Most series and studios find themselves typically relegated to either single-player or multiplayer with only the occasional crossover between the two, but famed Dark Souls creator FromSoftware finds itself in an odd spot with Elden Ring Nightreign. I don’t think anyone would honestly consider Elden Ring a multiplayer game, but it does the job surprisingly well from years of Souls experience culminating in a pretty coherent, engaging online experience. Elden Ring Nightreign then is both the summation and flipside of that experience – it’s friend-focused first and foremost with a dash of solo play, and it’s the best version of a multiplayer Souls experience that I’ve seen so far.

It’s also the most hectic version of FromSoftware’s games to date. While Elden Ring encourages exploration, Elden Ring Nightreign laughs at the idea and promotes efficiency instead. If FromSoftware ever makes an Elden Ring 2, I’d consider playing Elden Ring to still be more of a prerequisite for playing Elden Ring Nightreign than it would be for playing the sequel. If you haven’t played Elden Ring or haven’t played in awhile, don’t be surprised if you’re lost in the tempo of Nightreign.

Nightreign‘s haste is thanks to the game’s most formidable boss of all: the always advancing ring of fire pushing players towards nightly boss fights. FromSoftware’s signature lore wrappings explain much of Limveld in an expectedly convoluted way, but if you’ve played a battle royale or an extraction game, you’ll understand constant movement is the key to survival, and the same is true for Nightreign. Asking yourself “Do we have time to do this?” is just as important as “Are we strong enough to do this?” in Nightreign, perhaps to a fault sometimes.

Getting behind in Elden Ring Nightreign feels absolutely brutal to the point that you just want to quit the run, but doing so forfeits all your would-be prizes. If you die in Nightreign outside of major boss fights, you lose a level which impacts all your core stats and puts you behind your teammates. You can reclaim your runes just like in Elden Ring, but only if you pick them back up or beat a nearby enemy that absorbed them. When time is of the essence, however, it’s supremely stressful to see a flashing level reminding you of your setback while knowing every second you’re fighting to reclaim your runes, you’re not doing something else that could advance your run. Once players get a feel for the pace of Nightreign, it’s even more daunting to head into a boss fight knowing what level you should be at versus what you actually are.

I’m painting a pretty harsh picture of Nightreign and Limveld here, but the whole setup is quite fair despite its punishing nature. FromSoftware establishes the rules and consequences quite well, so you’ve only yourself (or your teammates) to blame if things go awry.

To that end, Elden Ring Nightreign does have one glaring multiplayer problem. Loot pools are exceptional, character classes mesh well together, and the boss rush structure is a rush itself, but voice comms are sorely missed in Nightreign. There’s no text chat either, so partying up with friends and using third-party services will be the only way to truly communicate outside of pings and hopeful gestures. FromSoftware has no precedent for voice comms in-game, so its absence isn’t entirely unprecedented here, but if it were ever a time for the developer to try it, this was it.

Despite that criticism, some of my favorite Nightreign moments were probably only possible because of a lack of voice chat. If a teammate pings a location and takes off that direction, you’re sort of obligated to follow them for the benefit of the team, but the shared sense of unspoken discovery and accomplishment is tangible even in a mute world such as Limveld. Seeing a Recluse pop their Soulblood Song ultimate or a Guardian or a Raider revive you with Wings of Salvation or Totem Stela are go buttons just as if someone was calling the shots. When you and your teammates are spamming the guard input at each other after a successful boss fight, what more really needs to be said anyway?

As for the bosses themselves, if you’ve ever downloaded a boss rush mod for a Souls game or anything else from FromSoftware, Elden Ring Nighteign was made specifically for you. Those waving away Nightreign as just a boss run game are overlooking the fact that, for a significant portion of FromSoftware fans, an officially sanctioned boss rush experience is exactly what we’ve been requesting for years now. FromSoftware could’ve easily been overly reliant on Souls bosses too since their return was such unheard of choice, but the Nightlord bosses are simply unmatched in Limveld. Everyone will have their favorites of course, but the stages, scores, and designs of the Nightlord boss fights make even the most annoying battles memorable.

A few more gripes stand out in Elden Ring Nightreign. HUDs and menus that could be much more descriptive, and the plucky attempt at parkour and mantling could be a bit dependable when a ring of fire is at your heels, but FromSoftware has a pretty impressive track record of upkeep with its games. Elden Ring Nightreign already has a phenomenal foundation, and an online-focused game like Elden Ring Nightreign should be the pinnacle of FromSoftware’s post-launch support, so I’m more excited for the future of Nightreign than I have been for any of FromSoftware’s games before it.

Rating: 4.5/5

The post Elden Ring Nightreign Review: The Boss Rush I’ve Always Wanted appeared first on ComicBook.com.

Blades of Fire is a bold new IP from MercurySteam, a developer best known for working with other studios’ IPs, including the likes of Metroid Dread and Castlevania: Lords of Shadow. MercurySteam has delved into its own works before, but Blades of Fire is the culmination of everything the studio has done. Upon booting it up, I was instantly thrust into an enchanting yet dark fantasy world. I battled hordes of enemies and deadly bosses in brutally strategic combat, explored diverse environments, and discovered a story inspired by nostalgic works. Blades of Fire certainly heats up the action RPG genre with unique ideas, but some areas clearly needed more time on the anvil.

Combat is the most important aspect of Blades of Fire. A mix of Soulslike elements, a touch of God of War influences, and MercurySteam’s own original systems create a thoroughly enjoyable combat experience. Early on, I was forced to master a four-way targeting system or die, attacking foes’ heads, left and right sides, or their lower half. Enemy weaknesses determine which area suffers damage and which would cause my strikes to bounce off. Weapons also offer different attack types like slashing, piercing, and blunt, with some weapons allowing you to switch between two types by changing which part of the weapon is used.

Further tactical elements are added in weapon type and durability, enemy placement and patterns, and a defensive system featuring dodging and blocking. Weapons are the core of Blades of Fire, providing almost all of Aran’s (the main character) stats. Equipping the right weapon is crucial not only to defeating enemies, but staying alive. Blades of Fire will highlight what parts of an enemy are vulnerable to the equipped weapon and which are resistant to it. Enemy weaknesses are made more complicated based on the weapon’s durability, losing weaknesses if the weapon is dull or an inefficient type.

Combat mostly feels fair in Blades of Fire. Some enemies are downright infuriating due to annoying mechanics, while others are merely challenging due to how many enemies and types are bunched up. Bosses, on the other hand, feel very fair and provide some of the most fun. Mastering Blades of Fire’s combat takes time, but getting the rhythm of it and learning what weapon is right for the job feels incredibly rewarding. Its slow and deliberate style proved to be one of my favorite combat systems in gaming.

Forging is the second most important part of Blades of Fire. Every weapon that Aran uses, except the two starting weapons, was forged by my own actions. Every stat it uses is determined by the material chosen and by mastering the forging mini-game. The goal is to forge a weapon with the most stars, thus increasing its reparability. The materials chosen influence a weapon’s damage, durability, sharpening cost, stamina, weight, length, and more.

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Weapon durability is reflected in the quality of the forging. Weapons have a limited amount of durability, which is reduced when attacking enemies and when sharpened. Sharpening does restore a weapon’s damage output but reduces its durability, thus sacrificing longevity for damage. When a weapon’s durability reaches zero, it will break. It can then be repaired a number of times equal to the stars it was forged with. This creates a risk-reward system and forced me to manage my weapons carefully.

Where Blades of Fire is at its weakest is its story. I was treated to a brief exposition explaining the current world events before a friend of Aran was killed. Aran then wakes up the next morning and sets off on a mission to kill the evil queen. He is joined by Adso, whom he has just met, and the two adventure together, bantering as if they have known each other for years.

It feels very rushed early on and gave me no time to get my bearings. It eventually gets better, especially as you uncover lore from exploration and filling up Adso’s journal, but I found the surrounding world narrative more interesting than the actual plot. Blades of Fire’s NPCs offer charming moments and have loads of character, such as Glinda, a former Master Forger who wants nothing to do with Aran and his quest. The dynamic between Aran and Adso feels natural, and I quite enjoyed their moments together. But MercurySteam needed to have spent more time introducing the two and building this relationship for it to fully pay off.

The lackluster story is disappointing because of how incredible the world is. The background catalyst, the evil queen turning steel into stone, leaving mankind with no way to defend themselves, is incredibly interesting and drew me in. Discovering additional lore about the world only made me want to learn more. This paired well with the beautiful environments and aesthetics reminiscent of dark fantasy movies from the 80s like Excalibur and Labyrinth. I found myself getting lost in the vivid landscapes and dark dungeons as I searched for upgrades and completed puzzles.

However, I literally got lost in several areas. Some areas felt like actual labyrinths, and I often got turned around. Pairing this with the poor map interface gave me quite a few headaches trying to figure out where to go. That said, Blades of Fire does offer ways to open paths to make exploring and backtracking easier as well as a fast travel system. This gives it a Metroidvania feel that I loved. Overall, I appreciate how the game didn’t hold my hand on telling me where to go, I simply wished it were easier to get where I needed to be.

Blades of Fire is a promising game, especially for a new IP. MercurySteam has laid an excellent foundation, picking and choosing the best elements from other action RPGs and combining them with new ideas to create this engaging amalgamation. The world is fleshed out and a delight to discover, and the combat is the perfect balance of challenging and rewarding. The story of Blades of Fire needed more time and attention, but it served as a fine enough vessel to propel me through the delightfully dark world. 

Rating: 4 out of 5

Blades of Fire was reviewed on PlayStation 5. A copy of the game was provided by the publisher for the purpose of this review.

The post Blades of Fire Review: Forged in Greatness appeared first on ComicBook.com.

The legendary Doom Slayer has felled Satan and thousands of his greatest minions, ones carrying more primal hatred and lethality than hundreds of undamned souls. Heroic feats like this, though, are only bested by his ability to morph and stay relevant after nearly birthing a genre  — or at least heavily popularizing it — over three decades ago. DOOM: The Dark Ages carries on that tradition by being a soft reinvention of the bloodthirsty franchise. It’s a unique sequel, as it both reframes DOOM’s core strengths while also demonstrating some of the issues that come with constant refreshes.

The Dark Ages differs from earlier entries because of how grounded it is. The Doom Slayer can no longer flutter around and air dash between monkey bars spread across the battlefield like he could in DOOM Eternal. Instead, developer id Software has taken away his ability to dash, swing around, and double jump and replaced those moves with a hearty, chainsaw-infused shield. He’s less Spider-Man and more Captain America now, albeit with a significantly more insatiable penchant for fatal bloodshed.

The shield is a microcosm that represents the conflict central to The Dark Ages’ core. It is rewarding to toss out the spinning disc, bisect a few grunts for some easy loot drops, catch it just in time to parry a raging Hell Knight, and then dash 20 feet to bash the hell out of an unsuspecting Imp in the span of just a few seconds. The booming sound design that clangs with every parry and the array of particle effects ensure that players see and feel each one, and those aural cues (along with the obvious, bright green visual cues) are essential for a mechanic this foundational. 

There are tangible benefits of the shield. Weaving through bullet patterns to just barely deflect the lone green fireball adds small doses of the tension found in bullet hell shoot-em-ups, and parrying back-to-back uniquely timed melee blows recalls some of the more tense encounters in Sekiro: Shadows Die Twice and Lies of P. It’s an offensive defense that cleverly gets around how effective circle strafing has been in the past by forcing players to engage with a flurry of unique bullet patterns or aggressive close-quarters foes.

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Chaining all these moves together to carve out a path of unbroken destruction is a rewarding journey since it requires learning new skills that aren’t just carryovers from DOOM Eternal or the 2016 reboot. Knowing when to shield bash and when to bonk a demon with the new resource-yielding melee weapons requires a different kind of timing, after all, and getting faster and more efficient evokes a murderous flow state that few games can attain. And this constantly evolves through the campaign as it skillfully paces out its cavalcade of upgrades; there’s always something new to add to your demon-slaying repertoire.

But The Dark Ages’ approach has some shortcomings when compared to the blazing-fast speed of Eternal. Blocking and parrying isn’t as universal of a defensive mechanic as dodging and can sometimes lead to scenarios where getting hit is inevitable since it’s not always possible to disengage from the chaos without a dash. Deemphasizing the mini-Fatality-like Glory Kills also contributes to this notion. Glory Kills in the prior two games were strategic breaks in the action that rewarded disciplined demon hunters with a short breather that also let them gather a bigger abundance of resources. Most can’t be killed with Glory Kills in The Dark Ages, so the tactical dance of damaging a demon just enough to stun them is disappointingly reserved only for bigger baddies. Enough resources spill out no matter how they’re killed, too, and the tougher ones — aside from aerial executions — don’t even have a special kill animation. Simply kicking a massive Cyberdemon is not the fulfilling coup de grâce it should be.

The Dark Ages’ combat loop falters a little when compared to its predecessors, yet it’s still thrilling most of the time and showcases id Software’s finesse making first-person shooters; the team even excels when it’s not doing its best work. However, the main issue is how players have to dig to extract the goods at The Dark Ages’ core. The default settings do not show off the game in the best light and require heavy tinkering with its many accessibility-focused knobs and levers.

Having such forgiving parry timing does not make them feel earned. Almost always having near-maximum amounts of ammo deemphasizes the melee weapons and means players can fall into a predictable trance of using the same weapons and strategies. Slower projectiles and less aggressive adversaries also downplay the shield that is central to the experience. Even the music — which is full of decent, fast-paced metal that’s sadly still not close to the stratospheric highs of Mick Gordon’s iconic electronic-laced compositions — is strangely at a relatively low volume at the outset. It’s welcome to have all sorts of ways to fiddle with everything, but DOOM is at its best when the pressure is high and the beats are thumping, so it’s bizarre to have a collection of unoptimized default settings that don’t highlight those strengths.

Not everything can be improved in the options. The Doom Slayer can also ride a dragon and bipedal mech called an Altan in certain levels, but these alternate demon-killing methods lack the depth of the core combat. Taking down aerial threats with the mechanized winged beast boils down to an overly simple dodging mini-game. The Pacific Rim-esque mech runs into the same issue, albeit with melee mechanics that hardly go beyond dodging slow, green-tinged punches and mashing the attack button. They change up the pace, benefit from the smooth controls at the game’s core, and don’t go on for too long, but DOOM’s shooting mechanics have typically been strong enough to not require distractions like these, and the same is true for The Dark Ages. 

The Dark Ages’ narrative isn’t much more than a distraction, too, as it missteps in a few key places. The lack of transitions between some places is usually jarring, and the interesting ideas it poses in the beginning around who controls the Doom Slayer are glossed over in second half when the game introduces its random “chosen one” plot thread for a major side character and pads out its playtime with filler levels with objectives. These stages are almost always gorgeously rendered and take the series to refreshing and remote realms it has not gone to before, but the justification for traveling there isn’t always strong. DOOM doesn’t require a deep, twisty tale, but the 2016 reboot and Eternal showed that it was possible to craft a decent story within the series’ restraints.

DOOM: The Dark Ages is chronologically the first DOOM game in the most recent trilogy, but it also feels like it was developed first. While it’s got rousing gunplay that prioritizes parries and weaponized defense, it’s also got enough fluff — a less tactical Glory Kill system, merely passable vehicle sections, a campaign that meanders near the end — that’s unbecoming for a game that came after two tightly tuned installments. But even with these flaws, id has still crafted an experience that stands tall in an ever-shrinking market of single-player first-person shooters. Even an ever-so-slightly unfocused Super Shotgun blast like this still packs quite a punch.

Rating: 4 out of 5

DOOM: The Dark Ages is available on May 15th for Xbox Series X|S, PlayStation 5, and PC. A review copy for PS5 was provided by the publisher for the purpose of this review.

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In the entertainment industry, authenticity is a rare feat these days. When differentiating yourself from the crowd, many take the easy route of walking the road with the most successful results. Luckily, one new indie game that has stood out since its reveal this past year aims to drive home the immersive experience in a more hands-on approach – MoonHood’s The Midnight Walk. Boasting its claymation and stop-motion design up front, this cozy horror title molds a sculpted path with twists and turns.

The Midnight Walk is a dark fantasy adventure title handcrafted by the folks at MoonHood, a small independent studio in Sweden. This story is told through the watchful lens of The Burnt One, who befriends a lost lantern named Potboy, whose flame is the only way of bringing back the light in a world basked in darkness.  While this is its first project behind this banner, the co-creators worked on the 2021 gothic fairy-tale action game Lost in Random and the 2018 puzzle platformer Fe. These past projects dive into the darker aspects of fantasy storytelling, specifically Hans Christian Andersen, whose spirit rings true within the poignant poetic dialogue of The Midnight Walk.

When it comes to being authentic, MoonHood has delivered quite the spectacular result, as all of the over 700 assets in the game were hand-crafted using natural materials like clay, and 3D-scanning them into the game engine. We’ve seen claymation done before in recent years, with games like South of Midnight and Harold Halibut, but The Midnight Walk fully embraced the pursuit and executed something that seamlessly blends reality and fantasy. There’s something so oddly eerie yet beautiful to watch with stop-motion animation, especially with claymation, which hones in on the whimsical architecture of the environment but sends shivers down your spine when it needs to.

With visuals reminiscent of The Nightmare Before Christmas, The Midnight Walk guides you along the Midnight Walk, a treacherous path filled with mystery, wonder, and horror. Throughout this seven to six-hour game, players must endure the assortment of grotesque monsters whilst learning about the citizens who live along the road. Simplicity is at the heart of its gameplay, with the overall objective of making it to Moon Mountain, you’ll tackle different playstyles, which include shooting a matchbox gun to closing your eyes to stop monsters from devouring you in the most disgusting ways possible. While it can be said that a lot of attention was paid to the scenery and characters, the gameplay feels tethered to the story in a way that almost feels like you aren’t playing a game.

RELATED: Top 10 Indie Games to Watch For in 2025

Immersion is a prominent feature in The Midnight Walk, especially for virtual reality. While the game feels more suited for VR, features like the eye-motion sensitivity and audio design still capture the essence of immersion. The Midnight Walk needs to be played with headphones, as there are times when you must count on your sense of hearing to distinguish where hidden items are along the way. The innovation, particularly with the immersive design, is admirable, but there were certain parts where these features would feel underutilized in the puzzles. That said, it’s guaranteed to be a must-play for survival horror fans on both console and VR systems.

To aid the immersive experience, MoonHood has created some unique characters, especially Potboy. This lovable fireball has the perfect match of identity through design, capturing a character that grows throughout the game. With a central focus on light and darkness in The Midnight Walk, Potboy brings the light quite literally through his spontaneous dances to his frequent enthusiastic waves. For the darkness, the fire-eating monsters are grotesque and enthralling. One of the creepiest creatures within the game is the Grinner, a hideous monster with an infectious smile and piercing eyes.

As you go through the Midnight Walk, stories of power, greed, acceptance, and identity are touched upon with simplicity and charm. Without diving too deep, some Acts are explained better than others, leaving some important information to be derived from shell-like recording devices scattered around the area. The focus shifts near the middle of the game, but starts to steer back into place near the last hour or so. As for the relationship between The Burned One and Potboy, there seemed to be less attention aimed there, which could’ve been a beneficial component to build story depth.

While the narrative could’ve used a bit more fine-tuning, one of the highlights is the soundtrack from this hand-crafted world of darkness. Composer Joel Bille’s score is a character within the story, as its voice is frequently represented in many scenes. Bille captures the wonder and mystery of The Midnight Walk as soon as The Burned One steps foot on the walk, immersing players with their orchestral music sprinkled with a hint of blues from brass and string instruments. The variety presented is admirable, capturing the essence of sincerity, demise, and sadness, with intensity and curiosity.

The music serves to emphasize the emotional story between Potboy, the Burned One, and your moving abode, Housey. The bravado during those intense moments with The Midnight Walk tugs at your heartstrings and sends shivers down your spine, which is a moving experience to have while watching a scene. The expressions and movements of the characters, especially Potboy, speak louder than words, as the art of claymation hones in on these animated features. It’s effective and doesn’t go overboard with expressiveness and the stereotypical nature of caricatures.

The Midnight Walk works its magic through its twisted visuals and captivating designs, crafting an utterly beautiful world filled with mystery. While the narrative and gameplay didn’t necessarily reach the quality seen in the rest of the game, The Midnight Walk molds itself into one incredible display of stop-motion storytelling that lets the clay do the talking. MoodHood brought the best out of claymation and knows how to handcraft something unique and heartfelt in immersive horror games.

Rating: 4 out of 5

A PlayStation 5 copy of The Midnight Walk was provided by the publisher for the purpose of this review.

The post The Midnight Walk Review: A Haunting Journey Sculpted Out of Clay appeared first on ComicBook.com.

When I learned that The Elder Scrolls IV: Oblivion Remastered was real, I hit the buy button the moment it showed up in the PlayStation Store. The Elder Scrolls series has meant so much to me over the years, and I knew I’d sink as many hours into Oblivion Remastered as I have in Skyrim. But reviewing a remaster as massive as this one is quite a task. What can you say about a game that you go into knowing, expecting, and craving those iconic bugs that make Elder Scrolls what it is?Still, many want to know if this one is worth their time, so I’m going to do my best.

Oblivion Remastered feels, in many ways, like a new skin on an old game. This is somehow both a plus and a minus, as it means that it feels like an iconic Elder Scrolls game without much else added. Jumping into the game, you’ll immediately get hit with a wave of nostalgia from the absolute fire that is the soundtrack. Keeping those original vibes is a huge plus and makes the game feel epic from the moment you boot it up. As the opening scene plays, you immediately notice the updated graphics, which render Cyrodill in stunning clarity on Unreal Engine 5.

Character creation also gets a glow-up, but creating monstrosities as gamers did with the original Oblivion is still very much an option. It’s nice to have a little more creativity than what Skyrim offers, taking advantage of the updated graphics to let players design their own nondescript hero of Cyrodiil, however they like.

The class system and additional customization options along the way are a nice touch, giving users the chance to control how their character plays as well as how they look. The astrology options you choose when speaking with the Emperor? No notes. Once you’ve made your character and launch out into the world of Cyrodiil, the true journey begins. And what a journey it is.

When Bethesda and Virtuos said they’d merged Skyrim and Oblivion features for the leveling up system, they weren’t kidding. This system takes some getting used to, as individual skills level up as they do in Skyrim, but you’ll need to sleep on it to fully level up and choose which attributes to update. Although having to sleep to level up can be a bit of a pain, I like this choice. It makes the game feel more immersive, forcing you to actually get a bed at the local inn or take your chances in a bedroll at a random camp.

That said, the level-up system can take some getting used to. It’s a bit more opaque old-school RPG, and the attributes screen doesn’t do you many favors in reminding you what the different attributes do or which your specific character class build should prioritize. It’s nice having a class system here, giving Oblivion Remastered an increased RPG vibe that Skryim left behind, but it can be a bit difficult to navigate at times.

Speaking of difficult to navigate, I feel the game’s older mechanics creeping up in the UI at times. The menus and shortcut options feel a bit clunky still, and even many hours into the game, I find I’m still fumbling to switch weapons and spells during combat with the PS5 controls. In this way, the blend of retaining the original with some minor updates holds back playability a smidge.

For all that, Oblivion Remastered is just plain fun. The open world is immersive and filled with exciting enemies and characters to meet. Collecting side quests by talking to random characters (my personal favorite Elder Scrolls activity) is alive and well, and some of those characters have hilarious quirks that bring them to life even if those remastered character models are occasionally a bit uncanny. The main story is compelling, and as someone who’s coming to Oblivion for the first time, it’s exciting to watch the story unfold… even if I keep getting distracted by those DLC side quests that are included from the get-go in the remaster.

Combat can be tough, as my go-to stealth/archer build isn’t quite as easily overpowered. Frustrating though it is, I do actually like that Oblivion Remastered forces me to get good at melee or die (a lot) trying. The battles are actually challenging, and enemies scale up with you, ensuring that you never get bored. That said, I do wish enemies weren’t quite so invested in killing my horse before me, and that companion characters in the early game weren’t quite so beefy. Brother Martin and friends kept killing enemies before I could switch from bow to melee, and my horse budget is frankly alarming at this point. In spite of it all, though, the new combat animations are exciting, and it’s certainly keeping me engaged, if occasionally enraged.

What does it all mean about Oblivion Remastered as a whole? For the most part, I love that the developers chose to leave in many of the original glitches and quirks, from test characters voiced by Todd Howard himself to actual dialogue mistakes. For the most part, these smaller bugs are a charming reminder of the hilarity that ensues from an Elder Scrolls title.

However, a few bigger bugs remaining in the code are more frustrating than fun, such as the Kvatch quest bug that leaves you confused and quest markers that don’t update when they should. I would’ve liked to see that smoothed over along with those beautiful graphical updates. Keep the bugs that are fun while losing the ones that make it tricky to progress the main story.

In all, Oblivion Remastered is exactly what I hoped and wanted it to be. It feels like an authentic representation of what OG fans love about the game, with the graphics of a more modern entry. It balances between being a remake and a remaster, and for the most part, keeping the original heart of Oblivion, bugs and all, was the right choice. Though some UI elements and those bigger quest bugs certainly show the age of the original game, Oblivion Remastered is a game I know I’ll be playing for weeks, months, and years to come.

Rating: 4 out of 5

The Elder Scrolls IV: Oblivion Remastered is out now for Xbox Series X|S, PlayStation 5, and PC. This review was written based on the PS5 version of the game.

The post The Elder Scrolls IV: Oblivion Remastered Review: A Glow-Up With Its Original Quirks Intact appeared first on ComicBook.com.

When I reviewed Lost Records: Bloom & Rage Tape One in February, I said that the game’s cliffhanger left off on a relatively confusing note. At the time, many questions remained about the mysterious story behind the summer of 1995, which were left to dry until the April 15th release of Tape Two. Having returned to the small town of Velvet Cove, a different perspective was realized with the inevitable reality of Kat’s unfortunate diagnosis and the consequences of the actions taken in the previous part. As Tape One displayed the sun-soaked daydreams of Swann, Kat, Nora, and Autumn, Tape Two injects a grounded sense of reality while continuing to integrate the Abyss as a minor character without much explanation. This two-part mystery adventure game from Don’t Nod Entertainment gives players the mere satisfaction that’s deserved, but ends up muddying the emotional grip to set up another storyline.

Don’t Nod has a knack for narrative-driven storytelling, as seen in its games such as Tell Me Why and Twin Mirror, which follow the same interactive decision-based gameplay as the Life is Strange series. Lost Records: Bloom & Rage follows an ensemble of characters with unique personalities and flaws. The story is told through Swann’s camera lens, whose quirky persona is hidden behind the guilt and regret following a traumatic concert experience. These memories still cause ripples 27 years later during the reunion, with Nora and Autumn recollecting their thoughts on the time leading up to the mystery behind their pact to never speak to each other again. Luckily, the moments that break through the conflicting emotional barrier tell a story that tugs at the heartstrings when dealing with loss and regret.

Lost Records: Bloom & Rage Tape Two showcases a humanizing story that grounds itself in reality with Tape One’s cancer reveal. The youthful spirit from Tape One is still present, but the repercussions of their actions during the concert weigh all the characters down in one way or another. In this part, Kat takes the center stage as the focus shifts from bonding with Nora and Autumn to doing all she can while on borrowed time. Cancer isn’t a light subject to talk about, but Kat’s rebellious and unorthodox personality shines brighter within this part, which is a nice change of scene compared to the Kat of Tape One. Dylan especially becomes a relevant identity in this part, which does a nice job at cracking into the hard shell she’d built up thanks to Corey.

Unfortunately, the narrative only scratches the surface when it comes to tackling those emotional scenes of doubt and confusion. While Tape One took the time to build the personalities of our friends, Tape Two seemingly recycles the complexities and leans into their motivations and flaws, all while fast-tracking the story within its five-hour runtime. This part also falls victim to stereotypes, especially the rebellious side, which makes the story uneven in delivery. Jumping from one moment rapidly didn’t help connect the story like Tape One did. When it came to packing the emotional punches, the script didn’t do the moments justice, which was underwhelming.

Players are left to connect the dots of Kat’s family drama, which is the center of a lot of Tape Two’s plotline. Corey was on the precipice of gaining a redeeming quality, but his flawed, violent perspective provided an antagonist that felt one-note. Another identity that eases its way into the emotional grip created by Kat’s cancer diagnosis was the Abyss, which was teased at in Tape One and is still a mystery after the events of Tape Two. The integration of this colorful pit of wonder has no lore behind it, other than a place where the girls made their sacrifices to make a wish in real life. The consequences of the player’s actions, especially the ones pledged during the encounter with the Abyss, prove quite challenging when you pick up Tape Two after three months.

RELATED: 9 Games to Play if You Love Lost Records: Bloom & Rage

Many of the choices made in Tape One are shown in Tape Two, which would work if Bloom & Rage is played continuously, but becomes a bigger mystery once you come back to tackle the ‘final’ chapter. Ultimately, there is a sense of satisfaction seeing the climactic event unfold, as your choices are your own. This rings true with the gameplay experience, which continues the dialogue-based interactivity, but doesn’t carry as much gravitas as the ones from Tape One. A lot of Tape Two is made up of cutscenes and some experimental gameplay choices, which are creative, but don’t feel essential to the storytelling process. 

Where Lost Records hits its stride is within its mementos and photography. Reminiscing is a universal language that we understand, which plays nicely within the game. Going back to the lodge after the events of the concert carries a different meaning, one of which is riddled with bittersweet memories. Lost Records works when it doesn’t try to go out of the box to change the experience, as those moments didn’t feel connected to the game’s tone. Speaking of tone, Don’t Nod strikes once again with its beautiful display of colors and landscapes, which fully capture the rural American scenery. Scenes involving the Abyss are incredibly vibrant and cast a spell on those intrigued by the wonders below.

With aesthetically pleasing visuals, Tape Two hits its mark when it comes to tackling the harsh realities of life. But with an unsteady pace and lack of depth, Bloom & Rage puts a bow on a present that hasn’t arrived yet. In the attempt to continue the story afterwards, it’s hard to accept the experience of loss and regret that Don’t Nod presents within its short playtime. Scratching the surface to make way for a deeper story later on feels off-putting, even after a story that gives the impression of facing the past has fulfilled its role. Velvet Cove isn’t the same anymore, so it’s best to move on with life rather than wallow in the past.

Rating: 3 out of 5

A PlayStation 5 copy of Lost Records: Bloom & Rage was provided by the publisher for the purpose of this review.

The post Lost Records: Bloom & Rage Tape Two Review: Bullet With Butterfly Wings appeared first on ComicBook.com.

RPGs seem like a dime a dozen these days, so when one seems set to soar, it soars high. Clair Obscur: Expedition 33, in many cases, fits that exact bill, as it aimed to honor the timely traditions of classic Final Fantasy and modern Persona, paired with an all-star cast and French-inspired design. I’ve spent a lot of time with Expedition 33 and can say with full confidence that, despite some small issues with story and graphics, Sandfall Interactive’s debut game is one of this year’s must-play games and is a passionate, pitch-perfect homage to classic turn-based RPGs. 

If you can believe it, Clair Obscur: Expedition 33 is the first title by Sandfall Interactive, a small independent studio of about 30 people. You wouldn’t be able to tell given the look and feel of the game, as its high-definition graphics and fluid combat match that of a AAA title in more ways than one. You follow the surviving members of Expedition 33, broken and battered, as they make their way to the Paintress, an unknown entity who has the power to erase all those of a certain age with the stroke of her paintbrush. It essentially sets up all the workings of a suicide mission, as nobody has been able to best the Paintress. However, your team’s determination shows glimmers of hope, ones that may be able to save the people of Lumiere and the world itself.

Clair Obscur: Expedition 33 is very passionate about its inspirations from Final Fantasy and Persona, primarily with the turn-based battle system. With three different characters with unique powers of their own, you’ll take on various enemies as you venture to the Paintress. These foes come in many shapes and sizes, with each being their own forces of nature you have to adapt to. Luckily, you have access to a variety of skills and moves, alongside your basic attack and gun. You can mix and match your team to fit your playstyle, down to their individual stats. So, if you want your party member, Maelle, to be more of a tank with her stances, up her strength and vitality, while counteracting that with luck and agility for Luna and her Elemental Magic. These grow more with Pictos and Lumina, as you can accrue new assets to boost your performance on the battlefield in the way you want to. The levels of customization aren’t too new, but they are welcomed in an RPG of this depth. 

Much like Super Mario RPG, you can power up your attacks via quick-time events. While QTEs have caught a lot of flak over the years, Clair Obscur: Expedition 33 does right by them and adds a layer of interaction to the gameplay that makes it much more enjoyable. This is emphasized more with the dodge and parry buttons, as you can actively avoid or block enemy moves as they happen instead of taking the hit. It makes even the most mundane of battles unique each time as you time every parry and, if you’re lucky, unleash a powerful counterattack. Parrying is very much the name of the game and can most certainly make or break the battle, so good hand-eye coordination plays a huge part here, as there are tons of challenging bosses and enemies in the world.

Fortunately, Expedition 33’s graphics are just like those seen in the trailers: bold, realistic, and stunning. It’s definitely one of the most visually impressive titles we’ve seen in a while, especially from an indie game. Despite being set in a Belle Epoque-style world, it still maintains an aspect of humanity and authenticity. A good chunk of the game does have you exploring different regions and lands, so basking in the hauntingly beautiful scenery has its perks when you get the time. The graphics really shine in battles, as your attacks have some gorgeous animations to go along with them, reminiscent of Shin Megami Tensei V and Final Fantasy VII. Plus, I never grew tired of seeing new animations, or ones I’ve seen over and over, as they bring a fun flair to every fight, even more so when they break that mold.

When it comes to the story, Clair Obscur: Expedition 33 delivers a heart-wrenching narrative that ebbs and flows with each beat. It takes some huge risks and, for the most part, they work incredibly well, even if they don’t seem to at the time. Some of the later parts of Expedition 33 did throw me for a loop and, while in the end it worked, it did feel a bit too strayed from what the original narrative set up. All that being said, the game shines bright with its emotions and depth, crafting something new and original that sticks well after you hit credits. 

In addition, its cast of characters is one of Clair Obscur: Expedition 33’s biggest assets. I haven’t fallen in love with a group this hard since Metaphor: ReFantazio. The amount of depth and complexities each party member has, from the enigmatic yet determined Lune to the kind yet broken Gustave, is grand. Given you are playing characters who have more or less come to terms with death, feeling hopeful yet scared is something eerily relatable. 

It helps tremendously that the cast of the game is simply phenomenal. Every character is incredibly acted, especially those in the main cast. Even with big Hollywood actors like Davedevil: Born Again’s Charlie Cox and Lord of the Rings’ Andy Serkis, it all feels authentic and real. However, if there is one performance that I’d say stands out the most, it’s Jennifer English (Baldur’s Gate III) as the youthful and tragic Maelle. Her portrayal of the young heroine brings so much more to the character than was originally thought of, embodying this character to the fullest. You can expect Jennifer to be the talk of the town for awards season for sure, and one who deserves the recognition.

I would be completely remiss if I also didn’t bring up the excellent soundtrack, composed by Lorien Testard. There was not a single moment when the music wasn’t blowing me away. If you like JRPG soundtracks, or any gaming soundtracks for that matter, Clair Obscur: Expedition 33 has one of the best of the decade. Thundering French vocals and fantastic orchestral arrangements paint each backdrop and elevate the gameplay in so many ways. I’d even say it, at times, matched that feeling that Persona 5 and Metaphor: ReFantazio had with its battle themes. It’s impressive that so many genres are tackled, like jazz, classical, and techno, and each works as well as they do. Despite some fantastic competition this year with South of Midnight and Assassin’s Creed Shadows for music, Clair Obscur: Expedition 33 is one of, if not the frontrunner, for awards.

I played Clair Obscur: Expedition 33 on an Xbox Series X|S, and I rarely had any frame rate drops or graphical errors. Unfortunately, the version I played suffered from a few bugs, more so when transitioning into cutscenes and seeing it load. It did interrupt the flow of things and sometimes took away from emotional parts. While it will likely be fixed over time, it happened a bit more often than I expected it to. Outside of that, the graphics looked awesome, which I’m sure PC and PlayStation 5 will match, even more so the PC version.

Clair Obscur: Expedition 33 wears its passion and inspiration on its sleeve and does right by it. You can tell in every inch of the game, much like last year’s Astro Bot, that the team truly cared about it and loved the games that inspired it. With phenomenal performances, great graphics, rich narrative, engaging gameplay, and beautiful soundtrack, Sandfall Interactive has solidified itself as a force to be reckoned with this year and one to definitely keep tabs on in the future. Despite some flaws, Clair Obscur: Expedition 33 is one of 2025’s best games and is most certainly the best RPG of the year so far.

Rating: 4.5 out of 5

An Xbox Series X copy of Clair Obscur: Expedition 33 was provided by the publisher for the purpose of this review.

The post Clair Obscur: Expedition 33 Review: An RPG Tour De Force appeared first on ComicBook.com.

The Fatal Fury series has been dormant for over 25 years. As iconic as characters like Terry Bogard, Geese Howard, and Mai Shiranui are, a proper entry from the franchise hasn’t been released since 1999’s Garou: Mark of the Wolves. That all changes with Fatal Fury: City of the Wolves, a modern take on the beloved 2D SNK fighting game. It’s exciting that such an influential fighting series is being revived for a modern audience, but does it have the allure to draw that audience away from a genre filled with fighting game giants? I am inclined to say yes, but certain facets may hinder players, especially newcomers, from enjoying their time right from the jump.

The first thing I do whenever I play a fighting game is check out the tutorial. No matter how skilled a player is, it’s always helpful to check out a tutorial to see how the various mechanics operate and how they work in concert with one another. When I entered the Fatal Fury: City of the Wolves tutorial, it gave me a rundown on every single mechanic that spans every character. These are all basic to advanced moves and features that anyone should have a handle on before getting into a bout with an opponent, either CPU or human. It does a decent job explaining everything I needed to know in some short but sweet interactive tutorials, which is something I expect from every fighter at this point.

Where I think Fatal Fury: City of the Wolves stumbles here is not giving more detailed tutorials for specific characters. On the official SNK YouTube channel, the developer has Character Breakdown videos for 10 of the 17 fighters. These videos give some great advice about the various special moves, like when a player would want to use the special move and how it can be utilized to string a combo. A feature like this is not present in-game. Instead, the Training menu has a Mission section, which provides players with five arcade-style control combos and three smart control combos. Beyond that, no other information is given to let newcomers know more details about how each character functions.

I don’t necessarily believe every fighting game has to cater to newcomers or beginners. It sounds insane, but half the fun for me is getting my teeth kicked in, learning from my mistakes, and trying to execute in a future match. However, I do think, at the very least, having the tools to see how these fighters work does help pretty significantly, and takes out some of the guesswork when learning a character. It doesn’t make or break the experience, but having that information in-game would be nice.

Although the onboarding for Fatal Fury: City of the Wolves isn’t as in-depth as its competitors, the actual gameplay is quite fun. It was a bit daunting at first, thanks to its REV system, but once I got the hang of it, I enjoyed my time even when I was getting smoked by my opponents.

The basic controls for Fatal Fury: City of the Wolves play as expected. On a gamepad, the two top face buttons are the light and heavy punch, the two bottom buttons are the light and heavy kick, and movement is tied to either the D-Pad or the analog sticks. Special moves are done by using a specific button combination. For example, the Power Dunk is executed by inputting forward, down, down-forward + light or heavy punch. This is all pretty standard stuff, and anyone familiar with a fighting game will be able to pick up the basics quickly.

Where the game starts to deviate from other fighters is its REV system. The basis of this unique system is the REV meter, which is represented by a speedometer at the corner of the screen. Below the Rev meter is the special meter, which can be used to perform Ignition, Redline, and Hidden Gears, which are the super special moves that are paired with a stylish animation. There is also the Selective Potential Gear (S.P.G.) bar, which is set on one of three positions on the health gauge; when a player’s health is depleted in this section, they can perform REV Blows, a powerful attack that nullifies an opponent’s attack for a big hit.

REV actions, like REV Arts and Blows, build up the REV meter. When that meter reaches 100%, the player is put into an overheated state, which makes all REV actions unavailable until the meter recovers. Additionally, if an opponent depletes the guard gauge (right below the health gauge) while a player is overheated, they’ll enter guard crush state, which makes the affected player take longer to recover from hits. Players can speed up that recovery process in a variety of ways, including moving towards the opponent or landing attacks.

While the REV system impacts players’ offensive capabilities and staying active, a good defense is just as important. There are plenty of defensive options that can turn the tide of battle. Since the aforementioned REV Blows make the player invincible to any hit, this is a good way to reset if an opponent is on a tear. It’s also safe on block, so even if the REV Blow doesn’t hit, it still interrupts the opponent’s flow. Players can also guard cancel to counter with a special move, REV Blow, or an Ignition, Redline, or Hidden Gear.

Overall, I really enjoy the REV system and the combat system in general. It forces players to manage their tools effectively and to stay engaged in combat. It’s also nice that it’s not totally focused on offense, giving players opportunities to come back with a variety of tools on defense. I will say it took some time for me to get a handle on managing the various meters and know when to execute certain moves. However, once I found some characters that I vibed with, which were Terry Bogard and Mai Shiranui (I know, very boring of me), I started to understand how other characters worked, and started messing with fighters like Kevin Rian and Hokutomaru. When it comes to gameplay, Fatal Fury: City of the Wolves is just as engaging as any of the big fighters out there right now.

Speaking of characters, Fatal Fury: City of the Wolves has a solid cast for several different play styles. Players who want to play rushdown offense have Vox Reaper. Billy Kane is great for players who want more reach thanks to his staff. Terry Bogard is a great all-around fighter with all the tools a player would need. Tizoc is the grappler. The 17 characters all feel unique, even the guest characters of Salvatore Ganacci and Cristiano Ronaldo. For those two guest characters, specifically, while their move sets are very interesting, they definitely feel very out of place. There really isn’t much cementing them into the world of Fatal Fury, especially the soccer star, as he is not playable in Arcade Mode or the RPG mode Episodes of South Town.

Fortunately, the combat in Fatal Fury: City of the Wolves is great because there isn’t much variety to the handful of modes available. The expected offerings are here, like Arcade Mode and Online Mode. There is also the aforementioned Episodes of South Town mode, which acts as the game’s story mode. That is essentially it in terms of gameplay modes. There is also a great Color Edit Mode, which lets players change the colorway of a fighter’s gear, and a Jukebox Mode, which lets players listen to their favorite tracks from the series.

While there aren’t a lot of modes, what is there is still enjoyable. Specifically, I found Episodes of South Town to be a lot of fun. How it presents a character’s story is pretty barebones, but leveling up a fighter and going through some of the different challenges present in the mode helped me learn about Fatal Fury: City of the Wolves’ gameplay more than its tutorial. If players want something a bit different than the traditional Arcade Mode, this is a worthy alternative.

While my time with Online Mode was a bit limited, what I did play seemed to work as intended. Like most of the modes in Fatal Fury: City of the Wolves, its online component is also barebones. Players can choose to join a ranked or casual match, as well as join a room with a specific player. All of this is presented in basic menus, which is totally fine. It would be nice to have some sort of lobby system seen in games like Street Fighter 6, but it isn’t a necessity. In the handful of matches I did play, I didn’t feel any sort of lag, nor did anyone drop from a match. Again, this may differ now that the game is out in public, but my experience online was satisfying.

Most of the game is presented in an awesomely stylish package. I really love the comic book-inspired aesthetic of Fatal Fury: City of the Wolves. The bright colors and cartoony art design make every pop, especially when executing a Redline or Hidden Gear.  Not only does it look good, but having art that pops makes it easier to see everything on screen. It’s nice to see art design that looks great and has purpose.

Although it has taken decades for SNK to bring out a proper new entry in the beloved franchise, Fatal Fury: City of the Wolves is a worthy revival for the series. The overall package may be barebones, with its small selection of gameplay modes and straightforward tutorial, but its unique REV system and stylish presentation make the trip to South Town worthwhile.

Rating: 4 out of 5

Fatal Fury: City of the Wolves is available for PS5, Xbox Series X/S, and PC. A review copy for PS5 was provided by the publisher for the purpose of this review.

The post Fatal Fury: City of the Wolves Review: Hungry Like the Wolves appeared first on ComicBook.com.

As I always say, new IP is the lifeblood of the industry. While it’s been increasingly getting a bit rarer in the AAA scene for original games and ideas to appear, it makes whenever one does come around even more noteworthy, which is the case with South of Midnight. I had the chance to play the preview for the title back in February and, like many people, I was blown away by what Compulsion Games crafted with Xbox. Now, having played the full game from start to finish, that feeling waxed and waned, yet never lost its Southern charm and soul.

Crafted by the team at Compulsion Games and the first true game to be published as an Xbox first-party studio, fans could now venture into a new world, full of the often-overlooked American Deep South mythology in South of Midnight. You play as Hazel Flood, a recent high school graduate track star who lives with her single mom in the southern town of Prospero. A massive storm shakes the core of the town and stirs an awakening within Hazel as she becomes a Weaver, one who can protect the Grand Tapestry. With her hooks and spindle, she sets out to heal the wounds of the community and find her lost mother against hordes of Haints and terrifying Southern-inspired legends. 

When it comes to the story, it was personally a bit on and off for me. Hazel’s journey felt reminiscent of a folktale in that it has the same tempo and pace, as well as structure, which isn’t a bad thing here. The themes learned by Hazel and then integrated into the story of curiosity and resilience were ones that I enjoyed seeing unfold. There are a few twists and turns, but the narrative keeps a steady and thought-provoking pace. It does help that the story takes around 10-12 hours to beat, so it’s short and sweet. Unfortunately, South of Midnight does leave some points unanswered, which is rather frustrating to see. To add to that, some of the dialogue is a bit repetitive, despite the great performances by its cast. Regardless, the second half of the story is great, delivering some very memorable moments that really show the soul of the game.

I will say that Hazel is very much the lifeblood of South of Midnight, which made me quite happy. Her character is a great one to follow and infuses a sense of relatability and charm that is super enjoyable. It helps a ton that Adriyan Rae, the voice actor for Hazel, does an incredible job as the protagonist, with undoubtedly one of this year’s best performances. She made Hazel her own and brings so much life to the character through her thoughts and reflections. As mentioned before, there are a few great performances in the game, especially Walt Roberts’ Catfish and Ahmed Best’s Roux, as each of them brings so much charm and charisma to their characters that leaves you wanting more in a good way.

Gameplay-wise, it’s a pretty standard linear action-adventure title, as you’ll explore Prospero, take down Haints, upgrade your skills, and fix those who threaten the Grand Tapestry, human or beast. Most of the time, you’ll be platforming around to different places, whether wall-running, zipping around, or carefully navigating dangerous landscapes filled with spikes and holes. When combat does happen, it takes on a different feel, as you dodge enemy attacks and use your spindle and hooks to attack the many types of Haints that appear. When combat works, like in boss battles, it works well and is extremely satisfying as you’ll literally be weaving your way around the battlefield. However, it doesn’t feel like combat ever reaches its full potential, as it gets repetitive over time.

The world of South of Midnight is as beautiful as it is deadly. The unraveling of the quaint town of Prospero shows a whole new world beyond the one Hazel knew. It puts you in Hazel’s boots and lets you learn about the things you knew or wished you didn’t know. Compulsion Games isn’t new to this sort of feeling, as We Happy Few excelled in this field with its bright dystopian cityscape; South of Midnight expertly follows suit with its Southern-inspired countrysides. Its usage of Deep South mythology and lore makes for some unique storytelling opportunities that add layers to the already-rich world.

Of course, one of the more noticeable aspects of South of Midnight is its unique art style, which harkens back to traditional stop-motion animation. While it’s more on display during the cutscenes, the gameplay keeps much of the style, feeling like you’re both in the front and back seat of an old-timely animation. However, the lighting and graphics are incredible, which goes to show just how talented the team behind the game is. Some vistas are simply gorgeous, whether it’s the insides of a secret bunny burrow or wide-scale forests. It feels familiar yet new, adding to the Southern charm. I rarely saw many glitches in the gameplay, though some cutscenes did have texture lag, which isn’t too much of a problem.

Finally, in a year of already-fantastic soundtracks, South of Midnight may have already cinched the best of the year. Olivier Deriviere (A Plague Tale series, Remember Me) does one of his best works yet, as each song feels like a delicately-weaved pattern. The authentic instruments lining the background as choirs sing tales of the myths you’re going to fight is surreal and fantastical. It’s the type of soundtrack that makes you want to just stand in the world and listen to it. It fits immaculately to Hazel’s journey, you’d think it was being done live as you play. 

South of Midnight proves itself to be a great new IP for Xbox and Compulsion Games’ best work yet. Despite some narrative-related issues and lukewarm combat, there is a lot to enjoy. If you have Xbox Game Pass, this is an absolute must-play. It exudes Southern charm throughout and doesn’t let up for a second. If this is the start of our journey with Hazel, then consider me seated and ready to go to Prospero again.

Rating: 4 out of 5

An Xbox Series X copy of South of Midnight was provided for this review by the publisher.

The post South of Midnight Review: One to Root For appeared first on ComicBook.com.

From the jump, it’s apparent that developer San Diego Studio took a lot of feedback from MLB The Show 24 into account when making MLB The Show 25. More so than any other entry over the past few years, MLB The Show 25 attempts to break away from some of the conventions and expectations that have come to define the series of late. These moves lead to MLB 25 being one of the more promising and enjoyable games that the franchise has seen in quite a long time, but there are still some clear growing pains as well. 

On a gameplay front, MLB The Show 25 remains largely untouched year over year, which is by no means a bad thing. The core baseball sim formula that lies at the heart of MLB The Show was borderline perfected years ago and has since only been slightly iterated upon with each new entry. For MLB The Show 25, the most notable addition is that of Ambush Hitting. 

In short, Ambush Hitting is a new system that allows you to guess where a pitch is going to be thrown before it’s delivered. You can choose either the right or left side of the plate, and if you’re right, it will give you a better chance to get a hit and get on base. If you’re wrong, it makes your potential of getting a knock a bit more difficult. 

Systems like this have been present in MLB The Show in the past, but it’s this new version with Ambush Hitting that I think is the best one that San Diego Studio has found so far. It ensures that during your at-bat, you’re always locked in and are trying to think about what the pitcher might throw at you next. This risk-reward element is integral to baseball itself and its addition to MLB The Show 25 has made the game only that much more like its real-world counterpart.

Diamond Dynasty has received the biggest overhauls in MLB The Show 25 by far. In the wake of backlash surrounding last year’s game, San Diego Studio opted to get rid of Sets and Seasons in MLB The Show 25. This means that progress that is made in the game mode will carry over throughout the entire season, rather than arbitrarily resetting at certain points. For now, I like this decision quite a bit as it makes my investment in Diamond Dynasty feel more valuable than it did before. 

Still, as usual, Diamond Dynasty will live and die by the support that SDS gives it in the months ahead. Out of the gate, there has been way more content to dig into with DD in MLB The Show 25, which is much appreciated. I’ve already poured about 60 hours into the game mode and still have plenty to do as it is. Assuming that new Programs, cards, and other content can keep coming to Diamond Dynasty at a brisk pace, this could end up being the best version yet of MLB The Show’s marquee mode.  

Storylines is the one element of MLB The Show 25 that feels more lackluster than normal. The stories of players in the Negro Leagues are once again spotlighted in this year’s game, but there are noticeably fewer than there were in MLB The Show 23 and MLB The Show 24. I’m not sure if San Diego Studio plans to add more content to Storylines in the weeks and months ahead, but what has been included here with MLB The Show 25 feels like more of an afterthought than before. 

Road to the Show, the game mode where you can create your own unique ballplayer, has received some pretty notable new additions in MLB The Show 25. Rather than simply jumping right into the minor leagues to begin your player’s MLB journey, this year’s game lets you start as a high schooler who can proceed to go to either the big leagues or college after graduating. The college portion of Road to the Show isn’t vast by any means, but it does add much more flavor to the mode than ever before. 

Sadly, the overall presentation of RTTS is among the worst in the sports genre and remains in need of some big improvements. The lack of voice acting in “cutscenes” makes everything outside of playing actual games a drag and is something that I was always looking to speed through as fast as possible. I’m never expecting a sports game to put a major emphasis on its story modes, but MLB The Show still has a long way to go to match up with the low bar presented by the likes of NBA 2K and Madden. 

If there is one big disappointment that I do have with MLB The Show 25, it’s that the series feels like it still hasn’t taken a “next-gen” leap forward. With past games, this could be easily explained away given that the franchise was still releasing on PS4 and Xbox One. For MLB The Show 25, though, these platforms were finally left behind, which made me think that there would be some graphical or fidelity upgrades. Unfortunately, really isn’t the case at all as MLB 25 generally looks the same as it has in past installments. What’s on display in this year’s game isn’t necessarily ugly when it comes to its visuals, but it does seem like MLB The Show is simply treading water on this front. 

On the whole, MLB The Show 25 is a promising step forward for the franchise. Even with some nitpicks across its many different modes, San Diego Studio has addressed the most glaring issues with last year’s game, particularly when it comes to Diamond Dynasty. This leads me to believe that I’ll be playing MLB The Show 25 far more throughhout 2025 than I did in past years, which speaks volumes on its own. 

Rating: 4 out of 5

MLB The Show 25 is available now for PlayStation 5, Xbox Series X/S, and Nintendo Switch. A review copy for PS5 was provided by the publisher for the purpose of this review. 

The post MLB The Show 25 Review: Romantic About Baseball appeared first on ComicBook.com.

When it comes to the Big Three of anime/manga from the 2000s, Bleach felt like the underdog at times. While not reaching the worldwide heights of Naruto and One Piece, the epic fight scenes and memorable cast of characters made it one to keep up with, even if the filler was a bit too much. Even still, Bleach didn’t really jump onto the gaming scene like the others did, having a few small titles here and there. That all changed when it was announced Bandai Namco and Tamsoft would bring the Tite Kubo IP to the fighting genre with Bleach Rebirth of Souls last year. Now, having played the game from start to finish, I can say that what made it shine back then still holds up, though it lacks the luster needed to do it all justice.

Having been the first major Bleach game since 2016’s Bleach: Brave Souls, Rebirth of Souls brings the series to life in a way that hasn’t been done before. Adapting the beginning of the series up to the end of the Arrancar arc, the game features a wide roster of characters to play as, all with their own moves and playstyles. There are also tons of stages, some even having variations depending on the time of day. In terms of being a fighting game, it checks off a lot of the boxes fans hoped it would, outside of a ranked mode, which will seemingly be added in the future. Plus, it helps that the soundtrack is fantastic, which is no surprise given it’s done by Crisis Core: Final Fantasy VII and The World Ends With You’s Takeharu Ishimoto. It adds a fervor and rhythm to matches that ups the electricity of the battlefield. 

Still, as many of the trailers had shown, the flash and flair of combat is very much satisfying and fun, as well as graphically great. I can’t count how many times I got hyped watching characters unleashing their Bankais and unleashing killer Kotei moves on opponents. Each character has their strengths and weaknesses that come in handy on the battlefield, adding a new element of strategy and adaptation. For example, facing off against a ranged character like Uryu Ishida or Coyote Shark would require a fast fighter like Soi Fon or Yoruichi Shihouin to even the odds. It’s also a lot of fun to see two characters that normally wouldn’t face each other, like Ichigo and Rukia, do such, and their dialogue would mention it, which was a fun inclusion.

Unlike some fighters, Bleach Rebirth of Souls lets you level up while on the field, becoming increasingly more powerful through ‘Awakening.’ You’ll unlock new moves and skills, as well as a new look for a time. Unleashing these feels extremely satisfying, especially when the odds seem stacked against you, which they often can be. Guarding and breaking an opponent’s guard is the key to victory, as one false move can cost you a round. Even more so, saving up power in a match and bringing yourself to the best possible form can, quite literally, turn the tides of battle in an instant. It’s an exhilarating experience that not many games have done, which I applaud Rebirth of Souls for.

Unfortunately, the biggest problem with Bleach Rebirth of Souls is one of its most disappointing: the story mode. It’s not because it only adapts up until the Arrancar arc’s end and not the Fullbringer or Thousand-Year Blood War arc; it’s because of how it was done and presented. Rebirth of Souls’ story mode chronicles the rise of Ichigo Kurosaki from regular high school student to substitute Soul Reaper, as seen in the manga and anime. However, the game loses the charm that made that journey one to root for and enjoy in the first place. Many plot points are either rushed through or overexplained, dragging out for too long. 

Another fault that became very hard to ignore was the quality of the in-game cutscenes. While the game does have fully animated cutscenes, which are really nice-looking, a majority of the story mode uses scenes done with the in-game character models. Alas, the presentation is not the best, as most of the time it feels extremely static and lifeless. Many scenes lose their luster due to it, which is a shame considering how good Bleach’s story can be and look in the anime/manga. It also doesn’t help that these cutscenes can last for several minutes at a time, with some missions being entirely these in-game animatics, so it’s hard not to notice some slip-ups or weird movements.

I do appreciate that the story mode, as well as the additional unlockable Secret Stories, allow players to test out characters before using them in online matches. Plus, while many are filler content, others have some fun little sub-stories that build their personalities that the main story doesn’t provide. Furthermore, some fights in the story have unlockable Real Moments, which are objectives that match what happens in the source, like Ichigo not being hurt or finishing an enemy with a Bankai move. While they can be hard to unlock, it feels super satisfying to live out the battles as they were done in the anime/manga.

In short, Bleach Rebirth of Souls excels rather well as a fighting game but less as a complete package. The story mode, most of all, feels a bit sloppy, which is a shame considering the source material. Still, this is Bleach’s best video game outing by far and a great fighting game in general. You’ll be hard-pressed to find a game that turns the tides as much as Rebirth of Souls does. While not perfect, it has what it needs to become a staple title for anime/manga fans to enjoy.

Rating: 3.5 out of 5

A PlayStation 5 copy of Bleach Rebirth of Souls was provided for this review by the publisher.

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Assassin’s Creed Shadows is finally here after a very, very long wait. On top of a series of delays, this is the Assassin’s Creed game fans have been wanting since the franchise began jumping to different eras of history. Samurai and ninjas are a natural fit for the Assassin’s Creed formula and Ubisoft finally decided to listen to fans and make it happen after Ghost of Tsushima beat them to the punch. 

With all of that said, Ubisoft has largely created a solid game in Assassin’s Creed Shadows. It’s not perfect and I admittedly had a lot of frustrations with it, particularly early on, but I can’t deny the fun I had with it the longer I played it. I believe Shadows will satisfy a lot of Assassin’s Creed fans. The gameplay is captivating, there’s a lush world begging to be explored, and the story packs some pleasant surprises, despite being a bit lackluster overall.

I personally haven’t been too wrapped up in an Assassin’s Creed story since Assassin’s Creed IV: Black Flag as they kind of drone on and on, hitting a lot of the same beats. The draw for this series has almost always been the setting and the gameplay. That seems to remain the case for half of Shadows’ story, as there are two protagonists,  one of whom is far more interesting than the other. The game largely revolves around Naoe, a young female Shinobi who is on a quest for revenge. It’s the kind of story we’ve seen thousands of times, and while that’s not necessarily grounds to be negative, it’s led by a character who has the depth of a bird bath. It’s hurt even more by a stiff performance that makes it hard to feel engaged by Naoe on any level.

She’s pretty fun to play as, but there aren’t any layers to her or her story that keep you wanting to move forward to the next main quest. Naoe is definitely one of the weaker characters in the franchise, and it’s a shame that Assassin’s Creed failed to make its first ninja interesting. On the other hand, Yasuke is compelling and, honestly, would make for a great protagonist in his own solo story. The one downside is that he isn’t properly introduced until 12 to 15 hours into the main story and is, therefore, unplayable for about a third of the game. His early exclusion – outside of being in the game’s prologue – is confounding. It somewhat feels like Yauske’s role was cut or reduced from the beginning of the game due to controversies with his character. While this is purely speculative, it would explain why the pacing throughout the first act is abysmal, something that isn’t the case in the rest of the game.

Assassin’s Creed Shadows opens with three back-to-back tutorials, one of which feels especially redundant. It takes hours for Shadows to really get going and it will likely push a lot of people away due to how much of a slog it is. The first 10 hours caused genuine concern, but thankfully, things really picked up once Yauske was introduced. Not only does he provide welcomed gameplay variety, but he has a lot of layers. He’s a slave turned samurai, largely out of necessity. He knows he must rise to the challenge of being this noble, distinguished warrior if he wants to break free from his tragic past, creating a really emotionally-charged motive for him. 

It’s disappointing that Yauske has been a subject of controversy for a number of reasons, but particularly because he’s such a strong character and makes a case for himself in this particular story. One might expect Yauske to be nothing more than a brute given his combat style, but he’s actually very kind-hearted. He’s frequently seen smiling and being generous with others rather than stone-cold. He does flip a switch to a hardened warrior when it comes time to action, ensuring that his kindness is not mistaken for weakness. You’re constantly learning new things about him as you experience his story as well, allowing you to unravel him and his layers as you progress through the game. Yasuke’s not a one-note killing machine and it makes him one of the standout Assassin’s Creed protagonists.

Although Naoe and Yauske are from warring factions, they are unified by a common goal. The two team up to build an army tasked with taking down a shadowy syndicate of warlords and powerful Japanese figures that have wronged them. As a result, you are given a list of targets and objectives that can be completed non-linearly. Some targets won’t be unlocked without taking another one down, but generally speaking, you can move through the story of Shadows however you want. 

It’s pretty freeing to be able to pick and choose who you want to kill and how you want to do it. Do you want to charge in through their front gate and mow everyone down, creating a violent spectacle of the assassination? Yauske is your guy. Do you want to parkour across the rooftops under the cover of darkness, slitting throats and making it seem like you were never even there? Naoe is your girl.

This core idea of two characters who are polar opposites is Assassin’s Creed Shadows’ biggest strength. Obviously, this is a franchise known for its stealth, but the more recent RPG-heavy entries like Odyssey and Valhalla leaned away from that in some regards. Shadows is able to combine the two different styles into one game and largely do them better than any other entry in the series. Valhalla’s combat felt a bit too floaty and lacked the weight one would really want from Viking combat. It also had the ugly and intrusive damage numbers you’d find in a game like Destiny, which was a huge turn-off.

Shadows does the brutal, almost barbaric combat much better than past entries. Yauske is a commanding behemoth that lays waste to anyone who comes near him thanks to not only his weapons, but his own personal strength and size. He can launch people with a mighty kick, pick them up and slide them across his blade, and even make use of a bow and arrow that allows for a different side to Yauske beyond smashing and slashing. He’s a pretty straightforward character in terms of combat, but simplicity doesn’t mean boring. 

On the flip side, Naoe is a woman with many tools. She’s equipped with the legendary hidden blade, a grappling hook, a katana, and a handful of throwables that make her a resourceful threat. With Yauske, he tanks a lot of hits and can brute force his way through most fights. Naoe, however, is nimble and not as armored. I actually got beaten to a pulp many times early on in the game because I would try to just hack and slash my way through fights.

In reality, Naoe is a character you have to have some patience with. You have to anticipate attacks and know when to parry or outright dodge. Similar to the Batman Arkham series, each enemy attack is telegraphed with a corresponding color. It makes combat feel rhythmic and engaging, encouraging you not to button spam. If you try to unload on an enemy, it likely won’t be effective as they will throw up a block and eventually push you back, making you vulnerable to a counterattack. The windows for responding to an attack are narrow and any hit you take can be near fatal, so you really have to be on your toes and cognizant of your situation. 

While her attacks are equally deadly, Naoe is forced to be thoughtful about her combat and utilize whatever tactics she can to gain the upper hand. One of my favorite weapons in the game is the Kusarigama, a scythe and a chain with a spiked ball on the end of it. The scythe allows you to get up close and personal, quickly delivering a series of rapid light attacks that slash up your foe’s body. Meanwhile, the chain can be twirled around you 360 degrees, hitting any enemy that’s in your general proximity. You can even use it to pull enemies toward you and cut them up with the scythe.

Outside of head-on combat, it’s deeply satisfying to swing between rooftops with Naoe’s grappling hook, crawl through tall grass and stalk your prey, and hit all the familiar Assassin’s Creed gameplay beats as you pick off enemies one by one with the hidden blade.

Despite Assassin’s Creed Shadows having solid combat, the series is still struggling with things like parkour. Despite this being a core tenet of the property for nearly 20 years, it’s as clunky as ever. This is really only relevant to Naoe as Yauske can’t do any significant parkour due to his size, but I grew infuriated during some key stealth sections of the game. At multiple points, I would be sneaking through a base via rooftops or climbing on something and Naoe would just leap off or struggle to latch on to the surface I wanted her to cling to. It’s a janky issue I have always been frustrated by with this franchise and it’s one that led to me being caught on multiple occasions. 

While you can still fight your way out as Naoe, these awkward moments ruined carefully coordinated plans that otherwise would have gone off without a hitch if the game didn’t feel like it had a mind of its own. This isn’t limited to parkour, either. Shadows has one of the most over the top and aggressive forms of aim assist I have ever seen in my life. Naoe can throw things like knives and shurikens at both enemies and objects like explosive barrels and torches. When it came to enemies, even if I aimed at their head with a throwing knife, the aim assist would correct it back to their center mass, ensuring they didn’t die.

The most aggravating examples of this, however, were when I wasn’t trying to attack anyone at all. Naoe can extinguish torches and fires with her throwing weapons, allowing her to create darkness to sneak around in. However, there were multiple times where I was trying to throw a knife at a torch or an explosive barrel, and instead, the game would just throw it at someone far away who wasn’t even on my screen. It’s like these weapons were magnetized to humans. Of course, this would also prompt enemies to be alerted to my position and, once again, ruin the moment. It was frustrating and discouraged me from throwing things at enemies unless I wanted them to be on alert.

Given the amount of time, money, and manpower that is poured into Assassin’s Creed, I would really like to see Ubisoft refine these things in future entries. The parkour needs to improve, especially since Ubisoft has another franchise that utilizes similar movement mechanics with Watch Dogs. Although there are innovations with things like the grappling hook, refining the core experience of jumping around and climbing needs to be a priority for this series if it doesn’t want to get overshadowed by future competitors like Ghost of Yotei.

Although Assassin’s Creed Shadows has some cumbersome flaws that can’t be overlooked, including ones that have been present in the series since its inception, it is a strong action-adventure game that I will likely keep investing in for weeks to come. Ubisoft has managed to create an impressively large and captivating world without it feeling overwhelming, introduced at least one new compelling protagonist, and fostered a rich combat system that is dynamic and varied. The fact that I was initially not vibing with Shadows, but was ultimately won over speaks volumes about the experience Ubisoft has created and may allow lapsed Assassin’s Creed fans to enjoy it along with the diehards.

Rating: 3.5 out of 5

Assassin’s Creed Shadows releases on March 20th for PS5, Xbox Series X/S, and PC. A review copy for Xbox was provided by Ubisoft for the purpose of this review.

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A new Expansion Pack for The Sims 4 is always an exciting time for fans to enjoy brand-new content for the game. The Businesses & Hobbies pack brings deeper, more involved small business ownership to The Sims 4, along with a handful of new hobbies for Sims to enjoy. The expansion includes the new Scandinavian-inspired Nordhaven neighborhood, which has a clean, minimalist design. This newest addition to The Sims 4 brings in a few long-requested features, including the ability to create more customized tattoos and mixed-use lots that can be both business and residential. Though Businesses & Hobbies can feel a bit small compared to other recent Expansion Packs, the content it does offer is polished and executed well. 

I’m the kind of Simmer who lacks the interior or exterior design abilities to build beautiful homes for my Sims, so my tour of Nordhaven began with noticing there’s only one pre-built Residential lot. Naturally, my new Sim moved in there, and I will say the one home on offer in Nordhaven is beautifully designed using items from the new pack. For Simmers who love getting immersed in build mode, Nordhaven’s four unoccupied, empty lots will no doubt offer great potential for designing the home business of your dreams. Those who, like me, just want a pretty space to pop their Sims right into, might be a bit put off by the lack of pre-built lots in this pack. In addition to the residential offering, there is also one empty Small Business lot that Sims can buy, if they want to set up shop near the local park. This is a nice touch for those who don’t want to try and run their cat cafe out of the tiny pre-built Residential lot on offer. 

Once my Sim got settled in her new home, naturally, it came time to pick a Small Business to run. The pack offers a decent list of options to choose from when assigning the business type, from Cat Cafe to Tattoo Parlor and beyond. After you select an option, you can further customize the business by choosing which activities customers will do while there. For my cat cafe, I selected socializing with pets and enjoying coffee and baked goods. These options let Simmers go beyond the basic offering labels to create a more fine-tuned business to suit their goals. Honestly, I was pretty impressed with how robust the Small Business menu is. Having tried without much success to run bakeries using the retail lot models of yore, this is a massive step up for Entrepreneurial-minded Sims. The ability to pick and choose what customers should expect from the business makes it feel much more dynamic. Whereas business lots could really only sell items before, customers now pay a fee to engage with services, which opens up the possibilities. 

The day-to-day business operations also run more smoothly with the Businesses & Hobbies pack than they did before. Customers actually behave properly when in the shop, doing the chosen activities and making purchases. This is a huge step up from running retail lots before the pack, which almost never worked as intended. After several days of opening up my new Cat Cafe, I still hadn’t run across any major glitches or errors that got in the way of operations. This let me actually settle in and enjoy pretending to be the tattooed Cat Cafe owner I’ve always secretly dreamed of being. 

At the end of each business day, you get a report about what customers like and dislike about your business. Here, I ran into a bit of a snag, as customers didn’t like the ambiance. Truthfully, neither did I. No matter what I did, the main areas of my lot just seemed… dark. The lighting was off, no matter how much I toggled auto-lights on and off or added light fixtures. This may be a glitch with Nordhaven or with some of the new pack items, but at any rate, it was a bit frustrating for me as a player – especially when my customers wouldn’t stop complaining about it. 

Now, what of the hobbies portion of The Sims 4: Businesses & Hobbies? The additions here are a bit lackluster compared to the complete overhaul businesses received. Sims can learn pottery and tattooing, which double as new avenues for business ventures as well. The pottery skill is well-designed, with a pottery wheel and the option to glaze pottery once it’s finished. There’s a good handful of pottery designs and glazes to keep things interesting, and it’s nice to have a new creative skill for Sims to learn. Candy Making, on the other hand, is more of another appliance than a hobby. Using it creates new, colorful treats your Sim can eat or sell, but it just builds on the Cooking skill rather than adding a new Candy Making one. Given the number of cooking-based skills already in the game, this makes sense, but it does take “hobbies” dangerously close to a singular here. 

That said, tattooing saves the day for many Simmers, who’ve been asking for this for a long time. Your Sims can learn to tattoo their friends or customers, and leveling up in the skill even unlocks a few special designs in Create-a-Sim. The tattoo expansion also adds new options to Create-a-Sim regardless of whether you partake in the new hobby. This is a pretty impressive addition, with plenty of new tattoo designs and placement options. You can also create your own using stencils or the free-draw option. Being not so artistically inclined myself, I appreciated the stencils for adding a bit of creative flair to my Sim’s ink without needing to draw anything freehand. This, along with the deeper Small Business gameplay, is the major accomplishment of Businesses & Hobbies. 

I’d be remiss if I didn’t also touch on the new Create-a-Sim and Build Mode options added with The Sims 4: Businesses & Hobbies. As previously noted, the new items in Build Mode are elegant with a minimalist touch, but there aren’t very many of them. The main focus is on new, Small Business-focused additions like open signs, kiosks, and display cases. Beyond that, there are a few new furniture and decor items, but it’s a pretty short list. Create-a-Sim is a similarly pared-back addition this time around, with the new tattoo options being the biggest change. There are some new outfits and new hairstyles, but the focus of this particular expansion is clearly the new mechanics. Thankfully, those mechanics are quite well thought out, and I can see myself spending hours unlocking all the Small Business Perks for my cat cafe even if I’ll be reaching into older packs to decorate it. 

In all, The Sims 4 Businesses & Hobbies is a solid Expansion when it comes to adding new mechanics for running small businesses. These features do as intended and add a level of depth to gameplay for Simmers who enjoy this style of play. For those looking for a massive new world full of new pre-built lots and items, it may not quite live up to its price tag, but for aspiring Sim Tycoons, this pack will feel like a dream come true. 

Rating: 3 out of 5

The Sims 4 Businesses & Hobbies was reviewed on PC via the EA App. A review copy was provided by the publisher in advance for the purpose of this review.

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When I was working in the food industry, my boss once told me a story about how an owner he knew had two restaurants: one that served American food and the other that only served wings. When he was asked which brought more profit, the wing shop took the top spot since it specified doing one thing and perfecting it. In a similar way, if there is one thing that Hazelight Studios and director Josef Fares have perfected, it’s crafting the best couch co-op games possible. And if this wasn’t already true before, Hazelight has again demonstrated its co-op mastery with its latest release Split Fiction.

Split Fiction follows Mio and Zoe, two aspiring writers who come to Rader Industries to sign a publishing deal with the company. Zoe is an extroverted fantasy writer while Mio is an introverted sci-fi writer; it’s the equivalent of water and oil mixed. However, the unlikely duo is accidentally paired together after Mio falls into Zoe’s simulation after learning that the revolutionary machine in which the authors get to experience their creations is designed to steal story ideas as its own. Together, the two must traverse the dueling worlds to glitch out the system and stop it from taking their work to Rader’s disposal. The game sets up the duo rather quickly, creating a bond that can only be forged through continuous collaboration and communication.

Those two qualities are essential to the storytelling and gameplay experience of Split Fiction, as you will be required to work through some of the most innovative co-op puzzles. Just when you think Hazelight has pushed the co-op boundaries of gameplay, each level brings a refreshing collaborative touch that keeps the game from sticking to simply telling a story. The puzzles start strong with creativity and continue to strive in unconventional ways by owning outlandish ideas and embracing them. Turning into a pig that farts rainbows isn’t a common gameplay experience one typically gets, but in Split Fiction, it works. The addition of a grappling hook is also a game-changer in regards to exploration, especially during the times when taking the scenic route wasn’t an option while running away from a menacing crowd of ogres.

I admired the contrasting stories between Mio and Zoe, which allows players to indulge in many different styles. The sci-fi world is a futuristic utopia crawling with enemies, which provides players with a fast-paced, action-packed twin-stick shooter filled with gravity-defying stunts, while the fantasy setting offers a fairy tale that is sprawling with mythical creatures, luscious scenery, and environmental-specific puzzles. I was a bit underwhelmed at the thought of only being able to go through a sci-fi and fantasy setting, but the exploration and innovative level designs, including the ones during the several boss battles, kept the game fresh instead of repetitive.

Some of the levels wore their inspiration on their sleeve, with moments switching from intense camera-angled shots reminiscent of The Matrix to then taking on a 2D sidescroller perspective that brought back memories of Metroid and Sonic the Hedgehog. The many ways to explore the different worlds are incredibly ambitious as we get to stand on the shoulders of rock-climbing giants, traverse the sands on a sandworm Dune-style, and even fly while using your grappling hook to soar across the sky filled with kites.

One sci-fi level has Mio wielding a cyber-kinetic sword and magnetic wall-climbing abilities while Zoe uses an energy lasso, which comes in handy when throwing objects out of the way and throwing enemies into the distance. In the fantasy world, one specific level will have Mio as an animal shapeshifter and Zoe as a fairy, with one able to traverse on the ground and the other by air. The gameplay mechanics are everchanging but make it easy to transition from one ability to another, regardless of which character you play. During my playthrough, I played as Zoe, but whoever you choose, the difficulty doesn’t change. Each level is designed to cater to the abilities of each character while making sure to hone in on the co-op aspect of the game. This also introduces the opportunity for replayability as Mio and Zoe both offer different ways of offering new gameplay experiences.

The narrative beats between Mio and Zoe are spread out along its 12 to 14-hour experience, taking opportunities to expand on these characters and to learn about each through their writing. Being able to explore the worlds created by Mio and Zoe gives a glimpse into the places that these authors go to escape reality, which is explored throughout the game. Seeing how their stories played a role in their own lives was intriguing to learn over time, which was insightful to recognize as a writer myself. There’s a saying that the essence of yourself can always be seen in your work, which Split Fiction dives into headfirst, crafting a story that is within itself a reflection of the author’s hidden virtues. Co-op games typically aren’t something you would associate with storytelling, but Hazelight has always been able to craft a multiplayer experience that tells a dynamic narrative through its levels.

Although the two stories are the main attraction, some of the most creative levels come from the Side Stories, which are scattered across the different missions. Being someone who loves improvisation, I can only imagine the level of thought that went into taking the traditional and going one step further. One of the most bizarre levels sees Mio and Zoe turning into molars who go through a sugary land filled with cake, candy, and a killer dentist who only wants to cause them harm. While I won’t spoil all of the surprises, these specific stories stem from Mio and Zoe’s younger years and showcase the wonders of a child’s imagination. All of the levels, including this one, didn’t feel out of place since they made sense with the story, which I found to be intriguingly valuable.

For someone who adores It Takes Two, Split Fiction ups the stakes, providing a spellbinding adventure that can only be witnessed alongside a friend whether through couch co-op or Split Fiction Friend’s Pass. Having played alongside my twin brother, we couldn’t help but enjoy the chance to experience a game together which prompted excited nostalgia. We were consistently in awe over the different approaches to the co-op gameplay level designs. There were moments, especially the third act, that had us pleasantly shocked, with others causing pure amusement and awe over what Hazelight accomplished.

Hazelight Studios is far and away the preeminent studio for co-op storytelling. There has never been a game like Split Fiction before and, frankly, it’s hard to think of one that could match this creative quality ever again. Split Fiction is an example of director Josef Fares’ ability to capture the child-like creativity of storytelling and continue to curate the best cooperative games to date. The scale for Split Fiction is massive and there is no shortage of dullness in this colorful display of one’s imagination gone wild. Being able to play a co-op game with someone else feels right as it provides a sense of togetherness that is rare to come across these days. Split Fiction reiterates this need to tell stories that can be experienced and enjoyed alongside others.

Rating: 5 out of 5

Split Fiction releases on March 6th on PlayStation 5, Xbox Series X|S, and PC.  A complimentary copy of the game was provided by the publisher for the purpose of this review and played on PlayStation 5.

The post Split Fiction Review: A Spellbinding Co-Op Adventure appeared first on ComicBook.com.

Monster Hunter Wilds immersed me in an expansive world with thriving environments and incredible creatures, some of which tried very hard to kill me. Having been familiar with the series, I was all the more appreciative of the innovations Capcom had taken with Monster Hunter Wilds while staying true to the series’ roots and the core aspects that make Monster Hunter what it is. Veteran players can expect a delightful experience that builds on what they know, while newcomers receive one of the more forgiving entry points into the series. Monster Hunter Wilds pushes the series forward like never before, blending innovative mechanics, a heartwarming story, and engaging gameplay.

After spending countless hours in Monster Hunter Rise and Monster Hunter World, it was nice to begin Monster Hunter Wilds as a bonafide Hunter instead of the usual storyline which centers around a recently promoted Hunter. This let me jump straight into the action, and the opening cutscenes reflected my Hunter’s prowess and the fact I was chosen specifically for this mission. 

Monster Hunter Wilds is a natural progression from both Monster Hunter World and Monster Hunter Rise and features an opening that is easily approachable like Monster Hunter World. It will take a few hours for the game to click for beginners, but those who have played the series before won’t have any issues adjusting to the new features.

Of these new features, Focus Mode is the standout. Focus Mode lets you inflict and identify Wounds, which are weak spots on monsters, and strike them directly. This inflicts massive damage, stuns the monster, and breaks off pieces used to craft equipment. Being able to spot Wounds and attack them to topple monsters is a game changer. Even having played previous Monster Hunter games, Focus Mode made it easier than ever to fight monsters and I used it every chance I got. Monster Hunter games are notoriously hard to get into, but with Focus Mode, new players will feel their attacks being impactful regardless of skill level.

Another new feature I love in Monster Hunter Wilds is Seikrets. While similar to Palicos and Tailriders, Seikrets have the fantastic ability to auto-move toward the destination. This pairs nicely with the Slinger, which let me focus on collecting materials and taking in the environment without having to steer. Seikrets play a big role in Monster Hunter Wilds, both in gameplay and story. During tough fights, it was nice to be able to hop on my Seikret and quickly move across the battlefield while healing, sharpening my sword, or switching weapons.

The main aspects of MHW are mastering weapons, using these to hunt monsters, and crafting better gear. Right away, I was given the choice of a weapon and soon unlocked the second weapon. Having two weapons allowed for quick switches on the fly, and I found myself alternating between the Long Sword and Bow, striking a balance of melee and ranged combat. Both weapons felt impactful and effective throughout my time, and I didn’t feel one outweighed the other. Testing out Monster Hunter Wilds’ other weapons left me with a similar feeling, as each felt balanced. Ultimately, the Long Sword and Bow were what I settled on, as these fit my playstyle, but the selection of weapons is among the best in the series and fits a wide variety of preferences.

Capcom has taken feedback from previous Monster Hunter games and made each weapon feel valid here. While some have higher learning curves, every weapon in Monster Hunter Wilds can be used at a beginner level. Basic combos are more than enough to get the job done while players learn the weapons. As I progressed, my mastery of my selected weapons grew, allowing me to hunt old monsters more efficiently and take on more challenging enemies.

Speaking of enemies Capcom has nailed the diversity among monsters in MHW. Even in the starting region of Monster Hunter Wilds, there was plenty to fight. Capcom has brought back numerous monsters from past games and added new monsters unique to Monster Hunter Wilds. These designs are incredible and the battles are thrilling, with each providing a different beast of a challenge.

Generally, I had a blast fighting every monster. Well, maybe not Congalala, but the point still stands. The creature variety is fantastic, with Temnocerans, Wyverns, Leviathans, Fanged Beasts, and more being encountered in Monster Hunter Wilds. Even among these classes, I was amazed at the difference in appearance and attack patterns. I constantly had to change my loadout and alter my preparations. I loved the continuous challenge and the need to adapt when facing certain monsters.

The monsters in Monster Hunter Wilds are also crucial to the story. In particular, Arkveldis the driving force behind Nata’s story and the Hunter’s mission. While the story has never been the main appeal of the series, Monster Hunter Wild’s story surprised me with how much I enjoyed it. A large part of this is due to the characters of Avis Unit. Alma and Gemma are the stars of MHW and they won my heart anytime they were on screen. Even Nata, who I disliked at first, grew on me and I found myself rooting for him throughout the game. The overall plot was simple, but the moments throughout had me deeply invested.

As the story unfolded, I traveled from region to region, completing quests and hunting monsters. These regions were all distinct, some offering changing biomes within a single location. This made the world of Monster Hunter Wilds feel so alive and like a real ecosystem. Most of the change was due to Seasons, which are cyclical, and bring massive shifts to the landscape and monsters, especially as you progress further in the game and experience the dynamic weather.

While I could praise Monster Hunter Wilds on end, there are some slight hiccups. The controls felt unresponsive at times, noticeably when trying to activate a healing potion or status-cleansing item. I’d mash the button on my D-pad, only for my Hunter to stand there doing nothing. Likewise, I’d call my Seikret to give chase to a fleeing monster or to swap my weapon and my mount would ignore my call. In both instances, I had to mash the input several times. While not major, it did cause my demise in one or two tough fights.

Another minor annoyance is how bad the fishing feels in Monster Hunter Wilds. Fishing was one of my most anticipated features because I love fishing in games, but once I threw my rod in the water, I watched countless fish swim around my line without even glancing at it. While fishing isn’t the main feature, including it and making it so unenjoyable detracts from the overall package to the point that I’d almost rather not even see it in the game. Capcom also allows you to catch fish with the capture net, which is easier than the fishing rod but removes all the satisfaction.

Monster Hunter Wilds is incredible and easily the most fun I’ve had with the series. Capcom has perfected the Monster Hunter formula and paired it with the best graphics in the franchise. Despite some clunky and unresponsive controls, I’d mark it as my favorite Monster Hunter game yet. Monster Hunter Wilds packs a lot of charm and challenge, and is poised to be one of the most robust and content-filled games of 2025.

Rating: 4.5/5

Monster Hunter Wilds was reviewed on PlayStation 5. A copy of the game was provided by the publisher for this review.

The post Monster Hunter Wilds Review: A Wild Good Time appeared first on ComicBook.com.

For Yu-Gi-Oh! fans looking to revisit the earliest games in the franchise, the Yu-Gi-Oh! Early Days Collection is an exciting opportunity. It brings together an impressive total of 14 games from the beginnings of Yu-Gi-Oh!, taking players on a tour of dueling through the years. The collection centers heavily on card duel simulation titles from the Duel Monsters series, with a few unique spinoffs thrown in the mix for good measure. This makes the Early Days Collection a fascinating tour through history, with a few gems that will truly delight nostalgic and first-time players alike.

The Early Days Collection brings together Yu-Gi-Oh! games from the Game Boy through the Game Boy Advance, and many of them hold up surprisingly well. The Switch ports run quite smoothly overall and are visually appealing set against the optional backgrounds added in the updated collection. Another highlight of the collection is that the original game manual for each title is included and easily accessed at any time by popping up the menu, a feature that’s especially helpful given the lack of any real in-game tutorial content. I found myself opening these manuals quite often, as they’re both a valuable resource and enjoyable trip through gaming history.

Opening up the Yu-Gi-Oh! Early Days Collection is a pleasure in and of itself, as the game carousel for the home screen is both beautifully designed and easy to navigate. It offers players an enjoyable tour through their options as they settle in for a play session. The games are ported largely in their original versions, with a few added customization features to let players remove features like Deck Capacity, Duelist Level, and Forbidden Cards. This lets fans enjoy the games as originally intended or speed things up according to their preference. Having the original box art is another nice added touch for the collector who wants a slice of Yu-Gi-Oh! history.

With 14 Yu-Gi-Oh! games to choose from, not every option is created equally here. For those looking to spend hours dueling against a computer opponent, the Duel Masters games have plenty to offer. Though there are some progression and difficulty quirks in these early games, and the mechanics are a bit dated at times, they are surprisingly engaging to this day. I was impressed with how easy it was to sink hours into a game where the basic premise is just dueling the same characters several times in a row. Somehow, those early Duel Monsters titles still hold up, and it was fascinating to play them in succession and see how they evolved over time. Though many of the early titles are quite similar to one another, having so many to choose from ensures players will be able to duel to their heart’s content, and that’s before considering the online PvP option offered in Yu-Gi-Oh! Duel Monsters 4: Battle of Great Duelists. 

Difficulty level and duelist progression is a bit of a challenge with the Duel Monsters series, though it doesn’t detract too much from the sheer joy of the duel. Some matchups are laughably easy right through to the end, while other games start off so tough players are hard-pressed to win enough battles to add new cards to their decks. The recommended order to take on opponents isn’t always made clear, so duelists can pretty easily wind up getting thrashed by an opponent whose deck is far beyond their current level. Thankfully, the ability to toggle off certain built-in limitations can help assuage these frustrations a bit, giving players an edge against tough NPCs when it’s not clear where to start. 

It’s not all straightforward card dueling simulators in the Yu-Gi-Oh! Early Days Collection, though. Some of the more adventurous titles from the early days of Yu-Gi-Oh! turned out to be some of my personal favorites. For instance, 2000’s Monster Capsule is an odd hybrid of Yu-Gi-Oh characters with Pokemon and Dungeons & Dragons-inspired gameplay, and yet, the combination is oddly charming. I found myself unwilling to move on from the chess-like battles and Dungeon Master-style confrontations to check out the next game on the list. Similarly, The Sacred Cards brings a little more story to the duel simulation concept. Walking around the map as a pixel character and hanging out with beloved characters was a treat, but I still got to enjoy plenty of duels in a beautifully streamlined system. Setting this aside to check out the rest of the collection took some willpower, and I suspect I’ll find myself returning to it often. 

Unfortunately, some of the Yu-Gi-Oh! games don’t translate quite so well. Visual quirks with a few entries make them tricky to play. The moving backgrounds during duels in some of the Game Boy Advance era entries can be distracting at best and motion-sickness-inducing at worst. Destiny Board Traveler, which offers a fun board-game-inspired premise, is hit hardest by visual issues. The white text against brightly colored backgrounds is nearly impossible to read, rendering the game almost unplayable. Reshef of Destruction, a beloved follow-up to The Sacred Cards, also suffers from an odd cursor blinking error that makes dueling more of a slog than a pleasure, which is a real shame given the game’s otherwise enjoyable setup. 

In all, the Yu-Gi-Oh! Early Days Collection features plenty of enjoyable titles alongside a few games that don’t quite hold up. With so many options to choose from, players get many hours of entertainment, even if they wind up leaving a few of the messier ports on the virtual shelves. The updated backgrounds and customization options add a nice polish to a collection of retro games that will delight Yu-Gi-Oh fans eager to return to where the video game franchise began. Despite a few challenges with translating retro games to a modern audience, the Early Days Collection is a must-have for anyone who wants to revisit the earliest entries in the Yu-Gi-Oh! video game series or experience them for the first time.

Score: 3.5/5

Yu-Gi-Oh! Early Days Collection was reviewed on Nintendo Switch. A review copy was provided by the publisher in advance for the purpose of this review.

The post Yu-Gi-Oh! Early Days Collection Review: Time to Duel appeared first on ComicBook.com.

Avowed has scratched an itch for me that few other RPGs have been able to scratch in recent years. That’s not to say that I haven’t enjoyed recent RPGs like the absolutely stellar Baldur’s Gate 3, but sometimes you are looking for something hyper-specific. I have been yearning for a game like The Elder Scrolls V: Skyrim for years but no other studio makes RPGs quite like this besides Bethesda. That is until Obsidian stepped up to the plate with Avowed, a brand new fantasy RPG set in the Pillars of Eternity universe that clearly takes a lot of inspiration from the highly respected Elder Scrolls franchise.

Now, that doesn’t mean you should go into Avowed expecting Skyrim 2, but it’s a nice appetizer while we all wait with bated breath for The Elder Scrolls VI. Truthfully, I had low expectations for Avowed. Xbox has let me down a lot this generation with its first-party offerings and this game has been gestating for quite some time. As a result, a piece of me was prepared to be left with lukewarm feelings, but my experience was quite the opposite. 

Avowed sees players filling the shoes of an envoy sent by the Aedyr Empire to deliver a message and investigate a plague infecting a region known as the Living Lands. However, nothing is remotely simple. Within the opening hours of Avowed, your ship crashes into a hostile fortress, there are multiple coordinated attempts on your life, and you cross paths with plenty of non-violent characters who would rather you swim back to wherever you came from. It’s a story that immediately sinks its hooks in you and pulls you in closer with each new revelation.

On top of all of the political intrigue in the Living Lands, your custom created character is also a Godlike, which is someone who was personally touched by the gods before their birth and grants them special powers. This introduces a layer of divinity to Avowed as you learn more about the spiritual piece of this universe. Where things get really interesting is when you connect with some higher, almost cosmic power that is called “The Voice”, which is presented as this trapped being in some kind of spirit world. Like a genie in a bottle or a devil, it frequently presents you with tough choices. It may offer you something incredibly irresistible or lucrative, but now you are indebted to The Voice and must carry out its bidding.

You are frequently unsure of whether The Voice is actually a force for good or evil, which creates compelling situations where you hover over your dialogue options weighing out the potential consequences in your head. It’s impactful and even if certain things don’t ultimately lead to anything earth-shattering, what matters the most is that you feel like your decisions are important in the moment and you put thought into everything you do. Of course, your choices aren’t just limited to your interactions with The Voice, but that’s where you will see a lot of the heaviest choices.

Of course, like any good RPG, you also meet a colorful cast of characters along the way. All of the different party members in Avowed can benefit you in different ways thanks to their varied combat abilities, but I often chose them based on nothing more than their personality. I want someone who is going to keep me entertained more so than have my back. It’s more interesting to have someone like Kai, a character who is clearly well-known throughout the Living Lands, but typically not for good reasons. Seeing the small tiffs he has with others is always a treat, but he’s also someone who is interesting to learn about when you have downtime at your camp.

However, this is where one of Avowed’s downsides lies as well. A lot of RPGs suffer from extensive conversations with characters where everyone stands there stiff as a board. It may not be unique to Avowed, but it’s one of those things that can wear on you after many hours of play. It’s hard to sit there and look at someone talk for extended periods of time while they barely emote or move. It’s hard and likely totally unfeasible to animate that many dialogue scenes to make it feel more dynamic, but sometimes it feels easier to just read the dialogue and skip to the next line to speed the process up. As much as I enjoy learning about a character like Kai, sometimes I don’t even bother going through all of the dialogue options because I quickly become disengaged by the dry and stilted conversations.

Avowed’s conversations do have one thing worth praising, though. This is a very lore-heavy game and almost immediately, I felt incredibly confused with all the vocab words that were being thrown at me. However, there’s a whole glossary of keywords that you can view in the dialogue menu. It only allows you to see the notable words that were spoken during that conversation, so you don’t have to dig endlessly. I have personally never seen that in a game, but it’s a handy tool that allows you to easily keep up with the lore and understand what people are talking about.

When you aren’t idly standing around talking to someone, it’s incredibly easy to become swept up by Avowed’s world. The world feels incredibly hand-crafted with lush, green pastures and forests, frosty snow regions, and cities with all kinds of events happening around you. There are abandoned houses to raid, caves to explore, and waterfalls with secret treasures behind them. It’s a game that wants you to discover all its nooks and crannies as it’s made to be explored and you’re frequently rewarded for doing so. You can stumble upon crime scenes, inspect civilians’ cargo for contraband (and then decide whether you snitch or not), and of course, meet people who give you interesting side quests. 

One side quest early on in Avowed has you going off to clear out monsters out of a person’s house. When you arrive, you quickly realize things aren’t as malicious as they seem to be and this person has a special connection to these creatures. It’s then up to you to talk to the person and help her determine whether or not these creatures are worth killing or if she should try to leverage her unique connection. It’s the kind of sharp RPG writing that once again emphasizes a degree of choice and makes you want to seek out other side quests to see what other absurd, whimsical stories exist within this universe.

Avowed’s other big strength is its combat. I was really surprised by how much nuance there is to combat and how much thought was put into designing how you can fight. For starters, you can dual wield just about anything unless you have a two-handed weapon like a big axe. If you want to have a sword in one hand and a pistol in the other, you can do that. If you want to dual wield a wand and a gun, you can do that too. On top of that, you can have two loadouts that allow you to quickly switch to another set of weapons. So, you could have one loadout be more close-quarters-oriented while another one focuses more on ranged combat. Or maybe a loadout designed for stealth and another that’s not. The choice is yours.

Avowed really puts a focus on combining different aspects of combat. You can use your magic to freeze someone and then pull out a gun to shatter them to pieces. It’s incredibly satisfying to chain a bunch of different attacks together and use all of your resources to take down your foes.

I really enjoyed this level of freedom, but it also made me realize how you need to be a bit more thoughtful about it. I expected to absolutely slaughter everyone with a sword and a gun, but realized not having a shield was allowing me to get destroyed. I didn’t really use shields in games like Skyrim, but it’s something that is constantly in my loadout rotation in Avowed. 

Enemies are pretty determined when it comes to taking you down and will toss projectiles at you, attack you head-on with light and heavy attacks, and so on. To help with this, Avowed lifts a pretty interesting element from another genre of games to make its combat more engaging. In games like the Batman Arkham and Marvel’s Spider-Man series, there will usually be a colored flash above an enemy’s head to warn you of an attack so it can be countered. Avowed has the exact same thing, telegraphing moments when you should block or dodge. The Batman Arkham games helped create a rhythm to its combat with this and Avowed benefits from that just the same. Each blow feels impactful, you have a greater degree of awareness, and it rarely feels like anyone got a cheap shot on you. 

That’s not to say Avowed doesn’t have a few areas where it can improve its combat. For starters, stealth feels a bit underbaked. I figured if I used a bow early on, I could pick enemies off with ease. However, even a well-placed headshot from the shadows didn’t kill an enemy and would sound the metaphorical alarm on nearby foes. Of course, you can probably upgrade the bow to be much more powerful to achieve that, but I didn’t even bother to do so because it was so disappointing off the bat. There are some takedown moves as well, but they were pretty repetitive and it felt more interesting to just charge into battle instead.

Guns and bows also don’t have any kind of ammo counter. You can fire your gun seemingly forever and the only downside is it takes a few seconds to reload. I wish there was more thought into making a gun feel like a limited resource rather than something you can use as much as you want, as it makes it feel less impactful as a weapon. They are still fun to use, but it would be more interesting if there was a higher trade-off for using them.

Avowed may not be the most advanced RPG in the world and there may be games that offer unparalleled levels of depth by comparison, but that doesn’t stop Obisidan’s new fantasy game from being great. It offers a dense world bursting at the seams with beauty, compelling characters, consequential choices, and gripping combat that rewards players for being creative. It’s one of my favorite RPGs in quite some time and is one that I am going to continue enjoying for the foreseeable future. If you have Xbox Game Pass or have some money to put toward a new game on PC, I encourage you not to sleep on Avowed.

Rating: 4/5

An Xbox review copy of Avowed was provided by the publisher.

The post Avowed Review: Skyrim’s Spiritual Successor appeared first on ComicBook.com.

For a time, the Yakuza/Like a Dragon series was somewhat niche. It wasn’t until a couple of years ago that the long-running SEGA franchise really gained steam in the West, primarily thanks to Xbox Game Pass and Yakuza: Like a Dragon. So, after the stellar reception to Like a Dragon: Infinite Wealth, Ryu Ga Gotoku Studio revealed its next entry would be a pirate-themed spin-off with the Mad Dog of Shimano himself, Goro Majima, dubbed Like a Dragon: Pirate Yakuza in Hawaii. And while this new entry might sound crazy, after having spent about 25 hours playing Pirate Yakuza in Hawaii, it actually works.

As the first spin-off to have a protagonist from the mainline series other than Kiryu (not counting the excellent Judgment titles or Ishin!), Pirate Yakuza in Hawaii starts off rather boldly with the fan-favorite Majima. As a character, he’s brash, showy, and is not afraid to take risks and be loud doing it. He’s grown a ton since his introduction as a rival to Kiryu in 2005’s Yakuza. While I don’t think Pirate Yakuza in Hawaii highlights Majima as much as hoped, he is a fun and engaging protagonist that you never get annoyed by. Plus, it helps that Japanese voice actor Hidenari Ugaki brings that lovable flair fans know and adore back, now with the spotlight solely on his character. 

However, unlike other Like a Dragon games, Pirate Yakuza in Hawaii is not the inter-Japan hierarchy drama of before. This entry brings Majima to the world of modern-day pirates, albeit more apt to the olden days with colorful outfits and seafarer regality. As mentioned before, it works surprisingly well, which is a testament to the team at Ryu Ga Gotoku for making an insane idea land on its sea legs. It keeps what fans love, from engaging characters to bombastic music, and adds only if needed, not overdoing anything. And, just like other Like a Dragon games, it’s addicting, as I found myself constantly wanting to explore and try everything the game is stuffed with, from fun mini-games to insane substories and side missions.

Gameplay-wise, a majority of Like a Dragon: Pirate Yakuza in Hawaii is exploring islands and beating the arses of plunderers and scoundrels. Personally, the beat-em-up style of combat is more up my alley than the RPG stylings of Yakuza: Like a Dragon, so Pirate Yakuza in Hawaii felt right at home. And yet, Majima’s quick attacks and deadly weapons made it a new experience that differentiates itself from Yakuza 0 and Yakuza Kiwami 2. Pulling off impressive combos and switching between Mad Dog and Sea Dog, a fighting style that utilizes a plethora of sea-worthy weapons, is super satisfying. 

One of the key elements of Like a Dragon: Pirate Yakuza in Hawaii that has drawn a lot of attention is the naval combat. The mechanic has drawn a lot of parallels to titles like Assassin’s Creed IV: Black Flag and Skull and Bones. Fortunately, it does deliver many of the thrills of said combat. Carefully lining up shots, tending to your ship and crew, and making the most of the battlefield play a huge part in whether you sink or sail. It doesn’t really show its depth (pun intended) until you get more challenging opponents like those in Madlantis, which pump up the intensity. The customization of your ship and crew does play a part in your success whether on the high seas or plundering treasure islands. 

If Yakuza: Like a Dragon and Infinite Wealth delivered on the craziness, Pirate Yakuza in Hawaii goes further. It’s already insane to have Majima be a pirate captain, gear and all, but RGG Studio doesn’t stop there. I mean, if the game has its opening credits done as a musical, it already tells you what adventure you’ll be going on. Just about every employable crew member has a story behind them and, most of the time, it’s as quirky as they are, in a good way. Even more so, the action scenes, especially in Madlantis, are whimsical and fun, embracing the absurdity. That’s not to say it doesn’t take itself seriously, as there are those moments of real character growth and themes. Yakuza/Like a Dragon has always threaded a line between the two genres really well, so it’s not a surprise that Pirate Yakuza in Hawaii does that, too. 

Speaking on that topic, the story of Pirate Yakuza in Hawaii is a bit of a toss-up. On one hand, it’s a fun, wild, and surprisingly heartwarming romp for those up for a swashbuckling adventure. On the other, compared to previous entries, more so Infinite Wealth and Like a Dragon Gaiden: The Man Who Erased His Name, it can feel a touch underwhelming. It does hit a few depths emotionally, especially in the end, but it does feel a bit safe. It definitely feels like it could gone deeper than it does, especially with Majima and the plot twists. The message of Pirate Yakuza in Hawaii does hit home, but the way it gets there doesn’t go too far. 

The graphics for the Yakuza/Like a Dragon series have come a long way since its debut on PS2. Much of that is present in parts of Pirate Yakuza in Hawaii, as its bright colors, gripping action, and beautiful scenery match the vivacity of the title. However, as you take it to the islands, like Hawaii, where you’ll explore and meet the locals, there is a small dip in graphical quality. Some of the NPCs, enemies, and other important areas do look a bit off, with very clunky visuals. It’s likely a cause of texture load-in, but the often bright lights can make those small details a bit too noticeable. That, of course, doesn’t extend to cutscenes, which tend to look great with movie-like quality. 

Overall, Like a Dragon: Pirate Yakuza in Hawaii is a swashbuckling adventure fans will love to dive into. Despite some hiccups with the story and graphics, there’s a lot to like with the title. RGG Studio continues its success story, putting Majima in the well-deserved spotlight for what is one of 2025’s most eccentric yet charming games so far. 

Rating: 4 out of 5

A PlayStation 5 copy of Like a Dragon: Pirate Yakuza in Hawaii was provided for this review by the publisher.

The post Like a Dragon: Pirate Yakuza in Hawaii Review: Buried Treasure appeared first on ComicBook.com.

Lost Records: Bloom & Rage Part One wears its inspiration on its henna-tattooed sleeve. I came into Don’t Nod’s upcoming two-part graphic adventure game with a defined sense of optimism. Having admired the nostalgic autumnal puzzle-solving episodes of the studio’s Life is Strange franchise, Lost Records looked to set itself up for success with its next narrative adventure, which has Bloom & Rage as the foundation of what is to come within the new series. With 90’s punk rock infused into its veins, Part One aka “Bloom” represents a small, albeit underwhelming, taste of the vibrant world in store for players in the Lost Records universe.

Set in the quaint picturesque town of Velvet Cove, Michigan in 1995, you play as the shy yet quirky teenager named Swann. As the summer days begin to drift away, Swann crosses paths with Nora, Autumn, and Kat, sparking an everlasting sisterhood riddled with rebellion and self-discovery. In contrast to the nostalgic atmosphere, the game navigates within dual timelines, shaping both narratives in the confines of the summer of 1995 to the modern world of 2022. Through the sun-kissed lens of a camcorder, Swann must uncover the pieces of the puzzle that led to the sudden reunion of the long-lost friends.

Given that “Bloom” is one of two parts, with “Rage” releasing on April 15th, the first half of the game delves into the bonds that brought the four individuals together. Don’t Nod has a great track record of delivering dialogue-based narratives that have consequences down the road, as noted by the success of Life is Strange. However, this time around, the option to stay silent is also available, letting players take a backseat in some critical moments. Joining into a discussion can either hurt or grow your relationship with the other characters. This feature was valuable since it let me learn more backstory behind the characters rather than rush through a scene without missing key details and/or getting caught in conversations I didn’t need to be a part of.

Capturing the teenage angst and awkwardness (which we all have been through at some point), Lost Records: Bloom & Rage values the youthful mindset and wasn’t afraid to stand out amongst the crowd. It’s admirable to take on such an important time in a person’s life, but the identities of these teenagers lose subtlety throughout the game, making it easier to spot key moments of growth within the characters rather than hinting at it. Another thing that is a bit underwhelming regarding the aspect of identity is that while the other characters grow, Swann stays the same within both timelines. That being said, the traversing timelines gave depth to the larger storylines, crafting an experience that works in collaboration with each other.

Don’t Nod curated an American small-town atmosphere within their Montreal-based studio, which is commendable as someone who grew up in one myself. The setting boasted a colorful mirage of imagery that tugged at the heartstrings of those who grew up in a rural environment rather than a bustling city. Bloom & Rage is aesthetically pleasing to the eye, depicting a story of its own. The 90s era, specifically the punk rock riot grrl era, was given an especially heavy emphasis, and the music choices hit the nail on the head. From the lo-fi downtime beats by the acclaimed Canadian electropop duo Milk & Bone to the alt-country/punk group Nora Kelly Band with their riot grrl-infused vocals to match the tone.

When it comes to the story, it’s important to reiterate that the game is split into two parts, which does, unfortunately, leave a lot of questions remaining at the end. There are times were the narrative works in its favor when crafting those interpersonal moments between the girls, but is sadly shifted in a different direction towards the end in an attempt to introduce new drama rather than tackle what has been already established. This left me a bit confused considering the story looked to move in another direction that was hinted at in the beginning. The moments where impactful decisions were made didn’t feel like they carried a lot of weight within the ultimate goal of this part. If anything, they felt more aimed at cherishing the small moments.

The beginning of Lost Records: Bloom & Rage was great in how it set up the story and delivered great visuals right off the bat, but the quality of it all started to dwindle as “Bloom” progressed. Knowing that the second part is mere months away, it begs the question as to whether these two “parts” should have been released as one, given that players will most likely be left with obvious plot holes rather than answers and the amount of stuff loaded onto the next part that wasn’t tackled yet.

If you have been a longtime fan of Don’t Nod’s repertoire of games, then Lost Records: Bloom & Rage is a great addition to the studio’s titles. However, the narrative sets up more than it answers in part one, making the experience frustrating by the time it’s over. For the start of the Lost Records universe, “Bloom” presents incredible scenery amidst a lukewarm story driven by self-discovery and mystery. In the end, the game doesn’t capture the full sunset of what is to come but sets up a story that has the potential to show its true colors.

Rating: 3 out of 5

Lost Records: Bloom & Rage Part One releases on February 18th on PlayStation 5, Xbox Series X|S, and PC. A complimentary copy of the game was provided by the publisher for the purpose of this review and played on PlayStation 5.

The post Lost Records: Bloom & Rage Part One Review: Stranger than Fiction appeared first on ComicBook.com.

The first Kingdom Come: Deliverance was a far more punishing game than I’d become accustomed to in today’s modern RPG scene, so much so that it was borderline off-putting. Not being able to absent-mindedly save before every decision felt almost unfair, and why couldn’t my Henry be a mechanic-abusing super fighter right from the start? It was a cold splash of realism compared to many alternatives back in 2018, though that seemed to be the intent from developer Warhorse Studios.

Fast-forward to 2025 where we’re now getting the sequel, Kingdom Come: Deliverance 2, and things are only somewhat easier on our hero, Henry, this time around. Saves are a bit more plentiful, combat is refined, and there’s plenty more to do to the point that you’ll often forget what your main quest is at times. It still feels arduous, but after spending plenty of time with Kingdom Come: Deliverance 2, I wouldn’t have it any other way.

Kingdom Come: Deliverance 2 is quick to remind players that 15th century Bohemia doesn’t care much about you at all. Though Henry’s journey through the first game armed him with all sorts of skills and social standings, you’re quickly stripped of that progress in the sequel and are quite literally de-leveled so that you’re basically starting from scratch. It’s a bit of a heavy-handed way to reinvent the experience, but it makes sense in the context of the story, and they’re really no better way to kick things off.

Whether you played the first game or not, Kingdom Come: Deliverance 2 is as humbling as ever before, and those humblings come in many shapes and sizes. Fighting one rogue bandit is easy enough to start, but fighting more than one without proper combat leveling or going up against someone who has even an ounce of training? I might as well have been using a wooden sword.

So, in true open-world fashion, the answer to remedying Henry’s pitiful existence was to do anything and everything besides the main quest. And even more so than the first game, Kingdom Come: Deliverance 2 has plenty to do if you just want to roleplay as a multi-faceted traveler, a jack-of-all-trades with a main objective only in the back of their mind.

Alchemy is back in the sequel, a hobby which successfully derailed me multiple times until Henry’s stomach growled and my pockets were lined with coin from selling off a load of potions and poisons that left me overencumbered and crawling to a vendor. Blacksmithing makes its debut as well (the son of a blacksmith can finally make his own weapons!), and even more so than alchemy, it puts you in almost a trance-like state as you whistle along with Henry’s strikes on the anvil. Creating and selling wares and doubling your money by rolling dice is a lucrative way to bust Kingdom Come: Deliverance 2‘s economy wide open, sure, but more than anything else, Warhorse Studios has found ways to make even the most tedious of tasks enjoyable.

Ironically enough, it was often the less enjoyable happenings — the more frustrating and punishing ones that make you just want to throw your hands up — that really made Kingdom Come: Deliverance 2 sing. Helping an innkeeper with all their favors only to still be denied a room and insulted because my area reputation was a smidge too low was harsh, but fair enough seeing how I did make some poor dialogue choices before. One of the best examples of this was a day-long quest starting at the crack of dawn where we visited town after town to perform different tasks which, in my mind, I completed with 90% efficiency in terms of what that quest-giver was looking for. That missing 10% was apparently enough to warrant an outright “I don’t like you” from the boss at the end of the quest with Henry basically told kick rocks and find his own way back to the quest’s starting point. Fast-travel is a thing, sure, but it was a quick reality check to re-humble Henry no matter what he was wearing or what level he’d gotten to.

While the reputation system, saving via Savior Schnapps or owned beds, and a myriad of tiny debuffs like being hungry, sleepy, stinky, bloody, or hungover do meld together to create a system that can feel quite punishing, it rarely ever feels unfair so long as you’re putting thought into what you’re doing next and how prepared you are. Best practices like drying food and checking in on your dog and horse frequently become second nature after awhile to make you feel like you’re truly working in tandem with the systems at play, not against them. Warhorse Studios also eased up on some of the more grueling parts of Kingdom Come: Deliverance as well. Saviour Schnapps feel more plentiful this time around whether you’re finding them or making them yourself, and the combat feels much better here with only small concessions made. Dropping the angular combat from a five-direction system down to just four (or fewer in some cases) makes a world of difference when managing attacks and parries and at least makes you feel like you can get out of a scuffle relatively unscathed.

But if I’m buying into the onerous requests of Kingdom Come: Deliverance 2, I need the game to play fairly as well, and that doesn’t always happen. While bugs were infrequent in the sequel, when they hit, they hit hard. A crash is debilitating in a game like Kingdom Come: Deliverance 2 where your immediate question is “when did I last save?” and getting stuck in a rock or under the map when you’re hours into an exploration is enough to make you want to quit for the night. It’s not a problem that’s unique to Kingdom Come: Deliverance 2 by any means, but I also often found that the dialogue choices didn’t always line up with what Henry would actually say. I’d try to keep my reputation largely positive with people so long as they were amicable, but Henry almost improvised some responses at times to result in a quick loss of reputation followed by a desire to reload.

It’s rare to see such a player-driven RPG where your successes and shortcomings are entirely your own doing despite many modern RPGs promising just that, but Kingdom Come: Deliverance 2 delivers (so long as it doesn’t turn you away first). As unforgiving as it is, Kingdom Come: Deliverance 2 remunerates fairly for all it asks of the player and is supremely easy to get lost in.

Rating: 4/5

A PC review copy of Kingdom Come: Deliverance 2 was provided by the publisher.

The post Kingdom Come: Deliverance 2 Review: Learning to Love It appeared first on ComicBook.com.

The Dynasty Warriors titles have been a staple in the video game industry. Famous for bringing the hack-and-slash genre to a more mainstream audience, every title has had one goal: to be better than the last. Dynasty Warriors: Origins is the latest entry in the franchise and it achieves that goal quite well by firing on all cylinders with its addicting combat, thrilling music, and epic-scale sets, even if some stumbles are made along the way.

Origins, in many ways, feels like a soft reboot, as it covers only the first half of the legendary Chinese book, Romance of the Three Kingdoms. From the strategic Cao Cao to the charitable Lui Bei, every character is more or less at the start of their journey. It sets the beginning stages of the Three Kingdoms, all seen from the eyes of an amnesiac warrior, whose strength can turn the tides of battle. The protagonist can feel somewhat bland personality-wise, outside of the great VA work from John Patenaude (Genshin Impact, Visions of Mana). Still, his backstory is intriguing enough to see it through, despite the sometimes menial tasks like finding resources on the open map.

Having not read Romance of the Three Kingdoms, it was very interesting to see how everything developed both in cutscenes and in battle. It does feel like seeing an adaptation of a novel come to life in a way that I believe makes it surprisingly enjoyable. What’s more, midway through the game you choose one of three factions to follow and can see events unfold as they happen rather than just as text on-screen, which Origins does rather disappointingly at times. Still, it adds an extra layer of interactivity and depth, making you question what leader and team you want to put your faith in. In truth, it does make watching strategy meetings and discussions a bit more interesting than doing so in real life. 

A distinct feature of Origins is its replayability, as multiple routes exist outside of the main three factions. So if you follow Lui Bei like I did the first time around, you’ll then be able to, if you’re willing to get through the rather long first two chapters, see the other sides of the story. Without spoiling it, the game makes it known that you should play it multiple times thanks to its side-by-side narratives and different battle approaches. Luckily, the combat is more than worthy of being revisited over and over, even if certain elements remain the same. 

As mentioned, the iconic hack-and-slash gameplay of the franchise is alive and well in Origins. The title boasts 1 vs 1000-soldier action and it very much feels like it. Droves of enemies will clog almost every inch of the battlefield all directing the hurt toward you and your allies; however, you’ll have access to a variety of weapons that you can change via the menu. From the humble sword and spear to the deadly sharp twin pikes and wheels, the warzone is yours to control. Said control does expand throughout the game, like going on horseback to having a personal armada. The battlefields do have some variety, but aren’t as interesting as they’re perhaps made out to be visually, with most being hilly terrain and mountain ways.

While Origins is a hack-and-slash game, there is a great deal of strategy involved. Planning out what bases to hit, what officers to take down, and where to help out really does make a difference in how things play out. For example, there are a few missions where you can support the main forces on the front lines or take out multiple bases to claim more land and troops to take more advantage of the field, which lowers the confidence and health of all enemy soldiers present. As someone who doesn’t really enjoy much strategy, I had a lot of fun planning out where I’d work best, going with the flow, and seeing the fruits of my labor humbly rewarded with new equipment and upgrades. 

In terms of customization, players will be able to unlock many different skills and abilities to use on the battlefield. For example, you may have a move that stuns enemies before they unleash a big attack or may have one that swoops enemies closer for you to slash at. You can pick and choose abilities for each weapon and it does open up a ton of possibilities for playstyle. Furthermore, you’ll also level up and gain powerful versions of arms to use on the field. It’s fun to be able to test them out and see what fits. In my time with the game, wide-ranging skills were my go-to, as I do like to charge into battle and take out as many enemies as possible.

Outside of combat, you’ll meet up with varying allies from different factions and beyond. There are a ton of them to meet, each with their own unique goals and desires. You’ll be able to chat with them and form bonds, which give you new objectives that grant you upgrade points. It does ground the characters quite well, giving them more personality and depth other than just recognizable faces on the battlefield. Even so, it makes fighting them, especially if they’re on the opposing team, much more impactful. Their voice actors also do a decent job of portraying them (though some come off rather monotone), which is good considering most of the original cast was redone for Origins (outside of a few exceptions like Kyle Hebert’s Dong Zhao).

With this being the first Dynasty Warriors title in seven years, the glow-up in graphics are noticeable. Characters and scenery look upgraded for the modern age and feel fluid and vibrant. There are times when it can be a touch static and not as detailed in certain lighting, like outdoors and during battle. Though, with the action being at an all-time high, it’s not too much of a deterrent. Speaking of, the combat is the best it’s looked in a while, as your skills come to life with fervency. It’s flashy but grounded, keeping in line with realism, yet in tune with the epic-scale action of facing insurmountable odds.

The music of Dynasty Warriors: Origins definitely matches the scale of the battles faced by the protagonist and allies. Electric guitar and woodwinds make up most of the backdrop but I won’t lie when I say it genuinely motivated me to fight more and take risks. It’s booming, fast, and the perfect soundtrack to boost your confidence on the battlefield. Nothing beats a swelling guitar solo as you rush into battle on horseback. Even though you do hear the same music over and over, it doesn’t grow too tiring, personally. 

A lot of Dynasty Warriors: Origins is done well and that should be a welcome change for fans. The game supersedes Dynasty Warriors 9 in many aspects and captures the intensity and realism that made the series so well known. Working as both an action title and a history lesson, all wrapped up to enjoy even after credits roll, despite the long introduction and repetitive elements. As one of the first titles of 2025, Koei Tecmo has started it off real strong. Overall, Dynasty Warriors: Origins is addicting, exhilarating, and a mighty good time.

Rating: 4 out of 5

A PlayStation 5 copy of Dynasty Warriors: Origins was provided by the publisher for this review.

The post Dynasty Warriors: Origins Review: The Hack & Slash Emperor Reigns Again appeared first on ComicBook.com.

Despite not being able to get hooked on anything MachineGames has worked on the past, I was determined to give Indiana Jones and the Great Circle its fair shake. My appreciation for the whip-cracking, backtalking Indiana Jones trumped any preconceived ideas I might’ve had about the game, and after spending quite a bit of time with Indiana Jones and the Great Circle, I’m glad it did. Bethesda’s new Indiana Jones game stands out as a supremely faithful and painstakingly careful adaptation of the character that’s going to be hard to top if and when this franchise is picked up again by any other studio.

Troy Baker plays Indiana Jones in the Great Circle game, a voice actor who seems to be in everything all the time but somehow manages to still be the perfect choice for this character, too. Though the game’s version of Indiana Jones is based off of Harrison Ford’s physical appearance, you’d be hard-pressed to rule out Ford as the voice if you didn’t already know Baker had the role.

Nearly every interaction Indiana Jones has with a character be they a cutscene-worthy NPC or just a passerby tells you that MachineGames studiously rewatched Indiana Jones movies from the past few decades to discern exactly how Indiana Jones would respond in any given situation. Early on in the game, a disguised Indiana Jones meets another archeologist and can barely hide his disdain when the other character reveals himself to be a fellow archeologist. That unique blend of deserved cockiness and wit permeates the rest of the game in a way that only Indiana Jones could, and the faithfulness infects other characters as well. After you see the devilishly evil Emmerich Voss who oozes Indy villain aura, you’ll be checking the Wiki more than once to confirm he’s a totally new character and not someone you’ve met before.

Just as the case in the movies – and perhaps even more so here in Indiana Jones and the Great Circle – the game asks of the player some degree of a suspension of disbelief. Indiana Jones is crafty, sure, and he constantly accidently finds himself in precarious situations like under a collapsing statue or in a fascist boxing club, but the game definitely takes some liberties with how clever he is. When investigating ancient Egyptian sites while avoiding Nazi gaze, I was sometimes swinging from the bullwhip in clear view of enemies who for some reason can’t see past more than a few meters. Indiana Jones and the Great Circle relies heavily on the idea that players would want to play as Indiana Jones would: sneaking about behind enemy lines unnoticed while maintaining a relatively low killcount compared to most action heroes. If you decide to play otherwise, there’s nothing really to stop you from waltzing into a compound and clobbering everyone.

What you will find, however, is that if you choose the stealthy, true-to-character route, Indiana Jones and the Great Circle can feel like it drags at times. There are so many cutscenes which can’t be skipped even if you wanted to that your actual hands-on playtime is constantly interrupted, so it’s best to approach the Great Circle game as a blend of movie and game rather than solely the latter. For those who appreciated Red Dead Redemption 2‘s methodical exploration style where anything and everything is of interest and must be approached accordingly, you’ll appreciate Indiana Jones’ desire to pick up ever letter, read it carefully, flip it over to make sure there are no hidden messages, and triple-check your surroundings before moving on from a room, if you so choose to play that way.

And inspect everything you shall, or at least you will if you have any desire to accomplish side quests. True to the nature of Indiana Jones adventures, nearly everything you have to do is a puzzle be it a “how do I get in that room?” scenario or something as cliche as a reflecting-light-off-mirrors challenge. You can make the puzzles easier thanks to some robust difficulty options that involve combat, exploration, and puzzles, but I’d rather be stumped than ask for help, so some codes and riddles had to be left behind. Exploration and navigation, however, I was happy to change. Indiana Jones and the Great Circle is a game where you have to walk around with your map out if you want to get anywhere, and as much as I appreciate that dedication to realism, I found it much more enjoyable to tweak the settings so that a more traditional objective marker was constant as a guiding light.

Despite the occasional frustration with pacing that’s remedied either by immersion, some altered settings, or forgoing stealth and sprinting through a Nazi camp, Indiana Jones and the Great Circle is the Indiana Jones game fans have been waiting for. There’s still more for me to do (and redo) in Indiana Jones and the Great Circle, but the methodical appreciation for the source material makes it evident that Indiana Jones games have found their home with MachineGames.

Rating: 4/5

A PC copy of Indiana Jones and the Great Circle was provided by the publisher for this review.

The post Indiana Jones and the Great Circle Review: A Striking Adventure appeared first on ComicBook.com.

Batman: Arkham Shadow is astonishingly good on every level. While I came into the latest Batman: Arkham game a bit apprehensive (like many others), developer Camouflaj has found a way to incorporate every major pillar of the Arkham series into a VR format without skipping a beat. The resulting product isn’t just one that satiated my longstanding desire for a new Batman: Arkham game, but it’s one of the best examples of how virtual reality can make familiar gameplay experiences feel fresh. 

Set after the events of Batman: Arkham Origins, Arkham Shadow focuses on a younger version of the Dark Knight who still hasn’t come across all of the members of his future rogues gallery. Camouflaj makes great use of this place in the “Arkhamverse” timeline and opts to flesh out the version of Bruce Wayne that is presented more than any other game in the series. As a result, this iteration of Batman begins to adopt a more unique identity of his own that feels different from those seen across TV, film, and comics. It also recontextualizes some of the events of Arkham Asylum, Arkham City, and Arkham Knight while not retconning or hindering anything presented in those games. 

The story of Batman: Arkham Shadow is likely the aspect of the game that surprised me the most. Coming into Arkham Shadow, I expected it to rely a bit more heavily on its gameplay mechanics as the VR controls and format are arguably the most unique aspect of the title. Instead, Arkham Shadow has more twists and turns in its story than just about any other Arkham game. In fact, the main thrust of its narrative involving Batman’s pursuit of the Rat King was one that I was completely taken aback by. 

Thematically, Arkham Shadow also presents a lot of interesting ideas about Batman’s role in Gotham City that haven’t been explored in previous Arkham titles, let alone other Batman media. This isn’t the central focus of Arkham Shadow by any means, but it adds far more depth to its storytelling and proved to be another major point of engagement for myself. 

On the gameplay front, Batman: Arkham Shadow is a tried and true Arkham game in every way. The franchise’s marquee hand-to-hand combat is readily present here in Arkham Shadow, except you’re the one throwing the punches and chaining together long combos to take down thugs. What I’m most impressed by with the combat in Arkham Shadow is just how fluid it feels. Darting from one corner of a room to another to quickly hammer foes with a flurry of fists at no point got tiresome in my time with Arkham Shadow. In fact, combat only gets better the more you play as you begin to unlock additional gadgets and special attacks that mix things up further. The Arkham series has arguably always been most synonymous with its fantastic combat and that’s no different here in Arkham Shadow. 

The Predator sequences of Batman: Arkham Shadow, however, I feel haven’t translated as seamlessly to VR. These sections of the game where Batman is trying to stealthily take down armed enemies work in the same way as the mainline games and see you largely grappling between gargoyles before descending upon baddies to take them down. Getting the jump on unexpected foes is still a lot of fun here in Arkham Shadow, especially when you’re diving off of a gargoyle and stringing someone up to it. Still, the limited perspective that VR offers makes it far more difficult to keep track of your surroundings and know where enemies are at in a given moment. This ends up being that much more frustrating in some of the more challenging Predator sequences later on. While it’s not outright bad, Predator mode is a bit more chaotic than calculated at times than I would like. 

When it comes to Batman’s detective chops, those are again front and center in Arkham Shadow. Solving various mysteries through the use of Batman’s Detective Vision is arguably more satisfying in Arkham Shadow than in any other entries as you’re directly interacting with a lot of the objects that are needed to solve certain puzzles. The puzzles themselves scattered throughout Arkham Shadow are of the perfect difficulty and prompt an adequate amount of critical thinking without being unnecessarily complex. 

On the visuals front, I also believe that Batman: Arkham Shadow is one of the best-looking VR titles I’ve played. Its graphics line up quite well with what was seen in the earlier Arkham games and make the whole series feel that much more uniform. Still, there are some compromises with the tech that have been made, specifically when it comes to character animations. There’s often no lip movement for characters while speaking, which removed me from the experience a bit. I also had some occasional dips in performance, but these weren’t constant by any means. 

In terms of its structure, Batman: Arkham Shadow has a lot in common with Arkham Asylum, which makes it a more intimate experience. This format is one I think plays to the strengths of Arkham Shadow’s nature as a VR game and kept me from ever feeling too overwhelmed by its world. In typical Metroidvania fashion, it’s also a lot of fun to revisit previous sections of Arkham Shadow’s world to solve puzzles or unlock specific areas that weren’t previously accessible. Arkham Shadow is filled to the brim with all sorts of collectibles and I’ve really enjoyed the process of trying to track them all down. 

Outside of the throughline story sections of Arkham Shadow, there are a number of additional challenges that I have found myself going back to. These challenges are the same ones from the core Arkham experience and are centered around either combat or Predator sequences. This has always been one of my personal favorite elements of the Arkham series as I’m always looking to try to beat my own previous high scores. The simple inclusion of these challenges in Arkham Shadow will ensure that this is a game I keep coming back to, even after having finished its story. 

If you have been longing for another Batman game in the wake of Batman: Arkham Knight releasing almost ten years ago, I really cannot recommend Arkham Shadow enough. While it requires a bit of a heavier investment as it’s only available on Meta Quest 3, I struggle to believe that any Batman fan will be disappointed by what Camouflaj has done with Arkham Shadow. It’s not only one of the best VR games that I’ve ever played, but it’s a Batman experience that very much earns its place amongst the Arkham games that have come before. If VR ends up being the predominant medium in which Batman: Arkham titles are released in the future, you won’t find me complaining. 

Rating: 4.5 out of 5

Batman: Arkham Shadow is available now exclusively on Meta Quest 3. A complimentary copy of the game was provided by the publisher for the purpose of this review. 

The post Batman: Arkham Shadow Review: VR Enhances the Classic Arkham Formula appeared first on ComicBook.com.

I have never played the original Silent Hill 2. It’s one of those games that has perpetually been in my neverending backlog and always slipped through the cracks for one reason or another. When Konami announced in 2022 that it was remaking its survival-horror classic in tandem with Bloober Team, though, I decided to simply wait for this new iteration to arrive and make it my first experience with the game. Having now done that, I don’t find myself regretting the decision in the slightest as this reimagining is absolutely fantastic. 

Like the original game, Silent Hill 2 tells the story of James Sunderland, who finds himself visiting the foggy town of Silent Hill in search of his presumably deceased wife. It’s a simple enough premise to get the narrative of SH2 rolling but it’s one that I found myself enraptured with the more I played. Silent Hill 2 does a great job of slowly unveiling more about the backstories of its sparse cast of characters, while also providing deeper lore into the history of Silent Hill itself. Despite being met with scares around numerous corners, the compelling throughline arc of James kept me constantly pushing forward to see what would happen next. 

What amplifies Silent Hill 2’s story further is the performances of its cast. Luke Roberts’ performance as James, in particular, is a highlight. While James doesn’t speak often, his words carry a weight with them that Roberts does an excellent job of conveying. Other characters like Eddie and Maria also shine when they happen to show up. 

For the most part, though, Silent Hill 2 centers entirely around James, which I think is to its benefit. This feeling of isolation and loneliness pairs perfectly with its atmospheric approach to horror. Silent Hill 2 has plenty of scares, but these moments are more about sending chills down your spine rather than making you jump out of your seat. While there are some moments of outright shock, Bloober Team instead makes you carefully wade through a series of eerie environments and locations that are perfectly crafted and keep you on edge. 

What contributes to this horror further is some of the puzzles found within Silent Hill 2. Puzzles are the main thing you’re doing at any given time in SH2 as you’re always trying to find a certain key or other random item that will help you progress further. For the most part, I found these puzzles satisfying to figure out, although a handful are a bit more obtuse than others. 

The way in which horror pairs so well with the puzzles is that you’re constantly needing to venture to far-off areas to find the next item that’s required to reach a solution. There’s a lot of backtracking and running through the same areas in Silent Hill 2, but this never feels like a chore as you’re instead always on your toes not knowing what might lie in wait within each room. Even though I never felt lost or confused about where to go in SH2, I often found myself hesitant to push forward simply out of fear of the unknown.

Combat is the one aspect of Silent Hill 2 that I wouldn’t necessarily praise, but it’s also not a vital pillar of the game. While you are firing pistols and swinging iron pipes pretty frequently throughout SH2, it’s never the main thing that you’re doing. Combat is only ever done out of necessity during boss fights, in particular. These battles, which are pretty sparse, don’t contain a whole lot of depth and more often than not just result in you unloading whatever ammo you have on you while dodging incoming attacks. 

Even if the bosses aren’t that thrilling, the design of every monster in Silent Hill 2 is awesome. Creatures like Pyramid Head and the Nurses I was familiar with before ever playing SH2, but they look as intimidating and grotesque as ever in this remake. Like the main cast of characters, there aren’t a ton of monsters in Silent Hill 2, but those that are featured are among the most memorable that I’ve ever seen in a survival-horror game. 

It’s not often that I find myself wanting to immediately replay games, but that’s how I felt after completing Silent Hill 2. While my first playthrough only took around 16 hours to finish, I quickly wanted to jump back in and see what New Game+ and some of SH2’s additional endings would have in store. For those who are on the fence about spending money on a single-player game that might take less than 20 hours to finish, I think this replayability is really one of SH2’s biggest selling points. 

As a Silent Hill 2 newcomer, I have been so impressed with this new remake. Bloober Team faithfully captured the spirit of games from this early PS2 era to the point that it made me reminisce and long to go back and play more games from that time. To that end, I very much have the desire to go back to the original Silent Hill 2 and see how it matches up with this remake. While I can’t speak to how longtime SH2 fans might receive this revamped version of the game, for anyone else who hasn’t played any Silent Hill games before, this is a perfect jumping-on point. 

Rating: 4.5 out of 5

Silent Hill 2 is available now for PlayStation 5 and PC. A copy of the game on PS5 was provided by the publisher for the purpose of this review.

The post Silent Hill 2 Review: Restless Dreams Remade appeared first on ComicBook.com.

It’s a wild time to be a Dragon Ball fan. The late Akira Toriyama’s Dragon Ball first hit the pages of Shueisha’s Weekly Shonen Jump magazine in 1984, and Shueisha is now in the midst of celebrating the milestone 40th anniversary for the franchise. It’s kicking things off in rather notable way with not only the premiere of a brand new anime series, Dragon Ball Daima, but with a brand new video game title, Dragon Ball: Sparking! Zero, releasing on the very same day. Both of these new projects releasing in tandem is no coincidence either as both are notable new steps forward for their respective mediums, but also a celebration of what has come before. 

Dragon Ball: Sparking! Zero is cumilatively both a brand new experience for Dragon Ball fans, but one that will also feel incredibly familiar to anyone who has played a Dragon Ball game in the last 20 years. Like many of the characters that fans can choose within it, Sparking! Zero is a fusion of the past and present to offer a new experience that’s going to have a bright future. It at times feels like the version of Budokai Tenkaichi that we all thought we were playing on the PlayStation 2 back then, while still feeling like it’s gotten much needed improvements that elevate it over its spiritual successors like Dragon Ball Xenoverse. It’s the Dragon Ball game you’ve been dreaming about for years. 

Dragon Ball: Sparking! Zero is a new entry in the long running, but previously defunct Budokai Tenkaichi franchise. With the last entry releasing back in 2010 with Dragon Ball Z: Tenkaichi Tag Team for the PlayStation Portable, there have been many games released since that have tried to capture the same spirit. For some reason, Dragon Ball had a lot of issues when it came to jumping from the PlayStation 2 to PlayStation 3 eras. Multiple titles were released that tried to emulate the Budokai Tenkaichi series to increasingly worse effect, and it wasn’t until Dragon Ball Xenoverse introduced its own take on it that it felt like fans were finally getting to play something that scratched that Budokai Tenkaichi itch. 

For anyone who was still worried as to otherwise, Sparking! Zero is a full return to the Budokai Tenkaichi gaming experience. It’s title may have changed to better reflect it being a brand new start (and to reflect the original Sparking! title of the franchise in Japan), but it’s a sequel. That means it’s got all of the appealing things fans loved about those first three titles, but also there are some of the same nitpicks that can be made about it as well. It’s a franchise that has always believed in providing the best experience possible for Dragon Ball fans even if it was at the expense of being a balanced fighter.

What Is Dragon Ball: Sparking Zero? 

Sparking! Zero is an arena fighter that sees the matches expand to a very wide area. Flying around is freely possible and is much faster than it ever has been in the series before. There are additional movements mechanics included that make for better quality of life in general too. There’s an extra dash step that makes closing in quicker, and the powered up ki dash can help you cross distances quickly. Up-close fights are frenetic, and there are deeper abilities that allow you to guard, dodge and parry hits at the right time. If you and your opponent are using the full extent of these additional mechanics it’s basically the closest we’ll get to recreating Dragon Ball’s fights as we ever will. 

For example, one of the biggest quality of life improvements for the fights themselves is the Skill Count meter. This is an additional meter alongside your Ki and Health bars that either gradually fills up over time, or builds as you land hits. Having a Skill Point will either allow you to use skills that buff your stats (or specialty skills like the Solar Flare), or allow you to charge your Ki beyond its maximum amount to enter a special mode that allows you to use your super attacks. It never feels like this meter takes long to charge, but it also helps to limit spamming the strongest super techniques. There’s still a bit of a spamming issue built in, however, as while in your fully charged mode, you could fire a regular Kamehameha Wave then follow with a Super Kamehameha in the same combo chain. That’s also the inherent flaw of having such a wide space for the matches as players could be tempted to just cheese it by firing energy beams back and forth instead of dashing in for hand to hand combat. 

Either way you decide to play, matches are also decided quickly. It’s very easy to just run back matches as soon as they’re over because they can end so quickly. You can choose to make them longer with Team Battles which let you take up to five fighters into a match (and swap out with them after a certain time). Battles feel fresh due to the number of options there are to take down your opponent, so when you add in additional layers on top with transformations it goes to a whole new level of fun in the fights. The only issue with the gameplay itself is one that won’t bother Dragon Ball fans: it’s not the most balanced fighter on the market. 

Eschewing the traditional fighting game mindset, Sparking! Zero instead allows the strong characters to be openly stronger than the weaker ones. Characters you expect to deal lots of damage and have more health indeed do. Mastered Ultra Instinct Goku is going to be much stronger than early Dragon Ball Z Goku, and godly compared to the generic Frieza Soldier. This is in service of adhering to the Dragon Ball canon, and for many goes that extra mile that allows fans to truly play out their Dragon Ball fantasies. It’s still not an impossible gap to cover if you have the skill, however. Using Mr. Satan to defeat Jiren (Full Power) is still doable; it’s just going to take some time while playing perfectly. This decision makes sense when accounting for the 182-character roster at launch. 

For Dragon Ball Fans, By Dragon Ball Fans

Character selection still somehow isn’t going to please everyone. There is a lack of classic Dragon Ball representation, but this is also the first game in the series that includes canonical materials from Dragon Ball Z: Battle of Gods and beyond. It’s a wider net being cast, and the characters selected at least all feel like they offer something different. There’s a distinct lack of generic shared specials and rush attacks, and while characters can all move around the arenas at the same kind of pace, slower characters are a bit slower and speedier characters are a bit faster. Balance is lost in favor of this massive roster maintaining its canon adherence and size, so mileage will vary in how you respond to that. 

Speaking of fan service, there’s no better example of this than everything that has been included in the single player content. Before even jumping online to test your skills against others (or split screen fighting in the Hyperbolic Time Chamber stage), the story modes included this time are Episode and Custom Battle. Episode Battle focuses on eight different fighter’s paths throughout the story depending on when they take part. For example, Goku’s goes on for longer because it ranges from the Saiyan Arc to the end of the Tournament of Power in Dragon Ball Super. But Jiren’s will only showcase his time in the Tournament of Power. And depending on how well you do in some matches, your Episode Battle experience can change drastically. 

There are certain “What If?” paths you take go down by either making a choice, or fulfilling a secret battle requirement. And these parallel universe branches can range from insignificant to changing the story entirely. For example, you can fight Raditz without Piccolo’s help and get help from Krillin instead. This seems like a small detail, but then you’ll see through some other events that go down that Goku survives the final blow. It changes how the rest of the Saiyan arc evolves from that point. Because if Goku doesn’t die in the fight against Raditz, he never learns the Kaioken or Spirit Bomb. Thus this story then shows what it could look like if Goku was around for the fights against the other Saiyans without those techniques.

Tons of Surprises in Store

That’s a small example of the unique ways the stories can go, and there are some truly excellent surprises in store with special “Sparking! Episode” cutscenes that play out some of the big “What If?” scenes. You can also make your own with Custom Battle, and the level of detail in what you can edit is quite surprising. You can make your own episode of the anime including episode title backgrounds, music, and even why characters might be fighting. This is going to be the mode fans are likely going to dive into the longest, and especially so when everyone’s uploading their own custom fights.

Finally, Dragon Ball: Sparking! Zero is just pure eye candy. Funny enough, this seems like this needs the least time spent on it of all the subjects as one look can tell you that Dragon Ball! Sparking Zero has a visual fidelity that gets as close to the anime as you might hope. Particle effects, explosions, dashing around, quick teleports, beams and more just look fantastic. There can be a bit of a stutter when things are going a bit too wild (and the arena itself is breaking apart), but it’s not very common as it was rarely seen in the hundreds of matches I had in the time with the game. You’re going to see lots of Supers thrown around, so luckily, it all looks incredible doing so. 

Dragon Ball: Sparking! Zero is the Budokai Tenkaichi 4 fans have been waiting to get for a long, long time, but it’s also the perfect first entry to jump into if you’ve never played a game in this series. It’s a great first impression, and even better reunion. You’ve been waiting for a Dragon Ball game like this. 

Rating: 5 out of 5

Dragon Ball: Sparking! Zero releases on October 11th (October 7th for those with early access) on PlayStation 5, Xbox Series X/S, and PC. A code was provided by the publisher for the purpose of this review, and was reviewed on a PlayStation 5.

The post Dragon Ball: Sparking! Zero Review: The Dragon Ball Game of Your Dreams appeared first on ComicBook.com.

It is shocking to me how well games from the Xbox 360 and PS3 era continue to hold up. Over the past couple of years, I’ve been replaying a lot of games from this period whether it be in their original forms or with new remasters/remakes. Every time I do, I come away wishing that modern releases felt as creative or unique as the titles that stemmed from this era. After playing Dead Rising Deluxe Remaster, this feeling has only been amplified further as Capcom’s latest remake perfectly keeps intact the chaotic fun distinct premise of the original. 

For the most part, Dead Rising Deluxe Remaster is a faithful revamp of the first game in Capcom’s second most popular zombie franchise. You play as journalist Frank West, who finds himself trapped in the Willamette Parkview Mall in the midst of a zombie outbreak. Everything in the mall is then turned into a weapon for Frank as he’s forced to fight off the undead hordes and uncover the mystery behind the epidemic. 

This process of running around and mowing through zombie masses with whatever you can get your hands on in Dead Rising Deluxe Remaster is just as enjoyable as it was almost two decades ago. The gameplay has also received a number of quality-of-life changes in Deluxe Remaster and feels more fluid than ever before. Thanks to Capcom’s RE Engine, more zombies are able to fill the screen in Deluxe Remaster and can respawn more quickly as well. This latter change can be a bit of an annoyance, though, as I found that dozens of zombies I would have slaughtered would be replaced by a new horde far too quickly. This dampened some of the satisfaction of wiping out an entire section of the mall and being able to traverse about more easily as the fruits of your labor. 

Survivor AI has also been greatly improved in Dead Rising Deluxe Remaster to where it’s no longer infuriating to escort civilians to safety. The original version of Dead Rising essentially forced you to babysit any survivors that you came across or risk losing them to the undead. This added a certain level of challenge to Dead Rising, but the challenge was often rooted too much in frustration to be enjoyable. Deluxe Remaster now strikes a much nicer balance and makes the process of saving every survivor much less grueling. 

The one thing that makes DRDR even more forgiving is the mere implementation of auto-saves. This might not seem like a big deal, but again, it eases some of the headaches that are often talked about when it comes to Dead Rising. Being able to immediately jump into a boss fight at the start of the encounter rather than having to reload a previous save from a fixed point was a godsend in Deluxe Remaster and eased the stress that I used to constantly have when playing Dead Rising. 

Despite my overwhelming positivity, some changes in Dead Rising Deluxe Remaster have been made that I really don’t understand. Specific characters have had their dialogue or appearances completely altered for reasons that are never made apparent. None of these changes markedly improve Deluxe Remaster when compared to the original Dead Rising, which just has me questioning why some of it was done in the first place. I wouldn’t say these tweaks make Deluxe Remaster drastically worse by comparison, but it’s certainly puzzling. 

Frank West has also seen some notable overhauls in his character design and voice in Deluxe Remaster, both of which I don’t care for as much when compared to his initial appearance. This new iteration of Frank grew on me over time and I had him wearing such outlandish outfits while I played that it almost didn’t matter what Capcom turned his base design into. Still, I can’t help but miss the performance of original voice actor TJ Rotolo and I wish he could’ve been involved with this remake. 

Dead Rising Deluxe Remaster hasn’t only been fun to revisit as a longtime fan, it has further proven to me just how much juice this series has left in it. Capcom made all of the right choices in Deluxe Remaster from a gameplay standpoint, and even if there are other alterations that I don’t care for, it’s hard to say that this is anything but the definitive version of Dead Rising. Despite pushing 20 years old, Dead Rising is still a blast to play and Deluxe Remaster should hopefully be the starting point for more to come from the franchise moving forward. 

Rating: 4 out of 5

Dead Rising Deluxe Remaster is available now digitally for PlayStation 5, Xbox Series X/S, and PC. A courtesy copy of the game was provided by Capcom for the purpose of this review. 

The post Dead Rising Deluxe Remaster Review: Frank’s Big Return appeared first on ComicBook.com.

I’ve been sold on the concept of The Plucky Squire since its first trailer debuted in 2022. The idea of a 2D and 3D action-platformer centered around a child’s storybook was absolutely perfect and had me eagerly waiting for its arrival. Luckily, after having now fully played The Plucky Squire, I’m happy to say the finished product is one that met my expectations and then some. 

The Plucky Squire centers around a young boy named Jot, who is the hero of a line of children’s books. Alongside his two friends Violet and Thrash, Jot adventures across the land of Mojo to primarily thwart the plans of the evil wizard Humgrump. This is how the tale of “The Plucky Squire” always goes until Humgrump realizes he’s merely part of a story and decides to use his magic to upend the outcome. The result sees Jot punted out of the pages of his own book and begins his latest quest to set things back to how they were. 

From start to finish, the story The Plucky Squire tells is adorable. The writing is dripping with charm and is easy enough for children to understand while still being smart enough for adults to want to engage with. One stage that predominantly centered around heavy metal particularly appealed to me, although I imagine most of its references wouldn’t be understood by younger players. I find it’s really difficult for many games to be for “all ages” as this term is more often than not associated with titles strictly for children. That isn’t the case with The Plucky Squire, though, as it’s a game I think anyone could find enchanting. 

The real star of The Plucky Squire, though, is its art direction. This is the element of the game that first grabbed my attention two years ago and it proves to be just as gorgeous in full motion. During the storybook sequences of The Plucky Squire, in particular, the colors and accompanying animations really pop. The game’s appearance when outside of these pages is largely still great, but it definitely pales in comparison and left me wanting to return more often to the in-book areas. 

Art direction alone often isn’t enough to make or break any game, but fortunately, The Plucky Squire is just as fun to play as it is to look at. One of the best things about The Plucky Squire is that it’s constantly keeping you on your toes and doesn’t commit to any single genre. While the standard, storybook sections of the game might play in a similar manner to old-school Zelda titles, it also throws these conventions out the window left and right.  There are sequences scattered throughout The Plucky Squire that draw inspiration from games like Super Mario Bros., Punch-Out!!, Resogun, and even bubble shooter games synonymous with the late 90s. This diversity of playstyles keeps The Plucky Squire constantly feeling fresh and keeps you guessing about what will happen next. 

Outside of these gameplay moments, the majority of the time in The Plucky Squire will be spent jumping in and out of Jot’s storybook. The biggest benefit to this style of play is the puzzles as you’ll have to go back and forth between the two worlds to advance past certain roadblocks. As Jot unlocks more abilities that allow him to interact directly with the storybook, these puzzles become a bit more complex in nature and become that much more enjoyable to solve.

Unfortunately, some of the only problems that I ran into during my time with The Plucky Squire were related to these puzzles. These issues seemed a bit random and included one instance where a block at the center of a puzzle clipped into the environment and kept it from working properly. None of these problems were ever enough to prevent me from outright completing the game as a simple reloading of my most recent save often fixed things. Other than these few struggles, I never had any additional issues of note. 

Over the past year, I’ve been looking for more games like The Plucky Squire. In a market that feels oversaturated by live-service, free-to-play fodder, The Plucky Squire is a breath of fresh air that reminded me of just how inventive and unique video games can be. It’s not just a game that I enjoyed myself, but it’s one that I plan to introduce to my kids to watch them play, too. If you’re also looking for more games of this type, then I cannot recommend it enough. 

Rating: 4.5 out of 5

The Plucky Squire is out today across PlayStation 5, Xbox Series X/S, Nintendo Switch, and PC platforms. An advance copy of the game was provided by the publisher and was reviewed on PS5. 

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Marvel vs. Capcom Fighting Collection: Arcade Classics is a game that I’m baffled even exists. The past decade has been a particularly rough one for Marvel vs. Capcom fans following the dismal release of MvC: Infinite. This combined with the previous delisting of Marvel vs. Capcom 2 from digital storefronts made it seem as though Capcom’s iconic fighting game series might be gone for good. Fortunately, these fears have now been put to rest as the franchise has now been revived in a way that could make it more relevant than ever. 

After having spent time with all seven titles in the Marvel vs. Capcom Fighting Collection, I’m surprised by how great each still feels to play. From X-Men: Children of the Atom through Marvel vs. Capcom 2, every game included here is still incredibly fun and offers a top-tier fighting game experience. The odd inclusion of the bunch, 1993’s The Punisher beat ’em up, is still quite enjoyable in its own right, especially given how sparse brawlers are nowadays. 

While you can play all of these games in the Marvel vs. Capcom Fighting Collection with friends on your own couch, online play has also been added to each title. In my experience, online matches worked seamlessly and gave me no issues whatsoever. While I struggled to find opponents at times, I chalk this up more to the lack of people playing in the pre-release phase. Whenever I did land a match, though, each one felt just as fluid as if I was playing with someone else locally. Capcom’s commitment to rollback netcode with this collection is likely a big reason for this seamless experience and it’s very much appreciated. 

Outside of its online component, practice mode is the other big inclusion with each game in Marvel vs. Capcom Fighting Collection. This is a rather straightforward addition, but it’s also one that was particularly needed, especially as a way of cultivating new fans. Given how old these games are, there are surely millions of players already familiar with the ins and outs of every title included. Practice mode being folded in doesn’t only ensure that veterans can hone their skills further, but it can get new players to better understand how the various systems and mechanics of each title work before then jumping into matches against others. This is something that I particularly found helpful, and I’m glad Capcom put in the effort to include it. 

Arguably the coolest aspect of Marvel vs. Capcom Fighting Collection is its slew of bonus features. More often than not with collections like this, I find that the extra inclusions are a bit of a letdown. That’s far from the case here with MvC Fighting Collection, though, as the game is filled to the brim with hundreds of old pieces of concept art, design docs, and other materials from Capcom’s creation processes in the 90s. Documentation of this kind is rarely ever released to the public, and I’m baffled that some of these items haven’t been lost over the past two to three decades. While I wouldn’t consider any of this a main selling point of the game, it’s a fantastic inclusion for those who are interested in Capcom’s history. 

If there is a downside to this Marvel vs. Capcom collection, it would be that there is little reason to go back and revisit some of these games. Most of Capcom’s Marvel fighting games of the 90s progressively built upon one another until they eventually culminated in Marvel vs. Capcom 2, which is by far the best entry of the bunch. As a result, going back to some of the precursors of MvC2 can feel a bit stale by comparison. Still, this is hardly a negative aspect of the collection as I’m happy to see Capcom include all of these titles for no other reason than game preservation. 

Marvel vs. Capcom Fighting Collection: Arcade Classics largely makes good on its simple premise. All of the games included here are of a great quality, and Capcom fortunately hasn’t messed anything up in the porting process. This combined with some of the ancillary bonus features makes Marvel vs. Capcom Fighting Collection just as interesting as a historical piece as it is a game that can be played with friends. Whether you’re a newcomer or a veteran to Marvel vs. Capcom, this is a collection that is well worth the price of admission and should hopefully pave the way for a wholly new installment. 

Rating: 4.5 out of 5

Marvel vs. Capcom Fighting Collection: Arcade Classics is set to release this week on September 12th and will come to PlayStation 4, Xbox One, Nintendo Switch, and PC. A copy of the game on PS4 was provided by Capcom for the purpose of this review. 

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I cannot remember the last time a game made me smile as much as Astro Bot has. From beginning to end, Team Asobi’s latest adventure with PlayStation’s new mascot is an absolute joy. Not only does it stand out within its own platforming genre, Astro Bot serves as a shining example of the types of games that PlayStation should look to focus more on releasing. 

In simplest form, Astro Bot is a natural extension of everything that was seen in Astro’s Playroom which is the pack-in game that launched in tandem with the PlayStation 5. The level structure of Astro Bot is similar to Playroom as is its focus on PlayStation’s hardware and history. Scattered throughout its many colorful worlds are numerous callbacks to famous PlayStation icons (Kratos from God of War, Nathan Drake from Uncharted, etc.) alongside many others that only the most hardcore fans might recognize. 

It’s this focus on PlayStation and the history of the brand that is arguably my favorite element of Astro Bot. As someone who has been playing in the PlayStation ecosystem since the early days of the PS1, Astro Bot feels like both a love letter to fans and the brand as a whole. Many of these callbacks and references to PlayStation titles from yesteryear are pretty straightforward, but they still find a way to elicit nostalgia without feeling tacky. 

What also helps on this front is that gameplay never stops being the focal point of Astro Bot. Throughout the game’s more than 50 stages, Astro Bot gives players a litany of different abilities and unique environments to hop, dash, and punch their way through. Across these diverse levels, a standard “collectathon” approach is taken that will task players with saving various bots and discovering puzzle pieces. Doing so will allow you to return to your hub world and open up new areas that can enhance the experience in different ways. It’s perhaps a bit of a straightforward setup but one that works great nonetheless.

One of the most enjoyable aspects of this hub area in Astro Bot is that it also allows you to interact more directly with the PlayStation-specific bots that you’ll rescue. These bots can have their appearance and interactivity further altered if you unlock a corresponding item that is tied to their character. For example, getting the Leviathan Axe for Kratos and then finding him in this hub can result in the Kratos Bot using the weapon and freezing other bots around him. This is just one unique example of well over 100 and the manner in which Team Asobi implements these elements is dripping with creativity and cuteness. 

Where Astro Bot is at its best, though, is when it meshes its excellent gameplay more directly with these PlayStation callbacks. There are a handful of levels within Astro Bot that lean very heavily into select PlayStation franchises and introduce mechanics that would be found in those properties. I won’t spoil which games Team Asobi chooses to lean into in these moments, but there are some that left me both surprised and thrilled to see spotlighted. 

Like Astro’s Playroom, Astro Bot also looks to place a major focus on the DualSense controller and what it’s capable of. This doesn’t just include unique uses of the haptic feedback or adaptive triggers, either, as Team Asobi uses the DualSense in ways that I haven’t seen other studios ever attempt with their own games. Whether this be blowing on the DualSense’s microphone to generate wind within the game world, or using the motion controls to hammer together the broken remnants of Astro’s PS5-style ship, the DualSense controller is one of the stars of Astro Bot. 

Those looking to test their platforming prowess in Astro Bot are likely to find that the game isn’t as challenging as they would like. While there are some difficult levels later on in Astro Bot, they pale in comparison to stages that I’ve encountered in other platforming titles. Still, this isn’t a bad thing whatsoever as it keeps Astro Bot an accessible title for players of all ages. And in a time where PlayStation has perhaps focused a bit too much on Mature titles rounding out its offerings from its first-party studios, a game aimed more at younger audiences feels particularly fresh. 

If there is one concern I have with Astro Bot, it’s less about the game itself. Instead, I’m simply left wondering what Team Asobi can do next with this franchise. Between Astro’s Playroom and Astro Bot, I don’t think this series can continue to tap into PlayStation nostalgia and history without it beginning to feel worn thin. Obviously, the Astro character can thrive well enough without this reliance on the PlayStation brand as seen in Astro Bot: Rescue Mission. Still, if Astro is going to be another major pillar of PlayStation in the years to come, I believe it has to evolve in some manner from what’s been seen in Astro Bot. 

Despite having high expectations for Astro Bot, Team Asobi still found a way to surpass all of my hopes. This isn’t just one of the best games of 2024, it’s one of the best platformers that I have played in the last decade. Those who have a long attachment to PlayStation or just a simple love for games of this genre cannot let Astro Bot pass them by.

Rating: 5 out of 5

Astro Bot is set to release later this week on September 6, 2024, exclusively for PlayStation 5. A review code was provided by PlayStation for the purpose of this review. 

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Star Wars fans have been eager for an open-world game to allow them to fully immerse themselves into the galaxy for what feels like forever, and Ubisoft has finally delivered with their latest release: Star Wars Outlaws. Outlaws, while not without fault, offers an expansive exploration of the galaxy far, far away the likes of which Star Wars fans haven’t seen before, with multiple dense planets to explore as players aim to become the best thief in the galaxy, making a name for themselves through Outlaws‘ reputation system while experiencing a compelling new piece of the Star Wars narrative.

As is the case with the Andor and the majority of The Book of Boba Fett series, Star Wars Outlaws offers a welcome departure from the fantastical world of the Force from being the center of the galaxy, and the Force’s presence is integral to the overarching story and themes with the galaxy it’s nice to see parts of the galaxy’s without a Jedi being central to it. Much like Andor, Outlaws allows its audience to see the impacts on the everyday individuals and their loved ones that the harshness of the Empire creates, and because this is considerably more relatable to audiences as none of us can understand a life with the Force’s wonders (unfortunately) and allows for a level of immersion not achieved with any previous Star Wars gaming title. 

Early previews heralded Star Wars Outlaws as the new Red Dead Redemption 2, and while I don’t feel Outlaws offers quite the same level storytelling and exploration offered by Rockstar Games’ 2018 title, I have to say it comes as close as possible. Its settings are as dense as any in RDR2, yes, and therefore just as intersting to explore, with the star ship and speeder Kay Vess has at her disposal offering some seriously fun traversal mechanics. With some changes and enhancements Outlaws could have truly been Red Dead Redemption 2 in space, and falls only just short – Outlaws simply doesn’t deliver any overly memorable characters that I anticipate many fawning over in excess in the future, and the gameplay just isn’t as fun.

The writers for the game, while clearly deeply knowledgable on the Star Wars franchise and passionate to deliver the aforementioned compelling story, have only fallen somewhat short when it comes to the game’s content, and as mentioned it’s only the characters that I feel could’ve been improved upon. The two standouts for me from the game were Sliro, who is a wonderful representation of the title “crime boss”, and the player character Kay Vess’ companion, Nix. I simply didn’t feel attached to any of the characters outside of Nix, and for me it’s a huge missed opportunity in a game when I find I don’t connect with the character I’m playing as – and unfortunately, I just don’t see a character in Kay that many people will. The various storylines will have you intrigued and eager to experience more, familiar appearances from characters we’ve seen in the past will inspire that Star Wars nostalgia to carry you through, but ultimately the most compelling “new” content that Outlaws has to offer is its worlds and adding more depth to the criminal syndicates running the under workings of the galaxy.

In trying to become the best thief in the galaxy as Kay Vess, you will experience Outlaws‘ Reputation and Imperial Wanted sytems, which for me was the most interesting part of the game. It’s never going to not be fun to make such a horrific group such as the Empire increasingly frustrated with you, and the reputation Kay develops with each of the criminal syndicates offer sizable changes to how the player will experience the game, with their behavior changing toward Kay dependent on the player’s choices. This offers a replayability factor to the game, and I personally would be the type of person to replay Outlaws several times over to experience as many variations as possible if it weren’t for a major setback – Outlaws‘ gameplay itself. 

Outlaws plays exactly like any other Ubisoft title you’ve experienced before – it’s commonly said that if you’ve played one game from the studio, you’ve played them all. While from a gameplay point this is accurate and anyone playing Outlaws that has played a previous Ubisoft title will know exactly what to do from a gameplay perspective – which is either good or bad dependent on how you feel about Ubisoft gameplay, and them falling into this almost formulaic approach to game development. For me, this monotony became tiresome in a way it has in many Ubisoft titles before it – the open world, while it should feel vast throughout the game, almost feels small at times because of the repetition in the open world chores, and stealth mechanics become increasingly eye-rolling to have to carry out throughout the game. 

The stealth and most aspects attached to it are the only thing holding Outlaws back from truly fun gameplay. At certain points it becomes outright frustrating to navigate the criminal underworld, and its steal level layouts simply do not allow its players to have a seamless experience. Enemy line-of-sight isn’t communicated well, the guard layouts simply do not make sense more often than not and become an overly frustrating source of planning, and ultimately the stealth becomes horribly monotonous and unexciting. 

Overall, while I finished the main storyline and got a fair amount of exploration in, I’m already fairly excited to load up Star Wars Outlaws some more today to get back into the aspect of the game where it’s at its best – exploration – though I’m not particularly enthralled to have to sit through more of its gameplay. 

3.5/5

Star Wars Outlaws launces on August 30th for PC, PlayStation 5, and Xbox Series X|S.

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This is a silly analogy, but playing Madden NFL 25 reminded me a lot of anyone I dated in high school. Things started exciting. The first kiss. Staying up late talking about nothing. Taking them to Prom. You know how it goes. But the more you spend time with them, you start to realize that things aren’t as great under the surface, and the two of you are looking for completely different things in life.

Madden NFL 25‘s On-Field Improvements Are Marred by Countless Legacy Issues

From a macro level, Madden 25 feels better than last year’s version on the field. The team has seemingly taken a page from the more wide-open College Football 25 and injected more fluidity into your ball carrier. With high-level studs like Christian McCaffrey or Tyreek Hill, you can make defenders miss much more dramatically than in years past. Remember that iconic scene from Hard Knocks where DeAndre Hopkins snaps DeAngelo Hall’s ankles with one of the nastiest cuts you’ve ever seen? I saw something similar happen a few times during my Franchise Mode save with Justin Jefferson and the Minnesota Vikings.

Beyond the open-field movement improvements, Madden 25 also brings several pre-snap adjustment improvements from College Football. You can half-slide your offensive or use more tricky coverage shells to hide your defensive alignment. It’s the kind of control hardcore Madden players are going to love and newcomers can learn to use it with practice. There are also some great new catch types and animations that are more than worthy of the Sportscenter Top 10 list.

That said, my point about looking under the surface couldn’t be more apt than it is in gameplay. Yes, some of the new features and mechanics are great additions, but this is still the same broken Madden players have been dealing with for several years. Blocking remains a guessing game of whether your players are going to function like anything resembling a human being or not. Far too often, I’ve seen blockers get beaten or slide off of a block and then just stand there like they’ve been frozen in place. 

On top of the questionable-at-best blocking, I’ve also noticed animations overtaking sense far too often, especially with EA touting its physics-based tackling this year. When it works, it looks great, but when it doesn’t, you’ll quickly be pulled out of the simulation and remember that Madden doesn’t replicate the real-world NFL. It replicates Madden. 

To give you an example of what I’m talking about when I say you’re not really playing a football simulation when you’re playing Madden, I was playing with the Vikings and called a slant route for their star wideout Justin Jefferson. Most fans would agree that Jet is one of, if not the best receivers on the planet right now. A slant route is one of the simplest routes in football. You cut at an angle and run straight. There’s not much more to it. On this particular play, Jefferson ran the route like normal, but when I threw to him, he just stopped running. The cornerback then ran past him and grabbed an interception. This is supposed to be the best player at his position in the NFL and he just stops in the middle of a route for no reason. It’s unacceptable.

And to be fair, if this were a one-off occurrence, I’d give EA the benefit of the doubt. However, there are plays like this in every game. Your cornerback is staring at the opposing QB but just runs away from the ball when he throws it. Your wideout is running a go and you check it down to your running back, so the receiver starts to block even though there’s no way they could know the ball is out. It’s these little details that make Madden NFL 25 difficult for me to enjoy because I wish another developer could be competing to make something that takes a little more care with the on-field aspect of the game.

Mode Improvements Leave Much to be Desired 

Though, even saying that, the lack of care extends to the modes as well. I don’t think any of them are necessarily bad, but nothing feels impressive or like the developer is taking a step forward. The more you play modes like Franchise, the more you notice weird details that seem like strange oversights. In my news tab, ESPN was talking about a “highly anticipated quarterback showdown” between two 58 overall, free-agent quarterbacks who didn’t play a single down. I was asked to talk to my coordinator about my plans to progress my rookie defensive end, but when I went to the conversation, we were talking about my quarterback’s development. It’s just a frustrating lack of detail that sours the entire product.

It’s also worth noting that, for the first few days I was playing Madden NFL 25, if I tried to start a new Franchise, it would soft-lock my PlayStation 5. If I wanted to play Superstar mode, I had to log into the mode, exit it, log into Ultimate Team, log out of that mode, and then go back into Superstar before it would work. Fortunately, most of those issues seem to have been resolved, but I’ve also heard other players are still having problems.

Look, I could spend the time talking about how much better the menus look or discuss how pointless a lot of the extra storytelling in Franchise and Superstar Mode is. I could tell you that MUT is the worst version of Ultimate Team in any sports game and complain about how annoying it is to navigate the mode. I could talk about how great the new “Cheat” plays are and how fun kick-offs can be once you learn the new rules. But, the long and short of it all is that Madden NFL 25 is the same Madden it’s been for the last several years. EA Sports makes some fun changes on the surface, but the more you play, the more you see all the same problems bubbling to the surface. I think this year’s version is marginally better than Madden NFL 24, but not in any way that’s going to matter to most fans. Now, if you’ll excuse me, I’m going back to College Football 25.

Rating: 3 out of 5 

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Mega Cat Studios have released the newest Five Nights at Freddy’s game, and in doing so have set a new standard for the future of gaming in the franchise. Historically, I play any new Five Nights at Freddy’s game purely for what it is by name, not expecting to be wowed by gameplay or mechanics and instead seeking to have a good FNaF experience. In that way, Mega Cat exceeded my expectations for Five Nights at Freddy’s: Into the Pit: not only is this a good entry to the franchise, Into the Pit is also a good game in general, and certainly what I would consider the best Five Nights at Freddy’s game release in years – and easily one of the top-ranking for me across the board when compared to previous releases. 

I have been excited for Into the Pit since the game debuted its official trailer in June, patiently counting down the days until I’d be able to jump into the game. When the time finally arrived a day early, I was impatient to begin my time in the pit myself – I had high hopes, and honestly moderate expectations, again – I was just looking for another fun Five Nights at Freddy’s game. Into the Pit is consistently everything that all FNaF games should be – atmospheric, immersive, and fun, but while delivering something fresh to the franchise. There aren’t any groundbreaking mechanics, and Into the Pit doesn’t reinvent the wheel. But what it does, it does well. 

From top to bottom Into the Pit is polished, and in the relatively short time since its initial launch Mega Cat has already addressed a number of bugs and issues impacting some players’ experiences. The environments of the game are rich, offering plenty of interactions to further develop the player’s knowledge of the digital world around Oswald (the player character of Into the Pit). The sound design is flawless and the game as a whole wouldn’t be the same without it. The story is so well-written and deliciously intricate (as all FNaF should be) and demonstrates that Mega Cat’s developers weren’t just creating a new Five Nights at Freddy’s game for the sake of doing it – you will be able to feel a genuine love and respect for the IP in every moment of the game. 

I’d be ashamed of myself if I didn’t dedicate a portion of this review to the art of Five Nights at Freddy’s: Into the Pit. If you’ve seen the trailer or any screenshots online by now, you’re well aware that Into the Pit’s art is in a lovably retro 2D style, its pixelated settings and characters delivering a style that predates when most FNaF fans were even born – and to me, this is perfection. I knew I was going to love this art style choice from the game’s initial reveal, but what I didn’t expect is how Mega Cat has constructed environments that are just as full as the 3D games in the franchise. It’s an aesthetic that just feels right with FNaF, and there are many moments I found myself reaching for F12 to be able to look at them again in my screenshots folder for many years to come.

An aspect of the game that stood out to me in how much it added to the overall experience was the sound design. After downloading the game for the first time and loading it up to play, there is a screen with a suggestion from Mega Cat Studios to wear a headset while you’re playing their Five Nights at Freddy’s game, and I can only reiterate this – plus add in my own note to have your space as dark as possible around you so only the glow of your monitor or PC lights can offer reprieve from what the environmentally immersive sound design will have you worried is lurking in the dark around you. 

On that note, as with any FNaF game it’s vital to talk about the suspense and terror that Into the Pit inspires in its players (or at least me), and I can’t believe it’s taken me this many words into this review to type the words “jump scare” considering we’re talking about FNaF. As I mentioned, the sound design will allow you to get immersed enough to fully grab your attention, and if you’re not allowing distractions, you will be able to slip into enough of a comfortable lull at certain points for Mega Cat to swoop in and take you off-guard. In complete honesty, I personally had a jump scare within five minutes of loading up the game for the first time, and that’s exactly what I want from FNaF. From that first moment of making me lift out of my desk chair briefly, Into the Pit offers plenty of suspense building and has a creeping sense of dread throughout, mechanics like breath holding while hiding from animatronics and a changing heartbeat sounding in your ears adding to the overall experience in the exact way a FNaF game is expected to. 

Outside of how polished the game’s various aspects are, one of the things I respect Into the Pit the most for is its careful handling of adapting its source material. Into the Pit was first released as the first short story of the Fazbear Frights anthology novels, and while the game doesn’t follow the exact same story line-for-line it’s still faithful, and any changes or additions honestly make the game version of the Into the Pit story my personal preferred version. 

My only true complaint is a genuinely minor one and an additional compliment toward the game in itself – I was able to finish Into the Pit fully in a little less than five hours, and it’s because I had such a fantastic time in the game, I wish it had been longer. This minor complaint does open up additional praise – I want to replay Into the Pit, and I want to do it soon. With multiple difficulty settings to challenge your skills with additional playthroughs and multiple different endings, Into the Pit has more to offer its players than the roughly five-hour commitment it takes to complete it. Completion, in this case, doesn’t mean you have to be completely done with the game.

Overall, I’m clearly incredibly happy with Into the Pit – I feel like it’s a great game for veteran Five Nights at Freddy’s fans as much as I feel like people who have never played a FNaF game before could enjoy it. Not only am I excited to see what other games Mega Cat crafts in the future in general, I’m hopeful we’ll see them continue to release Five Nights at Freddy’s games. 

Honestly, let them turn every Fazbear Frights short story into a game – and if not every, at least The Man in Room 1280, please. 

Rating: 5/5

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EA Sports College Football 25 feels like an impossible game to review. I have been waiting for this game for more than a decade, but that waiting is different compared to a normal video game. Sure, people have been waiting for Grand Theft Auto 6 for several years, but at least they had an easy way to play the previous entry or jump into another open-world action game. With College Football, there simply hasn’t been anything official to play since 2013. Because of that, there’s no way I was always going to be over the moon that College Football 25 even existed, which makes it difficult to be objective. I feel like a parent with a kid who was sent to the principal’s office. I know there are some problems here, but it’s my kid. They’re perfect. 

College Football 25 Gameplay is an Improvement on Madden

But let’s be honest, it’s not perfect. College Football 25 is building on the shaky foundation set by Madden NFL 24 (and to take it even further, the Frostbite engine). With that, there are a ton of inherent issues. I’m still noticing players missing blocks that don’t make sense multiple times a game. I’m seeing weird animations that show off why we need EA Sports to move on from Frostbite before we see the wholesale changes the developer’s football games need.

Here’s the thing though: I do think College Football 25 has made some strides in gameplay that put Madden to shame. It still has all of those same Frostbite issues, but running the ball feels more fluid and the passing mechanics give you more control than Madden ever has. Fade routes are something you actually do now. That seems small, but it’s huge for this engine. However, part of me can’t help but wonder if some of these gameplay changes aren’t, to some degree, mental.

See, there’s a part of me that knows I’m playing with college kids who aren’t that great at football in the grand scheme of things. Would they wipe the floor with me? Absolutely, but most of these guys aren’t playing on Sunday. In Madden, if a mediocre offensive lineman misses a block, I get mad. That’s their job. In College Football, I’m a little more understanding because these players just aren’t as good. It’s the real-world representation of that Gordon Ramsey meme comparing how he treats kids on his cooking shows to adults. I’m willing to give a little more leeway to a freshman UTEP because he’s probably trying his best, right?

That said, I don’t think it’s simply just me being a bit more lenient in my criticism. The College Football series has traditionally felt more dynamic than Madden on the field, and that remains true in College Football 25. The passing game is more wide-open, and you feel like you have more room to maneuver in the open field as a runner. However, even if it was the exact same game as Madden on the field, I think College Football 25 would be a better game because of how well it nails the presentation of the sport.

The Pageantry of College Football is Game-Changing

Stepping onto the field as an away team feels like a religious experience. It’s not just all of the research EA has done on all 134 teams to add their various traditions to the game. When you line up under center, you can feel the stadium pulse. The screen shakes, you can’t see your plays during pre-snap, and don’t even think about audibling. To be fair, we’ve seen most of this stuff before in Madden (and the old NCAA series), but there’s something about it in College Football 25 that puts it on another level. If nothing else, EA has to be commended for capturing the essence of a college football gameday better than anyone ever has.

Fortunately, that’s not all College Football 25 gets right. Dynasty Mode remains the focal point of the franchise and while EA hasn’t quite taken this one back to the house, they’ve at least got the ball in the red zone. Look, this is the team’s first effort in a decade. It was never going to be perfect. Do I have several little tweaks I want them to implement to make the menus cleaner and recruiting more fun? Absolutely, but as a foundation for the future of what I hope is a long-running franchise, this is about as rock-solid as it gets. Recruiting is tough, but not too tedious. The coaching trees are extensive and force you to make big decisions. The coaching carousel is back and not quite as fun as it used to be, but still solid. Team Builder gives you a stunning level of control for creating your own program. Almost everything I’ve wanted for 11 years in here and I am having so much fun losing 45-7 against Ohio State while trying to rebuild San Jose State. Dynasty mode is back, folks (though the sim engine still needs some work).

A Lack of Polish Outside of Dynasty Mode

When you get to the other modes, things aren’t as peachy. Road to Glory feels like an afterthought. It’s heavily menu-driven, which makes it pretty boring outside of some off-the-wall texts you’ll get from teammates. On the field, there aren’t any big differences outside of the camera angle. The one good thing is that careers have to end after four or five years, so you can quickly play through a new position in a handful of hours if you want to try a new position or school. 

Of course, EA wants Ultimate Team to be a big deal, but it doesn’t do much to differentiate itself from Madden’s version of the mode. For my money, Madden has the least engaging Ultimate Team mode in the sports world, and College Football is going to be an even easier skip because of the sheer number of players in the game. Sure, when they add Barry Sanders to the mode, I’ll be excited, but if a bunch of Alabama and Michigan players get high-rated cards, I’m not going to care as much as I do in the NFL. College football is deeply regional, and I think that makes Ultimate Team a slightly tougher sale, though it’ll likely still do gangbusters for EA. Ultimate Team always does.

It’s very difficult for me to wrap my thoughts about College Football 25 into one neat package for a review. On the one hand, I am having a blast playing Dynasty mode and am loving the customization and pageantry of collegiate sports. On the other, I can’t help but notice the Madden bugs in the system that we’ve been dealing with for at least five years, and I’m a little bummed that every other mode feels like the team ran out of time. At the end of the day, College Football is back, and the foundation EA has built is solid enough that I am very excited to see what the future holds. That’s about all I can ask for.

Rating: 4 out of 5 stars

EA Sports College Football 25 is available now on PlayStation 5 and Xbox Series X|S. A PS5 review code was provided by Electronic Arts.  

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Ninja Theory has released the newest entry to a long-awaited story with Senua’s Saga: Hellblade 2, which is available now on Xbox Series X|S and PC. When I was able to load up the game, I was immediately intrigued by the content warnings provided in the continuation (graphic violence, burning, terror..), eager to see how the next chapter of Senua’s story unfolded. While I’m overall pleased with Hellblade 2, there are certain aspects I certainly feel didn’t live up to the standard set by others like the graphics, settings, sound, and the storyline.

When we received the review key for Senua’s Saga: Hellblade 2, there was a note included from Ninja Theory studio head Dom Matthews that expressed “Senua’s Saga has been a genuine passion project.” My favorite part of this gaming experience is that you can truly tell – from beginning to end – that Hellblade 2 is exactly as described by Matthews: a passion project. With the developers’ goal of “cinematic immersion” in mind, I truly feel as though Ninja Theory has delivered on what they set out to do. While not perfect, there are two undeniable truths to Hellblade 2: you can feel the passion that the team who built the game feel toward it, and this is one of the most immersive experiences in gaming to date.

I want to focus on the aspect I loved most about the game, which is the sound. Hellblade 2 is a testament to years of work by the sound team, which I am certain will be at minimum nominated for awards going into the 2024 gaming awards season later this year, if not winning overwhelmingly across the board. I cannot recommend wearing a good quality pair of headphones enough to experience Hellblade 2 in its fully intended state – I initially started playing the game over my system’s speakers and was infinitely more pleased when I swapped to headphones for that more intimate experience.

The voices in Hellblade 2 are recorded binaurally, placing them in the world “surrounding” the player – the voices Senua (and therefore the player) are hearing due to her psychosis at times sound close enough to replicate the softest, spine-tingling whisper in your ear, or as faint as the final voice you hear as you drift off to sleep, to the harsh, cutting, visceral darkness that fills your ears. Not only are the binaural voices deeply immersive, the environmental sounds are deeply realistic and believable – so much so that a crack of thunder through your headphones or the crashing of a wave will make you question your own setting.

It’s on this believability that I feel Ninja Theory did their best – not only in sound, but visuals as well. With scanned costumes, actors into characters, and locations every single visual frame is realistic, which brings the mythical sides to life in ways that feel grounded and within grasp.

Sticking with mentions of the game’s stunning visuals and believability, the scenery and locations in Hellblade II will almost certainly have you considering a trip to Iceland. Every location has a feast for the eyes to offer – from waves crashing against a shore to the reflection of a beautiful sky in a puddle to sprawling fields of green, there’s a lot of beauty in this place that has been replicated to the screen for this game by Ninja Theory in a way that shares the beauty with audiences despite them not being real.

At times, the visuals combined with the sound feel so close to reality that you could almost forget you won’t also smell the rain or taste the salt of the ocean. If you’re a photomode fan (who isn’t these days?), there are ample opportunities to document the beauty of the game – with an impressive zoom scope and camera mobility to help you get the exact shot of your dreams.

Performance capture has gotten better overall in the last several years, with Hellblade 2 proving to be no exception to this new norm, and every character feels as though they’re someone you could be interacting with before you. On top of the smallest movements being picked up, furthering the full understanding and characterization of these individuals, the designs and writing for each character indicate how much Ninja Theory cares for each of them.

Narratively, Hellblade 2 is a powerhouse and continues Senua’s story in a way that provides her with ample opportunity for continued growth, and uses her story to respectfully explore such a serious experience such a psychosis. As the smaller pieces of the much larger puzzle come together to show what Ninja Theory has planned in full for Senua, you see an exploration of truly beautiful and complex topics – psychosis, grief, survivor’s guilt, childhood trauma and how individuals who experience it often experience additional trauma later in life, and so much more. For such a short game there is really so much depth, and that alone is impressive enough and a true demonstration of a wonderful script.

Ninja Theory has clearly worked hard to provide a deeply respectful, well-informed and well-researched representation of mental illness. Ninja Theory notes, “To bring Senua’s perspective of the world to life in a truthful way, we have once again worked closely with Professor Paul Fletcher at the University of Cambridge, as well as people with lived experience of psychosis.” While I personally am far from an expert on these topics and my opinion carries little weight, I do believe the developers have done their best to represent this issue with care and respect.

Ninja Theory did a fantastic job making improvements to Hellblade 2‘s accessibility, with several features included to ensure as many people can enjoy the game as possible. For me personally, text size changes and user interface color scheme customization are massive bonuses that were appreciated throughout the entirety of the game, and these are far from the only options available to make the continuation to Senua’s story more accessible.

In terms of what I didn’t like and what unfortunately drops the score for me significantly are two large pieces of gameplay in this instance: combat and puzzles. While neither of these aspects to Hellblade 2 could be considered wholly bad, and there is an impressive realism to the combat and a noticeable weight to the swings that has great potential to add to the adrenaline-filled feeling of high-stakes combat, I did feel the movements become fairly repetitive, and therefore easy. This complaint is mirrored in Hellblade 2‘s puzzles as well, which while they provide fantastic visual additions and opportunities to the game, I never felt like any were particularly difficult. With combat specifically, Ninja Theory has noted that 69 days alone were spent on performance capture for combat, indicating this was clearly an area of focus, and one I feel the result is lackluster in comparison with the rest of the game.

Overall, I am looking forward to playing what’s ultimately a fairly short game again (about 10-15 hours stopping for breaks and photomode) without needing to pause to take notes for review purposes in order to fully immerse myself in the experience Ninja Theory has crafted without interruption. 

Rating: 4 out of 5 stars

Senua’s Saga: Hellblade 2 is available now on Xbox Series X|S and PC. A PC review code was provided by Xbox.

The post Senua’s Saga: Hellblade 2 Review: Immersion You’ll Have to Hear to Believe appeared first on ComicBook.com.

Sand Land The Game isn’t just a video game that is based on an anime series, it’s one that garnered a lot of attention thanks to the passing of creator Akira Toriyama. While Toriyama might be best known for the Dragon Ball franchise, the mangaka spread his wings in his anime career with works such as Sand Land. Taking the characters and locales that only could be created by Toriyama himself, Bandai Namco aimed to give fans a beautiful, interactive landscape for gamers, and in that, the video game producers succeeded. 

To start, Sand Land is a world wherein humanity co-exists with a race of demons, as all the living creatures seard for any and all water that they can find. Our main star, and the character that players control in the game, is Beelzebub, the son of Lucifer who finds himself journeying forth, to both save his people and cure his never-ending boredom. Joining Beelzebub on his quest includes the human Sheriff Rao, the human Ann, and the demon Thief as they traverse the desert locale using a variety of vehicles at their disposal. Fighting against human opponents, demons, dinosaurs, and just about any creature that you can think of, the Akira Toriyama world is fit to bursting with creativity.

To start with the positive, this game is absolutely gorgeous and it feels as though it’s the best example of a video game so far to capture the beauty and aesthetic of Akira Toriyama’s art. The landscape of Sand Land is a giant one that asks a lot of your time to fully complete Beelzebub’s story, and luckily, you’ll never feel as though that exploration itself is boring. This is a boon considering this game can skyrocket well over one hundred hours of gameplay if you are looking to comb the Earth itself and complete the bounties, resource collecting, and other side quests that populate the desert world. 

Similarly to other Akira Toriyama-designed games such as Dragon Quest, Chrono Trigger, and the video game entries of the Dragon Ball franchise, Sand Land’s characters are gorgeous in their simplicity. Every character, hero, enemy, or in-between, is downright dripping with personality and it makes you want to have a discussion with each of them when you hit a new town or find a vendor while blasting across the desert. Boss fights are big and bold thanks to this fact, helping to create some of the more memorable moments of the game. The simplicity of the characters is their strength and discovering new beasts and opponents is always a thrill. 

The humor of the game is also trademark Akira Toriyama, with more than a few moments getting a genuine chuckle. There’s just something surreal about Thief stating that he has the “perfect costume” for stealing someone’s belongings, slapping on a Santa Claus costume, and then performing his shady dealings in the dead of night. Beelzebub himself is charming in his naivety, where the son of the devil is looking to take down evil-doers simply because he feels that no one should be more evil than him. Toriyama gives us colorful, interesting characters here that are worth speaking to, even if their dialogue isn’t exactly thought-provoking. 

Luckily, the traversal also is varied thanks in part to the amount of vehicles that you are given to scour the sands. Beelzebub and his friends have the ability to effortlessly and instantaneously call upon tanks, motorcycles, leaping robots, mech suits, and more when it comes to both fighting and exploring, which is a boon for players here. Players will never feel bored when it comes to swapping out vehicles for any given scenario. On the customization side, Sand Land allows you to fully make each of these vehicles your own, whether that comes to the overall aesthetic and design of a machine or the weapons that help the player blast through any barriers in their way. It’s in the vehicles that fans can truly express themselves here and we imagine that there will be plenty of pictures of players’ tank designs making their way to the internet in the future.

Unfortunately, when a player is put on foot, that’s where the game tends to suffer. Beelzebub’s cadre of tricks when it comes to fighting in hand-to-hand combat feels slim as you will routinely feel like button-mashing is all that is needed in dispatching a group of baddies. Beelzebub’s attacks seem rather limited, especially considering that he is routinely joined by both Rao and Thief in his exploits. The fact that you can’t take control of the demon’s allies seems like a missed opportunity and would have added much more variety to combat overall. Many of the upgrades for the characters can be useful, but many feel like window dressing, expanding on the game’s already weighty girth. While they do incorporate some interesting mechanics such as some stealth missions in the quest that take players out of a vehicle, the game needed more variety when it came to Beelzebub’s encounters sans-vehicles.

While it was mentioned earlier that the environments were gorgeous to take in, there was a serious problem encountered when it came to repetitive dialogue along the way. Rao, Thief, and other allies would routinely spam old lines depending on what you encountered on your journey and it could become grating at times. If you happened to encounter an environment or opponent that would create a new line of dialogue, you would return to the original line from the very beginning, hammering home the repetition.

Sand Land is a gorgeous game that is far larger than you might expect, and it’s ultimately worthy of a journey, but there are several factors that are holding it back from being one of the biggest anime games of all time.  

Rating: 3.5 Out Of 5

Sand Land is now available for PlayStation 5, PlayStation 4, Xbox Series X|S and PC.

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Stellar Blade‘s review embargo officially lifted on Wednesday which means that scores have finally started coming in for the next PlayStation 5 exclusive. Formerly known as Project EVE before developer Shift Up adopted the Stellar Blade name, the PS5 game stars EVE, an “angel” tasked with fighting off an invading species known as the Naytiba. Due to its protagonist’s appearance and the combat mechanics shown off in gameplay and in the PS5 demo, the game’s attracted comparisons to to other series like Devil May Cry, NieR, and Bayonetta.

The combat in Stellar Blade is heavy on combos, parrying, and a mix of special moves, so from that alone, it’s easy to see why those other series come to mind. Aside from combat and similarities to other series, much of the discussion pre-launch for Stellar Blade has also been about EVE herself and the way she’s portrayed in the game. EVE’s been compared to NieR’s 2B and Bayonetta because of the focus put into her appearance combined with a number of revealing outfits players can equip, so between combat and EVE, Stellar Blade has had quite the pre-launch discourse to wade through. 

But the reviews are out now, so what do critics actually think of the game? Right now, the game’s sitting at a solid 83 on Metacritic. That puts it squarely in the “green” zone as far as scores go with over 15 scores ranking it at a 90 or above to help push that average up. Many of those reviews boasting higher scores for the game praised its combat mechanics, the stylized action sequences, and the design of bosses and lesser enemies alike. Even some of those more favorable reviews acknowledged some issues with narrative pacing, but many felt Stellar Blade makes up for that misstep with a refreshingly lived-in world.

Our own review was still big on Stellar Blade but had it just below those scores at a 4/5 which translates to an 80 on Metacritic. The intense combat that was surprisingly more engaging than anticipated was a high point of our review, though Stellar Blade has some issues with its more open-world segments, some clunky traversal mechanics, and indeed with narrative pacing that could be improved on.

“Considering her potential and Stellar Blade‘s surprisingly deep combat system and intense boss fights, I’d be interested in seeing how she and other parts of the game evolve further if Stellar Blade ever gets a sequel,” reads a summation of our review.

But what about those on the lower end of the review spectrum? The sexualization of EVE showed up in reviews regardless of whether the score was high or low, but it does seem to be a factor in why some knocked some points off the game’s score. Rather than being prudish about EVE’s design, some of the lower scores pointed out how disjointed some of EVE’s outfits when she shows up in them during otherwise dramatic and emotional cutscenes. Some of the more middling reviews echoed a point from our own that acknowledged the way EVE’s presented while saying you can take it and appreciate what else the game has to offer or can leave it if it’s not your kind of game. 

Stellar Blade releases exclusively for the PS5 on April 26th.

The post Stellar Blade Metacritic Review Score Revealed appeared first on ComicBook.com.

South Park has had a long history in the video game world, with two of its more recent entries, South Park: The Stick of Truth and South Park: The Fractured but Whole, finding a way to take the humor and crudeness of the series and transplant it seamlessly into a video game environment. Unfortunately, for both franchise fans and gamers alike, South Park: Snow Day attempts to recreate the formula and massively stumbles in doing so. Even if you’re a mega-fan of Stan, Kyle, Kenny, and Cartman, Snow Day might not be the video game that you’re looking for to follow in the footsteps of Stick of Truth and Fractured but Whole. 

South Park’s latest video game begins in a day much like any other in the small Colorado town as Eric Cartman prays as hard as he can that the locale is blanketed in snow. Cartman’s wish is granted, much to the detriment of the town, as South Park is bombarded with a historic blizzard that cancels school for our favorite crude cartoon characters. As the player, gamers once again take on the role of the “new kid,” a customizable character that has no voice of their own but marches forward on the behest of Cartman and his fictional machinations. Fighting against elves, older students, boss fights featuring beloved characters, and more, Snow Day attempts to capture the spirit of the show, but falls on its face in its attempt.

To start, South Park: Snow Day is a 3-D “roguelike” meaning death is but a rung on a ladder in empowering yourself to take on challenges in this five-chapter affair. Fans will be dodging, hacking, slashing, and “magicking” their way through countless waves of enemies, rather than taking on the turn-based role-playing game system as the previous two console entries. Fractured, But Whole and Stick of Truth found a method to make players feel like they were entering the world of South Park, both in their humor and in their gameplay, two elements completely lost in Snow Day.

What’s most baffling about Snow Day is how neutered it feels compared to the crude humor and story structures of the recent South Park titles. The stilted, often frustrating combat system could be forgiven if the story fired on all engines, making players believe that they were playing a series of South Park episodes. Alas, what players get here is more like the South Park Nintendo 64 game where you had the minimal trappings of the animated world but failed to find much enjoyment in traversing the landscape. There are some smirk-worthy jokes, such as using toilet paper as currency to poke fun at the Coronavirus pandemic, but ultimately, so much of the humor falls flat, which was honestly the last thing I was expecting here. 

Even for a budget title, South Park: Snow Day feels surprisingly bare-bones with its options for player modification in terms of cosmetics, emotes, weaponry, and abilities. You’re given three primary weapons, three ancillary ranged weapons, and some magical abilities to crash your way through South Park’s other youngsters, though they all feel rather dull and uninspiring. When the chaos of waves of enemies hits you, you mostly find yourself foregoing strategy to simply button mash and hope that your three cohorts, who can be real players or bots, will revive you in a pinch. The four-player modes are also only relegated to online play meaning those hoping for a couch co-op won’t find good news here. The game attempts to add variety to the adventure of the four “new kids” by injecting the “BS” mechanic to inject variety, but once again falls short. 

Speaking of “BS”, this turns into one of the more frustrating parts of the experience as your opponents will routinely have their own “BS” cards to play on top of the cards you receive. The abilities that they demonstrate will routinely feel far more aggravating than inventive, sometimes turning your main weapon into a “pool noodle,” meaning you’ll have to rely on your secondary abilities that can have cooldown times and frustrating styles to make your way. It all feels extremely tedious, and once again, doesn’t rely so much on strategy rather than simply brute forcing your way through the game’s issues. With your character hulking through the map with little maneuverability, the game’s weaknesses are placed further on display. 

There are ways to strengthen your character, of course, using “Dark Matter” to permanently upgrade aspects for your “new kid” or “PP” to unlock new cosmetics, but it all feels like window dressing in this rogue-like. In my run-through, I was able to beat the game’s five chapters in a little over five hours before diving into more of the nitty gritty, but I never felt as though my strategy ever changed or that my character was gaining significant strength as a result of their runs. Some weapons felt downright unusable in many of the game’s scenarios causing me to put them down and never pick them up again for even the purpose of experimentation. 

Finally, South Park: Snow Day’s biggest sin is the complete lack of what made Fractured, But Whole and Stick of Truth work so well: their humor. Gone are many of the edgy jokes that made the previous two entries stick out, instead being replaced by characters that feel neutered and lacking the punch that helped make the animated series such a hit for oh so many years. Everything feels safe and stale, meaning that Snow Day is an easy pass for those looking to re-enter the world of South Park on their consoles or computers.

Rating 1.5 Out Of 5

South Park: Snow Day is currently available on PlayStation 5, Xbox Series X/S, Nintendo Switch, and PC. A PS5 review copy was provided by the publisher for the purpose of this review. 

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Over the last few years, developer Sony San Deigo has built its MLB The Show series into the best sports franchise on the market. That’s partially because of several bad choices from its competitors, but the developers have continued to introduce new ways to play, improving the baseball sim’s overall product. That doesn’t change with MLB The Show 24. Not only is gameplay among the best in the sports world, but SDS keeps the focus squarely on giving players plenty of ways to play.

There aren’t many massive gameplay changes in MLB The Show 24. With how good the on-the-diamond action has been over the last few entries, that’s far from a bad thing. If you kept up with The Show 23, there will likely be a slight learning curve as you get adjusted to playing with low overall players again in Diamond Dynasty. That said, the gameplay changes are mostly inconsequential. 

Endless Possibilities

Instead, SDS has focused on giving players more ways to have fun with the excellent gameplay they’ve built. One of the most discussed features is the inclusion of women in MLB The Show 24. EA Sports FC 24 was the first modern sports sim to do this, and The Show’s inclusion is just as seamless. There’s the option to make a female Road to the Show character, and Toni Stone’s groundbreaking story is playable in the Storylines mode. After finishing that story, you can add her to your team in Diamond Dynasty. I haven’t had the time to get very deep into RTTS, but the addition of women is handled well overall.

Speaking of Storylines, this remains the most exciting feature in MLB The Show 24. Last year, SDS introduced the first season of the Negro Leagues storyline, and the team is back with season two. Players get access to four stories out of the gate, and six more will drop over the next few months. Splitting it up is a smart strategy because it keeps players invested while giving SDS an easy way to introduce higher-rated Negro Leagues players for Diamond Dynasty.

The team has also introduced a more modern storyline, though this one is less interesting. This storyline focuses on the early part of Derek Jeter’s career. It’s a fun mode to go through with some neat rewards, but Jeter’s story isn’t as exciting as digging back into baseball’s deep catalog. Having Jeter involved might sell more copies, but most baseball fans already know about The Captain. I’d prefer to explore less discussed players and give them the spotlight. Again, it’s not a bad choice, it’s just not the one I would make.

Much like gameplay, most of the modes have small changes that some players might not even notice. For example, one of my favorite additions to Franchise mode is that you can finally see your players’ awards tracked on their player cards. Previously, I had to keep that data tracked in a spreadsheet, so this is a huge improvement. There are also better options for jumping into games, making it easier to get through a Franchise season if you don’t want to play every single game. I feel like it lets you set a sweet spot between running a full franchise and playing March to October mode.

Cause for Concern in Diamond Dynasty

Over in Diamond Dynasty, the biggest change is that seasons are now longer. That also means the team is splitting Team Affinity drops into three mini-seasons. The hope is that this will give players much more content to work through, but I can see it becoming an annoyance depending on how SDS handles things. It’s always tough to judge these changes to a sports game’s live service mode at launch because we don’t know what it’s going to look like in a month or two. That said, I’m comfortable in saying that I don’t think this will have as negative an impact as taking the Auction House out of NBA 2K24. Players might become annoyed with the developers if the content starts to feel stale, but it’s probably not going to completely break the game.

It’s not all perfect though. You’re still at the mercy of other players if you decide to hop online. The best example of this is that it’s currently possible to rack up Team Affinity points quickly by pitching in online games. Because you don’t have to do anything outside of pitch innings, you’ll run into players who aren’t playing the game. Not only is that boring to come up against, but it slows things down in general. Again, this kind of behavior isn’t game-breaking yet, but if SDS doesn’t find ways to get around it, the team might have some problems on its hands.

Either way, most of my annoyances are largely nitpicks in the grand scheme of things. Having Jeter take center stage once again in Storylines is ultimately not going to affect my opinion too much. Knowing that the RTTS mode has a lacking narrative is frustrating, but it’s also incredibly hard to write a compelling story for a yearly release like MLB The Show 24. At the end of the day, the on-the-diamond gameplay is as good as it was last year and Sony San Diego keeps finding fun ways to give players more content. If you’re a baseball fan, this is a must-play. If you want a fun sports game, there isn’t a better one on the AAA market.

Rating: 4 out of 5

MLB The  Show 24 is available now on PlayStation, Switch, and Xbox platforms. A review copy of the game was provided by the publisher for the purpose of this review.   

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There is simply nothing special about Rise of the Ronin. Team Ninja’s new open-world samurai game wears its inspirations on its sleeve and has a lot of similar DNA found in games like Ghost of Tsushima, Assassin’s Creed, and Dark Souls, just to name a few. Despite borrowing ideas from so many acclaimed and successful franchises, though, Rise of the Ronin fails to do anything on its own that is wholly unique and instead leaves it feeling like nothing more than a budgeted imitation. 

Set in the mid-1800s, Rise of the Ronin sees players controlling a titular ronin that can be created all their own. Upon establishing the basis of this revenge tale up front, players are then let loose to run, glide, and grapple hook their way across Japan and liberate the nation during a tumultuous period of war. It’s a pretty simple premise that doesn’t do a whole lot to grab your attention out of the gate. 

Outside of its slow opening, the throughline narrative of Rise of the Ronin is one that I never found myself engaged with. Much of this is because of the main character simply being a conduit for the player. Some games that use player-created characters still do a fantastic job of incorporating that character into their world and story, but the same can’t be said for Rise of the Ronin. Instead, the main protagonist feels completely devoid of any personality or distinguished characteristics, which only further hampered my interest in their arc over the span of multiple decades. 

I also cannot stress enough how poor the voice acting is in Rise of the Ronin. This game features some of the worst voice performances I have seen in a AAA title in a long, long time. Any time I found myself interested in some of the twists and turns that were made in the story, I quickly had my focus diverted by some of the bewildering voice lines that were being uttered. I’m genuinely fascinated by how rough some of the voicework is in this game as it’s something I feel like I have not seen since the early 2000s. 

Combat is the one aspect of Rise of the Ronin that I came to appreciate the longer that I played. The game’s greatest strength on this front is that it allows for a lot of experimentation between a variety of weapon types. While featuring similar controls, combat styles all vary depending on the weapon that you might have equipped. For example, a katana might have a more balanced manner of dealing out damage with a steady cadence of strikes, while a greatsword is going to be much slower but is better used to take down groups of foes with major blows. One of my own personal favorite weapons ended up being the Oxtail Blade, as it featured a heavy emphasis on air combos and was unlike anything else. 

What makes this combat system even better is that there is a mastery system with all of the weapons in Rise of the Ronin which allows you to further unlock new abilities and combat stances the more you use a certain type of sword. With that aforementioned Oxtail Blade, I was able to feel like the weapon had more for me to learn and get out of it upon repeated use rather than feeling the need to switch to another weapon type. Whether you decide to stick to one specific blade or instead cycle between a variety, either playstyle is rewarded as you’re constantly going to grow your overall mastery with whatever you might utilize. 

When you’re not using a sword or sword-adjacent weapon, there are some other unique options in your repertoire that can prove to provide some fun. Guns are present in Rise of the Ronin and can generally be used to snipe foes from afar or can be mixed in with larger combos tied to your primary weapon. Then there are some truly offbeat inclusions such as a flamethrower, which essentially sets everything in your vicinity ablaze. A grappling hook can also be used to not only pull in enemies, but can grab various objects in the environment and hurl them at opponents. If you see an explosive red barrel in the corner of an area, chances are you can whip it around your head thanks to your grappling hook to launch into a group of foes. 

Despite these positives, there are still some drawbacks to the combat in Rise of the Ronin. The parry mechanic, in particular, is one that I found quite difficult to execute during my entire time playing as it didn’t seem consistent whatsoever. I also didn’t find there to be enough animation variants when it comes to combat, which led to every encounter feeling far too similar. The game’s basic decapitation animation is one that I feel like I’ve already seen hundreds upon hundreds of times. 

Systemically, Team Ninja has also thrown in a couple of novel ideas with Rise of the Ronin. The most prominent of these is a Bond system, which relates not only to other characters but different regions of the world. The act of deepening your relationships with others in the world isn’t all that interesting, as it’s largely just done by the act of having conversations, giving gifts, of completing certain quests. Still, doing so can give you more combat styles and skill points which can then be used to upgrade your character. It’s a system that isn’t all that novel, but still leads to you having to do things outside of just combat in order to grow your own ronin’s prowess. 

As an open-world game, there’s not a whole lot about Rise of the Ronin that makes it interesting. The title’s sprawling world is designed well and at times is pretty to look at, but it also feels incredibly empty. Outside of key points of interest that are highlighted on your map, Rise of the Ronin doesn’t do anything else to make use of its open environments other than give the player a bit of tactical freedom when it comes to approaching combat situations. Otherwise, this is simply a game that will have you wandering about its world to check off a list of tasks purely for the sake of unlocking items or other rewards. 

Traversal is one element of Rise of the Ronin that I feel like Team Ninja got absolutely right. Not only can you ride a horse and grapple up the sides of buildings, but a glider also allows you to soar through the skies Breath of the Wild style. This glider isn’t only great as a means of getting around, though, as its best use is to get the drop on unsuspecting baddies. Being able to swoop in on an enemy encampment from a nearby cliffside and assassinate foes by dropping out of the sky was always a joy and helped encourage creativity when approaching combat. 

The thing that I found most annoying with Rise of the Ronin is that it is constantly giving you loot. Between its many weapons, gear items, crafting materials, and other accessories, it makes the process of going through your inventory monotonous, to say the least. Even if you happen to go to a local merchant and offload the items you don’t want, you’ll soon find your inventory filled up with more useless junk before you know it. Not to mention, it’s hard to decipher the differences between many of the weapons and armor pieces you can equip as they’ll come with very minor stat bonuses that almost feel like they do nothing. Some armor and weapon sets can provide stacking bonuses if they’re of the same set, but the passive bonuses are often a chore to try to compare with one another. 

Rise of the Ronin isn’t necessarily an awful game, it’s just one that’s quite unremarkable. When this project was first unveiled back in 2022, I was ecstatic to see Team Ninja tackle the open-world genre and was curious to see how the studio would bring its own unique ideas to this format. Instead, virtually nothing that Team Ninja has done with Rise of the Ronin is enough to set itself apart from a growing deluge of games in the genre. With so many other titles to choose from in this space, there are far better options that warrant your time and attention.

Rating: 3 out of 5

Rise of the Ronin is set to launch at the end of this week on March 22, 2024, and will be available exclusively on PlayStation 5. A review copy of the game was provided by PlayStation for the purpose of this review. 

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It is only February, and Suicide Squad: Kill the Justice League may end up being one of the most divisive games of the entire year. The new third-person looter-shooter from Rocksteady Studios continues the Arkham universe but from the perspective of the Suicide Squad this time. Harley Quinn, Deadshot, King Shark, and Captain Boomerang are forced to band together as Task Force X to take down the Justice League after they become brainwashed by Brainiac. Not only does the fate of Metropolis and the world itself rest in the hands of these scummy DC characters, but so does the fate of some of the most iconic characters in all of fiction.

There are many reasons why Suicide Squad: Kill the Justice League has been controversial. For starters, it’s a live-service game which has a negative stigma no matter what game that descriptor is attached to, but doubly so for a developer known for well-crafted single-player games such as Batman: Arkham City. Secondly, you’re by all intents and purposes targeting and killing beloved characters that fans have invested years of their lives into. While we won’t give away who dies and who doesn’t, it doesn’t seem like a spoiler to reveal that there are some big names taken off the board during this game’s story. 

With all of that said, it would be oversimplifying things to say Suicide Squad: Kill the Justice League is just good or bad. It has a lot of layers, some of which make for a really strong product and some of which weigh it down tremendously. The story of the game is likely what a lot of people are going to be drawn to given the core premise and Rocksteady’s pedigree as a renowned group of storytellers. I can safely say that Rocksteady’s narrative prowess remains intact in Suicide Squad: Kill the Justice League even amidst some outrage over big twists and story decisions.

This is a game with a gargantuan sense of scale and that only continues to ratchet up as you progress through the story. Superheroes are throwing each other through buildings and hitting each other so hard it sounds like thunder is cracking in the sky while universes collide with each other.

Killing the Justice League

Rocksteady Studios had serious cojones to make a promise like killing the Justice League and then not cop out. It’s a big swing and it understandably won’t work for a lot of people who are really attached to certain characters, but it’s a risk. The fact Warner Bros. and DC weren’t cringing at the idea of blowing the heads off of some of the most valuable characters they own shows the studio has earned a lot of goodwill and trust. 

Rocksteady has also proven it is capable of doing more than dark, gritty stories like the ones in the Batman Arkham games. It can completely change the tone and do something that is far more comical like Suicide Squad. Kill the Justice League is a truly hysterical game that had me laughing out loud thanks to the banter and antics of the four playable protagonists which went beyond simply having funny dialogue. 

There’s a lot of smart comedic moves made on the technical side. The facial animation in Kill the Justice League is some of the best I have ever seen and allows for these characters to just give a look with no words and still make you laugh. Even things as simple as where the camera is placed goes a long way. One of my favorite jokes in the game comes from Harley Quinn off-screen, shouting something from the corner of the room, which shows Rocksteady has a great handle on comedic timing and execution. The game is as irreverent as you’d hope and very few jokes miss the mark.

The only time the comedy can feel a bit misplaced is when characters held with a lot of reverence are lying dead at their feet and the Squad are cracking wise, giving little fanfare to an icon who was unceremoniously brutally murdered. It’s a bit jarring and removes some of the impact of the idea of killing the Justice League. That should be a herculean effort and more often than not, it’s actually quite easy and the Squad seems like they’ve barely broken a sweat and don’t seem to bat much of an eye at God-like characters being vanquished. They’re so unbothered that they can riff for a few minutes about it like it was just another day on the job, even though this is their first day at said job.

A Mixed Bag

On the gameplay side of things, Suicide Squad: Kill the Justice League is an extremely mixed bag where it begins to feel like two separate games haphazardly slammed together. Rocksteady is known best for creating the innovative and graceful combat mechanics in the Batman Arkham games. It’s true, you did feel like Batman in those games. Rocksteady managed to carry those skills over to Kill the Justice League and create a really different but satisfying combat system for four characters who could not be more unlike Batman.

The action in this game is stupendously frenetic, and at times, even a bit overwhelming. This is not a slow shooter by any measure – if you stand still for too long, you will likely die. It’s very bouncy and punchy, encouraging you to constantly be flinging yourself into the air using your traversal methods (Deadshot has a jetpack, Harley Quinn has a grappling hook, etc.) to rain hell down upon your foes below. It almost starts to feel like a game of The Floor Is Lava where you know standing on the ground for too long would be a fatal mistake.

I played primarily as Deadshot, and his jetpack made me see the vision for a great Iron Man game. You can propel yourself through the sky, drop bombs on enemies, hover in the air and headshot enemies with your AR or sniper rifle, or you can run up the side of the building, boosted by your jet pack, and kick an enemy standing on the edge of the roof before dropping a grenade between his legs and flying off while it explodes behind you.

The movement feels propulsive like Sunset Overdrive, the combat takes inspiration from Doom by encouraging you to use different attacks to get enemies to drop different things like shields, and it even mixes in a little bit of Gears of War with an active reload-esque mechanic. It’s an interesting but successful blend of different mechanics from other great games that helps the combat feel engaging like it’s constantly building a sense of momentum.

It’s a ton of fun, but the moment-to-moment gameplay is also what saves the game from one of its biggest problems. Kill the Justice League doesn’t have a terribly long story, which is fine, but it pads itself out with a lot of filler missions that don’t feel dissimilar to regular side missions. A lot of the missions in the game have you fly to a rooftop and defend an objective or destroy one, kill X amount of enemies before the time runs out, or escort a very slow truck across the city. Those are pretty much the only missions you’re going to play in the game excluding boss battles which admittedly aren’t terribly inventive either.

It can grow to be very repetitive and monotonous, especially when it doesn’t feel like there’s much rhyme or reason to these filler missions. One mission toward the middle of the game has you killing a bunch of enemies to collect “data shards” from their bodies. It’s just a typical shooting gallery, but I didn’t really understand why we were doing it. At the end of the mission, a summary screen read: “Somehow this will help us stop The Flash? We missed the details.” Which feels like a pretty lazy way of “We just needed to give the player something to do for a bit.”

Live-Service Conundrum

These kinds of missions feel designed to be replayed in co-op or made for a live-service grind. They’re short, they’re formulaic, and they are made to let you keep your finger on the trigger for several minutes without letting go. It’s not what I’mlooking for from Rocksteady, and it’s also not particularly interesting regardless of if you like live-service games like Destiny or not.

It also doesn’t help that the loot didn’t really excite me. None of the weapons I got aside from a grenade really blew me away and upgrading them felt even less exciting. The system is all RNG-based where you reroll the stats on your weapon, and often, it resulted in an inferior weapon. A large chunk of the game’s cosmetics are earned either as simple mission rewards or locked behind a very dated microtransaction store. There’s very little reason why a $70 game should have $20 Harley Quinn skins like Fortnite when the previous Batman games had loads of free skins. Rocksteady even released a free update to 2015’s Batman: Arkham Knight in December which added Robert Patinson’s Batman suit to the game.

It’s all disappointing to see and feels like it was all made for a completely different, possibly even free game. Given it was reported that Rocksteady was previously working on a new multiplayer game, unconnected to DC prior to this game, it’s possible remnants of that title made its way into Kill the Justice League.

Suicide Squad: Kill the Justice League is not a death rattle for Rocksteady Studios. If anything, it shows the studio was able to salvage a piece of its identity in a game that is clearly at war with itself. Whether that’s a result of Rocksteady having an ever-evolving vision that was misguided at some point or requests from Warner Bros to make it more commercially viable, we’ll likely never know. The point is, the things that Rocksteady is known for are found here. Rocksteadystill excels at satisfying superhero combat and larger-than-life comic book stories. However, it would be a mistake for this studio to double down on these live-service elements in future games. This isn’t a great game, but it’s also not a terrible one. It’s simply two different games of varying qualities blended together to create a violent cocktail with mixed results.

Score: 3.5 out of 5

A PS5 review copy of Suicide Squad: Kill the Justice League was provided by the publisher for this review.

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You know how it goes. One minute you’re on a mission to stop a shady government organization from doing something nefarious, and the next, you find yourself whisked away to a dream-like island by a dolphin. It’s all in a day’s work for former yakuza associate Ichiban Kasuga, whose journey to Hawaii in Like a Dragon: Infinite Wealth blends pulpy, soap opera-like drama with pure whimsy in a way that only developer RGG Studios has mastered. As the sequel to the best game in the Like a Dragon (formerly Yakuza) series, Infinite Wealth has a lot to live up to and I’m happy to say that in almost every regard, this surpasses its predecessor.

Like every RGG game, Like a Dragon: Infinite Wealth is best experienced by taking in everything and enveloping yourself in the heartfelt, action-packed, and wacky world the studio has created. If you’re mainlining Ichiban’s story, you’re doing it wrong. After all, this is a game with a button dedicated to throwing up the Shaka symbol to the residents of Hawaii. If you’re not diving in and vibing with everything Infinite Wealth has to offer, you’re doing yourself a disservice.

Infinite Wealth Has Enough Content for Multiple Games

Thankfully, almost everything here is, at worst, good. Between adding an entire battle system to the Pokemon-like Sujimon mechanic, dropping in an entire set of Kiryu-specific side quests called the “Bucket List,” and the Animal Crossing-like Dondoko Island adventure, there’s more than enough to sink your teeth into. That’s not even getting into the smaller games, like Ichiban’s dating app, the Crazy Taxi-inspired delivery game, or all of the standard minigames that the series is known for (Darts, Mahjong, the arcade, etc). 

The developers said Hawaii is the biggest map they’ve ever created and they have stuffed that thing full of content. I’m around 80 hours in and there’s still so much more for me to see. I’ve barely scratched the Sujimon tournaments and there are still 10 or 15 substories left to dive into. If you’re looking for a game that’s going to occupy your brain for a month or more, it’s hard to recommend a better one than Infinite Wealth.

Of course, that side content is only half of the game. The main storyline and the core combat is where Like a Dragon (previously Yakuza) games often live and die. Granted, I think there’s only been one game in the franchise that’s not at least good (Yakuza 5), but when LaD’s combat and story are working, there’s nothing like it in video games.

Fortunately, I’m here to report that both aspects live up to the previous entry Yakuza: Like a Dragon. The main story is full of the usual twists and turns that players have come to expect from the series. There are a few instances where events happen that don’t really make sense and are then used to set up something down the line. We’re not stepping into rubber bullets territory with this one, but it’s worth saying that there are a few odd choices. In many ways, the main tale is the only thing that I felt was a downgrade from Yakuza: Like a Dragon. That game had one of the biggest gut punches in video games to top off an excellent story. Infinite Wealth is very good but didn’t have that same level of payoff at the end for me. 

Infinite Wealth also suffers from a similar problem as its predecessor. There is a noticeable jump in difficulty toward the end of the game that will leave some players frustrated. However, the team has found a way to split the difference and make this difficulty spike much more palatable. There’s no lengthy run-up to the fight. If you lose (and this was the only story mission where I died), all you have to do is skip through a few cutscenes and you’re right back into the boss battle. RGG is essentially having its cake and eating it by keeping in the bumped-up difficulty, but providing players with plenty of checkpoints before major fights. It’s an excellent change that really does make Infinite Wealth’s toughest moments much more palatable. 

However, even if the main story is slightly lacking compared to the last game, the character moments between Ichiban, Kiryu, and the rest of the crew are some of the best work RGG has ever done. Your entire party is much more fleshed out than they’ve been in the past, and series newcomers Eric Tomizowa and Chitose Fujinomiya get more than enough time to shine. In fact, I found myself wanting to dive into Tomi and Chi-chan’s stories even more than my old friends. RGG knocked all of those little character moments out of the park, making for what is sure to be one of the best ensemble casts of 2024. 

This extends to the side characters and villains. I’m not sure if he’ll continue to be involved in the game going forward given what happens, but it seems like Ichiban might have found his version of Goro Majima in Hawaii. I won’t spoil who that might be, but let’s just say that it would not be surprising to see one of the antagonists join your party in the next game. The Like a Dragon series has had some great villains over the years, and I think this group is another exceptional collection of guys you love to hate. I switched over to the English translation just to hear Danny Trejo talk about his machete and I was not disappointed.

Like a Dragon: Combat Evolved

On the combat side, this feels like a major upgrade from Yakuza: Like a Dragon and it’s all thanks to one change. Now, you can control where each character moves in battle. You don’t have free roam like in the action-focused Like a Dragon games. Instead, you have a circle of movement around your character that you can work within. As you level up, that circle gets a little bigger, but learning how to use your limited movement to give yourself the advantage is key to most fights.

With the ability to move around the battlefield, RGG has opened up several new possibilities for taking out foes. The most important of these is backstabbing. No, this isn’t the Dark Souls-ification of Like a Dragon. If your opponent is focusing on one of your other party members, you can circle to their backside and get off an attack that deals a ton of extra damage. You can also get a proximity bonus if you get up close and personal and, as you improve your Bond with the characters in your party, you can unlock even more combat options, but the backstab was the attack that got me out of more than one sticky situation.

Outside of the movement options, combat is very similar to Yakuza: Like a Dragon. You’re still using abilities to gain a type advantage over your opponents, switching to different classes to open up new attack options, and bringing the story into the mix through the previously mentioned party Bond mechanics. However, because Kiryu is now involved, the developers have given him a few options to unleash his action-focused moveset. 

From the jump, you can switch between three of his most famous combat styles while in the thick of things to suit your needs. For me, this mostly just meant flipping to Beast when an enemy was guarding to break through their defense. As you progress, you’ll also unlock the ability to turn on the Dragon of Dojima style and, for a few brief seconds, use Kiryu’s trademark combat skills in their full glory. It’s not nearly as robust or fun as an old Yakuza game, but it does give you a fun nostalgia hit every time you flip the switch to turn it on.

Like a Dragon: Infinite Wealth isn’t without issues. Some weird story moments don’t make a ton of sense, and while I didn’t really get into it, some of the stuff happening on Kiryu’s side might not hit as hard if you haven’t played his games before. That said, it is tough for me to imagine liking a game more this year. Infinite Wealth got me out of my seat during several momentous story moments and sucked me into its grips with all of the outstanding side content. I’m not ready to say this is the best game RGG has ever released, but it’s very close. This is a master fine-tuning its craft to the point of near perfection and one of the first must-play games of 2024.

Score 5/5

Like a Dragon: Infinite Wealth was reviewed on a PC courtesy of a review copy provided by the publisher. The game was released on January 25 across PlayStation, Xbox, and PC platforms.     

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Like millions of others around the globe, Persona is a series that I’ve only started to really get into over the past few years. After playing Persona 5 Royal upon its launch in 2019, I’ve since started to revisit some older entries in the series, all of which I have greatly loved. Knowing that Persona 3 was getting a new remake in the form of Persona 3 Reload, though, I opted to hold off on playing the original P3 (or P3P) in favor of experiencing the game for the first time with this new version. Having now done so, I’m even more thrilled that Atlus chose to bring back Persona 3 as it’s an RPG that still stands toe-to-toe with some of the best of the genre. 

Per usual, Persona 3 Reload centers around a cast of high schoolers that use supernatural powers to take on dark forces that are slowing harming the world. Reload doesn’t differ any any drastic ways from the original Persona 3, which makes this an incredibly faithful remake. Given that this is my first time playing Persona 3, I can’t speak to any differences that might be found with the story in this iteration. That being said, the tone and larger themes of P3 remain intact with Reload, making for one of the most unique Persona games in the franchise. 

Compared to later installments, I do think that Persona 3’s story lacks a bit of cohesion, especially out of the gate. Key plot elements such as the Dark Hour and Apathy Syndrome are glossed over a bit flippantly at first to the point where it’s a bit hard to understand your overall goal. As Persona 3 Reload continues, though, its story becomes much stronger and is primarily amplified by some fantastic character work. The Social Links in P3R, in particular, are some of my favorites in the series and are very much worth going out of your way to experience in full. 

Gameplay-wise, Persona 3 Reload keeps many of the standard turn-based mechanics from the larger series while folding in others that were seen in Persona 5 Royal. At a baseline level, you’ll use weapons, fists, and abilities from your titular Personas to take on different Shadows and bosses. Elements such as the Baton Pass from P5R are found here in Reload, but Atlus does implement a few wholly new mechanics as well. My favorite new feature, Theurgies, allows the main protagonist (and other ally characters) to unleash incredibly powerful moves that can deal huge amounts of damage. These attacks all come with stylish animations that I loved watching each time around. Theurgies don’t completely change combat in P3R, but they do freshen the game up quite a bit and bring one more layer of depth. 

One thing that might be more apparent to those like myself who have never played Persona 3 before is that the game is much smaller in scope compared to later entries. There are only a handful of in-world hubs to visit, most of which are unlocked in the game’s earliest hours. Given that this is an RPG that lasts dozens of hours, more locales begin to become available as the experience continues onward. At its core, though, this very much does still feel like a PS2 game in terms of its scale.

This remains true as well with Tartarus, which has always been the one big sticking point of Persona 3 for many. While later entries introduced hand-crafted dungeons, Tartarus is a singular, sprawling labyrinth that is ever-evolving and randomly generated. To that end, Reload hasn’t done a whole lot to make Tartarus more compelling, even for a newcomer like myself. This is an area that at times can feel like it is dragging on with no end in sight. It’s clear why Atlus moved on from this type of dungeon in later entries, but if nothing else, Reload doesn’t make many compromises to the format of Tartarus, which I very much do appreciate. 

If there was one aspect of Persona 3 that I was incredibly familiar with before Reload, it would be the game’s stellar soundtrack. Rather than simply recycle all of the fantastic tracks from Persona 3 here in Reload, though, Atlus chose to re-record every song in the game (and add a couple of new ones), which I think is something that largely works well. While the songs themselves are the same, some of the instrumentation and vocals are different, which leads to Reload’s score sounding fresh. This is also true of the game’s voice cast, which features new actors in all major roles. As someone who doesn’t have a connection with the original cast, it’s hard for me to compare this cast to the previous one, but I found the voice work here in Reload to be one of its strongest components. 

More often than not, when a game from the past is remade, it ends up coming back with excellent graphics and heightened performance capabilities. With Persona 3 Reload, the biggest improvements on this front are less with the actual graphics and more with the style. Obviously, Reload looks drastically better compared to the original Persona 3, but it’s the game’s artwork that has been overhauled the most. Reload features some slick menus and revamped cutscenes, all of which look stunning. At times, Reload feels like it’s trying to a bit too blatantly rip off the look of Persona 5, but that doesn’t prevent it from being a visual treat all the same. 

Persona 3 Reload definitely still feels dated in some areas, which isn’t always expected from a modern remake. Despite this, some of these older aspects of Reload are what I came to appreciate the more that I played. Atlus isn’t trying to create the best all-around modern Persona game with P3R, it’s instead simply trying to create the best version of Persona 3 by combining everything from the original with some enjoyable new mechanics and aesthetic tweaks. To that end, I have a hard time believing that newcomers or veterans of Persona 3 will be anything other than delighted with Reload. 

Rating: 4.5 out of 5

Persona 3 Reload is set to release on February 2, 2024, and will come to PlayStation 5, PlayStation 4, Xbox Series X/S, Xbox One, and PC. An advance copy of the game on PS5 was provided by the publisher for the purpose of this review. 

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Fighting games are in a great space right now, as many franchises returned with new entries last year, and now one of the big contenders has returned as Tekken 8 is finally here. Tekken is one of the key fighting game franchises fans have been drawn to over the years, as it helped to usher in the wider popularity of 3D fighting in general. But for as much as it has ruled at the top for many players, it also has been a bit alienating for inexperienced players; an aspect of the franchise that’s only gotten more complicated over the years as its gameplay systems advanced. 

Although it might not feel like it because Tekken 7 has been around as a dominant fighter in the scene for such a long time, it’s been nearly a decade since the last numerical entry in the franchise. That’s nearly ten years of fighting games evolving and experimenting in different ways, and nearly ten years of hoping to see a Tekken that uses those learned tips and tricks from others in the scene to evolve in its own way. Thankfully, Tekken 8 does just that. Tekken 8 is undoubtedly the best Tekken has ever looked, and the best Tekken has ever played. 

Tekken 8 is the first in the franchise on modern consoles, and the first in the franchise to utilize Unreal Engine 5. All of these firsts also inform the approach for this new entry overall. It’s built with first players in mind who might have never really dabbled in Tekken before, and Tekken 8 is sure to make a strong first impression with potential new players as it has a great way of onboarding them to figure out how the game itself is played. There are many options to get better with the game, and that’s especially important with how technical Tekken can be. Although it’s the eighth entry and is treated as such, Tekken 8 feels especially welcoming. 

Tekken 8 has an expanded Story Mode that feels like the biggest it has ever been for the franchise. Telling Jin’s story across multiple chapters (with a few opportunities to try out a few other members of the roster), this experience lasts a few hours and can even get pretty difficult towards the end. It picks up right after Tekken 7‘s story as Kazuya is now expanding his power following Heihachi’s defeat, and Jin is trying to fully embrace the Devil Gene power within him in order to take down this threat. It’s not the most complicated tale, but it’s also one that even new players can jump into without any real problems. 

It has some big reveals, new forms, and explosive anime-like battles that long-time fans will enjoy, but at the same time, its flashy presentation and grandiose tale will definitely hook new players. It’s also a great way to get used to how Tekken 8 is played, and there are other great single-player options for new players to potentially expand on. The biggest of which is Arcade Quest, which is its own kind of Story Mode which tasks players with creating an avatar to take them through a series of arcade locations to rise up the ranks of the best Tekken players. 

It’s built to be especially beginner-friendly as you can challenge increasingly difficult opponents, and choose any of the characters to really hone your skills with. This welcoming feeling just permeates the entire package, too, with the return of minigames like Tekken Ball, and most importantly, with the introduction of the Heat System and Special Style. The Heat System is likely the most noticeable change to how Tekken 8 plays, because while there have been a ton of smaller adjustments to the returning roster characters, the Heat System is a big addition that could really close the gap in particular tense matches. 

The Heat System is a special meter that can be activated with a button press (or by using particular moves in a combo) and gives you certain buffs for a brief time. This not only gives you access to a few different moves for certain characters, but it also does chip damage on a block. The biggest addition is the Hit Smash, which is a powerful move that uses the rest of the Heat meter to deal some big damage. If you have this active, connect with a Hit Smash, and then land a Rage Arts (which is a super move that becomes available when your health drops below a certain point), it could really bring a different end to a match than your opponent might expect. 

It’s great to see that so much attention has been paid to single-player content to help get new players adjusted because Tekken 8 still feels as technical as the franchise has always been. While execution of certain moves is a bit easier than before, and the necessary timing to keep combos and juggles going feels less restrictive, Tekken 8 runs the risk of feeling unapproachable due to the large roster full of characters who all play differently. It’s one of its greatest strengths due to variety, but almost can feel daunting just looking at the sheer number of combatants available. 

Still, this is a great problem to have and Tekken 8 does as much as it can to ease that process (though it’s not always successful). Special Style is the second of the major new additions that help alleviate that fear of being technically proficient. It’s a mode that you can toggle with a single button press during matches that gives you access to a set number of combos that show off some of the coolest moves with single-button activations. It’s like the more approachable play styles seen in the recent Street Fighter 6, but can be toggled on and off whenever desired rather than be a style that you’re locked into in a particular match. 

It’s a great option to utilize without ever feeling like a potential crutch that could keep someone from diving even deeper. That’s just Tekken 8 as a whole, too. So much of it feels so welcoming that there are plenty of options for single-player battles, and if you spend enough time, it will eventually build the confidence to take it all online. But like other fighting games, it’s going to be necessary to grind your skills. The strength of all of these potential options will be put to the test long after release, but as of right now, Tekken 8 is the best Tekken has ever been. 

Rating: 4 out of 5

Tekken 8 releases on January 26th on PlayStation 5, Xbox Series X/S, and PC. A code was provided by the publisher for the purpose of this review, and was reviewed on a PlayStation 5.

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During the Switch era, Nintendo has dug deep into its back catalog, giving older games a second chance at finding an audience. The latest example is Another Code: Recollection, a remake of two games that first appeared on Nintendo DS and Wii. Another Code: Two Memories released on DS as Trace Memory in North America, while the sequel, Another Code R: A Journey Into Lost Memories never made it to Wii users outside Europe and Japan. Another Code: Recollection offers both of these games in one package, giving a new audience a chance to experience the story of protagonist Ashley Mizuki Robins. 

When Another Code: Recollection begins, we find Ashley on a boat headed towards Blood Edward Island with her aunt Jessica. Ashley’s mother died when she was young, and she and her father have been estranged ever since. Right before her 14th birthday, Ashley’s father sends her a mysterious device known as the DAS, alongside a request to meet him on the island. Upon their arrival, Jessica quickly goes missing, forcing Ashley to search for her and her long-lost father in and around the grounds of an old mansion. It’s here that Ashley meets the ghost of a young boy named D, and they must work together to solve two mysteries surrounding their lost memories. 

Resident Evil Without the Evil

Both games in Another Code: Recollection are point-and-click adventures. The first game is a lot like the original Resident Evil, but without monsters or combat. What’s left is solving puzzles to unlock new areas in a mansion full of mysteries. As players do just that, they’re given greater insight into the events that revolve around the deaths of both Ashley’s mother and D. Many of the game’s puzzles revolve around the DAS, which resembles a Nintendo Switch. The DAS has several features, including the ability to take photographs, review character biographies, and interact with a device known as Another. 

Puzzles in Another Code: Recollection are something of a mixed bag. While I never played Trace Memory or its sequel, Nintendo has apparently made some big changes to the puzzles that appeared in both. Some of them are intuitive enough, while others could provide more in the way of context. For example, one puzzle requires that players take two photographs using the DAS and use the overlap feature to combine them. However, the game doesn’t reveal that this is even a feature, and I found myself frustratingly trying to solve a puzzle in the specific way that the game wanted me to, even though I knew what the actual solution should be. A lot of point-and-click games suffer from similar problems, but that doesn’t make it any less frustrating when it pops up. 

The Power of Memory

The central theme that connects the two games in Another Code: Recollection is the impact of memory. Ashley’s memories of her mother’s death are murky; she witnessed the murder of Sayoko Robins, but Ashley was just three-years-old at the time. Meanwhile, D’s memory of his own death has been lost over decades. As the game progresses, Ashley discovers that both of her parents were working on a device known as Another, which has the ability to erase harmful memories and even replace them. Her parents saw this as a way to help those suffering from trauma, while others seem to be interested in the device for more nefarious purposes. 

The storyline is the biggest highlight in Another Code: Recollection. The actual violence is minimal, but the games both deal with themes that include things like PTSD, abandonment, and murder. It’s a little bit heavier than your average Nintendo game, and getting to see Ashley’s journey across both games is compelling. The two games are presented as one, with players jumping into A Journey Into Lost Memories right after the first game ends. Two years pass between the two titles, so players are given a chance to see Ashley older and how things have changed since the previous game. 

Two Games as One

Despite originally releasing on different platforms, the remakes of these two games are presented in the exact same style with the same controls and even the same save file. Another Code: Recollection could have felt like a disjointed combination of two games from very different systems, but newcomers might not even know they had different origins. A good deal of that can be attributed to the presentation. It’s not a technical marvel on the level of The Legend of Zelda: Tears of the Kingdom, but the characters and environments look nice, and the music is enjoyable throughout. 

Another Code: Recollection is a welcome addition to the Nintendo Switch library. The puzzles can get frustrating at times, and the gameplay won’t be for everyone; I highly recommend those on the fence check out the game’s free demo. Despite these flaws, the story and characters make it a worthwhile purchase for fans of the genre. It’s great to see Nintendo giving such an unusual pair of games this type of treatment, rather than leaving them abandoned on their original hardware. 

Rating: 3.5 out of 5

Another Code: Recollection is set to release January 19th, exclusively on Nintendo Switch. A code was provided by the publisher for the purpose of this review, and it was reviewed on a Nintendo Switch OLED.

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The Last of Us Part II Remastered is the third remaster/remake that PlayStation developer Naughty Dog has released in a span of two years, and by most accounts, it’s another great re-release from the studio. Naughty Dog’s previous venture in this space, The Last of Us Part I, fully remade the original PS3 game to great effect, which definitely isn’t the same treatment that has been given here with Part II Remastered. That’s not to say that this new iteration of The Last of Us Part II is disappointing, because it isn’t by any means. Outside of a few new bells and whistles, though, this PS5-only iteration of the second The Last of Us entry doesn’t contain a whole lot that will demand the attention of PlayStation fans in the way that Part I may have.

For the most part, The Last of Us Part II Remastered is the same game that Naughty Dog released back in 2020. The core game and all of its post-release updates are included here, which is to be expected. It surely goes without saying, but The Last of Us Part II’s story mode is still fantastic and is very much worth playing (or replaying) here with this new release, especially given that it now features commentary from the devs and actors behind the game. 

When it comes to The Last of Us Part II Remastered’s prowess as a remaster, it’s hard to see a drastic jump in visual fidelity. That’s not to say that the game isn’t pretty, because it absolutely is and is likely one of PlayStation’s best-looking games ever. That being said, dubbing this release a “remaster” is perhaps generous, especially given that the PS4 Pro version of the game already looked fantastic in its own right. This is doubly true when taking into account how it previously ran on PS5 following Naughty Dog’s release of a performance optimization patch back in 2021. Make no mistake, this is the prettiest that The Last of Us Part II has ever looked, but you likely won’t notice a huge step up in graphics as you would with many other remasters.

Outside of this boost in visuals, Naughty Dog has also included a couple of other new features that are unique to this release. One of those is dubbed Lost Levels, which is essentially a look at cut content from The Last of Us Part II that Naughty Dog removed for one reason or another. More than anything, these levels provide a lot of neat context into how game development works behind the scenes and sheds some interesting insight into Naughty Dog’s process of crafting its projects. Other than this, though, the levels themselves aren’t all that fascinating (outside of a couple of added story wrinkles) and it’s easy to see why they were removed from the base game. 

Far and away the most notable new addition to The Last of Us Part II Remastered is No Return, which is a new roguelike-style game mode. This mode allows you to play as Ellie, Abby, and a litany of other characters from the cast of The Last of Us Part II, most of which for the first time. No Return allows you to advance through a series of encounters with each one becoming progressively more difficult. While you might start out simply taking down a couple of W.L.F. soldiers in the early levels, you’ll eventually progress to having to take on hordes of infected that can even include Part II’s iconic Rat King. In between each stage, you can buy new weapons and upgrade your gear with currency that you earn after completing a given level. It’s a pretty basic structure but it’s one that also evolves over time you’ll begin to unlock new rewards and modifiers that can then be used to keep things feeling fresh. 

My biggest gripe with No Return lies with its pacing. Compared to other roguelike or roguelite games, No Return is much slower-paced and has a lot more downtime with its combat. Part of this is because of how The Last of Us Part II operates at a gameplay level, as the title is much more about preparation and stealth than it is about mowing down hordes of enemies. Still, encounters play out in No Return in a wave format, which means that once you defeat one group, you’ll then have to wait 20 or 30 seconds for the next wave to start. This leads to levels feeling a bit stilted and has me believe that a single, mass encounter would have been a better approach for each level rather than this wave system. 

More than anything, though, what makes No Return great is that it is entirely about gameplay. While The Last of Us Part II is often talked about by fans for its story, it’s also arguably the best game that Naughty Dog has ever crafted in terms of its combat mechanics and systems. For the studio to add No Return to The Last of Us Part II’s overall package means that it will get a lot more life out of this great gameplay, which is especially nice to see in the wake of Naughty Dog scrapping its The Last of Us multiplayer game. 

The best thing about The Last of Us Part II Remastered by far is that PlayStation isn’t looking to charge full price for those that already own the original PS4 game. Rather than demanding $60 or $70, anyone who already bought The Last of Us Part II can upgrade to Remastered for only $10. To me, this really saves The Last of Us Part II Remastered from being a hard sell. Even though No Return is fun, the Lost Levels are interesting, and the new guitar free-play mode is enjoyable to toy around with, a $70 ask for this remaster would have been a difficult value proposition. Instead, a mere $10 charge to upgrade to this version of the game is something that I think most The Last of Us fans should take advantage of. 

If you still don’t have your fill of The Last of Us Part II nearly four years after its arrival, this PS5 remaster is a pretty easy recommendation. No Return, in particular,  gives Part II some post-game content of sorts that should keep it feeling fresh for the foreseeable future. This combined with the fact that The Last of Us Part II now looks better than ever before makes this the “definitive” version of the game and should help bridge the gap to a potential The Last of Us Part III. 

Rating: 4.5 out of 5

*An advance copy of The Last of Us Part II Remastered was provided by PlayStation for the purpose of this review. 

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For nearly two years, I’ve struggled to avoid purchasing Valve’s Steam Deck handheld. Despite hearing such much praise for the hardware and what it was capable of, I continued to hold off on purchasing the device, partially in the hope that an upgraded version of the machine would come about before long. As luck would have it, my patience finally paid off to close out this year as the Steam Deck OLED was surprisingly revealed and released within the past month. After having now experienced the Steam Deck for myself, I’m thoroughly impressed with what Valve has created on just about every front. 

Generally speaking, the OLED model of the Steam Deck is the same as the original version in terms of its form factor. Valve has included a few new, major upgrades that you would expect from a mid-gen refresh of this type, though. Notably included with the OLED iteration is an improved battery life, a better cooling system, and an improved Wifi chip that allows downloads to be faster than on the baseline Steam Deck. 

This final upgrade is the one I’ve found myself most impressed with as I was able to download dozens of games from my Steam library in mere minutes upon booting up the Steam Deck for the first time. Obviously, these downloads will only be as fast as your own Internet speeds, but I found that adding games to my Steam Deck took roughly half the time that it does on my other various consoles and computer. Knowing this, it makes me that much more likely to freely install and uninstall games at a constant rate without fearing lengthy downloads in the future. 

The big selling point with this new Steam Deck is in its name. The OLED screen that Valve has implemented on the latest version of the Steam Deck is a huge improvement to the LCD screen. Every game I have played on the Steam Deck OLED so far has been incredibly vibrant, and when compared to Nintendo’s own Switch OLED, has been far more impressive. Much of this is likely due to the fact that the Steam Deck has more powerful internals when compared to the Switch, but this increased power only makes better use of the OLED screen compared to the competition. This is without a doubt the best handheld I’ve ever used, at least in terms of visual fidelity. 

Even though games look great, I have to say the act of playing them isn’t always lovely. The Steam Deck is a bit obtuse in its design and is something that I didn’t always find comfortable after prolonged use. I think this is primarily due to the size of the Steam Deck itself, which has a bit of heft to it. Outside of the weight, the height and length of the handheld can make for a bit of discomfort. I imagine this is only amplified by those who have smaller hands. 

Despite this general complaint, I think all of the individual components that make up the Steam Deck feel great. Triggers are responsive, thumbsticks glide in a smooth manner, and even the trackpads are better than I expected. The general build quality of the Steam Deck is also excellent. This is something that I feel is going to stand the test of time and won’t begin wearing down in the years to come. 

The operating system (OS) that sits at the core of the Steam Deck is something I have also found to be very snappy. Swapping between your own library of games, the Steam storefront, and the platform’s own personalized settings can be done with just a few simple button presses. The OS really allows Valve to show off many of the improvements and core features of Steam that it has built on in recent years in a way that makes sense on a handheld device. 

The thing that I’m still finding myself most compelled by with the Steam Deck is just how customizable it is. This doesn’t only extend to downloading different boot-up animations (which I do love), but also with what you can install on the hardware. In its purest form, the Steam Deck is simply a handheld PC, which means that there is a ton you can do. Swapping to the system’s desktop mode to download emulators for the Steam Deck, in particular, is something I’ve been experimenting with a lot more lately and I’ve been shocked by how easy it is. Best of all, if this is something you opt to do for yourself, games you’re looking to emulate will appear in the “Non-Steam” section of your library and can be fired up in no time. It’s this level of customization that really sets the Steam Deck apart, especially when compared to traditional gaming platforms. 

If you’re like me and have been patiently waiting to pick up a Steam Deck for yourself, I can comfortably say that the OLED model is finally worth taking the plunge. I have not found myself as engrossed with a new piece of gaming hardware in quite a long time and I believe that I’m only going to keep using the Steam Deck more and more in the future. Assuming that you already have a vast Steam library at your disposal, the Steam Deck is an easy recommendation, especially with this year’s Winter Sale right around the corner. 

A complimentary Steam Deck OLED unit was provided by Valve for the purpose of this review. 

The post Steam Deck OLED Review: Handheld Fidelity at Its Finest appeared first on ComicBook.com.

PlayStation’s new Pulse Explore Earbuds that are compatible with various PlayStation 5 devices have left a lot to be desired after my prolonged use. Since the days of the PS2, Sony has released its own headsets and earphones that have worked with its various consoles. With the PS5, though, Sony decided to embark upon creating its own set of earbuds with the PlayStation branding for the first time ever. While being a good idea on paper given Sony’s relevance in the wider electronics scene, the Pulse Explore Earbuds have been a bit underwhelming. 

Generally speaking, the Pulse Explore Earbuds from Sony are what you’d come to expect from other wireless earbuds in 2023. The Pulse Explore Earbuds come with Bluetooth, lossless audio, and a nifty little charging case to tuck them inside of when not in use. What sets this device apart from others, though, is that it has been designed specifically for the purpose of gaming. And on that front, I don’t have many complaints. 

After using these earbuds while playing games on PS5, I have found that they generally work quite well. The audio on every game I tried felt full and clear, leaving me with no real complaints when it comes to the quality. Despite this, I found that the Pulse Explore Earbuds weren’t as impressive when compared to other options that Sony itself has released. Specifically, the Pulse 3D Wireless Headset for PlayStation 5 is still my preferred option strictly for the fantastic sound experience that it offers. By comparison, the Pulse Earbuds aren’t a bad alternative, especially if you prefer earbuds over headphones. 

Outside of gaming, I’ve also tried to use the Pulse Explore Earbuds as my everyday option for other audio purposes as well. Like any other Bluetooth device, it’s easy to pair to your phone and laptop and I did just that for a couple of weeks. On this front, I became more aware of just how good the noise cancellation tech was. When using these around other people, I would find myself nearly unable to hear other conversations that were happening directly next to me. That being said, the same high-quality audio experience that I found when playing games didn’t translate when using the earbuds for the purpose of listening to music or talking on the phone. This isn’t to say that the fidelity was poor, but it didn’t stand out when compared against other earbuds from competitors. 

One of my other primary complaints with the Pulse Explore Earbuds is that they simply aren’t that comfortable, especially after prolonged use. The outer shell of the earbuds are a bit gaudy, which means that they sit outside of your ear canal in a bit of an awkward manner. Even when inserted correctly, the weight of the earbuds feels too heavy on the outer portion to the point that I often feared they would fall out of my ear. This (thankfully) never happened, but I still don’t see myself ever taking these earbuds to a place like the gym or anywhere else where I might be quite active.

Perhaps the biggest selling point of the Pulse Explore Earbuds is that they’re one of the only wireless audio options available with Sony’s new PlayStation Portal remote play handheld. One of the major drawbacks of the Portal was that it didn’t come equipped with Bluetooth, instead opting to only integrate Sony’s new “PlayStation Link” technology. PlayStation Link is pitched as a faster audio option than Bluetooth and also comes included here with the Pulse Explore Earbuds. To that end, I found PS Link to be a very snappy way to tether my earbuds to other PlayStation devices, especially when compared to Bluetooth. Still, this omission of Bluetooth with the Portal presents a very costly problem.    

Basically, if you already have a PlayStation Portal and you’re looking to get a set of earbuds to go with it, Sony’s Pulse Explore is really the only option that you have. Given that the audio fidelity when playing games through the Portal remains solid, that’s not necessarily a bad thing. What is rough, though, is that both the Portal and Pulse Explore Earbuds retail for $199.99 each. So to even use wireless audio with earbuds with the PS Portal, you have to be willing to shell out over $400. That’s a cost that rivals the price of the PS5 itself, which is yet another piece of hardware you need to make the Portal work in the first place. With all of these steep costs taken into consideration, it makes me saddened to see that Sony opted to go in this route with the PlayStation Link tech and its implementation across devices. 

If you’re simply in the market for new earbuds, there are better options available than PlayStation’s Pulse Explore set. For all-around purposes, there are other earbuds that I own that I see myself going back to as my default pair when it comes to use with my phone and computer. Even when it comes to strictly gaming, I also don’t see the Pulse Explore Earbuds overtaking my over-ear headphones that I typically use with my PS5. 

In short, this is why the Pulse Explore Earbuds are hard to broadly recommend. Essentially, your own interest in Pulse Explore is going to rely on whether you prefer an in-ear audio option compared to an over-the-ear device. The product that Sony has developed here isn’t necessarily a bad one, it’s just for a very specific audience. If you’re in that audience, then there’s definitely some consideration to be had here. Otherwise, PlayStation’s Pulse Explore Earbuds can safely be passed on. 

*The PlayStation Pulse Explore Earbuds were provided by Sony for the purpose of this review. 

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The other day, I was out on a run through my neighborhood. The sun was just starting to set, so I was hoping to use all of the Christmas lights turning on to distract me from how much I hate running. As I went past a house that had a giant display of reindeer on its roof, I noticed something else up there. My neighbors had a large spot of dirt on some of their side paneling. Most people would probably see this and immediately move on. Maybe you’d alert them, trying to be the good, if a bit nosey, neighbor on the block. For me, my first thought was, “Well, I need to switch to my cleaning tool and get rid of that before I can finish this flip.” That’s the hold that House Flipper 2 has had on me over the last week. It’s not only infecting my dreams with its soothing music, but I’m now thinking about cleaning a neighbor’s house because of this game.

House Flipper 2 Makes Intuitive Changes to Your Toolbelt

With this sequel, developer Frozen District has improved almost every aspect of the original House Flipper. Every tool in your belt feels snappier. Painting is more intuitive, making it feel more true-to-life, including the “ability” to paint over trim after you’ve unlocked free-form painting. Walls go up and down much faster, letting you re-shape a house to your heart’s content with much less needless busy work. Heck, House Flipper 2, despite looking and playing better, loads much more quickly than the original. You’re still not getting into levels as quickly as other simulation games of this ilk, but it’s smoother in almost every regard.

Frozen District has also made the smart decision to break assembling appliances out into its own mini-game. You’re no longer stopping down to connect wires each time you want to install an air conditioner. Instead, you can work your way through several stand-alone sidequests where you’re putting together furniture and appliances under a time constraint. If you do it under the limit, you’ll get cheaper prices when you purchase that type of object in the future. Or, if you’re like me and don’t care, you can skip that part of the game entirely and not miss much.

On top of that, House Flipper 2 takes a page from games like PowerWash Simulator to give the world some extra story beats. It’s nothing as grandiose as an RPG, but there’s a central narrative that keeps things churned and several fun bits of interactive story-telling, especially when you dig into the houses you can fully flip. Unfortunately, this is one of the places where PowerWash Simulator moved the genre forward, and while House Flipper 2 makes a solid go of it, the developers aren’t having nearly as much fun with the story compared to FuturLab.

House Flipper 2 Could Use More Personality

It’s also worth noting that House Flipper 2 can be a bit finicky at times. For example, there was a point where I was trying to clean a spot on a ceiling, but using the rag tool on the spot didn’t do anything. Instead, I had to move my cursor over a clean window near the spot on the ceiling to get it to go away. It’s nothing major, but it can get frustrating if you’re trying to completely clean a house before moving into the remodel phase.

I’d also like to see the personality of the citizens of Pinnacove extend to house flipping. What I mean is that each time you flip a house, you don’t have any idea of what buyers want. It’d be nice to have something showing you what’s doing well on the market, so you could stage your house to meet demands. Instead, I ended up doing the renovations and then not actually putting in furniture. Sure, I make less money, but you make more than enough to buy even more of the more expensive flips without putting in that extra time.

But those are relatively small potatoes compared to the improvements House Flipper 2 brings to the table. And, the game has the potential to become even better once it’s in players’ hands because of the new Sandbox Mode. In pre-release form, it’s a bit bare, but when players jump in and start creating their own houses, there will be all kinds of new places to fix up. The original House Flipper received a ton of DLC content over the years, but this Sandbox Mode could give players nearly limitless options of new houses to flip. That’s an exciting, yet terrifying prospect, as I worry that all of my free time is about to be taken over by yet another great simulation house-flipping game from Frozen District.

Rating: 4 out of 5

House Flipper 2 launches on December 14 for PC. The PlayStation 5 and Xbox Series X/S version is scheduled for March 21, 2024. A review copy was provided by the publisher for the purpose of this review and the game was experienced on a PC.   

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When Avatar was released back in 2009, there was a phenomenon that swept viewers known as “post-Avatar depression.” Viewers described a feeling of sadness after leaving the film as they had to leave the lush, vivid world of Pandora and return to the much more drab and dreary Earth that we know. Fans were so swept away by the film’s otherworldly beauty and how real it all felt that they couldn’t help but long for it. 

Now, 14 years later, Ubisoft has given those people something they can properly immerse themselves in and enjoy for as long as they want in the form of Avatar: Frontiers of Pandora. Frontiers of Pandora takes us to an unseen side of Pandora and places us in the shoes of a new, unnamed character that is going on their own adventure parallel to the events of The Way of Water. 

The Battle for Pandora

You play as a Na’vi teen that was raised in an RDA lab, stripped of their roots and forced to learn the ways of the humans with the end goal of becoming the perfect RDA (Resources Development Administration) soldier. Around the time Jake Sully begins to help the Na’vi in the first Avatar, you are put into cryosleep. You awake a decade and a half later, break out of the lab, and run free into the forests of Pandora to make your stand against the RDA. 

The second I escaped the dark halls of the lab and burst out into the colorful outdoors, I was overwhelmed. It makes an immediate, showstopping impression and is reminiscent of the powerful moment where you leave the vault in Fallout 3. I got goosebumps and even a bit misty eyed due to how gorgeous this world was and how well-realized James Cameron’s creation was in this game. That is arguably the most important part of Frontiers of Pandora, it has to make you feel something for this world even if it’s not real because the entire story is about protecting and loving it. 

Avatar: Frontiers of Pandora features a ton of missions, both side quests and story missions, that center on the damage the RDA is doing to Pandora. There are portions of the map that have had their color sucked out of them and been reduced to gray/brown wastelands with dead animals littering the ground thanks to the mining and pollution of the RDA. You will also stumble across the RDA trapping innocent creatures and hurting them, allowing you an opportunity to swoop in to save them. The environmentalist themes of the Avatar films are very much present in this game and are at the forefront of this story. It really motivates you to want to push the RDA out and revive this beautiful world.

Ubisoft also creates a lively open world to show you what Pandora could look like if it was left completely unbothered. Clans will be playing music, cooking food, and you can even stumble upon a lone Na’vi who will dynamically teach you how to fish. 

Unfortunately, the rest of the story fails to make as much of an impact. The story largely focuses on the Resistance trying to rally together a bunch of Na’vi clans to fight back against the RDA. While there are interesting ideas, such as some clans being put off by you because you so clearly don’t understand your Na’vi heritage, it’s executed in a way that feels a bit too static.

A lot of cutscenes in the game may have you zoning out or looking at your phone simply because you’re standing there staring at someone talking without moving. Everyone just stands in the same position and speaks to you without much emotion, making it difficult to connect with the characters let alone feel immersed in their struggles. There are some exceptions to this, such as when one of your allies’ Ikran  (the flying creatures seen in the films) dies and their bond is broken, but these standout moments aren’t enough to make the story feel like it matches the brilliant storytelling of James Cameron’s films.

A Surprisingly Layered FPS

While Ubisoft has some pretty solid gameplay in its FPS titles like Far Cry and Rainbow Six, I really wasn’t expecting anything too wild for Avatar: Frontiers of Pandora. If you were anticipating a reskinned Far Cry, think again. While there trademark Ubisoft elements like big outposts to clear, the gameplay itself is radically different. For starters, you absolutely tower over every human as a Na’vi average around 10 feet tall. This allows you to stand at eye level with mechs and absolutely pummel standard cannon fodder enemies with a single melee attack. You are a titan, and it’s clear Ubisoft wants you to feel like the apex predator of Pandora. 

There are so many different tools to battle the RDA. Some simple ones include your typical assault rifle, a bow, or shotgun, but you also have things like a lacrosse-esque stick that lets you hurl mines. No matter what kind of player you are, there’s a tool for you to utilize, and you can mix and match to create the most fun. Want to weed out the strongest enemies first? You can hack mechs to disable them and take them down and then go loud on the weaker enemies, allowing you to tear them apart with AR rounds with little to no reinforcements.

Strangely, it may be more fair to compare Avatar: Frontiers of Pandora to Halo and other reflex shooters than Far Cry. There are power weapons such as rocket launchers you can find in the environment and briefly use, jump pads that launch you across small arenas/give you the chance to get above enemies, and the game is constantly encouraging you to stay moving. If you’re a big Modern Warfare 3 fan and enjoy slide canceling, you may be surprised to see that it’s a viable strategy in Frontiers of Pandora. It’s all about bouncing around, keeping your momentum, and understanding that just because you’re a big target, it doesn’t mean you’re a slow one.

Pandora’s Box

Avatar: Frontiers of Pandora successfully immerses players into James Cameron’s multi-billion dollar franchise. It’s easily one of the most beautiful sci-fi worlds I have ever had the pleasure of exploring and ensures that when it’s threatened, you’ll feel the desire to protect it. On top of that, it’s possibly one of the best single player FPS games I’ve played in awhile with how dynamic and active the combat is. Every combat encounter is a joy thanks to the engaging movement, and feels like it rewards creativity by utilizing all of the different tools allotted to you.

Frontiers of Pandora may not blow you away with its story, but it will immerse you in its world and give you a rush of adrenaline. For those just wanting to take a trip to Pandora, this should satisfy you until Cameron releases Avatar 3 in 2025.

Rating: 4 out of 5

A PC review copy was provided by Ubisoft for the purpose of this review

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For our Call of Duty: Modern Warfare 3 Campaign review, click here.

Call of Duty: Modern Warfare 3‘s multiplayer is one of the most fascinating Call of Duty experiments to date, though it’s only somewhat successful. We got what is essentially a continuation of last year’s multiplayer, something that has never explicitly happened in the 20-year history of the franchise. It shares a lot of the bones and DNA of Modern Warfare 2 (2022), so those who weren’t intimately familiar with how things worked in that game down to the most minute details may not actually be able to notice the changes this year. 

For a series that has been heavily criticized for never changing, this is the first year where that critique actually may have some validity. In the standard 6v6 modes, there isn’t a single new map as the whole map rotation are remastered Modern Warfare 2 (2009) maps. The vast majority of weapons in the game are from last year’s game. The overall UI and presentation of the game is identical to the previous Modern Warfare game. For those claiming this feels like a DLC, I can’t say I totally disagree. However, there is still a lot to discuss, and I don’t think it’s fair to totally write the game off or be dismissive of it if you do love Call of Duty.

The Best Call of Duty Gameplay in Years

Call of Duty has had a bit of an identity crisis over the last few years, but especially so with Call of Duty: Modern Warfare 2 (2022). That was a game that had a lightning fast time-to-kill, meant to reward those with the quickest trigger finger, but ultimately made for a slower game as it rewarded habits like camping. On top of that, movement was significantly reduced, and Infinity Ward gave the game a lot more weight by making players feel like they were trudging through mud. In the pursuit of being more “realistic” and “tactical,” Call of Duty lost some of its fun factor.

Despite a lot of players asking for the game to be made faster, it took months for that to actually happen, and by then, it was too late and was just another bullet point on the laundry list of issues with that game. Modern Warfare 3 brings us closer to how Call of Duty should feel, utilizing the foundation of Modern Warfare 2 and fine-tuning it for a much more aggressive, fast-paced experience.

If you only watched people play 2022’s Modern Warfare 2 on Twitch or had limited playtime with it, you may not even notice, but Call of Duty veterans are going to feel like Modern Warfare 3 is a totally different game. For once, you can feel a sense of momentum building through you as you sprint through the map, allowing you to almost gracefully glide across the ground and mantle over waist-high walls and lightly parkour your way up a building. It’s actually engaging to make your way back to the action after dying instead of a total slog. On top of that, sliding can feel like the greatest virtual slip and slide, diving may actually get you out of a pinch since you will not be magnetized to the ground after you do it, and you can even work in some bunny hops in order to prevent yourself from being too easy of a target.

There is very little about Modern Warfare 3 that promotes camping, this is a game that wants you to feel like you just snorted crushed up Dorito dust and injected Mountain Dew straight into your veins to fuel your virtual zoomies. Some people may not enjoy this because they got used to the slower pacing of Modern Warfare 2, but there are a lot of people who have been asking for this and it will get the adrenaline pumping for those people.

Similarly, the increased TTK and player health means that gun fights will feel exactly like that: a fight. It’s not a quickdraw. Of course, players who are faster on the trigger will have the advantage, but you actually have a fighting chance now as you will have enough time to react and at least get one or two shots off if not win the fight entirely. The faster movement also means you can dodge and weave incoming fire to either escape or gain better positioning in the moment and you can flick your gun to people with greater ease.

Despite all of this praise I give to how Modern Warfare 3 feels, it is also incredibly inconsistent at times. When it works as it’s clearly supposed to, it’s a joy. When it doesn’t, it brings out a level of rage that I have not experienced with this series since before I could grow facial hair.

If you go on various Call of Duty Reddit pages and forums, you will rightfully see a lot of people noting that Modern Warfare 3‘s TTK is all over the place. No one can pinpoint exactly why this is, but it can feel like you’re unloading a clip into someone’s chest while they kill you in a burst that hits you faster than you can blink. While these things will always be present in shooters due to player connections and netcodes, it is prevalent enough to be seen as an actual issue rather than something that happens on occasion. Hopefully Sledgehammer Games can find a way to fix this to make it feel like fights are less a game of chance and more based around player skill.

When these problems aren’t occurring, I’d go as far as to say this is the best feeling Call of Duty in years. There are games that come close like Black Ops Cold War, but the speed of Modern Warfare 3 takes us back to the pacing of games like Black Ops 3. If you’re someone who really enjoyed the frenetic and non-stop momentum of those games or vibed with the gunplay, but not the wall-running and jetpacks, this game strikes a strong balance of that high-speed gameplay with grounded combat.

Change for the Sake of Change

Modern Warfare 3 is going to feel the most similar to Modern Warfare 2 in its menus. Yes, graphically the game is going to look pretty identical and a ton of content has carried over from last year’s game, but the menus really feel hardly any different to last year’s game. As a result, it feels like Modern Warfare 3‘s changes to things like loadouts and progressions are done to try and come across as new and different, but not always for the better.

For starters, the Armory Unlocks system actively hinders any kind of progression. Once you hit level 25, a bunch of guns, killstreaks, and gear will become available to unlock via this system. Simply mark whichever one you want to prioritize and then complete a set of daily challenges (usually 3 – 5) and it’s yours. However, there are only 3 multiplayer daily challenges every day and 3 for zombies. So, if you do all your challenges, you can progress by simply winning matches. It’s nice that you can pick what you want instead of having to wait until the later levels in the game, but they also lock essential items like Semtexes, flash grenades, and other items that are sometimes required to even complete the daily challenges needed to unlock them (i.e. kill 5 people with a Semtex).

I don’t think anyone was really asking for this, and I also fail to see how this will even function out of the first weeks of the game as people will have unlocked everything by then. It seems like a system that will become redundant very quickly or have minimal/infrequent usage in post-launch updates.

Sledgehammer Games has also redone the perk system to be “gear” like gloves, boots, vests, etc. This has no actual effect on how your characters look since you’ll be playing as operators with a very specific design, meaning you can’t slap different cosmetic items on them à la carte. It’s another change that feels like it’s done to just be different without actually affecting how they work in-game.

The one change in this area I can commend Sledgehammer for is getting rid of the weapon tuning feature in Gunsmith. It was such a needlessly obtuse feature in Modern Warfare 2 that I completely avoided it and if I ever did use it, I was just following a guide off of YouTube to properly tune it anyways. 

The Double Edged Sword of Nostalgia

Call of Duty: Modern Warfare 3 brings back all 16 launch maps from the original 2009 Modern Warfare 2, a game widely viewed as the peak of the series. This was a seminal time in a lot of people’s lives and helped truly define the series, prompting fans to call for a remake many times over the last decade especially after Call of Duty 4: Modern Warfare Remastered. Modern Warfare 3 is the closest we will likely ever get as all of its maps are faithfully restored. A lot of the exploits on those maps return, and really the only significant changes to the gameplay itself come from the fact they added interactable doors, which aren’t great, but at this point are to be expected.

So once again, Modern Warfare 3 listened to the fans and gave them what they wanted without compromise. Admittedly, Call of Duty maps in the last few years have been abysmal with a few exceptions, so I had no qualms with bringing back ones that we all know are fan-favorites.  However, maybe this wasn’t always for the best. Some of them do not hold up at all and are actually quite puzzling looking back at them without the rose-colored glasses. Maps like Wasteland, Derailed, and Estate are absurdly big with massive amounts of space on the sides of the map for no real reason. Why this was a thing in 2009 is head-scratching in and of itself, but it makes for a more confounding gameplay experience that lacks flow in 2023.

The increase in graphical fidelity and advancements to the gunplay since 2009 means that these larger maps are hell to navigate. You can feasibly fight at much longer distances than you could in the original games, so you’re bound to get obliterated by snipers and even ARs from someone extremely far away. It’s not fun and you will likely see players frequently skipping these maps or even completely leaving the match. Thankfully, you can vote for maps now, but the option to get a third, random map like in the original game would be much appreciated if the two voting options aren’t favorable.

Even with some of these classic maps being flawed, I appreciate Sledgehammer staying faithful to their original designs. If they hadn’t, fans would’ve just complained that they’re not the same as has happened in recent years when games like Modern Warfare 2 did “reimaginings” of some maps, resulting in less than ideal outcomes. At the very least, we can all say we got what we asked for which is pretty rare for Call of Duty.

It’s possible these maps could feel better if the original Ground War mode made a return and allowed you to play with teams of 9 or 10, as it would fill up the map more and create a more consistent battle with less empty spaces. Even a new mode like Cutthroat, a 3v3v3 mode with one life per round, doesn’t feel designed for these maps as you’ll almost certainly get picked off in these open areas. Cutthroat could use some original maps designed for its very specific style of gameplay, similar to the Gunfight mode from previous games.

That’s not to say all of the maps feel this way because majority of the maps are still some of the best in Call of Duty history. Favela, Rust, Sub Base, and Terminal are absolute standouts and allow Modern Warfare 3 to feel like its nostalgia trip is justified. Bouncing across the rooftops of Favela and sliding through the hallways of Skidrow make for a familiar but enhanced Call of Duty experience. At the time of writing, Modern Warfare 3 has added a few of the maps that were actually worthwhile from last year’s game such as Shoot House, and they feel even better with the improvements to movement.

Is Modern Warfare 3 Worth It?

It’s clear Sledgehammer Games was put between a rock and a hard place with the development of Call of Duty: Modern Warfare 3, but they made do with the situation they’re given. They listened to feedback from the last game and created a faster, more arcade-y PvP experience, faithfully recreated iconic maps even if some of them don’t fully hold up, and ultimately made the game a lot of people have been asking for. It’s not perfect, but the fact I keep going back for more despite its flaws is telling and hopefully, I will be rewarded for doing so if Sledgehammer continues to implement feedback.

Now, for the big question: Is it worth $70? I got this game for free and have spent dozens of hours playing it in the last week alone. I plan to keep playing it for quite awhile too. The changes to the gameplay in addition with some really great returning maps mean it is a significantly better experience than Modern Warfare 2, and I will never have any reason to return to that game.This couldn’t have been a simple free update to last year’s game given the changes to gameplay, but I also don’t know that it expands itself enough to feel like a brand new $70 game. It’s fun, but given how stacked 2023 has been with amazing games, can I really recommend you spend $70 on this especially with its lackluster campaign? It really just depends on how much you play Call of Duty and whether or not all of this sounds like it fits into your idea of what the series should feel like.

Multiplayer Rating 3.5 out of 5

A PC review copy of Call of Duty: Modern Warfare 3 was provided by Activision for this review.

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