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People are always trying to combine things to make better and more interesting things: Peanut butter and chocolate; Batman with Superman—in comics, not in the movies; pineapple on pizza. Okay, the jury’s still out on that last one. In the case of Agents of Mayhem, though, all the best action of the 80s is being slammed together with the over-the-top humor and situations the Saints Row series was known for in a spin-off that takes place in the same universe. I recently got to go hands-on with Volition’s latest open-world foray, and it’s shaping up to be a love letter to everything great from GI Joe to Knight Rider.

In our demo, we got to play as nine of the 12 members of an elite super fighting force called Mayhem who, simply put, could care less about being heroes—the fact they’re saving the world from people even worse than them is a side bonus. They’re in it to win it for sure, but mostly just for themselves. It’s sort of like the enemy of enemy is my friend; they’re our friends just because they hate the really evil guys from a group called Legion a lot more than all of us. Each character fills a role on the team, offering up weapons and powers that make them great for different situations.

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Hollywood, for example, is the team’s pretty boy who loves nothing more than, well, himself. He wields an assault rifle for great medium range damage, and can fire a grenade from his groin—don’t ask. Then there’s Hardtack, who immediately comes across as a more narcissistic Shipwreck from GI Joe. Hardtack is a shotgunner who can take a licking and keep on…errr…shotgunning. What’s great about Agents of Mayhem is that before most missions you take on, you can choose three of the 12 characters on the roster, then switching between them on the fly. Finding a balance is often the best strategy, but depending on your style, you can specialize and go heavy offense, defense, or the like.

The game takes place primarily in Seoul, South Korea. Exploring the open world to find collectibles and side missions is critical to leveling your characters, which leads to better skills and stronger survivability stats like higher defense or health. Even moving about the world provides options, as you can utilize your powers, every character’s built-in triple jump, commandeer a car from the world, or call in one of your nitrous-outfitted Mayhem cruisers (including some with Kitt-like robot voice) should you so choose to.

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During our demo, we were able to check out five different missions. Two helped forward the story of the game as we took down high-ranking lieutenants inside Legion by blowing up basically everything in sight. Two other missions, meanwhile, were solo objectives that introduced us to new characters like Daisy, the roller derby girl with a Gatling gun and an alcohol problem (who ended up my favorite). Beating those solo missions unlocked new characters and gave us some critical backstory beats about the world and the team itself.

The last mission might’ve been the most interesting, because it was easily the most open-ended and tasked us with capturing a tower in the middle of Seoul. Capturing towers is great for experience, while also freeing areas of Seoul from Legion control. It’s a common video game activity at this point, but it definitely gave us a lot more reasons to explore the world. The mission also showed off some of the verticality of the game, as we had to climb several buildings to get to the capture point. It also highlighted the fast & frantic pace of combat, especially when swapping teammates as swarms of Legion soldiers attacked our position.

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My time with Agents of Mayhem might’ve only been a small cross section of the variety of scenarios the game promises to throw players into, but it was enough to pique my interest for sure. Its cutscenes and interstitials look like they could’ve aired as part of a Saturday morning cartoon block—with more adult themes, mind you—while the action felt like a cross between what we’ve seen before in Saints Row and something like Crackdown. There’s not as much customization as some would expect from Volition, with each character having a limited number of skins for themselves, cars, and their weapons—but that’s because the cast fits more carefully into a story that pays homage in its own weird way to a bygone era. If you ever wanted to see what might happen if GI Joe took a turn for the adult, then maybe got spliced with Archer or something along those lines, Agents of Mayhem looks like it’s ready to deliver just that in the package of a fun, open-world action game.

Agents of Mayhem is dropping on August 15 for Xbox One, PS4, and PC.

Back before Wayne Gretzky exploded on the scene in 1979 to deke defenders into submission and spin-o-rama his way to a career highlighted by the most points in NHL history, hockey was brutal. Teams like Philadelphia’s Broad St. Bullies epitomized the rough and tumble style that fans came to love, and every team that had success in that era had at least a “goon” or two on the bench. It’s a mentality that has since all but left the NHL, but is still immortalized in old footage—and, now, a little arcade-style video game by the name of Old Time Hockey.

More than anything, Old Time Hockey is really a love-letter to the all-time classic comedy Slap Shot (which also focused on the brawling era of hockey). You control the Schuylkill Hinto Brews, one of ten teams in the Bush Hockey League. The Brews were primed for a great season—right up until the first regular season game when the Widowmakers went gunning for and subsequently injured the Brews’ three star forwards for the entire season. Wallowing in last place now, you take over the Brews just before Christmas when you get the news you have to make the playoffs. Otherwise, there’s a good chance the team will go under, alongside the nearby Hinto brewery from which they get their name.

The style of Old Time Hockey is as much a throwback as its premise. The game looks like it would fall more in line with the Wayne Gretzky arcade games on the N64 from 20 years ago than anything on the modern generation of consoles. The simple cel-shaded character models might be off-putting to some, but it served as a reminder to me of how things used to be, and worked well for a game that clearly wanted to go for a vintage look as much as possible. Simple blood effects splattering on the ice from every jaw-breaking fight and bone-crunching hip check only continues to emphasize the cartoony nature of the game.

The audio is great as well. I was almost tempted to just let the soundtrack play on repeat, with organ renditions of “The Addams Family Theme” and “Hava Nagila” really driving home the point of rundown local hockey arenas, along with Stompin’ Tom Collins’ “The Hockey Song” and The Donnybrooks’ “Old Time Hockey” setting the theme for when the puck finally drops. My only gripe came with the commentary, which becomes very repetitive very quickly, and lacks the charm or excitement a game like this would warrant from hockey fans.

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Unfortunately, while Old Time Hockey has style in spades, it truly lacks any real substance, caused by a bevy of questionable decisions and poor design. In a rarity for any sports game—arcade or simulation—the bulk of the game is centered on the story mode, which ends up being both the greatest boon and biggest detriment for Old Time Hockey. Continuing the love affair it has with Slap Shot, as you progress through the story mode, you’ll get little peeks at the character of your team—with newspaper clippings talking about beating up a mall Santa, drinking on the team bus, and trading a washing machine for a new enforcer—which flesh out the narrative of what you hope will still be a Cinderella season. This was a ton of fun to see, and even collectible trading cards talking about the personalities of the stars in the league can be earned to further flesh out these fictional skaters.

Once you actually get onto the ice, however, everything quickly falls apart. The controls are alarmingly stiff, and even with an early patch quickening the time that you get the puck off your stick, it’s still extremely slow by the standards of anyone who has played recent hockey games. There’s always the excuse that it was more accurate for hockey back in the day, but it’s a lot less fun when one-timers are nigh impossible, you lose possession because it takes so long to pass that an opponent knocks the puck away, or you whiff on a slap shot attempt because the follow-through takes forever. And, the lack of responsiveness with the controls permeates the defensive side of the puck as well. Hits can be extremely difficult to line up, and even with being able to hook and trip opponents with the ref sparingly blowing a whistle, it still feels like you can’t skate quickly enough to ever effectively corral that ever-elusive loose puck.

Part of this might stem from the simple animation most players have. Every player shares the same set of animations, and once you start picking up the patterns, it’s easy to spam certain maneuvers in order to try to at least give yourself an advantage. A perfect example is the goaltenders, who can never be controlled by a human. They only have two passing animations, making it easy to predict where they’ll send the puck after making a save—which allows you to gather it before your opponent and get an unintended second-chance opportunity. It’s one of those moments where you appreciate how far games have come over the years, because even though “glitch goals” have never been completely eradicated even in modern hockey games, blatant gameplay tells like this are something I haven’t seen in decades, and would rather stay in the past.

Another aspect that had me scratching my head was the control scheme options. It’s great that Old Time Hockey offers an arcade-y two-button system, a more sim-heavy NHL game style scheme, and even a one-handed “beer mode” where everything is assigned to one side of the controller so you can drink with the other. The problem comes with the fact that you have to play story mode with the NHL-style system, and until you beat story mode, you can only play exhibition with the arcade or beer controls. It just seems pointless to have this content be separated by the mode you’re playing.

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And, that leads me to the worst aspect of Old Time Hockey and its story mode: each game in that mode has objectives for you to overcome. A few are optional, but most are mandatory, and unless you beat every mandatory objective in a game, no matter whether you win or lose, you have to replay the game over and over again. Some of the objectives are easy, like get two hits with one of your players, or take eight slap shots over the course of game. Others can be infuriating, however, and you’ll often have to replay games repeatedly, forcibly increasing the length of playtime with little to no progress being made. The worst for me was trying to provoke the opposing goalie into a fight, particularly because—again, pointing back to the shoddy controls—it’s not as easy to score in Old Time Hockey as you would think.

Part of this also stems from the fact that basic hockey abilities like slap shots, hip checks, and even fighting at one point are all locked behind objectives and tutorials that you don’t get until later in the story. I thought the game was honestly broken when I started playing, when all I could do was pass and take wrist shots. It’s damned near impossible to win—and definitely not fun to play—when you have to grind for the most basic of abilities that any hockey player should be able to do.

The only thing more maddening than all this, though, is when it seems you’re finally going to overcome an objective—and then, the game crashes. Old Time Hockey crashes a lot; the day-one patch allayed this a little bit, because they frequently would happen off faceoffs, but as of writing this review they still happen in the middle of the action, like when taking a slap shot from the point or making an epic hip check in neutral ice. It’s absolutely soul crushing when you’ve finally achieved every objective, are winning the game, and are basically waiting for the clock to hit all zeroes when you get booted back to the PlayStation UI with an error number. Hopefully another patch can help the stability of the game, but right now it’s a nightmare waiting to happen.

Besides story mode, there is also a local versus option for Old Time Hockey, but it lacks and sort of online play. This could, again, be part of the throwback style, forcing you to experience the game with a friend on a couch, but I’m not sure I want to force my friends to experience this. Otherwise, they might not be my friends anymore.

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Old Time Hockey was a great idea, but it has way too many shortcomings once you actually start playing the game to be enjoyed. It handles poorly, the story mode objectives are ridiculous, and the game crashes make the headaches far outweigh the little fun to be had here. If you really want to experience hockey from a bygone era, your time and money would be better spent watching Slap Shot again.

Publisher: V7 Entertainment • Developer: V7 Entertainment • ESRB: M – Mature • Release Date: 03.28.17
3.0
Old Time Hockey is more style than substance. Its heart was in the right place, but shoddy controls, glitches, and poor gameplay design make this an arcade-style game hockey fans just don’t need in their lives.
The Good The style and soundtrack is a throwback in the best ways possible.
The Bad Stiff controls, repetitive commentary, random game crashes, and oddly gated gameplay abilities via story mode.
The Ugly Those classic hockey player smiles.
Old Time Hockey is available on PS4 and PC, with versions coming for Xbox One and Nintendo Switch later. Primary version reviewed was for PS4. Review code was provided by V7 Entertainment for the benefit of this review. EGM reviews games on a scale of 1 to 10, with a 5.0 being average.

What Remains of Edith Finch was announced late in 2014 as the sophomore effort from Giant Sparrow, the developers behind The Unfinished Swan. After some twists and turns in the development process, we’re now on the precipice of this highly anticipated game finally being released. Before it drops at the end of April, though, I got a chance to go hands-on recently with one more new demo from the game.

For those who don’t know the game’s basic premise, What Remains of Edith Finch follows the titular Edith through her familial home. The house serves as a gateway to Edith’s family tree, with new rooms being added—and subsequently cordoned off—as family members are born and later pass on. As you explore with Edith, you’ll learn of some of the more fantastic ways her family members passed from this world via diaries and other mementos, learning about the Finches alongside her.

This latest demo touches upon Lewis, Edith’s brother and most direct relative we’ve seen to date. Like many of the other stories that have been revealed, Lewis’ tale is a sad one of big dreams that are dashed as he lives out his life, working daily at a fish cannery plant up in Washington state. It continues the superb storytelling I’ve seen from the previous demos, and has me chomping at the bit for this title even more. As I try to avoid spoiling the game too much, unlike the other demos we’ve seen, Lewis’ story purposely tries to divide your attention, making you more vulnerable emotionally via mundane tasks before it hits you with the gripping finale.

I also had the chance to sit down and speak with the game’s creative director, Ian Dallas, specifically about this demo, the game as a whole, and get some background on what went into the making of What Remains of Edith Finch. The transcription of that conversation is below.

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EGM: This is the third different demo I’ve played of What Remains of Edith Finch, and the bittersweet quality to every short story is really evident at this point. How do you go about making it so that you still have these emotional moments that end on a down note, but keep players playing? 

Ian Dallas: Well, we hope in some ways that each of these is also a triumph, but especially after playing a couple of them in the game, yeah, it’ll dawn on players that everyone is going to die. And then going into each of these stories you might be a bit reserved, but hopefully you’ll get lost in the moments before getting back to that point where you’re like, “Oh, right, this is going to happen again.” But, the journey’s a more joyful version of that.

EGM: Each story thus far that I’ve seen is drastically different from the others. How was it to develop each one of these, and what was some of the process?

ID: For each story it was really different. It all started with whatever the kernel was of that story. Like Calvin’s story on the swing, for example, it was really just asking what is it like to be on a swing, and for that one the team knew early on it wouldn’t be a 20-minute story. It would be something punchier, and we wanted to make sure that the pacing matched where we wanted it to be. Sure, we could’ve made it longer or shorter, but we wanted people to have just enough time to get acclimated, but then not overstay our welcome.

We’re also always trying to keep people on their toes and never settling into a routine. There’s this weird thing that happens with games where, at the beginning, most players are always really open to whatever it might be, and experimenting, and trying new things. And then there’s a point where it switches over to thinking about how to maximize the tools given to you, and finding the optimal path here. We wanted to prevent players from getting into that mindset and always, right when they’re about to get comfortable, throw them into a new thing. But, at the same time, we also had to make sure that wasn’t frustrating, and that was the hard part for us. How to keep throwing new things at people without them getting frustrated, because we also found that there’s a really short fuse that people have when you’ve given them a new thing to do and it’s slightly difficult.

If it’s the very beginning of a game and the player just paid $60 for it, they’re more open to accepting something might be a bit complicated, and feel it’s on them to figure it out. If they’re halfway through a game and you change the mechanics on them three times in a minute and they can’t figure it out, they shift the blame onto us, the developers. So, in trying to balance that, but not make it too simplistic, the answer we found was always to make it more complicated, and then simplify it after.

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When we first started working on the demo you played, we had it ridiculously complex. There was a boss in the fish factory constantly checking on you, checking to see if you were chopping the fish the right way, and initially, you could chop your fingers off if you weren’t careful. On paper it made sense, because we wanted you expending more mental resources and have players thinking about these things and have some real risk, you know. Then, once we got all these things together, we realized no, we don’t need that.

We talk about cognitive load a lot. How much are people dealing with—and it’s hard to know when people are playing the game—how much are they thinking about the story that just happened, or maybe the story before that, or the bedroom they were just in. So, I think we consciously tried to simplify a lot of these stories a year or two ago when they were all on their feet, and we could play through and test the game from beginning to end, and we realized it was too much. In order to keep the focus not completely on the mechanics and struggling, but instead have them feel like they’re falling down a rabbit hole, or this spiral that’s going faster and faster. There was a lot of tuning to make it not too difficult in a weird way. We didn’t want to make it too easy, either, but I think we ended up in a nice place where people are engaged, and it feels like there are so many things going on, but it’s actually a relatively simple path through the game. It’s the illusion of all this stuff going on, and I think it was better for us ultimately instead of giving some open-world sandbox thing considering the brevity of a lot of these stories.

EGM: More than the other stories I’ve played so far, the fish cannery plant with Edith’s brother, Lewis, seems to purposely focus on dividing my attention. There’s a strong emphasis on the narration and story being told here, combined with two distinct, yet simple gameplay elements that carefully split my focus. It actually made it feel like the story was more powerful this way. Can you talk to how the gameplay informs, but also emphasizes the story in a seemingly subtle way?

ID: The hope in this case is that it does feel monotonous after a while. You don’t want to make it so monotonous it’s boring, but yeah, we found just that hint of monotony does help with the processing of this particular story. In this case, we’re telling the story of someone at work doing a kind of boring thing, and the monotony can trigger similar feelings. Almost like a smell can remind you of a time in childhood per se. And, in the case of the fish cannery plant, doing this monotonous thing hopefully reminds you of times where you yourself might’ve been in similar situations.

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EGM: That’s kind of the game in a nutshell, no? Of the three stories I’ve played, it starts off as normal situations that quickly turn fantastical. That start makes them instantly relatable, though. Was that a goal for you in developing this game?

ID: Yeah, and actually that’s what the house is there for really. I look at it sort of like with The Hitchhiker’s Guide to the Galaxy with Arthur Dent where if it’s just Zaphod Beeblebrox and it’s an interesting story, but it’s not something you can connect to. Being able to see through a lens of the familiar into the bizarre really helps to bring things into focus. So, the house is a way for us, no matter how crazy we go, and I think Lewis’s story is one of the crazier ones, you’re right back into the bedroom of someone who died. This is Edith’s brother. This is someone who was referenced in other stories. In this world, he’s a real person and he had a life and hobbies. And we had to balance that. But it also allowed us to just go even crazier the next time. It’s peaks and valleys. You don’t want everything to be at the high point because then nothing is really the high point. Balancing and mixing things up, making sure it’s not all surreal crazy fever dreams, making sure there’s some of you just walking around looking at things.

EGM: You mentioned Hitchhikers’ Guide to the Galaxy. Would you consider that an inspiration for the game? What might you consider some of your other inspirations for the game?

ID: Hitchhiker’s Guide was one for sure, although I wouldn’t say it was the inspiration. I just think Arthur Dent is this nice character that is inconspicuously in the middle of this insane world and in terms of Edith, Arthur Dent was one figure we looked at. Brazil, too, where the whole world is crazy, but the central character in that is pretty sensible. One Hundred Years of Solitude was a big influence. It’s hard to tell the story of a family and have these arcs that interweave without it being completely impenetrable. Twilight Zone was an influence and then just weird fiction in general. Things like Lovecraft, or modern writers like Neil Gaiman where it might be a little scary, but it’s really more about the feeling of being in a universe where you as a human cannot understand, and suspect you will never understand. It’s beyond comprehension and dealing with that.

What Remains of Edith Finch will be available on PS4 and PC on April 25.

“And it’s another ambush.” This innocuous, almost throw-away line of dialogue near the end of a side mission on the ice planet Voeld was one of the most compelling moments in my time with Mass Effect: Andromeda. Not because the situation or even the line itself was particularly thrilling, but because the exasperation with which the line was delivered was exactly how I had felt for about the first 30 hours of the 65 it took me to finish the campaign. The seeming self-awareness by Ryder was the first time I found myself able to finally relate to the new hero of one of gaming’s most beloved series, and yet succinctly summed up one of the main reasons why I was not enjoying myself.

Mass Effect: Andromeda is of course the fourth main game in BioWare’s epic space-faring RPG franchise. This latest chapter technically begins between the original Mass Effect and Mass Effect 2, where a former N7 named Alec Ryder and his children sign up for a program known as the Andromeda Initiative, a space-exploration mission that sends them—and nearly 100,000 others from select races—off towards the Heleus cluster in the Andromeda galaxy while frozen in cryo-stasis upon special ships aptly called Arks. The journey is set to take just over 600 years, and the hope upon arrival is they will be able to colonize “golden worlds,” planets that appear hospitable for life from the Milky Way. Taking control of one of Alec’s fraternal twin children (male or female), you soon realize that the worlds you had hoped to forge a future on are no longer golden, and the ill-timed death of your father makes you inadvertently the tip of a new spear that must be forged if civilization is to thrive on this new frontier.

This task of finding and terraforming new worlds is one of your two major objectives in Andromeda as the newly designated “Pathfinder” for the Initiative—and I quickly grew to despise it. Ryder must make five planets viable for life to live on, but the process is the same each and every time: activation of ancient technology on each world to expedite the terraforming process while completing mundane tasks for people on or wanting to go to the planet. It’s bad enough the worlds can be boiled down to “ice world,” “jungle world,” “sandy desert world,” “rocky desert world,” and “hive of scum and villainy.” Combine them with monotonous, circuitous fetch quests that have you bouncing around the galaxy and suffering through long, unskippable interstellar travel scenes before getting just a couple of lines of dialogue and a green check mark in your menu, or being sent to an outpost to kill all the bad guys, and I honestly almost wanted the Initiative to fail. They’re the most transparent and dull quests an RPG can provide, especially with minimal main story involvement, and it all just felt like a mechanism to bloat the game’s length from the 30-35 hours it could’ve been—which would have fallen in line with previous games in the series—to the 65-75 hours you’ll likely need to do everything now, should you choose to do so like I did. If ever there was an argument that bigger isn’t necessarily better, Andromeda makes it.

The other major issue with this task is that it makes the universe feel like a knockoff of what the original trilogy had provided, as your job is just building this galaxy up to original Mass Effect levels.  When I landed on the Citadel in the original Mass Effect, the alien races and the scope of everything blew me away. When you land on the Nexus (wannabe Citadel) in Andromeda via the Tempest (wannabe Normandy), many alien races like the drell, quarians, elcor, hanar, and volus—to name just a few—have all been cut. Only the krogan, turians, salarians, asari, and, of course, humans, have supposedly made the trip from the Milky Way. To replace nearly a dozen other species from the original trilogy, all we get are the new enemies (the kett), one new ally (the angarans), and the references to a long dead race whose technology plagues Andromeda (the remnant). In a game that felt like it was trying to sell itself on exploration and new experiences, it’s depressing how little there was in Andromeda to genuinely explore and get excited about, since it all felt so familiar and barebones. BioWare should have streamlined the side quests, not the Heleus cluster.

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Luckily, your other main objective in the Andromeda galaxy will feel a lot more familiar, and is a lot more fun. Along your viability journey, you’ll come across the aforementioned kett, a ruthless alien race bent on conquering every species in the known universe. While not focused on all-out destruction like the reapers were in the original trilogy, the kett are interested in assimilation, and they are very curious in everyone who just appeared from the Milky Way. This conflict makes up the majority of the game’s story beats, and the missions associated with stopping the kett not only provide more variety than the viability ones, but are heavily grounded in the dialogue and character development we’ve come to expect from a BioWare game. The leader of the kett, the Archon, is the epitome of the ruthlessness that embodies his people, and my only complaint on that front is I wish there was more of him—and more length to this storyline in general—as he worked from the shadows most of the game.

Speaking of characters, it wouldn’t be Mass Effect without a ragtag group of aliens and humans coming together to represent the diversity this fictional galaxy is supposed to be all about. I was a little shocked that the group just seems to be thrown together rather quickly and haphazardly—you’ll have your entire squad by the start of the second planet—but I couldn’t help but develop strong emotions towards each and every one of them. In fact, the long chains of events that culminate in their loyalty missions might have been my favorite objectives in the game. And, because all of the characters don’t know the fate of the Milky Way since they left after the original Mass Effect, it is interesting to see them wonder about what might’ve happened, how old prejudices like those between salarians and krogans are still running strong here in Andromeda, and how they sort through the mysteries and baggage they brought with them which often prompted them to leave everything they knew behind in the first place.

What strengthens these relationships the most, though, is dialogue. Although some of the dialogue—and the acting in general—is hit or miss, more options than the Paragon/Renegade choices of the original trilogy have been offered to help provide a better, more rounded Ryder than Shepard. Some answers are more professional, while others more emotional. Some are guarded; others show a softer side to Ryder, and in turn, possibly your teammates. It’s a welcome bit of nuance for one of the series’ core mechanics. There’s even an opportunity within some cutscenes—almost like a Telltale game—where pressing a trigger button will have Ryder act impulsively, which could profoundly affect relationships down the line.

Of course, you’re not just talking in Mass Effect: Andromeda. The third-person shooter gameplay from the main trilogy returns with some tweaks to them. A new cover mechanic has been added that really doesn’t work as well as it should—most of the time, you’ll hug a corner you didn’t mean to, and even then you’re often still at least partially exposed. And, credit to the AI here, if you do stay in cover for too long, the enemy will quickly try to flank you. So, your best bet is to keep moving. A new jetpack that gives you some pure jumping ability has also been added that allows you to float when aiming, but really, flying above all your cover just makes you a prime target.

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The jetpack also introduces some teeth-grindingly frustrating platforming sections to the game. Exploring the ancient ruins you need to navigate in order to turn on each planet’s terraforming machines is a torturous exercise in futility. Adding jumping to a game with an emphasis on exploration makes sense, but it lacks the finesse necessary to keep the mechanic—and vertical navigation in general—from becoming nothing but a chore. Ryder never sticks a landing after a long jump, often times leading to him tumbling off an edge, and it is very difficult to judge distance here because the camera is positioned far too closely to your character. It’s perfect for a third-person shooter, not a third-person platformer.

The last major addition to gameplay is that four of the five planets you need to make viable require you to traverse them in the Nomad, the new version of the original Mass Effect’s Mako. Simply put, the Nomad sucks. You need to change gears to climb even the slightest incline on every planet, it lacks any sort of weaponry—which would have made the more bad guy-ridden planets a lot more fun instead of constantly having to leave the vehicle to shoot people—and even when you are able to climb up a mountain that should be accessible, you’ll find blue neon walls appear to signify the edge of the world, forcing you to take the long way around every mountain. Driving was almost as much of a chore as jumping.

As you complete missions, explore the landscape, and take out kett and remnant, you’ll level up like in any RPG. Much like the more nuanced dialogue options, there are many ways to make Ryder truly unique to you here in Andromeda. Dozens of power options fall under combat, technology, or biotics, with three non-passive choices being able to be carried into battle at a time (though they can be switched out on the fly via the menu screen if a situation should change). By spending points in each category, you’ll also unlock profiles, which give boosts depending on your playstyle. For example, the Soldier profile is exclusively combat tree-heavy in its bonuses, while others mix and match two of the three trees in its bonuses, with one profile skewing to all three. I preferred the Vanguard personally, which was a mix of combat and technology.

For as easy as leveling up is, though, the new crafting system is as much of a chore as a lot of the other systems added to this game. You can’t craft on the fly, having to either find a tucked-away research & development console somewhere on a planet, or return to your ship, which always takes back off into space for some reason whenever you return to it. I really don’t know why you can’t just go into the ship without it leaving dock and triggering the same annoying cutscene—trying to cover up the game’s awful loading times, perhaps. Collecting resources is easy enough, but building and equipping items is so bothersome I only touched the R&D consoles when I absolutely, positively had to make a change or craft a quest item.

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While on the subject of load times, now is also perfect to talk about how broken Mass Effect: Andromeda is from a technical aspect. Animation has never been a BioWare strong suit, but there were many instances while I was playing that the animation was busted or weird on another level. I’ve seen three different Drack (your krogan ally) walk into the galley on the Tempest at once; I’ve seen PeeBee (asari ally) blink out of existence in the middle of a conversation; I’ve seen the Nomad spawn in places it shouldn’t, like inside buildings; I’ve fallen through the world on fast travel points, and had Ryder randomly give speeches from cutscenes in missions that I completed hours prior. I’ve seen some shit in this game, and that’s not even including the long load times, the awful draw distance, and the instances where the game literally comes to a complete halt if you drive too fast in the Nomad as the planets you are driving on struggle to load into your game. This game is going to be getting patches for a long time.

Besides the campaign (which comprises the overwhelming bulk of Andromeda) there is also a multiplayer component. Andromeda basically borrows the wave-based, horde-like multiplayer from Mass Effect 3 and updates it with new maps, new enemies, and some new objectives. There’s also dozens of new loadouts available that can be unlocked, but I personally would rather just be given a couple characters that can be more deeply customized than all these starting templates that need to be unlocked. There are also microtransactions to purchase credits to unlock items, but going that route is wholly unnecessary. (Of course, I think the multiplayer part of Mass Effect is unnecessary to begin with, though.)

Fighting seven waves of enemies with friends to obtain items—some of which can be carried over to the campaign, like credits and crafting materials—loses its luster very quickly to me. That’s especially the case now that the single-player campaign allows you to send CPU “Strike Teams” to do the missions instead, getting you all the gear you want without the time commitment of having to find friends to play with and stepping away from the story. Managing these teams from a console on the Tempest was a lot more fun and a lot less time consuming than the multiplayer, but if wave-based survival with some objectives is your thing, there are also a lot worse choices out there than what Andromeda provides. Also, I had no issues connecting or finding people to play with, so that’s a plus at least.

Mass Effect: Andromeda isn’t a bad game—but it is far from what we expect from the series. Poorly written fetch-quests, a dead universe that requires the player to bring any semblance of life to it, and more glitches than can be found tolerable in a game like this horribly mar the experience. There is a strong foundation of characters and story that is being laid down here, which gives me hope for the future, but this new chapter of the Mass Effect saga is a high price to pay in order to reinvest in a universe so many of us had come to love.

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Publisher: Electronic Arts • Developer: BioWare Montreal • ESRB: M – Mature • Release Date: 03.21.17
6.0
There is a strong core of characters and story bedrock laid down in Mass Effect: Andromeda, but between questionable design choices, boring missions, and glitches galore, it’s hard not to view BioWare’s journey to a brand new galaxy as anything less than mission failure.
The Good The main story and new cast of characters are often as compelling as those left behind in the Milky Way.
The Bad Lots of busy work fetch-quests, a sense of everything being too familiar for being 600 light years away, and bugs—so many bugs.
The Ugly I fell harder for PeeBee than I expected.
Mass Effect: Andromeda is available on Xbox One, PS4, and PC. Primary version reviewed was for Xbox One. Review code was provided by EA for the benefit of this review. EGM reviews games on a scale of 1 to 10, with a 5.0 being average.

At this point, we know that the Wii U had a ton of shortcomings. If there was one good thing to come from that console generation for Nintendo, however, it was when they really threw their doors open and welcomed indie games full-bore. We can look back at titles like Runbow and Shovel Knight and know those wonderful experiences helped solidify Nintendo’s indie-friendly stance. None may have been more impactful, though, than Fast Racing Neo—a sequel to the Wii’s Fast Racing League—that gave gamers everywhere the closest thing we’ve had to a new F-Zero in what feels like forever. The love for that game made it a no-brainer then for developer Shin’en Multimedia to continue the franchise and deliver us Fast RMX on day one with the Switch.

In a lot of ways, Fast RMX is Fast Racing Neo 1.5. It touts all 24 tracks Neo had with its DLC, but with six brand new ones also in tow, upping the total to 30. Meanwhile sharper graphics, Switch functionality, and a new “Hero” mode help beef up the experience of this hardcore anti-gravity racer. There isn’t really more than that, but that’s perfectly fine in my book. You just hop into the cockpit of one of three different vehicles (there’s 12 more to unlock as you race) and aim for the finish line. Depending on where you place gives you points, similar to Mario Kart, and the racer with the most points at the end of the three-race circuit is the champion.

The hook for the racing is in the name. Every vehicle averages top-speeds well over 1,000 MPH as you soar through locations both terrestrial and beyond. There is a bit of strategy here as well as different-colored speed strips—activated by changing your exhaust stream with a press of a button to match the color—which can give temporary boosts. Collecting power orbs also allow you to fill up your personal boost meter, giving you that necessary edge in long stretches without speed strips, and again placing a pure emphasis on going as fast as possible. Playing smart and finding the perfect paths between boosts is a must.

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And, if you’re going fast enough, you can bump your rivals out of the way too. Fast RMX should be commended for never pulling its punches with its AI; right from the first race, you’ll be fighting all the other racers and jockeying for pole position, as your opponents will use boosts just as much as you while definitely not being afraid of bumping you off course. All of this means that, as the game progresses, unless you pull off a near-perfect race you’ll be more and more likely to lose. I’d never been so happy over a third-place finish before by the time I had reached the Platinum circuit.

You’ll find the 30 courses in the game take place in myriad settings, cutting through rainforests and glaciers here on Earth or zipping around space stations and asteroid quarries. The course locations are absolutely gorgeous, with the amount of detail surrounding each track hinting to a spectacular future where these circuits can take place while also taking your breath away.

If only the tracks themselves were as consistently inspirational. Some definitely take advantage of the anti-grav future premise the game is built around, and will make you audibly utter “wow” as you swirl around the course’s curves. And, if you’re not careful, you can fly off an edge, crashing and burning just as easily as soar ahead of other racers for a victory. There are plenty of shortcuts to be found on some courses, and knowing your vehicle’s capabilities as well as the track could lead to shaving precious seconds off your lap times.

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Other courses are very straightforward, however, and don’t push the envelope nearly as much. What’s worse is when it felt like the game tried to make more simple tracks far more difficult by adding obstacles—particularly around blind corners. For example, one track is observed by giant, insect-like robots, which randomly decide to cross the street with no rhyme or reason, crushing your vehicle. It didn’t make the game more difficult as much as it felt cheap at times as a crash all but guaranteed a less-than-stellar finishing position and likely some forced replays until you learn where everything is by heart.

In terms of the game’s modes as well, I wish there was a bit more depth. You start with your standard series of championships and classes. There are 10 three-race championships to start, and three different classes ranging from Subsonic to Supersonic. Although having all 30 tracks available in a single race class was a lot of fun at first, it quickly became repetitive with the minimal increase in difficulty change once it was time to move up in class—and my motivation was lacking since I had already seen all there was to see. It would’ve been better had some championships been relegated to each class, giving a sense of identity to them, and marking a more obvious increase in difficulty between courses.

There’s also the noticeable absence of time attack mode. What could’ve been a great way to learn tracks for championships and improve your times will be patched in later as free DLC, but it being absent at the moment is disappointing to say the least. In its place is the mentioned-above new Hero mode. This is meant more for after you’ve already learned the courses, since your boost meter is also your shield meter here, and it’s much easier to crash—and if you crash in Hero mode, the race is over. If—for some reason—you want Fast RMX to be even harder, this mode is for you.

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It’s not just racing against the computer all day in Fast RMX, however. There’s a local multiplayer option that supports up to four players, with each player taking a Joy-Con and linking it to the Switch. There’s also online multiplayer, which works fine at this point, but it lacks certain amenities like online friend support that Shin’en has again said will be patched in later.

Fast RMX is the better version of an already good racing game. If you’re looking for something that will challenge your reflexes and get those competitive juices flowing, then this is a great game for you. The fact that some modes missed launch is disheartening, as is the inconsistent track quality, which can lead to as much frustration as fun at times. We may not ever get another F-Zero game, but the Fast series is doing a great job at trying to make claims to the title of its successor.

Publisher: Shin’en Multimedia • Developer: Shin’en Multimeda • ESRB: E – Everyone • Release Date: 03.03.17
7.5
The fact that some of Fast RMX’s modes like Time Attack missed launch is a bummer, and track design can be a bit inconsistent in terms of quality, but if you’re looking for a pure arcade racing experience, this heir apparent to F-Zero will definitely do the trick.
The Good A constant challenge from the first race. Each racing location is absolutely gorgeous.
The Bad Time Trial mode is absent at launch. Course design feels a bit uninspired. There are only incremental differences between cup modes.
The Ugly Just clipping an obstacle and watching as your racer careens off a cliff in a fiery heap.
Fast RMX is a Nintendo Switch exclusive. Review code was provided by Shin’en Multimedia for the benefit of this review. EGM reviews games on a scale of 1 to 10, with a 5.0 being average.

There had been a Bomberman game on every Nintendo system ever until that streak finally broke with the Wii U. Looking to make sure that mistake wasn’t repeated, Konami surprised everyone when they announced that their first Bomberman game and the first game we’ve seen from the series in seven years—Konami acquired original Bomberman creators Hudson Soft in 2012 and then never used the IP—would be a Switch launch title. As someone who played more than a few entries in the series on several different Nintendo consoles, this was an exciting surprise, made all the better by a game that actually delivers a decent-quality maze-busting experience.

Super Bomberman R opens up on Planet Bomber, where the original white Bomberman is admonishing his seven siblings for ignoring their demolition training duties. As they all go around the room making their excuses, a man named Buggler announces himself to the world and challenges team Bomberman outright with his own team of five Dastardly Bombers—who promptly begin wreaking havoc at different outposts all over the galaxy. The Bombermen must now fight their way through the Dastardly Bombers to get to Buggler and end his reign of terror.

Even when Bomberman moved away from his arcade roots and started trying to add real story elements with Mega Bomberman in the Sega Genesis days, it was never really a game driven by its plot—it was more like we now had an excuse as to why we would go around willy-nilly blowing up every brick wall and balloon enemy we found. Similarly, Super Bomberman R’s story isn’t its strong suit. It tries to go for a Saturday-morning cartoon vibe, with each cutscene touting over-the-top comedic dialogue, but it’s clearly just there to loosely tie the entire adventure together. For old-school fans, you’ll appreciate how it pays homage to the Bomberman games of the past, at least in terms of modernizing the stories of characters like Buggler (Bagular in the old games) and the Dastardly Bombers. If you’re not a die-hard Bomberman fan, you’ll still be able to follow along, although you likely won’t care nearly as much as those of us who have some history with these characters.

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Where Super Bomberman R shines is in its gameplay, which again blends the earliest adventures of Bomberman with some of his later 3D escapades. Most of the campaign is spread out across five worlds with 10 stages each. The first eight of these stages are your classic Bomberman fare, as a cavalcade of breakable and non-breakable blocks create mazes of varying complexity that are littered with enemies that can one-hit kill our hero. Each world has its own theme, but after just a couple stages on each planet, the aesthetics become a tad dull. Every world is also designed in 3D, but the locked isometric camera gives off those old-school puzzler vibes fans of the series likely first fell in love with.

Most of these stages require you to eliminate all your enemies—the most common task for Bomberman over the years. Adding a new wrinkle, however, are stages that feature survival objectives, escort missions, finding hidden keys, or stepping on a series of hidden switches. This variety helps keep gameplay that can become repetitive fresh, especially when you’re still relatively underpowered and need to find all the classic bomb, blast, and movement power-ups the series has always featured.

The last two stages of each world are where the game gets really fun, harkening back to more recent titles in the series. First, you have to take on a Dastardly Bomber in single combat, trying to trick them into blowing themselves up if you can’t find the perfect way to do it with your own bombs, or maybe a combination of the two (several times I would use an enemy’s bomb against them to pin them in a corner and secure victory). If you can defeat them in single combat, then the Dastardly Bomber transforms into a massive map-filling mechanical monstrosity. For example, Golem Bomber becomes Fort Walker, a giant robotic turtle where you have to blow up each of its four legs before blasting away at its head. Meanwhile, Plasma Bomber becomes Judge Gwinbee, a flying mech with machine guns that you have to blow up as it flies by. These moments made whatever grind the rest of the campaign might dish out more than worth it, and truly put your skills to the test.

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And trust me, your skills will be tested, because you will die. A lot. It’s still surprising how often you might lose track of how big your bomb blast is, forget about an enemy around the corner, or just accidentally barricade yourself between two bombs and watch as your life counter drops by one. The chaos only increases if playing the campaign in 2-player co-op due to friendly fire. Easier difficulties offer more lives, but no matter what setting you play on, the system by which you receive more continues is more mind-boggling than any maze the game throws at you.

Super Bomberman R features an in-game currency (no microtransactions) that rewards you with coins for beating Dastardly Bombers in the campaign or by winning multiplayer matches. This currency system can be used to purchase cosmetic items for your Bombermen, new maps, and unfortunately, also campaign continues. This weird interchanging of the currency means that if I ran out of lives and didn’t have enough coins saved up because I bought Black Bomberman this sweet top hat, I’d lose my entire progress on a level and have to start at stage one again, no matter my position. Lower difficulties see the price of continues drop, but it’s a weird way to have to game the system, often forcing you to choose between multiplayer goodies and beating the main game and creating an unfortunate grind.

Even with this odd currency situation, the greatest strength of Super Bomberman R—like many Bomberman games—remains the multiplayer component, and it’s only been enhanced further with the Switch. Up to eight Joy-Cons can be connected to a Switch for some truly frantic local action, or four Switches can link with two Joy-Cons each, again resulting in the same scenario. Even if you don’t have a full complement of local players, you can always play online. While there have been reports of connectivity issues at launch, I can attest that at least during my personal time online over the past few days, I had no problem connecting with other players. Either way, the multiplayer action that the series is known for remains, and there is no more fulfilling feeling than trapping your buddy in a corner with explosives—and no more harrowing feeling than when the same thing is done to you in turn.

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If you can’t get the full complement of eight players either way, you can also add bots to the multiplayer fun. However, I’d advise against it. The bot AI can’t be adjusted, and they are almost always set to master level it seems, knowing just how far away they need to stand from your bombs or the perfect way to trap you almost every time. The best multiplayer fun in Bomberman is against friends anyway, and that remains true here in Super Bomberman R.

Super Bomberman R might not pack the punch of one of Bomberman’s bombs when you think of console launch titles, but it’s still a quality experience. The campaign can be a bit of a grind, but has enough surprises and enjoyable moments to keep pulling you through—especially if playing co-op with a friend. And, like many Bomberman titles of the past, the local multiplayer experience with friends is almost second-to-none—that is if the game doesn’t blow up your friendships as much as you do brick walls. A few questionable choices like the in-game currency definitely add an unwanted grinding element to everything, but any fan of old-school Bomberman should be more than pleased with this long-awaited return.

Publisher: Konami • Developer: Hexadrive • ESRB: E10+ – Everyone 10 and up • Release Date: 03.03.17
7.5
The in-game currency decision was a head scratcher, as it adds an unwelcome grinding element to much of the gameplay. If you can look past that, then there’s a decent campaign and the same addictive multiplayer Bomberman is known for sitting at this launch title’s explosive core.
The Good A surprising amount of content, with 8-player multiplayer and a campaign that lasts for more than 50 levels.
The Bad Level design and gameplay can get repetitive after a while; in-game currency system.
The Ugly Accidentally trapping yourself between two bombs and then there are those few seconds where you’re just waiting for your inevitable end.
Super Bomberman R is a Switch exclusive. Review code was provided by Konami for the benefit of this review. EGM reviews games on a scale of 1 to 10, with a 5.0 being average.

I got to guest host on Nerd Alert this week with Kim Horcher. We talked about myriad topics, and in this episode, we discuss how science might be able to save us from ourselves.

I got to guest host on Nerd Alert this week with Kim Horcher. We talked about myriad topics, and in this episode, we discuss one potential theory behind how Pixar’s Cars universe came to be.

Great ideas are born all the time in the video game industry, but not all of them reach fruition—and fewer still achieve their fullest potential. It seems Ubisoft’s For Honor, at least at this moment in time, falls into the latter category of a game that just isn’t where it needs to be. After conquering the campaign and playing well over 100 multiplayer matches over the past week since it’s launch, I’m sorry to say that For Honor just seems to be another in what is becoming Ubisoft’s calling card of the past several years: a tremendous idea that falls short due to lackluster or questionable technical execution.

For Honor puts players in a fantasy world that mashes up regions and time periods, placing three of the world’s greatest factions of warriors together on one limited landmass. Samurai, Knights, and Vikings fight in perpetual war over scarce resources in this fictitious world, unwittingly serving as pawns in the plans of Apollyon, a particularly ruthless black knight who feels that only in war can people maximize their abilities.

The campaign takes you through each of the three faction camps as you begin to piece together Apollyon’s plot. There are 18 chapters (six for each group), and all told the campaign shouldn’t take more than 4-6 hours to finish. There’s some replayability here, with collectibles and multiple difficulty levels (including the hardest “Realistic” difficulty that completely removes your HUD), but not much else. It’s also a bit on the repetitive side, with occasional surprises to keep you pushing forward, but what serves as the brightest spot for the campaign is that it is an excellent teaching tool. As a de facto proving ground, it gives you plenty of opportunities to test strategies and learn more advanced combos with particular classes against the computer before you take those skills into the online world.

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One glaring flaw with the campaign, though, is the fact that if one of its major purposes is as a way to familiarize yourself with the game’s 12 distinct characters and it’s unique combat system in a safer offline setting, then it should give you an opportunity to play as all of the character choices. Only eight of the 12 are featured in the campaign, with the Berseker (Vikings), Conqueror (Knights), Shugoki (Samurai), and Nobushi (Samurai) being exempt.

Though, it could argue that some of these class styles are covered in other chapters. For example, the Vikings’ Warlord—who does get his own chapter—is classed as a heavy, which Shugoki and Conqueror also both fall under. However, there are enough differences between each choice and their playstyles that not being able to figure out how to fit playable sections for all 12 characters into 18 chapters—especially when many campaign chapters have all the characters in them already as NPCs—is bothersome. For example, the Nobushi has probably the most range of any character in the game (plus some attacks that can poison an enemy), while the Shugoki is the only character that can actually absorb a hit without flinching—but you need to experiment in multiplayer to find all that out. You can play the online modes against AI to get some experience with characters, and I admit that For Honor’s bots are some of the most intelligent you’re likely to find in any online game, but I believe that wrapping your training around a story and a tutorial increases your retention of learned skills, as opposed to just button mashing against a bot that falls into predictable patterns.

A big reason why it’s particularly frustrating having to learn characters in multiplayer, instead of more ideally just honing and mastering your skills against humans, is For Honor’s aforementioned combat system. Don’t get me wrong, it’s a fantastic system, but it has a steep learning curve and can be incredibly complex at times. The core of For Honor is three-way directional blocking/attacking. If you are swinging from the left, and your foe blocks in that direction, nothing happens; if they leave themselves open, you do damage. It looks like a simple third-person hack ‘n’ slash mechanic, but once you get past this, you’ll find there’s more to this game—and, again, each character’s specific nuances only diversify and add wonderful depth to the gameplay. Throws, stuns, parries, specials, and unblockable attacks all must be learned if you’re to have any success in campaign or online. The beauty of it, though, is how all of this plays off that initial mechanic, which requires you to lock onto an opponent in one-on-one “honorable” combat while trying to predict their movements.

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Combat is like a miniature chess game, with strategies forming and coming undone in an instant as your strikes hit, miss, or are blocked by your mark. Even positioning on the field, with one-hit kill obstacles like spikes or ledges, play into the combat, requiring you take in far more information than just which direction your opponent is blocking. I honestly couldn’t get enough of it all, and found my adrenaline pumping during the thrill of combat, screaming into my headset as cowards ran away from my Raider’s axe. (Of course, it also makes it frustrating to learn on the fly when your K/D may be on the line.)

There are some flaws to combat, though. While the game is surprisingly well balanced—with a smart player able to overcome most any other character’s strengths and exploit their weaknesses—there are those infuriating moments when it looks like the game’s physics or hit detection isn’t where it needs to be. A perfect example is when trying to throw someone off a ledge; a great way to overcome situations where you are outnumbered. Sometimes, a character will barely clip the edge of a rock or wall, and slam up against it as if a full support was there, saving the person from going over the edge and potentially falling to their doom. Or, you’ll get situations where a thrown body lands with half of it not on solid ground. You’d expect the body to slide off the edge—since that’d be the natural result—but instead the character just stands up as if their body had been fully supported. It reminds me of the original Super Mario Bros. way back in the day; as long as you had just one pixel of edge, Mario would never fall off. It’s not nearly as charming here, and definitely breaks immersion and draws my ire.

The crux of For Honor, though, is of course the multiplayer, which I’ve touched on briefly already a couple of times. The first thing everyone has to take part in is the War of the Factions. Similar to what was seen in Mortal Kombat X’s Faction War, as soon as you start the game, you choose one of the three factions to align yourself with for the entirety of a season (this doesn’t limit what characters you can play as, to be clear). By playing online you’ll earn war assets, and the better you perform, the more assets you’ll receive. Unlike MKX, you’ll get to personally assign where your assets go as you try to move the front lines of a never-ending assault against the other two factions on a satellite view of the game’s map. The faction that has procured the most land at the end of the season will receive special in-game bonuses. You can also change your faction mid-season, but at the penalty of lost rewards at the end of the season. Surprisingly, it’s one of the more addictive features of For Honor, as it gives players a sense of actually taking part in a living, breathing conflict.

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Then there are five different game modes under three different umbrellas. In Deathmatch, you’ll find the 4v4 single-life-to-live Elimination mode and the point-based Skirmish mode, where you can respawn until the opposing team reaches 1000 points (where points are awarded on a variety of factors, but killing human opponents always racks up the biggest points). Then there are the Duels, offering up 1v1 matchups and 2v2 Brawls, and which I personally recommend you start off with since they’re a great way to hone you skills. Finally, there is the 4v4 Dominion mode, which combines the point scoring of Skirmish with capturing zones like you’d see in a Domination mode for other games.

Although there are only a few maps, sections of each one are cordoned off depending on the mode you’re playing, and each map has multiple times of day available to offer some visual variety. The game is also graphically stunning as a whole; the detail of each character and the world around you is absolutely breathtaking, and makes you feel at times like you’re in a real medieval fantasy. For Honor’s customization is also something that should be lauded. While each character’s face is a given, you can change the sex of most characters (some are permanent female or male), earn ornaments, victory poses, and executions, and each character’s weapons and armor, piece by piece, can be changed out or given new paint and pattern schemes. It’s just enough personalization to make you stand out on the battlefield while making sure you still come across as your character class. Of course, it needs to be mentioned that a lot of items are locked away behind certain achievements or the game’s “steel” currency, but many of these can be bypassed by buying resources through microtransactions. This isn’t necessary, since you can easily grind for a lot of items, and most of them are cosmetic anyway, but that’s entirely up to you.

Despite the issues I’ve already laid out, when For Honor works, it works supremely well. When For Honor doesn’t work, though, it’s one of the most frustrating experiences I’ve had to date with an Ubisoft game. While the campaign was mostly issue-free, there have been tremendous connectability issues with the game since launch. In fact, part of the reason I’m so late with this review is that I tried to see if these issues would work themselves out or if we’d get a patch of some kind. Even as recent as last night, however, I was still seeing matches drop and disconnect on a regular basis—if I could even connect in the first place. As I stated at the start of the review, over the past week I’ve played and finished well over 100 matches—there was probably another 200 times, though, where the match would never connect or drop midway through.

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If this weren’t bad enough, because For Honor doesn’t have dedicated servers, not only does the game suffer frequently from lag, but every time someone else drops, the entire game freezes up, as it often has to re-instance. Half the time, it is unable to, and boots the remaining players back to the multiplayer lobby. I don’t understand how, after launching so many games in a row with shoddy or broken netcode before this, Ubisoft has yet another game—one that is so multiplayer heavy in particular and has had so many betas—come out in this condition. It’s absolutely unforgivable to launch in such a sorry state, and Ubisoft should be embarrassed.

For Honor could’ve been one of the best games of this young calendar year; instead, it’s riddled with issues, particularly on the technical side, which hold it back. It might still bounce back and become the game it has the potential to be thanks to its solid gameplay core—but if you were looking for something to play right now, I’d tell you to take a wait-and-see approach with For Honor in hopes the bugs, in particular the connectivity ones, end up getting worked out.

Publisher: Ubisoft • Developer: Ubisoft Montreal • ESRB: M – Mature • Release Date: 02.14.17
7.0
An inventive premise and surprisingly deep combat system sits at the core of what could’ve been a great game—if so many technical issues didn’t surround it and detract so much from the whole of the experience.
The Good The inventive new combat system takes some getting used to, but rewards players who put the time in with it.
The Bad A litany of technical issues and questionable decisions keeps it from reaching its fullest potential.
The Ugly This is now a thing and I can’t stop watching it: For Honor—Call on Me
For Honor is available on Xbox One, PS4, and PC. Primary version reviewed was for Xbox One. Review code was provided by Ubisoft for the benefit of this review. EGM reviews games on a scale of 1 to 10, with a 5.0 being average.

I got to guest host on Nerd Alert this week with Kim Horcher. We talked about myriad topics, including the newest love interest in Mass Effect: Andromeda!