Omega Force games are notorious for displaying a ton of enemies on-screen but with tons of pop-up within the environments. Thankfully with the power of these consoles, draw distance has been dramatically improved and can continue to do so with future installments released specifically for this generation. Animations are also fairly smooth considering the amount of characters on-screen, without any animation frames dropped for characters out in a further distance. It’s not exactly a game that will showcase the PS4/X1’s prowess, but it’s not a poor looking game either. It hovers that line of solid, but not overly impressive.

BLADESTORM: Nightmare_20150316233957

Sound: 4/5

Bladestorm’s best element may very well be its audio department. The sound of the armies advancing, the swords clashing, and enemies cries while they meet their doom all meet together to form a great audio experience. All the characters have English and Japanese voice acting that’s pretty serviceable and never quite reached “cringe worthy”. However, the real star here is the soundtrack. The orchestrated soundtrack that accompanies Bladestorm perfectly captures the game’s essence and setting. Whether you’re at the main menu, preparing for battle, or storming the battlefield, the music will go along superbly with the action at hand. It’s so memorable that I found myself thinking of the music whenever I’d leave the game and go about my daily life. The main gripe with the audio were the drop-out bugs. There were times where the sound effects completely dropped when entering a base and then would cue back in after taking it over. It wasn’t very often, but happened on a few instances where it was noticeable. Other than that, crank up the audio because this has one superb soundtrack.

BLADESTORM: Nightmare_20150317131513

Overall Score: 14/20 = 7.0 out of 10

Bladestorm: Nightmare is a game that truly surprised me. While it has some issues that hurt the experience, it’s still a good game that people who like strategy infused with RPG and hack-and-slash mechanics should certainly give a go. While there is a learning curve, I found myself easily captivated to keep returning once grasped. There’s something about commanding your own squads to form an army, then work together to decimate anything that stands in your way that is immensely satisfying. Couple the fact that there are two games packaged in one, with progression seamlessly carried between the two, and you have a pretty solid package. It may not be for everyone, and it may not have garnered a big audience in 2007, but Bladestorm: Nightmare is a game that should be experienced by any strategy and/or RPG enthusiast.

 

Pros:

+ The original 2007 Bladestorm is included
+ Seamless progression between both games packaged
+ Enticing gameplay
+ Fun storyline
+ Outstanding soundtrack

 

Cons:

– Several gameplay bugs
– Slow environment traversal
– Average visuals
– Overwhelming menu navigation

A special thank you to the publisher for providing us a review copy for Bladestorm: Nightmare! Copy reviewed on PS4.

Enjoy our review? Be sure to follow us on Facebook and Twitter: @GamersXTREME for the latest in gaming news and reviews.

Curious to how our review system works? Check out the About section.

inFAMOUS: First Light Review (PSN) – “A Bright Future for Add-On Content”

infamous-first-light-listing-thumb-02-20aug14

InFAMOUS: Second Son has proven to be a big step forward for the super-powered sandbox series of games, bumping up gameplay, visual appeal, and storytelling across the board and breathing new life into the series’ Conduit-filled world. Sucker Punch have also proven their ability to create robust, outside-the-box add-on content with their episodic DLC, Paper Trail. Now, the inFAMOUS developer is looking to flesh out one of the more prominent characters from Second Son with First Light. The stand-alone add-on explores Abigail “Fetch” Walker’s life in the years leading up to the events of Second Son, and promises to provide a new gameplay and storytelling experience. The question is, should you give First Light a look, or is it more likely to turn you off? Let’s find out.

Warning: SLIGHT story spoilers ahead!

For the uninitiated, Fetch is one of the major characters you’ll meet in Second Son, who lends her Neon-based powers to Delsin Rowe’s fight against the oppressive D.U.P. in Seattle. However, her past is as colored as her powers – and her dyed-pink hair. Told from Fetch’s perspective after her capture by the D.U.P., the game’s story begins with Fetch and her brother Brent, on the run and taking on odd jobs to survive. When an opportunity for one last score comes along, their involvement kicks off the events that take place throughout the rest of First Light’s story. These memories are interspersed between Fetch’s training sessions in the D.U.P. compound known as Curdun Cay, where Brooke Augustine (Second Son’s main antagonist) attempts to uncover the truth of Fetch’s past and unlock her more dangerous, latent powers to turn her into a living weapon.

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First Light does a great job of fleshing out Fetch’s story.

Sucker Punch have spared no expense in making First Light’s story just as engaging as Second Son’s, if not more so. Second Son players will have hints into Fetch’s past, the hardships she endured, and the tragedy she faced, but First Light does an excellent job of not only filling in the missing details, but telling the story with meaning. Laura Bailey reprises her role as Fetch in First Light, and does a downright phenomenal job of bringing her character to life. Like Delsin, Fetch has varying ranges of emotion, and they all come through with immense detail. And much like Second Son, First Light’s facial capture technology is second-to-none, making the game’s characters incredibly lifelike.

Considering Delsin has access to Fetch’s Neon powers, you might think that she would play like a carbon copy of the Second Son protagonist, with just a quarter of the pep; thankfully, while Delsin has versatility, it’s clear that Fetch is the real master of her powers. Fetch shares some of the abilities Delsin copied from her, such as precision shooting for instant takedowns, time dilation, fast running, comet drops, stasis bombs, and a karmic super move, but she’s also got some unique tricks of her own. Her melee style is more scrappy and fast-paced than Delsin’s, consisting of rapid, hard-hitting punches. Rather than having an ammo-based charge-up beam, Fetch can instantly knock out enemies in melee.This ability is fueled by completing melee combos and using dash attacks, and sets up an intriguing push-pull mechanic where you’ll dash-attack an enemy into a stasis bubble (granting you melee energy), then using that earned energy to immediately finish off your hapless foe. Players who like to eliminate their opponents at range will enjoy Fetch’s ability to stay in “focus” mode for longer by attaining consecutive precision shots on enemies, taking out whole crowds of foes before they can even react to you. Fetch can even fire homing neon missiles at opponents, perfect for taking down big, tough baddies.

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Fetch has as much a mischievous streak as Delsin.

Your time with First Light will mainly take place in two locations: The free-roamable city of Seattle, and the wave-based battle arenas in Curdun Cay. Seattle presents a similar experience to Second Son, allowing Fetch to freely explore the city, and like in the main game, go for map completion. “Tagging” returns as one of these activities, but you’ll have Fetch performing other actions as well, not the least of which is First Light’s new “Lumen Race” mini-game. When reaching designated areas in Seattle, Fetch can initiate a race, requiring her to use her speed running to catch a runaway ball of neon energy while passing through neon clouds to give her a boost of speed; it’s fast-paced and extremely fun. You’ll just wish you could replay them, because once you complete them all, there’s no way to start another one. That being said, Seattle represents the majority of the story-driven content in First Light; the arenas in Curdun Cay are what will keep you coming back for more. Players are able to face off against waves of thugs, D.U.P. soldiers, or even holographic demons while rescuing hostages and taking advantage of environmental weapons, such as hackable D.U.P. turrets. Along the way, you’ll be presented with dozens of challenges that will allow Fetch to unlock skill points to make herself more powerful and unlock additional abilities. Combining this with First Light’s myraid trophies (culminating in a Platinum!), these battle arenas will keep you playing First Light for a while after you’ve completed the story (and, indeed, Fetch’s strongest powers will only unlock once you beat the campaign). The only real downside to these modes is their simplicity – you go into each arena as Fetch (or Delsin, if you own Second Son) with whatever powers you’ve accumulated up to that point. There’s no currency, no power-ups to buy (though there are some present in the levels), and no real strategy to speak of. The goal is simply to eliminate waves of enemies and rescue hostages while staying alive. However, global leaderboards will give you a goal to reach for.

Visually, First Light boasts the same technical chops as Second Son, including an expansive city to explore, phenominal facial and model animations, and scintillating special effects (especially from Fetch’s Neon-based powers). It’s simply a gorgeous game to look at. First Light’s sound direction is good as well, if only by the virtue that it’s largely identical to Second Son’s soundtrack and effects library. There are a couple of new Fetch-themed tracks mixed in for key story moments, but you’ll quickly recognize familiar tunes while exploring the city and running Lumen Races. Considering how good Second Son’s soundtrack is, though, this isn’t necessarily a bad thing. Still, it does make it a little harder for First Light to stand on its own, rather than in Second Son’s shadow.

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For $14.99, First Light proves to be a solid bargain for all of the content provided to the player. The story is well-written, the gameplay is tight, and the graphics and sound are triple-A quality. The Curdun Cay battle arenas provide good replay value as well. While First Light does feel a bit stripped-down compared to Second Son, it’s hard to complain for everything you get at a quarter of the price, and serves as a great example of how to make DLC feel like a full-featured experience. First Light is definitely worth the purchase, whether you’re new to the series or a die-hard veteran.

Overall Score9.0 out of 10 = Buy it!

This has been an unsolicited review for inFAMOUS: First Light on PS4. Game purchased by reviewer.

OlliOlli Review (PS4/PS3): “A Near Perfect Run”

OlliOlli Logo Landscape

Decades ago, the sport of Skateboarding took storm across the United States. Over time, we’ve seen the sport make it’s way around the world. It’s popularity didn’t soar until roughly the time when legendary Tony Hawk wowed people from all over pulling off the first ever “900 Spin”. In the 80s, there was a retro skateboarding game called “720” that was quite the hit back in the arcades. During the 90s, the NES had a specific series called “Skate or Die”, which had two installments: the first being strictly about skateboarding events, while the sequel was an outlandish adventure. In 1999, we saw one of the most rewarding and groundbreaking skateboarding titles release, Tony Hawk Pro Skater. The game was a critical and public success that skateboarding itself really gaining a significant amount of attention. Since then, we’ve seen other game developers bring about their renditions of skateboarding titles, with the next biggest success residing with EA’s SKATE series. Back in January, UK-indie developer Roll7 released a reinvigorating skateboarding title exclusively for the PlayStation Vita called OlliOlli. Now, the developer has ported the hit title to Sony’s home consoles, both the PS4 and PS3. Does the developer pull off a perfect run on consoles?

OlliOlli is a 2D skateboarding platformer that meshed together the arcade style feel of Tony Hawk Pro Skater, while providing a complex and rewarding trick system that the SKATE series achieved. Remarkably, the game takes those two styles and perfects the mechanics in a way where it sets its own bar. OlliOlli brings you immediately into the gameplay, offering a tutorial that brings you up to speed in minutes. You’ll learn that OlliOlli is one of those games that’s simple to pickup-and-play, yet incredibly complex to master. Controls and tricks are mostly handled with the left analog stick (or D-Pad if you prefer), while kicking off for speed handled with the X button. The Vita’s analog sticks worked great for this but now with the DualShock 4 analog sticks, it provides more precision than ever to pull off tricks. Pulling off an ollie is simply done by pushing the analog stick down and letting go, while tricks are done by pushing the analog stick in a direction or rotation. Pressing the L2/R2 buttons will result in you pulling off spins to your tricks, as well as nollies. To grind, you’ll simply press down on the analog stick, without any worries of balancing. Although you will have to be concerned on the amount of speed you can lose while grinding, which if you come to a halt, you’ll fall off your board and bail. Pretty straightforward so far, right? Well, now comes the intricate mechanics.

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Pulling off tricks and linking them together, between grinding and proper flip tricks, is quite intuitive and engaging to grasp. However, if you want all those hard-earned points to count, you’re going to have to land perfectly. That’s right, landing is actually a whole additional mechanic that can make or break your run…literally. To land a trick, you’ll have to press the X button, but at the proper timing. The time you press the X button will determine the rating you’ll receive, which also factors the amount of points you’ll earn. The rankings are as follows: Sloppy, Sketchy, Ok, Sick, and Perfect. Sloppy will net you only a few points, while Perfect will earn you thousands of points. Pulling off a Perfect landing is immensely rewarding and once you nail the timing, it’ll become second nature to achieve. Even when grinding, you’ll have to press down on the analog stick at the right time to earn a “perfect” grind. Doing so will actually affect the speed you maintain to grind. Maintaining a solid line and earning a perfect combo is what it’s all about if you want to rack up a ton of points.

The Career Mode will have you tackling 10 levels within five environments: Urban, Junkyard, Base, Port and Neon City. Five of the levels are handled on Amateur difficulty, while the other five are for Pro. Each level contains five objectives to complete, whether it be earning a high score, earning a high combo, completing a specific gap or line, collecting items, etc. To advance to the next level, you need to only reach the end of the run, even if you don’t complete any objectives. However, achieving all the objectives in a level will unlock the Pro level of that run. The levels will ramp up in difficulty and intensity nicely, without making the player feel degraded from what they’ve learned. Should you bail, it’s back to the beginning of a run. Luckily each run lasts for about 30-90 seconds. You’ll have to watch out for various obstacles, including grass, snow, stairs, spikes, barricades, etc. Now should you completely every objective in every level (both Amateur and Pro), you’ll unlock RAD Mode. RAD Mode will test out the most skilled players by success only being achieved solely through Perfect Grinds and Perfect Lands. Anything else will result in a seriously painful, run-ending bail.

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Aside from the Career Mode, there are also 50 spots to take on. Every level you complete in the Career can be tackled in Spot Mode afterwards. Spot Mode has you doing a specific run in the level where it’s all about pulling off the highest score you can, all within a single combo. Your score will then be posted on the leaderboards, so you’ll be able to see where you rank amongst your friends and other players around the world. Additionally, Roll7 incorporated a Daily Grind Spot, where everyday you can partake in a single event against all players. You’ll be able to practice the run before posting for a score, and the reason you’ll want to do this is because you only get one shot at the run. Whatever score you get, even if you bail, is all that counts…no do-overs. Upon completing the run, you’ll see what rank you achieved worldwide throughout the 24 hour time period of the Daily Spot. It’s a terrific mode that has you coming back constantly. No matter which mode you’re playing in OlliOlli, you will certainly find yourself coming back for more, time and time again. Even after taking breaks from the game, I was always eager to jump immediately back in and try to perfect more runs. One new feature brought to the console versions is the Friends Leaderboard (which will also be available via patch on the Vita at the release of the console versions). This is certainly a welcome addition, but would’ve been nice to see a true multiplayer feature incorporated here. On the flip side, thanks to the PS4’s “Share” button, players will now be able to post their runs for everyone to see online. This is definitely the type of game to share runs of and even stream live due to how gratifying it is to witness someone doing a sick run.

Visually, OlliOlli is a nicely hand-drawn, retro-style game that harkens back to the classic days of gaming. The main enhancement here is that now OlliOlli is in full 1080p HD from its jump on the Vita to the PS4/PS3. You notice immediately the crisp and cleanness to the game right from the get-go compared to the Vita version (which already looked excellent). Animations are fluid and detailed, while retaining the old-school vibe. The skater himself moves quite smoothly, even when bailing. The more he bails, the more of a beating you’ll notice on him where clothes will rip and blood will run down him. It’s nothing “too” bloody, but it’s a noticeable detail for added effect. Environments are nicely detailed as well, with numerous objects pertaining to specific areas. The Base area will have tanks and airplanes to grind on, while Neon City will have a bullet train speeding by in the background with neon signs and purple Godzillas to grind on. OlliOlli’s soundtrack is very suitable, accompanying the gameplay and setting very well. Added in the PS4/PS3 version of the game is the ability to also skip music tracks. This is a very nice addition so that you can get to your favorite song that’s your jam during a run. The sound effects are top-notch, with every audio clip perfectly matching the skateboarding and boarder perfectly. Whether you ollie, grind, land, trick, bail, or collect an item, it all sounds precisely like it should.

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OlliOlli was an extremely well-polished, superb title for the PS Vita, and the transition remains precisely the same on consoles. Much like the Vita, this is the PlayStation 4’s first skateboarding title to grace the console, but it also one of the best indies to release on it as well.
Roll7 has delivered an amazingly rewarding and addictive skateboarding title that truly should not be missed. In the way Tony Hawk Pro Skater kept me coming back for more back in the day, OlliOlli achieves the same feel and experience that’s very much needed. Add in the fact that the game has Cross-Buy and Cross-Save functionality across the PS4, PS3 and PS Vita, there’s almost no reason not to pick the game up. Here’s hoping we see an OlliOlli sequel in the near future. Until then, back to perfecting lines I go.

Overall Score: 9.5 out of 10 = MUST BUY!

A special thank you to Roll7 for providing us the review copy for “OlliOlli”! Copy tested on the PS4.

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Deception IV: Blood Ties Review (PS3/Vita): “The reason we have the ESRB”

Deception IV Cover

Have you ever gone through a game and thought to yourself: “Man, the bad guys are always overpowered. Where’s my amazing abilities and cheap combos?” Well wonder no more. Deception IV places you on the other side of the story, as in, the ‘oh so good to be bad’ side! Utilizing an incredible arsenal of various traps used to surprise, torment, combo, torture and ultimately finish off your enemies, you may have to adjust to the feeling of being… evil. Do you have the stomach for it?

Story: 2/5

You play as Laegrinna, a seemingly innocent looking, adorable and calm mannered girl… who is also the daughter of the devil. Together with your three daemon “witches”, you have set out to claim 12 magical verses inscribed on slabs that bind your father (the devil) in the afterlife, keeping him from reigning over the world. By recovering all of the verses, held by descendants of the virtuous and holy who bound the devil, Laegrinna will be able to undo the imprisonment and give the earth back to the most powerful and “deserving”.

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Deception IV never really goes into detail about why Laegrinna is trying to bring back her father. Other than being evil, and taking over the world is what evil people do, you primarily have to just go with it. Some repetitive dialogue cutscenes detail the game’s 12 chapters as you progress from one location to the next, collecting verses off of fallen bosses. Again, while there is really no explanation given (or needed), the owners of the verses seem to be attracted to the other verses, allowing you to basically sit and wait for the next hot shot to come in seeking glory for slaying the “witch”.

Deception IV never really builds a decent climax, or shrinks down to a low, it’s a pretty steady paced game without a real enticing plot line. In fact, the one recurring sequence of mystery potentially holding an exciting twist or story development is completely forgotten and never given any substance, making the completion of the story seem merely inconsequential. To be honest, if this is what it’s like to progress as the bad guy, I’d rather be a henchman without a name tag, but at least a life outside of taking over the world.

Nonetheless, I have to give credit for taking everything we have come to know as a “noble quest” and completely flipping it on its side. Being evil throughout the story actually did make me feel less empathetic towards my enemies and more focused on the end goal, by any means necessary. While I definitely can’t say I was engrossed in the story, I will admit that the progression pace and dialogue from time to time did enhance the gameplay slightly.

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Gameplay: 5/5

​What’s interesting about Deception IV is that you don’t play as some all-powerful character able to cruise their way through to the end based on self-growth alone; you need the demonic help of three “witches” – or daemons. Caelea, the daemon of elaborate death, Veruza, the daemon of sadistic torment, and Lilia, the daemon of humiliating demise, aid in your retrieval of the verses as well as most of the dialogue in the game. In fact, you have almost no powers, other than to call on the powers of your daemons. Laegrinna is actually very weak and she cannot fight. Instead, she uses carefully placed traps to ensnare victims and rob them of their lives. Each location is set up like a grid, with each square being a spot you can place certain traps. There are three types of traps: wall, ceiling and floor – being that each type of trap will appear from one of those locations. Your three daemons dictate what each trap may be themed after. Elaborate traps have a specific inclination to link other traps together, creating large combos by which you can hurl enemies around, inflicting more and more damage as more traps are used. Sadistic traps are used predominately to inflict damage. They work very well to get past defenses as well as catch an enemy off guard. Humiliation traps however are merely meant to amuse. While they are sort of in between the other two types, they really have a knack for bringing the funny out in death (picture a giant yo-yo crushing someone).

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​You start off with only a handful of traps to use. However, as you progress, earning more elaborate, sadistic or humiliation points, you can buy new traps with a never explained currency called “warl”. The different traps appear to be never ending, constantly adding new possibilities to torture and kill enemies. While some appear to be similar, they often hold different qualities which can affect enemies in different ways. There are a handful of different categories of traps as well. While wall, ceiling and floor dictate how the trap will appear and can be placed, there are subcategories that give reason as to how the trap functions and affects enemies. For example, there are fire traps which burns enemies, enrage traps that cause the enemy to forgo their inclination to avoid harm’s way, as well as crushing, freeze, electric, piercing (etc) traps. Utilizing different types of traps is the key to defeating different enemies.

The enemies in Deception IV are all given personalities. Some are knights, assassins, brawlers and even regular townspeople, and each are given a backstory which may help in determining their weaknesses, as well as how they will perform on the battlefield. For example, many townspeople will run when they get hurt, while knights will chase you down even if they are an inch within death. Also, some enemies wear armor or hold particular abilities which may disable the use of different types of traps against them. Some enemies can jump over obstacles, sense traps or even heal themselves and others. All enemies learn where traps have been placed as well as try their very best to kill you, so when you’re pitted against up to three enemies, you need to be wise about who to attack first.

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​As stated before, pairing different types of traps against enemies in a combo is the key to success (and by success, I mean mercilessly killing them without a second’s thought). Some enemies will be resistant or invulnerable to different types of traps. Resistant to a trap means that type of trap (electric/crushing/blinding) will not affect them if used first in a combo. However, link it after the enemy has been taken by a different trap and you can use it against them. Invulnerable however means that no matter how much you try, you cannot use that type of trap against them – so stock up on traps wisely! Enemies wearing armor will also take less damage from traps, so breaking it is essential. You can do this by carefully performing a trap combo, including the enemy’s weakness in the chain, then launching them into the air. The trick is that you never really know the enemy’s weakness. Many can be determined from the character’s brief backstory, but most of the time you’re left to a trial-and-error scenario.

​Overall, the pure strategy needed to defeat even the most menial enemies is extremely satisfying, but when a boss is thrown into the mix, you really need to plan out your attacks carefully. The surprising thing about Deception IV is that even though the strategy is fundamentally the same for each enemy, and you may utilize the same trap sequence over and over again, I never got tired of it. Location is an important element in the game, as traps are placed in a grid lock formation and enemies obviously do not move square-by-square, so getting a large trap combo to successfully land is extremely rewarding. Timing as well as knowledge of how your enemy will progress are both very important; and therefore you truly feel as though you are meticulously planning each individual’s demise, giving off the feeling of being a higher entity than those who oppose you. Nonetheless, boss fights and multiple enemies coming for your head provide an excruciating challenge and should not be taken lightly. Proper preparation and careful planning are wildly rewarded.

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​As you progress through the story, you will encounter different challenges provided by your daemons, rewarding you with appropriate point boosts to each particular theme (elaborate/sadistic/humiliation). These often include utilizing arena specific traps. Traps that are placed within the arena offer type boosts as well as continued combo potential. There are also larger traps in arenas dubbed “trap-mobiles”. These mobile traps require high levels of strategy to engage but reward you with large point and damage boosts, as well as a special quicktime event if you kill an enemy with them! Completing these challenges in story missions give you large boosts in character progression, which is beneficial toward unlocking new traps. However, if you would like another opportunity to earn new traps, there are other game modes. Missions give specific qualifications that need to be met for completion, and free battle allows you to set the goals. While only missions give the currency (warl) to buy new traps, free battle gives the opportunity to create, share, and download other’s challenges. As a whole, there is plenty of game to experience, especially as the strategy incorporated into the game makes the story chapters and missions take much longer than anticipated, without any loss to enjoyment. There is just something about brutally torturing a righteous soul beyond that of forgiveness that makes you candidly understand what it is like to be evil.

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Graphics: 3/5

​Most of the locations in Deception IV are dark and dismal arenas of death (as fitting to the nature of the game), therefore there really isn’t any room for a “wow factor”. Light effects are near non-existent, even when flickering torches light a hallway and character repetition, as well as pixilation, can be faintly distracting at the start of the game. While textures do add depth and feel to the game, the real quality is in the traps. Each trap is beautifully rendered when in comparison to the rest of the game, and since this is what you’re mostly focusing on during gameplay, you will hardly have time to notice the under-equipped details in the environments. A thrilling zoom follow feature allows you to lock-on to enemies to get a close-up angle to the action, letting you follow their horrendously painful demise. You can also use this feature to plan the start of a combo, or anticipate attacks from afar. On the PS3 version of Deception IV, you can also record and upload to YouTube the combo sequences from this perspective!

The primary drawback in Deception IV are that cutscenes are merely dialogue events, showcasing protagonists and antagonists as cutout characters with text underneath. This never gives the game an opportunity to go beyond the quality found in the gameplay. However, as stated, the trap effects and textures supersede the rest of the game and allow to you forget the weaker portions of the graphical quality.

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Sound: 4/5

​The eeriness of a deserted castle or the playful terror of an old amusement park are captured wonderfully by the soundtrack in Deception IV; and more importantly do not interfere with the intense calculations needed to strategically plan an attack on an unsuspecting enemy. The reactions to the torment of said attack are a different story however. The screams of agony from enemies as they’re ripped to shreds by a descending saw blade tend to get slightly annoying. That’s not just the removal of all empathy the game has installed in me taking over, the enemy’s voices can be really annoying. Most of the voices from enemies are reused and therefore get old pretty quickly, but then again how many different types of screams do you want? Luckily, you can turn down voice sound effects if you find the repetitive sounds of anguish too much to endure. While main character’s voices are clearly different and seemingly fitting to their composure, you will have to deal with everything being in Japanese.

Again, the traps take the glory here as each sound effect adds real weight and life to the effects of the torture inflicted upon your enemy. The real benefit to these sound effects is the ability to utilize them in completing combos. More often than not, I found myself overwhelmed with enemies, therefore not able to zoom and lock-on to an enemy to correctly time a combo. By listening to the trap effects, I was able to tell when one had finished and when to start another, thus prolonging my combo and allowing me to finish off an enemy easier. The enemy’s screams were also a very distinct indication of when a trap had successfully struck, giving more success to the strategy and careful attention to detail necessary to finish off an enemy. After some getting used to the game, I found the sound effects were mostly well balanced, but you can tweak them generally to fit your preferences.

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Overall Score: 14/20 = 7.0 out of 10
Coming in completely blind to the series, I had no clue what I was getting myself into. While playing as the bad guy (erm… girl) set me off guard for a minute, I quickly found it an enjoyable change of pace. Gameplay is extremely addictive and unlocking new traps is exceedingly enticing, only to be overshadowed by the pure ecstasy of landing a devastating trap combo. While the graphical quality isn’t distracting, I felt it could have been improved, especially considering the lack of resources necessary for the cutscenes. The sound effects were substantial for traps, but tended to get repetitive for characters, even if it helped to understand where they were at in my cycle of death. Quickly into the game, I became enthralled with tormenting my adversaries, and that feeling never seemed to subside. If you don’t mind being a part of the statistic that shows why we clearly need the ESRB, I would highly recommend picking this game up.

Pros:
+ Wonderful strategy element
+ A plethora of traps to choose from
+ Zoom and lock on feature clever and useful
+ Challenge level provoking and rewarding
+ Being evil is fun!

Cons:
– ‘Cutscenes’ were merely dialogue
– Weak story element
– Screams got annoying
– Environment quality inconsistent with the features of the game

A special thank you to the publisher for providing us a review copy for Deception IV: Blood Ties! Copy reviewed on both PS3 & PS Vita.

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