Tag Archive: PS4


It’s extremely difficult to appease Batman fans, and I’m admitting right from the get go that I count myself amongst the most hardcore of them. It’s almost tradition now for every new version of The Dark Knight to suffer some backlash—especially from those of us who are as obsessed with Batman as he is with fighting crime. Fans of Bill Finger and Bob Kane’s original gun-wielding, rooftop leaping lunatic from the late ‘30s and early ‘40s hated Adam West’s camp-filled romps in the ‘60s. Those fans in turn disliked when the comics crafted a noir vibe and turned back towards some of Finger/Kane’s roots in the ‘70s with Denny O’Neil and Neal Adams’ take on the character. Frank Miller’s The Dark Knight Returns, Alan Moore’s The Killing Joke, and Tim Burton’s film version of the Caped Crusader in the 80s all had their haters, too. So, when it finally came time for me to play Batman: The Telltale Series, I was both excited and worried about what the latest take on Batman might bring to us, knowing it would be extremely difficult for me—even though I’d like to think of myself as a more open-minded fan—to come away satisfied.

Batman: The Telltale Series is best described as a transitional adventure between “Year One” and “Year Two”. What this equates to in Batman’s history for those unfamiliar with comic book parlance is that he’s taken his lumps in that first year of crime fighting, and just now is starting to come into his own as “The Batman.” It’s also when the supervillains start to show up; classic foes like Catwoman, Penguin, Two-Face, and the Joker all make their presences felt by the end of the game, along with the traditional mobsters that Batman had to deal with in his early days. The bulk of the game’s narrative, however, centers on Bruce Wayne needing to clear his family name after a new bad guy reveals that Thomas Wayne (Bruce’s father) wasn’t the philanthropist that Gotham necessarily saw him as.

Being a Telltale game, the narrative does a lot of the heavy lifting in terms of one’s enjoyment of the product—or lack thereof. And right from the start, this was a decision that started to turn my opinion sour. With writers running out of ideas now that Batman is wrapping up his eighth decade of print, the idea of questioning his origins and casting doubt on the sanctity of his purpose has been done countless times in recent years of the comics. The easiest way to do this is to attack Bruce’s parents, and I have always taken issue with this.

One of Batman’s greatest appeals is his mission; his obsession is one that we as fans mirror back onto him. He makes a vow on his parents’ graves to wage an unending war on all criminals as a child, and the fact he follows through on it and lets it dictate his life is twisted and unhealthy, but in an odd way also very pure. It’s a child lashing out against a cruel and unjust world for the love and security that was ripped away from him in a random act of violence. When you remove this, you simply have a maniac in a mask. Yes, that’s what Batman really is at his core, but you greatly lessen his appeal when you strip away one of his founding dimensions, and undo a lot of the great work that those came before had laid out. Simply put, if something isn’t broke, stop trying to fix it.

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And I understand the appeal of wanting to do it. Attacking Bruce’s family also attacks his money source—Batman’s true greatest superpower. His inherited wealth has always been Bruce’s deus ex machina, allowing him to get out of more situations than I could count no matter the era. It’s like putting Superman under a red sun; it’s a classic comic book gimmick to take our hero out of his comfort zone. Sometimes it works, and sometimes it doesn’t. But when your powers are so closely tied to your origin like Batman’s are, it’s more apt to blow up in your face.

One thing Telltale did do a fantastic job of, though, was trying to pay homage to a lot of great Batman media over the years. The font in the title graphic evokes memories of Batman: The Animated Series, and the superb voice acting from this cast is on par with the legendary voices from that groundbreaking series. Although still well within the parameters of Telltale’s signature cel-shaded art-style, Two-Face’s design is largely based on that seen in Christopher Nolan’s The Dark Knight, and Penguin’s feels more akin to what we’ve been given on FOX’s Gotham. And, several gameplay elements like Detective Mode—more on that in a bit—borrow from Rocksteady’s Batman: Arkham games. One other element that Telltale touched on from the Batman: Arkham series is taking a previously-established comic book canon character and trying to pass them off as a new villain. The worst of it, though, is this character was never a Batman villain to begin with.

This leads us to the main villain of the story, a new character dubbed Lady Arkham, which I will try to refer to as vaguely as possible to avoid giving away her true identity. Even with my distaste for the Thomas Wayne bashing, the first two episodes of Batman: The Telltale Series were actually quite compelling. When Lady Arkham reveals her true self in episode three, the series takes a marked turn for the worse. I don’t know if it comes from Batman’s license holders at Warner Brothers, or if there’s just a general fear of introducing new villains into the Batman universe outside of the comics, but the disappointment at the revelation of Lady Arkham was even worse than when we all realized within the first 15-minutes of playing Arkham Knight that our foe was Jason Todd. At least, at that point, he was a villain in the comics.

Lady Arkham’s true identity was always a close ally of Batman/Bruce Wayne, and twisting her like this felt like it was just cheap shock value for us hardcore fans who never suspected her because of our familiarity with the character. If Telltale had created an entirely new character with Lady Arkham, keeping her network seemingly as powerful as Batman’s and as long-standing as Bruce Wayne’s—but minus the preconceived notions from her true identity’s long history in Bat-media—I think she and her Children of Arkham could’ve been a welcome addition to the Rogues Gallery (in the same way Talon and the Court of Owls was a few years ago, and Ra’s Al Ghul and the League of Assassins was in the ‘70s). As is, she feels like a throwaway character used simply to establish Telltale’s new universe while not wasting any of the classic villains, thus weakening the entire story arc as a whole.

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The series also takes a turn for the worse on the technical side of things starting around her reveal. Telltale’s game engine continues to show its age, and does so markedly as this series progresses. The first couple of episodes are mostly glitch-free, but by the time we reach episode five, the choppy cutscenes, dropped audio lines, and general lag after decisions are made make finishing the game almost a chore. I understand that Telltale prides itself on its products coming out on every playable device imaginable. At some point, however, the studio needs to take some of this licensing money and invest back into tech that is optimized for modern consoles, and stop giving us this lowest common denominator garbage.

From a gameplay perspective, the bulk of the game remains around Telltale’s iconic choose-your-own-adventure multiple-choice scenes that change character interactions and dialogue depending on the decisions you make. Some additions we haven’t seen before in a Telltale game, and some that are even exclusive to Batman: The Telltale Series, were included here, though.

Detective mode, the special lenses that paint the world in a blue hue and allows Batman to recreate crime scenes, makes an appearance here. Similar to the Batman: Arkham games, examining clues will help Batman figure out what exactly happened in and around a crime scene, and piecing things together properly will help him decide what to do next on a case. Telltale also smartly allows you to link clues together this way to make it feel more like you’re actually solving the puzzle yourself. You also use Detective mode before certain ambushes, allowing Batman to plan out how he wants to clear a room before starting the quicktime button-mashing fest that helps him to defeat thugs unscathed. It’s just different enough from the Arkham games, but it still feels very much like you’re Batman while using it, and was a pleasant surprise.

Unlike a lot of other Batman projects, this game also does a great job of balancing life as Bruce Wayne and Batman. Whereas the Bruce Wayne parts of most movies, TV shows, and even comics can lean towards the mundane, the sequences here were just as intense and action packed as those where you’re dressed as Batman. Sometimes, they were even more difficult, since you don’t want to give away your secret identity. I loved the idea of there being branching paths, and you can even choose to confront certain individuals as either Batman or Bruce Wayne, which results in the dialogue obviously changing drastically. I only wish there were more of these choices as well as more Detective mode sequences, with it feeling like there was only maybe one per episode of either of them.

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Batman: The Telltale Series had a lot of potential. There were some clever ideas, and some nice tribute Easter eggs to Bat-media of the past. Unfortunately, they aren’t enough to overcome aging, glitch-ridden technology and some weak narrative decisions in a narrative-centric experience. Therefore, it’s now time for me to try to find some Bat-Telltale repellant and see if I can’t get this game off of my bat-addled brain.

Publisher: Telltale Games • Developer: Telltale Games • ESRB: M – Mature • Release Date: 12.13.16
6.0
The bigger a Batman fan you are, the less you’re likely to enjoy Telltale’s take on The Dark Knight. Combined with the obvious age Telltale’s engine is showing, this simply isn’t their best effort.
The Good Weaves elements from so many different Batman iterations over the years into one cohesive product.
The Bad Cheap plotline twists will leave some fans unhappy. Telltale’s engine is really starting to show its age.
The Ugly Selina Kyle’s apartment. I can’t stand a messy woman.
Batman: The Telltale Series is available on PS4, Xbox One, PC, Mac OS, iOS, Android, Xbox 360, and PS3. Primary version reviewed was for PS4. 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.

The third annual PlayStation Experience took place this past weekend, and this year was the biggest and best yet for Sony’s year-end celebration. More announcements than ever before were made at the show—but more than that, the show floor had more games than ever before, too. I was able to go hands-on with nearly two-dozen titles while at the show, and I’ve whittled those experiences down to the 10 best games that I think you should be chomping at the bit for.

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Developer: Metalhead Software
Publisher: Metalhead Software
Super Mega Baseball 2

The original Super Mega Baseball was the kind of arcade-y experience that baseball games started out as back in the day. Due to its initial December release back in 2014, it might not have gotten the love it deserved, but it was good enough to easily cement its status as a cult classic. Clearly, the love was heard loud and clear from the folks over at Metalhead Software, as they’re now working on a sequel planned for 2017. Super Mega Baseball 2 features more stadiums, more players, and more modes than the original, while still bringing over its 1-4 player couch co-op/versus play. Its controls remain easy to pick up but difficult to master, as your pitchers have every possible pitch imaginable, and knowing when to swing for power—and getting the timing right—or swing for contact is critical to success. If you love baseball, and are looking for an alternative to the more serious simulation that is The Show, Super Mega Baseball 2 is all set to knock it out of the park again.

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Developer: Yager Development
Publisher: Grey Box
Dreadnought

We’ve been hearing about Dreadnought for a while now, and on the precipice of its 2017 release, we got the awesome news that it’s also coming to PlayStation 4. For those unfamiliar with the game, you take control of one of a series of massive starships, waging space war against those who would stand against you. Each ship has different statistics based on their size, speed, and armaments, and playing what best suits your style—and what can best help your team win—will be critical, as the planning stages are just as important here as the actual combat itself.

My one worry with the PS4 announcement was how the controls (based around a mouse/keyboard) would transition to a controller. Luckily, the team found a way to do it. The PS4 controller’s touchpad is utilized when choosing to divert extra power to shields, engines, or guns, picking up the slack of the lack of buttons on the controller face. And, after playing a couple matches this way, I found using a controller to be just as intuitive—if not more so—than the PC controls. Now, it’s just a matter of time before we can get access to the beta and become captains of our own starships.

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Developer: PlayTonic Games
Publisher: Team17
Yooka-Laylee

If you loved the original Banjo-Kazooie games, then Yooka-Laylee is not only a love letter and spiritual successor to them, but to all the platformers of the N64 era. During my PSX demo, I was introduced to a massive world chock full of collectibles, puzzles, and colorful characters that shared the British tongue-in-cheek, fourth-wall breaking humor that made us all smile a little wider back in the ‘90s. The single area I saw required Yooka and Laylee to change the seasons in order to collect every single Pagie they could as they try to save all the world’s literature from nefarious forces. Besides the seasonal puzzles, Yooka the chameleon can also eat special berries that changed his attributes. For example, one makes him turn to stone in order to withstand high winds, while another allows him to spit ice and freeze platforms. Laylee the bat also gets in on the action, shooting out a sonic scream that can wake up sleeping totems and reveal new platforms to hop across. Simply put, the gamut of gameplay on display here—from shooting to platforming to puzzle solving—made me feel like a kid again in all the best ways.

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Developer: Supergiant Games
Publisher: Supergiant Games
Pyre

I love games. Always have, always will. Being a games journalist for nearly a decade now, however, means I love them differently. I appreciate them, but it’s rare I ever get outwardly excited anymore. There is an exception to every rule, of course, and I admit I absolutely mark out for anything Supergiant Games makes. So, when they officially announced that Pyre would have a local versus multiplayer mode at PSX (something we speculated when we first saw the game earlier in the year), and I got to play it? I went bonkers. And, it turned out, with good reason, because it seems Supergiant has taken the time and care they always apply to their worlds and their narratives, and have successfully done the same with multiplayer.

Much like the main game, Pyre’s multiplayer has two teams of three face off as you try to get a special orb into your opponent’s base—like a game of celestial basketball. The strategy and intensity that emerges from playing another human, however, takes the gameplay to an entirely new level. It’s difficult to predict these things, but I could easily see Pyre turning into a couch versus phenomenon. Supergiant told me at the show they’re trying to get online to work, but would rather no online than broken online. I think that’s entirely the way to go, because even as is, this game is primed to be a slam dunk.

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Developer: Sloclap
Publisher: Devolver Digital
Absolver

Following E3 2016, I had heard from fellow EGMer Matt Buchholtz how amazing Absolver was. After finally getting to try it out at PSX, I don’t think Matt gave the game nearly enough credit. On the surface, Absolver is an arena fighter where your character moves through a world, taking on opponents, growing stronger, and learning new moves in the process. Dig just a little deeper, however, and you find a game that celebrates fighting as an art form, a complicated dance of fists and feet and force that when perfectly flowing together creates a performance unparalleled elsewhere. This is where Absolver makes itself special.

Its visuals are already beautiful; the character designs remind me fittingly a bit of the dancer from Bound. But when you start to understand the timing of moves, your fighter’s four different stances, how you can properly chain moves together, and even customize your own combos from dozens of moves, there’s a level of detail here rarely seen in any fighting game—and which has me equally excited for both the campaign and its versus modes.

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Developer: Whitemoon Dreams
Publisher: Sony
Starblood Arena

When I saw Starblood Arena announced at the PSX 2016 showcase, the first thing that came to mind was how it would it compare to RIGS—another game involving players shooting each other while piloting mechs that was, to me, PlayStation VR’s best launch title. After playing it, Starblood Arena might be even better.

Right off the bat, Starblood Arena provides a cast of colorful characters and mechs of different shapes, sizes, and stats to differentiate itself from other early VR shooters (and inject some personality into the game). It also provides a full six axes of motion, meaning your mechs are constantly flying through the air and that threats can come from any angle. What Starblood Arena also does smartly is provide standard FPS controls with the two sticks on a controller, and then have finer aiming done by moving your head. This not only gives most gamers a control scheme they’ll be familiar with, but also reduces nausea-inducing situations down to nothing for most. Although I only took on bots in the limited demo—19:1 K/D by the way—the game features deathmatch and other standard shooter-fare modes. If Starblood Arena can build a solid player base, it could be the next great multiplayer game for PS VR.

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Developer: Lightbulb Club
Publisher: Lightbulb Club
Games of Glory

The PS4 has been offering some interesting free-to-play fare recently, starting with the announcement that Gung Ho’s Let It Die was launching right there at PSX 2016 for everyone. Another F2P game that’s coming exclusively to the PS4 is Games of Glory, which could prove to be immensely popular among the multiplayer crowd. Combining MOBA elements with a Guardian mode, Games of Glory splits six players up into two three-person teams. Your team must attempt to win a best-of-9 series by holding the center of a map and keeping your designated captain alive for the entirely of a round. Who fills the role of captain always rotates between rounds, so every player could potentially be the captain three times. Each character has moves and roles similar to what you would see in your typical MOBA, including tanks, DPS, healers, and so on. Coming up with a strategy and combination of players to overcome your opponents isn’t easy, but it sure can be fun. Although only a few characters and only the one mode were available for play at PSX, some variety here could easily see Games of Glory catch on with its ease of play.

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Developer: Giant Sparrow
Publisher: Sony
What Remains of Edith Finch

I saw What Remains of Edith Finch a couple of years ago at E3, and have been waiting to find out the final, sordid history of the Finch family tree with bated breath ever since. Players are tasked with exploring the Finch family home, where whenever someone in the family meets with a tragic end, their bedroom is sealed off. By discovering new rooms, you also discover new tragedies and tales as you try to uncover the secret of the Finch legacy. With a release finally coming supposedly right around the corner, I played through one of the shorter stories on the tree, that of a twin brother who wanted to fly in the worst way—and got his wish.

What Remains of Edith Finch is the next step in interactive storytelling, providing players with fantastical experiences that also find ways to tug on heartstrings. The two stories I played through on two separate occasions took me places I never thought games might go, but when the game is finally done and we play through this entire collection of short tales, I think we’ll all be happy they did.

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Developer: Prideful Sloth
Publisher: Prideful Sloth
Yonder: The Cloud Chaser Chronicles

Imagine a Legend of Zelda game minus the enemies, and you’ll have a pretty rough idea of what to expect from Yonder: The Cloud Chaser Chronicles. Here, you play a boy or girl who, after waking up in a mysterious world, sets out both to figure out how they got there and help purge a mysterious force that is consuming the land. To do that, you’ll have to find fairy-like creatures on your journey that can help you purge the encroaching darkness. Along the way, you’ll also be able to build your own farm, befriend a variety of animals, collect resources, or go on quests for nearby villagers to earn the tools needed to open up more of the world. You can fish, chop wood, mine stone, and more to gather resources, which—when combined with your farming aspect—gives the game a bit of an open-world Harvest Moon feel as well. I admit, normally I prefer a bit more conflict in games of this ilk, but I’m curious as to where the story could go. As a change of pace, the peaceful open-world quests of Yonder might be just what we need as gamers.

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Developer: Exploding Tuba
Publisher: Exploding Tuba
Divide

The twin-stick shooter is a pretty common video game staple; rarely has it ever been tied to a complex narrative, however. Enter: Divide. It’s a science-fiction action/adventure game that will demand every second of your attention. Every bit of information needs to be taken with a grain of salt as you work your way through a futuristic dystopia in search of your missing daughter.

What makes Divide even more interesting is its control scheme, which uses none of the PS4 controller’s face buttons. Instead, everything is mapped to triggers and the control sticks. Whether hacking a terminal to open a door, or aiming down the sights of your gun when in confrontations with soldiers or security bots, you’ll have to master this simple control scheme to work your way out of some complex jams as you dive deeper into the story.  Much like the story itself, Divide may look simple at first glance, but when you start to get past the surface, there is so much more to discover.

Another roster update from EA Canada came down just in time for the holiday season and saw the most changes yet for players in NHL 17. Here are some of the most interesting numbers after this late December patch.

Rookie sensation Auston Matthews of the Toronto Maple Leafs saw a one-point bump up to an 86 overall, and Edmonton Oilers superstar Connor McDavid got a four-point bump up to an 92 after helping lead Edmonton to a comfortable position right now in third-place in the Pacific Division. Vancouver Canucks rookie defenseman Troy Stecher saw the biggest change in stats, though, going from a 72 overall to an 80 overall, a full eight-point boost in this patch. Stecher has 10 points in 29 games this season and notched his first career goal back on November 13th against the Dallas Stars. He’s seen a steady increase in ice time and all of these factors have led to a higher ranking.

On the other side of the puck, Auston Matthews’ boost up in Toronto was counteracted by defenseman Roman Polak’s slashing of his rating from an 85 to an 81, by far the biggest drop of any player hit with a negative to their rating this go around.

In terms of overall changes, the Arizona Coyotes, Boston Bruins, Columbus Blue Jackets, Toronto Maple Leafs, and Winnipeg Jets saw the most players have changes with seven each. After seeing Columbus’s 16-game winning streak and Toronto’s terrific Centennial Classic play, it’s no wonder these teams got a lot of boosts spread around. The Buffalo Sabers, Dallas Stars, Ottawa Senators, and San Jose Sharks saw the least changes of teams that had changes, with only two players being adjusted, included both Sharks and Senators players receiving only negative changes.

Overall, this update saw 122 players having their numbers adjusted, with 66 (54.1%) of those players getting a positive boost. The St. Louis Blues were the only team not to have a single player’s stats change, but we expect that to change in the next update after an epic 4-1 victory in the Winter Classic at Busch Stadium. If you’re curious to see how specific teams have changed before you head online with your favorite squad, check out the link.

EA SPORTS DECEMBER UPDATE

And speaking of playing online, be sure to tune in every Tuesday at 9 PM ET/6 PM PT for more of Hockey Achievements’ Tuesday Night Hockey. Our own play-by-play savant Ray Carsillo takes on all comers in both head-to-head and EASHL matchups. Winners will receive 2000 points that can be put towards pucks here at Hockey Achievements, and everyone gets 500 just for participating. If you’d rather just watch, stay tuned to Hockey Achievements or twitch.tv/hockeyachievements.

As great as the NHL series from EA Sports is, for many years it wasn’t the only hockey offering out there for gamers. More “arcade”-type experiences—ranging from the Wayne Gretzky 3D Hockey series in the late 90s, to the early 2000s’ NHL Hitz franchise from Midway—presented more off-the-wall experiences in the vein of what Blitz, The Bigs, and NBA Jam did for football, baseball, and basketball respectively. Unfortunately, all we have left of many of those games are the memories, but that doesn’t mean we still don’t yearn for something a little goofier now and again. Enter V7 Entertainment, a small startup game developer in Vancouver who have heard our cries for something a bit more lighthearted, and are planning to release a game called Old Time Hockey for the Xbox One, PS4, and PC, sometime in early 2017.

Old Time Hockey is a throwback in a multitude of ways. Not only does it feature a modern control scheme, but also a simplified, NHL 94 sort of option, and a one-handed “Beer Mode” where everything can be done with one stick and one set of bumper buttons. This way you can play with just a couple buttons like back in the old arcades—using one hand to play and drinking a beer with the other! The game also features bone-crushing hits, bench-clearing brawls, flaming nets, and even a full-fledged campaign (more on that in a bit). Oh, and did we mention it’s set in the 1970s? No helmets here! Pompadours and pucks all around, folks! The one drawback is that also like a lot of those arcade games of old, the game won’t feature online versus at all. The small developer would rather have no online than crappy online, and that’s definitely the right call in our books.

Local versus exhibition, a full-season mode, and that campaign I mentioned earlier, though, sounds like it should be more than enough to keep us satiated. The campaign is especially enticing. In it, players will join the Charlestown Blues—an obvious tribute to the Charlestown Chiefs from Slapshot—midway through a miserable season and wallowing in the basement of the Bush Hockey League. It’s up to you to turn them around in the final 40 games of the season, while earning bonus points for completing objectives like shutouts and Gordie Howe hat tricks along the way to unlock more abilities for your player and the Blues.

We’re not sure how the final product will turn out, but we here at Hockey Achievements definitely have high hopes for this vintage video game, and can’t wait to try to bring the Blues some glory. Be sure to stay tuned to Hockey Achievements for more on Old Time Hockey in the future, and let us know if you’d like to see us try it out on our weekly Tuesday Night Hockey Twitch stream when it’s released! Might be a nice change of pace, even if its just Ray playing on the couch with some buddies and some brewskis. In the meantime, enjoy Old Time Hockey’s launch trailer and be sure to take part in this week’s challenge!

EGM‘s Ray Carsillo had a chance at PSX 2016 to go hands-on with the upcoming old-school, side-scrolling, beat ’em up that is Mighty Morphin’ Power Rangers Mega Battle. Playing co-op with another journalist, Ray chose Billy the Blue Ranger and took the fight to Rita Repulsa’s Putties, before facing off against King Sphinx. You can see the first level in its entirety in the video below.

Based on the original Power Rangers TV series, Mega Battle is dripping with nostalgia, even if a bit on the simple side when compared with most other games of the modern era. Mighty Morphin’ Power Rangers Mega Battle is being published by Bandai Namco and will release for PlayStation 4 and Xbox One sometime in January 2017.

When I previewed Let It Die—a PS4-exclusive, free-to-play, hack ‘n’ slash rougelike from the twisted minds at Grasshopper Manufacture—for the first time back in April, it was a rough demo that conveyed some interesting ideas and mechanics, but left a lot to be desired. Many of the systems that would really drive home what this unique experience was meant to be were still absent then, and left me hanging onto promises of great things more than any tangible evidence that this experience could be special. After getting to go hands-on recently with a more complete version of the game, though, I can testify that Let It Die might be gaming’s new roguelike craze. To help give you a sense of the insanity this game wants to bring to the PS4, here’s a video of my first hour playing the game, uninterrupted aside for some menu traversal and load screens cut for the sake of time.

When it comes to my favorite stealth action franchises, Hitman always jumps right to the top. But, when I first heard that the newest Hitman game would be broken up into episodes across the year, I admit my heart sank. I was worried about taking a tried-and-true formula and trying to fix something that in my opinion wasn’t broken. Thankfully, after sitting down and beating the entire first season of Hitman, the series’ new episodic direction may be one of the best things to ever happen to it.

In the prologue to the first episode, we see a rare glimpse of Agent 47’s past, specifically when he first meets Diana Burnwood and joins the ICA. After that, it’s back in the present day, and it’s the usual trek around the world for 47 as Diana continues to assign him high-profile targets that the ICA has been contracted to remove. As 47 is doing this, it soon becomes clear to Diana that these more recent assignments were all connected as part of a larger puzzle—and the deeper she digs, the more she realizes a more sinister force may be at play. With 47 being the only person she can trust, the two must uncover a conspiracy that could shake the ICA to its core.

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Anyone who has played any of the previous Hitman games should be able to jump into this one relatively easily. By using disguises and unique opportunities in the environment, players will be tasked with knocking off multiple targets in every location, with each new locale in this case also representing a new episode. What’s so impressive about Hitman is there has never been more ways to accomplish your goals on each map. You can go with 47’s iconic suit, tie, and silenced silverballer pistols and try to get the perfect shot off before making a quick escape. Or, you could drop a lighting grid on someone. Or push them into a wood chipper. Or pose as a yoga teacher and snap their necks (I guess that part of the body wasn’t meant to be so flexible). The choices are many and varied.

There is one new feature, though, when it comes to how 47 tackles his objectives now: with Diana in his ear constantly monitoring the situation, he’s able to track kill opportunities. From overheard conversations to intelligence documents found on site, you can piece together exactly what you need to perform the best accident kills the series has seen yet, and actually follow objective markers in the world to pull off some of these spectacular hits. And, if you prefer the challenge of figuring it all out for yourself, you can always turn this option off. Even with all my Hitman experience, I still found this extremely useful considering how large each location is. Although, I do admit, there’s also a sick sense of satisfaction when you piece it all together on your own.

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Even being episodic, Hitman still plays out in many ways like a complete game would. Each new location is massive, and throws new challenges 47’s way each time. Paris is likely the easiest of the maps, with plenty of cover, disguises, and opportunities as you crash a fashion show with hundreds of guests. Sapienza, Italy—a fictitious city off the Amalfi coast—gets a little harder, with heightened security and no crowds as you infiltrate a mansion. Marrakesh then puts your two targets in two different buildings with a busy town square between them, while Bangkok boosts the security yet again at a luxury resort hotel. An off-the-grid farm compound in Colorado makes things even harder by limiting cover and disguise opportunities and making you take out four targets. Finally, Hokkaido, Japan, removes all weapons and items before you start the mission inside a hospital for the wealthy. This escalation between episodes—from both a gameplay and narrative sense—coincides both with what you would expect from a game, as well as the heightened stakes of any action-drama TV series.

Of course, I believe this feeling was a lot more evident because I binge-played the season over a weekend. That’s one of the difficult things about episodic content: with weeks between game episodes, it can be harder to carry feelings over from chapter to chapter unless you replay a previous episode before starting a new one. I don’t believe that playing each new Hitman episode as it came out would’ve been able to keep that adrenaline flow I got from doing mission after mission going, whereas I enjoyed the gameplay much more by playing the entire experience in a short period of time.

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Although, I do have to say that there are some negatives to playing it all at once. While Hitman does a good job moving things forward, tying up enough loose ends by the conclusion of the season, and leaving a couple of questions unanswered for future seasons to explore, I felt there wasn’t as much of a connection strung between the episodes. Character development and narrative felt very bare bones, and I wonder if this came across more strongly because of my binge-playing, where I was able to see all the new characters’ short story arcs and minimal story progress very quickly.

One definite positive that comes from playing each episode as they come out, though, is the replayability. There’s more content here than ever before—both from the community and from Io Interactive—which keeps people playing each episode, and which no doubt helps keep them fresher in people’s minds. Once again, being able to create your own contract returns, allowing you to share with the community your own challenging hit orders. There’s also escalation missions from Io that add new targets and bump up the difficulty at a player’s discretion.

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Even more than that, however, is the new Elusive Targets. These are timed contracts, usually over a weekend, where players are given a single opportunity to take out the most difficult targets given by Io Interactive. Most of these are unique NPCs with their own parameters to be eliminated within, but there has even been guest stars (akin to a TV show) like Gary Busey and Gary Cole inserted into these one-off missions. Whether you succeed or fail, these missions are done after that one attempt and then lost forever, with the game keeping track of your success rate on its stats screen. If you’re playing the game piecemeal as it comes out, these are great ways to keep you engaged. If you’re like me, though, and waited to play it all at once, or are waiting for the disc with everything on it coming in January, you’ll have missed out already on nearly a dozen Elusive Targets. The game still has a lot to keep you coming back for more, with loads of challenges per map and worldwide leaderboards for you to try to climb, but seeing how far behind I am on escalation missions, and the fact I’ll never get a shot at any of the previous Elusive Targets, makes me feel like I missed a huge part of what made this game special by waiting, even with more Elusive Targets coming in the future.

Either way you play Hitman – Season 1, whether all at once or in pieces as it came out, something small is lost from each. Some of the replayability and story enjoyment suffers by binge-playing, but that natural escalation of difficulty and feeling like a complete experience comes through more strongly when playing it all at once. These are minor things all told, however, and when you boil Hitman down, it is one of the most complete and enjoyable experiences we’ve had yet from the series. And now, I can’t wait for Season 2.

Publisher: Square Enix • Developer: Io Interactive • ESRB: M – Mature • Release Date: 10.31.16
8.5
If you played it as each episode came out, or binge-played it all at once, something is lost each way from Hitman – Season 1, but not enough to detract from what is as a whole one of the most enjoyable and entertaining Hitman experiences we’ve ever had.
The Good Everything you love about the Hitman series has been boiled down to potentially its purest form.
The Bad Depending on how you experience the game—either through binge playing or as each episode comes out—something is lost
The Ugly What’s left of that guy in Italy who “accidentally” fell in the wood chipper
Hitman – Season 1 is available on PS4, Xbox One, and PC. Primary version reviewed was for PS4. Review code was provided by Square Enix for the benefit of this review. EGM reviews games on a scale of 1 to 10, with a 5.0 being average.

There was a lot of pressure on developer Infinity Ward leading up to this latest Call of Duty. Not only was the studio coming off of what was probably their worst-received game in Ghosts, but this was their first time on the new Call of Duty three-year development cycle—meaning many were expecting the team to pull out all the stops, even more so than usual. This wasn’t necessarily an easy task that could just be solved with more time, however, especially with the fact that Sledgehammer and Treyarch have continued to raise the bar for the series over the past couple of years. Even with taking all that into consideration, it can’t be denied that it seems like Infinity Ward has lost its touch, as Infinite Warfare marks another down year for Call of Duty.

Set off in a distant, yet unspecified time in the future, humanity has become split into two factions. The United Nations Space Alliance, made up of the nations on Earth, looks to peacefully explore and colonize the cosmos. The Settlement Defense Front, a group of radicals who make their home on Mars and look to consolidate the galaxy under an iron fist, was a militant faction within the UNSA that broke away in the early days of space exploration. Our solar system is now split between the two, with a flimsy peace treaty keeping everything in balance. At least, until the SDF declares war and attacks the UNSA in Geneva during Fleet Week. Now, a rag tag group of remaining soldiers must rally around Captain Nick Reyes, bring the fight to the SDF, and turn the tide of this new war back in Earth’s favor.

I understand that a large section of the Call of Duty community will likely jump right into the multiplayer and never leave it when Infinite Warfare drops. But for those who will look to play the campaign, at least once, it will be hard not to come away disappointed. Almost everything about the story itself, and some of the new gameplay revolving around space combat, left a sour taste in my mouth.

Admittedly, some of the space sequences are quite good. There are times where you’ll be floating through the void and have to use an asteroid field to sneak up to a capital ship and infiltrate it, or need to use your grappling hook to work your way to space debris as you’re pinned down with few options due to limited cover—all while enemy soldiers swarm your position in zero-g. There are other times, though, where you’ll be absolutely lost as to where you have to go or what your goal is. In those moments you feel completely helpless, dying for a piece of dialogue, cutscene, or new objective marker to guide you since you could theoretically just float off in any direction aimlessly otherwise.

Then there are the sequences where you pilot a Jackal, Call of Duty’s version of a space snubfighter. You’ll have flares, missiles, machine guns, and other armaments that you can customize your own personal Jackal with. You’ll soar into dogfights and fly around space arenas completely off rails, which can also be great fun at times.

Unfortunately, I grew up on games like Wing Commander, X-Wing vs. TIE Fighter, and the Rogue Squadron series, and while Infinite Warfare gets close to giving me the sort of space flight sim experience I’m always looking for, it never quite lives up to where I needed it to be. Part of that has to do with the fact that the Jackal can turn on a dime, or hover and strafe—almost like a VTOL aircraft—and then switch instantly back into dogfight mode. I understand this was to minimize the learning curve for people and make it feel like it does when you’re running around on foot, but that’s not the experience I want when getting into any sort of airborne vehicle in a game; I want it to feel like I’m flying a damn plane.

In regards to the length of the campaign, a frequent point of contention for Call of Duty titles, if you don’t do any of the optional side missions—which you select by looking at a Mass Effect-esque map and plotting your space course from the bridge of your ship—it’s probably the shortest offering from any Call of Duty yet. You could likely buzz through the experience in about three hours if you pushed it. But you’ll probably want to rush because Infinite Warfare has one of the worst-written narratives I’ve had to suffer through in quite some time.

Sure, it has its moments, but most of the dialogue is throwaway at best—and due to the short length of actual story-driven events, every character’s arc is rushed to an uncomfortable degree. For example, Staff Sergeant Omar is introduced as a hard-edged Marine who is a bit of a Luddite; he hates robots, and is particularly uncomfortable when Ethan, a fully autonomous robot soldier, joins the group. At least, for the first mission you all take together. By the time you’re ready for the next mission, suddenly Omar loves robots! Ethan is his best friend! The player never sees why this change of heart happens, but we’re just expected to swallow this pill that Omar and Ethan worked things out over lunch or something, as if someone whose beliefs are clearly deeply ingrained in them has had a change of heart over a sandwich and a soda.

The weakest aspect for Infinite Warfare’s story, however, is the villain: Rear Admiral Salen Kotch. I don’t know why Call of Duty can’t produce even passable villains anymore, nevermind good ones. Maybe part of it was Kit Harington’s lifeless acting. Or, maybe, the fact that he—like Omar and every other major character in the story that isn’t the player character, Nick Reyes—really doesn’t have any sort of progression or arc. What a coincidence that the co-lead writer for the game, Brian Bloom, was also the actor for the only character that had any depth in the game. The fact of the matter is, I didn’t like or dislike Kotch as a villain—he was just there. Like a painting hung up in a dentist’s office, he felt completely inconsequential to everything going on around me, and that’s the worst thing you could want from your primary antagonist.

If, somehow, you can look past all this, there are small positives to take away from the campaign. Even with the space setting and combat continuing the general trend of pushing Call of Duty more towards the science fiction realm and making it less relatable to its audience, the game still plays well when its just boots on the ground and you’re running around the beautiful surfaces of far-off worlds. The new futuristic weaponry walk a fine line between the guns of today and how technology might evolve them into the combat tools of tomorrow. You can also fully customize your loadout before each mission, and unlock new items by finding hidden armories around each world you explore. Several other additions—like the aforementioned side missions, and stealth sections—offer up some nice variety when you’re playing, and compliment the ever-present bombastic action sequences we expect from Call of Duty and still receive here in abundance. The side missions, as repetitive as some of them can become, do extend the experience to nearly eight hours if you do all of them. It’s never a good sign, though, when the meat of your single-player mode is found in optional objectives.

There is also replayability in that beating the game unlocks YOLO mode (where, like the acronym suggests, you only live once) and Specialist mode (where your equipment and body can take damage on missions, affecting things like your movement speed or aim stability if you’re not careful). There is also a theme to Infinite Warfare that I, for one, appreciated: a soldier’s duty and the difficulties that arise from it. Of course, like everything else, it loses some of the punch of its potentially powerfully impact because the short narrative ends up seeing you beaten over the head with it in the last hour or so of game time. Maybe that’s Infinite Warfare’s true theme: a lack of tact and storytelling finesse makes potentially good stories suffer.

While this campaign holds the franchise back in some ways, the multiplayer likewise lifts it up. Call of Duty has always been one of my favorite multiplayer experiences out there, and Infinite Warfare at least lives up to the series’ legacy here. Smaller maps lead to faster confrontations and less camping as a whole, really pushing you to take full advantage of the wall running and double jumping mobility afforded to you. Infinity Ward utilized Treyarch’s Pick-10 system this go around, and it lends itself to a much more balanced experience overall. They also built on Treyarch’s Specialists and created Rigs, Call of Duty’s first true class system. Unlike classes in other games, Infinite Warfare still allows players to completely customize the loadout via the aforementioned Pick-10 system. What Rigs do instead is offer three options for Payloads and Traits, abilities that can change the battlefield when they charge up, or passive ones that make you a more effective killing machine.

For example, the Merc Rig has a Payload called Bull Charge, which lets you pull out a Riot Shield and charge at your enemies, delivering instant kills to anyone caught in your path. Or, you could take Steel Dragon into battle, which gives you a powerful beam weapon that can incinerate enemies from afar. With Traits like Man-At-Arms that make this heavy class move faster, or Infusion that boosts your health regeneration speed, you can mix and match to best suit your play style and the mode you’re playing. That’s just one of the six Rigs available, and not even all of the Merc’s options—experimenting in different scenarios adds a whole new level of fun and customization to this year’s multiplayer.

Multiplayer also adds two new modes this year, but I only really enjoyed one of them. Defender is a spin-off of Uplink, but instead of trying to throw a data node through a hoop somewhere on the map, the player holding the node has to run around defenseless for a minute until the node resets, or they are gunned down and the ball can be picked up by someone else. The first team to collectively hold a node for five minutes wins the game. It’s a neat little take on a Guardian-style multiplayer mode, and especially on some of Infinite Warfare’s smaller maps, can be a hectic back-and-forth that pushes your traversal abilities to the max while requiring some epic teamwork to truly succeed.

The other mode, Frontline, is a take on Team Deathmatch, but with each team having a single locked spawn point. Players will have extra armor when they respawn on the map to help counter campers, but unfortunately it still promotes this hated multiplayer tactic far more than any other map or mode has in Call of Duty in a long time. I appreciate trying something new, but this mode left me more frustrated than anything, and feeling like I’d rather just play regular Team Deathmatch.

There are also a couple metagame additions to the multiplayer suite this go around, the first of which is Mission Teams. Players will be able to unlock and choose from one of four different factions that offer extra rewards in a multiplayer match for completing bonus objectives. For instance, the Wolverines are a no-nonsense sort of group that is all about picking enemies off, so lots of kills usually means lots of points with these guys. The Orion group, on the other hand, is more objective based, and rewards you for holding or capturing points. You can switch between the factions at your leisure as you unlock them, since obviously different groups are more effective in different modes—but Mission Teams help keep things interesting by giving you a game within the game.

The other addition is trying to collect salvage. Salvage is a new currency that allows players to unlock amped-up versions of some of their favorite weapons, with each having a different level of rarity. Players can earn salvage via unlock boxes from keys earned in multiplayer, leveling up, or trading in duplicate guns found via these other two methods. As per usual, players can also spend real world cash to buy boxes that might either have the next level of the gun they want or more salvage—and that’s where I take issue with this new system.

It’s one thing to spend real-world money on cosmetic items: calling cards, weapon camos, things like that. It’s another when buying boxes can lead directly to a currency or to a new gun altogether that is definitively better than the one you may be currently using. A perfect example is the first level unlock for the default assault rifle, which offers 20% more ammo; later unlocks include more damage and stability on top of more ammo. Yes, you can grind for salvage. Yes, you don’t have to sink a single penny into Infinite Warfare and still get all the weapons. But buying boxes does offer the chance to potentially speed up the process of acquiring weapons that are statistically better (the salvage shop even assigns a numerical value to the increases you’d get) than those available from the start or via straight leveling up, offering players with those guns clear advantages in gameplay. This is where microtransactions are a negative part of the experience, and for me this is unforgivable.

In terms of online stability, I played multiplayer in a limited review environment on a live server with the day one patch already in effect (but just before the official worldwide launch). The several hours I put in saw minimal issues in terms of matchmaking, although there were a couple of pockets of lag when we switched out of the regular playlists and into the 18-player Ground War playlist. While everything worked for the most part, the true test of online stability won’t come until the game hits the masses and is stressed far beyond what myself and a few dozen other reviewers could do.

Besides playing multiplayer online, I also played a fair amount of Zombies. I teamed up with three strangers, and was impressed with the fact that even with the wacky new setting of being trapped in an 80s B-movie, this take on Zombies felt just as strong and full of surprises as anything Treyarch had concocted over the years. New Fate and Fortune cards replace the Gobblegum from Black Ops III, and offer arguably better powers and abilities to help you survive the zombie horde. There’s also a new feature where the first time you die in the mode, you’re sent to an arcade where you can try to win your life back by playing classic Activision arcade games. Set the high score, and you’ll rejoin your team—assuming they all survive long enough but don’t beat the round to bring you back to begin with. Either way, it definitely makes dying a little less tiresome than in previous years. The four stereotypical movie characters—nerd, jock, rapper, valley girl—all add some humorous color to the mode. This was definitely a fun cast to play as, although I still think Black Ops III’s noir cast was second to none.

Normally, this is all there is to a Call of Duty game. However, an extra special bonus is included to those of you who jumped on the Legacy edition of the game. We’re not doing a full review of Modern Warfare Remastered, as currently you can only get this bonus through purchasing Infinite Warfare. As it is part of the package, however, I do want to give a few words on it.

It was a shock to my system to play the original Modern Warfare again after not having touched the game in nearly a decade. The new graphics has the game looking beautiful on new systems, and it plays much like how I remember it. It’s like digging up a time capsule—comparing and contrasting it to what we have today—and we can see both how far Call of Duty has come in some regards, and how far it has fallen in others. The campaign is one example of the latter. At the time, Modern Warfare was pushing the envelope for storytelling in FPS games, while in Infinite Warfare, we’re spoon-fed drivel. I do believe the multiplayer of today is better, though. Playing MWR’s competitive suite—which now also includes newer modes like Kill Confirmed, which I love—felt great. Then, unfortunately, campers, the old scorestreaks, and the map design reminded me that as beloved as it was back then, Call of Duty’s multiplayer has truly been pushed to tremendous heights over the past 10 years—and I wouldn’t change that for anything. Still, it was still nice to go back and replay Modern Warfare after so long, and it was definitely a worthwhile bonus.

That pretty much sums up how I feel about Call of Duty: Infinite Warfare in a nutshell. Call of Duty’s multiplayer continues to innovate and improve in ways that fans will absolutely love and adore with this game—minus the microtransaction pay-to-win garbage that’s trying to be snuck in. Meanwhile, this version of Zombies could stand against any other one we’ve seen over the years. The campaign, however, is a low point for the series. From almost the very beginning, it just never grabbed me the way a lot of other stories in the series did, with flat and poorly-written characters that I was left unsympathetic toward. I never felt like I had a stake in this galactic battle of supposedly humongous proportions. All we can hope is that by looking a little harder at its past with Modern Warfare Remastered, maybe Infinity Ward can still save its future as storytellers.

Publisher: Activision • Developer: Infinity Ward • ESRB: M – Mature • Release Date: 11.04.16
7.0
Infinite Warfare is one step forward; two steps back for Call of Duty. The multiplayer is still fun, but suspect microtransactions have left me wary. The campaign also gets more wrong than right with shoddy storytelling overshadowing the usually tight FPS gameplay. At the very least, we got a Zombies experience comparable to what we’ve seen in the past—and Modern Warfare Remastered was a fun stroll down memory lane.
The Good Multiplayer and Zombies are as fun as ever.
The Bad Main narrative feels rushed, and side missions try too hard to expand what may be the shortest CoD campaign yet. Also, there looks like a pay-to-win scam is going on in multiplayer.
The Ugly SAG-AFTRA would be wise not to use this game as an example of how Hollywood talent makes video games better.
Call of Duty: Infinite Warfare is available on PS4, Xbox One, and PC. Primary version reviewed was for PS4. A review copy was provided by Activision for the benefit of this review. EGM also took part in a review event that Activision provided room and board for to maximize our time with the game prior to release. EGM reviews games on a scale of 1 to 10, with a 5.0 being average.

When we did our launch line-up roundup for the PlayStation VR, it was hard not to be a little disappointed. Most of the games were glorified tech demos, with little to no replay value and almost never lasting more than 90 minutes. A couple of them even made some of us nauseous due to control schemes that just didn’t work well in VR. But, there was one game we had put to the side because of its heavy online multiplayer aspects, knowing we’d have to wait until PS VR was in the hands of consumers to properly test it: RIGS: Mechanized Combat League. Not only should it be separated from the rest of the PS VR launch line-up because of its online play, but also because I think it’s the only one of those launch titles that’s truly worth your time.

RIGS: Mechanized Combat League is equal parts Mechwarrior and Blitz: The League. In a far off future, the main sport of choice for people to watch revolves around two three-person teams that face off in a variety of competitions while piloting giant mechs. Similar to international soccer, the winning team nets three points in the standings, and the team at the top at the end of the season is the league champs.

As the game begins and you first approach the Mechanized Combat League about turning pro, the crew chief in charge of keeping your rig in top fighting shape gives you the lowdown on how everything works. Unlike a lot of other PS VR games, RIGS offers you two methods to control your mechanical behemoth, giving extensive tutorial time to both. It may feel rough to have so much of a tutorial standing between you and the game—around 30 minutes in total—but if you’re new to RIGS, or VR in particular, those lessons are a welcome experience.

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The first control scheme is a common one in VR, but it also tends to make people a bit nauseous (including yours truly): the left stick moves your unit, and you use your head to turn and aim your mech. The second option is more akin to a first-person shooter, making it easier for more experienced gamers to pick up and learn. Playing that way, your head only controls the aiming reticle, while the right stick controls what direction you face and the left moves your body independently. This third degree of control cut out my motion sickness almost immediately, and still gave me the precision to be extremely effective at the game. Including more options in these early days of VR is definitely a smart move, especially considering we’re still learning what will make someone uncomfortable while playing.

After learning how to shoot, boost, and figure out which aiming system you respond best to, you then get to choose from four different mech classes: the flying Tempest; the strong all-around Hunter; the double-jump equipped Mirage; and the ground-pound enabled Sentinel. Each choice’s options differentiates enough between them in a way that is comparable to other class-based shooters, and the manufacturer of the mech type you choose decides which extra abilities and weapons it features. All told, there’s over two-dozen mechs to pick from, and you can unlock more by playing the game and earning digital credits by winning matches.

A match in RIGS always falls into one of three game modes: Team Takedown, Endzone, and Power Slam. Team Takedown is basically Team Deathmatch, while Power Slam and Endzone have elements of real-world sports in them. Power Slam is like basketball, but requires you to actually throw your entire rig through a giant hoop once it reaches Overdrive mode (a more powerful state your rig can obtain by doing well in match). If you make it through the hoop while powered up, your team scores. Endzone, meanwhile, is much like football, where a ball carrier tries to cross an opponent’s goal line to score, but can drop the ball if the rig is destroyed, leaving it open to be picked up by anyone on the field.

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Also similar to other online shooters, RIGS offers up a challenge system. Presented in the form of fictional sponsorships, meeting certain conditions in each match can earn you cosmetic pieces for both your pilot’s suit and your mech. It’s a great way to not only incentivize certain playstyles, but also adds a nice layer of customization, so that you can really make your mech stand out from the crowd when you hop online. Before all of that, however, RIGS introduces you to its offline season mode. Playing solo against the computer is a great way to learn the game modes, test out strategies in some of the fictional arenas, and earn credits or complete conditions for new rigs and customization options.

Whether playing online or offline, though, there’s really not a lot beyond all of this to RIGS. Yes, it handles surprisingly well, and it’s a ton of fun to team up with a couple of buddies (or even some strangers) to blow up giant robots. In regards to the online play, there was never an issue finding a match or connecting for us, by the way. But, unless you hope that RIGS becomes the first VR esport—which, admittedly, it has the potential to do, depending on how much Guerrilla and Sony support it post-launch—it remains somewhat shallow. It checks off a lot of boxes when it comes to shooters in regards to customization and classes, but with only three match types at launch and a storyless season mode offline, the game might lose its luster quickly for some.

RIGS: Mechanized Combat League is the first great VR experience. Despite not having a lot of depth, giving players multiple control options means there’s a greater chance to find one that will fit your playstyle and help with an immersive experience. Although what’s there isn’t very deep, it’s extremely fun to jump into combat with friends online—especially if you’re as competitive as I am. If you’ve invested in PlayStation VR, there’s not a lot out there that is worth your time; RIGS: Mechanized Combat League, though, is on a short list of must haves.

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Publisher: Sony Interactive Entertainment • Developer: Guerrilla Cambridge  • ESRB: T – Teen • Release Date: 10.13.16
8.0
RIGS is the first great PlayStation VR game. It can be a bit shallow with a lack of match types and game modes, but I cannot deny how great it feels to pilot my own mech into competition—and to do so with a natural-feeling control scheme that immerses players in the experience.
The Good The first really great game if you’ve invested in PS VR.
The Bad There isn’t a lot of depth to the online or offline content.
The Ugly It must be really expensive to keep replacing all those giant mechs between matches.
RIGS: Mechanized Combat League is a PS4 exclusive. PlayStation VR is required. 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.

I see what’s going on here. A Mafia game comes out and everyone just assumes the Italian guy from New Jersey needs to be the reviewer, like he knows something that everyone else doesn’t. Well, I might, but I’m no rat. The only thing I know and am willing to talk about is that Mafia III looks like it knew something, too, and somebody roughed it up a lot trying to find out what—because this game isn’t in great shape. If it had a mob nickname, it’d be called “Pretty,” but only in that ironic kind of way in which it really isn’t, you know what I mean?

Mafia III follows the story of Lincoln Clay, an African-American Vietnam veteran in 1968. After his final tour of duty, Clay returns home to New Bordeaux, developer Hangar 13’s take on New Orleans in much the same way Mafia II’s Empire City was based on New York and Chicago. Even amid all the racist glares, Clay is thrilled to be home, meeting up with his adopted family and father-figure Sammy—a mafia lieutenant in control of the predominantly African-American section of town called the Hollows in crime boss Sal Marcano’s empire. It’s not long before Lincoln is putting his military training back to use for Sammy, which catches Marcano’s eye. After pulling off the heist of the century to help square away Sammy’s debts to Marcano, the crime boss turns on them all and burns Sammy’s bar to the ground. Clay survives the double-cross, however, and after being nursed back to health, plans to burn Marcano’s crime empire to the ground like the mobster did to Sammy’s bar.

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Let me start by saying that Mafia III’s main plot is one of the best-written stories I’ve played through in a very long time. At times it’s humorous, emotional, poignant, and with its willingness to tackle the subject of race during a tumultuous time in our nation’s history head-on, even reflective and analytical of the society we live in today. Its use of in medias res hooked me right away, dropping me right into the action, and then slowly developing the characters of Lincoln and his associates through well-timed flashbacks. Thus, allowing me to quickly care about or despise them depending on their relationship to our protagonist before smoothly merging Lincoln’s past with his present and moving forward from there.

A huge part of what made the main story so great was the audio aspect of the game. From tremendous voice acting by the cast, to one of the best soundtracks I’ve ever heard from a game, Mafia III is a joy to listen to. The soundtrack specifically is so deep and varied, compiling countless hits from the 1960s, that across the game’s three radio stations, you’ll be shocked when you’re still hearing new songs come on even halfway through what could easily turn into a 30-hour experience—not to mention their timing during story missions is a great way to help emphasize the emotion of the moment. Throw in original radio talk shows created for the game to reflect what’s going on both in the world at the time and the fire and brimstone Lincoln is bringing down about New Bordeaux, and driving around with the radio on has potentially never been better in a game.

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Unfortunately, as good as the game is audio-wise, it falls off a cliff at times visually. In those rare instances where everything comes together, New Bordeaux is a vibrant, diverse city that is a joy to drive through. More often than not, though, it feels like a ghost town. Even during one of the early flashbacks that has Lincoln escaping police through a Mardi Gras parade, the city never feels as alive or populated as it should, and that scene made it all the more telling with only scattered handfuls of revelers celebrating.

Also, the glitches that occur are far too frequent and major to be forgivable. At times, Lincoln was hit with some sort of latency bug, so a weird particle-shadow appeared behind him as he moved. Others, like in the screenshot below, you’d see two models of the same character in one place. In this instance, Cassandra, one of Lincoln’s own lieutenants, is both sitting while reading a book, and staring at the back wall for some reason. Sometimes NPCs would pop in and out of existence in a blink, or merge with the cover they are taking in shootouts. Once, the sky even flashed different colors rapidly as if the day/night cycle had suddenly broken (and I’m not talking about the instances before certain missions where it does accelerate so that a mission is taking place during the proper time).

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The worst aspect of Mafia III, though, has to be the liberation of districts gameplay. There are 10 districts in New Bordeaux, and as part of his plan to take down Marcano, Lincoln will recruit three lieutenants of his own —Cassandra, head of the Haitian mob, Vito, Mafia II’s protagonist, and Burke, head of the Irish mob—that he can then assign parts of the city to. There’s an interesting metagame where if you play favorites, the lieutenants might turn on you, but by evenly dividing up the districts amongst the three (the tenth district, the Bayou, cannot be assigned because no one tames the Bayou) you can avoid this.

By killing high-ranking Marcano goons and destroying valuable property, you’ll draw out racket bosses, and when you bump off enough of those, you’ll draw out Marcano’s nine lieutenants and capos one-by-one. Once you kill them, you’ll win the district. To do all this, however, you’ll have to complete these same objectives over and over again, just in different parts of the city.

This lack of mission variety turns the open-world aspects of Mafia III into a grind. There isn’t even fast travel, so for many missions you’re constantly forced to just drive needlessly back and forth across the city—again, made a little better by the radio, but still annoying enough—bringing the game’s pacing to a crawl. And while it’s cool the first few times Lincoln basically goes into special forces mode, moving through warehouses to silently slaughter unsuspecting mobsters like he was again wading through Vietnam’s rice paddies looking for NVA officers, I was done with it after a few times—even though I then had to still do it another two dozen times or so. Of course, you can also go in guns blazing, but the numbers are against Lincoln, so it’s not recommended. Similarly, the game’s handful of side missions boil down to one of two types: steal a car and drive it back to your lieutenant for more money, or kill someone on Vito’s special hit-list.

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It’s funny how one of the major complaints people used to make about the earlier Mafia games was how linear they were. Mafia III is definitely open-world, but the lack of variety in mission design really makes me wish the game had stayed narrower in scope. If as much thought, care, and originality had been put into all the game’s missions—instead of just those revolving around when you finally hit the story’s main beats where Lincoln claims a territory—this could have been something special. As is, though, I’d say 20 of the game’s 30 hours are a grind, and there’s only 10 hours of really worthwhile content here that could’ve been streamlined into a really stellar experience.

Mafia III tells a terrific main story. The problem is the experience is bloated by repetitive, yet necessary busy work that requires a huge time commitment to draw out would-be targets to get to the next great story beat. This dichotomy is reflected in the audio and visual aspects of the game as well, with it being a joy to listen to, but chock full of glitches that snap you out of what would otherwise be an immersive experience. This review mob boss wouldn’t put a hit out on Mafia III—it’s not that offensive—but it sure would need to do some big favors to get back in my good graces after wasting so much of my time.

Publisher: 2K Games • Developer: Hangar 13 • ESRB: M – Mature • Release Date: 10.07.16
6.5
Mafia III’s main plot is one of the better-written stories I’ve played in recent history. The problem is the gameplay is bloated with a lot of busy work and weak side content that detracts from this great tale.
The Good Tremendous writing and great storytelling.
The Bad Tons of visual glitches and extremely repetitive gameplay.
The Ugly I spent way too much time collecting the vintage Playboys in the game. I swear it was only for the articles, though.
Mafia III is available on Xbox One, PS4, and PC. Primary version reviewed was for PS4. Review code was provided by 2K Games for the benefit of this review. EGM reviews games on a scale of 1 to 10, with a 5.0 being average.