Tag Archive: PS4


After a series of lackluster releases, the fortunes of Telltale changed for the better when its landmark first season of The Walking Dead dropped. It was a gritty, moving story that redefined narrative in video games, and it seemed for a time after that, Telltale could do no wrong. There have definitely been more successes than not when taking licensed properties and crafting original tales around their episodic, choice-driven formula since then—the Walking Dead, however, appeared immune to the occasional misstep seen in other series. This leads us to The Walking Dead: A New Frontier, the third full season of the saga which just released its final episode. Although it is still one Telltale’s stronger efforts, it pales in comparison to the previous two seasons.

The character of Clementine, the common thread through the first two seasons, is still present here to keep us connected, but takes a noticeable backseat as players control new character Javier “Javi” Garcia. Javi’s family has a close encounter with a walker early in the outbreak, which proves to be a turning point for him as a person. He takes it upon himself to care for his sister-in-law, niece, and nephew for the next several years as the walker threat spreads. When Javi—with family in tow somewhere between Baltimore, Maryland, and Richmond, Virginia—come across the wrong set of humans in a junkyard, however, they quickly realize the living is just as dangerous as the undead.

Unsurprisingly, the narrative across A New Frontier’s five episodes provides a lot of highs and lows for our characters. Keeping in line with previous Walking Dead games, there are a bevy of heart-wrenching moments, difficult decisions, and surprises to be had as you try to guide Javi and his family to some sort of safe haven. The limited time you have to make decisions ramps up the tension more than ever before, as Javi will often have to think quickly in terms of what to say (or what not to say) and where to go.

The only issue with this system in A New Frontier—and this is something that has crept into Telltale games before—is that sometimes some of the descriptions of what you want to say will cause you to make a choice, but then your character will say something you did not expect at all. If I choose “tell [insert character] off” then I’m expecting a few sentences laced with expletives, not for my character to suddenly reveal private information meant to hurt that individual on a deeper level. The result then may lead to something truly unexpected, but it’s frustrating when it stems from a choice you feel you really didn’t make.

Thankfully, those instances, at least in my playthrough of the season, were relatively few and far between. Something that plagued the narrative far more was the inconsistency of the writing quality as a whole. Each episode, even the double-long two-parter that kicks the season off, had plenty of those great moments I mentioned earlier—but unlike previous Walking Dead games, it felt like there were dramatic tonal shifts between episodes and writing teams. Nowhere was this more evident than in the final episode, which only had one lead writer instead of a full team. This episode had humor pop up in the weirdest places, which seemed to really undercut everything that had happened up until that point. The narrative for this season also relied more heavily on plot devices than in previous games. For example, each episode usually featured a couple of flashbacks. Some were used to fill in the nearly two-year gap for Clementine between Seasons Two and Three; others were trying desperately to add depth to the new cast of characters, who still ended up being far less interesting than any group we’ve previously played as. The device was neat early on, but already felt overplayed by the time episode four rolled around.

Speaking of devices, poor Clementine was relegated to deus ex machina this go around instead of the powerful, beloved heroine she was becoming after Season Two. She would come and go as she pleased during each episode, and it felt like whenever Javi had gotten himself into the most trouble, Clem would show up to find a way to bail him and his bumbling family out before continuing her own agenda elsewhere (which we almost never see). Admittedly, this could be a sore spot for me due to the attachment many of us have developed with this character over the years, but it felt like one of the better characters in video games was being underutilized.

That said, one new device the game added that I enjoyed was that those limited interactions with Clem played heavily into how much she helps you later on in the game. In fact, after seeing how all my decisions affected my playthrough, I was shocked that half of the audience alienated Clem by the end of the game, leading to many questions for potential new seasons that will hopefully switch the focus back to our darling Clementine. This added some much needed weight to the largest decisions you have in the game early on, and was a pleasant surprise.

The rest of the gameplay in A New Frontier was rather by the book otherwise. Telltale has gotten away from the puzzles of point-and-click adventures of the past, relying far more heavily on quick time events now. Although this helps greatly with the pace of the story, it removes almost any challenge from the game, making it feel less like you’re playing a game at all. Depending on how much you’ve invested in the narrative, this could be a potential turn-off if you’re looking to test your brainpower more than your reflexes. It also needs to be said that Telltale’s proprietary Telltale Tool game engine continues to show its age in the worst ways. There is nothing more immersion breaking than when someone is hurt in the game and the animation jumps when the blood splatters. I understand that Telltale has become a well-oiled machine in terms of being able to crank out episodes at a breakneck pace compared to just a few years ago, but it’s clear the game engine can no longer support the creative engine.

The Walking Dead: A New Frontier isn’t the best season we’ve gotten of Telltale’s The Walking Dead—it’s strong narrative, although inconsistent at times, is still one of the more compelling and well-thought stories Telltale has produced, however. It took some chances with new plot devices, many of which I felt did not work, but this will hopefully provide opportunities to try other ideas that might work better instead. If you’re a big fan of these Walking Dead games, you’ll be happy you’ve played this, but like me, it’ll probably only make you want a new season as soon as possible where the focus shifts back to Clementine.

Publisher: Telltale Games • Developer: Telltale Games • ESRB: M – Mature • Release Date: 05.30.17
7.5
It’s a solid third season for The Walking Dead, but we’ve seen so much better. Cheap plot devices and inconsistent tones in the writing hurt the overall quality of the narrative, and the Telltale Tool continues to show its age in the worst ways. And, for diehard fans, Clementine will still find a way to steal the show from the new cast.
The Good A New Frontier continues to show why The Walking Dead is Telltale’s most compelling property.
The Bad The Telltale Tool continues to show its age; writing inconsistency between episodes.
The Ugly My crying face—Telltale is too good at making you care about a character and then killing them off.
The Walking Dead: A New Frontier – The Complete Third Season is available on Xbox One, PlayStation 4, PC, iOS, and Android. Primary version reviewed was for Xbox One. Review code was provided by Telltale Games for the benefit of this review. EGM reviews games on a scale of 1 to 10, with a 5.0 being average.

Last week I had a chance to see the beginnings of Far Cry 5. Set in the fictional Hope County, Montana, players will be dropped into the middle of this rural slice of Americana that is under the hypnotic control of a cult leader named Joseph. This enigmatic figure believes he hears voices telling him that a reaping is coming, and that souls aren’t going to harvest themselves. If you’re not with him, you are most definitely against him—which Joseph is fine with, because he also believes that he and his people must prepare to be tested.

Of course, taking over a town isn’t the easiest of endeavors, and Joseph’s closest kin serve as the lieutenants that help keep everyone in line. Jacob, the eldest brother, is an ex-military specialist who has become disenchanted with the government and the world. John, the youngest brother, is a smooth-talking lawyer who knows how to keep the government from coming down too hard on his dear brother Joseph, and how to snatch up more property to bring under the cult’s control. Finally, half-sister Faith knows how to keep Joseph’s followers in line, a pacifying pacifist that keeps the cult’s rage from boiling over until Joseph is ready to let them loose on the world.

The odds are stacked against you, as they always are in Far Cry. However, you’ll have allies in your war to reclaim the hearts and minds of Hope. Barkeep and lifelong resident Mary May remembers what the town was like before Joseph, and she places sole blame on him for her family falling apart; her personal vendetta against the cult leader will make her a fiery addition to your team. God and guns preacher Jerome is infuriated that life has come to this, and that so much of his flock has been led astray; he hesitantly will resort to force in order to save the souls of his lost people. And finally, there’s Nick Rye, a crop duster who comes from a long line of airplane pilots. His father and grandfather both fought in wars, and Nick reckons it’s time to fight in one of his own.

Far Cry 5 will give you a bevy of tools to use as well. Everything from flamethrowers to pitchforks, guns and dogs for hire, and almost anything else you can think might be willing to risk getting hit with a few bullets for the sake of a few bucks. And, as always, how you go about tackling situations will be up to you. To get a lot more insight into the inspirations behind what seems on the surface like a radical departure for the series, I sat down and talked with Far Cry 5’s executive producer and creative director, Dan Hay.

EGM: I think the easiest and most obvious question is, why Montana? Although it might appear foreign to a city slicker like myself, I imagine it’s not very foreign to a large portion of the game playing public.

Dan Hay: There are two things that I’ll say about that. It would’ve been easy for us to pick a location somewhere around the world and given people something that would be classically referred to as “exotic”. But I think we had those conversations and we said to ourselves that sometimes it’s the thing in your own backyard that is the weirdest, that is the strangest, and when you scratch it there’s a lot of stuff underneath. That’s the first part.

The second thing is that the cult is something that’s really unique for us. I think people are going to realize that we picked the place because this is a place where it’s believable that some people want to be left alone and they don’t want to be bothered and that if you were going to build a cult, you could probably put it in there. So, we met with cult experts and they talked to us about it.

Whenever I watch a show or movie, part of me wants to watch because they’re offering me an experience that I will likely never have in my life and they allow me for two hours, or however long the show is, to dip my toe in the economy of the world that they’re building. And so when I think about some of the stuff that I watch on TV, I’m never going to be a gangster. Probably. But I get to visit that for a time.

And so I don’t think that a lot of people are going to be most likely in a cult and I think that it’s pretty cool for them to be able to go “Wait a minute, let’s look at this. Let’s meet the Father. Let’s understand what his family is doing. Let’s hear some of the things they are espousing, some of the things they’re saying. Let’s look at the people in Far Cry’s Montana”—and it is Far Cry’s Montana because we built Hope County and it doesn’t exist in the real world—”and see how they are going against the cult and pushing back.” And so it creates a unique experience that I don’t think anyone was expecting and it’s ours.

EGM: When you mention a cult, I think a lot of us jump to the idea of folks in white robes and ponchos drinking Kool-Aid. How are you going to get people past this idea in the game?

DH: I think you keep it simple. Absolutely, when you think of cult you think of a cliché sort of answer to that. I think when you see our characters they aren’t that. We kept it simple. There’s a guy who believes he’s heard this voice and he believes that a collapse is imminent. He believes it. And he’s managed to bring together followers who trust him in that. And when he talks about it, he doesn’t talk about it in ridiculously crazy terms. He says, “Look, there’s going to be a collapse. It’s going to happen. And we need to protect ourselves.” And then what he’s going to say is something to the effect of “You’re not going to believe me. There’s nothing that I can say that will bring you around to this idea. So, I’m just going to take you, and when it happens, you’re going to say thank you.” That’s an idea people can understand. And when an actor with gravitas gives it, when it’s given with great writing, you understand what these people stand for. You understand what’s happening. And you understand why the regular people in this world, the citizens, don’t want to have anything to do with this guy.

EGM: You mentioned an actor with gravitas. Can you give us any hints as to the cast that is playing your principal roles?

DH: I can’t say whom we cast. Casting on Far Cry is really tricky because it’s alchemy. I’ve implied it’s a process before, but the more I do it the less process it is. You get a great writer. Great writers, right? And the other thing that we’re doing is changing some things a little bit, trying to make like a writers’ room where people are pitching ideas and kicking stuff around and riffing off of each other. Then, we go out and cast the net wide and look for people who are going to be able to hold your gaze, people who can make your skin crawl, people who can make the hairs on the back of your neck stand on end. And then, also, letting those people run a little with the material. Because it’s not perfect, we’re not going to nail it 100% perfect the first time. And then making sure it feels believable and that what comes out of their mouths, especially when you’re working with a first-person camera, they have some room to play.

I think that’s how we found some of our characters in Far Cry 3, 4, and Primal. And we know people want that from us. We know that people are looking at this and knowing if the characters are important and whom you’re going up against and who you are. I think that on this one, it’s super-interesting to see that we’re now dealing with a family and you get to meet each one of those people. They’re a chorus and they each have their own jobs. They each have their own micro-agenda. And I think people are going to dig it.

EGM: What can you tell us about the gameplay this time around? Are we going to be putting Bessie the cow out to pasture in order to craft supplies? What can we expect different in terms of gameplay?

DH: Well, you’re trapped behind enemy lines being in the cult territory and you got to use the resources that are available to you. If you’re played the Far Cry games, then you’re going to like what you’re getting and we’re going to give you more opportunity. We found a unique recipe when we built outposts where you got up to an outpost and you could attack it from 360-degrees. And you can see the anecdote factory opportunities and the question was why couldn’t we just do that with the whole game. Why couldn’t we drop you in the middle of the game, give you a little information, and then let you go in any direction and author the experience your way? That’s what we’re building here.

EGM: So are there no more outposts at all?

DH: I won’t go into specifics like that. What I can tell you is that—assuming you enjoyed the gameplay in Far Cry 3, 4, and Primal—when you see that we’re putting in guns for hire that can come with you, and the new inputs we’re putting into the anecdote factory for when you go up to a location that’s owned by the cult and you attack it, you’ll still have that 360-degree approach and that opportunity. But now you have new tools. Maybe you want to fly in and strafe it. Maybe you want to do a bombing run. Maybe you want to call Nick and have him come in and blow it up. Maybe you want to take your dog and send it in and have it tag everything. Those are the things we’re bringing to the game.

EGM: From what I’ve seen, this feels like it channels the temperature of the US as a whole right now. Like we’re all in a pressure cooker. How much of the game came about before a lot of recent events started to take place and how much did the game maybe be influenced by real world drama?

DH: It’s a chicken or the egg kind of question, right? I get asked, “do we have a specific agenda in this story?” No. We don’t. We’re not saying this is good and this is bad. What we’re saying is that the temperature right now is kind of in the red. The temperature is that people are running hot. They’re nervous and there’s a global consciousness of tension. It’s a pang I had as a kid [during the Cold War] and it’s familiar and I don’t know the answer to your question of what came first. It’s wholly believable that some of the things that had been going on in the world three years ago when we started to kick this idea around somehow influenced us. We can’t say that didn’t happen. But the world has changed so much in three years. Just the fact that we talk about things in the game and the characters in our world are affected by a lot of the things that are happening in the real world in terms of when they talk about stuff, they’re going to be aware and they’re going to be alive. And so yeah, I don’t know if its serendipity or what it is, but we landed on a sweet spot.

EGM: We talked a little bit before about the exotic, and Far Cry tends to always walk right up to the line in terms of believability. Far Cry 5 feels like it is walking more parallel to a familiar, current state of our world. How do you think fans of the franchise will react?

DH: Everybody that we show the game to is like, “Wow. I want to play that.” There’s no question that when you build a world, what you try and do is you try and make it so that that player can go in any direction and you allow them to go and do their thing. Far Cry is known as an experience where you go out and you can just blow stuff up and go crazy and have a great time. Or you can go in and have an earnest moment in the story and have something. All we wanted to do here is make it so this story felt grounded and felt real and be something you would understand and know right away and I think we did it. I think we have the framework for that. I think the older you get, you start to see cycles of things and so there’s going to be people experiencing this for the first time. And it’s going to be new and fresh and they can go out into the world and they can blow stuff up or they can have an experience with the story and it feels very present. And I think it’s going to be great.

Far Cry 5 will release on February 27, 2018, on PlayStation 4, Xbox One, and PC.

The original Injustice was an epic comparable to any major comic book event, movie release, or series of TV crossovers. It had everything from multiple universes to the kind of fights fanboys spend way too much time on the internet arguing about. Couple this with tight gameplay all around, and it is no wonder the game was such a hit. Topping all this in its inevitable sequel would be no easy feat—and although I enjoyed the first game of the series a tad more, Injustice 2 is still great enough that Batman would offer it a seat at the Justice League table.

Injustice 2 takes place shortly after the events of the first game. The heroes from our universe have mostly returned home (Green Arrow decided to stay and help out) and those in the Injustice-verse must aid the rebuilding efforts now that Superman’s Regime has been overthrown. In its place, however, new threats have arisen. Gorilla Grodd has brought together various villains to form a group called The Society, determined to rule in the Regime’s place. Meanwhile, an interstellar threat from the stars—the world collector Brainiac—has set his sights on Earth after finding out not one, but two surviving Kryptonians reside there. The heroes of this Injustice-verse must again band together, and even forge some uneasy alliances, if they are going to survive this new conflict.

It is now official: it seems the writers of Injustice have a better grasp of how to make a compelling DC Comics universe more than anyone currently behind most of the comics and all of the movies. The overarching story of Injustice 2 is a logical continuation of the first game’s narrative, told in NetherRealm’s now signature chapter-based sequences that follow individual fighters in the universe. It continues to flesh out this Injustice-verse and find, for the most part, natural ways to integrate new and interesting characters. There’s even some chapters that you can replay with different characters, and multiple endings depending on a choice you’re forced to make—although one feels much more like it will stand as canon beyond the other.

The story isn’t without flaws, however. While many characters made sense here in Injustice 2, several seemed to be shoehorned in just to expand the roster number. Firestorm’s ability to create any element was nothing more than a plot device, and the Joker—who appears as a Harley hallucination—was completely unnecessary beyond needing to continue to push that awful Jared Leto-esque Suicide Squad design onto us yet again. The worst, though, might’ve been Green Arrow, Black Canary, and Atrocitus. They all had small—yet interesting—side stories started, but they never came to a logical and satisfying conclusion, leaving us holding onto unfinished B-story threads. That said, I’d still rather have a dozen Injustice stories for every piece of garbage that DC Comics now prints or sends to our theaters.

Where Injustice 2 really stands out from the crowd is in its gameplay. The fighting mechanics are deeper than ever, with an extended specials meter that allows for more special moves to be buffed up, new escapes from combos, or the always-entertaining supermoves that cue a cinematic should they hit. Whether it’s Batman blasting you with the Batwing, Green Lantern obliterating you with a mechsuit construct, or even the Flash literally punching you through time, they never get old to watch—except maybe if you’re always the one being hit with them instead of doing the hitting.

As well, each of the game’s arenas once again feature a plethora of objects you can interact with. From throwing alligators in Slaughter Swamp to knocking opponents into the marquee of the Empire Theater, being aware of your surroundings can be just as important as memorizing combos. The only downside I found in the arena design was that one major feature from Injustice was surprisingly watered down here in Injustice 2: the stage transitions. Whereas we used to be able to knock opponents into one or two other stages on almost every level, many levels in Injustice 2 are self-contained, or only feature one transition. I’m not sure the reason for this, but the transition threat on both sides of a stage is something I sorely missed from the first game, and—considering the roster size—made the lack of overall arenas all the more telling.

A few new characters and a continuing story are expected in a fighting game sequel, though. The biggest change that Injustice 2 introduces is the new gear system. Similar to an action-RPG, leveling up your profile, leveling up a character, or completing certain objectives across all the game’s different modes will reward you with loot, gear, or Motherboxes, which—depending on rarity—rewards two to six more pieces of gear. You can then take the items you’ve earned and equip them into one of five different gear slots on each fighter. It not only changes the cosmetics of each fighter, but also boosts their ability, attack, defense, or health. You can even find new moves for your characters that you can equip, such as a teleport for Scarecrow, or a ground pound for Superman.

The system is one of the deepest rewards systems I’ve ever tried, and saying I became hooked by it would be an understatement. After every fight, I had to compare and contrast what my fighters were wearing, and it kept me playing far longer than I might have otherwise. It basically means that mirror matches are far less predictable, and even if you don’t like the idea of gear changing your stats, you can turn off the effects before every battle if you so choose. As characters level up, new gear becomes available to them until you hit the level 20 cap per character, and even if you should find a piece of epic gear at a lower level, you can earn regeneration coins that allow you to recast those items at your current level.

Sure, there are microtransactions that can speed up this entire process—including leveling up all your characters to max if you so choose. Honestly, though, I am having way too much fun fighting for every piece to make me potentially more powerful. I’ve never felt this direct connection between my hard work and the loot I earn so strongly before, even if the numbers are all randomly generated. My only complaint would be how I wish there was an easier way to earn epic loot for characters you don’t play with in the story. For beating a respective character’s story chapter, you’re rewarded with a piece of level 20 epic loot; it then made me really sad that half the roster was one piece of loot behind everyone else, even though there’s still the process of getting everyone to level 20.

Still, you can earn gear in every mode. Whether you’re trying to climb the online leaderboards (which are all operating smoothly at last check now a week after the game’s launch) or watching your characters duke it out in the new AI mode (where you pick three of your custom fighters to fight other custom teams and let the computer decide the winners as you watch), the gear and loot is always coming. My personal favorite way to get new gear, especially of the epic variety, is the new Multiverse mode.

The next step in MKX’s Living Towers system, these time-based events are portrayed as Batman keeping an eye on all the different worlds he learned about after the first game. Picking a planet affords players the opportunity to tackle special challenges against the AI; should you complete all the objectives on each one of these Elseworlds, you’ll be rewarded with some of the best gear in the game. Each planet, though, has a variety of stipulations. Some might help you, like having characters from the last game—such as Ares or Raven—offer their assistance as an AI ally that you can call on with a button press. Others will hinder you, as maybe you take damage every time you do a special move, or your opponent will have armor on, allowing them to absorb a certain number of hits before you can actually chip away at their lifebars. Either way, these challenges are constantly cycling in and out every few hours, and will keep you on your toes while keeping your coffers stuffed with loot and gear. The only one not set to a schedule is the “Multiverse Battle Simulator,” which is the well-hidden equivalent to Injustice 2’s arcade mode.

Injustice 2 is everything fans of DC Comics would want from a game like this, and then some. The gear system is surprisingly balanced and delightfully addictive in a way that will keep you coming back to this game long after you’ve seen every arcade ending and both endings in story mode. The story itself is very good, and even with a few holes and cheap gimmick characters thrown in for the sake of expanding the roster, is easily the best writing any DC property has seen since the first Injustice came out. And, most importantly, the gameplay remains top-notch, and is deeper than ever with new escapes, meter burns, and those fantastic supermoves. Even in a year that seems to be full of fighting games, you’ll be hard-pressed to find one better than Injustice 2.

Publisher: Warner Bros. Interactive Entertainment • Developer: NetherRealm Studios • ESRB: T – Teen • Release Date: 05.16.17
9.0
Injustice 2 is one of the most complete fighting games you’ll ever play. From the story to the Multiverse Mode, there is something for everyone here to enjoy. And with how addictive the gear system is, you’ll be hard-pressed to put it down.
The Good The gear system is as addictive as advertised, and the Multiverse concept only feeds into this.
The Bad Story tries too hard to shoehorn some characters in. Less stage transitions than previous game.
The Ugly The new Joker design. Stop trying to push the Suicide Squad movie on us Warner Bros.!
Injustice 2 is available on PS4 and Xbox One. Primary version reviewed was for PS4. Review code was provided by Warner Bros. Interactive Entertainment for the benefit of this review. EGM reviews games on a scale of 1 to 10, with a 5.0 being average.

We were like sardines in a tin can. Every influencer, member of the press corps, and Activision staffer had been crammed into a stuffy aircraft hangar down in Hawthorne, California, fittingly right next to SpaceX’s headquarters. While Elon Musk’s company was nearby trying to help pioneer space travel, we had all huddled together to see the first gameplay of Destiny 2—the highly anticipated sequel to Bungie’s 2014 MMOFPS sci-fi space opera.

Fortunately, it wasn’t long before Luke Smith—likely one of the more visible and successful examples of game journalist turned game developer, and now director for Destiny 2—had taken the stage to highlight and guide us through the series of video vignettes we were about to watch. To kick things off, Luke surprisingly talked rather candidly about the fact that the original Destiny had lost a significant chunk of its audience after release. Although 50% of Destiny owners had invested in the expansions, crafted their own adventures with friends, and saw firsthand the universe Bungie so desperately wanted to create finally come together and take shape late in Destiny’s life, there was another 50% of the audience that hit that initial level cap, and never returned. The fun had simply been buried too far beneath the surface, and not everyone was willing to go digging for it.

Admittedly, I fell into that latter group. Although a perfectly competent and polished shooter, the first Destiny never grabbed me. I couldn’t sink my teeth into its lore, and what it had done in that initial effort just wasn’t enough to warrant me sticking around—and definitely would not get me to open up my wallet again for its expansions. However, at least Bungie was aware—or claimed to be aware—of folks like me. It’s often too easy for developers to continue to cater to the people they already have locked in, chalking up those lost over time as simple passersby, paying them no heed.

Bungie wants to get to the fun parts faster with Destiny 2 in the hopes of luring people like me back to the franchise. After both the presentation and then the ensuing hands-on with the game, though, I was left shaking my head, because it appears that very little has actually changed. In only the franchise’s second game, Destiny 2 feels like a glorified add-on—or, worse yet, a soft-reboot.

Some of the additions that were highlighted during Bungie’s presentation would of course be impossible to show in a venue like this. Building clans and the improved matchmaking is something that we will need to wait for final code for before we properly see it, but it is definitely something the game has long needed. While chatting with others at the event, it was common for the more diehard Destiny fans—the ones who easily fell into the 50% opposite me—to be extremely happy about this change. Still, many also lamented that it’s something that should have been in the game from the get-go, or at least earlier than this. This was one of two common reactions I found throughout the day: that the changes Destiny 2 were bringing should’ve been in the original.

There was also grief expressed over the fact that those loyal to the franchise would not see any boons or the like carry over from one game to the next. Destiny has been propped up by its fanbase believing the game would continue to improve, investing time and money into it constantly, and they are being “rewarded” by having to grind all over again. It almost feels like, in trying to win back folks like myself with a fresh start, that Bungie may have taken their entrenched audience for granted to some degree.

The other reaction that was far more common throughout the day was simple—this is it?—and many in both halves of Destiny’s potential audience shared it. Only one new raid, no new classes, and three new worlds (four if you count the new areas opened up on Earth) were teased. Sure, you have the new subclasses and powers for heroes, but if you’re going to make everyone start over, why not go hog wild and expand the gameplay, customization, and class options?

The worst of it is that Bungie showed us so little that whatever new content might’ve been there felt buried in the demos. Here we were, digging to try to find the fun of it all again. All heroes we played with—whether it was on the one Strike mission, one new 4v4 PvP mode, or the Homecoming campaign mission (which had been shown to us during the presentation already)—were prebuilt. Most of this was available on both PC and PS4, and I can attest that the PC version of the game looked and handled great. But, the demos that Bungie gave to us failed to make me care whatsoever, just like with the original game.

For example, allowing us to play a mission you literally just showed us during your presentation did nothing to expand on the idea of the fresh story you’re trying to set up. Dominus Ghaul is stealing the Traveler for himself; if I didn’t care about the giant gumball in the sky from the first game, how is this going to suddenly compel me? Thanks for dropping me into a firefight, with a prebuilt character, that I don’t want to be a part of after walking me through it literally 30 minutes prior. Let me explore a little; show me something new. If you’re trying to convince people to come back to Destiny, this wasn’t the mission to do it with.

The Strike Mission was similar. Although there were some new and interesting environmental hazards like giant mining drills, the Strike seemed to play just like the ones in the previous game: work your way deeper into an exotic location with your team—in this case a mining asteroid—kill the boss, get out with some loot.

Also, if you’re promoting connectivity and community, maybe give us some headsets with microphones in PvP or the Strikes. It’s hard to coordinate if you can’t communicate, and handcuffing everyone demoing the game like this made no sense even if you weren’t stressing how the game brings people together—but since you are, this came off as extra moronic.

The most interesting section of the day for me was easily the PvP, which at least showed us the new Countdown game mode. Even that didn’t feel exactly new, however, as it is best described as being exactly like Search and Destroy in Call of Duty, just with a Destiny-colored coat of paint. Every player has one life to live; one team has a bomb and a pair of targets. If that team kills everyone on the opposing team or successfully detonates the bomb, they win. Conversely, the other team is also trying to kill everyone, or can defuse the bomb before it goes off to achieve victory. The small map we played on was conducive to the mode and offered up some fast and frantic action. I would have loved to see other modes as well, though, especially to see how shrinking the standard 6v6 of most Destiny modes to 4v4 in Destiny 2 would affect them.

Activision and Bungie have just less than four months before Destiny 2 launches, and if they’re trying to find fuel for whatever hype train they want to get started, this was not the way to do it. I was left unimpressed by what was shown to us; like the first game, Destiny 2 came off as a perfectly competent and polished shooter in my hour or so hands-on with it, but it is an uninteresting one. My hope is that this was merely Bungie keeping their best cards close to the vest, and that more intriguing and nuanced gameplay will emerge over the summer. Otherwise, no matter how much the game has improved, it’s going to be hard to push onto players a fancy expansion that serves as a reset button for a franchise—no matter what 50% of the audience you fall into.

I had a chance to go hands-on recently with Yager, Six Feet, and Grey Box’s Dreadnought on PlayStation 4. It was my first time playing the game since PSX 2016 and I was able to pull down a decent K/D in this match of Team Deathmatch. Dreadnought is currently in beta on both PC and PS4 and the full game is coming sometime later this year to PC and PS4 and will be free-to-play.

Dreadnought, the long-coming free-to-play multiplayer spaceship battling game from developer Yager and publisher Grey Box—which is currently in beta on both the PS4 and PC—is bringing a new mode to that beta for fans to try out.

Havoc mode is Dreadnought‘s take on Horde mode, where up to three players can work cooperatively against wave after wave of computer-controlled space fleets intent on taking you down and conquering your little corner of the cosmos. The twist here, though, is that you don’t know what ships you’ll have at your disposal to do just that.

When the mode starts you and your friends will be given a small assortment of ships to choose from, and usually have enough choices to have a solidly put together team of damage dealers and healers. But there’s no telling that the ships offered to you will be something you might be familiar with, or even particularly inclined to using. And every three waves, you’ll have to spin the wheel all over again and choose new ships. It adds a degree of randomness that is worthy of the name “Havoc”.

I had a chance to try out the mode, and admit to only making it to wave five with some random allies (video below), but continue to be impressed by the variety of ships Dreadnought offers. And I admit I fell victim to my own hubris, which ended up costing my team before we could take on the boss ship in wave seven. I enjoyed the fact that to combat some of the randomness, and the ever-increasing difficulty of your enemies, you could purchase boosts with points earned in battle that stack as the mode continues on. Obviously, it wasn’t enough for us to overcome the enemy AI in the mode, but as you gain more experience with the game, it serves as a critical feature that could turn the tide of a potential battle. And I, for one, can’t wait to see what combinations of ships and buffs we’ll be tasked with utilizing in this new mode.

Dreadnought will leave beta and be fully available on both PC and PS4 sometime later in 2017.

When Knack launched alongside the PlayStation 4 back in 2013, it didn’t exactly take the world by storm. Although it was a pretty game that showed off some of the power of the system—with Knack being able to shrink and grow as he absorbed or lost relics over the course of a level—many found the gameplay severely lacking. So, when I had a chance recently to go hands-on with Knack 2—and have the game’s director, PlayStation 4 architect and legendary game developer Mark Cerny serve as my co-op buddy—I was curious to see firsthand what changes the series had undergone from its initial entry (and hear about them from the man himself).

Knack was a very different concept. I was focused on making a game that was accessible to people who had never played a video game before, and thought that would be an interesting part of the PlayStation 4 as a launch title,” explained Cerny as we loaded up the first level. “That ended up being a pretty heavy focus, which meant no platforming and a fairly small moveset. Knack 2 is very different title from that; the focus here is more squarely on gameplay.”

And Cerny wasn’t kidding about that. He ended up showing me seven sections of the game in our demo that highlighted not only a wide variety of different gameplay challenges, but also an expanded moveset for Knack punctuated by four skill trees. It should be noted that some moves are story based, and only by advancing so far in certain levels will Knack unlock them—like a super-strong punch that can shatter enemy shields. Collecting energy in each level can unlock many others, however, and then you can invest that energy into new moves or improve upon those you’ll obtain via progress.

Easily one of my favorite things I experienced in the demo was how expanded Knack’s moveset had become as a whole. Knack can now create a shield that, if timed properly, will deflect bolts and blasts back at enemies. He also has a bola-like projectile weapon that can ensnare foes, making them easy targets for a combo or removing them temporarily from a fight as you focus on other targets. Kicks, body slams, and yes, even more punches round out Knack’s repertoire. One of my favorites was a Fist of the North Star-style flurry of fists that sees Knack move super quick, rapidly punching an enemy several times.

Co-op also sees some combat improvements. Cerny mentioned in our conversation that something he and his team noticed amongst younger players is they’d often take a whack at each other as often as they would Goblins. So, a new move incorporated into co-op is if you hit your buddy, a single relic will fly off like a bullet at an enemy. This way, even if you’re simply messing around, movement isn’t wasted, and can still serve a purpose in gameplay and combat.

As great as it is to see the depth of combat now present in Knack 2, the biggest additions probably come with the breadth of gameplay now available to you. Entire sections of levels are dedicated just to true platforming, exploring, and puzzle solving. In fact, by changing sizes at will, I would have to shrink to Knack’s smallest from to fit into onto smaller ledges and platforms to reach certain areas, and then quickly switch back to a larger from for combat. Knack’s smallest from is all necessary to navigate tiny crevices in cliff sides or Goblin fortresses and discover energy for leveling up, or pieces of technology that can bestow Knack with even more in-game abilities.

There’s a bit of a lottery to the item pieces you’ll discover, however, so there’s even a social aspect added to discovering treasure. If friends of yours have received items you’d rather have from the same treasure chest in their playthrough of Knack 2, you can trade what you received to get the same item they snagged. And, if you don’t have a lot of friends playing Knack 2, don’t worry: there will be some computer explorers that can offer up some options, too.

Other levels, meanwhile, add a stealth element. For example, you’ll have to push crates around with Knack to avoid searchlights while hiding in the shadows to prevent alarms from being set off as you infiltrate a certain someone’s home. You’ll also have to use the size-changing ability—which now features the added bonus of always letting you know just how tall Knack is at a given moment thanks to a height counter in the game’s HUD (if visuals weren’t enough for you)—to shrink and hide under awnings or canopies to avoid robots on patrol.

Knack 2 even brings driving segments to the series. One section of our demo saw Knack get in a tank and drive around destroying enemies and encampments; when playing co-op, one player drives the tank while the other operates the turret. Some other levels also have turret emplacements scattered about, and Knack can climb into one to really whittle down Goblin forces with some green energy blasts.

As the demo was winding down, I admit I was sad to see my time with Knack 2 coming to an end. I hadn’t had this much fun with an action-platformer in a while; the variety of gameplay was stellar, everything handled very tightly, the game looked great, and the writing had me chuckling in my chair. Cerny was quick to point out that bringing on Marianne Krawczyk, writer of the God of War series, to write Knack 2 was a critical move. Although the game is still very much gameplay-driven, having her veteran hand come in for key narrative moments—like where an ally of Knack makes fun of him (and the first game) for only having three punches—was a big boost, and allowed Cerny to focus on directing the gameplay that has made such hugely evident strides.

Although it’s scheduled to release during what’s looking like a very busy second half of 2017, if you’re searching for a fun, high-quality action-adventure that the whole family can enjoy, don’t sleep on Knack 2. With its new depth of gameplay and tight controls, it’s like Knack has finally found all the pieces to turn itself from a pipsqueak PlayStation 4 exclusive into a game to be reckoned with—one that can hold its own with the big boys of the system.

Before getting into video games, I always thought sports would be the ultimate end goal of my media career—who knew you could make money playing and writing about video games—because all I ever wanted as a kid was to get into every game at Yankees Stadium for free. Obviously, my career took a different turn, but I still have an undying love for baseball (and still think I’m better than 90% of the play-by-play broadcasters out there). So, it is with renewed joy every spring that the baseball season gets underway, and with it my two loves of video games and baseball come together with the annual release of MLB The Show—and this year’s entry into the series is enough to have both gamers and sabermetricians alike excited.

MLB The Show 17 is a year where it feels like everything has come together for the franchise on the PS4. Whereas last year was a big focus on new modes and really expanding the series’ repertoire, this year was refining everything into a mold as perfectly cast as a Cooperstown plaque. While graphical improvements, ball physicals, and fielding animation improvements may not sound as exciting as brand new modes, they lend themselves to help make this the most realistic experience the series has yet provided for baseball fans. And, all it took was one full game in Franchise mode for me to be immediately blown away.

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My New York Yankees were opening up the season at Tropicana Field against the Tampa Bay Rays, and I was locked in a 0-0 tie in the fourth inning. Yankees second baseman Starlin Castro was stepping to the plate with one out when I ripped a changeup I was a little out in front of down towards third base. Evan Longoria made a dive to stop it. In previous years, this ball would often have been shot on a straight line, likely into Longoria’s glove—but right after the first hop about halfway between home plate and third base, the ball was clearly curving. In fact, it had curved in a way I had never seen before in a game, bouncing between Longoria’s outstretched glove and the bag, and into the Trop’s exposed bullpen area. A satisfied smirk crossed my face when the umpire pointed that the ball was fair. As my time with The Show 17 continued, I would have more moments like this, both on ground balls on the infield and fly balls down the line. I bring this up specifically because it provided a sense of realism—of true simulation—that I had never seen before from a baseball game.

Of course, just because the ball moves how it might in a real game now doesn’t mean it’s uncatchable. At the time of my writing this review, I’ve come a long way from that first game, and am well into the dog days of summer with both my Franchise and Road to the Show created player. Since then I’ve fielded dozens, if not hundreds, of ground balls, and a new tweak to throwing runners out on the basepaths is that you can now pre-load your throw by selecting the base before actually catching the ball. This allows not only for a more fluid and natural looking animation from when your player catches the ball to when they release it, but prevents a lot of the cheap infield hits that plagued previous entries in the series due to that extra delay caused by not being able to throw until obtaining possession of the ball.

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Besides the smoother animations this year, new character faces and models—coupled with three brand new presentation packages—provide a sleeker look to The Show as well. MLB Network now lends its entire graphics package, including all sorts of hit-tracking effects and replays, to The Show alongside two more “regional” looking setups for those games that aren’t necessarily game of the week caliber matchups or for those minor-league days in RTTS. Matt Vasgersian returns to do play-by-play (he’s one of those 10% who are better than me) with brand new lines, but is now joined by three-time gold glove winning second baseman Harold Reynolds and 18-year journeyman relief pitcher Dan Plesac from the MLB Network team. The commentary has been something I’ve been able to come down on for quite some time for The Show, but the addition of Reynolds and Plesac, along with their situational banter, really kept things fresh for far longer than normal this year on the announcer side of things.

Now, when playing The Show, I admit I am usually one of those control freaks who loves playing every single game from start to finish. Yet, even I admit a 162-game regular season can be a bit of a grind. And, in an attempt to mimic other sports games out on the market such as Madden that have added similar options in recent years, there are two new additions to Franchise to help speed up that process. One is called Critical Situations, and allows you to simulate large sections of a team’s schedule with The Show dropping you into individual games during moments that can decide the outcome. It’s a great way to circumvent that summer grind, and really move from game to game quickly. My only issue with this option thus far is that most of those moments seem to come sometime in the ninth inning, which takes a little bit of the impact out of the situation if you always know what’s coming.

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If you still want a touch more control when simming, there’s also the new Quick Manage and Player Lock options. Player lock has you follow key moments for an individual in the game and provides an experience similar to RTTS where you only follow your created player. Your chosen player’s fielding opportunities and at-bats are all you play. Meanwhile, Quick Manage gives you a more top-down approach, similar to just managing a game. You decide when to hit, bunt, steal, hit & run, pitch to a hitter, pitch for contact, pitch around them, change pitchers, and more. Every major decision can be done batter to batter from both sides of the ball, but unlike a straight CPU sim, you can drop in whenever you want. I found myself dropping in a lot because one negative I discovered with this option is that the AI is lacking, often stranding runners on third with nobody out, or failing to get them over in appropriate situations, even when calling for more situational hitting. Also, I’d love if I could more easily see match-up numbers, like how opponents do hitting against lefties or righties, from the main screen in this mode without having to navigate lots of menus or jump into the game to decide what substitutions I should make. It would help with the flow—and again plays into my micromanaging style—but I found this Quick Manage as a whole the best way for me to get through my season at a much more decent clip.

The other major offline mode for MLB The Show 17 is, of course, Road to the Show. In another attempt by The Show to mimic its sports game contemporaries out there, RTTS this year has focused on adding a stronger narrative direction while maintaining much of the gameplay from years past, streamlined by a cleaner user interface. This story, where an omnipresent narrator talks over new cutscenes that feature sit-downs with your manager and coaches in the clubhouse, along with branching dialogue paths that can dictate the future of your career and what your team thinks of you, is meant to help give a more human feel to what has become in years past a methodical grind to the top of baseball-dom. It’s not nearly as in depth as what is seen in NBA 2K or even what FIFA added last year, but it does add a lot of personality to the mode, and I hope this serves as the foundation for something deeper in later years. I found myself wanting to interact with my coaches more, and even looking for boosts or rewards of some sort stemming from my answers, so hopefully this is just the first step in taking an already great mode to a new level.

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The final staple of The Show’s repertoire is its online modes. The card-collecting Diamond Dynasty mode returns, and is addictive as ever if you get as involved with collectibles as I do. The single-player Conquest section of this suite, which features three-inning games with you using a team you build from those collected cards, also returns largely unchanged if fantasy match-ups are more your thing. There’s then online seasons and the returning Battle Royal mode that is basically baseball’s version of Madden and NHL’s Draft Champions, where you draft a fantasy team before taking on random opponents. The biggest issue with MLB The Show 17, however, is one that has plagued the series for years now: the fact that, at least thus far in the first week since launch, the online issues are ever-present. Although connecting with people seems to have resolved itself over the past few days, tremendous lag and online glitches are still constant. Balls getting stuck against the wall, players not leaving the batter’s box on hits (and subsequently being thrown out at first on shots into the gaps), and lag to where you can barely even see the ball, leave the online play again wanting.

Luckily, as I’ve lain out, there’s plenty to do offline, but it’s still disappointing that online play remains The Show’s bugaboo. And, while I focused primarily on the improvements to the series’ staple modes, there is one new mode that can also provide some local play if you’re looking for a throwback and still need that human competition. It’s honestly a bit of a throwaway mode really, but it’s a nice nod to cover athlete and new MLB Hall of Famer Ken Griffey Jr., and the early baseball games Griffey championed back in the NES, SNES, and N64 days. Retro mode, which features an 8-bit filter if you so choose, touts old-school sound effects and UI, and even two-button gameplay that out R.B.I. Baseball’s R.B.I. Baseball. After years of so many more complex button schemes, I admit it might’ve been the hardest thing to get used to in this year’s version of The Show—but it’s a nice little bonus for those of us old enough to remember the “good ol’ days”, although Junior’s weird, deadpan commentary on some plays and between innings was definitely not necessary.

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MLB The Show 17 is easily the pinnacle for the series thus far. It continues to add depth to its staple modes, and find new ways to increase the realism of its simulation experience. The narrative addition to RTTS could lay the foundation for even more exciting and immersive things in the future, while online play continues to nag the series at launch—but, with so much depth of play in the offline experience, some might not even notice. If you love baseball as much as I do, you’ll no doubt love MLB The Show 17, too.

Publisher: Sony Interactive Entertainment • Developer: SIE San Diego Studio • ESRB: E – Everyone • Release Date: 03.28.17
9.0
MLB The Show 17 sets a new pinnacle for the franchise. It creates more depth for its tent pole modes and polishes everything else to a terrific gleam. Some online issues and glitches still continue to plague the series at launch, but you might get so engrossed in Franchise or RTTS that you won’t even notice until they’re fixed.
The Good New ball physics, quick manage mode, and the RTTS narrator are great additions to The Show’s best modes.
The Bad Consistent server and online issues. Again.
The Ugly How the heck did we ever see anything back in the 8-bit days?
MLB The Show 17 is a PS4 exclusive. Review code was provided by Sony for the benefit of this review. EGM reviews games on a scale of 1 to 10, with a 5.0 being average.

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.