Tag Archive: FPS


Plants vs Zombies: Garden Warfare was nothing short of a surprise hit. Turning the ever-popular Plants vs Zombies into a third-person shooter was risky at best, and downright insane at worst. But the folks at PopCap take pride in their willingness to push their supremely popular franchise in different directions and see what will take root with their growing fanbase. So, when it came time to decide what to do next, they decided to turn things on their ear again and make the Plants the bad guys.

That’s right, in Plants vs Zombies: Garden Warfare 2, the Zombies are on the defensive. After the events of the first Garden Warfare, the Zombies have successfully conquered Suburbia, renamed it Zomburbia, and set about making it a perfect little paradise where they can munch on brains all day long. The Plants may be down, but they are far from out, so they’ve enlisted the aid of new allies to take the fight back to the Zombies and reclaim their beloved home soil.

While this may not change much about modes such as Team Vanquish (PvZ’s version of Team Deathmatch), it completely reverses modes like Gardens and Graveyards. With Zombies on the defensive and trying to protect capture points, you’ll need to figure out new strategies with your favorite classes from the last game to be effective as a Plant or a Zombie. Also, because you play this four-player co-op version of Horde mode from the perspective of the Zombies versus AI-controlled Plants, Garden Ops has been renamed Graveyard Ops.

Besides the change in viewpoints, Plants vs Zombies: Garden Warfare 2 is bigger than its predecessor in every way imaginable. The game will ship with more maps at launch, all of which are brand new. Zomboss has tried his best to mold Suburbia in his own image, changing the entire world’s landscape. In our short time with the game, the we played a multi-tiered level that featured Zomboss Zombie’s making a factory, a clear tactical target for the Plants to attack.

The game also offers new classes, including some inspired by the time-traveling aspects of the mobile Plants vs Zombies 2. Plants from the future have come back to quell the threat of Zombie-piloted mech suits, and Zombie pirate captains enter the fray as surprisingly effective snipers. A Zombie superhero specializes in melee and shooting laser beams from his eyes.

So, if you were a fan of the first Plants vs Zombies: Garden Warfare, its sequel looks ready to deliver a deeper, over-the-top experience in the same vein that has made Plants vs Zombies such a huge hit.

Plants vs Zombies: Garden Warfare 2 will launch in the spring of 2016 for Xbox One, Playstation 4 and PC.

In with the Old

I’m a pretty big Wolfenstein fan, so when MachineGames took a shot at rebooting the series last year with The New Order, I admit I was wary. But they genuinely shocked me with how they kept the game intense and action-packed but also infused it with the grit and emotion you normally don’t find in first-person shooters. So, even though I’m often wary of anything labeled as a “prequel,” I was more than ready to jump into Wolfenstein: The Old Blood, hoping to be surprised once again.

The Old Blood takes place shortly before the start of its predecessor in the traditional 1940s World War II setting more commonly associated with Wolfenstein, and the game sees series protagonist B.J. Blazkowicz deep behind enemy lines on a covert mission to find the coordinates to General Deathshead’s lair. When the mission quickly turns sideways, B.J. has to escape from Castle Wolfenstein and put an end to the occult experiments being conducted in the fictional city of Wolfburg if he hopes to get his hands on the ever-moving intel.

If the story sounds somewhat familiar to longtime Wolfenstein fans, that’s because it should. In fact, The Old Blood expansion could easily be thought of as a tribute to 2001’s Return to Castle Wolfenstein. Whereas The New Order was able to smartly borrow elements from previous games, The Old Blood feels more akin to a 1-to-1 re-creation in terms of its settings and major plot points. Yes, there’s even the return of Nazi zombies, who are prevalent throughout the last quarter of this expansion.

That’s not to say The Old Blood doesn’t carve its own path during particular moments, however. New characters, expanded sequences, and two gorgeous settings give The Old Blood a bit of an original flair—though not nearly as much as The New Order brought with its own excursion into the Wolfenstein lore. The most obvious sacrifice comes in character development; many of the new actors on the Wolfenstein stage serve as little more than cheap devices to push the plot forward. Even opportunities to expand on B.J.’s psyche are left untapped, relegated only to the beginning and end cutscenes.

I’m not saying the game needed the slowness of New Order’s resistance-base levels, but The Old Blood feels like it’s in a rush to get to the end. Maybe the quickened pace partly comes because it’s easy to write a path to a conclusion when you already know what it has to be—a sometimes-unavoidable downfall of prequel content.

At least The Old Blood smartly incorporates a lot of my favorite parts of New Order’s gameplay, which helped me forget the plot’s shortcomings for a brief time. Once again, players are given the choice on how to tackle each in-game obstacle, either moving through every level stealthily or like a dual-assault-rifle-wielding madman, mowing down Nazis left and right. This aspect was a defining characteristic in The New Order, and it feels great to have an excuse to go back to it after a year.

The perk system also returns with new upgrades—getting 200 kills with the mounted machine gun allows you to add it to your weapon wheel, for example. While some aren’t nearly as inventive as those seen in New Order (clip expansion seems to be a favorite here), the system still encouraged me to step outside my comfort zone.

The Old Blood even finds a way to avoid the classic prequel trap of creating too many new weapons that wouldn’t make sense in the time period or in the game’s continuity. While there are some new weapons available, such as the Schockhammer shotgun, they’re clearly predecessors to the weapons we saw in The New Order and are appropriately de-powered to fit the 1946 setting (with the same going for enemy types).

Much like The New Order, there’s also a surprising amount of replayability to The Old Blood, considering the game doesn’t offer a multiplayer mode. Challenge maps unlock as you progress through the campaign, and you can replay them in an attempt to get higher scores on the global leaderboard.

There’s also a dozen collectibles in each chapter and bonus content in the form of special “Nightmare” scenarios. In these moments, B.J. lies down for a quick nap—amazing that he can do so with a war going on around him—and gets whisked away to a dream world where he must fight through a number of Wolfenstein 3Dinspired areas. Completing these extra levels won’t help you progress toward the end of the game in any way, but they’re nice nods to Wolfenstein’s long history and provide an enjoyable respite from all the grit of the main experience.

While I appreciate a tribute to games of the past as much as the next guy, leaning on that idea so heavily makes it difficult for The Old Blood to stand out as much as The New Order. Still, the thrill-a-minute gameplay from the previous Wolfenstein outing carries the day here—and when you mix that with some surprising replayability, The Old Blood emerges as a solid expansion to one of last year’s better games.

Developer: MachineGames • Publisher: Bethesda • ESRB: M – Mature • Release Date: 05.05.15
7.5
The New Order’s returning gameplay carries the day here. The Old Blood’s story spends too much time trying to be a tribute to an old game instead of its own adventure—and prevents this standalone expansion from being as deep or enjoyable as the main game.
The Good A solid tribute to Return to Castle Wolfenstein that still finds a way to fit into MachineGames’ new Wolfenstein universe.
The Bad Lacks the depth of The New Order; follows Return to Castle Wolfenstein a little too step by step.
The Ugly The missed opportunity that was bad guy Rudi Jager never calling in an airstrike and yelling “Jagerbombs!”
Wolfenstein: The Old Blood is available on Xbox One, PS4, and PC. Primary version reviewed was for Xbox One. Review code was provided by Bethesda for the benefit of this review.

The new Star Wars: Battlefront trailer unveiled at Star Wars Celebration touched on plenty of the cool new and returning features in the upcoming reboot of this iconic Star Wars game franchise. Still, it didn’t exactly give the full experience of what EA and DICE let people see at the convention. If you weren’t lucky enough to find yourself in the center of the Star Wars universe this past weekend in Anaheim, here’s a rundown of EA’s Battlefront setup on the show floor—which gave a longer, more in-depth look at what will make the game special.

The hands-off demo was about 15 minutes of pre-recorded footage from a pre-alpha PS4 build. It took place in a mode called Walker Assault, which seemed to be defined by an ever-increasing presence of AT-STs and AT-ATs. The demo, given inside a small domed theater within the booth, started off much the same way as the trailer, with speeder bikes whizzing past as a player trudged through the thick foliage of Endor. Once the first-person camera crested a ridge and saw a platoon of stormtroopers, however, the seamless switch between first- and third-person cameras made its presence known.

Transitioning to a third-person perspective allowed for the generic rebel soldier we were following to more accurately fire from the hip with his blaster as he carved a path through the oncoming Imperial forces. After clearing some space for himself, he instantly switched back to first-person view, took cover behind a fallen tree, and then attempted to snipe more far-off soldiers—which demonstrated that both perspectives could have their uses in battle beyond player preference and showed off the previously announced ability to switch viewpoints on the fly.

An AT-ST soon flanked our hero, and he seamlessly switched back to third-person mode, no doubt to get a better view of the surrounding area to escape his now-compromised position. The soldier attempted to take down the walker with blaster fire, scarring its silver body with black marks, but when that proved futile, he quickly ran over to an equipment locker, where he picked up a rocket launcher. This filled a special-weapon slot on an item wheel in the lower right corner of the screen that also included a standard blaster and grenades. Then, much like in the trailer, he proceeded to use the rocket launcher to blast apart the AT-ST’s head.

As stormies and AT-STs continued to fall one by one, I also saw the points/perk system in play. Much like in DICE’s other multiplayer games, earning kills nets as much as 100 points, with 25 doled out for assists. Killing enemies with particular weapons, like grenades or rocket launchers—whether soldier or vehicle—also netted points. Even those small blaster shots against the AT-ST earned vehicle damage points, insinuating that players will be able to take out something small like a chicken walker with enough concentrated fire if an appropriate special weapon isn’t handy.

Soon, the menacing AT-AT from the trailer showed up, slowly stomping its way across the battlefield. The player then took an interesting tactic and ran underneath the AT-AT, using its durasteel legs as additional cover—as stormtrooper fire continued to blister the area—before rushing over to a terminal to call in a Y-wing bombing run.

The battle still raged on even after the AT-ATs destruction, and the player then switched back to first-person view again and joined a second, human-controlled player running into a bunker similar to the one Han Solo and his team destroyed on Endor in Return of the Jedi. Here, however, was a special surprise. The second player turned a blind corner and immediately found himself lifted several feet off the ground. As I watched through the eyes of the first player, the second player desperately kicked to escape the invisible grasp around his throat—but soon succumbed to strangulation.

His lifeless body was then angrily thrown against a wall, and Darth Vader emerged—a little unsurprisingly, after the obvious display of Force powers—from the corner, flicking on the crimson blade of his lightsaber. The player fired his blaster at Vader, but the Dark Lord easily deflected the shots away with his saber. The rebel fighter then ran back out the way he came and into the forest, only to see a small army of AT-ATs and AT-STs approaching his position. Surrounded, the player turned to look back, but Vader was already upon him, striking him down with all of his hatred, and ending the demo.

This demo definitely imparted the feeling that players will able to create their own adventures and stories in Battlefront—as alluded to during the Star Wars Celebration panel that unveiled the trailer. Even watching someone else play, I got the sense that a dozen different options were available at any given moment, and you never knew what could come around the next corner. The Battlefront demo made me even more excited than the trailer, because it showed off a scenario that could actually occur in gameplay—and one that likely wouldn’t play out exactly like that ever again.

We ask fans about their impressions of the new Star Wars: Battlefront trailer from Star Wars Celebration in Anaheim.

Concerning a new Bad Company installment, it’s not a matter of DICE ignoring their fanbase, they’re just unsure what made Bad Company so popular, CEO Karl-Magnus Troedsson explained in a recent interview with Eurogamer.

“Some people say they found the multiplayer controls faster and more direct,” Troedsson told Eurogamer. “Some people liked the single-player and the characters and the humor. People love different things about it. It’s starting to almost get to that place where, if we were to make a sequel to Bad Company, what would than even imply?

“It’s scary to go back and try to remake an old fan favorite when actually no-one can really put their finger on what it is people love. Bringing back the characters and creating a great single-player out of that, sure, I can understand that.

“But some people say this: the Bad Company 2 multiplayer is the best you’ve ever done. Okay, why is that? It’s hard for people to articulate what that is, which is actually hard for us. It would be hard to remake something like that. Can we do it? Of course. We have our theories when it comes to the multiplayer.”

It sounds to me—and you can call my crazy here, Karl—that both the single-player and multiplayer were so good that the Bad Company games offered different things to a multitude of players. Maybe the reason you can’t put your finger on what made it great and people keep giving you different answers is that you appealed to such a wide audience, for once, that a lot of different people found something to love. Definitely not something that can be said for Battlefield 3 or 4.

Troedsson closed by offering Bad Company fans the faintest glimmer of hope, saying the sub-brand is not dead and it can be revived—but unless it’s suddenly revealed that Preston, Sweetwater, Haggard, and Sarge have suddenly become the funniest boys in blue since Steve Gutenberg and gang in Police Academy—those fans will definitely have to wait at least a little while longer.

All heil has broken loose

The legacy of the Wolfenstein franchiseis almost as prodigious as gaming itself, having been around for more than 30 years, and is credited with introducing the concept of the modern shooter along the way. Even with large gaps between recent entries keeping it from remaining fresh in the minds of players, those of us old enough to remember those games look back fondly on most of them. Since ours is a “what have you done for me lately” kind of industry, though, Bethesda, the newest publisher for the franchise, and one of their youngest studios, MachineGames, have decided to remind us all once again that killing Nazis never gets old.

Wolfenstein: The New Order sees longtime series protagonist William “B.J.” Blazkowicz return in what serves as somewhat of a spin-off for the franchise. This entry is set three years after the events of 2009’s Wolfenstein, and in that time, General Deathshead has constructed technology that allows the Nazis to take the advantage in the war and put the Allies on the brink of defeat.

In a last-ditch effort to turn the tide back in their favor, B.J. and a ragtag group of soldiers are sent deep behind enemy lines in an attempt to kill Deathshead once and for all. Soon, however, “Blazko” and his crew are captured, and B.J. takes shrapnel to the head as he tries to escape, putting him into a 14-year-long coma. When he wakes up, it’s 1960, and Blazkowicz is horrified to find the Nazis won the war and conquered the world.

On the surface, The New Order comes off as a fairly straightforward shooter, but there’s a surprising amount of depth if you look for it, most notably in regards to the story. Yeah, I know—when you think of most first-person shooters, you think of a collection of muscle-bound morons trying to blow everything up (don’t worry, The New Order has plenty of that, too). But the narrative features a lot layers with each character, starting with B.J.’s “man out of time” complex and trickling down to each member of the resistance group he soon joins.

Much like how B.J. feels out of place in this new world, however, some story elements just don’t seem to fit in with the rest. Sure, MachineGames sometimes asks you to suspend disbelief because this is a videogame, like how B.J.’s still a Nazi-killing machine even after sitting in a wheelchair for 14 years. For most of the game, though, The New Order tries its damnedest to be a stark war story, with levels that gave a real sense of guerilla warfare. Then, suddenly, you’re in a bad remake of Moonraker, shooting lasers in space. I love the fact that MachineGames gets as far away as possible from the supernatural storyline garbage of Return to Castle Wolfenstein and 2009’s Wolfenstein, but when it deviates from that gritty core, it breaks the immersion for me.

Another disconnect comes in the three levels where B.J. walks around the Resistance base and talks to people, suddenly making this hardcore shooter feel like an RPG. Normally, I wouldn’t mind the respite from being neck deep in shell casings after taking on an entire Nazi battalion, but the sudden shift to fetch quests, especially three times in the same area, breaks up the pacing in an unpleasant way, even if the story beats that follow are worth the wait. In fact, the realism of the cutscenes, the detail of the environments, and nary a glitch in sight all make The New Order one of the best-looking games on the new generation of consoles. Stellar voice acting from the entire cast, led by Brian Bloom (Varric from Dragon Age II and Kane in the Kane & Lynch series) as B.J., also helps lend credibility to the game’s narrative elements.

And even when the story’s at its campiest, strong level design and gameplay still shine through. In fact, The New Order’s level design is some of the best I’ve seen in a first-person shooter in quite some time. It’s got the perfect balance between allowing you to be stealthy, offering up plenty of secret paths, or letting you go in guns blazing. Oh, and almost every weapon in the game can be dual-wielded.

To further accentuate these playstyles, the game also offers four perk trees for B.J. to unlock. Stealth, Assault, Tactical, and Demolition options allow B.J. to increase the amount of knives and grenades he can carry and improve the effectiveness of certain weapons. My only issue with the perks? Instead of using a typical XP-based system, the game asks you to complete certain tasks to unlock not only the perk, but also the access to start working on the next perk. It’s frustrating to know that you could’ve been working on several perks at once, if only the game let you do things non-linearly.

The best part of the gameplay, however, may be how it encourages multiple playthroughs. Dozens of collectibles are littered throughout each of the game’s 16 chapters, and each level needs to be played at least twice due to a decision you make early on where you must choose between the lives of two of your friends. Along with this, the game also features four unlockable modes if you find all of the “Enigma Codes” and solve their respective puzzles, meaning you could run through the campaign a minimum half dozen times and still have it play out differently with each experience. And I never once was disappointed by the fact the game has no multiplayer component because of the multitude of single-player options.

The New Order’s greatest success, though, is the fact it rejuvenates this classic franchise more than any game that has tried before it. It looks absolutely stellar, and its surprisingly strong—if sometimes over the top—story highlights the experience. With its brilliant level design and copious replayability, The New Order more than lives up to the Wolfenstein name.

Developer: MachineGames • Publisher: Bethesda Softworks • ESRB: M – Mature • Release Date: 05.20.14
8.5
Great level design, strong replayability, and beautiful graphics more than make up for a sometimes-disjointed plot. The New Order proudly exclaims that Wolfenstein is back, and this new entry should be played by all FPS fans.
The Good Top-notch action puts Wolfenstein back near the top of the shooter heap.
The Bad Some story-pacing issues, perk system could’ve been more open.
The Ugly Next-gen torture scenes and burn victims. Brutal.
Wolfenstein: The New Order is available on Xbox One, PS4, Xbox 360, PS3, and PC. Primary version reviewed was for Xbox One. Review code was provided by Bethesda Softworks for the benefit of this review.

Time waits for no hero

I’ve gone hands-on with Wolfenstein: The New Order before, but my recent glimpse at the game has given the most complete picture of B.J. Blazkowicz’s new adventure thus far. For those of you who may be unaware, the premise of The New Order is that it’s an alternative storyline or parallel universe from the Wolfenstein games many of us grew up on. Here, B.J. Blazkowicz doesn’t stop General Deathshead. Instead, he suffers a coma-inducing injury, sleeps for 14 years, and wakes up to hell on Earth, a world where the Nazis won.

This new build allowed me to play the entirety of the game’s first three chapters, starting with B.J. flying into Nazi airspace with his buddy Fergus. Now, I’m not going to get into the minutiae of my time with this demo, because if you’ve played a Wolfenstein game before, you’ve got an idea of what to expect: lots of Nazis to shoot and stuff to blow up. But few games have given me that big-budget action-film vibe more than this.

From that very first sequence, you’re asked to do the impossible, and as is typical in these kinds of games, it’s all so much daily routine, like brushing your teeth in the morning. Jumping from your doomed plane onto the wings of another allied plane. Hopping into a turret and fending off half-robotized German Shepherds. Commandeering an AA gun to take out a giant mechanical walker reminiscent of a Star Wars AT-AT. And this was just the first chapter.

Beyond the variety seen in the over-the-top action moments, The New Order did a great job of making me feel empowered with just its standard first-person shooter fare. Running through the trenches, dual-wielding assault rifles and mowing down Nazis left and right, legs and arms flying everywhere. I felt like I could take on the entire German army by myself.

And, yes, all this sounds super-sensationalistic, but you don’t play Wolfenstein for realism. If anything, gaming these days is so much about immersing you up to your eyeballs in the world we already live in that when something like The New Order comes along, it actually feels kind of refreshing. I saw how fast B.J. sprinted from his wheelchair in the asylum after sitting on his behind for more than a decade, and I knew that most of reality had been checked at the door. This game is all about empowering the player on a very basic level.

Even the cutscenes communicate how much of a badass B.J. is. In one, after escaping the asylum, B.J. interrogated a German officer with a chainsaw. Let me say that again. With a chainsaw. In the three chapters I played, B.J. projected more testosterone than I’d seen from every male gaming protagonist combined over the past year. I’m not saying that’s always a good thing, but in this context, with the absurdity of the situation, it fit—and I found myself enjoying my playtime more because of it.

Some less-bombastic moments with B.J. also showed a little depth to his character. My favorite? After clearing out a bunch of Nazis from a roadside checkpoint’s motor pool, B.J. got into the husk of an abandoned jeep. He then started spinning the wheel, pretending to honk the horn, and even worked on his pickup lines with an imaginary girl. It helped give the sense of B.J. being a man out of time—both in regards to recent gaming trends as well as his own plight. Then he went outside and blew up a pair of mechs.

I also noticed something interesting while working my way through the game’s menus. Late in the first chapter, your unit is captured, and you have to make a choice on whom to save between a pair of soldiers. I made my decision and realized later on that text appeared on my menu detailing the person I’d saved, giving me the sense that it could affect my playthrough later on. I don’t know if the choice will result in anything beyond a cameo later in the game, or whether it meant my entire story had been thrown down a different path, or even if more choices were coming at some point, but I love the idea of your decisions—even in something as far-fetched as Wolfenstein—carrying weight.

Honestly, I was more excited for Wolfenstein coming out of my play session than I had expected to be. The stunning attention to detail in the world and its characters impressed me, but what I’m most looking forward to is seeing how far MachineGames goes with this action-movie focus. Sometimes, like moviegoers with big budget blockbuster films, you just want to leave your brain at the door, and Wolfenstein looks to be banking gamers will be looking for that kind of experience come May.

Ghostbusting

Even a billion-dollar franchise like Call of Duty feels pressure sometimes, and this year’s entry, Call of Duty: Ghosts, probably had even more than usual. Fans were concerned about Infinity Ward stepping away from the Modern Warfare series and introducing something new—not to mention rival Battlefield 4 raising the stakes on next-gen with 32-on-32 multiplayer.

Infinity Ward also felt competition from fellow Call of Duty developer Treyarch’s huge success with Black Ops II last year. Even with all this pressure, though, Infinity Ward looked to maintain a steady course and reach their customary peak at the top of the FPS food chain. But sometimes, more change is needed to reach familiar goals—and I couldn’t help but feel that Ghosts doesn’t do enough to keep the formula fresh.

Ghosts’ campaign starts when a South American alliance called the Federation hijacks an American space station armed with ODIN, a kinetic bombardment system. Turning their own weapon against them, the Federation thrusts America into a decade-long conflict that instantly flips the global balance of power.

Logan Walker—the son of a former member of a U.S. Special Ops unit designated as “Ghosts”—quickly rises up the ranks along with his brother, Hesh, in a resistance group led by their dad as they help protect the ever-shrinking American border. But the Federation isn’t the only threat Logan and his family needs to deal with; an ex-Ghost named Rorke has allied himself with the Federation for the express purpose of making the lives of his former squadmates a living nightmare.

While Ghosts may tread familiar ground, it’s certainly not a bad experience overall. In fact, its single-player campaign is on par, in many regards, with Black Ops II, and it has the added bonus of not including those broken RTS side missions. Most of the levels impart that big-budget, adrenaline-fueled, action-movie ride players are looking for. It’s just that there are enough blemishes here—and a lack of overall innovation—to make it a good game, not a great one.

The major issue comes with the disconnect between the action and the narrative. Ghosts takes players all over the world and throws them into some insane scenarios that further the parallel between this game and action movies. But, like many action flicks, when the protagonists are placed in cool places like the Antarctic, dense jungles, underwater, or deep space, the narrative starts to come undone. In at least four of the game’s 18 missions, you’ll probably find yourself having flashbacks to college philosophy classes when you ask, “Why am I here?” I don’t know, Plato—but you might as well blow it all to kingdom come while you’re at it!

While the narrative reasoning leaves something to be desired, there’s certainly plenty of gameplay variety this time around. Whether it’s high-speed chases or subterranean subterfuge, Ghosts makes sure there’s never a dull moment. I did take issue with one activity, however—and that was playing as Riley, the German Shepard.

Don’t get me wrong—it’s awesome having Riley as a part of your unit, and it’s a blast issuing him commands. If you’re not good enough in multiplayer to ever earn that new perk, at least you get the satisfaction in single-player of having your pooch bite off a bad guy’s face. It’s nothing short of stupid, though, to have sections where you’re actually playing as the dog himself. Sneaking through the grass and silently taking down enemies isn’t something you need the dog for. Looking through a camera on its back is completely unnecessary, too, and considering that Riley’s only in three of the 18 missions, he’s not all that important, giving his segments a tacked-on feeling. I will say, however, that Riley’s voice actor is probably the second-best in the game after Rorke’s.

Despite these issues, the five-hour campaign still managed to pull me in with some excellent action sequences and enough of a cohesive narrative to make me want to keep going. But even with all its cool moments—unless you miss some Achievements or want to go through on harder difficulty levels—you probably won’t be going back to the campaign again and again. No, it’s the multiplayer that makes Call of Duty stay in our systems for months on end until the next chapter hits store shelves. But while this portion is technically sound—much like the campaign—it does little to make the experience feel fresh again.

Unfortunately, all the “new” multiplayer options in Ghosts are simply mashups of previous game modes, direct ports, or minor rule changes. Most of them are still fun, but I expected more than just a bunch of rehashes. The worst part of the multiplayer, however, is the new UI. The new character customization is a huge bonus this year, but the screen’s a mess, and most players will have to look long and hard at their TVs just to find the simplest of options, such as making the character male or female.

The UI problems continue when setting up your perks. While the few limits of Black Ops II’s Pick Ten system have been thrown out the window, so has the ability to quickly and conveniently make changes to your loadouts between matches. Due to tiny icons and a cluttered menu screen, if you really want to change your guns and perks, you should leave your respective lobby, since it’s going to take some time to really figure everything out.

All that said, the maps are more intricate than ever. Many of the larger areas have a multitude of lanes you can use in order to reach your objectives, providing some interesting variety when you spawn on these new killing fields.

The biggest surprise with Ghosts comes in the co-op mode: Extinction. The idea here is that up to four players have been inserted into the remains of a town that was hit by one of ODIN’s orbital strikes. It seems this strike unearthed something that had been long been buried…something alien. Now, you and your teammates have to get to ground zero, plant a nuke, and get the heck out of Dodge, all while trying to fend off this alien horde.

More focused than Zombies and far more creative than anything Infinity Ward has done with a co-op mode before, Extinction may be my new favorite co-op mode for the franchise. My only concern comes from the lack of replayability. Once you beat this section with your buddies, there’s little to make you come back, but hopefully some more maps and other add-ons come down the line.

When compared to the Call of Duty games that have come before it, Ghosts has a few problems, primarily in regards to innovation and moving the franchise forward. There’s no denying this. There’s also no denying, however, that the game’s still really damn fun to play—and even with the issues I’ve outlined, Infinity Ward has proven they can still hold the line, no matter the pressure.

Developer: Infinity Ward/Raven Software/Neversoft • Publisher: Activision • ESRB: M – Mature • Release Date: 11.5.13
7.5
Narrative issues and a lack of ingenuity in multiplayer plague what could’ve been an all-time great Call of Duty game. As is, Ghosts is still an enjoyable experience and shows that Infinity Ward can still hold the line—but the concept falls short of its true potential.
The Good Gorgeous set pieces with tons of action; the new bad guy is excellent; Extinction mode adds something new to multiplayer.
The Bad Some levels feel tacked on for the sole purpose of lengthening the campaign; multiplayer UI is awful.
The Ugly Riley’s whimpering actually had an effect on me.
Call of Duty: Ghosts is available on Xbox 360, PS3, Wii U, and PC and is a launch title for Xbox One and PS4. Primary version reviewed was for Xbox 360.

The more things change, the more they stay the same

At this point, everyone has seen the trailer or at least gotten the cliffnotes to everything announced at the Call of Duty: Ghosts multiplayer press conference. If you haven’t though, be sure to Chris’ write-up on all the new multiplayer details.

For the rest of you, though, you probably want to know how a lot of these announcements actually affect the gameplay. Well, we’ve got you covered. I was able to sit down with Ghosts’ multiplayer for about 90 minutes and put the new modes and maps through their paces.

Let’s start with the new modes. Two of seven new modes being added to the game were shown to us, and the first one I saw was Cranked. In this twist on Team Deathmatch, players who get a kill are given a speed boost as reward. The speed boost lasts for 30 seconds, but if you don’t kill anyone else in that time, your character literally explodes. Talk about messing with your K/D ratio.

After playing several matches, I realized a couple of things. The speed boost doesn’t stack, so there are only two speeds—normal and fast—and if you explode, there’s no splash damage that can hurt opponents. So anyone thinking that a suicide bomber strategy might help win the match or salvage that K/D, think again.

Also, 30 seconds is a lot more time than you might think. I saw a lot of people who started running around like a chicken with their heads cut off when their timer began and got mowed down by enemy fire before they even came close to running out of time. Panicking doesn’t help you or your team.

After Cranked, we got to try out Search & Rescue. This is a twist on Search & Destroy and Kill Confirmed–style matches. Kill an opponent, then collect their dog tags to remove them from the match altogether. If an ally grabs the dog tags first, the person will respawn. Since I love both of these modes, I had a lot more fun with Search & Rescue than Cranked. Just like classic Search & Destroy, you don’t have to eliminate the entire enemy team if you are on the offensive, since there are also two points where you can plant a bomb.

Honestly, the modes may be described as “new,” but neither reinvent the wheel. All we’re seeing is some unique little twists being added to classic modes, or modes being combined and passed off as something revolutionary. But, I can’t deny that these modes, especially Search & Rescue, we’re a lot of fun to play.

Aside from these new modes, we also played Domination a couple of times, which remains the same as ever.

We also got to play on three brand new maps: Strikezone, Whiteout, and Octane.

Octane is a medium-sized map based around an abandoned gas station and a western ghost town. As demonstrated in the trailer, this map featured destructible walls and structures. Players can blow apart the supports to the gas station roof, causing it to collapse into new cover, or crush players underneath. While I didn’t see anyone stupid enough to get squished, the few times we did level the station it definitely caused a huge shift in strategy. Terrain morphed and closed off some old paths, while new ones opened up. When we played Cranked on Octane, the disorientation proved deadly—a few players found themselves lined up in enemy crosshairs after not being able to find a way through the rubble.

The next map was Whiteout, and was easily my favorite of the event. It was a massive, open map that afforded players plenty of sniper perches in abandoned vacation cabins, as well as cover through twisting, ice-covered caves. While playing on this map though, I admit to having flashbacks to the White Pass map from Battlefield: Bad Company 2. While the attention to detail here was much higher (as I would hope with next-gen on the horizon), the feeling of sniping from a second floor window overwhelmed my nostalgia factor at times as we played Search & Rescue.

The final map was Strikezone. Easily my least favorite, this was probably the smallest map I can remember in recent history. It seemed comparable in size to Hijacked from Black Ops II, but with even less cover and a square layout overall instead of Hijacked’s elongated corridors.  There is nothing more frustrating than spawning in maps like these, since—with everyone running around in such a confined space—you’ll often pop up right next to an enemy and be dead again before getting your bearings. It also had very little going on in it. While the idea of a firefight breaking out in a stadium hot dog stand sounded fun, it turned out to be anything but.

After exhausting the modes, I attempted to go in-depth with the customization, but we were on an unforgiving rotation that prevented me from truly messing around with the new point-value perk system (where some perks are worth more than others) or really mess with my character.  I was able to cycle through some pre-assigned camo options like arctic, desert, urban, and the classic jungle, and gave my soldier a badass helmet before being whisked into another match. But it was nice to see so many of Ghosts‘ new female character models on the maps. Ultimately, these customization options are more about personal tastes than anything else, since they don’t change things like movement speed or health. It’s just another way of putting a personal stamp on your Call of Duty experience.

I also got to experience the new Field Orders feature, where a blue briefcase will randomly appear on the body of a felled enemy and provide you and your team a Care Package if you complete certain extra objectives, ranging from getting a kill while jumping to performing so many headshots. This was an interesting addition, but not one that most people I played with cared about. I’d often see the briefcase just sitting there, so lonely, waiting for a player to try their hand at its challenge. But no one ever bothered, because there’s so much else going on in a multiplayer match to worry about.

At the end of the day, the new modes and maps were nice, but it’s still the core Call of Duty experience that millions of people have come to love. There was little here to make me think that what we’ve grown accustomed to over the years, besides the next-gen prettiness of it all, will be getting a massive change. Some of the things announced at the press conference, like Clans, weren’t available to me when I wanted to check them out, but the idea of making clan tags more official and rewarding players as a group for doing well on top of individually has a lot of potential.

Overall, if you love Call of Duty, I don’t see anything here that will turn you off to Ghosts. On the other hand, if you’re looking for a true game-changer, what I saw suggests that you’ll probably have to keep looking.

Only McCarthy would disapprove

EDITOR’S NOTE: THIS REVIEW CONTAINS SPOILERS FOR METRO 2033. IF YOU HAVE NOT PLAYED METRO 2033, YOU MAY WISH TO TURN BACK. CONSIDER YOURSELF WARNED.

Three years ago, THQ released a first-person shooter called Metro 2033 to little fanfare. Based on a self-published book of the same name, the game found a niche among those looking for more than the standard military-shooter experience. Players embraced a rich, enthralling story—even if the gameplay itself was flawed and ultimately detracted from the experience.

Back in the present day, that cult status has given 2033’s sequel, Metro: Last Light, a groundswell of buzz. Looking to deliver an even more in-depth experience and to fix the technical problems of the past, developer 4A Games has overcome mid-process publisher problems to deliver a game that picks up on Artyom’s story two years after his initial adventure in post-apocalyptic Moscow. Yes, fans of the novels, I said “Artyom.” Instead of following the storyline of the books—which would carry us right into Metro 2034 and follow Artyom’s friend, Hunter, Metro series author Dmitry Glukhovsky penned an entirely original script that continues Artyom’s tale.

Since Metro 2033 featured multiple endings—one where Artyom destroyed the Dark Ones, (humanoid creatures with charcoal skin and telepathic abilities), and one where he spared them—Glukhovsky and 4A Games looked at gamer tendencies to see how they would proceed. An overwhelming majority of gamers chose to destroy the Dark Ones, so Last Light considers that ending the canonical one.

Artyom’s been plagued with nightmares since the end of the first game, even though many laud him as the hero who saved the Moscow Metro from the insidious Dark Ones. But Artyom knows the truth: He made a terrible mistake when he launched those missiles from the local TV tower. Redemption may be near for Artyom, though, as his good friend and adviser, Khan, says he’s spotted a young Dark One that survived the blast near the Botanical Gardens. If Artyom can save this child, he hopes that he can still save what’s left of his scarred soul. Unfortunately for him, the other factions within the Metro have plans for Artyom—and this young Dark One as well.

As one of those fans of the first Metro, I was blown away by how far Last Light has come compared to its predecessor. If you thought the narrative was intriguing before, now it’s downright intoxicating. The game’s pacing and levels are broken up like chapters of a book—a clear indication of Glukhovsky’s involvement—each introduced by Artyom’s narration, which allows for both simple character development as well as a streamlined setup for the action. And if you want more of Artyom’s inner voice brought to the forefront, the game includes 43 collectible journal entries that flesh out the longer sequences and Artyom’s thinking.

The story’s constantly moving forward, which helps the pacing and narrative tremendously. The game offers few optional missions, and the ones that are included are well hidden within the context of the happenings around you; this way, even if you miss them, you probably won’t realize it.

When you combine how the plot unfolds with the brilliantly designed world of the Metro, you have one of the most immersive, atmospheric experiences you’re likely to get on consoles. I wish some survival-horror games would take a page out of Metro: Last Light’s book when it comes to building tension and atmospheric presence; I couldn’t put my controller down, as I got sucked into Artyom’s sad existence. Yet I was still in awe and aware of Artyom’s insignificance compared to the sprawling mass of Metro tunnels or to the ruins of Moscow’s mightiest monuments on those rare sojourns to the surface, which only sucked me further down the rabbit hole.

The improved graphics definitely help here; many of the creatures, people, weapons, and locations have an intense amount of detail, often so minute that you can actually count how many expended shells are in your six-shooter or watch as the flame of a broken lantern slowly engulfs dried-up cardboard boxes or furniture.

Not all of the creatures are as frightening as the developers intended, however. The Demons and Watchmen from the first game look better than ever, but new monsters that lurk in the water—or are sequence-specific—look like they belong more on a Ray Harryhausen stop-motion stage than they do in a modern game.

The biggest improvement between the two Metro games, however, is clearly in the gameplay. Sure, you’ve still got your typical first-person shooter mechanics, but Last Light also sports an interesting weapon-customization feature. If you’d rather save your military-grade shells (returning as the game’s currency), you can actually make it through most of the game with very few weapon upgrades. I personally picked up only a few along the way and was fine throughout, modifying my pistol so it acted more like a sniper rifle, adding night vision to my assault rifle, and picking up a quad-barreled shotgun along the way that put most any monster down very quickly.

The idea of needing to survive is also still prevalent here. Much like in 2033, keeping an eye on your air supply when in toxic areas, charging your headlamp with a portable generator, and making sure the visor on your gasmask doesn’t crack all add extra tension to several scenarios, where facing off against giant spiders or a Communist patrol are unavoidable.

I realize I keep referring to Last Light as a first-person shooter—and although that’s technically true, that description makes the experience sound more action-oriented than it really is. Sure, you can go through the game guns-a-blazin’, but the true sense of playing in Artyom’s shoes comes when you must play stealthily: trying to time patrol patterns, shooting out ceiling lights with silenced weapons, and making sure dead bodies won’t alert guards. And this leads us into the next major improvement: enemy AI.

Foes will now actively search you out if they suspect you’re near, and they’ll go to great lengths to try to flank you or flush you out with grenades and other tactics. At several points, however, I took advantage of standard stealth strategies to fool the AI and easily overcome drastic numbers disadvantages, meaning that the AI has come far—but not far enough to put Last Light on par with more traditional stealth titles.

The game also makes it more difficult to be stealthy, because it lacks one simple mechanic: dragging away dead bodies. Oftentimes, it wasn’t that I made noise or missed an instant-kill headshot—it was the fact that a guard stumbled upon a corpse strewn across the floor. I’m not expecting Artyom to be like Agent 47 in Hitman, hiding bodies in every container known to man, and I get that his character’s a somewhat-naïve twentysomething, but just let me drag the bodies out of sight!

Despite these flaws—along with the occasional ragdoll-physics glitch and a convoluted user interface for selecting secondary weapons and items—I found Metro: Last Light to be one of the most complete experiences I’ve had from a game in quite some time. The story is all-consuming and made me lose sense of the world around me—and myself—as I poured hours into helping Artyom save the Metro.

Developer: 4A Games • Publisher: Deep Silver • ESRB: M – Mature • Release Date: 05.14.13
8.5

If you love a great story and some fun first-person shooter action, Metro: Last Light is sure to please. Only a couple of minor shortcomings hold the experience back, including the much-improved—but still not completely polished—stealth gameplay.

The Good One of the most immersive, atmospheric games you’ll play this year.
The Bad AI and stealth have come a long way—but not far enough. 
The Ugly How much free advertising for Dmitry Glukhovsky’s books you’ll find.
Metro: Last Light is available on Xbox 360, PS3, and PC. Primary version reviewed was for Xbox 360.