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EGM Review: Plants vs. Zombies 2: It’s About Time

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September 5, 2013

Gotta get back in time

When you consider the phenomenon that the first Plants vs. Zombies became—being ported countless times to every system available and inspiring every piece of merchandise imaginable—it’s no wonder that the folks at PopCap would, at some point, get around to making a sequel. Instead of resting on their laurels and riding the massive wave of success generated by the first game to an easy payday, however, Plants vs. Zombies 2 erects a wondrous monument on the foundation of its predecessor that has the potential to consume every free second you have—if you let it.

Building a bit on the story of the first game, PvZ 2 sees your neighbor, good ol’ Crazy Dave, construct a talking time machine out of his car. After eating the most delicious taco ever assembled, Dave gets the idea of using his time machine to travel several minutes back in time to consume this hallowed taco once more. Being in the vicinity of the car, you’re pulled back with Dave, but instead of several minutes, you’re sent back several thousand years. Now, you must battle zombie hordes with the help of Dave and his sentient automobile, traveling through time as you try to get back home.

The biggest change that most players will notice is that, unlike its predecessor, Plants vs. Zombies 2 is free-to-play (not to mention starting out as an exclusive on iOS devices). Fans needn’t worry about free-to-play becoming pay-to-win, or about any story content being gated, though. The entire game can be played without you having to pay a dime, and only one of the new plant types is locked by a purchase. Plus, the extra good news is that PopCap has promised continual content updates to the game through this system.

Despite the switch to a free-to-play model, both the core tower-defense gameplay and cheesy humor that made Plants vs. Zombies so great return here in droves. The obvious additions are dozens of new plants, like the fire-breathing Snapdragon or kung-fu-proficient Bop Choy, and new zombies, like the sun-stealing Ra Zombie. Along with these new characters comes a bevy of powers that you can utilize at any time.

Some of these powers come from supercharged plant food that you acquire by defeating special green-tinted zombies. By utilizing it at the right time, you can turn the tide of any battle, and each plant has its own appropriate special attacks. Old standbys like Pea Pods will shoot a continuous stream of pellets, perfect for wearing down shielded zombies, while Bop Choy will deliver furious roundhouse kicks and swinging haymakers that allow it to attack not only directly in front of it, but in adjacent lanes as well.

Utilizing the touchscreen feature of the iOS devices, PvZ 2 can also give the player special powers that you can purchase either with in-game currency earned by playing well, or by dropping some real-world cash via the in-game store. These powers can serve as a Hail Mary for some more troublesome maps. For a few seconds, one power grants you the ability to electrocute any zombie onscreen and turn them to ash. Another allows you to pinch zombie heads off their bodies, instantly killing them. And the final power allows you to flick zombies off the screen and into an unknown abyss from whence they will never return. When you combine the new plant food feature with these powers, you have countless new strategies that can potentially open up.

Outside of the action on each main level, there are plenty of side activities as well, providing some much-appreciated gameplay variety in the form of minigames and challenge maps. Whether it’s using only a certain number of total plants in the match or starting with plants already on the field that you can’t let die, the challenge maps add a ton of replayability.

There is, however, a fine line between replayability and grinding. The one negative in PvZ 2 is that in order to advance from ancient Egypt to the pirate world and finally to the Wild West, you need to collect a certain number of stars—and these stars usually will require you to do the same story levels over and over again, collecting them one at a time. Although it’s enjoyable at first, after a while, it feels needless to constantly backtrack and retread ground, like some infuriating JRPG.

Putting that aside, though, there’s no way I can’t recommend Plants vs Zombies 2: It’s About Time if you have an iOS device. It doesn’t cost you a single cent to play, it maintains the same addictive strategy elements of the first game, and it adds a ton of new gameplay variety. If the first Plants vs. Zombies was a sensation, Plants vs. Zombies 2 may turn the franchise into a way of life.

Developer: PopCap Games • Publisher: Electronic Arts • ESRB: N/A • Release Date: 08.15.2013
9.0

PopCap maintains the addictive tower-defense gameplay and cheesy humor that made the first Plants vs. Zombies such a phenomenon, while adding a plethora of new features that ensure this game will consume every free second you have—if you let it.
The Good A near-unbelievable amount of enjoyable additions.
The Bad Can become a bit of a grind when forced to replay a lot of levels before advancing to the next world.
The Ugly Fire-breathing flowers and highly combustible zombie flesh.
Plants vs. Zombies 2: It’s About Time is currently an iOS exclusive. 
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EGM Review: Brothers: A Tale of Two Sons

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The game of brotherly love

Drama in games is a good thing—it has the potential to show the growth of the medium. But with a heavy emphasis on action due to the popularity of shooters and the like, it’s easy for game developers to shy away from pushing for unique plots or rich storylines as they gravitate toward what’s been proven to sell. That’s somewhat understandable, since everyone wants to collect a paycheck and have a job at the end of the day. But this makes those few games that take narrative risks truly stand out above the din of explosions and gunfire.

There’s a fine line, however, in utilizing dramatic tones. There’s a risk of going overboard. Brothers: A Tale of Two Sons follows a pair of siblings on a fantastical quest to find magical water that can cure their sickly father. A simple concept, but the game’s true focus is on the relationship between the duo and how they interact with this world—and each other. Brothers looks to tell a story with the depth of character many of us long for but so rarely are given in videogames.

Unfortunately, the game finds itself on the precarious opposite end of the drama spectrum, beating players ham-fistedly over the head with a slew of moments meant to make our hearts clench. Instead, they turned me off.

A perfect example is the game’s opening cutscene. In what seemed like a tribute to Titantic, the younger brother is on a rowboat, desperately trying to hold onto his mother as she slips beneath the waves, drowning. In concept, it’s a powerful moment, but since it was the very first thing I saw, the weight of that moment was largely lost. There simply wasn’t enough context for me to care. For much of the game, all this flashback does is establish why the younger brother is afraid of water and needs to be ferried by his older sibling across rivers and streams.

I’d argue that this memory would’ve been infinitely more powerful if it came later in the game—after we’d figured out that only the older brother can swim. This would’ve given the characters room to breathe and grow, instead of being smothered by this cloud of despair right from the start. I’ll avoid spoiling some moments from later in the game, but these overly dramatic instances are frequent enough that the experience becomes less enjoyable as a whole.

That’s not to say that some segments don’t hit it out of the park. At times, the gravitas of the situation was clear, and I felt those heartstrings pulled. I’m just saying that much of the drama felt like the developers were fishing with hand grenades. It was overkill.

Besides its overt attempts at deep storytelling, Brothers also experiments with a novel control scheme. It’s possibly the simplest set of controls I’ve seen on a modern console: The shoulder buttons move the camera, the trigger buttons let a brother interact with items in the world, and the twin sticks move each character around. This gives Brothers the feeling that anyone could potentially pick it up and play it. The simplicity of the controls are a double-edged sword, however, that creates two problems.

First, it gets confusing if the brother assigned to the right stick crosses to the left side of the screen—or vice versa. It took almost the entirety of the game (it’s only a three-hour romp altogether) for my brain to get used to controlling both of them at the same time.

This isn’t nearly as problematic as the fact that the simple control scheme leads to very simple puzzles. Not once in Brothers was I hindered by anything thrown at me. Whether it was a “boss” (I use that term lightly here), a dual-action brainteaser, or a puzzle that could be handled by only one of the characters, everything from a gameplay perspective felt underdeveloped, especially as the sequences began repeating themselves towards the end of the game.

Still, Brothers does shine in some areas. The aesthetics—especially in the later levels—depict a beautifully diverse fantasy world that I wish I could’ve played around in a little more. Icy waters populated with whales, blood-drinking tribesmen, and a land ravaged by a war between giants are all aspects of the brothers’ world that made me wish I could’ve broken free from the linear path. These fleeting glimpses filled my heart with wonder—far more than the brothers’ quest ever did—and the animators should be applauded for this effort.

Brothers: A Tale of Two Sons has a solid-but-flawed foundation. It tries to tell an intriguing and emotional story, but it feels like it’s talking down to the player more often than not—and the gameplay’s simply not deep and engaging enough to overcome this. With only three hours of content and no replayability (once the story’s told, there’s nothing to make you come back for more), it’s hard to recommend Brothers to anyone but the most voracious fantasy fans.

Developer: Starbreeze Studios • Publisher: 505 Games • ESRB: T – Teen • Release Date: 08.07.13
6.0

While Brothers: A Tale of Two Sons occasionally succeeds in tugging at the heartstrings, there’s a heavy-handedness that runs through a good portion of the drama—and that’s off-putting. The unique controls take too long to get used to (considering this is only a three-hour experience), and the puzzles are simple and repetitive.  The aesthetics are definitely pleasing, however. In the end, Brothers doesn’t do anything terribly wrong, but it doesn’t do anything spectacularly well, either.
The Good Terrific art style; some genuine emotional moments.
The Bad A fair amount of ham-handed, unnecessary drama; simple, repetitive puzzles.
The Ugly Going cross-eyed from the twin-stick control system.
Brothers: A Tale of Two Sons is available on Xbox 360 (XBLA). It will release on PC on August 28th, 2013, and PS3 (PSN) on September 3rd, 2013. Primary version reviewed was for Xbox 360 (XBLA).
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EGM Review: The Walking Dead: 400 Days

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July 23, 2013

Telltale’s take on 5 Lives

With fans of Telltale’s runaway hit based on Robert Kirkman’s The Walking Dead chomping at the bit to get their hands on the next season like a group of walkers with raw meat, 400 Days comes at just the right time—an appetizer of sorts for what the future may hold for the series. Functionally, 400 Days serves as a bridge between Season One and Two that looks to establish new characters we may meet, as well as a whole new series of choices that will continue to effect us and play out through the next season.

Now, with something so story-driven, I can’t get into many details without spoiling things. What I can tell you is that 400 Days centers around an abandoned pit stop diner/gas station where five different groups of people are put to the test throughout the first year of the outbreak. Some stand alone, while others unknowingly affect each other—and whatever decisions you make will have an effect on Season Two (when we’ll hopefully get to see Clementine again).

Yes, I can tell you that Clementine doesn’t make an appearance in this DLC. This may break a few hearts—we all want to get an inkling into the girl’s fate—but it gives a flurry of new and interesting characters who we might be able to look forward to Clementine meeting. This could give diehards of the series unprecedented insight into the people around them, not just the main character.

400 Days’ main purpose is to act as setup for Season Two more than anything, and may stand relatively far away from the first season. But it also makes plenty of subtle references to Season One that will have gamers who beat Lee and Clementine’s odyssey grinning ear to ear.

If you didn’t beat the first season, well, first: What are you waiting for?! Second, if five 20-30 minute bite-sized adventures are more your speed right now than a 2-3 hours chapter, you can still go ahead with 400 Days and not worry about spoilers. My only complaint with this DLC was that it was DLC and not a standalone episode since it makes for a perfect jumping in point for newcomers to the series. Instead, the game is only available to players who already have a Season One episode on their hard drives. Of course, this could be an ingenious way to try to hook players by making them buy both Season One and 400 Days.

In regards to the gameplay, it’s much of the same. It’s still primarily a point-and-click adventure, with occasional opportunities to walk around and chitchat with characters before making another impossible decision. The animations felt a lot smoother this time around, however, as compared to some of Season One’s episodes.

400 Days puts players in the same kind of gut-wrenching situations we expect from the franchise. I constantly had to deal with life and death choices, but the short nature of the chapters makes the decision feel like a morbid lightning round. This served as an interesting changeup to how the first season went about telling its story, while finding ways for players to invest in a whole new group of characters in a fast and fun way. All in all, this makes 400 Days possibly the most enjoyable chapter in the series yet—and a must play before The Walking Dead: Season Two starts later this year.

Developer: Telltale Games • Publisher: Telltale Games • ESRB: M – Mature • Release Date: 07.02.13
9.5
The perfect bridge between Season One and Two of The Walking Dead, 400 Days expertly sets up new characters in fun, interesting bite-sized chunks that will do nothing but get fans more hyped for Season Two.
The Good Makes some subtle, but enjoyable nods to Season One, while expertly building a narrative bridge to Season Two.
The Bad The stories hold up enough that the DLC could’ve been a standalone release.
The Ugly We still don’t know what happened to Clementine.
The Walking Dead: 400 Days is available on Xbox 360, PS3, PS Vita, PC, and iOS. Primary version reviewed was for Xbox 360.
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EGM Review: NCAA Football 14

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Keep choppin’

Growing up in New Jersey, collegiate athletics always took a backseat to the professionals. That’s probably because we have a lot more pro teams in the area than legitimate college teams—and because the pros win a lot more championships. So, when it comes to college football, there’s only ever been one choice when it comes to pledging your allegiance: the Rutgers Scarlet Knights.

It was an easy choice, then, when it came time for me to decide who’d play the starring role in my NCAA Football 14 Dynasty. I’d continue the work that current Tampa Bay Buccaneers coach Greg Schiano started in Piscataway a decade ago, trying to further drag the name of Rutgers athletics out of the Division I muck.

Unfortunately, playing NCAA Football 14 is kind of like rooting for Rutgers: You do it because it’s the only option available. While a few tweaks here and there do add to the experience, most of this release comes across as a sad, mailed-in, final effort on this console generation before we get into the pomp and circumstance of the Xbox One and PlayStation 4. And with no one to give them any competition, it’s no surprise that NCAA’s bar continues to fall.

Speaking of low bars, one of the new additions to NCAA is the Nike Skills Trainer mode—a fancy way of saying “tutorial.” If this is your first time playing an NCAA game, the Skills Trainer is a safe way to not embarrass yourself when you actually get out on the gridiron, providing you with the ins and outs on how to run the option and how to put just enough touch on that pass into double coverage. But like with the rest of NCAA, numerous, frustrating logic flaws will probably have you wanting to take your lumps on the field instead.

First off, no tutorial should ever teach a newcomer to football that it’s OK to throw into double coverage. That goes against the most basic rules of the game, and the fact NCAA tries teaching this shows how far the game is up its own jockstrap. Also, the success criteria on several drills seem completely arbitrary. Several times in the option tutorial, I “failed”—and that’s because even though I made the pitch at the proper time, the play still got busted up by the AI. The reverse also happened: I didn’t make the pitch, got a huge gain, but since I was—according to the game’s broken AI—supposed to make the pitch, I failed. Once you’re in a real game, color commentator Kirk Herbstreit will even remark that getting a gain on a misread option—like I did in the drill—is “always a win.” Not according to NCAA Football 14, Kirk.

And this, I found out, would be the first of many logic problems I’d encounter throughout the game. Maybe this stems in part from the fact that college football rankings are a joke, based on an arbitrary voting system to determine the best teams and players in the nation. Maybe EA Tiburon is simply trying to simulate the “human” factor of many sports, but in a videogame, I need a little more AI and a little less “human” than what NCAA 14 provides.

The next failure came at the end of my first Dynasty season, when my Rutgers Scarlet Knights went 10-2 in a schedule that include five Top 25 teams—only losing to eventual (and undefeated) conference winner University of Houston and perpetual powerhouse Notre Dame—and were promptly relegated to the Kraft Fight Hunger Bowl. While fighting world hunger is certainly something to aspire to, that particular bowl game is anything but. To see my team, who finished with a No. 13 ranking and just two losses, get a worse bowl than schools with 8-4 and 9-3 records and lower rankings was infuriating.

But it wasn’t as infuriating as when my star running back, who amassed a stupendous 2,100 rushing yards and 16 TDs over the course of the season, wasn’t even nominated for the Heisman. I’m not saying he had to win it, but when the next-highest rusher was more than 500 yards behind him—and when that back managed to get nominated—the whole situation started to seem a bit ridiculous.

So, like I said, logic problems galore. But EA Tiburon has also made several changes that do improve on the overall experience. The recruiting system has been streamlined, so you now assign a limited number of points toward prospects that you wish to recruit hard, with bonuses given for random factors the particular recruit cares about. How close is your school to home, how much you win, how much playing time you promise, and more play into a recruit’s willingness to sign with you. This streamlined approach lets you get back and play your next game quickly, without spending hours trying to beg the top prospects to come play for you.

Of course, another added feature in Dynasty Mode is the new RPG-like progression system of your coaching staff. While this is finally a way to give more weight to wins and how well your team performs in games—a critical shortcoming of previous NCAA incarnations—this system feels like it throws off the balance of the game. After a while, the upgrades remove much of the challenge. More in-depth scouting, kickers that never freeze, fewer penalties on the field, and boosts to your team during critical game moments are just a few examples of the new “powers” your coach can have. Those are significant buffs, and since the core gameplay doesn’t ramp up to match your newfound abilities, it feels like you’re turning the difficulty down as you get better at the experience. A more effective way of doing this would’ve been giving players a choice of three or so boosts off the list of dozens you can unlock. That way, everyone’s coach would be a little different, but the game balance wouldn’t be upset in the process.

Another addition to NCAA this year? EA Sports’ card-based Ultimate Team. It’s about time this popular mode made it into NCAA, and die-hard players can now pick up Bo Jackson, Peyton Manning, Barry Sanders, Randy Moss, and more to make a superteam.

The core physics engine has also been modified—using an updated version of the same tech that debuted in last year’s Madden—in an attempt to provide a more realistic tackling experience and improve the run game AI, which it does on both accounts. For the most part, this might be the best actual football experience from the NCAA franchise to date, even if it’s at the sacrifice of in-house originality.

It’s just a shame that the engine doesn’t bring along more realistic visuals, too. NCAA 14’s graphics, by and large, still look like they’re from the beginning of this console generation—and the glitches don’t help with the lack of polish, either. Mind you, EA promised that a day-one patch would correct some technical bugs, but I’d be remiss if I didn’t mention that my experience included abysmal load times, a half-dozen crashes, and players who would literally stand still on the field in the middle of plays. With all the bugs I encountered, it had better be a massive patch.

Even still, I had fun with NCAA Football 14. I can’t deny that. It’s still football, and it still feels satisfying when you get a pick or score a late TD to ice a game. Ultimate Team and the streamlined recruitment process were nice touches, too. But when I look at NCAA, I can’t help but think to myself: If I were a true college football fan, why would I want to play a game that’s not bringing its very best to the field? In the end, it’s the same reason I root for Rutgers and not USC or Alabama: because I’m stuck with no other choice.

Developer: EA Tiburon • Publisher: EA Sports • ESRB: E – Everyone • Release Date: 07.09.13
6.5
A few tweaks, a couple of tacked-on modes, and some better mechanics from the borrowed Madden engine can’t overcome the basic logic flaws and imbalances that seem to be annual staples in NCAA.
The Good Ultimate Team debuts in NCAA; streamlined recruitment process.
The Bad Poorly balanced RPG-leveling system for coaches; logic problems galore.
The Ugly A lack of competition continues to result in a lack of ingenuity.
NCAA Football 14 is available on Xbox 360 and PS3. Primary version reviewed was for PS3.
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EGM Review: Deadpool

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Don’t forget your syrup! We’re making pancakes!

It’s never easy turning a licensed product into a videogame, but it can be especially hard when it comes to comic books. Developers typically have a wealth of history from which to draw, but that also leads to fanatical fanbases who love to criticize the slightest bit of “creative interpretation.” Or, on the flipside, you’ll see projects commissioned to be made with half the budget and half the time—and then publishers wonder why we, the game-loving public, trash the end result.

But every now and again, the stars align. With time, money, knowledge, respect for the product, and understanding from the fanbase, you’ll have an experience worth playing. The guys at High Moon Studios are familiar with this; they’ve done it twice now with a pair of original Transformers videogames. But can they possibly handle the biggest challenge they’ve faced so far in the form of Deadpool?

Based on the Marvel character best known for breaking the fourth wall and spoofing a flurry of other comic-book characters, Deadpool is a love letter, plain and simple, to the fans who’ve supported him since the Rob Liefeld/Fabien Nicieza days in the early ’90s. Luckily for us, though (no offense to those guys—well, maybe Liefeld a little), High Moon asked Daniel Way to write the script instead. Fitting, since Way’s run with the character is probably why Deadpool’s now at the height of his popularity.

And the game unfolds exactly how Deadpool fans might expect: Everyone’s favorite Merc with a Mouth decides he wants to be in his own videogame. Yep, fourth wall already smashed to smithereens. So he calls up the guys at High Moon, threatens them (a lot!), and gets the green light. We then begin stage one, where Deadpool must hunt down a big-time executive type in order to rake in a big bounty. Unfortunately for Deadpool, this particular fat cat is doing business with the Marauders and Mister Sinister, and he’s under their protection. Deadpool can’t be having that—no, sir!

Thus begins one of the wildest gaming rides I’ve had in quite some time. Sure, Way’s comics made me laugh for a couple of minutes each month, but this game had me in stitches for almost the entire eight-hour experience (give or take an hour, depending on your difficulty).

Aside from the smartly executed script, the game looks solid; it’s firmly entrenched in Marvel lore, yet it’s also got a splash of Looney Tunes when it comes to animations, character reactions, and general tomfoolery. The excellent voice work certainly adds to the atmosphere, too. Nolan North channels every ounce of Deadpool (and the voices in his head) he can muster through that red-and-black mask and when grouped with other voice veterans like Steve Blum as Wolverine and Fred Tatasciore as Cable, the acting is top notch.

But not everything about Deadpool is a perfect mile-high pile of pancakes. Deadpool loves guns. He also loves swords. In fact, any tool that can deal death is a high priority in his fractured mind. So High Moon faced an understandably difficult undertaking in finding the proper balance between guns and melee weapons. Unfortunately, the Deadpool game doesn’t quite get that balance right as the action ebbs and flows back and forth between having to use guns and then use melee weapons, instead of blending the two together more to craft a smoother combat experience. Also, while the combo system works fine and sees Deadpool transition smoothly from enemy to enemy, the broken camera and floaty platforming sequences serve as unseen foes that ultimately detract from the experience.

Still, Deadpool also features a few combat tweaks that definitely add to the experience, such as a “Momentum Meter” that fills up with continued success. The upgrade system that requires you to cash in “Deadpool Points” earned from massive combos is a decent touch, and being able to wield a variety of handheld, throwable, and projectile weapons helps keep the experience from becoming a complete button-masher. The game also offers eight challenge maps—with four levels of difficulty—that offer some replayability.

Even with a few gameplay issues, Deadpool hit just about every note I wanted. The campaign offers enough hysterical choices that I played through it several times—and I even watched as others in the office experienced it for the first time. Ah, so many fond memories.

If you’re a fan of Deadpool, you’ll certainly appreciate the experience, but if you’re really unfamiliar with the character (even though I don’t know how that’s possible at this point), you might be a bit wary of having this game be your first experience with Wade Wilson (Oh, no! I revealed his secret identity! Spoilers!).

Developer: High Moon Studios • Publisher: Activision • ESRB: M – Mature • Release Date: 06.25.13
8.0

You’ll be fighting the camera sometimes as much as enemies, and the balance between guns and melee needs a bit more work, but most of the time, I was laughing too hard to care. The script is a love letter to Deadpool fans, so if you love the Merc with the Mouth, this game will hit your chimichanga-flavored sweet spot.
The Good Hysterical story that channels the best of Deadpoool.
The Bad Balance between melee and guns needs work; camera can be a hindrance.
The Ugly WHERE’S HYDRA BOB?!
Deadpool is available on Xbox 360, PS3, and PC. Primary version reviewed was for Xbox 360.
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EGM Review: Company of Heroes 2

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Harsh winter, harsher reality

In America, we often glorify our own involvement in World War II. But it’s easy to forget about our allies—especially the Soviets, who we’d subsequently spend much of the rest of the 20th century villainizing after the war. If Stalin and his men hadn’t forced the Nazis into a prolonged war on three fronts that bled Hitler’s boys dry, though, we might be living in a very different world indeed.

It’s easy to look back on a conflict that saw the loss of so many—and went on for so long—as a mere collection of dates and names of battles. It’s safer to just look at statistics (like the estimated 60 to 80 million deaths worldwide) and detach yourself from the thought of so much human suffering.

And that’s a major reason why Company of Heroes 2 is so fascinating. Not only does it highlight the war fought along the Eastern Front from 1941-1945, but the single-player campaign tells this underappreciated tale through the eyes of (fictional) lieutenant Lev Abramovich Isakovich—and how he copes, years later, with the questionable tactics the Reds often used for “the sake of the greater good” as he’s interrogated by a former superior officer.

The campaign weaves its way through the greatest battles along the Eastern Front, from the very beginning with Operation Barbarossa, through to the bloody Battle of Stalingrad,  continuing to where the Soviets started turning the tables with Operation Iskra (as well as plenty of events around and in between these key moments), and forward right up until the end of the war. Each battle offers a specific set of mission-completion parameters that push your own strategic merits to the limit—and show off what Relic’s new Essence Engine 3.0 can do from a visual perspective.

Some of these visuals effects include the all-important, brand-new weather system that simulates blizzard conditions. The idea of “General Winter” is one that’s protected the Russians for generations, and to see it in full force in Company of Heroes 2 is a new wrinkle that shouldn’t be taken lightly; soldiers who stray from shelter or the warmth of a campfire for too long will start to suffer from hypothermia. There’s no worse feeling in Company of Heroes 2 than watching your soldiers drop, one by one, as they march across the frozen Soviet wasteland, leaving dead bodies in their wake like breadcrumbs. You’re struggling to search for salvation before you’ve even fired your first bullet.

The flipside, of course, is that General Winter can also create new terrain by freezing lakes and rivers. This allows clever players to send an enemy tank that’s decided to take a shortcut over thin ice to a watery grave or cut off a combatant’s retreat or advance with some well-placed mortar fire that shatters the ice.

But aside from this added wintery nuance and a tweaked line-of-sight system that requires your forces to actually be able to see something directly in order to remove the fog of war, there’s very little new here for returning players. That’s not to say that fans will be disappointed—far from it—but if you’re looking for extreme innovation, you might be disappointed.

But as much as Company of Heroes pros might be able to jump right in and get a relatively quick grasp on the situation, newcomers might be as lost as a hapless German soldier trapped behind enemy lines in the Russian winter. The campaign tutorials do little to explore the full upgrade branches of many troops; they limit players to abilities that would fit the situation. This provides a sense of realism rarely seen in an RTS, but it also makes it difficult to learn just what your units can do when certain abilities are suddenly missing for reasons that aren’t adequately explained.

When you get to the multiplayer aspects of Company of Heroes 2, the game is like most any other RTS title. You set up your base, acquire resources, upgrade troops, and attempt to annihilate the enemy from the map or capture certain objectives. Here, RTS vets will find a polished experience that provides a plethora of options to keep the experience fresh; you can set a variety of in-game parameters, such as the all-important weather scenario or computer-controlled AI options. But those coming here from the campaign will be in for a shock; the multiplayer pacing is drastically faster, and the first few matches might give players a rude awakening.

Company of Heroes 2 serves as a shining example of what the best developers can achieve in the RTS genre. The compelling characters and situations seen in single-player and the bountiful array of multiplayer options combine for a winning combination—like borscht and vodka.

Developer: Relic Entertainment • Publisher: Sega • ESRB: M – Mature • Release Date: 06.25.13
8.5

While there’s little new here to differentiate between titles besides the change of scenery to WWII’s Eastern Front, Relic once again delivers a premiere RTS experience.
The Good Expansive single-player campaign that does real-life events justice while featuring a bevy of multiplayer options.
The Bad Not for newcomers—and nothing new for veterans.
The Ugly General Winter’s icy grasp.
Company of Heroes 2 is a PC exclusive. 
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EGM Review: Marvel Heroes

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June 24, 2013

Dr. Doomed from the start

Right next to having superpowers of their own and fighting alongside their favorite characters, the next best thing for most comic-book fans would be actually assuming the role of their most beloved superheroes. Personally, I’d probably like to be one of the X-Men. Wolverine, Iceman, or Colossus, if possible—I’m not picky.

The guys and gals at Gazillion Entertainment zero in on this concept with their free-to-play PC game, Marvel Heroes. Driven by Diablo-style action-RPG mechanics, the game sees players starting off by choosing one of five heroes who most comic fans would consider B-list: Hawkeye, Storm, Scarlet Witch, Daredevil, and the Thing. By beating the game—or spending some cold, hard cash—you can unlock other heroes or purchase a variety of costumes for these characters.

Unfortunately, if you’re like me and get tempted into picking up the ’90s X-Men cartoon version of Cyclops or Wolverine after a few story chapters, you’ll soon realize that the starter characters represent core classes—and no matter what hero you choose, the powersets are basically the same, just with different animations.

Considering the differences between the heroes in the Marvel universe, this was frustrating as a fan. After all, I was willing to shell out the cash—only to find out there’s no need beyond cosmetic preferences. To add insult to injury, each purchased character starts at level 1, so if you want to immediately use them, the game recommends that you start the entire adventure over again, no matter what point you’re currently at.

A couple of saving graces here, however, are the story and comic-book-still cutscenes. Written by Marvel super-scribe Brian Michael Bendis, the tale incorporates some of Marvel’s most famous story arcs from all their major comic lines into one tidy package. The basics, though, boil down to this: Dr. Doom has a Cosmic Cube, and he feels like messing with reality, because that’s what megalomaniacal bad guys do. I’ve also got to compliment the top-notch voice acting in the cutscenes, including instantly recognizable pros like Nolan North as Deadpool, Steve Blum as Wolverine, and Keith David as Nick Fury.

After choosing your characters, it’s time to actually play the game. And by the time I got a third of the way through the campaign, I’d already grown bored. Instead of offering any kind of variety or difficulty, the game simply threw more and more enemies at me—or gave them an insane amount of health—in the hopes of slowing me down. But it’s not like I was actually doing anything. I played as Hawkeye for most of the game after wasting my money, so all I had to do was get a decent distance away, hold the Shift key in order to ground my hero, and then hold another button to attack. Sometimes two. If I played as the Hulk or Thing, the only thing that changed was my distance relative to the target. The enemy spawn times are also horribly balanced, and I’d regularly clear an area of Hand ninjas or HYDRA goons, only to have them reappear nanoseconds later.

One decent aspect of the gameplay, however, comes in the dungeons. If you turn on auto-grouping, you can enter any dungeon without the fear of being completely overwhelmed. Unlike a lot of other MMOs, when you enter a dungeon around the same time as other players, you can be automatically placed on a team with them. Of course, this can lead to the confusing dilemma of having six Hawkeyes on the same team (which happened to me a lot) and getting your particular avatar lost in the chaos, but if you’re a more introverted gamer, you don’t have to worry about pulling up an awkward chat window, begging for assistance, and dealing with complete strangers.

Normally, this is about where I’d wrap up my review, but I’d be remiss if I didn’t talk about the most disappointing aspect of my time playing Marvel Heroes: the technical side. I purposely waited as long as I did to put up my review because I was waiting to see how the game performed after some patches. While the game has seen several small patches and one major fix in the two weeks since the game went live, I’m still experiencing many gameplay-balance problems, as well as numerous technical issues.

Every 20 to 30 minutes, my game crashes or freezes for no apparent reason, and while I’ve reported this error on the technical forums, it remains unfixed after performing the recommended actions from the support staff. I’ve made sure my drivers are up to date, I’ve uninstalled and reinstalled the game launcher, and I’ve even turned down the specs to the lowest possible setting (my PC isn’t the highest-end gaming rig, but it should handle the minimum requirements no problem).

This left the support staff confounded—and me increasingly frustrated. So, I want to warn people before they play Marvel Heroes: In my experience, it just doesn’t work as well as it should. And after perusing the forums, I found that the error I encountered is actually pretty common. Then again, you get what you pay for—and the core of the game is free, after all.

So, if the game works for you perfectly, that’s great, but at the end of the day, fewer crashes still won’t make Marvel Heroes the most worthwhile of experiences unless you fall in love with its price tag.

Developer: Gazillion Entertainment • Publisher: Gazillion Entertainment • ESRB: N/A • Release Date: 06.04.13
4.0
While Marvel Heroes does some nice things, the Marvel license isn’t enough to cover up glaring technical and design flaws. As much as I wanted to like this game, I can’t recommend something that is, at its core, broken. In the end, you get what you pay for (or less, if you actually invested in this).
The Good Story that expertly reimagines some of Marvel’s greatest moments.
The Bad Constant crashing and glitches; uninspired gameplay.
The Ugly Expecting to get something for nothing—and then being surprised when what you get just isn’t that good.
Marvel Heroes is a PC exclusive. 
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EGM Review: FUSE

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All four one

Nowadays, it seems that whenever a developer wants to make a shooter, they have to include four-player co-op. Some franchises simply make controllable clones that fade away whenever a cutscene or button-prompt event triggers. The better ones, like Borderlands or Gears of War, actually try to create unique individuals for each player. But rarely does the core experience ever deviate, whether playing alone or with friends.

With Fuse, Insomniac Games wanted to mix things up. Instead of giving us the same streamlined co-op experience in a shooter, the Resistance developer wanted to add elements that promoted co-op play as much as possible.

Fuse begins when a covert, four-person team working for an off-the-grid mercenary contractor named Overstrike takes on an assignment to destroy items left behind in a compromised military installation. These four agents quickly meet resistance from a rival gun-for-hire organization called Raven, which has been tasked with extracting the items. Only by tapping into some of the experimental weapons found at the bunker—powered by an alien substance called “Fuse”—can the Overstrike team hope to escape the now-botched operation with their lives.

Fuse’s story is as generic as they come. You’re given four characters who you learn about over the course of the game—but not enough to actually care about beyond the fact that if they die, your mission ends and you need to restart from the nearest checkpoint.

In fact, if you asked the three of us in the EGM office who played Fuse what the character names were, maybe through a combined effort, we could come up with all of them. Whenever we tried to use the actual character names, we just ended up confusing each other, especially with gender-neutral Izzy. It just became easier to call the protagonists “Shield Guy,” “Crossbow Guy,” “Stealth Girl,” and “Healer Girl,” because they were more defined by their weapons than the paltry character development Insomniac attempted here. Couple the forgettable characters with your standard “save the world” story, and Fuse won’t be winning any awards for its script, that’s for sure.

But where the story falters, the gameplay comes through. The best way to describe Fuse’s action is that it’s like a third-person bullet hell. Every weaponized projectile you can think of is constantly flung at your characters, filling the screen at times and making teamwork and cover a must—especially against the bullet-sponge bosses. This frantic, panicked pace gives the action an addictive quality I haven’t experienced in quite a while.

This gameplay doesn’t just permeate the campaign either. In order to wedge in some replayability and give you an alternate way to reach the game’s level cap, a Horde-like mode called Echelon is featured. Twelve waves of the campaign’s hardest enemies will come after you and your squad as you attempt to accomplish a variety of random objectives. It’s not exactly something we haven’t seen before, but the Fuse flare for fast paced action and the objective randomization is a nice touch.

The unique weapons Insomniac has crafted­–continuing to hone what many have called their forte for quite some time now—also complement the action. Dalton’s shield isn’t just a defensive barrier for the team, but it can also give boosts to friendly fire, and the shield can dissolve enemies if they get too close to it. Jacob’s crossbow can act like a sniper rifle, but should your shots miss or not kill, they can be strung together to envelop nearby enemies in liquid fire. Izzy has a special healing grenade that she can toss around the battlefield, and her assault rifle can encase enemies in crystal, stopping them in their tracks. Finally, Maya can create miniature black holes with her rifle and turn invisible to perform stealth kills. When you start finding ways to combine these powers, not only is it more effective at wiping away your enemies, but you also gather more experience.

Aside from the story, there’s one other huge flaw here: The action comes at one speed—no matter how many AI characters you have. This turns a 7-to-8-hour experience with friends into a 15-to-20 hour grind by yourself. It’s not that the AI is bad; it’s just that their priorities aren’t properly balanced. The AI is great at getting you back on your feet if you go down, but if you’re facing a room full of tough enemies or one of those bullet-sponge bosses, the fights become drawn-out and tiresome, as the AI will barely pull the trigger. Sure, you can bounce from character to character with just a press of a couple of buttons—but you’ll still only have one gun firing at the bad guys and actually hitting them, which seems like a torturous way to make you want to play with your friends.

Fuse has a fantastic foundation. The game looks and sounds great, while the RPG systems and frantic, arcade-like gameplay mechanics really pull you into the experience when playing with buddies. But I know how hard it is to get a crew of guys together to do most anything nowadays—never mind play games. Keeping that and the lackluster story in mind, Fuse makes a strong showing but falls short of being an elite shooter.

Developer: Insomniac Games • Publisher: EA • ESRB: M – Mature • Release Date: 05.28.13
7.5
It’s a technically solid game, but Fuse lacks a soul; the story and character development are bland beyond belief. The gameplay is a saving grace, though, and the experience can get quite addictive when working with a few friends—but it can also become a tiresome grind when playing solo.
The Good Fun action sequences and one of the best four-player co-op games available.
The Bad Poor story and character development; not as well-balanced for single-player romps.
The Ugly Arguing with friends over who takes control of which character.
FUSE is available on Xbox 360 and PS3. Primary version reviewed was for Xbox 360.
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EGM Review: Donkey Kong Country Returns 3D

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For the banana horde!

I grew up in the gaming era where, when you mentioned the name “Donkey Kong,” most folks didn’t think of rolling barrels down girders or Mario trying to save a damsel in a cage. No, we thought of Donkey Kong rocking out with his buddy Diddy, lounging around in the jungle, protecting his precious bananas from a bunch of fruit-deprived reptiles. While some around the office still swear by the arcade original, Donkey Kong Country is how many of us more fondly think of the big ape.

After Donkey Kong Country’s initial yearly success on the SNES (yes, the first three games came out in back-to-back-to-back years), the series had difficulty adjusting to the N64. And when DK finally made the jump in 1999, it was a mistake that still haunts many of us—particularly that awful “DK Rap.” (Which is, also, oddly beloved by certain individuals in the EGM offices.) Because of this shame, Nintendo relegated DK to the shadows for over a decade.

Thankfully, Nintendo franchise-saviors Retro stepped in to save the day. After their success with Metroid Prime, they were approached by Shigeru Miyamoto himself and asked to bring back DK. Retro obliged, dropping the hip-hop and returning the super-strong simian back to his platforming roots with Donkey Kong Country Returns, which released in 2010. Even Diddy came back—with a bit of a rocket-pack upgrade—along with the rest of the core gang: Cranky Kong, Rambi the Rhino, and Squawks the Parrot. Retro had done it again.

But now the bad news: Clearly, Nintendo feels that since Donkey Country Returns was such a huge success on the Wii, they can just cash in again by slapping some 3D on Retro’s gorgeous visuals and making the game portable.

It’s at this point of the review where, as EGM’s resident curmudgeon, I’ll try to channel my inner Cranky Kong. Just call me Cranky Carsillo. Sure, the core of the original remains intact, and, yes, this could possibly reach a new audience who didn’t play the original Wii version, but there’s absolutely no need for this game. Their big selling point this go-round? An Easy mode.

Back in my day, gamers didn’t need an Easy mode in our platformers—we simply learned the levels and got better. If you didn’t, you sucked and never got your 15-second ending and credit roll and lived with it, in shame. I’m sick and tired of Nintendo not only porting games over to their portable platform in a desperate attempt to produce titles, but then catering to people because the experiences are “too hard,” coddling a generation of soft gamers.

Sure, Donkey Kong Returns 3D features a handful of new stages, but the game doesn’t offer enough new content for those who played Retro’s offering in 2010 to come back to DK’s isle a second time—especially if you found the plethora of collectibles once already.

Essentially, developer Monster Games just slapped on a coat of 3D paint in order to hide the lack of new features. Donkey Kong Country Returns was a 2.5D platformer; this 3D look does very little for the overall visual experience because of the tricks of the eye Retro already tried the first time around. And don’t forget: We were lucky to get that extra half-dimension when I was a kid, and we were grateful for it! We would’ve walked barefoot in the snow for miles, uphill, for a full 3D experience back then.

OK, time to take off my cranky pants. At the end of the day, I’ll admit the great gameplay that made the first game such a hit returns here. It’s a throwback of a platformer if you play it the way it’s meant to be played—and if, for some reason, you missed Retro’s 2010 offering, this is a nice way to catch up. But if you played the original version a couple of years ago, there’s very little here to make it worth picking up again.

Developer: Monster Games • Publisher: Nintendo • ESRB: E – Everyone • Release Date: 05.24.13
7.0

The meager number of additions here—including the useless 3D gimmick—aren’t enough to make this worth picking up if you played Donkey Kong Country Returns the first time around on the Wii in 2010. If it’s your first time, though, and you’re still curious about checking out Donkey Kong’s latest adventure, this is a solid port.
The Good The platforming excellence from the 2010 release remains intact.
The Bad The 3D does little to enhance the experience.
The Ugly Simpler game modes remind me how easy kids have it these days.
Donkey Kong Country Returns 3D is a Nintendo 3DS exclusive. 
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EGM Review: Metro: Last Light

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Only McCarthy would disapprove

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

If you love a great story and some fun first-person shooter action, Metro: Last Light is sure to please. Only a couple of minor shortcomings hold the experience back, including the much-improved—but still not completely polished—stealth gameplay.
The Good One of the most immersive, atmospheric games you’ll play this year.
The Bad AI and stealth have come a long way—but not far enough. 
The Ugly How much free advertising for Dmitry Glukhovsky’s books you’ll find.
Metro: Last Light is available on Xbox 360, PS3, and PC. Primary version reviewed was for Xbox 360.
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