Popular FromSoftware president Hidetaka Miyazaki has addressed the PlayStation Partner Awards about the future of the Elden Ring brand.

The relentlessly punishing director of both Elden Ring and it’s DLC attended to receive an award for Shadow of the Erdtree, Elden Ring’s hefty expansion released earlier this year.

In a statement reported by IGN Japan, Miyazaki confirmed that the From team is not currently considering developing Elden Ring 2.

That being said, he also confirmed that multiple teams at FromSoftware are working on projects, some of which he’s working on directly.

But while Elden Ring 2 isn’t in FromSoftware’s immediate future, Miyazaki did not rule out a return to the Lands Between, saying “the IP could develop in some form in the future”.

It remains to be seen whether that manifests as another game, a film or TV adaptation, or something else entirely.

Elden Ring and Shadow of the Erdtree are, without a doubt, the most successful projects to come out of FromSoftware.

Both games have received Game of the Year nods in their respective The Game Award nominations, though the latter has proven to be controversial.

The post FromSoftware Isn’t Working On Elden Ring 2 Right Now appeared first on Press Start.

Nintendo are slowly getting better at releasing old games on Nintendo Switch online, following Donkey Kong Land and it’s sequel dropping last week.

This week, Nintendo has announced that none other than TETRIS, as it appeared on the NES, will be coming to Nintendo Switch Online’s NES app on December 12th.

A puzzle classic returns!

Tetris® for NES comes to Nintendo Switch Online on 12/12! pic.twitter.com/TIhj7Uq2Mo

— Nintendo of America (@NintendoAmerica) December 3, 2024

This was previously confirmed in Nintendo’s Partner Direct back in August, though a specific release date has not been known until now.

The NES version of Tetris is unique in that it was designed to end the game by becoming unplayably fast as time passes, though sweaty Tetris players eventually worked out a way to do so.

The resilience and tenacity of the human spirit endures.

The post Tetris NES Drops Its Blocks On Nintendo Switch Online Next Week appeared first on Press Start.

The post More Evidence Is Piling Up About A PlayStation Handheld Coming appeared first on Press Start.

Another week, another Switch 2 leak and this time it looks to be surrounding the consoles Joy-Con controllers.

In a video posted to the Chinese video-sharing website Bilibili, the new Switch Joy-Con are shown in greater detail.

BREAKING: Nintendo Switch 2 Joycons Allegedly Leaked ????

?? Larger SL/SR Buttons
?? New Pedal Back Button
?? Curved Design
?? Resembles September 2024 Leak
?? Pics from China Factory
?? Leaked on Bilibili pic.twitter.com/jv3LDBRu0r

— Deck Wizard (@deckwizardyt) December 2, 2024

While we can’t see much in the footage, which is quite low quality, the Joy-Con are shown to snap off rather than slide on, perhaps indicating that the new attachment will be done via magnets.

There’s not a whole lot more to be shown, but the video does show off IR Blasters on both Joy-Con, where the original Switch only had one. There also look to be extra triggers previously though it’s not clear if these are extra buttons, a release mechanism or a trigger for those playing with the Joy-Con horizontally.

While there have been many leaks about the Switch 2, especially a rather major one three months ago, the console has yet to be formally revealed, and no release date is known.

The post The Latest Nintendo Switch 2 Leak Looks At The New Larger Joy-Con In Greater Detail appeared first on Press Start.

Amazon has revealed the games that Prime members can download and keep at no extra cost for December.

Most of the games are given away as GOG codes, which give you a shiny, DRM-free copy of the game to play at your leisure.

If you’re not already a Prime subscriber, you can get 30 days free HERE.

Check out the games coming across a number of dates in December 2024 below.

All games are available as GOG codes unless otherwise specified. You can grab the games from HERE if any of them take your fancy.

Free Games With Prime December 2024

AVAILABLE NOW:

• Star Wars: Bounty Hunter
• Tomb Raider: Underworld
• Overcooked! 2
• Call of Juarez: Gunslinger
• DREDGE

December 5th 2024:

• Quake II
• Disney-Pixar’s WALL-E [Amazon Games App]

December 12th 2024:

• Planet of Lana
• Hero’s Hour
• The Coma: Recut
• Electrician Simulator [Epic Games Store]
• ReDrawn: The Painted Tower Collector’s Edition [Amazon Games App]

December 19th 2024:

• Nine Witches: Family Distruption [Amazon Games App]
• Predator: Hunting Grounds [Epic Game Store]
• Aces of the Luftwaffe – Squadron Extended Edition [Amazon Games App]
• Simlakros [Amazon Games App]
• Christmas Fables: The Magic Snowflake [Legacy Games Code]

December 26th 2024:

• The Town of Light

Don’t forget that if you want to grab any of these games, you can do so from HERE on the dates specified above.

The post There’s 18 Games Included Free With Amazon Prime Gaming In December appeared first on Press Start.

With only a few days to go, Bethesda and Xbox have released the final launch trailer for Indiana Jones and the Great Circle.

The trailer features everything you’d come to expect from an Indiana Jones epic – guns, whips, Nazis and, of course, a giant boulder.

It’s looking better than I’d have ever thought it would, and you can check it out for yourself here:

With the release of the Launch Trailer, Bethesda and Xbox have also added a new dynamic theme for Xbox Series X|S players, depicting Indy as he appears in the box-art for The Great Circle. It’s available right now.

Indiana Jones and the Great Circle is out fo Xbox Series X|S and PC on December 9th 2024. If you pre-order the Deluxe, the game is available three days earlier.

The game is included with most tiers of Game Pass, and a PS5 version is coming sometime in 2026.

The post The Indiana Jones & The Great Circle Launch Trailer Brings A Great Sense Of Adventure appeared first on Press Start.

It’s been a while since we’ve heard anything about IO’s 007 project, but in the meantime, it looks as if a LEGO version of everyone’s favourite British spy was in production at some point.

The video, which @LEGOGameMuseum has posted to X (formerly known as Twitter), shows scenes from a wide variety of James Bond films rendered in the classic LEGO style.

While the game is no longer in production, people close to the project have confirmed that the video is real and began materialising towards the end of LEGO Dimension’s development period.

?BREAKING?: An unfinished trailer for a CANCELLED Lego game based on the 'James Bond' franchise has been leaked!

Source: https://t.co/OP9kAzM76y pic.twitter.com/8dSW8aQe2x

— Lost Media Busters (@LostMediaBuster) November 29, 2024

Some have theorised this could’ve eventually been turned into a Level Pack for LEGO Dimensions, while others think this could be a pitch of sorts to get the game entered into production by the license holders for James Bond.

Most sources seem to think this is the latter, however.

Despite the excitement around the project, it seems that the powers that be have decided not to move ahead with the project. Perhaps owing to the less family-friendly nature of the series, though I personally would have loved to see this happen.

While we’ve yet to see what the next LEGO game will be, the latest one, LEGO Horizon Adventures, has been a hit with younger audiences.

The post An Unfinished LEGO James Bond Video Game Trailer Has Leaked appeared first on Press Start.

I’ve never been drawn to Farming Simulator games despite my friends’ constant insistence that the cozier, slower paced design of it all is therapeutic, but with Farming Simulator 25, they got me. An oddly cinematic trailer and the promise of worldwide farming was enough to convince me to dip my toes into the world of virtual farming. And while it’s not the best thing I’ve ever played, I’m absolutely in awe of how much depth and detail is hiding in Farming Simulator 25. It’s an experience that has forever changed how I look at these games.

I admit that’s in part due to my own ignorance, but it is incredible just how much is on offer here. The Farming Simulator games each offer the opportunity for players to step into the role of a farmer – usually through inheriting a farm which they can then develop as they see fit. You’ll expand your crops, harvest and sell them and then use that money to invest in expansion. Later games would add more detailed elements that go well beyond the traditional agriculture you’d expect – including livestock and forestry.

Farming Simulator 25 differs from the other games in a few ways. For one, you can now expand your farm beyond what has been typically provided – both American and European style farms – and begin cultivating Asian style farms too. With that, rice is a new crop that can be harvested, and, with that, many other aspects of the process change too. Other improvements with 2025 are the addition of livestock such as buffalo, which has a flow on effect of allowing you to engage in animal husbandry to make buffalo mozzarella to sell. There are some simple additions here, but it is merely adding to Farming Simulator’s already wide and varied offering.

And that’s really where Farming Simulator 25 really surprised me. It feels incredibly authentic. Not fussed with creating watered down experience for players, Farming Simulator 25 does exactly what it says on the box. While I’m not a farmer myself (in case you didn’t know), every aspect of running a farm, even those that I don’t even think about, is captured pretty authentically here. Whether it be managing crops, the aforementioned animal husbandry, or planting seeds and harvesting crops at the right time. The game feels realistic and, more importantly, when you see a big batch of crops come to fruition, it’s satisfying too.

Though it can take you a while to get there. There are some light tutorials at the beginning of Farming Simulaotr 25 but after that, the game really sends you on your way to do whatever you want. You can get out of the vehicles and go speak to people, who can often run you through the basics of whatever crop or activity you need to work out, but overall the game doesn’t hold your hand too much. This is both a blessing and a curse – it does feel like Farming Simulator 25 isn’t dumming things down for a casual audience, but for people like me, who are just getting into things, the constant trial-and-error approach to some of these crops could be frustrating for players less patient than me.

THE CHEAPEST PRICE: $89 WITH FREE SHIPPING ON AMAZON

But other improvements can help to remove some of the tediousness of some of the activities on your farm. While I’d argue that the simplicity and tedium of the tasks if some of the appeal with a game like this, you can easily implement AI-drive workers to drive vehicles from one point to another, plow a field of crops ready for harvesting or even delivering cargo for you. Their routines can be set individually or just looped, which helps you to focus on other things and, if you’re good enough, maximise your efficiency.

And that’s an important aspect of the whole experience, because you can really do a lot in Farming Simulator 25. It’s kind of impressive just how much variety there is here in terms of which crops you might choose to grow or where you’ll focus a lot of your time to expand and grow profitable. It feels like a true sandbox in many ways, and I guarantee that no two players will have the same experience, farms or even progression through the game. It’s this confidence in players to build their own farms in a way that they see fit that makes it easy for me to see why Farming Simulator has become the phenomenon that it has over the last fifteen or so years.

There are other aspects, some not even new to Farming Sim 25, that help to make the game feel more expansive, though they ultimately feel a bit like shallow window dressing than anything else. When I first started playing, I was excited to see that there was almost a whole world outside of the farm to explore – though ultimately the world is rather empty and feels more like a means to an end rather than an immersive space to buy, sell and trade in. Still, the ambition is appreciated though I’d love to see this aspect honed and improved upon in future instalments.

From a presentation perspective, Farming Simulator 25 is fairly rudimentary. It looks better than previous games though not by too much. The music is similarly what you’d expect from games like these – either no music at all or ambient tracks that help sell the atmosphere. The voice work is horrendous though, and I really hope that if GIANTS commits to a campaign in newer games that there is a bit more attention paid to this aspect of the games presentation.

Newer to this game are weather effects and improvements to the way water hits and flows off of crops, which sounds like a minor improvement, but it’s all smaller details that contribute greatly to the bigger picture. If you’re lucky (or I should say, unlucky) enough to be caught up in a tornado, one of the newer weather effects, you’ll no doubt notice how good it looks as it tears through your crops and pulls in a swirling mess of cloud and debris as it rips through your map. Other moments, like when you harvest crops as the sun sets, are serene and picturesque and really helps hammer home that cosy, relaxing effect that the Farming Sim games have.

All in all, Farming Simulator 25 is an earnest improvement on the previous Farming Simulator games. And while it doesn’t reinvent the wheel by any stretch, it adds enough new aspects to not only justify it’s existence but bring in new players, like myself without dumming down any of the intricate aspects that make it what it is. And while the onboarding can be fairly tough, especially if you’re completely new to this, sticking with Farming Simulator 25 will (mostly) lead to only fruitful harvests.

The post Farming Simulator 25 Review – Reaping What You Sow appeared first on Press Start.

Wasting no time in their colossal 45 minute presentation, Blizzard have announced this morning that both Warcraft: Orcs & Humans and Warcraft II: Tides of Darkness are getting the remaster treatment.

Now simply known as Warcraft Remastered and Warcraft II Remastered respectively, both of the remasters include all the content previously released for the original games back in their heyday.

The remasters include brand new hand-drawn visuals, though purists can select the older visual style if they wish.

The original Warcraft has been updated with modern control schemes to make it a tad more playable today, while Warcraft II’s multiplayer options are included with Remastered.

Any custom maps you’ve previously been playing around with in Warcraft II will work with Remastered too.

Both remasters will be available as part of a Battle Chest with Warcraft III: Reforged, which has recently received substantial updates with today’s announcements too.

Even better? They’re available right now.

Check out the rest of the Warcraft 30th Anniversary announcements HERE.

The post Warcraft and Warcraft II Remastered Have Been Revealed And They’re Out Right Now appeared first on Press Start.

Ending the massive Warcraft 30th Anniversary Direct this morning, Blizzard showed off a brief teaser trailer for the upcoming World of Warcraft expansion, Midnight.

Midnight is the eleventh expansion for World of Warcraft and is the second chapter in a new era of storytelling within the World of Warcraft.

In the second chapter of the Worldsoul Saga, Midnight, players return to Quel’Thalas to reunify the scattered elven tribes of Azeroth.

That’s all well and good, but Blizzard’s latest teaser seems to insinuate that we’ll be able to buy, own, and customise housing in the game when Midnight launches.

Housing is a much-requested feature in World of Warcraft, as not only will it bring parity for the game with other MMOs on the market, but it’ll also give players a place to call their own and, more importantly, a place to store all of their stuff after their lengthy travels.

The post The Latest World Of Warcraft: Midnight Teaser Implies That Housing Is Coming To The Game appeared first on Press Start.

Blizzard have today confirmed, though it should be obvious, that Mists of Pandaria is going to be getting the World of Warcraft: Classic treatment in 2025.

At the publisher’s massive Warcraft 30th Anniversary Direct, it was confirmed that players who are currently playing through Cataclysm Classic will be able to take their progress into Mists of Pandaria content in 2025 when it launches.

Mists of Pandaria was the fifth major expansion for World of Warcraft. It originally raised the level cap from 85 to 90 and also introduced a new playable race, the pandaren as well as a new character class, the monk.

The World of Warcraft Classic experience aims to run separately from the main series of World of Warcraft, recreating the same experience that players had before later expansions would be released.

No exact release date was confirmed, but Mists of Pandaria Classic launches sometime in 2025.

The post World of Warcraft Classic’s Next Expansion Is Mists Of Pandaria appeared first on Press Start.

While Blizzard didn’t hold a BlizzCon this year, it has still gone all out to make sure its presence is felt this November with a bunch of announcements.

The first of its kind, the Warcraft 30th Anniversary Direct broadcast was held this morning. It featured updates on practically everything related to Warcraft, though another franchise also managed to get a look in.

There was a whole bunch shown in the 45-minute presentation, so let’s get to it!

Warcraft and Warcraft II Are Getting The Remaster Treatment

The remasters will boast brand-new, hand-drawn visuals. You can swap between both on the fly as you want too. Both games have been given minor quality-of-life changes like health bars and mission select screens, to help them feel a bit…well…modern. Warcraft has modern controls, including right-click moving and speed improvement. Warcraft II will also include full multiplayer functionality, and legacy custom maps will be compatible with the remaster. Both games are out now.

Mists Of Pandaria Classic Was Revealed

The reveal was less than surprising given how the Classic rollout has happened so far. Regardless, the direct showed off a new cinematic featuring the most fearsome and cuddly denizens of Azeroth. It’s out in 2025.

Housing Is Coming To World of Warcraft With The Midnight Expansion

It’s called Midnight, which we knew already, but the teaser looks to be insinuating that we’ll finally be able to buy and live in our very own house. The expansion will form the second part of a new trilogy that began with The War Within. No release date has been announced.

Patch 2.0 Brings Heaps Of New Features To Warcraft III: Reforged

The update is free of charge to all existing owners of Warcraft III: Reforged and includes overhauls to lighting, environments and UI. All the assets have also been given the uprez treatment and, if they’re not your vibe, you can choose which assets will look like the new style and which will look like the old style. You can grab the update right now.

The Next Mini Set For Hearthstone Is None Other Than Starcraft

It’s the first time Blizzard has explored another world outside of Azeroth this deeply and the biggest set that Heart. The cards will hail from all three factions – the Zerg, Terran and Protoss – and each has a hero to represent them: Kerrigan, Raynor and Artanis respectively. There’s even a murlock dressed in Terran armour which is cute. It’s out in January 2025.

Arena Is Getting A Big Overhaul In Hearthstone

The arena is getting split into two distinct types of play. The first is the normal arena, which features shorter and quicker rounds. The underground arena, on the other hand, has longer matches with a much more “rogue” style of matchmaking. You can be matched with anyone on the underground, so it’s important that your deck is built to perfection before you head there. There are separate rankings for both and the major changes are expected to hit Hearthstone in the first half of 2025.

The Next Year Of Hearthstone Is Three Expansions And Lots of Dinosaurs

The first expansion, Into The Emerald Dream, will focus on a druid conflict long requested by fans, while The Shrouded City will focus on the mighty dinosaurs of the crater. The final expansion of the year will have players exploring time and multiple realities.

Warcraft Rumble Is Coming To PC

While you can log in to the game right now to earn some cool first anniversary goodies, the PC beta begins on December 10th, just a month away.

A Reminder That The Reven Charity Pet Pack Is Available For Two More Months

As detailed last month, the pack is officially available until January 7th, 2025, and purchases of the pack will support CureDuchenne.

A 20th Anniversary Edition Of World Of Warcraft: Classic Resets Things For Those Wanting Something Fresh

The update will bring with it all new fresh realms. They’re launching on November 21st. Everyone starts fresh, you don’t need to rush to Level 60 and it’s the best time to jump into WOW Classic if you missed it in 2019.

Blizzard Detailed The 2025 Roadmap For Both World of Warcraft and Classic Players

There is a HEAP of content coming for those playing on either of the experiences or even both.

The post All The Major Announcements From The Warcraft 30th Anniversary Direct appeared first on Press Start.

While we’ve already had two Mario-centric RPGs in the last year on the Switch, it’s been over a decade since Nintendo released an original Mario & Luigi game. While Super Mario RPG and Paper Mario were remakes, Mario & Luigi: Brothership is an entirely new adventure. A new storyline, no nostalgia to carry it and, more interestingly, a (moderately) new developer. That being said, while Brothership is easily the most interesting in the series so far, there are many hurdles you’ll have to jump before it reveals its brilliance to you.

During the game’s opening moments, Mario and Luigi are whisked away to the now-divided continent of Concordia by a mysterious vortex. Here, they meet Connie, a local of the area, who explains to the brothers that Concordia has broken apart. Mario and Luigi, as they always do, set off on an adventure to reconnect all of the disparate islands, restoring the continent to its former glory. It’s a straightforward premise that, while plodding, eventually evolves into something more intriguing and unique than I’ve ever experienced in any Mario-themed RPG.

But in terms of how it plays, Mario & Luigi: Brothership feels incredibly similar to previous games. The general structure of the game has you moving from island to island, solving a slew of puzzles, battling enemies and reconnecting islands to rebuild Concordia. It’s a simple premise saved by the variety of dungeons you’ll explore. But it really, really takes a lot to get going. Pacing is perhaps the biggest issue I have with Brothership, which starts with the method of transport that you’ll use to get from island to island.

Your main hub, an island shaped like a ship, called Shipshape Island, can move from area to area by riding currents on the ocean. While riding, if you’re near an island, you can use a cannon on Shipshape to shoot yourself there. It’s simple, but where it really falters, mainly in the opening hours, is how it simultaneously encourages completionists and frustrates them.

The way it works is simple. Your ship will reach its destination in real-time after selecting the current you want to ride. Brothership encourages you to complete optional content during this time, which takes minutes. Things like completing side quests, some of which are time sensitive or exploring areas on already visited islands that have opened up since you’ve connected them. I often found myself going off to do side quests, being notified that we were approaching the island, but then missing the island before I even got back to the cannon. With nothing else to do, I had to wait more minutes for the ship to make its way around the current again.

To be completely transparent, this issue became less of a problem after upgrades were given to the ship to make things a bit more manageable. But it took over ten hours to get to that point where my concerns melted away, and I’m not sure other players might be that patient. This problem might sound minor, but if a player doesn’t put up with it, potentially even if it never reaches the game’s incredible second half because of it, that’s an issue that’s worth highlighting.

It speaks to my most significant problem with Brothership – it’s poorly paced. While the tutorials are quick and easy to digest and get through, Brothership’s characters constantly stop the game to talk to you every few minutes, reminding you of where you are or what you need to do. If these scenes were presented with the same charm and humour I’d seen in, say, Paper Mario earlier this year, I’d be okay with it. But Brothership is so afraid to let players go that it becomes tedious. I’m not going as far as to say it’s anything as mind-numbingly frustrating as Fi’s constant interruptions from Skyward Sword’s original release, but it is regular and detrimental to the pacing enough that I’d be remiss to mention it.

It’s a colossal relief that it’s incredibly strong when the game gets going. If you’ve played any RPGs Nintendo has been putting out on the Switch recently, you’ll know what to expect. Mario and Luigi have similar move sets (think jumping and hammers) but differing stats. The combat is turn-based, with battles having you hit rhythmically timed button presses to improve your damage or reduce incoming damage. This simple system is more engaging by the active element that happens as your turn plays out, and every enemy behaves differently to be avoided too.

Where Mario & Luigi games have always differed is in the Bros. Attacks, where Mario or Luigi can initiate an attack that the other brother will participate in to do massive damage to a single enemy or heaps of enemies in the arena. These are a joy to pull off – the simplest of one has the brothers kicking a shell to each other, building up flames on it before power kicking it into a group of enemies. They’re incredibly interactive and always fun to use, and they look better than previous games, thanks to Brothership’s vibrant art style. There’s a nice mix of new and old, some even featuring cameos from other characters, and I’ll never get tired of doing them.

THE CHEAPEST PRICE: $68 WITH FREE SHIPPING

The other significant addition to the combat is the plug system, similar to the badges from Paper Mario. Once unlocked and crafted, these can be slotted into your team to add different effects to your attacks. Plugs grant effects like doing guaranteed critical damage against certain enemies or automatically using an item when inflicted with a status ailment. Mixing the right plugs together can even have unique effects too. The catch is that plugs eventually run out and will recharge once swapped out for others. It’s a clever but simple system that forces you to experiment with different loadouts of the various plugs rather than just relying on the same ones, something I admittedly did plenty of in Paper Mario earlier this year.

But it’s not all about the battles either – the other major new addition is Luigi Logic. It’s a clever way to get Luigi to participate more than in previous Mario & Luigi games. Tapping the L button essentially sends Luigi to help you with a task. Sometimes, it’s as simple as helping you to smash a bunch of blocks. Other times, he’ll jump in to help with a puzzle, removing some of the tedium that controlling just one character would typically bring. It’s a glorified partner Al system, for sure, but it’s incredibly intuitive, and there was never a point where Luigi wouldn’t do what I needed him to. Luigi Logic is similarly used in battle, taking advantage of environmental structures to help both him and Mario do massive damage to enemies during more intense boss battles.

When you’re not in battle, you’ll still be exploring the islands. Many of them have simple objectives, requiring you to solve local issues to reconnect to the mainland or traverse them to get to the lighthouse. Some are longer and more involved, serving similar functions as the typical dungeons you’d expect to find in an RPG. While I found the larger ones to go on for a bit too long, contributing to Brothership’s pacing issues that I’ve already talked about, the variety on offer here is to be commended.

Of course, there are side quests to complete if you so wish, but most of these feel like the typical ones you’d find in an RPG from decades ago. You’ll often just have to go speak to someone after receiving them from someone else and then be rewarded something trivial like a consumable or a piece of equipment you’ve already superseded with something else. There are smaller islands to explore, called islets filled with puzzles, and reefs to find in a more involving side quest, but otherwise, this is fairly typical optional content you’d expect to see in an RPG like this. Some special quests continue the side characters’ storyline, but they’re few and far between.

Visually, Brothership is as slick as ever. The game employs a heavily stylised look that makes the game look like the concept art for all previous games, except in real-time. It’s bright, colourful and incredibly expressive. I can’t tell you how often I smiled, seeing Mario or Luigi scream in terror as the other brother fell in battle or even just fussed over the other brother whenever I missed an attack. It’s a bright and colourful world filled with even more charming enemy designs that I couldn’t get enough of. And while the lack of a 60fps mode is disappointing, the game still runs at a very steady and stable 30fps.

So, as my time came to a close with Brothership, I felt awfully conflicted. It’s easily the most interesting Mario & Luigi game, especially narratively speaking, once it gets going in its utterly stellar second half. But the pacing issues, including the need to constantly throw you into repetitive conversations, really bring the whole experience down. It’s just as well the game flips the script the way it does, though, as such a pivot combined with a strong, classic battle system makes Brothership the traditional Mario & Luigi game fans have been clamouring for so long.

The post Mario & Luigi: Brothership Review – A Rocky But Incredible Journey appeared first on Press Start.

I can almost guarantee you’ve never played anything quite like Slitterhead. Bizarre name aside, the game is the latest from the mind of Keiichiro Toyama, who was instrumental in bringing us some stellar titles like the original Silent Hill, Gravity Rush and Forbidden Siren. It’s an incredible artistic undertaking, blurring genres to offer a unique experience. And while Slitterhead feels like a game made precisely for people like me, it’s not entirely without its faults, especially from a technical standpoint.

The premise of Slitterhead is fairly simple. You play as a Hyoki, a non-physical spirit who can possess other humans. Affectionately named Night Owl by another character you meet early on, you “wake up” as the spirit and realise that your memories are gone. The only thing you do remember is that your life goal, for some reason, is to eradicate the Slitterheads from the living world. They’ve been let loose on the Hong Kong-but-not city of Kowlong, attacking humans and sucking out their brains through their eye sockets. It’s gross and fantastic and, obviously, goes in some pretty dark places.

All in all, across Slitterheads twelve-hour campaign, I was enthralled by the weird story that Toyama is trying to tell here. While the characters are flat, there were many times when the game would throw me a curveball that I was not expecting. It’s a fairly strong story, anchored in the occult, as you’d expect from a game about a ghost. But it’s the unique spin on typical horror conventions that Slitterhead puts on things that really helps it to stand out. If you’re familiar with how the Siren games tell their stories, you’ll understand what Slitterhead is going for. It’s an incredibly obtuse story that’s equal parts weird and fascinating.

The game is split into chapters, with each chapter having you track and investigate the source of the Slitterheads or other leads in Kowlong as key characters, called Rarities, find them. The missions themselves are semi-open, allowing you to roam the streets of Kowlong before undertaking some kind of platforming challenge or possession puzzle before eventually coming head-to-head with one of the titular creatures. It’s a simple enough premise – though each level is semi-open, the solutions are often linear and, even bizarrely, the game never gives you a map nor regular waypoints if you’ve got multiple objectives to complete.

The crux of the experience is you playing as the Hyoki, holding a shoulder button to leave whoever you’ve possessed and allowing you to float a short distance to another body you can see. There are a few simple rules to keep things fair – you can’t possess bodies that are far away, you can’t possess bodies that you don’t have a line of sight with, and you can’t possess bodies that you “don’t have good sync” with. It’s a fair system with simple rules that keep things from getting too broken as time goes by.

The possession mechanic really comes into play more substantially when combatting the Slitterheads. Essentially, the Hyoki can switch between multiple bodies and harness the blood of each individual to physically conjure weapons. Clubs, katanas and grenades: There are many combat options that you can use as time goes by. The Hyoki can “die” if the body you’re in dies while possessing it. To survive in Slitterhead, you must jump from body to body as regularly as possible. You get better combos and do more damage after moving from one body to another, too, incentivising the need to constantly jump between bodies. It’s a bleak take on things to see how little regard Hyoki has for human life, but a spirit’s gotta do what a spirit’s gotta do.

All civilians share similar abilities, but the crux of the strategising happens in the Rarities system. Throughout Kowlong, you’ll be able to find specific individuals who are “more highly attuned” to Hyoki and thus exhibit greater benefits when possessed. Essentially, these rarities form the main cast of the game and are the characters you’ll speak to between missions to better discuss what’s going on in the story. Even better, all of the Rarities are equipped with unique weapons and abilities compared to regular civilians and do more damage.

The first you acquire, Julee, uses large Wolverine-esque claws to do massive damage to the Slitterheads. The potential second, Alex can conjure a vortex from blood to draw enemies in before finishing them off with a charged bloody projectile from his shotgun. The elderly Betty can even convert fallen pools of blood on the ground into damaging blades. You can take up to two Rarities with you on each mission, so you can find your favourites fairly quickly and create a team that synergises well, as each has individual strengths and weaknesses.

Combat itself occupies a space solely between the more considered heavier mechanics of a Dark Souls game and the more hectic, over-the-top spectacle of character action games like Devil May Cry. It’s a good combat system with all the trimmings you’d expect from a modern action game – blocking, parrying, slowed time for perfect parries and meter management by literally soaking up the blood from the streets as it’s spilt. I was playing the game’s hardest difficulty and still having fun – many games like this often have janky mechanics that feel unfair or downright broken, but Slitterhead’s combat is tighter than you’d expect, especially as you unlock more skills.

But while Slitterhead plays much, much better than its initial trailers would have you believe, the combat does feel incredibly punishing when dealing with more than one enemy at once. You can unlock specific skills that make fighting multiple enemies a lot easier – even some of the Rarity unique abilities, too – but it does feel like there were a few moments where I would get teamed up on and be destroyed almost too quickly.

The other glaring issue I have with Slitterhead is the distinct lack of enemy variety. I can almost excuse the location variety being low – this story is solely the story of Kowlong and helps this smaller team to stretch their budget – but there are not many types of Slitterheads to fight. I adore the designs of what is here, however, once again harkening back to Toriyama’s work on the Siren games. To see a creature inspired by the Blue Ringed Octopus was also uncanny, as an Australian. However, they’ve been popping up more and more in Japan recently. A fun but incredibly irrelevant piece of world news for you.

But enough about cephalopods. Between missions, you’ll be thrown to a menu where you can chat with Rarities to reflect on the story, upgrade your skills or even gain new leads that’ll lead you to new missions. It’s also here where you can replay missions, framed as a time-travelling power used by the Hyoki to unlock new Rarities or complete optional objectives. There’s a lot to do in Slitterhead, both mandatory and optional, including small arena challenges hidden in each world. Additionally, how the story is handled non-linearly across multiple characters’ perspectives feels incredibly reminiscent of the Siren games.

Regardless of its shortcomings, Slitterhead is quite the looker. While character models can look pretty rough – sometimes plasticky, other times generic – the world of Kowlong is brought to life with incredible lighting. Every street and every alley has been drenched with astonishing lighting, shadows and plenty of neon to really sell the idea of this gritty, long-forgotten otherworld. It all pops in HDR, too. Even better, all of this runs at a very solid sixty frames per second. Perhaps a fidelity mode with raytracing would’ve been appreciated, as it would look perfect in this kind of world, but regardless, Slitterhead looks better than you’d expect from a game of this scope and scale from a team this new.

Where scope and scale is a bit more obvious, however, is with the game’s voice work. First, there’s barely any of it – most of the dialogue in the game is text with the odd grunt or giggle to help establish the speaker’s tone. There are some voiced moments in cutscenes, but otherwise, it does feel notably low-budget. On the other hand, Akira Yamaoka’s original soundtrack is excellent here. It’s the same ethereal score featuring dark synths, industrial noise and guitars that you’d expect from a Yamaoka soundtrack, but he especially cooked with Slitterhead.

I said earlier that Slitterhead feels like a game made for me, and I stand by that. It’s an incredibly unique idea with an even more unique combat system anchored to a bizarre but engaging narrative. It’s the kind of game that Japan Studio would be making if they were still around, the kind of ideas-driven adventure that you just don’t see as much anymore. And while there are some bizarre omissions – namely the lack of a map and a combat system that’s great only ninety per cent of the time – Slitterhead is a stellar debut from some incredible minds that excites me to see where Bokeh goes next.

The post Slitterhead Review – Possessed By Greatness appeared first on Press Start.

UPDATE (04/11): It’s launch week and here’s the latest batch of games that we can find that have PS5 Pro enhancements including those that have been announced by the developer, PlayStation or listed on the PlayStation Store as PS5 Pro enhanced.

Mark Cerny wasted no time introducing the world to the PlayStation 5 Pro this morning, quickly going through the “Big 3” and how they’ll improve the games you play on the PS5.

The PS5 Pro will use a larger GPU, enhanced ray tracing and their own form of AI upscaling called PSSR to give players the best of both graphical modes – fidelity and performance.

A sizzle reel was shown at the end of the presentation, highlighting the games, both new and old, that will see improvements from running on the PS5 Pro.

ALL OF THE CONFIRMED PS5 PRO ENHANCED GAMES SO FAR (UPDATED 22/10)

• Albatroz
• Alan Wake II
• Apex Legends
• Assassin’s Creed Shadows
• Assassin’s Creed Mirage
• Bad Cheese
• The Callisto Protocol
• The Crew Motorfest
• cyubeVR (PSVR2)
• Dead Island 2
• Dead Rising: Deluxe Remaster
• Demon’s Souls
• Diablo IV
• Dragon Age: The Veilguard
• Dragon’s Dogma 2
• Dwarf Journey
• Dynasty Warriors: Origins
• Dying Light 2
• EA Sports College Football 25
• EA Sports FC 25
• Elemental War CRash
• Empire of the Ants
• Enlisted
• Everspace 2
• F1 24
• Final Fantasy VII: Rebirth
• The Finals
• The First Descendant
• Fortnite
• God of War: Ragnarok
• Gran Turismo 7
• Hitman: World of Assassination
• Hogwarts Legacy
• Horizon: Zero Dawn Remastered
• Horizon: Forbidden West
• Kayak VR Mirage (PSVR2)
• Killing Floor 2
• The Last of Us Part I
• The Last of Us Part II: Remastered
• Lies of P
• Like A Dragon: Pirate Yakuza in Hawaii
• Madden NFL 25
• Marvel Rivals
• Metal Gear Solid Delta: Snake Eater
• The Midnight Town Stories: Adam’s Diary
• Monster Hunter Wilds
• Mortal Kombat 1
• My Little Universe
• Naraka: Bladepoint
• No Man’s Sky
• Outbreak: Shades of Horror – Chromatic Split
• Pro Baseball Spirits 2024-2025
• Quantum Error
• Ratchet and Clank: Rift Apart
• Redacted
• Resident Evil 4
• Resident Evil Village
• Retrieval
• Rise of the Ronin
• Rogue Flight
• Sanguis Luna
• Spider-Man Remastered
• Spider-Man Miles Morales
• Spider-Man 2
• Spine: This Is Gun Fu
• Star Wars Jedi: Survivor
• Star Wars Outlaws
• Stellar Blade
• Stunt Paradise
• Subside (PSVR2)
• Test Drive Unlimited: Solar Crown
• Towers of Aghasba
• UFC 5
• Unreal Kingdoms
• Until Dawn (remake)
• Warframe
• War Thunder
• Wolverine
• World of Warships: Legends

Several of these games will be patched with free software updates and can easily be identified with a PS5 Pro Enhanced label attached to their game pages, similar to how it all worked with the PS4 Pro.

It’s also worth noting that thanks to an AI-assisted upscaling mode, called PlayStation Spectral Super Resolution, any game can be enhanced in some way without the need for a patch – though the best improvements will come from games that are officially PS5 Pro enhanced.

• PS5 Pro 2TB (Digital) – $1,199.95 AUD
• PS5 Pro 2TB with Disc Drive purchased separately- $1,360 AUD

The post All The 80+ Confirmed PS5 Pro Enhanced Games So Far appeared first on Press Start.

I can’t begin to tell you how often I was ready for Dragon Age: The Veilguard to make a colossal misstep. I’d spend hours upon hours completing optional and mandatory quests, expecting cracks to show and BioWare to disappoint again. But that moment never came. The truth is that the more time you spend with The Veilguard, the more obvious it is that things are only getting better. And, despite some incredibly nitpicky issues with some aspects of the game’s design, it’s easily BioWare’s best game in over a decade. In fact, I’d even go as far as to say it’s maybe even the best Dragon Age game, pulling the best of each game into a focused experience that’s nothing short of incredible.

The Veilguard comes to us a decade after Inquisition , mirroring the time that has passed in the game world with the real world. You play as Rook, a customisable protagonist hired by Varric Tethras to track the Dread Wolf, an elven god who reared his unexpected presence towards the end of Inquisition’s final chapters. Veilguard opens quickly, with Varric and Rook meeting with your first companion to stop Dread Wolf’s plan of tearing down the border between the realms. A whole bunch of stuff happens that ostensibly makes things worse, and it’s up to Rook to assemble a team of companions to help him (or her) fix it.

The story is just the start of what The Vanguard gets so right, adding a lot of depth and richness to the already well-realised world of Thedas BioWare started cultivating almost two decades ago. It’s a great adventure so I won’t spoil anything, but just know that it builds up and concludes incredibly satisfyingly, providing answers to theories that fans have exchanged since Inquisition ended. While I will always miss the grimier, darker fantasy vibe that the original Dragon Age employed, The Veilguard strikes a sensible balance. A balance between strong storytelling rooted in mature themes and some much-needed levity between the team during the downtime. It’s the most “alive” story I’ve experienced in a BioWare game, heck, any game, for a long time.

That’s owing to how much your choice matters in Veilguard. Some are minor – a character you might help will appear on the sidelines later to help or hinder you. Others take the story in a slightly different direction, physically altering the world and how others interact with you. This all starts at the beginning of the game, where you can select a custom origin story, class and race for your version of Rook. But the ramifications of your choices and their consequences are felt for the entirety of Veilguard’s runtime. I’d, once again, love to go into more detail about how the game weaves an intricate web of choice and related consequences, but Veilguard’s surprises are best experienced fresh.

Your choices permeate so many aspects of your time with Veilguard, too. After completing a side mission, you’ll hear your companions talking about how that quest played out. Even if a mission happens where said companion wasn’t present, they’ll still ask about it as if they’ve heard it around the home base. You can even see them, sometimes, catching up separately from you whenever you run through your base. It’s a unique aspect of The Veilguard that I really enjoyed – to have the people around me constantly commenting on what’s going on in the past or even in the present in relation to the past is pretty impressive. It really feels like the BioWare formula is hitting its peak here.

But so much of Veilguard’s achievement is in its confidence in itself, drawing from the strengths of the games that came before but still offering up an experience that is its own. While it’s not as open as Inquisition, the worlds you’ll explore are denser, with many things to discover. The sense of time and its effect on each place is similar to Kirkwall from the second game. And finally, how locations are handled for main quests feels incredibly reminiscent of Dragon Age: Origins. It’s an effective and honed mix of each game’s greatest aspects and helps Veilguard stand out from other RPGs.

Where things begin to deviate significantly from the other games is the combat, which veers more into Mass Effect territory than anything else. Veilguard’s combat is fast and snappy, encouraging you to find the perfect synergy between yourself and your teammates. I was concerned that this new combat system’s limitations – namely that you can only take three skills into battle – would make Veilguard feel like a gross oversimplification. But the flow of combat combined with the variety of encounters you come up against more than makes up for it. It’s an understandable concern, given how many spells you could use at any given time in previous games, but the more time I spent with Veilguard, the quicker my concerns would melt away.

That’s partly owing to the fact that each of the three classes you can pick – Warrior, Mage or Rogue – are a joy to play. Each has little quirks that make it unique from its previous iterations, pushing the boundaries of what you’d expect from these typical classes. I spent some time with all of them but ultimately selected the Mage for my playthrough. It’s phenomenal what BioWare has done with the Mage now – employing a clever mix of distant and melee combat that never gets old. Whether you prefer fighting from a distance or getting up close to your enemies, between the three classes and nine specialisations, there’s bound to be something for everyone in Veilguard.

Each class has its own skill tree, with each node having fairly typical stat bonuses and abilities you’d expect from an RPG like this. You have a lot of freedom and flexibility in approaching your build in Veilguard, being able to respect your or your teammate’s skill trees at no cost. It lets you get a feel for each of the three specialisations available for your class without incessantly grinding. That being said, I loved all three Mage specialisations, so I’d have appreciated some kind of loadout system to switch between them quickly without having to redo my entire tree. I guess that’s a testament to my indecisive nature, but it’s one of the very minor issues I have with Veilguard that’s probably only just my own.

THE CHEAPEST PRICE: $89 WITH FREE SHIPPING ON AMAZON

How the game handles its equipment and gear is much more ingenious. Every item you find in The Veilguard will have several perks attached to it, usually locked. Whenever you find a duplicate piece of equipment in Veilguard, rather than just having two of the same piece of gear, the rarity of that gear you already own will upgrade. Usually, that’ll unlock a perk for that piece of gear, too. It’s an ingenious way to hone the pool of equipment available to you and, when combined with the game’s already robust skill tree AND other optional enchantments, really helps you build a perfect build for yourself.

The other key element in building your perfect build is with your companions. They behave in combat similarly to those in the Mass Effect games, each having three to five unique abilities. You can pull them off with either hotkeys or a pause menu tied to the shoulder buttons, and layering the right combination of skills or spells will lead to a detonation that does more damage. While incredibly Mass Effect-like, it’s a simple but effective system that makes you think about who you’ll take and where. Companions are also levelled up through completing quests or speaking to them in downtime, which is a nice little way to subtly gamify the way you strengthen them, which ties into the narrative realistically too.

And you’ll want to take them all with you on every quest you do, too. The quality of the quests in The Veilguard is consistently strong throughout. Whether playing through a bombastic main story quest or some of the lower-key but still engaging companion or faction quests, they all feel good. There was rarely a moment where anything in Veilguard felt like the typical side content you’d find in an RPG of this size. There are still some minor quests, many of which have you fetching something or moving from A to B, but they aren’t incessantly repeated to the point of tedium and are still engaging.

And that really says something because I never got bored for the entirety of my time with The Veilguard, which well exceeded seventy hours. And while the notion of a game this large might be off-putting to you, know that Veilguard is dense with strong, quality tests that easily eclipse the variety seen in Inquisition. If you’re not keen on doing everything or immersing yourself in the world that BioWare has built here, I’d estimate you could easily get through the story in around thirty to forty hours, which feels well-paced. Given the variety of choices on offer and the sheer difference in combat styles between the three classes, you could also have as much fun on a repeat playthrough.

The game’s presentation is the big fat cherry on top of The Veilguard’s already delectable package. Easily showing off some of the best visuals we’ve seen from the now infamous Frostbite engine, Veilguard, quite simply, looks phenomenal. It’s always exciting to see which exotic locales the team at BioWare will whisk us away to with each Dragon Age game, and Veilguard does not disappoint. I had tangible excitement when moving to a new area for the first time, knowing that it would be a densely packed and lively locale framed by some series-best vistas. This rendition of Thedas is easily the best that Dragon Age has ever looked.

But from a technical standpoint, it’s not as clear-cut a victory for Veilguard. On consoles, the game offers two graphics modes – Fidelity and Performance. Fidelity and Performance both have great framerates, being locked at 30fps and 60fps respectively. But the picture quality in Performance mode is notably softer than in Fidelity, more noticeable than it is usually with games that offer both modes. If you’re playing Veilguard on a PC or even the PS5 Pro next month, this will presumably be a moot point, though it bears mentioning. Regardless, Veilguard is still a looker no matter where you play – the game uses everything it can, whether lighting, HDR, or other visual effects, to present what I’ve already said is Thedas looking at its best.

This is complemented by an incredible soundtrack composed by Hans Zimmer and Lorne Balfe. All of the tracks throughout Veilguard’s lengthy adventure are perfectly matched and help raise the emotional stakes in key moments. On a similar note, the voice performances from the entirety of the cast are nothing short of excellent. They all turn in some fantastic performances, especially for both types of Rook. They have some great performances and are easily some of BioWare’s best, helping to solidify this cast as one of my favourites from their many games. I can’t remember the last RPG where I liked the entire cast this much.

And that really speaks to the strength of Dragon Age: The Veilguard. Despite my constant insistence that Mass Effect was always the better of their two massive epics, Veilguard is easily one of my favourites from the developer. It’s a perfect and heady mix of fast, frenetic combat paired with an incredible story riddled with equal parts choice and consequence that I cannot fault. It feels so good to say this, but it truly feels like BioWare is finally back. And I couldn’t be happier.

The post Dragon Age: The Veilguard Review – A Densely Captivating Journey appeared first on Press Start.

Super Mario Party Jamboree is out now, which is huge news for those who want to get their friends together, either online or offline, to either strengthen or destroy friendships.

But when you first boot up the game, it’s obvious that two characters are missing. Before release, much was said about Pauline and, maybe to a lesser extent, even Ninji being playable in Mario Party for the first time.

In Jamboree, you can play as them both but only after unlocking them. Thankfully, unlike the boards in Jamboree, you can unlock them fairly quickly, not long after you’ve booted the game.

To start, you need to pick any character and jump into the Hot Air Balloon where you’ll be able to look at the different islands and choose which mode to play. Don’t choose any modes. Instead, move your viewfinder around the ocean to find the characters relaxing nearby. Highlight them, press A and then watch them join your roster. It’s that simple.

HOW TO UNLOCK PAULINE IN SUPER MARIO PARTY JAMBOREE

To find Pauline, all you have to do is move your camera between the main Mario Party island and the Minigame Bay. You’ll notice somebody chilling on an island underneath an assuming umbrella.

It’s none other than Pauline, the sultry songstress and mayor of New Donk City. Zoom in and select her with the A button to have her join your roster.

HOW TO UNLOCK NINJI IN SUPER MARIO PARTY JAMBOREE

On the left side of Mario Party island, move your camera over to a back set of islands, and you’ll see someone sitting atop one. Zoom in and Press A, and you’ll add him to your roster.

Ninji made his debut in Doki Doki Panic, but now he’s playing a Mario Party game. Who’d have thought? The Ninja-inspired creature will join your roster once you pick him up with the balloon.

After discovering both of these characters out and about while in the balloon, they’ll be added to Jamboree’s already huge roster and you can even explore the rest of the game with them in the Party Plaza.

As is the case with the characters, neither Pauline nor Ninji behaves differently from other characters in the game.

Unfortunately, they also lack Jamboree Abilities like ten of the other characters in the beefy roster.

Super Mario Party Jamboree is out now for Nintendo Switch. You can read our review HERE and grab a copy from Amazon for cheap, delivered, for $68 HERE.

The post How To Unlock All The Extra Characters in Super Mario Party Jamboree appeared first on Press Start.

Super Mario Party Jamboree features seven boards, which is one of the higher board counts of most Mario Party games. When you first jump into Jamboree, however, only four of these are unlocked for immediate use.

The board unlocks, unlike the characters, are all tied to the achievements that you get in Jamboree. You can check these from the Records menu on the Party Plaza.

They’re achievements similar to what you’d find in PlayStation and Xbox games – little rewards given to you for doing all kinds of things. Playing a certain amount of rounds, getting a certain time in a minigame and so on.

For every achievement you unlock in Super Mario Party Jamboree, you get an unlock given to you in a battle pass-like system.

Each level you unlock on the ladder will give you new things like emotes. But certain levels will actually give you new boards to play on.

HOW TO UNLOCK ALL THE BOARDS IN SUPER MARIO PARTY JAMBOREE

The boards are tied to the ranking system in Super Mario Party Jamboree, so you simply have to earn achievements to get to the rank you want to unlock the board you want.

The game doles them out to you at the following milestones:

• Silver Rank (10 Achievements) – Unlocks Western Land, a board remade from Mario Party 2.
• Gold Rank (20 Achievements) – Unloks Mario’s Rainbow Castle, a board remade from the original Mario Party.
• Diamond Rank (30 Achievements) – Unlocks King Bowser’s Keep, a brutal and punishing board created for Jamboree themed around Imposter Bowser.

Achievements can be earned in many ways, so my recommendation is to look at them all, decide which ones are the most quickest to achieve, and work from there to your strengths.

Once the boards are all unlocked, you can play them as many times as you wish.

Super Mario Party Jamboree is out now for Nintendo Switch. You can read our review HERE and grab a copy from Amazon for cheap, delivered, for $68 HERE.

The post How To Unlock All Of The Boards In Super Mario Party Jamboree appeared first on Press Start.

Mario Party is back, again, but this time in a big way. You’d argue it never left – we’ve already had both Super Mario Party and Mario Party Superstars on the Switch. But Super Mario Party Jamboree feels different. Not only is it the first wholly original Mario Party game since 2018, but it’s also a best-of-both-worlds situation. Jamboree is an enjoyable romp for all the right reasons – bringing together the briskness of Superstars with the devotion to original content that Super Mario Party provided. The result is a party that’s fun for hours and, more importantly, one well worth attending.

The beauty of Mario Party has always been in how simple it is, and Jamboree is no different. You and three other characters are placed on a board, moving around to purchase as many stars as possible as they rotate throughout the board. At the end of each turn, everyone is thrown into a minigame, with the winner gaining some advantage in the next round. It’s an incredibly simplistic premise that has stayed the same for over two decades. But it’s easy to see why – Mario Party is easy for anyone and everyone to pick up and enjoy. It’s immaculately paced in Jamboree too.

There’s a heap to do in Jamboree, but the crux of your experience will be spent in Mario Party mode. This is the traditional mode – allowing up to four players to jump into one of seven boards and battle it out for the most stars. As mentioned above, the flow of Jamboree feels like the best that Mario Party has felt for some time, but a few additions to the proceedings change things quite considerably. The most major being the Jamboree abilities.

Jamboree’s abilities feel like a natural evolution of the Ally system from Super Mario Party. During any game, a character will appear on the board. If you reach them, a unique minigame is initiated, with the person who reaches them receiving a handicap. Whoever wins the minigame recruits that character to their side, opening up a variety of buffs. For one, every character has a unique ability – Wario gives you coins before each turn, for example. But also, anything that happens to you in the game while your buddy is with you is doubled. You earn twice as many coins, lose twice as many coins, and can buy two stars when you land on a star space.

The Jamboree ability system is a clever idea, though I wish there was some way to adjust their frequency or even the length of time they stay with players once they are gained. They only pop up a little in short games, often appearing right at the end, where it’s never worth it to divert your attention to them, given how many turns are left. It’s also disappointing that only ten of the game’s twenty-two characters can be recruited. It’s by no means a dealbreaker, but it does sometimes feel like they’re not worth the diversion if you’re already close to a star or have your eyes on something else.

Where I’m more confident that Jamboree gets it right is the boards themselves. Five of the seven boards included here are brand new, with the other two returning from the first two Mario Party games. The new boards are fantastic. Much has been said about Mega Wiggler’s Tree Party already. But other boards, like Goomba Lagoon, have a shifting tide mechanic which leaves people either stranded on an island, doomed to run in circles or wash them away entirely.

But my favourite is easily King Bowser’s Keep. On this brutal and punishing board, Bowser is constantly turning each space into a Bowser Space and stealing stars and coins from players for a vault. The vault itself can be unlocked by any player, who can unlock it if they reach it and guess the code to open it. It’s a fun and exhausting board for all the right reasons. Overall, all of the boards are nothing short of incredible – mixing some novel designs with even more novel gimmicks to ensure everyone has a chance at any given point.

THE CHEAPEST PRICE: $68 FROM AMAZON WITH FREE SHIPPING

Praise also has to be given to Jamboree’s new Pro rules options. This is a set of rules you can apply before each game where all the random elements and chance-based minigames are either eliminated or tweaked. It’s a good idea for those looking for a more serious game, but a lot of these options are individually tweakable before you enter a game if you want to fine-tune your options. Our group, for example, really liked the idea of voting for minigames but didn’t like the idea of Pro rules, so we chose to do so for our sessions.

The package is rounded out with some great new modes, too. Much has been said about the Koopathlon and Bowser Kaboom Squad in Brodie’s preview last month, which are two modes that up the player count and the chaos. I recognise that they might not be technically achievable locally, but I hope that one day, Mario Party will expand to include more than four players in a fashion similar to these. The single player mode, Party-Trek Planner, is similarly something I enjoyed when I played the game earlier this month. It’s a nice alternative way to play Mario Party, especially if you want to unlock stuff, and it gives solo players something to do.

When you’re not keen on something as involved as a full round on the board, the Experience Party mode offers up something slightly different to Mario Party and the Minigame Bay. There are three separate games to play – Paratroopa Flight School, Toad’s Item Factory and Rhythm Kitchen. Rhythm Kitchen is the most straightforward – you essentially participate in a series of motion-based minigames to create (oddly realistic-looking) foodstuffs for a judging panel of Yoshis. It’s the simplest of the three modes but a nice little diversion, too.

Paratroopa Flight School has your character outfitted with Paratroopa wings, flapping your arms to move around a semi-open level. You can either co-operate here to transport a character from one point of the map to another or play head-to-head as you float around the map to collect biddybuds. Toad’s Item Factory is my favourite, allowing up to four players to work together to move a ball through a factory by controlling various stages of a production line with the Joy-Con. It feels the most detailed and most involving of the Experience Party area.

But Experience Party highlights one of my only true major issues with Jamboree. The motion controls could be better. Especially during some of the minigames you encounter in the Mario Party mode, there were a few times when our controllers wouldn’t behave like they should during the minigames. Another minor gripe is that three boards have to be unlocked through earning achievements. If you’re grabbing this game for a party night, only some things will be available from the get-go. Given the minigames are short and the unlockables aren’t too grindy, they’re minor issues, but ones I think bear mentioning.

Perhaps this is cynical of me, but it’s refreshing to speak about a Nintendo Switch game in a positive light when it comes to presentation. Unlike recent releases on the Switch, Jamboree runs at a very delectable sixty frames per second. Combine this with the bright and colourful artistic direction that we’ve come to know and expect from the world of Mario, and Jamboree is easily the best-looking Mario Party so far. It doesn’t do anything too outlandish or outrageous when it comes to artistic direction, though the performance is especially appreciated, especially in a game that can be so competitive.

Such a strong sense of presentation is just icing on the cake – Super Mario Party Jamboree seemingly does the impossible. It has expanded the idea of what a Mario Party game can be well beyond anything the series has done so far without skimping on the most crucial factor – quality. Everything that it offers, whether it be a traditional Mario Party experience or some of the newer, more novel motion-controlled games, Jamboree more than lives up to its name, and that’s worth celebrating. Get your RSVPs in; this party is well worth attending.

The post Super Mario Party Jamboree Review – An RSVP Worth Responding To appeared first on Press Start.

The original Silent Hill 2 is held with such reverence amongst players that it is a seemingly impossible task to remake it. It’s one of the most harrowing stories told in games, and when it was released over two decades ago, it broke a lot of ground for the genre and the medium. Its psychological elements informed many of its failed sequels as many external developers scrambled to capture that lightning in a bottle once more. They didn’t. So it only seems fair that fans would be apprehensive about a remake of Silent Hill 2, let alone one developed by a team with a pedigree like Bloober Team’s.

Admittedly, I was one of those fans. Silent Hill 2 is a project well beyond the scope and scale of anything Bloober has ever made. But Bloober has done the improbable and come out swinging. Silent Hill 2’s success is two-pronged. It’s easily Bloober’s best game so far. But more importantly, it’s an incredibly well-put-together remake. It’s equal parts respectful and daring, not afraid to change things up without shitting all over the legacy of the original game.

While Silent Hill 2 is a sequel, you don’t need to have played the other games to appreciate it. There are some loose links to other games in the series, but the story that Silent Hill 2 so effectively tells is self-contained. You play James Sunderland, a man drawn to Silent Hill after receiving a letter from his wife asking him to return. But James’ wife died three years ago of a terminal illness. Hoping to return and find her, James begins a journey into Silent Hill.

Of course, it’s not that simple. This is a psychological thriller at its purest. James’ journey through Silent Hill is similarly structured to the original game, albeit with many liberties taken to expand the adventure. Bloober was not joking when they surmised that the game would take twice as long to complete. I was sceptical as to whether this approach would work, but it does. How Silent Hill 2 has been expanded is carefully considered. The new inclusions don’t mess with the lore; instead, they add an extra sense of texture and flavour to the world, making Silent Hill feel like the living and breathing entity it should’ve always been.

Besides the very short Born From A Wish campaign, nothing has been cut in the translation to remake. The additional scenes, many of which revolve around James and his relationships with the supporting case, humanise the characters and keep them relevant throughout the story so that their big moments hit harder as things come to a close. It’s a genuinely restrained yet clever expansion of the original game’s seemingly untouchable mythos.

The most obvious comparison is Capcom’s stellar reimagining of Resident Evil 2. A remake where the ideas the original game presented are still here but recontextualised to offer a new and novel experience. I appreciate this approach more than a shot-for-shot remake, as it allows for a different Silent Hill 2 to emerge from the minds of its creators. Silent Hill 2, as such, ditches the fixed camera angles for a now-genre-typical over-the-shoulder viewpoint. I’ll always have a soft spot for fixed camera angles for obvious reasons, but such a change dramatically affects Silent Hill 2 in two ways – how it plays and how it scares you.

While there are comparisons to continue to draw to Resident Evil, Silent Hill 2’s combat is much simpler than any of Capcom’s recent reimaginings. You’ll only ever have three weapons and a melee weapon, though the melee weapon is arguably more of a focus in the Silent Hill games. That much is still true for Silent Hill 2, as if you run out of ammo, the dodge and melee system is more than serviceable enough to get you out of a bind. It’s a surprise that the combat is so good, given this is Bloober’s first shot at it, but it’s also encouraging that something so crucial has been nailed down from the get-go.

Continuing with the idea of being respectful but expanding upon the original, the enemy variety in Silent Hill 2 hasn’t seen that much of a change. Every enemy you remember returns in the remake, though some that had smaller roles in the original game are expanded considerably. Given that the game runs for twice as long now, many variants of these enemies are introduced, too. They behave differently, some dramatically so, and do an excellent job of keeping you guessing as you make your journey through Silent Hill. The combat is a tad too simplistic for a game so long, though, so I wish Bloober were more adventurous with their additions.

However, no restraint is shown in how the bosses of the game have been reimagined. And I mean that in a wholly positive way. Where the original game had many boss encounters in a single room, the remake expands every boss encounter into multi-room, multi-phase events that are much more compelling, if not slightly goofy at times. The Abstract Daddy fight, for example, cleverly tells you a story while you chase it down and fight it, providing more emotional weight to the battle itself. The boss battles are all great reworks of the original game that I appreciated the most about this remake.

THE CHEAPEST PRICE: $99 FROM AMAZON WITH FREE SHIPPING

Silent Hill is not Silent Hill without puzzles, but there’s plenty here. Both newcomers and veterans will appreciate that these puzzles are all brand new and are adjustable with a separate difficulty level, as was the case with the original games. Many of them have an abstract parallel to the main story, too. A few of them stumped me for a bit, especially playing on Hard, but they feel similar in tone to the puzzles you’d come across in the original games. They also come at the right times in the game – offering a nice little moment of downtime, always set to a nice piece of music or ambient sound, making them feel like little set pieces in and of themselves.

These elements combine to create a scarier version of Silent Hill 2. The original game is still at its peak, but I found myself much more tense and frightened when playing through Bloober’s rendition of Silent Hill 2. The game goes to great lengths to use lighting and sound to instil a sense of tangible dread in you as a player, and there were so many times when I would be genuinely upset that a door would be open, forcing me to progress into yet another room of unknowns. It’s a truly tense horror experience and a sense of fear I haven’t felt since Resident Evil 7.

The remake brings everything you remember about the original – including the notorious Dog and UFO endings – but two new endings have been added too. It would be remiss of me to spoil them here, but they are nice “what if” scenarios that I can take or leave. There are collectibles to find, too, though hardly necessary, many of which are “echoes” of the past that hint at items or actions you’d come across in the original game. A nice way to pay tribute to the past without cheapening things. Most players can expect to finish the game in around eighteen to twenty hours, which is a nice length for a game of this ilk. And more importantly, you’ll never feel bored.

And while Silent Hill 2 does so much right as a remake, it could be better. I do feel like the simplicity of the combat can get a bit repetitive as the game plays out, and some of the eeriness and, dare I say it, “texture” is lost with the transition to higher-resolution visuals. While I thought I would be bored of the game essentially doubling itself in length, there was only one area, which relied more on combat, that I honestly didn’t enjoy – the labyrinth. All other additions feel carefully considered and only seek to add to the experience.

And obviously, from a presentation perspective, Silent Hill 2 does looks a whole lot better than the original. The fog is thick, the lighting is perfect, and so many of the original game’s key moments are brought to life in a way that you couldn’t even comprehend when you played the original. The game supports a 30fps and 60fps option, too, though some weird ghosting effect in the 60fps mode left me playing in 30fps for most of the adventure. It’s still a great-looking game, at least on console, and is an excellent example of a game using its visuals, like lighting and fog, to really instil a sense of dread in the player.

But it also helps that these improvements help to sell the world of Silent Hill as a constant. You can see from one apartment to another if you peer out a window while exploring them. You’ll eventually hit the hospital as the sun sets, creating a beautifully calming sunset that washes through its halls from outside as you explore it before the sun disappears and rain hits as you progress deeper and deeper into it against the backdrop of a stormy night. In the original game, you felt like you were moving from level to level, whereas in the remake, the presence of the town is felt even when you’re indoors. It feels like a living and breathing world, in a way.

But even higher praise has to be given to the game’s audio design. Make no mistakes – no game does audio design better than the Silent Hill games, and the remake continues that trend. I’d almost argue it does sound design markedly better than anything that’s come before it. The way that the team have managed to build tension and atmosphere using random noises and effects is to be commended in this remake. Add to that an extensive soundtrack restored and reimagined by the series stalwart Akira Yamaoka, and it’s clear Silent Hill 2 remake is one of the best-sounding games you’ll ever play.

The performances are bound to be divisive, however. And that’s not because they’re bad – the remake’s cast does a phenomenal job of bringing these familiar characters to life. But they are arguably turning in performances that are very different in tone from the original game. The way Maria is played in a mystifying but manipulative way by Salóme Gunnarsdóttir is very well done. It’s a different take on the character, and any attempts to imitate Monica Horgan’s original performance would just fall short or invite unfavourable comparisons. The supporting cast is similarly brought to life – Angela and Eddie are both very different takes on the character that has (arguably) better-realised arcs than in the original. Luke Roberts rounds out a strong cast with a more sombre take on James.

And that’s my most telling and resounding compliment of the Silent Hill 2 remake. While I was very aware of where the story would go and where the game would take me, I never once thought that I wished they’d not changed something when the remake deviated from the original. It’s a spirited remake that captures the essence of what made the original game so great while expanding meaningfully without destroying the DNA of its progenitor. It feels nice to finally put these words to paper, but Silent Hill is finally back.

The post Silent Hill 2 Review – A Tense And Terrifying Affair appeared first on Press Start.

The saying goes that there ain’t no party like a Mario Party. But it’s been over two decades since the first Mario Party, and despite numerous attempts to change up the formula, the series has played it pretty safe. There’s been games with wild changes to the formula, like Mario Party 9, and others that employ weird peripherals to try and change things up. Super Mario Party Jamboree isn’t interested in reinventing the wheel. Rather, it attempts to offer up all the great things about Mario Party in what is undoubtedly the biggest Mario Party yet.

Super Mario Party Jamboree has always been touted as the biggest Mario Party so far, and I am inclined to agree. There’s a lot on offer here no matter how you play – heaps of boards to conquer, over a hundred minigames to lose yourself in and some out-of-pocket modes that are another way to engage with the typical Mario Party formula. I can’t pretend that I used the word Jamboree previously, but looking at the definition of the word – a party that’s as large as it is lavish – it feels like an entirely appropriate title for what is ostensibly the biggest Mario Party so far.

While this is called Super Mario Party, my immediate early impression is that Jamboree carries much more from Mario Party Superstars rather than Super Mario Party. This is a good thing, mind you, as I enjoyed the brisk pace of Superstars, and while it was technically rehashed content, it was much more engaging than Super Mario Party, which dragged at times. At its most basic level, you also roll a dice from 1-10, which helps keep things moving at a relatively exciting pace.

Other elements from previous games return, too, though they are much better implemented. Borrowing from Star Rush and eventually Super Mario Party, the Ally system has returned but has been tweaked to make things more substantial and well-thought-out. Now called Jamboree Abilities, they will allow a character to assist you for a few turns if you complete a minigame for them after landing on their space. For example, Daisy will reduce the cost of the store’s items. Waluigi will let you steal from people you pass. It feels much more elegant than the ally system in Super Mario Party, and I’m excited to see what else Jamboree has to offer with such a large roster.

It’s a perfect example of how Jamboree is bridging the gap between the older style of Mario Party and the newer, more recent entries in the series. It’s early days, of course, but given how much original content there is here in Jamboree, it’s mechanically shaping up to be one of the most enjoyable Mario Parties so far.

Most people know how to play Mario Party already, so I won’t focus on that too much here. Instead, what really drew me to Jamboree is how it changes up the single-player experience of Mario Party. It’s early days, as I’ve said, but I’ve spent most of my boring weekday nights with Jamboree’s new single-player mode. It’s called Party-Planner Trek, and it allows you to help Kamek set up a party by travelling to different boards. It’s a simplistic story but effective enough to push you from location to location.

Party-Planner Trek is selected from the main menu, called the Party Plaza, and progress in the mode is tied to your character. When you embark on the Trek, you can select whether or not motion-controlled games will appear in the proceedings – a boon for those playing on their light or just not keen on the Joy-Con. You’re whisked away, dumped on the first board, and tasked with collecting thirty mini-stars to help start the party. From a story perspective, it’s nonsensical, but it’s a premise that works well enough here.

THE CHEAPEST PRICE: $68 FROM AMAZON WITH FREE SHIPPING

When you’re in this mode, you don’t roll a dice. Instead, You can roam the board freely – jumping from space to space on the board as you wish. It’s an interesting take on the tried-and-true Mario Party formula, though I wish the game would provide you with a map of some sort. Whether it be to familiarize yourself with the board or discover where a quest you have to finish is, wandering aimlessly across the boards can get a bit annoying. I suppose they’re simple, but it has regularly come up during my time with the game.

You earn mini-stars in a few ways. The most obvious is through playing minigames as you explore each board. You might come across someone working at a bake stand and must play a minigame involving cutting out cookies, for example. The minigames are admittedly co-opted from Jamboree’s already existing (large) selection, but it’s a neat touch to tie them into the world that you’re exploring. How you place in each of those minigames will determine how many mini-stars you receive.

The other way is through tasks or quests that various characters will give you. They’re usually relatively simple – some might have you finding an item, which you’ll find a few spaces away – but they’re the kind of mindless activities that help to break up the monotony that completing multiple minigames in a row might bring. Some are even simpler than that, requiring you to answer a question or quiz a character poses before rewarding you with stars.

You’ll sometimes find other characters on the board who will ask your character for help. You’ll then have to complete a bunch of minigames themed around that character and, if successful, said character will join you to help you finish off the board. To move on from one board to another, you’ll have to collect a total of thirty stars, though more of them are available on each board. Collecting more than the thirty nets you some decorations for the party plaza.

Of course, I did dabble a bit in the other modes available, but not as much. The typical Mario Party option is here, along with Minigame Bay. The bay serves as a mode where you can play various minigames you’ve already unlocked and packages that rotate daily so that you can compete for the best result on an online leaderboard. Three other smaller modes employ motion-based controls to allow you to fly like a paratroopa, solve puzzles in a factory run by Toads and complete rhythm-based cooking challenges. They’re interesting ways to, once again, change the way you interact with Mario Party, but I’m more excited to try them with friends to pass proper judgment.

Two other modes are played online, so we aren’t available to try at this stage. Both see larger amounts of players banding together to either win a Koopathlon or cooperate to defeat an imposter Bowser. Both modes sound interesting, and I’m keen to try them out as I spend more time with the game. If you can’t wait to hear what I think, however, Brodie was lucky enough to play them both last month and found good fun in both. I’m keen to see how they play closer to launch.

Even more encouragingly, Super Mario Party Jamboree doesn’t suffer from the performance issues that games as recent as Echoes of Wisdom have. The game’s massive roster and vibrant boards are rendered in a silky smooth sixty frames per second with minimal (if any) drops at any point. It’s a simpler game than most on the Switch, but it’s simply icing on the cake to see how slick and smooth the presentation is.

While it’s very much early days for me and my Jamboree, I’m excited to see what else it has to offer. But so far, Super Mario Party Jamboree is doing all the right things and, unexpectedly, offering options for players who want to kick on when everyone has already gone home. And that’s a nice touch, though I’m keen to see where my exploits will take me when more people are in the room. It’s shaping up to be a hell of a party!

Super Mario Party Jamboree launches on October 17th exclusively for Nintendo Switch. Amazon has pre-orders available for $68 with free release day delivery for Prime members.

The post Super Mario Party Jamboree Hands-On Preview – Bigger Can Be Better appeared first on Press Start.

Xbox have opened the Tokyo Game Show with their very own broadcast this year, previously promising updates on projects from Xbox Game Studios, Activision, Blizzard and Bethesda. While we got a look at all of those things, a few other reveals found their way into the broadcast as well.

The show lasted forty minutes, so let’s jump straight into the announcements that were made during the broadcast.

The Show Opened With Another Metal Gear Solid 3 Trailer But It’s Spoilery If You’ve Not Played It Before

The trailer focused on the game’s prologue, the Virtuous Mission, which leads into the events of the main game. Some other key moments made their way into the trailer too, though if you’ve never played this game before I wouldn’t watch this trailer. The game is still without a date so I assume it’s due out in 2025.

My Hero Academia Is Coming To Overwatch In A Crossover Event

The collaboration will see a few characters get skins inspired by the popular anime. The content will be dropping on October 17th.

Age Of Mythology Retold Is Getting A New Expansion

It’s called Immortal Pillars and looks to incorporate other types of mythology that weren’t previously in the original game.

StarCraft Remastered and StarCraft 2 Are Coming To PC Game Pass Later This Year

Both the campaign and multiplayer aspects of these games will be updated and they’ll both be available on PC Game Pass later this year, on November 5th to be exact.

Tanuki: Pon’s Summer Is A Cute And Charming Brand New Game From A New Team

The game has you playing as a whimsical raccoon who must deliver mail on his BMX to try and save as much money as he can before the big festival in a months time. You can also make sushi. What more could you want?

Threads Of Time Is A Brand New RPG With A Very Unique Art Style

The game seems to tell a tale across many different time periods and mixes a pixel art style with modern visuals, not too unlike Octopath Traveler and the like. It looks good.

Another Katamari Damacy Game Is Finally Rolling On To Xbox

It’s been a while, but We Love Katamari is finally on Xbox and is even part of Game Pass. It marks the first time the series has been on Xbox since Reroll four years ago. Oh, and it’s out today.

We Got Another Small Look At Fragpunk

Look, it’s not for me, and this genre is just…I don’t know…..but it’s made by a group of passionate people I guess. There’s a beta coming soon too if you want to try it.

Yet Another Metaphor: ReFantazio Trailer Has Hit, And A Demo Is Out Now, Too

The game is looking stylish as hell and the demo is quite substantial, allowing you to carry over progress in to the main game from the prologue.

Gust Gave Us A Better Look At The Next Atelier RPG

It’s an alchemy RPG, as are the other ones, and I’m sure this is a vibe for someone. It is the first time in a long time (maybe even ever) that the Atelier games have been on Xbox. It’s still on track for release in March 2025.

ASURAJANG Is Coming To Xbox

The game looks like a dire League of Legends-esque experience and League of Legends was already pretty dire. I’m sure it’s for someone. AsuraJang Rumble is what it’s called and it’s coming to Xbox.

We Got A Gameplay Trailer For The New Bleach Game

I feel like all my friends talk about One Piece and I’m sick of hearing about that, so it’s nice to see Bleach back again. It could be a 3D arena fighter, though, like all of the anime games seem to be. It’s called BLEACH: Rebirth of Souls, and it’s due in early 2025.

Synduality: Echo Of Ada Finally Has A Release Date

If you questioned my use of the word “finally”, then we’re on the same wavelength. The game has you scavenging planets in fully customisable armed vehicles. It’s due out on January 24th in 2025.

Cats and Dogs Are Coming To Fallout 76 If That’s Something You Wanted

While they mentioned cats and dogs initially, I feel like they only confirmed that cats are coming to Fallout 76 at the end of 2024. Maybe dogs will come too. Who knows.

Konami Gave Us More Of A Look At The Suikoden Remasters

It feels like an eternity since this was announced so it’s nice to see it finally coming together. The collection includes both games and is due on March 6th 2025.

The Next PixelJunk Game Was Shown And It’s Out Today

You control sentient tetris blocks, or something, and try and fit yourselves through all kinds of weird environments. The game utilises a stitchy art style and is called ALL YOU NEED IS HELP which I think seems appropriate. You can play it with your friends too. It seems odd but PixelJunk games are always good.  It’s also on Game Pass.

Bokeh Gave Us Another Look At Slitterhead

The concept is really good but the game is still looking a bit rough, but it does look better than the previous showing. Toyama created both Gravity Rush and the original Silent Hill so I have a lot of faith in him and his team. It’s still on track for release in November this year.

Another Game Was Shown And It’s Called Starbites

The game features a Toriyama-esque artistic style and has you competing in turn based battles while inside a mech. I’m not sure about this one but it’s giving SandLand 2.0, not that that’s a bad thing. Oh and it takes place on a planet called Bitter……

Some More Gameplay Of The Dragon Quest III Remake Was Shown

The game is looking like a massive improvement over the original – it’s still on track for release in November.

A Whole Bunch Of Square Enix Games Are Coming To Xbox Including Final Fantasy Pixel Remaster

Trials of Mana, Legends of Mana and the Final Fantasy Pixel Remaster (which includes Final Fantasy I through VI) are available on Xbox starting today. The Mana games are on Game Pass while Pixel Remaster is for sale today. All three trailers for the games are shown above.

The post Everything Announced At The Xbox Tokyo Game Show 2024 Stream appeared first on Press Start.

There is a schism in the Zelda community between the new and the old. People who enjoy the older style of games are frustrated at the mechanical freedom that Breath of the Wild and Tears of the Kingdom afford players. But some people like that same thing about them, harkening back to the core fundamentals of the original Zelda game. And then there’s me. Squarely in the middle. The Legend of Zelda: Echoes of Wisdom is a game squarely for me. It bridges these two ideologies almost perfectly, and while there are some minor issues, it’s a scintillating experience. As it stands, Echoes of Wisdom is a stellar debut to finally see Zelda as a playable main character.

Echoes of Wisdom cheekily opens in a way you’d expect any Zelda game to. You might even feel like you’ve booted the wrong game at first. But there’s a twist here – as you begin the journey, you play the princess herself. Rifts open up throughout this version of Hyrule and swallow everything within. Through some story events I won’t elaborate on, Zelda meets Tri, is given a magical staff that can summon Echoes and sets off on an adventure to free Hyrule and discover the mystery behind these rifts and who’s creating them.

It’s a simple story, doing its own thing but adhering to a very typical Zelda formula. While there are few surprises here, I would’ve loved for the villainous presence to be more present. I adored Ganon in Tears of the Kingdom, so to see that aspect of the story be given a backseat feels like a step back. Regardless, the story is interesting enough that I was engaged from beginning to end, so I’d argue it’s about the journey rather than the destination. And no, you Zelda lore nuts, there’s not much here for you either. Echoes of Wisdom is solely in its own lane.

Tears of the Kingdom was a revelation for me. I loved how it took everything that made Breath of the Wild so unique but still incorporated aspects I was missing from traditional Zelda games. Echoes of Wisdom continues that trend. It does strong work in bringing together the classic aspects of Zelda – think dungeons, specific items and great boss battles – with the lateral thinking approach that the abilities in the more recent Zelda games had. As Zelda continues to evolve, it becomes the best situation for both worlds. Echoes of Wisdom feels like the best version of that design philosophy.

Echoes of Wisdom is similarly structured to previous Zelda games – sending Zelda to different corners of the map to close the rifts causing such a commotion. It’s a tried-and-true formula, and Echoes of Wisdom offers similar freedom in deciding when you’ll complete each part of the story. However, clever design means that the idea of “items” has been changed. You’ll still find useful things during each story beat, but they’re often tied to the new Echoes system.

As you’d expect, Echoes really separate Echoes of Wisdom from other games. Zelda’s staff can create them, and they can take the form of any object, enemy or certain elements that Zelda has encountered. Each item has a cost; if you exceed that limit, the first item you created will disappear. Levelling up Tri through main or side quests can grant Tri more energy OR reduce the cost of certain Echoes to summon. It’s an elegantly designed system that doles out abilities to the player at an appropriate pace, and, more importantly, you won’t feel too overpowered too early.

That being said, the game does frontload you with many Echoes. Before my second dungeon, I had around fifty or so, and you very quickly became acquainted with the ones that best suit my preferences or playstyle. Each area you explore after, as part of the story, will often net you ten or so more Echoes, usually with a specific use in that dungeon or against that boss. Depending on when you discover other Echoes, the difficulty of each dungeon may fluctuate, as the Echoes reward player creativity and lateral thinking similarly to Tears of the Kingdom.

Like Tears, if you think of doing it in Echoes of Wisdom, you probably can. However, there are some moments where Echoes feels a bit limited compared to Tears. For example, hanging a platform over a torch so you can light it in rainy weather won’t work. But most other ways you can think about using your Echoes will. That being said, there are over a hundred Echoes, and it can be tedious sifting through them all to find the one you want early on. But as you play the game more and the game learns which ones you use, it becomes less of an issue. Still, hiding your Echoes from the quick select (or maybe even mark favourites) would’ve worked wonders here.

Zelda has other powers that round out her already robust selection of Echoes. She can use Tri to bind herself to an object so that it mirrors her movement or reverse that bind so she mirrors the object’s movement. If she binds to a bird and then mirrors her movement, Zelda will fly in the same way the bird does. It’s a simpler version of Ultrahand than the previous game, but it provides another tool for players to think outside the box when solving the puzzles thrown at them.

GET IT NOW: $68 WITH FREE SHIPPING FROM AMAZON

And finally, Zelda also has access to a Swordfighter form. Essentially tied to what would be a magic meter in any other game, it allows Zelda to transform into a Link lookalike and use his sword to do better damage against enemies. It’s a form that’s expanded on early on in the adventure, especially to progress through some of the dungeons, but during combat, it does feel like a bit of a crutch. I used it less and less as time went by, as I felt it was too easy, but it is a pretty clever optional way to remove some challenge from the game’s harder battles without forcing a player to play on an easier mode.

But the Echoes more than give Zelda enough combat ability if you want to use something other than Swordfighter as a crutch. Early on, I would summon a basic sea urchin to spike an enemy to death instead of a sword. As I learned more, I could summon a ReDead to stun them. I could do the same as Tri became more powerful, but summon an additional Wolfos or Lizalfos to do the damage while the ReDead stunned. There’s an immense variety of enemies in Echoes of Wisdom, which means there’s an immense variety of ways for Zelda to fight, too. And, much like using Echoes to solve puzzles, there’s bound to be a combination that suits your playstyle.

Dungeons return, and while the theming leaves something to be desired, they are intricate and well-designed. Many of them took me at least forty minutes to complete, though the order in which you complete them may shorten or even extend that time if you go into them with fewer Echoes. Some Echoes are only found in dungeons and while they’ll usually be the key to clearing that dungeon or its boss, you can still emerge victorious if you’re creative enough with your Echoes. The system is just that robust.

The variety of dungeons is complemented by an even wider variety of bosses. Some are new and old, but all are a joy to battle with. There are many bosses, some familiar, some brand new, but all a joy to battle. They feel good in all the ways a classic Zelda boss should be. They feel big and bombastic and require more than just hitting them with your weapon to defeat them. The added layer of complexity that the Echoes bring to the table only seeks to improve these encounters, too. Overall the difficulty feels just right – even playing on standard mode, I died a few times on each as I was starting. There was even a boss I died on for almost an hour, but I acknowledge I was getting a bit too greedy with my hits.

Besides the main quest, Echoes of Wisdom has over fifty optional side quests. Given to you in a similar log manner to the previous two games, most of them are well worth your time. A majority of them will take Zelda to smaller rifts to close. This feels like Echoes’ closest thing to a shrine – requiring you to use all your Echoes in a savvy way to collect Tri’s friends and power him up. Others are mini-dungeons with their own (often unique) boss battles. The majority of the optional content is substantial, though some quests are easier to finish, sometimes even the moment you get them, too.

The more straightforward side quests usually have you moving an object from one place to another using Zelda’s power or an NPC asking you to see something and then summoning it as an Echo. Others are tried-and-true Zelda staples – minigames including races, time-based collection trials, and combat trials. They’re all fun little distractions and often reward upgrade materials for Swordfighter form or smoothie ingredients to craft potions and buffs with. Regardless of whether the quests are big or small, there’s no mistaking that Echoes of Wisdom is easily the largest 2D Zelda ever, with heaps to do at any given moment.

While Echoes of Wisdom borrows its art style from the 2019 remake of Link’s Awakening, there is so much new in Echoes of Wisdom that it’s hard to complain. The game is brimming with charm and whimsy, with the same plastic miniature toybox look to all the characters. It’s a cute art style that’s only complemented by the fantastically realised dungeons and environments, which all look great owing to some solid lighting and particle effects. But that, of course, comes with a cost.

As is the case with many late-generation Switch games, Echoes of Wisdom has a few performance issues that should be highlighted while they don’t bring the experience down. Whenever Zelda gets to a town filled with people or an area with a lot of grass blowing in the wind, the framerate drops significantly. The game spends most of its time running at 30fps, jumping into 60fps when indoors, but otherwise, it can be inconsistent. An option to lock the framerate would be less jarring. I am not affected by issues like these, but some people are, and it’s a shame, as Echoes of Wisdom is a very nice-looking game for the most part.

The original score is borrowed from older games, essentially, but made new. Each of the tracks that play when you’re exploring sounds great, and it’s adorable to see Zelda’s Lullaby epically transformed into a field exploration theme. Some of the original tracks, especially the ones that play while exploring Hebra and the dungeons, are especially nice and some of my favourites in the series.

All in all, Echoes of Wisdom feels like the best of both worlds. It’s got everything I adored about Zelda before the Renaissance it enjoyed with Breath of the Wild – some great dungeons to trawl, puzzles to solve and a familiar cast of friendly and not-so-friendly characters to interact with. But it blends all of that with all the freedom of creativity afforded to players in the most recent Zeldas in a way that hasn’t been done before.

The post The Legend of Zelda: Echoes of Wisdom Review – Clever & Creative appeared first on Press Start.

It feels like only yesterday that Sony announced the PlayStation 5 Pro, but it’s been almost two weeks, and one question remains: Where are the games? Sony seeked to answer that question (kind of) with this weeks State of Play, which was slated to give updates on over 20 games for both PlayStation 5 and PlayStation VR2 from around the world.

They delivered on their promise, so, without further adieu, here’s what Sony announced at their September 2024 State of Play.

The Ghosts Of Tsushima Sequel Was Finally Revealed

The trailer featured the same strong and stylish visuals that we have come to expect after playing the original game. It’s called Ghost of Yotei and it’s out in 2025.

Horizon: Zero Dawn Is Being Remastered For PlayStation 5 and PC

It’s out on October 31st. It will feature a similar upgrade deal to what The Last Of Us Part 2: Remastered had which is nice since you can grab the original for like $14 from a retailer.

The Show Opened With The First Content Drop For Astro Bot

The update is free and will include five new online speedrun levels and ten new bots to rescue, including characters from Helldivers and Eve from Stell Blade, though the Eve Astro Bot already has more personality than the actual Eve. The update is out later this year.

The Midnight Walk Is A Brand New Puzzle Platformer That Includes VR2 Support Too

From the developers of Lost In Random, it’s a game that’s been made entirely out of clay. It’s playable on the PS5 but also has full support for PSVR2.

We Got Our First Proper Look At Gameplay Of Hell Is Us

The game looks like yet another Dark Souls clone albeit with some more involved puzzles and strange faceless men. Spooky.

The Metro 2033 VR Game Is Coming Along Nicely And Out Pretty Soon

The game is really well suited to VR, having you navigate the claustrophobic and dark tunnels of Russia. It’s out on November 7th and it’s called Metro Awakening VR.

A Sequel To Archeage Was Announced And It’s Imaginatively Titled Archeage Chronicles

The game is an online action RPG that’s set fifty years after the original. We’ve pivoted from Dark Souls clones to God of War reboot clones now. Dynamic. It’s out in 2025.

Palworld Is Coming To PlayStation And It’s Maybe Even Sooner Than You Think

The trailer looked pretty rough, as does the rest of the game so many months on, but it’s out on PS5 today.

The Two Lunar RPGs Are Being Remastered For New Consoles

The collection brings together LUNAR: Silver Star Story Complete and LUNAR 2: Eternal Blue Complete along with the usual remastered bells and trimmings – improved visuals, audio and quality of life improvements.

A Free Update For Shredder’s Revenge Is Out Today And Adds New Characters

The update adds Mona Lisa and Mondo Gecko as playable characters. It’s out today and it is free too. And there’s a nice addition of remixed tracks from guest artists too.

The Fantasian Enhanced Port Finally Has A Release Date

The game is a fundamental revamp of the original Fantasian, which was initially only available for Apple Arcade. It has a unique visual style built from photographs of real miniatures, which is cool. It’s out on December 5th.

Sonic X Shadow Generations Is Getting A Movie Pack With Keanu Reeves

The pack includes levels based on key moments from the upcoming Sonic 3 film and they even got Keanu Reeves in to spit some lines for Shadow too. It’s out on December 12th but it’s included with the digital deluxe edition.

We Got An Extended Look At Dragon Age: The Veilguard

The game is a different direction for the series but I think I’m still keen for it. Perhaps. It’s still on track for October 31st.

We Got Our First Trailer For The Final Alan Wake 2 DLC

The DLC looks to be firmly leaning into the horror angle, as expected, and will be more substantial than the Night Falls DLC. You also play as Estevez, played by Janina Gavankar, which was cool but also expected as well. It’s out in October.

We Got Our First Look At The Newest Hitman Trilogy On PlayStation VR2

It’s out in December and includes all the content from HITMAN, HITMAN 2, HITMAN 3 and full dual wielding.

Both The Legacy of Kain: Soul Reaver Games Are Getting The Remaster Treatment

While this was leaked yesterday, it’s still nice to see these games playable today. They’re being remastered by Aspyr and they’re out on December 10th.

A Release Date For Fear The Spotlight Was Revealed

It’s out on October 22nd and will be the first in a batch of many games coming from Blumhouse. It’s a horror game that uses a similar style to older PS1 games.

Towers Of Aghasba Is A Video Game

It’s entering early access on PlayStation 5 in November 2024. It’s an action-adventure game with building elements, an incredibly underserviced genre.

LEGO Fortnite Is Getting Splitscreen Co-Op AND A Fancy New Dualsense

Pre-orders will open on October 3rd.

Dynasty Warriors: Origins Now Has A Release Date

It’s hard to tell, but I think the game is scrapping the overworld from the last game. It looks better than previous Dynasty Warrior games but I don’t think it looks particularly different either. Its out on January 17th.

Monster Hunter Wilds Got Yet Another Trailer And A Release Date, Finally.

It’s looking good if not a bit choppy. I like Snow. It’s out on February 28th which is exciting because now Capcom can do something else after that.

LEGO Horizon Adventures Has A Release Date

The trailer showed us a bit more of the adventure as well as the weird rollercoaster you get when you buy the digital deluxe edition. And costumes based on other PlayStation brands, which is cute. It’s out on November 14th.

A Stellar Blade Update Is Coming

Continuing the trend of adding substantial and insightful content to the game, you’ll be able to take photos of Eve in the new photo mode. There’s also gear from NieR Automata being added to the game later this year.

Three New DualSense Colours And Console Covers Were Announced

The collection is called the Chroma Collection and is comprised of Indigo, White and Teal colourways. Preorders open October 3rd.

Mark Cerny Showed Up To Chat The Same Stuff About PS5 Pro Again

The trailer showcased a whole bunch of games we already knew about along with some other heavy hitters like Resident Evil Village and Resident Evil 4.

The post Everything Announced At The September 2024 PlayStation State Of Play appeared first on Press Start.

UPDATE: PlayStation Australia has confirmed pre-order details for us. You can find that info HERE.

Sony has unexpectedly announced overnight that they will release a PlayStation 30th Anniversary collection of products that celebrate and commemorate the look of the original PlayStation.

The collection will include a whole bunch of products and are slated to go up for preorder on September 26th with the collection releasing on November 21st. The PlayStation Blog does mention that those outside of PlayStation Direct regions (us) will get the products at local retailers but it doesn’t specify which ones, so we’ll keep you posted as we get local pre-order information.

Without doubt the showpiece of this collection is the PS5 Pro with only 12,300 bundles being created that includes the console that is individually numbered, a bunch of collectibles, a DualSense Edge, a DualSense controller and a DualSense charging station.

The collection will include:

PlayStation 5 Pro – 30th Anniversary  Limited Edition Bundle

Includes the console, a themed disc plate (but no disc drive), a themed DualSense controller, themed DualSense Edge controller, a themed DualSense Charging Station, a vertical stand, a poster (randomly selected out of 30 possible designs), a PlayStation-style cable connecter housing, four PlayStation Shapes cable ties, a PlayStation sticker and a paperclip.

PlayStation 5 Digital Edition – 30th Anniversary Limited Edition Bundle

Includes the console, a matching Dualsense controller, a console cover for the disc drive, a vertical stand, a poster (randomly selected out of 30 possible designs), a PlayStation-style cable connecter housing, four PlayStation Shapes cable ties, a PlayStation sticker and a paperclip.

PlayStation Portal – 30th Anniversary Limited Edition

DualSense Edge Wireless Controller – 30th Anniversary Limited Edition

• DualSense Wireless Controller – 30th Anniversary Limited Edition

As mentioned above, we do not have local details nor pricing, but as soon as we know, we will be sure to update you. You can check out all the details and more pictures of the packages at the PlayStation Blog.

In the meantime, you can check out the collection reveal here:

View this post on Instagram

A post shared by Shannon Grixti (@shannongrixti)

The post The PlayStation 30th Anniversary Collection Includes A Limited Edition PS5 Pro And A Bunch Of Other Products appeared first on Press Start.

Some brief history – as this review is long – I’ve always been a fan of Grasshopper games. They’ve never been massive-budget blockbusters, but they’ve had some incredible ideas and interesting worlds that I’ve adored visiting in their games. Lollipop Chainsaw is where I’ve always been a bit torn. On one hand, the action is simplistic. On the other hand, the way the story is told is incredible, and the characters themselves are all just so charming. So when a remaster was announced two years ago, I was excited. And now, having played RePOP, I’ve got a greater appreciation for what Lollipop Chainsaw was trying to do all those years ago. But I’m not sure RePOP is currently the right way to experience it.

Lollipop Chainsaw follows Juliet Starling, a cheerleader at San Romero High School who is excited to introduce her boyfriend Nick to her eclectic family on her eighteenth birthday. Unfortunately, as the day begins, a zombie outbreak has occurred. But not just that – an evil goth kid named Swan has summoned five intelligent zombies, called the Dark Purveyors, to take over the world. It’s just as well that Juliet is descended from a long line of zombie hunters, thankfully, and sets off with her trust chainsaw to cut up some rock music-worshipping lords of rock.

At the time, Lollipop Chainsaw was an exciting prospect as it brought together No More Heroes’ Suda51 and James Gunn to create something truly bizarre and out there. Revisiting Lollipop Chainsaw today, the charm is still there. You can see the influences that James Gunn would eventually implement in his tentpole films like Guardians of the Galaxy and Suicide Squad. But Lollipop Chainsaw feels like so much more than the exploitative adventure it initially presents as. It’s a genuinely fun and subversive romp that had the perfect vibes if I could anachronistically use those words back then.

RePOP is a remaster of sorts that brings the game to modern platforms. The original game has been stuck on PlayStation 3 and Xbox 360 for almost twelve years, so RePOP feels needed. This remaster tweaks the gameplay to be much more accessible, especially to newcomers, and adjusts things so the game puts its best foot forward early. Much effort has been made to ensure players can access many more upgrades and combos earlier, which helps with the flow of combat.

The other enhancements are what you’d come to expect from a modern remaster – a higher framerate in particular – but the newly added RePOP mode doesn’t serve much of a purpose. It replaces the blood effects, which were already pretty cartoonish in the first place, with purplish flourishes instead. I suppose it’s an attempt to get newer players to try the game out, but it feels like a pointless addition and a glorified visual filter. What colour of fluid comes out of a person when you chainsaw them in half isn’t going to convince them to play a game where they otherwise wouldn’t. But that’s just my opinion.

At its core, Lollipop Chainsaw is a hack-and-slash adventure that sees you, as Juliet, mowing through enemies with a combination of attacks from your pom-poms, chainsaw, or both. The game does a pretty good job of introducing new abilities across its modest eight-hour runtime, and using a combination of these abilities is the best way to kill zombies efficiently. In terms of mechanical complexity, as a fan of the genre, I’d say it’s closer to something like Dynasty Warriors or No More Heroes rather than Devil May Cry or Bayonetta. It’s a simplistic combat system that is easy enough to grasp, though RePOP makes it easier to master.

RePOP has been tweaked to run much faster than the original game. Juliet moves quicker, and I could swear that her attacks come out quicker, too. Couple this with adjustments to the in-game shop, which goes as far as halving the cost of some of the better special moves. It’s clear RePOP puts great effort into giving you all the toys to play with early. Later on, you’ll even get a projectile weapon that needed to be cocked after a few shots in the original. Now, in RePOP, it can shoot continuously. It’s a much easier experience, which I’d normally lament, but I welcome it given how Lollipop Chainsaw is structured.

This is something I rarely would praise in a remaster. But despite the vivacious nature of the world and the incredibly tongue-in-cheek humour the game hangs its story on, Lollipop Chainsaw is straightforward. Encounters with enemies, while sometimes erring into the creative, feel they carry on for a smidge too long. It’s made especially worse if you die, as checkpoints are oddly uneven, and you’ll have to repeat a lot of it again. The game is fun in short bursts, and given how simple the combat is, there is just not a whole lot here beyond what you unlock in the first third of the game.

These moments are broken up briefly by sections where you can use your boyfriend Nick to control a zombie and make a path for Juliet. But they’re too few and far between and don’t do anything creatively interesting, though I appreciate the way Nick is used in the story to subvert the typical expectations you’d have for someone like him in a story like this. I can’t say much more without spoiling, so I won’t.

The highlight, like many Suda51 games, is the boss battles. Each of the Dark Purveyors is modelled after a type of rock music – a, once again, incredibly Suda51-like decision. The cast of bosses you’ll battle are all fantastic, taking inspiration from punk rock, Viking metal, psychedelic rock, funk and good old-fashioned rock and roll. They’re great little battles that carry themselves with such a huge visual flair that you almost forget about the key element of Lollipop Chainsaw that RePOP is missing.

And that’s the music. Almost all licensed music that appeared in the original Lollipop Chainsaw has been scrapped for RePOP, replaced with original pieces that quite frankly don’t suit the mood or feel of the original. We’ve all had that moment when we watch an older series on Netflix we love, only to see the music from key scenes changed to generic tracks that fail to capture the feel of the original. That’s RePOP’s problem, and while The Chordette’s iconic Lollipop plays as you shop for upgrades, all of the original music is gone. It’s a huge shame, given how integral these tracks were to the original vibe.

Thankfully, the voicework of the cast is still pretty fantastic, especially the star-studded ones. Michael Rosenbaum does a great job playing Nick, while Linda Cardellini, Michael Rooker and Shawnee Smith round out a great voice cast playing some of the Dark Purveyors. But you can’t discount the incredible work that Tara Strong does in bringing Juliet to life. She nails every line and makes me happy that they didn’t go the recast route like so many remasters sometimes do. Unfortunately, for some reason, all of the audio recordings are incredibly low quality, so this remaster feels especially lo-fi.

However, the missing licensed tracks are only one prong of a larger issue that RePOP carries – the presentation. There was real potential here to revive the original game with a more colourful and vibrant visual style to complement the hyper-sweet Lolita style the original developer was going for. Instead, while the game runs at a much better framerate than the original, many odd visual glitches bring down the experience. Lighting is all over the place, sometimes just filling the screen with a white glow to the point where you can’t see anything. Sometimes zombies disappear, and other times, students disappear but still speak their lines to Juliet after being saved. Heck, sometimes characters don’t speak their lines. I hope these issues will be fixed with patches, but it means RePOP is currently not the best way to play Lollipop Chainsaw.

Outside of the game itself, odd issues persist, too. Menus and load screens are blurry and compressed, looking like low-quality images your weird aunty downloads off Google and then uploads to her Facebook as her profile photo. The menus that let you scroll through your achievements and abilities are also barebones, with some even disappearing after selecting an item on them. It’s, once again, something I’m sure will be fixed with future updates, but it’s a strange choice to have such average-looking assets in a project that’s about bringing the best version of the original game forward.

This is a massive shame because RePOP is only a passable revision of the original game, which is arguably the worst way to play right now. The faster combat system is appreciated, as is the speedier framerate, but the myriad of glitches and missing effects that have reared themselves in place of them are not worth the trade-off. And that’s before we even consider what has been lost due to presumable licensing issues. If the worldview weren’t so damn charming, I’d be reticent to recommend RePOP at all. But there’s something here, and I hope it’ll eventually bloom into the remaster that Lollipop Chainsaw deserves.

The post Lollipop Chainsaw RePOP Review – A Sour Aftertaste appeared first on Press Start.

It’s daunting to think the original Dead Rising is almost twenty years old. When it was first released on the Xbox 360, I remember it being so mind-blowing that so many zombies could be rendered on-screen simultaneously. It felt truly next-gen. But it’s been a long time since then, while I had a chance to revisit the game eight years ago, some aspects haven’t aged well. Now, Capcom has done the seemingly impossible with Dead Rising: Deluxe Remaster. They’ve made Dead Rising a lot more approachable, but without sacrificing the game’s unique identity.

But to get one thing out of the way here – Capcom is underselling themselves by calling this a Deluxe Remaster. From a visual standpoint, it’s closer to a full-blown remake. The game has seen a significant visual upgrade thanks to Capcom’s ever-gorgeous RE Engine, but it has seen numerous gameplay improvements, too. As such, Deluxe Remaster firmly occupies the space between an exhaustive restructure seen in games like Resident Evil 2 and the very barebones remaster treatment the original game received eight years ago.

That said, a lot has stayed the same with how Deluxe Remaster is structured. If you remember the best path through the game, it’ll work here. As such, the story is the same too. You still play as Frank West, a photojournalist investigating strange goings-on at Willamette Parkview Mall, only to discover that the population has been turned to zombies. You have three days to learn why, which equates to around six hours in real-time, and you can use that time in whatever manner you wish.

Back then and still now, Dead Rising is structured uniquely. The main storyline is tied to cases Frank must investigate, which occur in the world at a certain time. If you’re not there when it starts, the storyline ends, and Frank must start over. There are many ways in which the game does a great job of communicating this to you, and the meat of the Dead Rising experience is discovering and planning the best course of action that’ll result in maximum returns for Frank. But if you fail, it’s not to worry because you’ll be able to start over with any upgrades you’ve earned for Frank (and the ever-powerful sense of hindsight) to do better.

It’s more complicated, though. From time to time, Frank will be contacted on radio about scoops. Scoops are essentially side quests that are plopped into Frank’s journal for him to investigate as they get called in. They’ve all got individual timers attached and are at different points throughout the mall, so you’ve really got to prioritise who you’ll save and when. The more people you save, especially at once, the more experience you get. But the challenge comes in the balance – grabbing particular scoops and getting everyone to safety, all while the main story is about to progress somewhere else in the mall, can really be stressful.

It’s excellent news, then, that the Deluxe Remaster does everything possible to make this experience more convenient. Controls have been completely overhauled, with special moves mapped to face buttons instead of strange analogue inputs as in the original. Frank’s dodge roll also feels smooth, performed with a single button press. It may sound like a small change, but it makes Dead Rising feel much more modern. I returned to the original game last month to prepare for this one and it was bizarre how the control scheme was set out – which is still selectable in Deluxe Remaster, mind you – but this newer modern control scheme is a massive step in the right direction.

The other most obvious adjustment is improving the AI driving the survivors. It can still get pretty tense sometimes, especially when you’re escorting a larger group, but they tend to follow Frank closer or move quicker through hordes. This removes much of the frustration that might’ve been present in the original game, as it makes things easier. Some might have an issue with this, but at that point, I have to ask – what are you missing here? Is bad NPC AI really part of what made Dead Rising so special? I really don’t think so.

THE CHEAPEST PRICE: $69 FROM AMAZON

The way survivors work in Deluxe Remaster has similarly been overhauled. A new affinity system can improve their behaviour and performance in your party. Each survivor now has a set of items and weapons they prefer, and if you give them to them, they’ll be more likely to help Frank. They might become better at attacking, pointing out hidden collectibles or weapons or even helping other survivors. It’s a cool system that, as a series veteran, didn’t have to engage with much, but one that is, once again, making the experience more accessible to newcomers.

But while everything is becoming less challenging, the boss battles feel like they’ve stepped in the opposite direction. The bosses were great in the original, but you’d often stand there, trading blows with them. They were unfortunate victims of the janky control scheme that the original game had. But in Deluxe Remaster, every boss battle has seen some adjustment. There are still some frustrating moments, particularly with one enemy introduced late in the game, but overall, the game flows and plays so much better now.

These improvements are sensible. If you kill a convict driving a car, one of the other two will change seats and continue driving the car now. Cletus, the maniacal gun shop owner, would stand there and take bullets from you, occasionally fighting back. Now, he ducks under the counter and crawls around until you stop firing. They’re small changes that do mean the boss battles take longer now. But given how quickly you can do everything else in Deluxe Remaster compared to the original, it doesn’t dramatically break the game’s balance.

Other smaller improvements all contribute to a better experience for players. Every item you pick up now has a visible deterioration meter, so you know when your trust bat might break. Everybody is also now voiced, which is especially useful when you first walk into an area and hear them screaming out at you. You can now skip through conversations with the shoulder buttons, which might sound like a small change, but it is a huge improvement over the original, where (text-based) conversations would restart if either of you got hit with something mid-conversation. And, of course, at any save point, you can fast-forward time if you’re left with nothing to do, so the game doesn’t drag if you find yourself being efficient.

Of course, the most obvious change is in the game’s presentation. Undeniably slicker than the original game, the world has been overhauled to look richer and denser than in the original. The parks are filled with more trees, and every mall is accented with bright and vibrant neon lights. Rubbish adorns the main concourse of each mall. Hell, even sculptures have been added where they make sense. It all comes together to show off the best version of the Willamette Mall so far.

More contentious is the way nighttime is now handled, as it is particularly dark, but when the moonlight and the storefronts are the only things lighting up each mall, I personally adore it. It is a huge visual jump, and while it is much less colourful than the original, the density and detail of everything make up for it.

But one point where I’m not sure if there is an improvement is in the game’s audio – specifically, the new voice work. Everyone has been recast in Deluxe Remaster, including Frank. And while it’s a bit jarring to hear Frank not be played by TJ Rotolo after so long, he’s not the one I have an issue with here. Most of the new cast for the supporting characters, barring Isabella and Carlito, fall flat. They sound less enthused than the original – perhaps in a bid to suit the more realistic look of Deluxe Remaster’s overhaul. But it lacks the original’s charm or, dare I say it, soul. Barring that, everything else feels epic – the original music used in each boss battle is especially electric.

So, while Deluxe Remaster calls itself a remaster, it does a lot to insist that it’s so much more than that. This is a remake – fair and square – with many improvements. It’ll be up for debate as to whether fans think the quality-of-life improvements make things too easy at the end of the day, but Deluxe Remaster is such a faithful translation of the original Dead Rising experience that I’m firmly in the opposite camp. It’s far and away the best version of Dead Rising we’ve ever had, and I can only hope we’ll be fortunate enough to see the same treatment with Dead Rising 2.

The post Dead Rising Deluxe Remaster Review – More Than A Simple Remaster appeared first on Press Start.

I have to confess. I am a long-reformed Funko Pop! Vinyl addict. Back when you could buy them for a mere $18 a pop (heh) in Australia, I would buy anything and everything. It’s an admission I’m not entirely proud of, but I’ve since done great work in culling my collection. But now, it seems, Pops are back in videogame form with Funko Fusion. And while it’s great fun and a real throwback to the times when LEGO games weren’t bloated and distended, Funko Fusion isn’t without its faults. It’s one hell of a guilty pleasure, albeit rough around the edges.

Funko Fusion opens with an extravagant battle between Freddy Funko, the manager of the Funko Factory, and Eddy Funko, his sludgy evil twin. Eddy is desperate to be recognized, so he steals Freddy’s crown, breaking it into seven pieces and hiding them across the universe. It’s up to you, the player, to retrieve these crown pieces and restore Freddy to his plastic glory. It’s a simple premise that works pretty well, and it’s fun to see how Eddy uses his powers to distort the stories that Funko Fusion immerses you in.

The stories within Funko Fusion are a diverse and quirky mix. With seven worlds, each based on a major film or TV series, the game offers a unique retelling of these narratives in a humorous, LEGO-like fashion. The worlds, inspired by Hot Fuzz, The Thing, Jurassic World, Battlestar Galactica, Umbrella Academy, Masters of the Universe, and Scott Pilgrim, each bring their own distinct flavor to the game. Smaller properties like M3GAN and Jaws also make cameo appearances, adding to the game’s eclectic charm.

The general structure of Funko Fusion is familiar to those who’ve played the early LEGO games. You begin in the Funko factory, each floor themed by one of the previously mentioned seven worlds. You can unlock each floor with crowns collected at the end of each level, with each floor having between five to seven levels to pay through. You can unlock future floors, too, given you’ve got enough crowns, so if you grow tired of one, you can jump between them all.

When you unlock a world, you can play four base characters from that world. Some might move quicker, others have different weapons, and some might even have special abilities for use in exploration and puzzle-solving. There’s a nice mix of abilities here, though each world is clearly designed to be revisited as each area requires abilities from others. You can’t unlock a level in the Hot Fuzz world without bringing a Flamethrower from The Thing, for example. Completing a world unlocks extra characters from that world but also allows you to take those characters to other worlds.

Each world is split into levels that retell major setpieces from whatever it’s based on. Think Hot Fuzz’s final showdown in a village of miniatures or the moment all hell breaks loose in the opening of Jurassic World. Each world has you performing different objectives on a larger map, with each level having a different objective. It’s not as gracefully done as it was in Super Mario 64, but it’s closest to that in terms of how objectives work. Every level has a degree of openness to it, too, with optional missions and collectibles to find within each. And plenty of vinyl to find.

Vinyl is this games version of studs. Everything you hit in the game drops vinyl, and it can be used for a few different things. Each world has ideas that you can “research” by bringing fragments of them back to 3D printer-like stations. Once you’ve fully researched an item, you can mould your vinyl to create said item at these stations. Every item you can make has some use in combat and exploration, and the ones you unlock can be taken back to other worlds to open up optional areas.

THE CHEAPEST PRICE: $69 FROM AMAZON

The crux of the optional content comes in the form of Cameo Levels and Cameo Quests. The former is usually unlocked by retrieving a keycard hidden behind an ability or item to unlock portals in certain levels. They centre around another film or brand – like Jaws, NOPE or Back To The Future – and are more minor levels that cleverly capture the most iconic moment from whatever they’re based on. Cameo Quests are a bit different; you activate them in a certain level and then must follow up with that character in other levels to unlock them. For example, in the Hot Fuzz world, you can find Chucky and play a game of hide and seek with him to activate his quest. He then hides in other levels and can be found six times to finish the quest.

On the one hand, the Cameo Levels are a great idea. It would be tough to extend the story of a film like Jaws into a full, five-level world, so focusing on a key memorable set piece is an excellent idea without ruining the story’s pacing. The Cameo Quests are a good idea, too, but their execution doesn’t feel as well thought out – it is quite frankly tedious to seek out these characters multiple times and even when you’re done doing so, you’ll probably be done with most of the game.

That said, Funko Fusion feels like an old-school LEGO game in many ways. For one, the levels are replayable, with many things to find within each. Some collectibles unlock new weapons that any of your characters can equip with enough vinyl, while others grant buffs like one that improves the speed of your Pop. The more you complete, the more characters you unlock, though some of them are gated behind 40+ collectibles, including the iconic Colonel Sanders, which does feel like a bit much. People who loved collecting in the LEGO games will be at home here, but by the time I play as the Colonel, I’ll be done with the game.

But while I might sound down on Funko Fusion, there is a delightful game with great potential here. The objective variety is strong, with each level really slotting into the world it’s inspired by pretty well. Combat is a satisfying mix of shooting and melee, and boss battles are clever. There wasn’t a moment where I felt the game dragged or any of the worlds overstayed their welcome, as each employs unique mechanics that make sense for that particular world.

But at the time of writing, the game is incredibly buggy. I’ve had cutscenes skip, my controller stop working, side quests refuse to progress, and even boss AI glitch out. It’s disappointing, making Funko Fusion hard to recommend right now. I have confidence that most of these problems can be solved with a few title updates. But now, Funko Fusion can be a battle to get through.

And that’s not to forget that the game is lacking in the multiplayer department despite feeling like the perfect game for it. Online co-op is coming, which is a cool idea, but it’s being rolled out on a world-by-world basis, which seems a bit odd. The lack of offline co-op is also disappointing, as this game feels almost made for it.

But it’s hard to deny that Funko Fusion is dripping with passion and charisma. There is a huge amount of content in here to get through, especially for a team so new and so small that it harkens back to the days when LEGO games were at their peak. Even better, the worlds have been crafted in a way that pays great homage to the films and shows that have inspired them, but with a distinct sense of humour and charm that isn’t afraid to poke fun at itself. It’s a humourous and engaging journey that I’m convinced will improve over time.

The post Funko Fusion Review – A Promising Pop Culture Potpourri appeared first on Press Start.

The PS5 Pro was announced this morning in a technical presentation hosted by Mark Cerny. The presentation was short and sweet, clocking in at under ten minutes, and covered details such as how the improved hardware will lead to tangible improvements in past and present games.

The launch details were also confirmed, so here’s what we know so far, including when you can get your money down on one.

WHEN IS THE PS5 PRO RELEASE DATE?

Sony announced this morning that the PS5 Pro will launch on November 7th, 2024, less than two months away.

HOW MUCH WILL THE PS5 PRO COST?

The PS5 Pro will cost $1,199 AUD in Australia and release on November 7th with pre-orders beginning on September 26th. This doesn’t include a disc drive, so we’ve done the price for both together as well (it can be purchased for $159 separately).

• PS5 Pro 2TB (Digital) – $1,199.95 AUD
• PS5 Pro 2TB with Disc Drive purchased separately- $1,360 AUD

WHEN IS THE PS5 PRO AVAILABLE TO PRE-ORDER?

Sony has announced that the pre-orders for the PS5 Pro will be available on September 26th at 10:00am AEST at participating retailers. An exact time hasn’t been revealed, but generally PlayStation pre-order events happen in the morning (normally 10am).

So far, EB Games is the only retailer to confirm that it will be taking pre-orders, but we’d be surprised if you couldn’t grab one from the likes of JB Hi-Fi, Amazon, Target, Big W, Kogan, Harvey Norman and everyone else you could get a PS5 from.

So a little over two weeks until you can pre-order. While you wait, it might be worth checking out the confirmed PS5 Pro enhanced games or the console itself. Don’t forget that the console itself doesn’t come with a disc drive, and has to be purchased separately.

The post Here’s When PS5 Pro Pre-Orders Will Go Live appeared first on Press Start.

You can’t take two steps without stepping on a Capcom collection of some kind, it seems, and Marvel vs. Capcom Fighting Collection: Arcade Classics is yet another example of Capcom’s strong willingness to honour their history and ensure that the games that made them famous are playable even today. But this one feels especially treasured, as, through the fault of licensing and other mishaps, Marvel vs. Capcom games have been notoriously inconsistent with how regularly accessible they are. So here we are, yet again, with another re-release of the revered fighting game. And thankfully, this is the best way to play all of them so far.

Marvel vs. Capcom Fighting Collection: Arcade Classics is another collection combining seven titles that Capcom developed and released in arcades between 1993 and 2000. What’s offered here is similar to the last Capcom Fighting Collection – arcade-perfect ports with the addition of other features associated with modern fighting games like spectator modes, exhaustive practice modes and rollback style online support. While the last Capcom Fighting Collection had a lot of games debuting outside of Japan, the Marvel vs. Capcom Fighting Collection is a slightly less dramatic debut. Most of these games have been available previously, some recently as the Xbox 360 and PlayStation 3, but have since faded from digital storefronts thanks to the ever-pervasive threat of licensing expirations and renewals.

Others are appearing in a format for the first time since they debuted on home consoles or arcades in the late 90s. Those games are X-Men: Children of the Atom, X-Men vs. Street Fighter and Marvel Superheroes vs. Street Fighter. While all these games (and most others) are versus fighting games similar to Street Fighter or Mortal Kombat, an arcade-perfect port of The Punisher, a beat-em-up, is also included. But more on that later. The package is rounded out by Marvel Super Heroes, Marvel vs. Capcom and Marvel vs. Capcom 2, the latter of which is arguably the cornerstone of this ambitious collection.

THE CHEAPEST PRICE: $74 WITH FREE SHIPPING FROM AMAZON

The collection is typical of what you’d expect from a Capcom collection. The modern game additions include save states and a simplified Smash Bros-esque control scheme for easy hyper combos or special attacks. Beyond that, a museum mode includes a heap of concept art and design documents from each game. They’re interesting if you’re interested in developing games like these, and like I said for every Capcom collection before it, it’s always fascinating to see how these games come together from simple drawings on a page.

But what of the games themselves? There are not many duds here. While drawing from both Capcom and Marvel’s storied history, each game does its own thing to stand out from its contemporaries. For example, you use Infinity Stones to power yourself up in Marvel Super Heroes. There is something utterly appealing about the earlier games, especially X-Men vs. Street Fighter, where the concern wasn’t about balance and just allowing players to come up with the most batshit insane combos they could. Children of the Atom, a 1v1 X-Men fighting game, is charming in its own right for how simple it is and how it looks and plays just as well as it did in 1993.

Marvel vs. Capcom: Clash of Super Heroes is where you can see it all start to come together, though, with Capcom expanding their side of the roster with characters beyond those that appeared in Street Fighter. It’s an interesting game because while you pick two characters, every match allows you to pick a third support character from a separate roster of oddball choices. Think Jubilee from X-Men or Arthur from Ghosts’ n Goblins. It’s an novel mechanic that has never entirely made a return to the series since.

But as I mentioned earlier, the cornerstone is Marvel vs. Capcom 2. It is arguably one of the best fighting games ever made – and while the jump to 3D visuals for many backgrounds loses some of the charm of the games that came before it, there is just no other fighting game (besides Smash) with a roster like it. The roster for Marvel vs. Capcom 2 features 56 playable characters from all stages of both Marvel and Capcom’s history at that time. We’re talking about Street Fighter, Resident Evil, Darkstalkers, and even out-of-pocket picks like Cyberbots and Star Gladiator. And, of course, timeless Marvel characters like Storm, Gambit, Wolverine, Captain America and Iron Man. It’s an amazingly well-rounded roster that I cannot get enough of and will never grow tired of.

Besides the other games, which are all still fantastic, the inclusion of The Punisher game is fascinating. I’ve never played it before, but it’s a beat-em-up similar to games like Street of Rage, Final Fight and Double Dragon. In it, you can play as either Punisher or Nick Fury as they try to take down Kingpin and his criminal enterprise. The game is considered to be one of the better in the genre. I can see why – it’s just as strong as Capcom’s other beat-em-ups but incorporates the trademark violence that you’d expect from a Punisher game in a way that I don’t think was being done back then (besides Mortal Kombat, of course). It’s tough as hell, mind you, but it’s still a great inclusion, and the arcade port included here is much better than the previous home console release on the Sega Genesis. You can play it co-op locally, too, though not online.

Speaking of online, the lobby system works like the previous Capcom Fighting Collection. You can search for ranked or unranked matches through matchmaking or create private lobbies, too. You can even choose whether to play a game offline, enter practice mode or browse the museum mode while waiting for a match to be found, which is appreciated given it’s a key feature Mortal Kombat 1 still doesn’t have. Even better, you can select which of the six fighting games you want to queue for, so your pool of players is always as deep and wide as you pick. I only got to sample a handful of matches online, but like the previous collection, the rollback netcode works like a dream.

From a presentation standpoint, Marvel vs. Capcom Fighting Collection: Arcade Classic is slick. Each game utilises sprite work, which still stands the test of time today, though some of the 3D effects seen in Marvel vs. Capcom 2 are getting a bit long in the tooth. The collection has many options to adjust the display – filters that mimic the CRT screens you would’ve played these on back in arcades, options to adjust the aspect ratio and artwork for borders to help fill the screen without ruining the aspect ratio. There are plenty of options and choices here, so I doubt many would be unable to find their own sweet spot with how these games are presented.

But regardless of your taste in presentation, one thing is certain—Marvel vs. Capcom Fighting Collection: Arcade Classics represents the best way to experience these games and, even more importantly, understand why they were revered as classics in the first place.

The post Marvel vs. Capcom Fighting Collection: Arcade Classics Review – An Incredible Showcase appeared first on Press Start.

It’s been over a year since Hogwarts Legacy, and despite that game doing such a good job of capturing the essence of being a student at Hogwarts, there was a glaring omission. Despite spending many hours in the castle and its surrounding grounds, you never get to play a game of Quidditch. Quite the phenomenon, apparently in both real life and the world of Harry Potter, it always felt odd that Quidditch wasn’t in Legacy. And while it’s been a hot minute – since 2003 – since we had a new Quidditch experience, Harry Potter: Quidditch Champions has the basics down pat. But while it gets so much of the core experience right, it still feels undercooked.

The game occurs around the same time as the Harry Potter stories. You’ll run into many series stalwarts like the Weasleys, Hermione and most students who make a sizeable appearance in the series. The game’s very loose structure has you building a fully customisable team that must work through the various tourneys to win the Quidditch World Cup. There’s not much of a story here, honestly, and it feels very small scale.

There are multiple ways to play Quidditch Champions, whether with your friends or against them. But you’ll be disappointed if you’re looking for a wealth of single-player content. There is a “campaign” of sorts, which sees you competing in three different cups – a school, interschool and international – but that’s really it. The “story” is a cutscene before each cup, explaining what the cup is and narrated by a low-rent soundalike of your favourite Harry Potter characters. The Seeker of each team, such as Cho Chang or Cedric Diggory, might pop up beforehand to say a sentence or two, but that’s really it.

The campaign really serves as a loose tutorial to teach you the basics of each role and how Quidditch works, especially as a video game. The beginning of the game wastes no time teaching you how to fly your broom, selecting which camera controls you want to use and even showing you how to drift. Each role is also explained to you and has unique controls and mechanics, but that’s really it. It feels more like an extensive prep course to prepare you for multiplayer, though I appreciate that no matter which mode you play in Quidditch Champions, there’s still online functionality with full crossplay available, too.

In this version of Quidditch, two teams of six battle it out until one side reaches a hundred points. A goal is worth ten points. The roles are simple – there are three Chasers, a Keeper, A Beater and a Seeker. Chasers play the leading role in the game, chasing after a ball called a Quaffle, scoring points by throwing it into the opposing team’s goals. Keepers are goalkeepers, but they can lay down rings that other players can fly through to buff or debuff their speed. Beaters are the most interesting, armed with bats and controlling a magical iron ball called a Bludger to knock other players off their brooms, while the single Seeker must look for the Golden Snitch, a fast-moving object on the field.

The most significant change with Quidditch Champions is how the Golden Snitch works. It appears roughly twice in each game’s seven minutes, and the Seeker must boost through rings left behind it to stay close to the Snitch to fill a meter. Once the meter is filled, the Snitch can be caught. Rather than ending the game, however, it gives the team thirty of the required hundred points towards their win. It’s a nerf, but it has a remarkably positive effect on the flow of the game and keeps things fair right up until the very end, as sometimes grabbing the Snitch can be the difference between winning and losing.

The other roles, barring the Keeper, are all just as fun. Something is satisfying (if not slightly macabre) about beating people off their brooms as a Beater or sending your bludger after the opposing Seeker to give your team member a better chance at catching the Snitch. If you want good old-fashioned sports, the Chaser is more of a role for you, coming with the typical functions you’d expect for a player in any sports game – sprinting, tackling and the like. There’s something for everyone here, even if you’re not typically into sports games (like myself).

THE CHEAPEST PRICE: $49 FROM AMAZON

And while the AI is pretty average sometimes, most of the magic happens when you’re playing online. The online modes are fairly robust for a game of this scale, offering role-specific queuing or any role queueing to reduce wait times. For the most part, I wouldn’t be waiting for more than two minutes to find a match, so the population seems healthy right now, but it’ll be interesting to see how long it will stay like this. Online performance is great, too – everything works, which is excellent but rare in today’s gaming climate.

Online games work differently from offline. Three players control two roles each, and they can switch between them on the fly as needed. Your roles are assigned to you as you’re put into a game, though you can choose your preference before matchmaking. It’s a great system that keeps things interesting, though, much like any multiplayer game, it can get frustrating when your Seeker doesn’t actually go for the Snitch.

It’s an absolute dream when a team of humans plays their roles correctly in Quidditch Champions. A fast-paced game that has all of the twists and turns to keep things tense and chaotic. But beyond that, Quidditch Champions doesn’t have much more going for it. The primary sense of progression is a Battle Pass-esque system where you unlock cosmetics as you complete matches and earn XP. It’s a tried-and-true system, but it feels empty at this stage and fills pretty slowly.

At first, I assumed this was because the game wanted to sell you all the trimmings that often come with games structured like these – skips, experience boosters and the like. But remarkably, Quidditch Champions doesn’t have any microtransactions. All progression is earned in-game and can’t be purchased with real currency. This is a relief, but at the same time, it also masks something far more telling – there’s just not a lot to earn or do in Quidditch Champions.

Which is a shame, because the core gameplay is solid. Quidditch Champions plays incredibly well. But the other elements surrounding the game, that compelling reason to stick with it and keep playing, just doesn’t exist yet. The game is structured as if it will set up new content drops as future seasons come, but it feels rather barebones for now.

From a visual standpoint, Quidditch Champions looks decent enough. It employs a stylised artistic direction, allowing it to be visually distinct from Hogwarts Legacy and whatever other Wizarding World games are coming. It runs well, too, with no performance hiccups to note in my time with it. Novelly, the game also is the first time we’ve seen both the Durmstrang and Beauxbatons schools realised in a video game (or perhaps ever), which is a nice touch for those deep into the Wizarding World.

However, there is a real gap in the presentation regarding the original score. Harry Potter films have some incredible music that could be used significantly in Quidditch Champions, especially while you’re playing the Seeker. Instead, what’s here is a pale imitation of what came before. It all feels incredibly flat and wooden, especially during the final moments of each match. I thought we’d hear some of John Williams’ soaring music here, but what’s here instead is just unremarkable.

While the actors are soundalikes, which I can handwave away given how expensive the talent would be to get back for recording, the commentary is seriously lacking. Even worse for what is ostensibly a sports game, it’s arduously repetitive, too. There are about one or two lines for each event that might occur in the game, and when you’re playing across seven minutes, it can get incredibly grating to hear “HOGWARTS GAINS POSSESSION” more than ten times in the span of a few minutes.

So, while Quidditch Champions has the potential to grow into something more, right now, it’s too barebones to hold your attention for long. Hopefully, with time, there’ll be a more compelling reason to jump back on the broom, but it needs a little more time to capture the magic it’s missing.

The post Harry Potter: Quidditch Champions Review – A Strong Take-Off With An Iffy Landing appeared first on Press Start.

It hasn’t been a year yet, but Capcom still seems fit to grace us with yet another Ace Attorney collection. But this is an exciting time for Ace Attorney. It marks the first time that all the games are available on modern platforms, and with Ace Attorney Investigations Collection, the first time that the second game in the very good spin-off series has been available outside of Japan. But while we’ve been arguably bombarded with regular Ace Attorney releases, the quality has yet to falter. The same can be said with Ace Attorney Investigations Collection, which continues Capcom’s trends of honouring the past while hopefully laying the groundwork for the future.

The Investigations games are different to the other Ace Attorney titles. In Investigations, you play Miles Edgeworth, a rival to Phoenix Wright and one of the best prosecutors in the country. While he’s had a more villainous appearance in the earlier games, the Investigations games do a better of fleshing out his character with more depth than previously seen. They’re also set between the large time gap between the third and fourth Ace Attorney games, leaving a lot of opportunity to bring back characters and see how they interact with Edgeworth. However, the major difference is much more significant – the Investigations games rarely enter the court.

While both games in this collection have unique features, they share a similar structure comprised almost entirely of investigating. However, it’s more involved and interactive than the other Ace Attorney games. You directly control Edgeworth, moving him around crime scenes, gathering evidence and interviewing witnesses and potential suspects. It feels more “playable” than just tapping through menus as you would in an Ace Attorney game, though it is a much more linear experience. There’s nothing wrong with that, to be clear, but there is a different flow of progression compared to other Ace Attorney games.

The more involved investigations are complemented by new mechanics, which only improve the experience. Edgeworth’s assistant, Kay Faraday, can use her gadget, Little Thief, to create crime scenes in real life. In the second game, she can view the same crime scene at different points, adding more depth to the investigations. It’s nonsense technology, of course, but you have to go with it. Including Little Thief is a good way to break up the investigation segments, though, like some other aspects of the second game, I wish it was used more throughout.

But besides investigations, the crux of the drama will come from arguments that you’ll have with the people involved in each case. These segments stand in for the courtroom segments, as you’ll use evidence to point out any contradictions in what people tell you. I have always had concerns about whether these moments might be less exciting, given that there are fewer objections flying around, but thankfully, they’re still just as good. Some of the revelations in both the Investigations games, especially in the final case of each, are some of the most shocking in the series.

THE CHEAPEST PRICE: $59 FROM AMAZON

But it wouldn’t be a game about Edgeworth without an extra layer of deduction, and that’s where the Logic system comes in.  Designed to perfectly represent Edgeworth’s calm and cool sense of deduction, it lets players piece together information to form conclusions. Said conclusions can then be used as defacto evidence in arguments to make opponents buckle. The Logic system is an excellent addition for a few reasons. For one, it allows Edgeworth (and the player) to keep track of any lingering mysteries discovered. But it also adds an almost endlessly satisfying gameplay loop of connecting information.

The Logic system is built upon in the second game, Prosecutor’s Gambit, with the addition of Mind Chess. When Edgeworth is in a significant argument during a case, the argument is visualised as a game of chess. Similar to cross-examinations from the previous game, you, as a player, must determine the right “move” to make when verbally speaking with an opponent. Sometimes, not making a move (ie. Staying silent) is the better option, too. The timer in these moments makes things especially tense, which might put off some players, but the heightened tension makes them incredibly exciting. Though, like I mentioned before with Little Thief, I’d love to see more of Mind Chess. It can also be too obvious which answers are right.

But while these changes to the formula are obvious, the less obvious question is how these games play. Resoundingly, they are well worth your time. Both games are built around strong stories that grab you from the beginning, standing beside the mainline games with no issue. I adored the first game when it was released for the DS, but replaying it, I can’t deny there are some pacing issues with some of the cases, especially in the final case where the final contraction (while shocking) feels incredibly protracted.

The second game is often talked about as one of the greatest in the series, and, having finally played it, I can see why. The villain is great, the twists are shocking, and the pacing is a considerable step above the original game. Even more so, the overarching narrative is incredibly engaging and easily a step above some mainline games. I’ll obviously not explain much more for the sake of spoilers, but it’s quite frankly criminal that Prosecutor’s Gambit wasn’t officially available to the wide audience until now. It is well worth your time.

Besides the obvious, the collection also includes the typical fare you’d expect from an Ace Attorney collection. A new set of achievements or trophies, a music player, a character viewer, and an art gallery round out an already complete package. The art gallery is particularly cool, allowing you to examine art from the episodes in greater detail. The character viewer feels like a step back from Apollo Justice, lacking the “create your own” mechanics that the collection had. But it’s a nice inclusion that, as always, makes this compilation feel all-encompassing.

Though, easily, the most significant overhaul the games have received is visual. The original game featured a cute pixel-based sprite style, zooming into the better-detailed portraits whenever characters spoke to each other. Ace Attorney Investigations Collection features a new high-definition art style that closely mimics the style of the portraits when in conversations instead. The completely redrawn visuals are great, making the animations look much more lively and consistent with the other Ace Attorney games. That being said, such a dramatic change is bound to upset purists, so the original art style is selectable, too, so both camps are catered for here.

And it’s just as well, too, as, like previous collections, Ace Attorney: Investigations Collections follows in similar footsteps to the previous collections Capcom has been putting out. It’s far and away the best way to experience these games; no deductions needed.

The post Ace Attorney Investigations Collection Review – A Deductive Delight appeared first on Press Start.

When Nintendo announced remakes of Famicom Detective Club, it was a pleasant surprise to discover that both games stood the test of time in terms of narrative but also looked great. It was a fun experiment, but I thought Nintendo was done, and we’d never see them again. Thankfully, they weren’t done, and they were actually preparing us. The newest game in the series, Emio – The Smiling Man: Famicom Detective Club, is easily the best and not like anything you’d expect, especially from Nintendo.

Emio – The Smiling Man: Famicom Detective Club is the first game in over three decades, but takes place a short time after the events of The Missing Heir. You play as a pair of detectives investigating the murder of a high schooler, found dead with a paper bag over his head with a smile drawn on it. Curiously, the murder bears some similarities to a string of murders that occurred eighteen years ago, which themselves formed the basis of a local urban legend. The detectives must investigate the murders and discover if or how the crimes are linked.

While I enjoyed The Missing Heir’s more straightforward whodunit approach, Emio feels much closer in tone to The Girl Who Stands Behind. The plot follows similar threads – a mysterious and potentially supernatural crime of the past influences a crime in the modern day. But as Emio progresses, it’s obvious how this instalment differs from the previous two games. For one, it’s easily the darkest of the Famicom Detective Club games, but I can’t say much more without ruining things, so I’ll leave it there.

But while the presentation is undeniably slicker, Emio is still largely the same as the games that came before it. A pure visual novel, its core gameplay loop is similar to the investigation sequences of games like Ace Attorney, albeit much more simplified. You’ll travel to different areas, speak to people to gather intel and investigate crime scenes for clues.  It’s very typical adventure game fare, which is by no means a bad thing.

That said, being a modern game of the series unshackled by the baggage that a remake naturally brings, I hoped that Emio would do more than tell another story. It doesn’t help that Emio inherited the quirks of navigating the original two games. The game splits how you interact with the world into a menu comprising options like “Call/Engage”, “Speak/Listen”, “Think”, and “Look/Examine”. And while they all are ostensibly different actions, the way conversations flow can sometimes feel particularly off.

As said before, I had a similar issue with the older Famicom Detective Club games here. How much that issue was an issue for you will really inform how you feel about Emio. It definitely happens less here, though, which is nice, but it still happens. Once, I had to move a conversation forward by selecting “Think”. Thinking is a way to hear your character’s inner monologue, and there is often an (optional) highlighted word that will suggest what you do next. But even if you know what to do next, Emio won’t progress the conversation once you select Think. It can be annoying, especially if you’re several steps ahead of the characters in the story.

One time, I had to select “Think” to continue a conversation where no actual “thinking” took place—the second I selected it, the character in front of me would continue the conversation. No thinking occurred, and there was no indication of whether I had to do it. It can be a tad frustrating, but it is by no means deal-breaking.

Eventually, if you don’t choose to use the word highlighting system, you’ll still eventually “adapt” to the sense of logic that the writers employ. Thankfully, Emio is a very linear story, so it takes a lot of work to get stuck at any point, as you might in the Ace Attorney games. However, the fact that there is no formal punishment for making a wrong deduction removes some of the tension from the whole affair.

But these issues are drops in the ocean that I’m willing to forego, given how strong and engaging the story is in Emio. It knows exactly when to introduce the right amount of doubt and red herrings to keep you guessing from beginning to end. While the first third feels a bit slower than the rest, the story picks up quickly and hits the ground running after that point. You’ll most likely discover the final reveal before the characters do. Still, the game has one final surprise that has yet to be done before in a Famicom Detective Club game that makes it well worth playing until the end.

THE CHEAPEST PRICE: $59 FROM AMAZON

But even if you work things out quickly, so much of Emio’s appeal is rooted in the drama more than the mystery itself. Both of these aspects of the story come together as everything comes to a satisfying close, resulting in what I can only describe as a great payoff.

And even more surprising, there were times when I found Emio to be unnerving. I consider myself a seasoned horror veteran, so it was a welcome surprise when I found myself getting notably tense in the story. There are several sequences, too, where the game dials down the soundtrack and lets the text do the heavy lifting in establishing the horror, and these are easily my favourites from the story. The game, as a whole, does a great job of establishing Emio’s presence as the titular urban legend without seeing him much. So, when you eventually encounter him, it feels mythical and terrifying.

While I wish there was more to Emio regarding gameplay, it has kept the underlying mechanics that make it flow so well, no matter how you play it. Recaps are available to players whenever they load up their game, and almost every chapter has a “Review” system in which you recount your findings to your partner. It works as a great way to catch the player up, and even if you get something wrong, the game corrects you and progresses anyway. The notebook returns, too, allowing you to catch up or double-check any facts you might have forgotten at almost any point.

While a new font goes a long way in making Emio feel a lot more modern, the presentation remains just as slick as the remakes do. Employing a similar art direction, the game looks super crisp when things aren’t moving. When things move, it’s almost startling as these 2D images come to life in subtle but believable 3D animations. It does great work in bringing tension and livelihood to the dark and grittier scenes involving Emio himself. Still, it simultaneously brings so much character to yourself and Tachibana as they interact with each other, too.

The soundtrack is similarly filled with personality – while I’d have loved a wider variety of tracks to break up some of the conversations better, the music in Emio is well put together. Each track does a great job of adding atmospheric depth and sometimes even drama to key events, and as discussed earlier, sometimes horror. The voice work is entirely in Japanese, and while I’m not a native speaker, the acting feels natural and well-realised, too.

So while Emio – The Smiling Man: Famicom Detective Club doesn’t add much newness to the formula three decades on, it’s still well worth a look. It’s a testament to the team’s strong writing that after so long, they can craft a story rich with drama and intrigue that sits firmly beside (or even slightly above) the other games. And perhaps that’s just enough for now, but I can’t wait. I hope we’ll eventually see more of the Famicom Detective Club, hopefully, less than three decades later.

The post Emio – The Smiling Man: Famicom Detective Club Review – A Thrilling But Tragic Mystery appeared first on Press Start.

For the first time, maybe—we’re not sure—Nintendo has held an Indie World presentation and a Nintendo Direct Partner Showcase together. The total runtime for both shows was around forty minutes, and, as promised, there was no mention of a Nintendo Switch successor tonight.

But there were some cool announcements, so without further ado, here’s everything announced overnight at both presentations.

ALL OF THE AUGUST 2024 INDIE WORLD AND NINTENDO DIRECT PARTNER SHOWCASE ANNOUNCEMENTS

MYSIMS IS HITTING THE SWITCH IN THE SERIES MUCH OVERDUE DEBUT

It’s revoltingly titled the MySims Cozy Bundle and it’s out on November 19th. The bundle includes both MySims and MySims Kingdoms.

THE RELEASE DATE FOR THE MARVEL VS. CAPCOM COLLECTION WAS FINALLY REVEALED

The collection includes five fighting games and two beat-em-ups that have been previously unavailable for some time, including the Marvel vs. Capcom games. Each of the games features new rollback netcode and training modes. It’s hitting all platforms in September, with physical copies being available in November.

YAKUZA KIWAMI IS COMING TO THE NINTENDO SWITCH

It’s out on October 24th later this year. Hopefully the other games will follow suit if this one does well enough.

PIZZA TOWER IS FINALLY LEAVING ITS PC PRISON AND ITS OUT TODAY

The game is often touted as a fantastic spiritual successor to the Wario Land games, and features a 90s-inspired Nickelodeon-esque art style. It’s out today, which melts my mozzarella.

A TETRIS COLLECTION IS COMING IF THAT’S SOMETHING YOU’VE BEEN WANTING

There’s at least nine different Tetris games included and a brand new Time Warp that mixes gameplay styles from all the other games. It’s called Tetris Forever and it’s out this year.

STAR OVERDRIVE IS KIND OF LIKE HI-FI RUSH IN A WAY BUT NOT REALLY

You can customise your hoverboard and fight with a keytar kind of weapon. It’s kind of cool and open-world. It’s a timed exclusive for Switch but it’s out in 2025.

GOAT SIMULATOR 3 IS SURPRISE RELEASING ON THE NINTENDO SWITCH TODAY

It looks…..not as good as other versions but still playable which is nice. There’s 2 player local and co-op too. A physical version is out in November.

THE ORIGINAL STALKER TRILOGY IS COMING TO NINTENDO SWITCH IN NOVEMBER

It’s looking…..interesting visually. But the fact these are even running on the Switch at all is a miracle. Amazing work from the devs here. All three are out in November.

PATRICK STAR IS GETTING HIS OWN GAME FINALLY BUT IT’S NOT WHAT YOU THINK

The game is one of those “funny” weird physics games where Bikini Bottom is your sandbox. It’s out in October.

A THIRD FITNESS BOXING GAME IS COMING THIS YEAR

There’s new trainers to train with and you can change their hairstyles too, if that is relevant to your interests. It’s out on December 5th.

CAPCOM REVEALED YET ANOTHER KILLER FIGHTING GAME COLLECTION

The collection includes eight fighting games that have previously been unavailable elsewhere – some including the Capcom vs. SNK games, Power Stone games and Plasma Sword. They’re great gems from the Dreamcast era of Capcom. The collection will feature netplay and training modes, as with other Capcom collections. It’s out in 2025.

WE GOT A CLOSER (BRIEF) LOOK AT CUSTOMISATION IN DRAGON QUEST III HD-2D REMAKE

There will also be exclusive content not seen in the original game. It’s out on November 14th.

A NEW ATELIER GAME IS COMING WITH A BRAND NEW PROTAGONIST

It’s looking pretty rough visually but if this is your thing, I’m sure you’ll enjoy this. It’s out in early 2025.

THE SUIKODEN REMASTER FINALLY HAVE A DATE BUT THEY’RE LONGER AWAY THAN YOU’D THINK

The remasters will include a whole bunch of quality of life improvements, including increased battle speeds. They’re out together in March.

THE NINTENDO DS CASTLEVANIA GAMES ARE FINALLY MAKING THE JUMP TO OTHER PLATFORMS

All of the games that were on DS are included, as well as some arcade classics from the series storied history. It’s out later today.

WE GOT CONFIRMATION THAT CIVILISATION VII IS COMING TO SWITCH DAY-AND-DATE WITH THE OTHER VERSIONS

Not my jam but I can appreciate this. It’s out in February.

TALES OF GRACES f IS GETTING THE REMASTER TREATMENT

There were definitely better Tales games to remaster to celebrate the 30th Anniversary of the series but it’s fine, I guess. It’s out on January 17th 2025.

WE GOT SOME FIVE NIGHTS AT FREDDY’S UPDATES FOR SWITCH PLAYERS

Help Wanted 2 is coming to the Switch later this year. The Ruin DLC is also coming to Security Breach later this year too.

A BRAND NEW RUNE FACTORY GAME WAS ANNOUNCED

It’s called Rune Factory: Guardians of Azuma, and it’s a bold reimagining for the series, apparently. It’s out in 2025.

A WHOLE BUNCH OF THEMED EXPANSIONS ARE COMING TO BALATRO

Dave The Diver, The Witcher III: Wild Hunt, Among Us and Vampire Survivors themed cards were announced to be coming to Balatro, which is easily one of the most addictive games I’ve played this year. It’s called the Friends Of Jimbo update and it’s out later today and FREE.

THE TEAM BEHIND GRIS SHOWED US A BETTER LOOK AT THEIR NEW GAME

As announced previously, it’s called Neva, and it’s a beautifully put together game that has you and your wolf fighting enemies concurrently. It’s looking pretty nice, and a bit more involved than Gris which is always good. It’s out on October 15th.

MOTH KUBIT IS A WEIRD HORROR CORPO SIMULATOR INVOLVING BUGS

The game is a horror tinged game in which you play as a moth as he works his way up in a corporate bug world. It’s a real genre-bender. It’s out in 2025.

THE NEXT COFFEE TALK GAME IS GOING TO TOKYO

The previous two games allowed you to speak with customers in a coffee shop with the occasional opportunity to create cool latte art. This time, it’s obviously taking place in Japan, which is a nice twist. It’s due out in 2025.

SEA OF STARS IS GETTING A NEW STORY EXPANSION

It’s called Throes of the Watchmaker and will give the main cast new jobs and abilities in a new story centered around a cursed circus of thoughts. It’s a free and hefty update available in 2025.

POWERWASH SIMULATOR IS GETTING A SHREK THEMED EXPANSION

It’s a paid update with more than five new locations themed around Shrek. It’s out later this year. Their licensing skills need to be studied.

MORSELS IS AN ODDBALL ROGUELIKE THAT LOOKS ADDICTIVE AS HELL

You’ll be able to use a rotating roster of characters to conquer each run and min-max your benefits. It’s out in February 2025 and it’s by Annapurna so it’s gonna be good.

THERE’S A GAME WHERE YOU CAN….ERR…DATE EVERYTHING

If you want to get with a couch then maybe you can too. If that’s your thing. Tee hee. It’s out in October.

PEGLIN IS AN INTERESTING TAKE ON THE PACHINKO EXPERIENCE

It’s described as a roguelike Pachinko inspired experience. It’s not for me, I’m afraid. But it’s out today. Thank god.

WOBBLY LIFE IS COMING TO SWITCH LATER THIS YEAR

It’s an open-world physics sandbox with both online and local co-op. It’s kind of cursed but I can see how it could be enjoyable. It’s out in December.

PICO PARK 2 IS OUT TODAY SO THERE’S NO TIME TO GO BACK TO PICO PARK 1

It supports anywhere from two to eight players online or locally. There’s also a fucked up difficulty mode called DARK MODE if you so wish.

THE BEST VERSION OF SHOVEL KNIGHT IS COMING TO SWITCH NEXT YEAR

The game is a souped up port of the original Shovel Knight, featuring 20 playable characters, quality of life changes and seamless online multiplayer. It’s out in 2025.

EUROPA IS MAKING THE GRACEFUL GLIDE TO NINTENDO SWITCH SOON

It’s a chill adventure game that has you exploring the remnants of a fallen civilisation. It’s out on Switch in October, but there’s a free demo out now.

CUISINEER IS COOKING UP A STORM ON YOUR SWITCH NEXT YEAR

My friend streamed this once. I think. It blends together the rather done-to-death roguelike genre with a restaurant management simulator. You might not know this, but this is how your local KFC operates. It’s out on Switch in January 2025.

ON YOUR TAIL HAS A RELEASE DATE SO YOU CAN BE ON YA WAY

You play as animals getting to know each other in a seaside village. I promise you there’s more to it. It’s out on November 21st later this year.

The post Everything Announced At The August Double Nintendo Direct appeared first on Press Start.

It’s hard to believe we’re almost two thirds of the way through the year already. But we are, so you’ll have to deal with it. And Geoff Keighley is back for his sixth Opening Night Live.  The show was a packed two hours that detailed a lot of games coming throughout 2024 and beyond.

ALL OF THE GAMESCOM OPENING NIGHT LIVE 2024 ANNOUNCEMENTS

THE MAIN SHOW OPENED WITH THE REVEAL OF BORDERLANDS 4

Hopefully, it does better than the film. The trailer wasn’t gameplay, but we know the game will take place on an all-new planet. It’s coming in 2025 for PC, PlayStation 5 and Xbox Series X|S.

RAVEN SOFTWARE SHOWED US AN EXTENDED LOOK AT THE NEW CALL OF DUTY: BLACK OPS 6

The gameplay demo focused on a mission that takes place in Washington in 1991 in the main campaign. It’s looking like discount James Bond. I think. It’s still on track for release on the 25th October later this year. Don’t forget you can play the beta later this month.

DYING LIGHT: THE BEAST IS A NEW STANDALONE ADVENTURE

It’s called Dying Light: The Beast. It sees Kyle Crane returning from the original game in a new adventure set within the world of Dying Light. You can expect a new world to explore, around twenty hours of gameplay and more. No release date was confirmed just yet.

TROY BAKER TALKED US THROUGH SOME NEW INDIANA JONES FOOTAGE BECAUSE HARRISON FORD DIDN’T WANT TO

I am a big sucker for any adventure that’s globe-trotting though. So they’ve probably got me here. It’s out on December 9th 2024 and it’s coming to PlayStation 5 in 2025.

THE SHOW CLOSED WITH A NEW MAFIA GAME WITH A NEW TWIST

It’s called Mafia: The Old Country and we’re going to get a better look at it in December. Eh.

CAPCOM SHOWED OFF THE FIRST GAMEPLAY FOR THE KING OF FIGHTERS GUEST TERRY

He’s out for Street Fighter 6 on September 24th.

THE NEW SCI-FI DARK PICTURES GAME WAS REVEALED IN THE PRESHOW

It’s a sci-fi adventure that looks to take heavy inspiration from Dead Space and The Thing. It’s out in 2025 and looks to star James Bond / The Marvels’ Lashana Lynch.

A GOAT SIMULATOR REMASTER WAS REVEALED IN A GREAT TRAILER MAKING FUN OF REMASTERS

The game was revealed in a pretty funny trailer that mocked all the average ports or remaster efforts of the past few years. It’s out this year for PC, Xbox Series X|S and PlayStation 5. It’s also launching on Game Pass too.

WE GOT A JUICY LOOK AT THE NEW PERSONA 3: RELOAD DLC

While it’s faithfully adapting the Aigis episode of the original Persona 3, there’s also going to be a challenge battle against Joker from Persona 5. It’s still on track for release on September 10th.

ANOTHER BRIEF TRAILER FOR THE NEW DRAGONBALL GAME WAS SHOWN

There’s lots of energy beams and flying men screaming at each other. So it’s an authentic Dragonball experience. It’s still on track for a release in October.

A FALL GUYS-LIKE (?) CALLED KING OF MEAT WAS REVEALED

What a name. It’s an online co-op game for up to four players. So I guess it’s not a Fall Guys-like at all. Sorry about that. You can sign up for a playtest now.

A NEW STUDIO SHOWED OFF THEIR NEW ACTION GAME WITH A “””COSY””” TWIST

It’s called Lynked: Banner of the Spark, and the developers have described it as a co-op action hack-and-slash with elements of a roguelike and base building. It’s also being touted as a “cosy but highly kinetic” action game. Whatever the fuck that means. It’s out for PC on October 22nd through Steam Early Access.

DONTNOD SHOWED OFF MORE OF THEIR FOLLOW-UP TO LIFE IS STRANGE

As previously announced, it’s called Lost Records: Bloom & Rage. You play as four high schoolers as they forge bonds through their punk band and an unexplained event that will forever change their lives. It’s out in early 2025.

WE FINALLY GOT ANOTHER LOOK AT ARC RAIDERS AND IT’S LOOKING MIGHTY DIFFERENT

It’s a third-person PvPvE action survival shooter. The tone and vibe of this trailer are quite different from the previous one, and despite being revealed so long ago, it’s coming sometime in 2025.

WE GOT AN INCREDIBLY COOKED TRAILER FOR INFINITY NIKKI

It’s an MMO of sorts and is described as the “coziest open-world game.” Great. If you want to try it, there’s an open beta coming up.

WARHAMMER: SPACE MARINE II GOT ANOTHER (VERY BRIEF, ALMOST POINTLESS) TRAILER

Hmm. It’s out next month after a whole year delay last year. The game itself is looking pretty great, though this trailer is not much to get excited about. Harry got to play it recently and loved it, so get excited.

THEY’RE STILL TRYING TO FLOG PATH OF EXILE II WITH YET ANOTHER TRAILER

I guess Diablo shit the bed so there is still an opportunity or this game to sweep in and capture that audience. The game officially hits early access on November 15th 2024, which is nice. Save the date.

THE DUNE MMO IS COMING ALONG NICELY WITH A MORE REALISTIC LOOKING GAMEPLAY TRAILER

I’m not sure how this will do as it feels like the Dune ship has passed, but this could still be good. The game occurs in an alternate reality where Paul was never born. There’s lots of copters and sand and worse. Which is what Dune is about. It’s out in early 2025 for PC, though console ports are coming at some point later too.

TARSIER SHOWED US THEIR BRAND NEW GAME THOUGH IT’S A BIT FAMILIAR LOOKING

While Supermassive works on Little Nightmares 3, Tarsier are working on a new game that looks pretty much like another Little Nightmares game anyway. Interesting. It’s got some funky looking monsters and is apparently darker than Little Nightmares. It’s called REANIMAL and there is no date yet but it’s co-op which is fun!

THE NEW GENSHIN IMPACT TRAILER SHOWED OFF….SOMETHING BUT IT’S ALSO COMING TO XBOX

I’m glad there is something to keep those fans busy. It’s out on Xbox in November too. Very dynamic.

CAPCOM ROCKED UP TO SHOW OFF YET ANOTHER MONSTER HUNTER WILDS TRAILER

The game is coming along nicely and is playable for the first time at Gamescom this year. The game is looking like a huge step up from Monster Hunter World, which is exciting. You would think they’d bloody date this by now but it’s still on track for 2025.

I PERSONALLY GOT TROLLED BY A TRAILER FOR LARA CROFT COMING TO NARAKA: BLADEPOINT

She’s hitting the game next week. At this point, though, I just want to see the new Tomb Raider. Seriously.

MAI SHIRANUI WAS REVEALED TO BE COMING TO THE NEW FATAL FURY GAME

Just look up her sprites from the old games and you’ll realise why she’s so…..famous. Fatal Fury: City of the Wolves is out on April 24th 2025.

A THIRD MONUMENT VALLEY GAME WAS ANNOUNCED, AND IT’S EXCLUSIVE TO NETFLIX

It’s looking effortlessly stylish and clean as you’d expect. It’s launching on the 10th December this year and, yes, it’s exclusive to Netflix Games. The first two games are also hitting the service throughout the year.

FIRAXIS UNVEILED THE FIRST GAMEPLAY FOR CIVILISATION VII

It’s apparently the biggest Civilisation game ever made. It’s out on February 11th 2025.

XBOX REMINDED US THAT STARFIELD EXISTS WITH A TRAILER FOR A NEW SPACE BUGGY AND A DATE FOR THE FIRST EXPANSION

Perhaps it should’ve been there from the start, but I guess I shouldn’t complain. It’s part of a free update that’s out now. They also revealed that the Shattered Space expansion is out on the 30th of September.

TWO NEW HEROES WERE ANNOUNCED FOR MARVEL RIVALS

Both Captain America and the Winter Soldier were revealed for the game. I’m surprised they weren’t there already, but they round out an already great roster of heroes to play as. The official launch date is December 6th and all heroes will be unlocked at launch. COOL.

A NEW SERIES CELEBRATING VIDEO GAMES WAS ANNOUNCED

It’s a series developed by Blur Studios and Deadpool director Tim Miller. Described as an adult animated series with stories set within the world of beloved video games like Armored Core, Pac-Man, Sifu and Unreal, the series hits Prime in December.

THE TOWERBORNE GAMEPLAY LOOKS PRETTY SNAZZY

It’s a fast and frenetic action RPG that’s playable with friends. It’s out in 2025.

YET ANOTHER KINGDOM COME DELIVERANCE II TRAILER LOOKS GOOD BUT ALSO QUIETLY DELAYED THE GAME

A much more extended look at the gameplay is coming later this month, but the game has been quietly moved from a 2024 release to February 2025.

ZENLESS ZONE ZERO IS STILL TRUCKING ON WITH A NEW VIDEO

I have no idea what this means but it’s edgy and cool.

THE FIRST GAMEPLAY FOR BATMAN: ARKHAM SHADOW WILL MAKE YOU WANT A META QUEST

The game sees Batman up against the Rat King and the same directional combat system as seen in previous Arkham games. It’s out in October later this year, and only on the Meta Quest 3.

THE NEW GAMEPLAY TRAILER FOR LITTLE NIGHTMARES 3 LOOKS SOMBRE BUT CUTE

Supermassive are making this one now, and it will feature co-op multiplayer too. Kieron got to play this a year ago, but we still don’t have a date for it.

HERDLING IS A UNIQUE EXPERIENCE I DON’T THINK I’VE DONE IN A VIDEO GAME BEFORE

You basically play as somebody as you herd yaks or something across a mountain. Very demure.

PETER MOLYNEUX HIT THE STAGE TO SHOW OFF HIS NEW GAME

It’s an entirely self-funded game that brings together many people from the closed Lionhead Studios. I think there’s potential here, but you know what old Pete is like. It’s kind of like a tower defence game mixed with elements of Fable mixed with elements of Black & White. Mm. It’s called Masters of Albion.

THERE’S A SQUID GAME….GAME COMING TO NETFLIX

I don’t know if this is what the original creator had in mind when he made the series but I guess it works as a concept. It’s out “soon” on Netflix.

YET ANOTHER UNKNOWN 9: AWAKENING TRAILER BRINGS THE INTRIGUE

You know, I just love a good video game, especially a live-action hybrid. The ambitious action game is scheduled for October this year.

THE GAMEPLAY FOR THE FIRST BERSERKER: KHAZAN LOOKS EPIC

It’s looking pretty incredible, though I am growing a little bit weary of these soulslikes. It’s out in early 2025, but there’s a technical test in October.

YET ANOTHER FARMING GAME IS COMING BUT THIS ONE TAKES THINGS TO SPACE WOW

[for some reason there isn’t a traile for this on the internet]

You and your friends can manage a farm together, have picnics and….err…vacuum vegetables together. It’s called Floatopia and it’s out in 2025.

The post Everything Announced At The Gamescom Opening Night Live 2024 Event appeared first on Press Start.

Supermassive has always done good work. They’ve done a great job carving out their terrifying niche in the interactive drama genre. Where games like Detroit: Become Human and Heavy Rain up the ante with their dramatic mysteries, Until Dawn and the Dark Pictures games fall squarely within the horror genre. It seems only fitting that they’d work on something for Behaviour Interactive to do with Dead By Daylight. That something is The Casting of Frank Stone.

While it’s not my favourite game by any means, it’s hard to argue that Dead By Daylight has done similarly phenomenal work in bringing both modern and classic horror icons together. And while The Casting of Frank Stone’s premise is strong, I’m not entirely sold on the idea of an original story told within the world of Dead By Daylight. It’s familiar Supermassive territory, and the prologue I’ve played makes me think it might be too familiar.

The Casting of Frank Stone follows four young filmmakers who’ve arrived in Cedar Hills to begin filming their amateur horror films. They choose a dilapidated, run-down steel mill to tell their story in, but naturally, it’s a locale haunted by the town’s violent past. The titular Frank Stone has left a blood-soaked legacy behind, and such legacy has allegedly left scars, both emotional and physical, on the families of those within Cedar Hills. At first glance, it might be a typical story about a slasher set in the eighties, but given the lore surrounding Dead By Daylight’s evil Entity, there’s undoubtedly more to it.

I say surely because this demo isn’t particularly interesting, nor is it putting its best foot forward for the game. Like many Supermassive games, the demo is presumably the opening sequence of the full game. Rather than the eighties with our four aspiring filmmakers, the opening prologue occurs several years prior. This is the period where Frank Stone was most active, and perhaps the actions we take in the demo will have more significant ramifications on how the plot plays out as time goes by.

But it’s all starting to become formulaic. The distant, past event that influences the future. A menacing presence that, while physically dead, might still have some presence today. However, this prologue only shows us a little of what will make The Casting of Frank Stone unique, if anything.

The demo follows Sam Green, a policeman called to investigate a missing child. Through events unseen, Sam’s investigation has led him to Cedar Hill’s Steel Mill. It’s immediately apparent – Supermassive has a strong knack for building mood and atmosphere. The Steel Mill looks enormous from the outside but dark and claustrophobic on the inside. It’s an outstanding achievement in presentation already, and a considerable step up from what I’d imagine most Dead By Daylight players are used to. But it’s then quickly made clear how much of The Casting of Frank Stone borrows from some of Supermassive’s best.

As Sam converses with one of the workers, dialogue options appear on-screen, allowing him to respond however the player chooses. How you react to people alters your relationships with others and will influence later events in the game. It’s typical for these kinds of games, but those wanting more can find extended story drops through collectibles around the mill.

There’s not much action throughout the demo, though when it does happen, the almost-signature Supermassive quick-time events follow. Those who play Dead By Daylight will know what to expect here – it’s similar to a skill check – hitting a button while an indicator appears on screen to ensure your character survives. Once again, like Supermassive’s games, sometimes completing a QTE won’t always be the most desirable outcome. It’s a cheap way to get you thinking on your feet, but it admittedly works. Despite this, none of the exciting applications of such a mechanic really shine in this demo of The Casting of Frank Stone.

Throughout the demo, many easter eggs can be discovered that harken back to the storied lore that Dead By Daylight has introduced in its previous chapters. But they’re inconsequential enough that even newcomers could approach Frank Stone without worrying about missing out on anything. I suspect that the central story will revolve around the mysterious Entity that’s loomed over the events established in the rest of Dead By Daylight, but once again, the opening prologue doesn’t give players a lot to work with.

It’s not all middling, though, with the presentation shining from the start. Supermassive has built so many worlds across so many periods now that it comes as no surprise, but it is encouraging to see Supermassive potentially nail telling another tale across many periods. But presentation can only carry a game so far, and while this game looks excellent and, once again, better than Dead By Daylight ever has, it doesn’t feel like it’s doing all that new.

That’s where I came away from my brief time with The Casting of Frank Stone. I still need to meet the four filmmakers we’ll presumably play as, and I’ve no clue where the story is going. And not in a good way. It feels formulaic, almost to a fault. While I’m sure I will play this with friends with Supermassive’s much-adored co-op multiplayer and have a good time, this opening prologue has done little to pique my interest.

The Casting of Frank Stone launches on September 3rd for PlayStation 5, Xbox Series X|S and PC.

The post The Casting Of Frank Stone Hands-On Preview – A Familiar Formula appeared first on Press Start.

It’s been less than a year and Capcom is gracing us with yet another Ace Attorney compilation. But this one, Ace Attorney Investigations Collection, is important for so many reasons. For one, its release represents something significant for the Ace Attorney franchise – that all Ace Attorney games have been released outside of Japan. It also means that every Ace Attorney game is available for modern platforms. But why leave this spin-off until last? It’s arguably the most different of the Ace Attorney games, but also decidedly familiar at the same time. And it’s still just as fun.

Ace Attorney Investigations Collection brings together the two Ace Attorney Investigations games. Both of these games operate differently from the previous Ace Attorney games. You play as Miles Edgeworth, the prosecutor and pseudo-rival to Phoenix Wright. Both games are included here, but notably, the second game, Prosecutor’s Gambit, has never been officially released outside of Japan. And even more bizarrely, you barely step into a courtroom during your time in the Ace Attorney Investigation games. Instead, you move around from scene to scene, engage in (dramatic) conversations with suspects and witnesses and use logic and deduction to outwit anyone in your way.

The game’s general flow is similar in some ways – there’s a crime, and Edgeworth is assigned to discover the truth. You do this by collecting evidence, interviewing people relevant to the case, and using collected evidence to point out contradictions in the conversations you have with people. It’s a broadly similar gameplay loop that fans of any of the previous Ace Attorney games will recognise, though it’s arguably a little less melodramatic here outside of the courtroom than it could get in the other games.

Ace Attorney Investigations also introduces the “Logic” system to the fold. A lot more grounded than previous games where you use psychic energy to unlock hidden facts from participants, the Logic system is similar to games like The Case of The Golden Idol. As Edgeworth investigates, facts get added to his logic pool which can then be used to answer questions about the case. For example – if “glass shards” and a “broken window” were both added to the logic pool, either could be used to answer a question like “How did the broken shards get here?” that the game might pose. Edgeworth can effectively piece together these two pieces of information and move the case on.

You need to play it to understand it entirely, but the system works well against some of the more frustrating aspects of these games. Namely – since the solutions to these problems are often rooted in logic, it’s hard to get it wrong, and most of the solutions in the opening cases are pretty straightforward. So yes, this is easier than the previous games, but in a good way; it doesn’t feel like any of the outcomes or deductions are made from moon logic, like other games in the series can sometimes fall victim to.

AMAZON HAS THE CHEAPEST COPY AT $59 WITH FREE SHIPPING

Prosecutor’s Gambit, the second game, has more meat on its bones. For one, the opening case is longer than expected from a typical “tutorial” case. It also serves as a perfect introduction to the “Mind Chess” mechanic. Exclusive to the second game, it visualises a conversation between an uncooperative witness and Edgeworth as a chess board. You must select whether to converse with the person or listen to them to progress the conversation. I wasn’t sure this would be a good approach and would come across as a bit gimmicky, but thankfully, it offers a tense way to glean information from suspects without presenting evidence as usual in the Ace Attorney games.

As mentioned before, this preview covered the opening cases of each game, and while I’ve played the original game before, I forgot just how intriguing the story of the game was. Each case has a storyline that’s building up to something bigger that I only half-remember from my time with the original game. As mentioned before, the second game has a lengthy opening case that remains tense and exciting from beginning to end. While it’s early days, especially for the second game I’ve never played, both are shaping up to be fascinating stories that have my attention already.

Of course, as with the other Ace Attorney collections, some great visual improvements here help bring the games in line with the other Ace Attorney compilations. While the original game utilised 2D, pixel-based sprites, this collection employs a new art style similar to the high-definition art of the other Ace Attorney games. Both options are available, and while I thought I’d hate the new cleaner art style, it’s done pretty well here. Everything looks crisp but still moves smoothly. Speaking to Shunsuke Nishida, producer of the game, he highlighted that this new art was built from scratch rather than drawing over the pixels themselves as they felt a pixel filter wouldn’t have looked anywhere near as good.

Other features now standard with the other Ace Attorney compilations return here, too. A sound player features a comprehensive arrangement of reworked and original music from both games, an artwork gallery and a character viewer to compare the sprites and artwork of the characters who appear in the game. It’s nothing mind-blowing, but it does help to round out this already meaty package.

So, at this stage, Ace Attorney Investigations is just as good as I remember it, which is always a relief. But how it differs from the other Ace Attorney games makes it well worth your time. The investigations are like nothing else in the other games, so much so that I almost wish they’d implement this style of investigation into a future game. But perhaps my mind will change when I play the rest of the second game, which I’ve never experienced before in a few months. For now, Ace Attorney Investigations Collection is a thrilling drama and arguably Ace Attorney at its best.

Ace Attorney Investigations Collection launches on September 6th for Nintendo Switch, PS4, Xbox One and PC. Amazon has pre-orders available for $59 with free release day delivery for Prime members.

The post Ace Attorney Investigations Collection Preview – Same But Different appeared first on Press Start.

Nobody Wants To Die is an ambitious debut. I previewed the game last month, and it was obvious that the team behind it was incredibly passionate, working hard to bring their neo-noir adventure to life and pay great tribute to its inspirations, like Max Payne. But I often wish that modern adventure games had more – I’d always prefer to play a part in the game and take advantage of the medium’s interactivity rather than let events unfold before me as I walk through it. Nobody Wants To Die is ambitious; it tries to do so much. But despite some stellar presentation, it falls victim to the many pitfalls that permeate this genre.

The game takes place in a dystopic version of New York. The year is 2329. People can become immortal, transferring their consciousness between other bodies for the right price. Of course, this means that the rich and corrupt tend to live longer while the impoverished die quicker, leading to a myriad of socioeconomic issues. You play a detective, James Karra, who is investigating a rogue serial killer who seems to be targeting the city’s elite. An incredibly intriguing premise set in an even more exciting world, and of course, nothing is as it seems.

As the story forms such a strong part of the experience of Nobody Wants To Die, I won’t spoil it here. But it does build upon this already interesting premise to deliver an intriguing narrative from beginning to end. Multiple threads are intertwining throughout the story at any given point, and it’s impressive that most are tied up by the end of the game’s modest runtime. But even more important is that these threads all come together satisfyingly. So much so that I hope we’ll be able to step into this world once more.

But I can’t say the same about James. He’s a stereotypically gruff detective who’s seen everything and is tired of it all. But so much of his personality and humour fall flat. Carrying all of the charm of your uncle at the family Christmas function, making jibes that aren’t funny and laughing at them himself, he falls flat. Perhaps that’s on purpose, but it makes James fairly unlikeable, especially in contrast to the voice in his ear, Sara. She’s infinitely more interesting and endearing, especially so as her arc develops two-thirds of the way through the story.

Similar to other narrative-driven adventure games like Edith Finch, Firewatch, or the more recent Still Wakes The Deep, Nobody Wants To Die is a linear adventure. You play James as he navigates through the story, discovering how each crime scene has transpired and moving from area to area as the story demands. It’s a straightforward design that serves the story being told, but only to a certain point.

The crux of the investigations involves James’ wrist-mounted reconstruction device. After gathering enough data about a scene, James can use the device to “rewind” the crime scene and explore it as it plays out in real-time in front of him. It’s an incredible feat on a technical level – being able to scrub through and walk through a scene with just the triggers. But the game almost always highlights which section of the replay to progress the story, so you never feel like you’re engaging with the crime scene naturally.

Other tools at James’ disposal are an earnest attempt at mixing things up but fall flat. A portable X-ray device allows James to see within bodies or walls, but the gadget is rarely used for anything beyond following cables from one device to another (usually hidden) power source. An ultraviolet lamp similarly detects trace evidence but is seldom used beyond following a trail of bloodstains from one body to another piece of evidence. They’re fine additions but feel underutilized compared to the rest of the game.

And that’s where my main gripe with Nobody Wants To Die lies. It’s got some really great ideas, at least mechanically, but they’re stretched too thin across an already modest six-to-eight-hour runtime. The reconstruction device is a novel idea that, while not totally original, is used to significant effect here in a way I haven’t seen in a game before. But you use it the same way each time, which becomes somewhat repetitive. The other tools need to do more to alleviate the repetitious nature of the core gameplay loop, too.

The other central gameplay element is the evidence board. You use it about three times throughout the story, allowing James (and the player) to catch up on all the story beats you’ve gathered so far. Mysteries will appear on the board, and you’ll have to drag a piece of evidence you’ve collected to that mystery to create new links and new mysteries to solve. Once you reach the end of a line of thinking, you can summarise the case and move forward.

Once again, it’s not entirely unique and has been done in games as recent as last year’s Alan Wake II. However, the interactivity and the way James and Sara’s dialogue add flavour to the evidence, making it stand out. This is the part of the game where I felt like a detective and that Nobody Wants To Die was making good on its premise.

While the game is linear, there are still different ways in which the story progresses, though these are only surface level. Around two major endings can be unlocked, with two variants of each. All endings are affected by some choices late in the story. But other smaller choices are more interesting. For example, how you speak to Sara will influence how their friendship develops, if at all, and unlock new dialogue options as the game progresses. Same as with James and the other characters in the story. They’re not essential to the big plot but give a sense of permanence to the characters and how they engage with the world.

And that world is easily the highlight here. Nobody Wants To Die has an incredibly strong sense of presentation. While lots of Unreal Engine 5 games are starting to look similar, developing a distinct look that I hope we will step away from, Nobody Wants To Die’s strong artistic direction brings this distorted version of near-future New York to life with great fervour. Whether it’s the busy streets of Manhattan or the quiet now-holographic paths of Central Park, the strong sci-fi flavour marries perfectly with the distinct 1930s-inspired art deco interiors to provide the perfect backdrop for a neo-noir story.

The score leans towards the latter, playing heavily into period-authentic sounds to give the game a broody noir atmosphere. It’s a strong score, riddled with elements of big band, jazz and swing, providing a solid atmosphere for the game’s already breathtaking scenery. Despite this, I’d wish the music would be more subdued during the evidence boards since you spend a bit of time there, and it’s overbearing. The voice work is similarly excellent, with Keaton Talmadge’s Sara being the highlight. James’s performance is decent enough, but the script does his character little favours.

Putting everything aside, it’s evident that Nobody Wants To Die is a real passion project for the creatives that produced it. It’s an awe-inspiring debut from a studio I’ll be forever keeping an eye on. And while it’s yet to quite reach the heights of its potential in my own eyes, there’s some great opportunity to improve upon this already strong foundation.

The post Nobody Wants To Die Review – A Moody And Promising Debut appeared first on Press Start.

Back in the day, when games were cheaper to make and experimentation was rife, Capcom was one of the leaders in that department. It’s easy to forget how much that Japanese powerhouse was putting out during the PlayStation 2 era. While I am inclined to appreciate their output more than anything else these days, I’ve longed for games that experiment a little bit more than experiences like Resident Evil and Monster Hunter. Kunitsu-Gami: Path of the Goddess feels like the Capcom of old, in a good way, and while it isn’t perfect, it does earnest work in fusing two genres to offer up something totally different.

In Kunitsu-Gami, you play as Soh. They’re a warrior tasked with protecting a divine maiden named Yoshiro as she works to cleanse the defilement brought to the holy mountain of Kafuku by a demonic presence called the Seethe. It’s a simplistic storyline that helps to give context for why Soh and Yoshiro are making their way down the mountain, but there’s not much surprise to be had here. The story is clearly the lowest priority for the developers here, as most of the story is told through optional collectibles, and while there is some cinematics, they have a minimal presence here.

Despite this, Kunitsu-Gami is still a great game and plays incredibly well. It’s a unique combination of action and strategy, with the gameplay being split into two distinct but obvious halves. Tower defence veterans will understand what’s happening here – during the day, Soh can cleanse the area to earn crystals, which can then be used to assign rescued villagers a combat role. During the day, Yoshiro ritualistically dances towards a demon gate to cleanse it, but during the night, she stops and needs protection from the Seethe.

At first glance, this setup is similar to any tower defence game. But everything else that is unique about Kunitsu-Gami helps it to stand apart. For one, Capcom has drawn on their experience with action games to impart Soh with a complete set of moves and abilities, giving you much more agency in defending Yoshiro. While the goddess is being attacked and villagers protect her, you can use various skills to fill any gaps in your defence. Too many melee villagers? Use Soh’s archery skills to fill that gap. It’s an elegant way to keep things interesting rather than just watching battles play out like you would in other strategy games.

Of course, it’s not just about Soh either. Each stage has a set number of villagers to save, each of which can be specialized into a specific role in exchange for the crystals you earn from cleansing each level.  There’s already a degree of strategy here – choosing how to spend your crystals – but as you progress through the game, there are twelve roles to choose from. Some are as simple as the woodcutters, who act as simple melee attackers. In contrast, others lay down buffs or debuffs to make your defence easier. While some roles are underutilized, there’s a big enough mix to complement your playstyle with Soh in whatever way you wish.

The strategy element comes into play when considering how many choices must be made when preparing your defence. Every choice you make will cost you elsewhere. Whether it be crystals to specialize your villagers or time to repair specific structures with your on-site carpenter. The carpenter can also be directed to rebuild structures that’ll assist in your defence – whether it be towers that expand the range of your ranged units or barriers that’ll slow the flow of the Seethe. Choosing which structures to repair means you won’t fix others, and it can often also be the difference between a successful run and a disastrous one.

The Seethe are more than just your regular demons, though. Around twenty-four different types offer a wide variety of enemies you’ll encounter on your path of cleansing. Each is inspired by and designed after yokai from Japanese folklore, and the variety helps ensure that the action never gets old across the whole campaign. Like the villagers, some are simple melee attackers, but others are more complex, limiting Soh’s abilities to command the villagers or debuff them entirely. While this might seem unremarkable on paper, the unique and eclectic design of the Seethe helps them stand out.

Such a design philosophy dovetails beautifully with the boss encounters that Soh will come up against. They’re all unique and require some degree of strategy or team management to defeat effectively. Most are challenging but not brutally tricky, but others aren’t afraid to change the formula to keep things fresh. For example, one of the bosses doesn’t even let you bring villagers with you, requiring you to battle with Soh in a one-on-one fight. They’re an excellent way to break up an already well-paced campaign.

And I say that with no shred of irony. At first glance, I was sceptical as to whether Kunitsu-Gami might become tiring after a few levels or even the generous demo released earlier this month. However, the campaign continually introduces new elements or gimmicks to keep the formula fresh from beginning to end. Whether introducing a new enemy to a standard encounter or making Soh commandeer a boat through Seethe-occupied, Kunitsu-Gami leverages a substantial degree of enemy variety and objective design to provide a well-paced and enjoyable campaign.

However, other elements of the game may be interpreted differently. With each stage you cleanse, said stage can be revisited as a “base” for your team. When exploring each base, the villagers you’ve saved in the stage prior can be assigned to rebuild structures as needed. These serve as de facto side quests in the game, with the rebuild progressing as you finish missions by either replaying them or pushing forward. Completed structures reward a few things, be it buffing talismans, experience to upgrade, or lore drops or sweets to gift Yoshiro. Only two of these things arguably impact the gameplay, so your mileage may vary regarding whether you’d find value in replaying missions to earn them.

Another issue I’m not even sure is worth bringing up is the challenges system. Each level has three challenges that can be completed to earn extra experience points to upgrade Soh and the villagers. But these challenges aren’t revealed until you have finished the level. If you complete them on your first run, you’ll still be rewarded for them, but it does feel like a way to artificially force replayability rather than providing a fun challenge for those who might want to min-max their first run. However, some of these challenges are clearly unattainable until you revisit the level with better teams, so maybe I’m making a big deal out of nothing.

While I’ve left it to the last thing to speak about, Kunitsu-Gami’s strong presentation further demonstrates the strengths of the ever-versatile RE Engine. While it never quite reaches the photorealistic heights of the Resident Evil games, the solid artistic direction makes up for it. Drawing strong influence from Japanese art styles like Ukiyo-e, Kunitsu-Gami’s creative direction has a great fantasy feel highlighted with bright and vibrant colours. The result is a style that, if you screenshot any frame with a character or enemy, could look like a piece of artwork. And that’s even before considering the game’s strong performance, supported by a buttery smooth aptly named 60fps performance mode.

Such a similarly strong sense of presentation is bolstered by the game’s original score, which employs traditional Japanese instruments to sell the tone the game is going for. Instruments like the shamisen, koto and taiko drums do great work elevating the battles in a way that’s authentic to the time period the game draws from. The quieter tracks that play during the lighter base management moments are nothing short of beautiful, either. An unnecessary but appreciated touch is that your villagers will all dance to the music as they wait for the Seethe to approach them, giving Kunitsu-Gami’s already strong presence a great sense of personality, too.

And that’s what sets Kunitsu-Gami: Path of the Goddess apart from other games of this ilk. It takes some pretty typical elements of two very well-trodden genres and spits out something vibrant, colourful and unique with personality. And that’s why, even if you’re not typically a fan of these genres, I’d still recommend Kunitsu-Gami. It’s well worth your time and something we need right now in games – something different.

The post Kunitsu-Gami: Path of the Goddess Review – A Divine Fusion appeared first on Press Start.

When the original Luigi’s Mansion hit stores, I was excited to play it on my weirdly shaped purple console. It was something different. I didn’t think games could ever look better. It was a different time. So when Nintendo announced over a decade ago that they would be making a new one, imagine my disappointment to discover that it was on the 3DS and arguably looked worse. And it was mission-based, too.

A far cry from what I loved about the original, I put it down halfway through and never finished it. Now, Nintendo is bringing back Luigi’s Mansion 2, as the imaginatively named Luigi’s Mansion 2 HD. Is it as bad as I thought? Absolutely not. But it’s easy to see why it’s considered the weakest in the trilogy.

Luigi’s Mansion 2 follows the first game’s events, though you don’t need to have played it to appreciate it. Sometime after the events of the first game, King Boo escapes the painting he was sealed in and shatters the Dark Moon, a large crystal object that was pacifying the ghosts living in the Evershade Valley. The ghosts run rampant, forcing Professor E. Gadd to take shelter in his bunker. In dire need of help, he contacts Luigi to help him out, outfitting him with a new Poltergust vacuum cleaner and sending him into the valley to collect the pieces of the Dark Moon. It’s a simple but effective story.

If you’ve previously played Luigi’s Mansion 3, you’d have a cursory understanding of how Luigi’s Mansion 2 works. Luigi is thrust into a decrepit location, forced to track down some ghosts, and eventually beat the big bad. It’s a simple premise – requiring Luigi to restore order to the Evershade Valley by collecting the parts of the Dark Moon. But what is different about Luigi’s Mansion 2, and separates it from the games that came before and after, is the way it’s structured.

Luigi’s Mansion 2 is in itself a misleading title. The game doesn’t occur in a mansion but in five different locations throughout the Evershade Valley. Each area has at least five missions to complete, and each taking between ten and twenty minutes.  They’re also all playfully inspired by a different style of horror, offering up a wide variety of locales for Luigi to scour for ghosts, treasure and whatever objects he’s looking for at that moment.

However, the mission-based gameplay of Luigi’s Mansion 2 has positive and negative impacts on the overall experience. The positive is that it really lends itself well to the portability of the Switch. Being able to knock out a few missions on your lunch break or commute will undoubtedly be appreciated by busy players. It also means that Luigi’s Mansion 2 feels more arcade-like compared to other games in the series. Missions are repeatable, with ranks assigned based on what you collect, how many ghosts you capture and your completion time.

But while that’s a great twist for the series, it means a lot of what makes the other two games compelling is ultimately lost. The five smaller locations pale in comparison to the mansion of the original game or the hotel from the third game. There is no sense of place, and you only get a little time to learn the layout of these locales before being whisked off to the next one. It also means exploration feels less rewarding than in the other two games, as you’re often taken out of the action each time you uncover a new area to explore.

AMAZON HAS THE CHEAPEST COPY AT $68 WITH FREE SHIPPING

I criticized this in my preview, and unfortunately, it never gets better throughout the entirety of the game. Each time I’d find a new key item, rather than being allowed to go and use that item in a place I know it belongs, I’m taken out of the “mission” by Professor E. Gadd for a briefing of things I already knew before being thrown into the next mission to do things I was already going to do anyway. It feels unnecessarily disjointed, and given how much E. Gadd interrupts you during gameplay to offer tips or updates; the game never gives you room to breathe. It’s also disappointing to discover that there are no changes to the checkpoint system, so if you die towards the end of a mission, you’ll lose that progress.

That being said, when you do get the opportunity to explore uninterrupted, Luigi’s Mansion 2 makes excellent use of the physics and mechanics of the Poltergust to provide some puzzles that are a joy to solve. They are the best kinds of puzzles, too, ones that make you feel wiser for solving them and continually require you to make use of Luigi’s tools. You might use the vacuum to grab a balloon and then suck or blow accordingly to inflate it to cross a large gap, for example. It makes no sense – the vacuum isn’t full of helium – but it’s so charming that it’s hard to care.

But the implementation of ghosts is spotty. I sincerely miss the designs of the ghosts from the first and third games, especially the first. Each felt like they had a personality and served a purpose in the mansion. In Luigi’s Mansion 2, they’re just coloured ghosts of varying sizes with predictable move sets. But despite this lack of unique design, the developers found interesting ways to keep the encounters engaging. For example, a plain ghost might start wearing sunglasses to shield himself from Luigi’s flashlight.

The same design quirks carry over to the game’s bosses. While the first, a spider, is quite interesting. Others aren’t anywhere near as charming or memorable. I was excited to see a ghost possess a giant clock, purely to see how it played out. It was, disappointingly, just a gauntlet of enemies, with a few spawning at each hour point on the clock. Others are more frustrating than fun, like the Icey mouth monster fought in the fourth area. Some are over so quickly that they feel underdeveloped, like the boss of the fifth area. I appreciated that the bosses have a puzzle element to them, but barring the first and last boss, most come up short.

As mentioned, the game’s arcade-like structure lends itself well to replayability. Each level has a Boo to find, which is usually hidden off the critical path and requires a combination of tools to capture. Finding each of the boos in each mansion will unlock an optional bonus level for that area. These bonus levels are a nice touch, throwing Luigi into a mansion and requiring him to capture a certain amount of ghosts within a time limit. You can also replay levels, if you wish, to raise extra cash to upgrade the Poltergust, but it’s by no means a requirement, given how relaxed the game’s difficulty is.

Similarly, Luigi’s Mansion 2 initially introduced multiplayer to the series, and I’m pleased to see it included here. Called The ScareScraper, it allows you and up to three other players climb a tower, completing challenges on each floor within a certain time limit. It’s a fast-paced and frenetic mode that perfectly plays to the strengths of Luigi’s Mansion 2’s arcade-like predilection. While I appreciate that local wireless and online play was included in this HD reissue, I’d have loved for them to go for some kind of local, same-console option.

But I can’t believe I’ve talked about a game with HD in the title for this long without touching on the presentation. Luigi’s Mansion 2 HD is more than a simple bump in resolution – practically every major asset has been replaced to bring it more in line with Luigi’s Mansion 3. It’s not quite there in terms of looking as good as its sequel, but so much of the restoration efforts help bring the locales that Luigi visits to life. Little details, like the seam on Luigi’s overalls, weather lighting, and ghosts’ glow, help bring the game to life and ultimately make you forget that this was originally a 3DS game from over a decade ago.

The original score is similarly excellent. While not as quiet or unnerving as the original game, the tracks are so cartoonishly over the top that they’re catchy more than anything else. Think of something you’d hear in an episode of Scooby Doo or any other cartoon from the 90s. It’s got a tone and feeling like no other. The catchiness is obvious, too, given that Luigi nervously hums many of the game’s music to himself as he explores the mansion. It’s incredibly charming and one of the many stern reminders of why Luigi’s Mansion as a series stands amongst some of Nintendo’s best.

The post Luigi’s Mansion 2 HD Review – A Goofy And Spooky Adventure appeared first on Press Start.

There was a HEAP of announcements so let’s get straight into it because I quite frankly could not keep up and it was a pretty good showing.

ALL OF THE JUNE 2024 NINTENDO DIRECT ANNOUNCEMENTS AND TRAILERS

The Direct Closed With Our First Look At Metroid Prime 4 And It’s Looking Great

I never thought I’d see the new Perfect Dark and Metroid Prime in the same month. It’s called Metroid Prime 4: Beyond and it’s out in 2025. It’s looking way better than I’d hoped and, as predicted, it looks like Sylux is back with some cute little Metroid pets. I’d love to feel a Metroid on my face. What. Bye.

The Year Of The RPG Continues With A Brand New Mario & Luigi Game

It’s wild to think it’s been nine years since the last Mario & Luigi game. While not much was revealed, it is being described as a seafaring adventure. But it’s not Wind Waker. I don’t know why I felt the need to bring that up. It’s called Mario & Luigi: Brothership and it’s launching on November 7th 2024.

The New Zelda Finally Lets Us Play As Zelda And It Looks Cute As Ever

It’s called The Legend of Zelda: Echoes of Wisdom. It uses the same art style as the recent Link’s Awakening remake, but looks to transpose the Breath of the Wild / Tears of the Kingdom design sensibilities into that classic 2D Zelda style. Amazing. You’ll be able to play as Zelda with her special staff on September 26th later this year.

The New Mario Party Game Was Announced And It’s Easily The Biggest One Yet

It’s called Super Mario Party Jamboree and it features heaps of modes, online 20-player modes, some returning boards from older games and more. It looks to be the biggest Mario Party ever. I bagse Shy Guy. Bitch. It’s out on October 17th.

We Got More OF A Look At That Nintendo World Championships Game

Challenges from the original NES versions of Zelda, Metroid and Super Mario Bros. were shown off. You can even play off against ghost data of other players. This isn’t for me but I appreciate that it exists, as always. The game is still on track for release in July (that’s next month).

A Brand New Fairy Tail Game Is Coming

The first game was pretty popular but had a print run of about twelve copies, so it’ll be nice for fans to get more of their Fairy Tail fix. It’s out towards the end of this year, but no date was confirmed.

Fantasian Is Finally Making The Jump From Apple Arcade

The original game was released in two parts for the Apple Arcade. Neo Dimension brings together both parts, a full English and Japanese voice over track and new difficulty options. If you’ve never heard of it, it’s a turn-based RPG from the team who created and designed the original Final Fantasy games. You can expect it out before the end of 2024.

A Downloadable Update Will Add Basketball To Nintendo Switch Sports

This new downloadable update will allow players to take on each other in two-on-two matches using motion controls. You can also compete with up to three other players in a separate mode called Five Streak Battle.

A Brand New Indie Art Game Was Shown

The game is a 2D adventure RPG that’s set inside a mysterious gigantic spaceship. You play as an android exploring a world where machines have gone rogue. It’s out in 2025.

There’s A New Disney Illusion Island Update Coming

It’s called THE MYSTERY IN MONOTH and you’ll solve a mystery. As you’d expect. I’d also wager it will take place in a place called Monoth. It’s a free update and it’s out today, if my gripping description hasn’t sold you on it.

Hello Kitty Crossing, Um, I Mean, Hello Kitty Island Adventure Was Announced

Customisable characters, an open world, and pals to befriend. What’s not to love? It’s a Switch-timed exclusive in 2025.

Looney Tunes: Wacky World of Sports Was Revealed But I’m Not Sure

It’s from GameMill so I’m not sure about this one. But there’s four arcade-style sports and four-player local co-op. It’s out this year.

Even More Among Us Updates Are Coming As Always

It’s a free update, and it’s out today. Yes.

Farmagia, A New Cool Game(?) Was Announced

It’s out on November 1st.

Donkey Kong Country Returns Is Coming Back…..Again…..

This is beyond disappointing, our boy deserves so much more. But it includes all of the 3DS content too, which is nice. It’s out in January 2025.

The Dragon Quest III HD-2D Remake Was Finally Shown Again And Dated

It’s looking great, utilising that trademark HD-2D art style that Octopath Traveler and Triangle Strategy both employed. It’s out on November 14th.

But A Dragon Quest I and II HD-2D Remake Was Also Announced

This one is out in 2025. It was at the end of the last trailer, so just scroll up if you don’t believe me. xox

We Got A Better (?) Look At Funko Fusion And It’s Going To Be Your Next Guilty Pleasure

It’s a game where you play as Pop Vinyls in many different worlds. It looks better than I thought, honestly. It’s still on track for release in September. It’s okay to admit you are looking forward to this. We’re only human.

A New Denpa Men Is Coming If You Were Wanting That

It’s free and it’s coming to Nintendo Switch first. I know one (1) person this appeals to in a past life. But good for them. It’s out in July.

An Unexpected Metal Slug Auto Battler Is Coming Today

It’s a tower defence game that features simple controls perfect for newcomers. It’s out today too. Wow.

Darkest Dungeon II Is Also Coming To Nintendo Switch

It looks good and better than the first, IMHO. It’s out on July 15th.

More Games Are Coming To Nintendo Switch Online Including A Rareware Favourite Of Mine

The Legend of Zelda: A Link To The Past (with Four Swords) and Metroid: Zero Mission are both coming to the Nintendo Switch online service today. Additionally, both Perfect Dark and Turok are also coming to the service in their original N64 forms. The games will all allow online multiplayer where the original games supported it. Wow.

There Is A New Phantom Brave Game Coming

It’s a tactical RPG that’s due out in 2025. Looks like it chugs but I am sure they will make it look better before it comes out.

A Marvel Vs. Capcom Collection Is Coming FINALLY BRINGING THE GAMES OUT OF LICENSING HELL

The games were unobtainable for so long, so seeing them returning is exciting. A bunch of side scrollers are included too. And there’s online play. It’s out in 2024.

A Brand New Zelda Switch Lite Was Announced

It’s Gold. As you’d expect. Local release details are forthcoming.

Just Dance 2025 Edition is Coming

I wish they’d pivot to an immersive sim or first-person shooter or something, but I guess this works. There are 40 new tracks. I hope you have strong floors.

That Little Sony LEGO Game Got Another Look-In

We got more of a look at how the game will run on Switch (and it’s how you’d expect). It’s still on track for Holiday 2024. It’s also nice to see online co-op was confirmed for the game too on Switch.

Stray Was Revealed To Be Coming For Nintendo Switch

We got a better look at how the game will run on Switch. It’s still on track for Holiday 2024.

The New Lord Of The Rings Game Ticks All The Cozy Checkboxes If That’s Your Thing

It’s like Animal Crossing, but you’re a Hobbit in the shire. It’s out towards the end of this year.

Capcom Is Bringing The Ace Attorney Investigations Spin-Offs Outside Of Japan, Finally

You’ll be able to choose between the new hand-drawn art style or the older pixel sprites. It’s out in September, and it’s the first time you’ll be able to play Ace Attorney Investigations 2 outside of Japan. Now that all of the Ace Attorney games are remastered, we can get a new one. Right? RIGHT? They’re out on September 6th.

A New Game From The Mind That Brought Us Danganronpa Was Announced

It’s called THE HUNDRED LINE -Last Defense Academy- and it has you at a school defending it for 100 days. I don’t think I’d defend my school for that long but if that’s your thing then go ahead. It’s out on Switch in 2025.

The New SaGa Remake Was Revealed Too, If One Romancing SaGa Wasn’t Enough

If you’ve forgotten, it’s called Romancing SaGa 2: Revenge of the Seven. It’s out October 24th 2024. Dynamic.

The post All Of The June 2024 Nintendo Direct Announcements appeared first on Press Start.

Since Amnesia: The Dark Descent graced our screens back in 2010, horror games have had a renewed popularity amongst players. I’d even argue it’s paved the way for heavy hitters to come back in a bigger way than ever, like Resident Evil, but it’s also seen the rise of less involved horror games like Outlast, P.T. and Layers of Fear. Back then, Scottish developer The Chinese Room tried their hand at the Amnesia-like, crafting a sequel in A Machine For Pigs that was released to mixed results. I always saw the potential. But now, eleven years later, The Chinese Room are trying their hand at horror again. Still Wakes The Deep is a game pitched as “The Thing but on an oil rig.” It somewhat makes good on that premise, but it’s not without its faults.

Still Wakes The Deep takes place during Christmas in the 1970s aboard an oil rig in the North Sea. You play as an electrician stationed on the rig, Caz McLeary. The game opens on a typical day, with Caz heading from his room to grab some food from the cafeteria. It’s a stormy day outside, and the crew working on the rig at the time hit something with their drill. What follows is a sequence of events that will eventually see Caz trying his hardest to find safety and escape from the rig. The story is really why you’ll play Still Wakes The Deep, so I won’t delve too much into it, but you can probably see where this is going.

But despite there being a modicum of predictability to the story, Still Wakes The Deep does an admirable job at making you care for its colourful cast of characters. Unfortunately, despite this, I ironically found Caz to be the least interesting of the cast. His done-to-death storyline about his troubles at home did not resonate with me. But I instead found most of the supporting characters to be endearing, and surprisingly, I found myself really invested in getting them off the rig. It’s practical but straightforward writing, which is essential given how much of the experience of the game is carried by the game’s plot and characters.

That being said, Still Wakes The Deep’s design is a masterful gambit for any self-respecting horror creator. The unique setting works wonders in hitting many beats for anyone looking to be scared. When you’re glancing out onto the rough and heavy ocean, you can’t help but feel a sense of vertigo as the oil rig you’re on sways in the wind. When you’re in a room that’s inevitably flooded, there’s a genuine mix of both claustrophobia and thalassophobia as your play space slowly grows smaller. And, of course, a sense of tension and fear arises from the monsters Caz encounters. All macabre distortions of the human form, they’re suggestions of a human being rather than a human, and there’s something incredibly unnerving about that.

Despite this, I didn’t find many of the more in-your-face elements of Still Wakes The Deep to be that frightening. But I would be lying if I said I wasn’t tense playing through some key beats in this six-hour adventure. The horror is well realised with minimal and surprisingly restrained use of cheap jump scares. Instead, the parts where I found the game to be most tense were where nothing was really happening – the strong audio design contributes to an immense sense of atmosphere that does a lot of the heavy lifting in making it all frightening.

AMAZON HAS THE CHEAPEST COPY AT $48 WITH FREE SHIPPING

But there is a game hidden behind all that atmosphere and tension. As a game, Still Wakes The Deep is similar to Layers of Fear or SOMA – you’ll walk from area to area, eventually having to evade monsters stealthily. There is no combat, but these encounters are straightforward with specific paths or solutions. They’re so simple that you’d be forgiven for thinking they were scripted. The game does provide you with hiding spaces, like lockers, but I didn’t need to use them once throughout the entirety of the game. It suggests that Still Wakes The Deep perhaps thinks it’s a deeper experience than it actually is.

The other side of the gameplay coin is the exploration and puzzle solving, though even that is similarly too linear or obvious to provide any meaningful friction to the player. I am reticent to even call them puzzles – most of the time, you’ll have to turn a valve to pass through a hot steam barrier before being on your merry way again. That’s really the extent of how complex these puzzles become. That is, not at all, and to even call them puzzles feels like a misnomer. It’s nice to have something to do, but it’s so simple and repetitious that it borders on tedious as time passes.

Which is unfortunate, because the simplicity and linearity of the entire experience really removes any sense of dread or foreboding. When something scary happens, the threats to the player feel minimal due to their simplistic nature. But when it’s not trying to scare you, it usually is owing to the strong ambience. It’s a bizarre situation. But while it’s not incredibly scary, it feels like the perfect recommendation to make to those who want to play more horror but might find heavier games too disturbing. On top of this, there is even an optional difficulty mode, which makes the stealth segments even easier, which is a nice touch.

That’s not to say Still Wakes The Deep isn’t an enjoyable experience. It is. It feels uneven. It’s just an experience that could’ve used more meat on the bones. There’s a heap of potential here, too – the setting is great, and the general flow of the game makes a lot of sense, even if it’s a little reminiscent of Dead Space’s “go fix this“ sense of progression. But it’s so unwilling to allow its players to wander off the beaten track that it feels too artificial to ever be genuinely terrifying.

But despite my issues, Still Wakes The Deep features some of the strongest artistic direction I think I’ve ever seen in a game. The organism that’s taken over the rig looks equal parts disgusting but beautiful, weaving its fleshy fin-like wings through the harsh artificial metals of the structure to create something that feels like living art. The lighting and weather effects add to the visuals, too, helping to bring the setting to life, making it feel both lived in and as much a character as the humans in the story. Many of the dead crew members you come across are rearranged in a way that they’re horrifying but almost artistic. It’s a phenomenal game that the art team should be really proud of.

Such pride should be found in the game’s original score as well. There’s a typical offering of tracks here from Jason Graves, known for his work on the Dead Space games, that really helps to up the tension. But the other things, the little things, really help make Still Wakes The Deep unnerving. Random sounds of metal hitting metal or laboured and inhuman breathing help to suggest to players that something might be in the room with them, even if they can’t see it. It’s masterfully put together and plays a massive role in building tension.

But we can’t talk about this narratively driven game without highlighting the performances from the cast. The team has gone the extra mile to keep things authentic, recruiting talent from the Isle of Sky, Dundee, Glasgow, and Aberdeen to really bring these characters to life. Such a dedication to authenticity is hard to ignore, as it contributes so much to building this believable world with strong performances that draw you into the game world.

But how much you enjoy Still Wakes The Deep really depends on how much you value the individual components that make up a game. It more than makes up for its gameplay shortcomings with some strong sound design and intensely good art direction. However, its simplicity and linearity can sometimes make it feel a bit too controlled to be truly terrifying.

The post Still Wakes The Deep Review – Beautiful But Grotesque Horror appeared first on Press Start.

Can you believe I’ve never stayed up for an Ubisoft Forward before?

They’ve always been a little outside of my timezone. I’m not sure why I’m telling you this, maybe because I can’t think of anything else to write for this intro.

Anyway, there is an Ubisoft Forward happening as I type this. We know there’ll be more Assassin’s Creed: Shadows, Star Wars: Outlaws and XDefiant. What else? We’ll have to see.

But without further adieu, here are all the announcements and trailers from the Ubisoft Forward for 2024.

ALL OF THE UBISOFT FORWARD 2024 ANNOUNCEMENTS AND TRAILERS

The Show Opened With A Deep Dive Into Star Wars: Outlaws, And It Looks Pretty Solid

The deep dive followed Kay Vess as she tracked down one of the game’s many bounties to the famous Mos Eisley cantina in Tatooine. From one point to another, we see Kay take to space (seamlessly) before taking part in an optional dogfight and then jumping to Tatooine. It looks like it has much more depth and detail than I originally thought. Brodie spoke to the creative director about the game recently. If that’s not enough, you can even read his (always scintillating) insights on the game here, too. Star Wars: Outlaws is on track for release on August 30th 2024.

If That’s Too Long For You, Ubisoft Also Dropped A Shorter Gameplay Overview Trailer Too

The short trailer discusses the lengths Kay Vess will go to to obtain the bounties she’s after, the choice system that’ll be in play and allof the locales that Kay and her adorable little companion Nix will visit.

The First Extended Gameplay Walkthrough Of Assassin’s Creed Shadows Looks Pretty Good

It’s looking mighty fine, and it’s encouraging to see both playable characters play dramatically different roles in the first true next-gen Assassin’s Creed. The deep dive went into how the game will play and showcased all of the new improvements to the engine, making it one of the biggest jumps in the series since Origins. Like Star Wars, Brodie also had a chat to the team behind the game if that interests you. He also played the game and gave his thoughts too. Assassin’s Creed Shadows is still on track for release on November 15th 2024.

Prince Of Persia: Sands Of Time Remake Was Dated, But Don’t Expect It Soon

Despite being announced four years ago, the short teaser confirmed the game was coming in 2026. I’m genuinely in shock that it’s taking so long, but at least they’ll get it right. I hope.

The First Season Of XDefiant Was Shown Off And Brings A Whole Bunch Of Maps And Modes To The Game

The new faction being added is called the GSK. They’ll launch with three new weapons. There’ll be one map a month for the season. Capture The Flag is even being added as a mode. It’s out on July 2nd, but the full reveal of the season will be the day before.

The Skull & Bones Team Detailed The Second Season Of The Game And Teased What’s To Come In The Third

There’s a new ship and dramatic opera-loving villains to plunder. Is that the right word? I don’t know. There’ll also be new fleet management options and a new creature – the megalodon – being dropped into the sea somewhere. The third season will also introduce a new 5v5 PvP mode and a sea dragon creature to battle with.

Prince Of Persia: The Lost Crown Is Getting Even More Updates

The new updates will add a set of challenges called “Divine Trials” to the game, as well as free updates that are available now, including new amulets and platforming challenges to complete. Their trailer ended with a tease for a new Story DLC called The Mask of Darkness, and that’s coming in September 2024.

The First And Free Rogue Prince Of Persia’s Update Was Detailed

It’s looking great, though the game is still in early access at this stage. The update is called Temple Of Fire and it’s a free one. Dynamic.

We Got A Look At The First Story Expansion For Avatar: Frontiers Of Pandora

It’s called The Sky Breaker, and it will see the Na’vi take the fight to a mysterious shadow looming in the sky. It’s out on July 16th.

We Got Even More Updates On The Final Season For The Crew: Motorfest’s First Year, As Well As A Tease Of Year 2

I have no idea about cars, sorry, but the second year of The Crew: Motorfest will introduce a brand new Hawaiian island to the game, for free. There’s other stuff that aficionados will appreciate, too. It reminds me a little bit of Hot Pursuit, I think. It’s coming to The Crew: Motorfest in November 2024. There’ll be an event detailing it all in September.

A New Anno Game Is Coming And It’s Set In A Long Requested Setting

It’s a live-action teaser at this point, but it confirms that the game will take place in the Pax Romana, and for the first time in Anno, you’ll be able to choose your starting province. It’s due out in 2025 for both PC and consoles.

The post All Of The Ubisoft Forward 2024 Announcements appeared first on Press Start.

Nintendo has been having one lately with games I have never finished. But while last month’s Paper Mario: The Thousand-Year Door was simply a game I never played, Luigi’s Mansion 2 was slightly different. I played it, but for some reason, I never played beyond the first few missions. It’s still on my shelf, staring at me as I write this, longingly wondering why I abandoned it so hastily eleven years later. One reason is that I don’t have a Nintendo 3DS anymore. I’d argue most people don’t.

So, it seems reasonable that Nintendo would touch the game up for the Nintendo Switch to bring it more in line with Luigi’s Mansion 3. I’ve had some time with the opening chapters of the imaginatively named Luigi’s Mansion 2 HD. While it’s unlike any other Luigi’s Mansion games, I’m enjoying it more this time, even if I have some concerns.

Luigi’s Mansion 2 follows on directly from the first game. King Boo, angry after the events of the first game, shatters the Dark Moon, which is an essential element to pacifying the many ghosts that inhabit the Evershade Valley. The ghosts living in the valley become hostile, forcing Professor E. Gadd to take shelter in his bunker. Needing help, he contacts Luigi, outfits him with a new Poltergust and sends him into many different mansions to collect the pieces of the Dark Moon. It’s a simple story that I’ve yet to completely experience, but it seems decent enough to keep the action moving along.

Playing through the first few hours of Luigi’s Mansion 2, its origins as a handheld game were immediately apparent. Where both Luigi’s Mansion and Luigi’s Mansion 3 had you exploring a large and open environment akin to games like Resident Evil, Luigi’s Mansion 2 is split into mission-based levels. There are multiple mansions now, too, and while this preview only covers the first two, there are various missions to complete in each. The first mansion ends with a mission to retrieve the first fragment of the Dark Moon. Once you have, you can move on to the second one, and I can only assume the rest of the game will play out similarly.

Each mission will have a specific objective for Luigi to complete, usually while introducing a new enemy, item or boss to defeat. You are scored at the end of your mission depending on how many ghosts you collect, the damage you take and the money you collect. It all lends itself to a much more arcade-like experience, but the gaps between each mission take you out of the atmosphere regularly. An example. Luigi will find a key to a door, but before we can even go back and unlock that door, we’re whisked away to the Professor to be debriefed before moving on to the next mission, where we can actually find the door to unlock. It probably worked better on the 3DS, but playing this at home can feel slightly disjointed.

AMAZON HAS THE CHEAPEST COPY AT $69 WITH FREE SHIPPING

The plus side to this is that Luigi’s Mansion 2 suits itself perfectly to pick up and play sessions, especially when you’re on the go on the Switch. But as someone who plays mainly on my TV (and yes, I know I’m in the minority), it does feel at odds with the game’s sense of immersion. It also removes any tension when I’m on low health towards the end of a mission but am whisked away to a safe room to have my health recovered before I continue on with the next one.

Luigi’s Mansion 2 still feels good to play despite the overarching design issue I have with it. The premise is still the same as the other games – you’re exploring spooky locales with Luigi and using the Poltergust to suck up and interact with as much in the environment as you can to help hunt down ghosts. I was worried that Luigi’s Mansion 2 would feel like a regression compared to Luigi’s Mansion 3. Thankfully, while Gooigi is obviously missing, it still plays just as well as it did all those years ago. Those who love gyro aiming will be pleased to know it can also be used to aim Luigi’s Poltergust.

But the presentation is easily where the most care and attention has gone into Luigi’s Mansion 2 HD. The game feels like it’s been built from the ground up to take advantage of Switch hardware, with many new textures and improved models helping to give the game a glow-up that brings it more in line visually with Luigi’s Mansion 3. Even the little details, like the seams on Luigi’s overalls, help to make Luigi’s Mansion 2 look much more than a 3DS game released over a decade ago.

As with any preview, I do have some reservations. The ghosts in Luigi’s Mansion feel like a bit of a step back from the original game, where each of them felt like they had a story or a role to play in the context of the mansion itself. Instead of that, in Luigi’s Mansion 2, the ghosts appear more simplistic, and I hope that there is enough variety to sustain the rest of the game’s runtime. And, like previously mentioned, I have to wonder if the game’s mission-based gameplay will also grow grating as time goes by.

Despite all the visual improvements, Luigi’s Mansion 2 plays just as it did all those years ago. The fact that it’s still so playable after so long with minimal improvements is certainly a compliment to the developers and a testament to the strength of the experience. It won’t change the minds of people who find it to be the weakest in the trilogy when it launches later this month. But I’m enjoying it for what it is so far, even if it’s one of the more modest remakes in Nintendo’s burgeoning canon.

Luigi’s Mansion 2 HD launches for Nintendo Switch on June 27th 2024. You can pre-order it now on Amazon for $69 with free shipping and pre-order price guarantee.

The post Luigi’s Mansion 2 HD Preview – A Modest Improvement appeared first on Press Start.

You know the drill. There was an Xbox Showcase tonight (or this morning) (or even yesterday), and a whole bunch of information was revealed about Xbox’s first-party offerings.

While Starfield wasn’t my favourite game, the promises made by this upcoming expansion, titled Shattered Space, certainly position it to earn some more favour with myself.

The expansion will include a new quest line centred around House Va’ruun, the interstellar government formed around the worship of the Great Serpent.

It will also include new weapons, new planets to explore, new spacesuits and new gear.

You can check out the new trailer for Starfield: Shattered Space below:

Despite releasing this year, the Shattered Space expansion does not have a release date. You can play Starfield right now, however, either by buying the game or playing it on Game Pass.

The post Starfield’s Shattered Space Expansion Will Explore The Game’s Most Interesting Faction appeared first on Press Start.

At the Xbox Showcase, Microsoft and developer World’s Edge revealed the first extended look at Age of Mythology: Retold.

The game is being touted as the “definitive edition” of Age of Mythology and will feature several gameplay changes to improve its flow and playability today.

Those who previously owned Age of Mythology: Extended Edition on Steam will also be able to purchase Age of Mythology: Retold – Premium Edition at a discounted price.

You can check out the trailer for Age of Mythology: Retold below:

The game is due for release on September 4th 2024 for PC. It will also launch on Game Pass.

The post Age Of Mythology Is Back This Year With Age Of Mythology: Retold appeared first on Press Start.

Hot off the heels of a rather packed Xbox Showcase, Compulsion Games have revealed the first-ever gameplay of their next game, South of Midnight.

The team who brought us Contrast, and We Happy Few have gone to great lengths to give us something different to what they’ve ever done before.

South of Midnight is an action-adventure game that follows Hazel, who is pulled into a Southern Gothic world following a hurricane in her hometown of Prospero.

Here, she discovers that fantasy and reality are interwoven as ancient creatures from folklore emerge and make themselves known to Hazel. In the newest trailer, she speaks to a catfish before jumping into action-packed gameplay.

It’s not the strongest-looking action, but it does look unique enough for me to give it a look.

You can check out the trailer for it here:

South of Midnight is out on Xbox Series X|S and PC in 2025. It’s also launching on Game Pass.

The post The First South Of Midnight Gameplay Trailer Has Been Revealed appeared first on Press Start.

Another night, another showcase. Following some pretty packed but relatively quiet presentations from both Sony and Geoff Keighley earlier this week, it was up to Xbox to start this week off right.

Did they deliver? I’m not sure yet, I’m writing this before everything begins, but let’s see where we end up by the end of this.

Hopefully Perfect Dark shows up. Wouldn’t that be nice? Or even Banjo. Please. It’s 1AM. Give a man some joy in his life.

Anyway, here’s all the announcements from Xbox’s showcase.

ALL OF THE XBOX GAMES SHOWCASE 2024 ANNOUNCEMENTS

We FINALLY Saw Some Decent Footage Of The Metal Gear Solid 3 Remake

While it’s still lacking that hazy look of the original, this is looking much MUCH better than previously. This is one of the best games ever, so you all owe yourselves to play it. Especially you, Ewan. Unfortunately, no release date was announced. So it’s probably 2025.

The First Footage Of Perfect Dark Was Shown And It’s Looking Better Than I Expected

The game is looking mighty fine and sees Joanna trying to rescue Carrington in a village. There’s lots of tech and all the great things you’d expect to see in a great spy-fi setting. It hasn’t been dated yet, but let’s hope it’s coming in 2025. (It’s probably not).

We Got A Proper And Longer Look At The New Fable And It’s Looking Authentic

The game looks to be capturing the essence of the original games, which is a bit of a relief. It’s releasing in 2025 and will be available on Game Pass at launch.

A Brand New DOOM Game Was Announced And It’s Going Medieval

I’m genuinely not sure how they’re going to top the sheer amount of variety in the encounters of Doom Eternal, but it’s looking like a might fine romp through the medieval ages. Doomguy even gets a snazzy new shield and a mace. What more could you want? It’s called DOOM: The Dark Ages and it’s releasing in 2025. Platforms weren’t confirmed, but it is coming to Game Pass on release.

The Show Opened With A Trailer And Release Date For The New Call Of Duty Campaign

The trailer featured Bill Clinton and The Prodigy—not two things I thought I’d ever see together. I’m not sure why they opened with this when they had a separate presentation for it soon after, but oh well. It’s looking very dynamic, as always. It’s due out on October 25th and, as previously revealed, will be available on Game Pass on the first day.

We Finally Got A Proper Look At State Of Decay 3 And It’s Very Different To The Other Games

The game looks to have received an upgrade in both scope and scale when compared o the first two State of Decay games and will continue to focus on the human experience and survivorship of those left behind during an apocalypse. Hopefully it moves the series forward. It also wasn’t dated, but it’s coming to Game Pass on release.

EA Teased Our First Look At The Companions You’ll Get To Travel With In The New Dragon Age

It’s looking much better than I expected, if a bit more stylised than the previous Dragon Age games. The game was recently renamed from Dreadwolf to Veilguard and we are still due for a gameplay reveal later this week. It’s out in the third quarter of 2024.

The First Starfield Expansion Already Looks Infinitely More Interesting Than The Game Itself

That art direction is something else and actually feels like an alien world. If you’d forgotten, it’s called Shattered Space, and it’s coming later this year. There’s also new content hitting the game tonight, if that’s your thing.

Yet Another Fallout 76 Update Is Coming If You’re Still Playing It

The new map is a brand new region of Appalachia. You’ll be able to play as a Ghoul soon too. As I’ve always wanted to. It’s out on June 12th.

A Really Unique Looking Fantasy RPG Was Shown From A Brand New Team

The game features a unique battle system that looks to blur the line between real-time and turn-based. And it’s gorey. Love that! It’s called Expedition 33 and it’s out in 2025. It’s also coming to Game Pass on release.

Compulsion Games Rocked Up To Show Us The First Gameplay Of South Of Midnight

The game uses a hyper-stylised, stop-motion look and sees our protagonist Hazel talking to a giant talking catfish in a bayou in a Southern Gothic world. It’s got an immense amount of style, but hopefully, it plays a bit better than Compulsion’s previous game >_>. It’s out in 2025. As expected, it’s on Game Pass too.

Blizzard Showed Us A Flashy CG Trailer For The Next World Of Warcraft Expansion

Elves and shit are cool I think. 26th August 2024. PC only, still.

The Next Content Drop For Sea Of Thieves Was Detailed And Now You Can Be A Meanie To Other Pirates

It’s a good day if you like skeletons with glowing eyes. The new update allows you to officially become a villain and not just do it on the sly anymore. It’s hitting on July 25th.

We Got A Better Look At Flintlock And A Release Date Announcement

The game was previously shown at the 2022 Xbox Showcase and is described as a “souls-lite”, which means….well…I don’t know. It’s out on the 18th of July and while it’s coming to all platforms, it’s launching on Game Pass.

Age Of Mythologies Is Getting A Redux And It’s Looking Fine

It’s a remake of Age Of Mythologies. It’s coming to Game Pass for PC on September 4th.

An Intro Cinematic From The Diablo IV Expansion Was Shown Off

I’m happy for you if you’re a Diablo fan. It’s out on October 8th.

Yet Another 5v5 Shooter Is On The Way If That’s Your Thing

This one is called Fragpunk. Maybe soon there will be enough 5v5 shooters that we can eventually make a game where each of the games can fight against each other in a 5v5 match. It’s out in 2025.

A Cosy Game With A Rat Is Also Coming If That Is Also Your Thing

The music and the art style is super cute. It’s not for me, as you’ve probably guessed, but I like the vibe. Squeak squeak. It’s called Winter Burrow and it’s out in early 2025. And on Game Pass.

A Hipster Bait Game Called Mixtape Was Shown

It’s honestly got the perfect sense of ~~vibes~~ and I think it’ll be fun honestly. It’s out in 2025 and is coming to Game Pass.

A New Flight Simulator Expansion Is Coming If You Want To Escape From The Horrors Of The Real World Again

You can see the aurora borealis. And other stuff too. It’s called the 2024 update, imaginatively. And it’s out on November 19th.

A New Flight Simulator Expansion Is Coming If You Want To Escape From The Horrors Of The Real World Again

You can see the aurora borealis. And other stuff too. It’s called the 2024 update, imaginatively. And it’s out on November 19th.

Elder Scrolls Online Has Been Around For A While Now So You Can Celebrate That If You Want

A majority of the DLC will be free for a bit too. Wow. 10 years. That’s a long time. And lots of expansions. Well done.

Max Caulfield Is Making A Return In An Unexpected Way In A New Life Is Strange Game

It’s a continuation of Max’s story from the original Life Is Strange. She’s solving murders now? Very dynamic and unexpected. It’s out on October 29th 2024 but it will be episodic.

We Got An Even Longer Look At The New Indiana Jones Game With The Simple Name

The game features Troy Baker imitating Harrison Ford as they go on a jetsetting adventure around the world. We also got to see some snowy gameplay, which is cool. Literally. lol.  It’s out this year. And on Game Pass.

Some Intense As All Hell Mech Battle Game Got A Look In

You can play as mechs you can customise which also turn into like harrier jets and stuff. This is the type of things you’d say “hell yeah” at, or however that meme goes. It’s not for me but it does look pretty fricking intense so maybe I’ll give it a shot. See how I’ve come around to it already? It’s called Mecha Break and it’s out in 2025, but there is a beta running in August 2024.

Yet Another Action RPG With A Girl Fighting Grotesque Demonic Enemies Was Shown

I’m not sure about this one, but the enemy designs seem cool. It’s called Wuchang Fallen Feathers and it’s out in 2025. It’s also on Game Pass.

Avowed Got A Gameplay Trailer But Still No Release Date Which Personally Perturbs Me

It’s looking better and better with every showing, but I can’t help but feel we should have a date by now. It’s still on track for 2024 and it’s out on Game Pass too.

Rebellion Is Turning The Horrors Of Being British Into A Videogame, Kind Of

It’s a survival game set in a post-apocalyptic Britain from the team who brought us Strange Brigade and all those Zombie Army Trilogy games. It’s called Atomfall. It’s out in 2025.

Ubisoft Teased Us With A Little Bit Of Assassin’s Creed Shadows Gameplay

It’s looking great and is certainly carving out it’s own niche amongst all of these Asia-inspired action RPGs. Those black and white takedowns look amazing too. It’s still due in November later this year. You’ll probably be able to see more of it at the Ubisoft Forward tomorrow.

A Nice Chunk Of STALKER 2 Gameplay Was Shown Off And A Release Date Was Finally Revealed

This is really one of those games you need to live in and lose yourself in, but it’s looking mighty fine at this point. It’s out on September 5th and it’s also on Game Pass.

A Whole Bunch Of New Xbox Series X and S Consoles Were Revealed

The console manufacturer revealed a digital 1TB Xbox Series X, a special edition 2TB Galaxy Patterned Series X and a 1TB white Series S.

The Show Was Closed With A Sneak Peek At A Brand New Gears Of War (But It’s A Prequel)

Gears 5 was genuinely good, even if I’ve checked out of the story at this point. But the new game looks to be taking things to a more urban setting. It’s called Gears of War E-Day, but it wasn’t dated just yet.

The post All Of The Xbox Games Showcase 2024 Announcements appeared first on Press Start.

During the Summer Game Fest showcase earlier this week, Warner Bros. announced that Harry Potter: Quidditch Champions will be coming to most major platforms before the end of the year.

While it was announced a year ago, and playtests have since been and gone, the title has since been dated with a new official reveal trailer.

The footage showcases a brand new art style, different from last year’s Hogwarts Legacy, and will feature extensive character customisation and allow you to select from up to four positions to play on the field.

Of course, the game will also feature online competitive play as well.

The game will be released on September 3rd for PS5, PS4, Xbox Series X|S, Xbox One, Switch, and PC.

You can check out the release date trailer below:

The post Harry Potter: Quidditch Champions Has A Release Date And New Trailer appeared first on Press Start.

Earlier in the week at an IGN Live event, Nightdive Studios, known for their stellar remasters of games yearned for in the past, revealed that they will be bringing back The Thing.

The game served as a sequel to the original film starring Kurt Russell, and sees players stepping into the frozen boots of Captain Blake, the leader of a team sent to investigate the events that transpired in the film.

When it was released all the way back in 2002, the game was unique in that it had a trust system in play. If you acted strange, your squadmates would distrust you and behave erratically. Alternatively, if you distance yourself from your squad too often, they, too, may become infected. The big kicker here is that testing kits are limited, so keeping an eye on your squad is important. It’s a unique system that’s never been in a game since.

The remaster is an upgraded version that will run at up to 4K resolution at framerates of up to 120FPS. Nightdive has also made improvements to the character models, textures and animations. You can expect improved lighting, too, to better hammer home that atmosphere that the original game was known for.

The Thing: Remastered will hit PlayStation 5, Xbox Series X|S and PC later this year.

You can check out the official reveal trailer below:

The post Nightdive Is Bringing Back The Thing With Yet Another Remaster appeared first on Press Start.

There was a HEAP shown this morning at the Summer Game Fest, including some surprises that I was not expecting to see come.

So without further adieu, let’s jump straight into everything announced.

ALL OF THE SUMMER GAME FEST 2024 ANNOUNCEMENTS

LEGO Horizon Zero Dawn Was Announced And It’s Coming To Nintendo Switch

It looks to mix the dense world of Horizon Zero Dawn with the trademark playful LEGO humour that we’ve come to expect. It’s out towards the end of this year for both PlayStation and Nintendo Switch.

Hasbro Is Bringing Power Rangers Back Again But In A Good Way This Time

The game is a retro revival beat-em-up based on the original series but in a similar style to TMNT: Shredders Revenge. It’s called Mighty Morphin Power Rangers: Rita’s Rewind.

A New Harry Potter Game Was Announced And It’s A Quidditch Game

The game features a distinctive artistic style from Hogwarts Legacy and is out on September 3rd for all major platforms. It’s even available on PlayStation Plus at launch.

The Chivalry 2 Developer Showed Off Their New Game

It’s called No More Room In Hell 2. It’ll feature permadeath, eight player co-op and a massive replayable map. It’s expected to be out in October 2024.

Cuffbust Is An Impressive Jail Break Game From One Developer

I don’t know what this is. Weird muppet people working together to break out of jail while making strange noises? It’s a great concept and looks especially fun. It’s out in 2025 but as the developer says, idk tbh.

Ubisoft Rocked Up To Give Us A Tidbit Of Star Wars Outlaws Ahead Of The Ubisoft Forward

The tease showed us some of the worlds that Kay Vess will visit as well as Lando. It’s still on track for August 30th.

Neva Is A Beautiful Looking Side-Scroller Filled With Action Too

It looks like GRIS but with lots of combat (edit: that’s because its’s from the Gris team). It’s called Neva and it’s out in 2025 for all major platforms.

A Brand New Civilization Was Announced, Sorry Brodie, No BioShock For You

The trailer didn’t show much just yet. There’s a gameplay showcase coming in August, and the game is due for release in 2025 for both PC and consoles. And yes, it’s called Civilization VII. Dynamic.

Yet Another Trailer For Black Myth: Wukong Was Shown

I feel like I’ve been talking about this game for twelve yers but it’s nice to see it’s finally coming. It’s out on August 20th for PlayStation 5 and PC. There’s even a monkey man collector’s edition too.

The Developers Of Persona Jumped On Stage To Show Off More Of Their Newest RPG

The game has a job system similar to Final Fantasy, where the characters will transform into over 40 types of jobs (called Archetypes) to do battle. It’s looking mighty fine and is still on track for an October release.

We Got Our First (Albeit Short) Look At Batman: Arkham Shadow

The story trailer showed off the same in a lot more detail. It’s looking pretty good, I dare say better than recent Batman projects. It’s releasing exclusively for Meta Quest 3 towards the end of 2024.

Capcom Showed Off The Next Year Of Street Fighter 6

Terry and Mai from King of Fighters will join Elena and M. Bison for the second year of Street Fighter content. You’d probably be surprised to hear I don’t care about any of these characters, but it’s a great and unexpected slate for the second year of Street Fighter.

A New Co-Op Game Was Shown With A Quirky Artstyle

It’s a co-op roguelike game with a hack and slash style coming to PC. It kind of looks like a Roblox game.

More Gameplay Of Dragon Ball: Sparking! Zero Was Shown

While it’s got a weird name, this is essentially the next game in the Budokai Tenkaichi series. It’s out on October 11th.

Delta Force: Hawk Ops Is Coming Back

It’s a free to play online shooter, but the campaign will retread the events of the Ridley Scott film Black Hawk Down. I’m sure this is for someone. But not me.

We Got A Good Look At Some New Characters Coming In Fatal Fury

B. Jenet is back. Wow. This is the best the series has ever looked. It’s out in early 2025.

Blumhouse Games Came Out Swinging To Announce Their First Slate Of Games

The new publisher showed off six new games, each with a huge amount of variety. The only game they didn’t show was Project C, which is coming from both Sam Barlow and Brandon Cronenberg. I’m excited, and I’m in. The first one is coming in 2024 and it’s called Fear The Spotlight.

Kingdom Come: Deliverance II Was Given Another Look

It’s looking good but I notoriously did not enjoy the first game. It’ll be exciting to see what Henry does next, though and it does look better than the first game in terms of polish. It’s due later this year.

The First Slitterhead Gameplay Has You Using Your Blood As Weapons

It’s a horror-action game where you switch bodies to do battle with grotesque creatures on the streets of Japan. It’s looking a little janky but I have faith in the mind that brought us Silent Hill, Sirena and Gravity Rush. It’s due out in November.

A Bean Based Action Game Was Shown And You Didn’t Misread That

The gameplay is a mix of third-person and first-person action and looks to really riff off of all the best action games. It’s called Killer Bean and it hits early access later this year.

Climbers Rejoice – There’s A New Game Coming With Great Art Direction Too

It’s called Cairn and the trailer has a frustrated screaming woman and a killer art direction. With Jusant last year and now this, climbers are eating well.

The New Annapurna Game Is Not What You’d Expect From The Stanley Parable Creator

It’s called Wanderstop and it is pretty intriguing. It’s out for PS5 and PC later.

We Got Another Look At Unkown 9: Awakening

The game has you playing as Haroona, a girl from Calcutta who must understand her abilities to manipulate the unseen and enter a hidden dimension called The Fold. It’s looking like a solid and intriguing action adventure.

Yet Another Soulslike Got A Showy CG Trailer

It’s called Enotria: The Last Song. I can appreciate the art and the world but I kind of wish we’d just had gameplay. There’s a demo out now though, which is cool. It’s out on September 19th.

The First Descendent Has A Console Release Date

The game is described by its developers as “the ultimate next-gen looter shooter. Mmm. It’s out on July 2nd.

The Among Us Devs Have Their Own Publishing Label Now And Showed Off Their First Slate Too

While they’re called Innersloth, the label is called Outersloth. The publisher was created to give smaller devs great deals to get their games out there.

…And We Got A Look At The New Among Us TV Show Starring Elijah Wood

It’s an animated series that somehow manages to encapsulate the vibe of the game.

Sonic X Shadow Generations Finally Got A Release Date

The game was already a pretty solid celebration of the 2D and 3D eras of Sonic, but the new Shadow campaign feels like icing on the cake. It’s out on October 25th.

The New Dune Game Explores A Timeline That Never Happened

The open world MMO survival game essentially explores what would’ve happened if Lady Jessica gave birth to a girl, as she was meant to, and never had Paul.

Battle Aces Is the RTS “For Everyone”

The game is described by its creators as a fast-paced free-to-play RTS that’s much more playable than the typical RTS, making it approachable for newcomers.

Season 3 Of The Finals Takes Thing In A Different Direction

The new season, which launches on June 13th, takes players to Kyoto in the 1500s, with new weapons and gadgets.

Physical Editions Of Alan Wake 2 Are Coming Later This Year

Preorders open tomorrow but we’ve yet to see what’s in the editions. Both a physical deluxe and collector’s edition will be coming.

We Got Our First Look At The Night Springs DLC For Alan Wake 2

The three episodes will each feature three different playable characters in what-if scenarios. Even better, it’ll be out in the next 24 hours.

New World Is Finally Making The Jump To Consoles

New World: Aeternum is essentially a relaunch of the game, and is hitting consoles in October now after originally launching for PC in 2021.

More Footage From Dark And Darker Was Shown

It’s an incredibly unforgiving “hardcore fantasy FPS dungeon PvPvE adventure”. You and your friends can essentially delve into dungeons together to find treasure and defeat creatures all while staying ahead of other treasure hunters. It’s free to play and now live for PC.

Capcom Finally Dated Kunitsu-Gami: Path of the Goddess

The game is an out-of-left-field strategy action game that looks like Pikmin, kind of, but set in feudal Japan. It’s out on July 19th.

We Got An Update On The skate. Reboot

The trailer had Tim Robinon and was bizarre but console playtesting will begin later this year. It’s finally coming, skate fans. I feel for you even if I don’t care myself. How exciting.

We Got A Look At The New Island Coming To Palworld

I’m sure Ewan will be thrilled. The Japan-inspired island will bring with it new Pals, new weapons, new buildings and even dedicated servers for Xbox players.

Valorant Is Finally Making The Jump To Console

Now people can be toxic to each other from their couches rather than their desks. A free limited beta starts on June 14th. You can sign up right now here.

More Epic Gameplay For Monster Hunter Wilds Was Shown

The game is looking suitably epic and unlike anything that the series has done before. I think I’m keen. It’s still on track for a 2025 release.

The Show Closed Out With Phantom Blade Zer0

It’s a semi-open world souls-like that blends the world of steampunk with Chinese martial arts. It doesn’t have a release date yet, but will be playable at many events throughout the rest of the year.

The post All The Big Summer Game Fest Announcements For 2024 appeared first on Press Start.

We all love to be detectives in some way. Whether in video games through the lens of characters like Batman or even the more action-heavy Max Payne. Or in our personal lives, spending time looking at old-school friends on social media. Something is engaging and thrilling about hunting down facts to discover what happened when we don’t have the complete picture ourselves. But what if we could do all that in a dystopic, futuristic version of New York City? That’s precisely the experience Nobody Wants To Die, from Critical Hit Games in Poland, seeks to give players. I’ve had some time with the game, and I think it’s shaping up to be a hidden gem.

For this preview, I was given twenty minutes of gameplay to get a better idea of the game’s atmosphere and how the gameplay and investigations work. I also chatted with Artur Jaskólski, co-founder of Critical Hit Games and producer of Nobody Wants To Die. Marcin Grembowicz, the lead writer for the game, joined him. It was immediately apparent to me that they’re both incredibly passionate about this game and devoted to crafting a world dripping with an atmosphere designed to immerse players.

Nobody Wants To Die takes place in a futuristic, alternative version of New York City. Speaking to Artur about the game, he mentioned that he wanted to set the game in New York out of a desire to tell a story centred around a big metropolis. The inspirations are many – players who enjoyed What Remains of Edith Finch, Firewatch, and Observer will no doubt find something to like about Nobody Wants To Die. But the biggest inspiration was a bit unexpected – Artur and his team were deeply inspired by Max Payne, which “hugely inspired” the game’s noir climate, atmosphere, characters and dialogue.

This preview opens in Manhattan inside a tower called Green Tower. We are introduced to our playable character. While we only view the world through his eyes, James, like any great detective, is a smoker. From how he speaks, I can tell he’s a cop who’s been around for too long. Speaking to the game’s writer, Marcin, about the game, I was surprised to discover something about this world. People live longer. James is 120 years old and incredibly depressed, lighting up a cigarette merely to “freshen up the air”. His fierce and rugged character is complemented perfectly by Sara, another detective fresh to the force who is in her late 20s.

As James walks through some lavish doors, we’re introduced to the game’s first crime scene. It’s immediately obvious at this point that the team at Critical Hit have an excellent eye for detail and an immense sense of artistic flair. We’re in a marble-laden foyer with two large curved staircases on either side. Between them, a large tree, on fire for some reason. After I snap out of my sense of wonder from the scene, it’s obvious why we’re here. There’s a body hanging from the tree.

While talking to Sara over the radio as James investigates, dialogue options appear on-screen to allow players to craft the relationship between Sara and James. I found this intriguing, and while speaking to Marcin again, he highlighted how important it was that Sara be presented as a multi-faceted character just as much as James. Rather than just laughing at James’ jokes or making fun of his age or their age gap, how you speak to her will help shape and explore the relationship more than you’d expect in a game of this ilk.

From Sara’s instruction, James approaches the body. He takes a photo of it with his camera to identify them before tinkering with a device on his wrist. Using the triggers on the controller, you can either advance or rewind a section of the crime scene in an augmented reality-like reconstruction of what transpired. You can also physically move James through the reconstruction in real time, and James concludes that he must work out how the tree caught on fire.

Other tools are at James’ disposal, too. He pulls out an X-ray device and uses it to discover cables running from the tree to a nearby generator, perhaps even the source of the fire. This seems like a relatively basic use of tools we’ve seen done to death before in a game like this, so I asked Artur how Nobody Wants To Die changes things up, if at all. He assured me there was more to the game than tracing cables or using a UV lamp to track bloody footsteps. There will be different ways to use all of the tools at different crime scenes, and as you progress through the story, the crime scenes get much more complicated.

As the demo progresses and we discover more, we’re introduced to the chief, who berates James and tells him to quickly write it off as suicide to get it out of the books. Not convinced, James and Sara continue investigating, using James’ device to reconstruct other areas of the crime scene. The victim was thought to have gone mad, with the reconstruction device showing him jumping off the balcony and hanging himself. Upon discovering more evidence and using the same reconstruction techniques after that, it’s revealed that the victim didn’t jump off the balcony but that he was pushed.

This idea that the reconstruction device isn’t perfect is something that I really like about Nobody Wants To Die. So often in games like these, the reconstruction tools perfectly recreate what happened for no reason other than contrived plot convenience. With the way it works in Nobody Wants To Die, we can’t just switch it on and solve everything immediately. Somebody shown to be hurting themselves in the reconstruction might, in reality, be physically forced to do so by somebody else, for example. Nothing is as it seems in the world of this game, and I love that the tech isn’t just some magic dust that can explain everything away.

As we draw closer to the end of the demo, James picks up an object that eventually morphs into a snake, crawling up and coiling around his arm. Sara yells to James over the radio, as she can’t see him anymore, as if he’s stepped into another dimension. A ghost-like woman walks across the room, whispering, “Come back to me”. It’s unclear what’s happening at this point. Still, there seems to be more to James’ personal struggles than we thought. It’s an incredibly intriguing hook that has me wanting to play more.

Time is apparently running out, as Sara reveals that the feds are coming. Sara asks us to clean the crime scene, but I noticed the objective marker says “or not, ” implying we have a choice. I asked Marcin about this, and while this particular choice wasn’t discussed in detail, he confirmed your choices will have some weight in how the story plays out. The overarching narrative has different endings, and player choices will also significantly impact how James and Sara’s story progresses.

The demo ends with James leaving the crime scene as he finds it as the feds approach, cockily saying to himself that “nobody will ever know I was here”. It raises so many questions about how James and Sara fit into Nobody Wants To Die and why they’re working in direct opposition to the feds. I can’t help but be excited to see how Nobody Wants To Die will continue to weave its web when it launches next month – it’s shaping up to be something unique and intriguing that I can’t wait to play the rest of.

Nobody Wants To Die launches for PlayStation 5, Xbox Series X|S and PC on July 17th 2024.

The post Nobody Wants To Die Preview – An Intriguing Neo-Noir Mystery appeared first on Press Start.

Here we are, halfway through the year, with little to look forward to. PlayStation has been pretty adamant that most of the games revealed or shown will run a selection of projects that are releasing before the end of 2024 for both PlayStation 5 and PSVR2. As we will soon find out, that’s not necessarily the case.

As always, a lot was shown today, so let’s jump straight into it.

A New Astro Bot Game Was Shown And We All Pretended To Be Surprised

Previously leaked last week, it’s nice to see it exists for real. There’s lots of sand, and this looks like a great option for people too stubborn to buy a Nintendo Switch. It features the same charming art style as the previous game and many subtle visual nods to Sony’s first-party canon. It’s out on September 6th 2024.

We Finally Got Our First Look At The PlayStation Exclusive Shooter Shooter, Concord.

The in-engine showcase highlighted cinematic footage of two main characters bickering before quickly beginning a shootout in a bar. It looks like a sci-fi spaghetti western. We were then treated to some gameplay footage of all the characters you can play as. The team has promised there will be new cinematics with new story arcs each week. If you forgot, Concord is a 5v5 PvP multiplayer first-person shooter. Mmm. It’s out on August 23rd and there’s a beta running in July.

We Have A Better Idea Of What The Until Dawn Remake Looks Like

It looks nice, I guess, but I still wonder what we’re doing here. The game is rebuilt and enhanced for PlayStation 5 and PC but still doesn’t have a release date smh. Expect it in Q3 2024.

The First Full Gameplay Trailer For Monster Hunter Wilds Was Shown

It looks much better than previous Monster Hunter games, owing to the latest version of RE Engine. There’s even an enemy with  It’s still coming in 2025, but if you bring your Monster Hunter World saves, you’ll get some cool cats.

Marvel Rivals Is Coming To PlayStation 5 With A Beta Too

This is that Marvel Overwatch hybrid that the developers wouldn’t let streamers play unless they had nice things to say. Interesting. It does look good though, and I haven’t been told to say that. A PlayStation closed beta is happening in July. There’s even a Scarlet Spider skin(?) exclusive to PlayStation 5 and both Venom and Adam Warlock were confirmed for the game too.

A New Silent Hill 2 Remake Focuses On More Combat And Angela

It’s nice to see the project in full swing finally. It’s out in October, which is appropriately spooky.

God Of War: Ragnarok Is Coming To PC

Wow. Dynamic. It’ll include the Valhalla DLC, too. Jetpack Interactive is handling the port, which will feature unlocked framerates and support for DLSS, FSR, and XESS. As you’d expect from any well-respected PC port, there is Ultrawide support, too. It’s releasing in September later this year.

A Brand New Dynasty Warriors Game Is On The Way

The visuals look significantly upgraded from the previous games, and maybe even the open-world aspect from the last game has been dropped. The combat looks a lot more involved too, but maybe that’s just me. It’s coming in 2025.

A New Platformer Was Shown, Or Something, I Don’t Know

It’s called Infinity Nikki and you play as a girl in a pretty dress who has a weird not-a-moogle in her bike. I don’t know what’s going on but it’s cute, I guess. There is a “test” coming in the third quarter of 2024. That’s all we really know about whatever this is beyond being called an “open-world dress up adventure”.  You use certain outfits to earn powerups. So basically Final Fantasy X-2 but without the brand power.

“We Have Elden Ring at Home” Was Shown

The game features some pretty intense-looking boss battles. It’s called Ballad of Antara, and it’s coming in 2025.

PlayStation Confirmed That They Remember VR2 Exists With A New Melee Game

It’s very snowy and features swords and sword-and-dagger combat against a wide variety of enemies, both big and small. It’s called BEHEMOTH and will be released in the third quarter of 2024.

ALIEN: Rogue Incursion Was Announced For VR2

The gameplay teaser was vague, but it had all the right sounds and appropriate wetness to excite me. It was revealed last month but it’s nice to know it’s coming to VR2 at the end of the year too.

We Saw Some More Footage Of Where Winds Meet

The game is an open-world martial arts game that we saw last year. It’s looking nice. I guess.

We Saw More Of Path Of Exile, Again

It’s looking very Diablo isn’t it. The game will feature a couch co-op option, crossplay and cross-progression, which is always nice. It will launch in early access in late 2024.

The post Everything Announced At The June 2024 PlayStation State Of Play appeared first on Press Start.

I’m not sure if Konami is going to make these a regular thing but given how long there is between them I am not sure we can even call them regular.

But regardless, today was another big day for Silent Hill fans, and with Silent Hill: Ascension behind us, things can only get better. Right? RIGHT?

WRONG

Anyway, here are all the Silent Hill based announcements from the latest episode of the Silent Hill Transmission. My hills are well and truly silent.

We Got A New And Longer Gameplay Trailer Of The Silent Hill 2 Remake

The look was very extended, showing off a lot of new stuff we haven’t seen before like Maria, Laura and gameplay from both the streets and the hospital.

The trailer claims the game is faithfully remade in the original vision of the original game, but I’m not sure. It’s looking nice visually though, Unreal Engine is doing good work. It was revealed that the game is releasing on October 8th this year.

Mm. There’s a Digital Deluxe Edition which comes with assorted head masks for James, a digital artbook, a digital soundtrack and two days early access.

We Got An Extended Look Behind The Scenes Of The New Film

Christophe Gans, who directed the okay first film, has returned to basically adapt the story of Silent Hill 2. The behind-the-scenes look is pretty promising, perhaps even more than the remake at this point, but we’ve yet to get a full trailer nor a release date.

Konami Showed Off Some New Physical Merchandise

Pyramid Head is getting his own Nendoroid and a money bank themed around the Dog ending from Silent Hill 2 can soon be bought. And some items from the games are being made as physical collectibles too. What am I even doing here. It’s 7:30am. I need sleep.

And that was it. sorry.

The post All The Announcements From The June 2024 Silent Hill Transmission appeared first on Press Start.

It’s been almost a year since MultiVersus closed down what felt like the most prolonged beta ever. It was a shame because I’ve famously advocated for its quality amongst my peers, both online and offline. While it’s always hard to make a platform fighter, especially in the shadow of games like Super Smash Bros., MultiVersus came close. A year after the closure, MultiVersus is back, building upon the strong foundation to provide a proper launch that goes from strength to strength. Having spent some time with the near-final build in a very brief preview, it’s clear that MultiVersus is now poised to be one of the better platform fighting games.

In case you’ve no idea what MultiVersus is, it’s remarkably familiar in fundamentals to Nintendo’s flashy crossover fighter, with four characters entering the arena to duke it out. The damage system in MultiVersus is lifted straight from Smash as well. Every hit increases a damage percentage, and the higher your damage percentage, the higher your character is flung when hit by an attack. Fly far enough, and you’ll be out of bounds and allow your opposing team to score. But that’s where the similarities end, as there’s much to differentiate MultiVersus from its contemporaries.

Arguably one of the first genres to perfect the now much-maligned games-as-a-service model, fighting games have behaved as such before the trendy moniker was coined. It seems fit to reason that MultiVersus is a free-to-play game. It’s immediately apparent that MultiVersus borrows its progression systems from similar experiences like Apex Legends, Fortnite and Fall Guys. Lots of experience to earn, bars to fill and dopamine to harvest. As someone around when this wasn’t the standard of games, I will be forever sceptical about whether this approach could work for a genre close to my heart. But thankfully, after spending more time with MultiVersus in this preview, it feels fair to the player. I had enough earnable and free currency to buy a character after three to four hours of play.

The second central point of difference from other platform fighters is the roster. MultiVersus will launch with twenty-six unique fighters, with more on the way, but they hail from a wide range of franchises from the Warner Bros. Discovery catalogue. Just some of the roster sees Looney Tunes, Scooby Doo, Game of Thrones, Adventure Time and even The Matrix represented in Season 1. And every character is brought to life authentically and recognisably. Velma, for example, fights with speech bubbles, out-loud calculations and idea lightbulbs. Tom & Jerry fight each other uniquely, and those who get in their way will take damage from the fallout. Even Arya Stark can use her Faceless abilities to steal her opponents’ attacks, just like Kirby. The roster is incredibly well put together, and it’s exciting to see what else can (and will) come.

The relaunch and Season 1 bring a few new characters to the mix. They’re an eclectic bunch. First, Banana Guard, unlockable by finishing the tutorial, is a stranger pick from Adventure Time and an excellent pick for newcomers owing to his more straightforward move set. Joker is just as you’d expect – a goofy, long-distance fighter who fights with many gadgets and gizmos. My favourite is Jason Voorhees; however, he fights by suffocating his enemies in a sleeping bag and clapping them in the middle of a bed he summons out of nowhere. He’s the most bizarre inclusion in MultiVersus, but also a testament to just how far the developers are willing to go. No matter how out there, every character is crafted to fit into the game perfectly, even if it feels like they shouldn’t. 

The other significant new inclusion is Rifts. Serving as a PvE component of the game, it allows players to earn currency they can spend in-game without having to fight against other players. Rifts act as mini-campaigns, each having a theme and bespoke battles with unique modifiers, too. Every Rift has a boss at the end and will presumably be refreshed with each season. The theme of the current Rifts we got to sample was Digital, owing to the arrival of Agent Smith from The Matrix later in the month, and Horror, owing to Jason.

On each node, there’s usually a fight to take on, but not always. Some nodes offer minigames, while others provide mini-bosses to defeat. It reminds me of a much snappier and faster-paced version of Mortal Kombat 1’s Invasions mode, giving players perks to equip in that Rift to improve their stats. Like everything else in the game, Rifts can be approached with another player, and optional mini-objectives can be completed on each node to keep things interesting.

However, gameplay-wise, MultiVersus still feels the same. The key difference from other fighters of this ilk is an emphasis on teamwork. All characters have abilities that help their teammates but hinder their foes. Velma’s attacks will buff your teammates while damaging anyone they might hit. Reindog, an original character created for this game, can tether themselves to their teammate, pulling them in should they ever be in peril. But anyone who touches that tether, in the meantime, takes damage. It’s a nice design choice that differentiates MultiVersus from similar games.

It’s the sense of team synergy that really sets MultiVersus apart. The best matches I’ve had are the ones I play with friends. Now, being able to take on Rifts together on top of the previously available modes gives me another reason to jump into MultiVersus in my downtime.

Having shifted to a new version of Unreal Engine, MultiVersus looks much better than previously. It boasts rock-solid performance and incredibly consistent art direction, considering how many properties they pull from the Warner Bros. canon. The shift to a newer engine seeks to only future-proof the game, which I hope will have ample opportunity to grow. There are some noticeable improvements here, notably with lighting. Still, things move so quickly that there is not a huge difference that is immediately obvious. 

When I wrote about the game in 2022, I complained about the variety of the arenas and the music. That’s been fixed here already, with the inclusion of new levels and music that adds to the variety of the experience. There is truly nothing better than fighting in the Iron Throne room while the Game of Thrones theme blares over your combat. It’s another indicator of the strength of the brands that MultiVersus has up its sleeve. It feels like we’re only a few updates away from battling in Hogwarts or even the Yellow Brick Road.

And that’s where I really have high hopes for MultiVersus. There is great potential to continually build the roster up with a diverse and eclectic cast of characters from a wide range of properties spanning a literal century. The sky really does feel like the limit, but with this relaunch, MultiVersus is doing a good job of convincing me that they might reach it.

MultiVersus is launching on PlayStation 4, PlayStation 5, PC, Xbox One and Xbox Series X|S on May 28th, 2024.

The post MultiVersus Hands-On Preview – A Revitalising Relaunch appeared first on Press Start.

There’s a sobering reminder at the end of Paper Mario: The Thousand-Year Door that all good things must end. Upon receiving my final power-up, Toadette excitedly appears and runs me through how to use it, as she has throughout the entire adventure. Then, before she leaves, her expression drops, and she tells me this would be the last time I see her. It wasn’t meant to be a moment that broke the fourth wall, as Paper Mario games often do, but it did. Without a doubt, Nintendo’s remake of The Thousand-Year Door is nothing short of a masterpiece and one of the most incredible adventures you can undertake on your Switch. And that’s coming from someone who has never played it before and has no nostalgic reverence for it.

Paper Mario: The Thousand-Year Door follows Mario as he travels to Rogueport, searching for an ancient treasure. Scoped out there by Peach, who has since been kidnapped, the treasure is rumoured to be hidden behind the titular Thousand-Year Door, which can only be unlocked by collecting seven Star Crystals. At first glance, it’s a typical story, but some nice twists and turns help keep things engaging. Bowser and Peach play supporting roles, too, often poking fun at the roles they typically play in a story like this.

But more importantly, the plot carries a sharp and acerbic sense of wit that I’ve not seen to this degree in other games published by Nintendo. While the overarching story is excellent, individual stories are told within each of the game’s chapters that are more self-contained but still entertaining. The humour is on point, the writing is especially subversive, and it’s an all-around great tale to be told.

If you’ve played the original Paper Mario, you know what to expect with The Thousand-Year Door. As with any typical RPG, gameplay is split between exploration and a turn-based battle system. Exploration is rewarding, for the most part, and makes clever and humorous use of the fact that the characters and the world are made from paper. Mario can eventually fold himself into a paper plane to reach distant platforms or even a paper boat to cross water. Combined with Mario’s jump and Hammer, these skills offer an almost Metroid-esque sense of progression, slowly opening the map up to the player as they progress through the story.

It’s not just about Mario, however. He’s joined by seven other companions throughout his journey, each with abilities that will help Mario solve puzzles. For example, Madame Flurrie can blow a gust of wind to lift paper off the stage that might be covering an exit. The puzzles themselves aren’t incredibly tough, but there is a new hint system in place, accessible with a single button press, which gives a subtle indication of what to do or which character to use to progress. It’s an entirely optional assist system but given how obtuse some of the solutions are, less experienced players will no doubt appreciate it.

Mario and his companions can take their abilities into battle, too, and it’s here where Thousand-Year Door’s simple but engaging battle system makes itself known to the player. You’re always using Mario, but one of the other companions can be switched out on the fly. Mario can Jump, use his Hammer or use the powers of his collected Crystal Stars to do damage. Each of the companions has their own abilities, too. The aforementioned Madame Flurrey can use her wind abilities to blow enemies off the battlefield, for example. Attacks require the player to input an additional string of buttons or time a specific input to maximise damage, keeping things more interesting than just watching you trade blows with enemies.

While it’s a simple battle system, the little intricacies give The Thousand-Year Door a greater sense of strategy. Koop’s shell attacks, for example, can’t hit flying enemies. Mario will take damage if he tries to jump on an enemy made of fire. Some spikey enemies will hurt any characters who try to attack them from the side. There’s a wealth of things to consider when approaching your turn in battle, and it keeps things interesting.

AMAZON HAS THE CHEAPEST COPY AT $69 WITH FREE SHIPPING

The other more unique aspect of battle is that it’s presented like a stage show. The better you perform in battle, the greater your audience grows, which means your star power will recover faster. That brings with it other obvious caveats, though – hecklers may try to throw items at you from the audience and require you to make a swift counterattack. Or it might be a Toad trying to throw you a healing item, which you smash with your Hammer anyway out of quick reflexes. Sometimes, if you don’t finish a battle in time, a Bob-Omb in the audience might explode and wipe out your entire audience. It’s a unique aspect of the battles in Thousand Year-Door that, while a random element, toes the line gracefully between being fair and unfair.

The progression of your characters is handled as you’d expect – levelling up in each battle will allow you to increase your health, magic (called flower points here) or badge points. Companion characters can learn more abilities by finding shines in the game world. But what are badge points? They’re undoubtedly the coolest aspect of Thousand-Year Door, as the more badge points you have, the more badges you can equip, allowing you the flexibility to build your Mario the way you want.

Throughout the game, you’ll find badges that will grant specific attributes to Mario and can be switched on or off through the game’s menus. Some are simple; they might increase your partner’s or Mario’s health points. Others might increase the likelihood of an enemy missing their attacks. Some even increase damage dealt but increase damage received. Some even allow Mario to jump on a spikey or firey enemy without damage. Each badge takes up a certain amount of your badge points, so you’ve got to get a mix that fits within your maximum badge points or increase your badge points entirely by levelling up to build a Mario you want to take into battle. It’s an easy and flexible system that perfectly complements the typical levelling system.

Some small but notable changes to The Thousand-Year Door make it flow better than previously. Companions can now be switched out by holding a shoulder button and selecting them rather than sifting through a menu. It’s a minor change that improves the game flow significantly. Similarly, while there is some pretty gnarly backtracking in the game, it’s alleviated by a new fast-travel system. It’s not quite as modern as you’d expect, but a new room connects all of the visited locales through pipes, which is a godsend in the closing hours of the game.

But while these improvements are significant, it’s disappointing to discover that the Troubles system hasn’t had a similar makeover. “Troubles” serve as the game’s side quests, and while they do a great job at padding The Thousand-Year Door’s already reasonable runtime, they’re never quite more than running from one area, grabbing an item, and bringing it back to someone else. I would be okay with this kind of lax side quest design if the game lets you accept more than one at a time and complete it at your leisure. But it doesn’t. You have to complete one before you can pick up another. The game even charges you a fee (in-game, obviously) to cancel, which seems unnecessarily harsh.

But we can’t talk about a remake without talking about the presentation. The Thousand-Year Door pulls out all the stops to make the game look bigger and better than ever. The framerate is less than the original, but the depth and detail gained more than makeup for it. For example, an area that was a set of green plains in the original game has been given depth and life with denser foliage, dynamic lighting and other little visual touches to make it look so much more alive. They’re significant changes to the game visually, which is bound to be controversial, but they’re such drastic improvements that they make the original game look unfinished by comparison.

A similar approach has been taken to the game’s audio, too. The Thousand-Year Door addresses one of the major criticisms about the original—the repetitive soundtrack. Almost tripling the number of tracks on the soundtrack, there’s a piece of music for every area, every major battle, and every major boss battle. Add to this a Banjo-Kazooie-esque mumble track for every speaking character, and you’ve got a game that you’d almost forget came out in 2004.

And that’s really what a good remake should do. Make you forget and remember, all at the same time. Paper Mario: The Thousand-Year Door delivers on that premise in droves.

The post Paper Mario: The Thousand-Year Door Review – Anything But Flat appeared first on Press Start.

Influencing many games that came after it, including the now-legendary BioShock, it’s hard to argue against just how influential System Shock was. Despite this, I’ve always found it inaccessible. Not physically – there were always ways, both legal and not, to play the game. But even if I did, the game was riddled with game design choices that were only acceptable in the era it was first released. Now, Nightdive has above and beyond their usual remaster efforts with a full-blown remake. 

While the remake made its debut last year on PC, its console release has now been a year old, and while there are some improvements, it’s still an authentic-as-hell remake—for better or for worse.

The game’s story remains essentially the same. You play as a hacker whisked away to a space station called The Citadel. It’s a rich sci-fi tapestry that is the perfect backdrop for an adventure like this. While onboard, some story-related beats transpire, and you awaken on the space station six months later. But something has changed – the robotics are all reprogrammed to kill, and the remaining humans have been mutated by an unknown virus being researched at the station. To make matters worse, a megalomaniac AI called SHODAN has spearheaded the whole operation and will do everything in its power to stop you from escaping.

The story’s plot is tried and true, no doubt similar to something you’ve played, watched or read before. But how it’s presented feels unique and, at the time especially, was something you could only experience in a video game. The crux of the story is told through audio logs strewn throughout the station, as well as radio chatter from survivors, and some of it is optional and can be missed if you don’t explore enough. It makes exploration rewarding, finding another piece of the puzzle to slot into place, but it’s a less direct approach to storytelling that not all will appreciate.

In fact, that’s a resounding theme throughout System Shock today. It’s not quite a game that everyone will be able to appreciate, even if its influences are far and wide. The remake is similar to the original formula in that regard, happy with throwing you into The Citadel to solve most problems and let you uncover the mystery on your own. It’s a far cry from today’s waypoint-laden design style, but it also gives players great space to explore The Citadel at a pace that works for them.

For those who want a more modern experience, there are a slew of difficulty modifiers that will change up the experience to better suit your style. Waypoints can be optionally toggled on or off. The number of enemies and how much damage they do can be adjusted either way to your liking. There are even options to independently adjust the difficulty of puzzles if you so wish.

They’re small changes that will significantly impact how the game flows and will no doubt assist many players in experiencing everything that makes System Shock special without the friction of thirty-year-old game design getting in the way. If it means more people get into the series, I’m all for it. Of course, the original experience is still there if you choose the right combination of difficulty modifiers. It’s a win for all, really.

The console update brings with it a few changes, both minor and major. A minor but appreciated change is to switch up the gender of the hacker you play as. It’s a welcome addition, given how little their identity plays into the plot. The significant changes are broader reaching and ironically borrow one aspect BioShock games have always struggled with – the final boss and ending were incredibly anticlimactic. With the console update, that’s been fixed here in System Shock, though I’m not sure the final result will please everyone. But I personally found it to be a step in the right direction.

But if this is your first time playing this remake, this is the best way to do it, even if some of the issues persist. Coincidentally, many of my problems with the remake correspond directly with Brodie’s (always) scintillating and penetrative insights, so I recommend reading his review from last year. And while I adore System Shock for its influence on some of my favourite games, the age of the game is starting to show in some areas, especially the combat and the tedious death animations that play out for a little too long between lives.

I’ve mentioned previously that System Shock is less inclined to hold players’ hands, and that’s especially obvious with the progression. Progression isn’t tied to abilities like other Metroid-esque games but rather with items like keycards and activities you pull off in cyberspace. A psychedelic and deliciously cyberpunk-laden touch, breaking new ground in a physical representation of cyberspace is a joy. At least in the original game, these cyberspace sections were obtuse and unruly, so it’s appreciated that they’ve been touched up in the remake with a distinctly psychedelic and cyberpunk feel.

But of course, System Shock is a remake, so it goes without saying that the visual overhaul the game has received is nothing short of immaculate. It’s seriously impressive how much of a step up from the original game it is, but at the same time, it pays such a strong tribute to the style of the pixelated original. While more modern trimmings like atmospheric lighting and moody fog effects are used to bring The Citadel to life, the texture work here makes System Shock look unique. At a distance, the game looks modern, but up close, it is pixelated, almost like voxels, to create this new-but-old look. It’s a clever way to simultaneously make a game look old and new, and the extent to which it’s used here is unlike anything I’ve seen before.

On the same note, the music and voice work are top-notch. While the original music is painful to listen to, the new soundtrack is eerie, oppressive and ominous. It perfectly encapsulates what the System Shock experience should be. On a similar note, Terri Brosius, who has voiced SHODAN in all games so far, returned to record new lines for the menacing AI and is as sinister as ever. It’s easy to see why she’s so revered as an antagonist with such a powerhouse voice artist behind her.

And that’s the thing about System Shock. It’s everything a remake should be – true to the spirit of the original especially. But despite some earnest improvements in some areas, there’s no changing some of the unavoidable friction that comes with bringing a thirty-year-old game back.

The post System Shock (Console) Review – New Tricks, Old Habits appeared first on Press Start.

Warner Bros. announced today that the much-awaited Mortal Kombat film sequel has finally got a release date.

While the original film was filmed in Adelaide, the sequel was filmed on the Gold Coast across the last couple of years, with the writers strike shutting down production halfway through. Filming wrapped in January 2024 but many were left wondering when the film would actually see the light of day.

Today, Warner Bros. has announced that the film will hit cinemas on October 24th 2025 and will include an IMAX run too.

Of the original cast, everyone looks to be returning, including Lewis Tan as the controversial original character Cole Young.

The original cast included Sonya Blade, Jax Briggs, Raiden, Liu Kang, Shang Tsung, Scorpion, Kano and Kung Lao, with all characters set to appear in the sequel in some capacity. Similarly, Joe Taslim is set to appear again but, sticking true to the game lore will reappear as Noob Saibot.

New additions to the cast include Karl Urban as Johnny Cage, Tati Gabrielle as Jade, Adeline Rudolph as Kitana, Martyn Ford as Shao Kahn, Desmond Chiam as King Jerrod, Ana Thu Nguyen as Queen Sindel and Damon Herriman as Quan Chi.

Given the list of characters being added, it looks like the film will take place in Outworld, specifically Edenia, though nothing has been confirmed yet.

If that’s not enough of a media crossover for you, don’t forget that we got our first look at Homelander in Mortal Kombat 1 last week.

The post The Mortal Kombat 2 Film Now Has A Release Date And Is Coming To IMAX appeared first on Press Start.

Head of Amazon and MGM Studios Jen Salke has announced today at Amazon’s Upfront event in New York that a brand new Tomb Raider television series is in the works following rumours circulating as early as last year.

The series is helmed by none other than Phoebe Waller-Bridge, creator of the critically acclaimed series Fleabag as well as contributing to writing for Solo: A Star Wars Story and the latest James Bond film No Time To Die.

The production is described as an “epic” and “globe-trotting” series by Salke.

On the series being picked up, Waller-Bridge said “If I could tell my teenage self this was happening I think she’d explode. Tomb Raider has been a huge part of my life and I feel incredibly privileged to be bringing it to television with such passionate collaborators. Lara Croft means a lot to me, as she does to many, and I can’t wait to go on this adventure. Bats ‘n all”

The announcement comes off the back of Amazon announcing a slew of other video-game adaptations, including the upcoming God of War adaptation and the critically acclaimed and very popular recently released Fallout adaptation.

No casting or release details were confirmed as of yet.

If that wasn’t enough Tomb Raider for you, there’s a Netflix animated series in the works and a new game coming at some point in the near future, too.

Lara for days, it seems.

The post A Tomb Raider TV Series Has Officially Been Greenlit By Amazon appeared first on Press Start.

For reasons unknown, when Paper Mario: The Thousand-Year Door was released for the Gamecube over two decades ago, I skipped it. I’ve no idea why. I’ve played and enjoyed every Paper Mario game since, but I have been missing the classic RPG feel that the original game had. I’ve often been told that The Thousand-Year Door is the best Paper Mario game, so the remake Nintendo announced last year excited me. But now, having spent considerable time with the game’s first three chapters, it’s easy to see why people love The Thousand-Year Door so much. It’s easily Paper Mario (or even Mario) at its most charming and, more importantly, most playable.

The game begins in Rogueport, a harbour town rebuilt atop the ruins of a city previously destroyed in a cataclysmic event. Since Rogueport was built, rumours abound that the fortunes of this lost civilisation were still hidden underneath the town, behind the titular Thousand-Year Door. Looking to increase her royal wealth, the game opens with Princess Peach exploring Rogueport before coming across a magical treasure map. Excited to find the treasure it leads to, she mails it to Mario, and is subsequently captured by the villainous X-Nauts. Intrigued, Mario eventually heads to Rogueport and picks up where Peach left off.

When originally released, The Thousand-Year Door was lauded for its engaging plot and witty writing. Based on what I’ve seen in the game’s first three chapters, I’m inclined to agree. While previous Mario RPGs have come to be known for their acerbic tone, I was surprised to discover just how self-aware the writers were this far back in Nintendo’s history. Even better, while Peach and Bowser both play secondary roles in the story, their subplots poke fun at the traditional roles they usually play in a Mario narrative.

But enough about the writing – how does a game that’s ostensibly twenty years old play today? Surprisingly well. The game opens with Mario in Rogueport, allowing him to explore the town and discover all the staples you’d expect in an RPG. An item shop, an inn to rest, a place to upgrade abilities and a gaggle of NPCs to interact with. It’s not long before Mario meets the feisty Goombella, a peppy street-smart female Goomba who teams up with Mario after he saves her from danger. She’s also keen to discover the treasure, and the two of them head into the sewers to find the Thousand-Year Door and learn how to unlock it.

Thousand-Year Door will partner Mario with a bunch of characters, and I was privy to see four of them in the opening chapters. Goombella serves as the perfect starter for Mario. She is a student at the local university with a thirst for knowledge, so most of her abilities revolve around telling Mario about the world or gleaning information about enemies. She also behaves slightly similar to Mario in battle too, which is where most of the action happens in Thousand-Year Door.

The battle system in The Thousand-Year Door is turn-based. Mario and one of his partners are pitted against a whole range of enemies from Mario’s storied history. Attacks can be carried out from above (such as Jumping) or from the side (with Hammers or Shells). Enemies are designed so that only some approaches work. Side attacks will miss flying enemies, for example, while spikier enemies can’t just be jumped on. It’s an incredibly simplistic battle system, but that’s hardly detrimental to Paper Mario’s combat. Instead, it’s easy to grasp and much less overwhelming than other games of this ilk.

The crux of your skill comes from timing button presses, stick flicks and the like to maximise your damage. Tapping A, just as Mario or Goombella lands on the enemy, often means another attack will be performed, which will cause more damage. Other times in battle, environmental threats may randomly rear themselves, and buttons must be pressed to dodge them. You can even tap a button at the right time to reduce the damage of an incoming attack, or if you’re brave, tap a different button at the perfect time to dodge the move and do damage back to your attacker.

AMAZON HAS THE CHEAPEST COPY AT $69 WITH FREE SHIPPING

The little elements like this make The Thousand-Year Door’s turn-based battle system more engaging than you’d expect from a game of this era. Mix into this the assortment of partners I was able to recruit in these early chapters, and you’ve got a simple but effective battle system that never gets old. Koops, for example, can withdraw into his shell and take out a row of enemies on the ground. Flurrie can blow enemies out of the stage entirely. Even the baby Yoshi you recruit can swallow enemies and spit them back out at another, damaging two enemies simultaneously.

Each of your partners has uses in the main world, allowing you to explore and find items that can be exchanged for powerful upgrades. It’s less carefully considered than a Metroid game, but some light elements exist. For example, Flurrie can use her wind blow ability to blow pieces of the environment away. At the same time, Yoshi allows Mario to cross larger gaps with his signature flutter jump. The exploration is engaging, and doing so leads to better abilities for both you and your party members, so it feels rewarding, too.

Each chapter of the game has Mario and his team looking for one of the seven stars to help unlock The Thousand-Year Door. There’s a good mix of scenarios here to play through in the early chapters – two of them have dungeons to explore, which feels decidedly old-school, while another has you working your way up a fighters tournament to win the star. The latter, Chapter 3, is particularly interesting. It was initially slightly uninspired, but the great conspiracy-laden plot underneath it made it more engaging than I’d thought it would be.

But that’s where my concern lies with the rest of The Thousand-Year Door. The first two chapters felt well thought out, with a strong dungeon design and interesting puzzles underpinning them. The third chapter feels like a palate cleanser, for sure. Still, its uninspired format has me wondering if The Thousand-Year Door maintains it’s engaging momentum from beginning to end. I haven’t played the original, in case it wasn’t immediately obvious, and won’t just go and search what happens on the internet, but it’s the only real negative of my whole experience after playing these early chapters.

That being said, there are some great little moments where you play as Peach and Bowser separately, exploring their side of the story and doing a great job of shattering the typical roles they play in a story like this. But given that I’ve played so little of their parts, it’s hard to comment on them in this preview.

But what’s immediately apparent is the care and attention that’s gone into restoring this twenty-year-old game into what it is today. The art style in the Paper Mario games was already strong, so a resolution increase was never going to be too dramatic a change from other remakes we’ve seen in the past. But The Thousand-Year Door’s remake treatment feels careful and considered. Everything is bright, crisp and colourful and the new musical renditions enhance the whole experience rather than betraying the spirit of the original. It’s a great visual showcase that performs well, too, and it’s a boon for the game, especially given previous games released late in the life cycle of the Switch.

While I’m only scratching the surface with my time with The Thousand-Year Door remake, it’s shaping up to be one of my favourite games both in the Paper Mario series and on the Switch. The humour is genuinely funny, and the story engages to the point where I can’t stop playing. This is all in great addition to the fact that the game itself is incredibly playable too. After so long, and hearing so many stories, it’s refreshing to discover that The Thousand-Year Door’s reverence can be chalked up to more than nostalgia; it’s, in fact, a genuinely good game. At least so far.

Paper Mario: The Thousand-Year Door launches for Nintendo Switch on May 23rd 2024. You can pre-order it now on Amazon for $69 with free shipping and pre-order price guarantee.

The post Paper Mario: The Thousand-Year Door Preview – A Charming Beginning appeared first on Press Start.

This is the last time I’ll rattle on about this, but it’s truly wild to think that the first Dragon’s Dogma game was released twelve years ago. The series has long been a cult classic amongst players, with many appreciating its unique take on a popular genre. Now, Dragon’s Dogma II is making an earnest effort to right all the wrongs of its predecessor. While it’s not as immense a step as expected, it does everything the first game promised before its budget was infamously slashed. Even better, it does more.

Dragon’s Dogma II takes place in a parallel world, far removed from the Sicily-inspired realm of Gransys from the original game. You play as an Arisen, somebody who has had their heart taken by a dragon and, in exchange, granted immortality. As lore dictates from the previous game, your immortality comes with a catch – you must slay the dragon who took your heart and subsequently claim the throne of your kingdom for yourself. To complicate matters, somebody has infiltrated the royal family of your kingdom, claiming to be the Arisen themselves, but we both know that’s not the case.

At a glance, the first Dragon’s Dogma had a relatively typical story you’d expect to find in any medieval adjacent, fantasy-tinged game like this. But as the story progressed, the game quickly pivoted to some unexpected places. Dragon’s Dogma II follows a similar story arc. However, I will always argue that the series has always been about the journey rather than the destination. The plot of Dragon’s Dogma II is still easily a step above the original game, but it’s not the reason I find this sequel so compelling.

That’s because the open world presented by Dragon’s Dogma II is rare. It’s not intent on bombarding you with checklists to complete, instead throwing you out into the world with minimal guidance. You’re free to explore and make your own discoveries. This is bound to be contentious, especially amongst less seasoned players, but it does give Dragon’s Dogma II a sense of discovery that we’ve previously seen in the original game, more recent Zeldas or even Elden Ring. There are options to seek guidance for those who need it, but other than that, you’re on your own.

Such a design choice dovetails wonderfully with the strength and conviction of Dragon’s Dogma II’s open-world design. The best open worlds are designed to be distracting in all the right ways, and Dragon’s Dogma II is no exception. While the roads between your objectives are long and winding, there was never a moment where I was genuinely bored while exploring. Every journey felt just like a journey, and seeing what I’d discover next was always exciting. It’s just as well that the open-world design is so strong because while there are fast travel options, they’re expensive and rare opportunities that betray the intention of this rich world.

The Pawn system is undoubtedly the most unique aspect surrounding Dragon’s Dogma II. The pawns return here, and they’re much better implemented. The process is the same. You still design your own pawn, who accompanies you throughout your adventure. You can then recruit two other guest pawns to round out your party of four. Guest pawns are interesting – they are other players’ pawns pulled from online, but they don’t level up as you and your main pawn do. Instead, you’re encouraged to switch them out as you see fit or to better suit your quest.

It’s an interesting system that has a clear benefit to the player in that it allows them to be creative in creating a party that’s to their preference, rather than being forced upon with party members they don’t like. But it feels like a misstep that there’s no cross platform functionality here – especially given that Capcom has their own Capcom ID system and has already implemented the functionality into games like Exoprimal previously.

Besides that, pawns are a stark improvement from what they were in the original game. You can teach them specialisations that alter their behaviour or give them perks they never had before. They can still travel to other players’ worlds to widen their knowledge and use that knowledge to provide tips on quests you’ve yet to complete. They fight better. They interact with players in a much more natural way. They’re an all-around improvement. Though there was an odd moment where the pawns would repeat the same lines to each other early on, the pawn system in Dragon’s Dogma II is a marked improvement from the original game

Of course, the question will be raised. Wouldn’t online co-op be better? Part of me says yes. I’d love to explore this world with my friends. But the pawn system is so unique and untapped that removing them completely would strip Dragon’s Dogma II of such an important and compelling part of its core identity.

The quality of the quests has seen an overall improvement, too. While some vague instructions are communicated to the player, there’s more choice in how you approach some of them. They’re not wide-reaching consequences, but they give a greater sense of weight to how you think about them. That being said, it’s a bit disappointing to see the world lack such reactive force, especially in the face of much more dated games like Bethesda’s output managing to do so, but on the upside to this you’ll rarely find yourself in a situation where you accidentally hit somebody in the face and then get locked out of a quest line because of it.

AMAZON HAS THE CHEAPEST SHIPPED COPY AT $99 WITH FREE SHIPPING

When you’re not exploring or completing quests, you’ll be fighting with your vocation. Vocations are your class – they affect which weapons you use and which abilities you can learn. In the sequel, experience is awarded at a standard rate, but switching vocations adjusts your stats to complement whatever vocation you want. This is a significant change because it allows you to switch up your vocations regularly to find what works for you, without under-leveling others. Once again, this is a great design choice because the vocations are incredibly fun to play.

While some vocations are removed or completely changed from the original game, the newer additions make up for it. The Mystic Spearhand is a snappy melee class that sees your Arisen wielding a double-edged spear. Playing as them feels more like a Devil May Cry game than anything else. Trickster is an oddly passive vocation but offers a nice alternative to the tried-and-true Mage or Sorcerer vocations. Warfarer is the most interesting. It’s only available in the post-game and combines all the vocations, requiring more skill and finesse to handle but offering you all the weapon types. They’re all great fun to play around with, and while some are missing from the previous game, the new additions and changes to existing vocations more than make up for it.

The robust vocation system and improved pawns complement each other to offer a strong foundation for combat in Dragon’s Dogma II. It’s a combat system that’s easy to grasp but difficult to master. More importantly, the flexibility afforded by vocations coupled with the creativity allowed by the pawn system in building your party means that you’ll always be able to find an approach that works for you. There’s no better feeling than climbing the wings of a Griffon to bring it to the ground with a well-placed stab in the face so that your party can have at it. Or even hitting it out of the sky with a precise strike of lightning magick. The combat is fun to play, which is just as well because it forms so much of the experience.

Despite this, series veterans may be disappointed to hear that there isn’t much new regarding the bestiary in the world of Dragon’s Dogma II. While there are over twenty different types of enemies to conquer and variants of many of them, too, only a few here’ll surprise returning players. However, the number of enemies combined with the potential variants and even environmental opportunities in battle still keep things fresh. But those expecting massive surprises with the bestiary beyond what’s already been revealed will be disappointed.

That being said, Dragon’s Dogma II does its best to try and correct the errors of its predecessor in earnest. There’s not much I’m permitted to speak about in terms of post-game content, nor would I want to ruin the surprise, but take my word for it that the post-game content is much more interesting than the Everfall in the original game. Though, before you even get there, there’s much to do in Vermund, Battahl and the areas in between. My first run took around 40 hours, but I could have taken my time to do more and most definitely will in the new game plus mode that unlocks after completion. It’s a big game that’s incredibly inviting but never feels like an arduous chore to explore.

But of course, we have to address the elephant in the room – performance. Dragon’s Dogma II is the first RE Engine game to make the jump to a true open world, and with that comes many performance-related challenges. The game officially runs at an “unlocked” frame rate, but on consoles that commonly means anywhere between 20fps in cities and a more solid 30 fps when exploring the rest of the map. It’s a stark difference from Capcom’s other games and will no doubt put off some players, but the ambition and strong artistic direction more than make up for it.

In my previous preview, I addressed concerns about the voice work being flat, and in some instances, it is. But hearing all of these voices come together in a busy city often means the less interesting ones fade into the background. It’s definitely not the most compelling performance from a cast, but it’s still serviceable. The music, on the other hand, is phenomenal. The slower ambient pieces that play do great work in establishing this vast world, while the biblically-dramatic tracks that play as you hunt down monsters help make every encounter feel suitably epic.

Dragon’s Dogma II feels like what the original Dragon’s Dogma should have been. It’s a sprawling and inviting open world that’s just begging to be explored, peppered with dangerous creatures who owe themselves to delectable encounters. The combat is enjoyable, and the vocations are all great choices, no matter how you play. While there are bound to be some teething issues as you become accustomed to its harsh world, it’s more than worth the endurance to live the heady experience that Dragon’s Dogma II offers.

The post Dragon’s Dogma 2 Review – An Adventure That’ll Take Your Heart appeared first on Press Start.

It’s easy to forget that Alone In The Dark came before and inspired Resident Evil. Despite this, as a series, Alone In The Dark has always struggled to find the level of notoriety in the genre that Resident Evil and even Silent Hill have. It’s not for lack of trying, though – there have been five games, two questionable films and an even more questionable multiplayer spin-off. And yet, it still remains relatively obscure. But Alone In The Dark has always deserved a shot, so it makes sense to go back to where it all began and try to capture the now ravenous horror audience that we know exists. Thankfully, the 2024 remake of Alone In The Dark is perhaps the best the series has ever been, but not without some caveats.

Alone In The Dark follows an in-debt detective, Edward Carnby, played by David Harbour, as he investigates the disappearance of a man named Jeremy Hartwood. He’s been hired by Emily Hartwood, played by Jodie Comer, who happens to be Jeremy’s niece. The two travel to Decerto Manor, a home for the mentally fatigued, where they discover that not everything is as it seems and that a strange journey awaits them both.

Keen fans of the original Alone In The Dark will notice a change to the plot already – Jeremy is missing rather than having committed suicide. This is one of the many changes the Alone In The Dark remake makes in its narrative. At the surface level, it’s a rather typical Lovecraft-inspired story that was more unique in 1992 than now. But with this remake, directed and written by the mind that brought us SOMA, certain aspects have been twisted in an interesting way. I don’t think it’s anything mind-blowing, but it is still at odds with your expectations, especially if you’re intimately familiar with the original.

It’s well documented that the team behind this remake was inspired by the success of Capcom’s much-beloved remakes of Resident Evil 2, which especially shows here. That game is played from an identical viewpoint, inviting you to explore Derceto Manor to solve the mystery of Jeremy’s disappearance. That means finding items and clues to solve puzzles while occasionally fighting strange creatures. The inspiration is liberal, so if you know how a modern Resident Evil game plays, you know how Alone In The Dark plays, too.

A genre staple both then and now, Alone In The Dark allows you to choose Edward or Emily as the playable character at the beginning of your journey. Each character treads the same ground in the opening moments, with some slight divergence as the story ends. But it’s not two sides of one story, but rather just one side of the story flipped to suit whoever you play as. If you play as Edward, then Emily will become the more level-headed companion played against Edward’s more zany sense of investigation. If you play as Emily, the roles are reversed. It’s a weird choice that leaves me unsure which version of events is canon, given that both characters can inhabit either role in the plot.

From a gameplay perspective, Emily feels like the “easier” option between the two. Her pistol is automatic and reloads faster than Edward’s revolver. However, these differences are negligible given how inoffensive the combat can be—more on that later. The other key differences have to do with how the story plays out, but how much you’re invested in this story in the first place will really determine if you see value in playing through the game multiple times.

That’s because the order of events you experience as Edward and Emily are identical up until the final few hours or so. A personal subplot for each character is neatly slotted into the story, but beyond that singular level, everything else in terms of locales you’ll visit and paths you take through the game is identical. There are some interesting subtle differences – characters will treat Emily differently to Edward in conversation, given that Edward is an outsider. Still, these feel relatively superficial in the big scheme of things. However, Emily’s playthrough feels less cryptic (even if it’s still outlandish).

Your time in Decerto harkens back to the original Alone In The Dark. You’ll explore the mansion while solving puzzles, finding keys and piecing together clues. At its core, it’s a rather typical Survival Horror experience. However, exploring Decerto Manor does lack the tension of classic settings like the RPD or Spencer Mansion. On the one hand, I appreciated that Decerto felt like an old-school haunted house, threatening but never truly dangerous. On the other hand, it means that tension dissipates quickly when you realise you’re almost always safe in the manor while exploring.

As you progress, Edward or Emily can use a talisman to transport themselves somewhere outside of Decerto. Sometimes, that’ll be another area, another point in time or sometimes even into physical representations of other characters’ psyche. This is where most of the action happens, and they’re an excellent way to break up the slower-paced exploration when you’re in Decerto. But it’s also where most of the combat happens, and this is, unfortunately, where Alone In The Dark falters.

MIGHTYAPE HAS THE CHEAPEST COPY AT $69 PLUS SHIPPING

While some interesting things happen on a narrative level with Alone In The Dark, the combat leaves much to be desired. The problem is that the enemies lack variety and, more crucially, don’t ever threaten the player much. There are around four enemy types that you’ll fight through the entirety of the campaign, too, with each looking like some kind of oily skeleton with a random appendage attached. There’s a flying enemy and two boss-like enemies, too, but overall, the enemy variety could be more inspired and much better.

This is incredibly disappointing because the combat feels weightless, too. This is owing to the shoddy audio, which is often out-of-sync with your weapons firing. There are “opportunity” weapons peppered throughout the environment as a single-use item, but throwing them lacks the weight and the heft you’d expect. There’s even a wide range of melee weapons to pick up, one at a time, which are also breakable. But hitting enemies feels like so much of a gamble, given how shoddy hit detection can be, that it’s rare to even bother trying.

I don’t know why horror games insist on implementing breakable melee weapons, especially given how many of the horror greats don’t do so, but it is still frustrating rather than what I can only assume developers think will be tension-creating. Even aiming feels off because even when lining up the perfect shot, they’ll sometimes just not hit an enemy for whatever reason. These aspects could be finetuned with some updates, but in its current state, the combat feels like the game’s weakest aspect. It’s a shame, too, because conceptually, there are plenty of options for the player, but none are well-honed.

With the choice of two playable characters and these differences in story and lore, there is a degree of replayability in Alone In The Dark, but it’s very dependent. My first thorough run, where I took my time and explored everything, took around seven to nine hours, give or take. But like any classic survival horror game, on my third run, I could quickly finish it in half of that. In addition, there are collectibles called Lagniappes that unlock other endings if found. Some Lagniappes can only be found as Edward, others as Emily, so if you want the full (and deliciously meta) story, it’s worth replaying to seek these out. But, once again, it depends on how much you value story first in games and whether this plot grabs you in the first place.

From a presentation standpoint, Louisiana is well-realised in Alone In The Dark. The incredible city and all its surroundings are immaculately captured, drawing from the Southern Gothic influences the team was clearly going for. Decerto Manor looks great, but the bayous you’ll trudge around in are incredibly atmospheric. Other urban locales, like shipping yards and even the streets of New Orleans, are also incredibly moody, with fog and dingey streetlights really setting the scenes for these moody locales. Unfortunately, there are some invisible walls that do take away from the immersion, but otherwise, the world of Alone In The Dark is incredible.

On a similar note, the original score is also fantastic. Many of the game’s key moments are supplemented with catchy, sombre jazz that really gives the game a unique feel and ties in directly with its unique setting. The result is admittedly something that’s not scary but still feels unsettling, similar to an episode of Twin Peaks.

The voice work, on the other hand, is less of a surefire hit. David Harbour sounds just like David Harbour, with no range whatsoever. It can be distracting to hear Hopper during some of the more seminal moments of the story. On the other hand, Jodie Comer’s performance can best be described as her sleepwalking through the script, which is a shame. I appreciate that celebrities might bring more attention to the game, but they feel so at odds with the rest of the atmosphere that I’m not sure it was worth it.

Despite its shortcomings, I still enjoyed Alone In The Dark when all is said and done. It’s compelling enough that I played it through three times, even if at no point did I ever feel any sense of fear or terror. It’s short enough to be replayable but significant enough that I didn’t feel shortchanged. However, with clear inspiration taken from Resident Evil 2 comes a clear invitation to compare, and in that regard, it ultimately comes up short. But still, if you’re a fan of horror and games like Resident Evil, or more specifically, psychologically themed horror like The Evil Within, you’ll no doubt find something to love in Alone In The Dark’s uniquely charming setting and atmosphere.

The post Alone In The Dark Review – Good Ol’ Southern Hospitality appeared first on Press Start.

I have always felt that Dragon’s Dogma has been a criminally underrated game. The original world of Gransys was a joy to explore, and the open-world design, while different from the status quo at the time, was an acquired taste. But even after some attempts to make things more streamlined with a reissue, I still feel that Dragon’s Dogma deserves a bigger audience. The fact that we’re even getting Dragon’s Dogma II is honestly a bit of a godsend for me, and after spending some time with the game in a hands-off preview, I’m keen to see how things are progressing for what will no doubt be one of the most unique open-world experiences this generation.

The preview allowed us to watch just under half an hour of footage from a non-final version of the game. The footage is a mix of gameplay and exploration that gives a good idea of how this parallel world, rumoured to be four times as large as the original game’s Gransys, is set up and plays out. The original game was harshly criticized for its narrative shortcomings, and while the gameplay more than made up for it, it’s interesting to see strides in correcting that apparent fault.

I say this because, in so much of this footage, it becomes clear that the questlines in Dragon’s Dogma II will be more involved than the original game. The original game had many quests where you’d go to an area to find an item and then return for your reward. Dragon’s Dogma II adds more decision and nuance to the quests you’ll carry out, with choices about how you’ll finish them. Whether this plays out in a more profound way than just experiencing a different ending for that specific quest is hard to tell, but it’s a step in the right direction.

In the footage I watched, the Arisen was approached by a merchant who had lost a treasure known as The Jadeite Orb. He was panicking because he was meant to deliver this to his client but lost it. The twist, however, is that the merchant planned to run away with the treasure anyway and keep it for himself. We then run into the client, who doesn’t care so much about the merchant but more about the orb itself. We don’t see how the quest ends – but it’s easy to see where it’s going – keep the orb for ourselves, give it to the client for a hefty reward or do the right thing and let the merchant build a new life for himself with it. It’s a small taste of how quests will play out, but it is a nice improvement over the original game. 

Other quests are less sinister in nature but allow the player to choose how they play out. In other footage, a father asks the Arisen to retrieve a grimoire to help them improve their lives. As we leave that room, that man’s family asks us to recover the grimoire but to keep it away from the father as his obsession with it has been driving the family apart. Once again, the conclusion to the quest is not seen, but it highlights that there will be some decisions to be made, even in side quests.

It’s always hard to tell in a hands-off demo of a game this big, but other little touches help to make the world of Dragon’s Dogma II feel so alive. Quest givers will run at the Arisen and approach them to give quests. Other times, there will be comments from your pawns (more on them later) on what’s just transpired in a conversation with a quest giver. While the settlements look quieter than you’d typically see in a game of this ilk, every character on-screen seems to be doing something or reacting to the player somehow. It feels alive. And that’s before you’ve even seen what can happen in combat.

But before we get into combat, we have to talk about Pawns. They act as AI companions – and while you couldn’t play directly with your friends in the original game, you could recruit their pawns into your party to help you fight in a pseudo-co-operative mode. Pawns return in Dragon’s Dogma II. They’re called Pawns because they are bonded with the playable character, and their AI seems excellent. Bringing a pawn with knowledge of the area you’re about to embark on is crucial for exploration, but they also synergize well with your character in battle. Will they ever replace a strong supporting cast? Probably not, but they are such an integral part of the Dragon’s Dogma DNA that I couldn’t see them not being included.

AMAZON HAS THE CHEAPEST COPY AT $99 WITH FREE SHIPPING

It’s exciting to report that the fast travel system from the original game could be making a return. It’s, once again, hard to judge with a hands-off demo, but one segment of footage confirmed the return of Ferrystones and Port Crystals. In the original game, you could use (expensive) Ferrystones to return to a Port Crystal of your choice. It’s a controversial decision to return to this style of fast travel, but if Itsuno’s latest comments are to be believed, it’s a good indicator of his confidence in the world his team has built. Too much reliance on fast travel could be boring, as previous games have proven, so restricting it in service of an exciting world with great emergent events harkens back to games like Elden Ring or even, obviously, the original Dragon’s Dogma.

But how have I even spoken this much about Dragon’s Dogma II without mentioning the combat. It looks juicy. The footage I watched showed off many of the newer classes, but the Mystic Spearhand Is the one that caught my attention most. It’s a fast-playing style that equips your Arisen with a bladed quarterstaff as they zip around the battlefield, taking in enhancements from their pawns and dealing massive damage to the game’s huge variety of enemies. The combat is incredibly fast-paced, and I’m glad to see it both looks like the original game but still manages to feel bigger and better than the original. 

This especially feels so when you look at how the magick combat looks to be coming along, too. In a battle with a lich, the team were throwing all kinds of spells at the enemy to the point that I almost couldn’t see what was happening. The spells in Dragon’s Dogma II are spectacular and fantastical. One character peppered the air with lightning orbs while others were summoning giant ice glaciers from the ground. It’s some great-looking spell-casting that makes me excited for what I can achieve with the right builds and combinations of spells.

And yes, Magick Archer still looks broken as all hell, but hopefully, other vocations will be buffed to compensate for that. 

I come away from this time with Dragon’s Dogma II with minor concerns that both focus on the same aspect of the game – the presentation. Capcom has not said much about how well the game will run beyond the fact that the framerate is “unlocked”. It will feel odd to play a game built in RE Engine in anything less than 60fps, but it does indeed feel like that might be the case here. Of course, the footage I watched wasn’t final, but it’s still less of a focus from Capcom in the weeks leading up to launch. And finally, the voice work feels incredibly flat. This probably won’t change in the lead-up to launch, but it was noticeable enough that I felt the need to mention it.

But those are minor blemishes on what looks to be another win for Capcom. It’s a joy to see them branching out from the typical Monster Hunter and Resident Evil offerings to offer something unique. It’s a sequel, but it’s a sequel to a game that’s barely been touched when it comes to the type of open-world experience it offers. And that’s why the prospect of Dragon’s Dogma II is so exciting – because the original game was so underrated and so special, and now, we’re about to live through all of that again.

Dragon’s Dogma II launches for PlayStation 5, Xbox Series X|S and PC on March 22nd. You can pre-order it now on Amazon for $99 with free shipping and pre-order price guarantee.

The post Dragon’s Dogma 2 Preview – An Exciting Look At An Exciting Sequel appeared first on Press Start.

While opinions are divided on them, I’ve always had great fun with the Outlast games. The way they managed to make the found-footage genre of film into a playable experience is to be commended, but I also have always enjoyed how they’ve never shied away from a gory and violent horror experience. Now, you can enjoy that experience with friends in The Outlast Trials. While it’s lacking in some areas, I have enjoyed playing it immensely.

The Outlast Trials is a prequel. You play as a nameless test subject kidnapped by the Murkoff Corporation to participate in mysterious experiments. You and up to three other subjects partake in “therapy”, a set of trials, to assist Murkoff in collecting data on said experiments. It’s a much more barebones plot than previous Outlast games, though there’s some juicy lore to delve into through files you can find if you wish.

Despite this change in direction, The Outlast Trials stays true to the spirit of the original games. Each trial has you exploring a run-down, dilapidated location while evading aggressive stalkers. And while you won’t be filming things with your night-vision equipped camera this time, each test subject has been graciously provided with a set of night-vision goggles for each trial.

The most significant new addition here is the sanity meter. Certain enemies and traps will decrease your sanity meter, eventually causing your character to hallucinate. Non-existent enemies might randomly appear and rush at you – and while they’re predictable at times, they’re always startling. Lose all of your sanity, and you’ll encounter Mr Skinner, a fast stalker who will drain your health if you stay still for too long. It’s a clever twist, requiring you to sprint to get away from him and, without a doubt, alert the real threats in the room or mess up a perfect run.

When you first boot the game, you’ll be in a communal area where you can see other players online. Each player has their own room, which can be decked out with cosmetic upgrades, but you can also upgrade your character here. It’s also here where you’ll decide which trial to go on together. The Outlast Trials has five maps to mess around in, each housing a main trial and two to three smaller challenges. Trials are lengthier, taking anywhere between an hour and an hour and a half to complete. Challenges are smaller, often remixing the map to the point where it feels new anyway, and usually takes between thirty minutes to an hour to finish. There’s a nice variety of objectives on offer here, too.

The main trials themselves are where I had the most fun. They have multiple phases, and they feel like an elongated sequence from films like SAW. In one of them, my group and I had to “bring judgement” upon a judge by infiltrating the courthouse, finding and disposing of evidence exonerating him, and chasing and executing witnesses due to testify against him. All while being chased by a maniacal police officer. It’s one of the many tense but intense moments in The Outlast Trials that I really enjoyed.

Challenges being shorter doesn’t make them an inferior experience, though. The objectives are often simple but twisted to fit the edgier Outlast aesthetic. In one, our group had to track down five bottles of bleach to pour into a soup to feed misbehaving children. In another, we had to feed loud children to a grinder, each child making noise whenever we picked it up, alerting potential stalkers. Mind you, they’re cardboard representations of children, but the twisted and macabre nature of the activities and what they represented still made things unsettling.

Most of the challenge comes from completing these objectives while evading a stalker. There’s a nice variety of other enemies in the game, too. Some will wait in a hiding spot, pouncing on you when you try to hide in the same spot as them. Others are more aggressive, listening for any sound you make and honing in on you when they discover you. You can use their sensitivity to noise to your advantage, distracting them by throwing objects, but doing so often means using an item you might be able to use to defend yourself later.

And while I loved the general gameplay of The Outlast Trials, I did feel there could have been a greater degree of variety in the more prominent psychopaths that headline each of the trials. Everyone who played the previous Outlast games will remember the psychotic groom who wanted to castrate you. The naked twins with the oddly shaped heads. Even Marta from the second game, if only because she looked like she wandered into Temples Gate straight from an Elder Scrolls game. The two significant psychopaths included in The Outlast Trials are great additions to the Outlast canon, but seeing them reused on later trials was a tad disappointing. I recognise these things take time to create, but it removes fear from a situation when your enemy is one you’re already familiar with.

Your performance is ranked at the end of each trial, and it’s incredibly satisfying to replay said trials and see yourself improve as you increase your therapy level and unlock new abilities for your test subject. These improvements come in the form of a rig, prescriptions for your character, tools, skills and medicine.

All of these upgrades assist you in approaching each of the trials. Rigs are a permanent, rechargeable item that might stun an enemy or allow you to see through walls. Prescriptions are perks that allow you to run faster, slide or even hold extra items. Tools are equippable items like slippers, which dampen your footsteps across broken glass. Skills are permanent perks that assist you in-game – such as recharging your stamina quickly while you hide. It’s a robust upgrade system that isn’t needlessly complicated and fun to coordinate with friends so that you have a team that complements each other’s abilities and weaknesses.

And yes, multiplayer is still surprisingly tense. You can team up with three other people to attempt the trials together, with the experience scaling up by increasing the number of objectives or enemies around the map. Multiplayer is easily the most fun to be had here. It can be so fun to explore together, but there are other little tricks that the games play on your team, too. In multiplayer, enemies dress up as your teammates and slowly approach you with a slightly misspelled gamertag above their heads, lulling you into a false sense of security before attacking you and running away. It’s a great little touch that encourages you to stay together and keeps tensions high even when sharing the experience with others.

When you’re done with the first round of trials and challenges, future ones are opened up that increase the difficulty while simultaneously upping the rewards. They’re remixed versions of the levels and encounters you’ve already played, but it can be fun to take your fully upgraded rigs into these and try to overcome them. It’s incredibly satisfying to see how much you’ve grown by even being able to overcome these more complex challenges, too.

In terms of presentation, you already know what to expect if you’ve played an Outlast game before. The environments are dimly lit and run-down, dripping with atmosphere and subtle lighting that helps set the mood. Of course, you can expect all kinds of gore to be peppered around each of the levels. Bodies, limbs, heads and even genitals often can be seen lying around the floor. It’s edgy, but I appreciate that the team held nothing back when designing some of these macabre maps.

The sound design is similarly solid, offering tracks that heighten the tension, especially when hiding from a potential stalker, but also not being afraid to just let the sound of errant footsteps build the tension. I’ve talked about how, in the past, other horror games haven’t been able to read the room when it comes to music, but The Outlast Trials gets it so right. The voices of some of the psychopaths, especially Mother Gooseberry’s abusive puppet, are mainly a standout.

The Outlast Trials is a fun little experiment that enhances the now-typical Outlast formula rather than evolves it. Multiplayer is a hoot, bringing a sense of tension that I was surprised to feel in a group setting. While this new focus inevitably means that solo players will feel shortchanged, The Outlast Trials still feels true to the spirit of the previous Outlast games without a compromise that a multiplayer focus would typically bring. It’s a fun time, and I can only hope it will continue to grow as time goes by.

The post The Outlast Trials Review – For Glory And Gore appeared first on Press Start.

Don’t Nod is in an exciting place, juggling projects that feel lower-key like Life Is Strange but still dabbling in the action genre with games like Vampyr and Remember Me. It’s been six years since Vampyr was released, and while I saw the good in the game, it didn’t resonate with me as much as I’d have liked. Banishers: Ghosts of New Eden feels like a natural continuation of what Don’t Nod was trying with Vampyr and is a delightful surprise in many ways.

Banishers: Ghosts of New Eden takes place in the late 1600s. You play as a pair of ghost hunters, or banishers, named Red and Antea. Antea is training Red as an apprentice, but they’re also wildly in love. During the game’s opening mission, Antea is blindsided protecting Red and fatally wounded by a ghost they’re hunting. Now, accompanying Red as a ghost herself, Antea must find a way to defeat the evil that murdered her. It’s more complicated, too, as there are questionable ways to bring Antea back, though not without consequence.

Choice permeates so much of Don’t Nod’s games, and Banishers is no exception. From the get go, Red must swear an oath to Antea over whether he’ll move her spirit on or sacrifice the living to bring her back. That sole underlying choice will represent a dilemma for most players – partly because Red and Antea’s relationship is so well-defined. They have typical but charming banter, significant character development between them, and a strong connection that endears them to the player.

That strength of relationship is why Banisher’s choices can be so hard to make. Every case you investigate gives you a choice on how to bring closure to those involved, giving options to move spirits on peacefully or violently. Other options allow you to sacrifice the living, bringing Antea one step closer to lying with you once more. It’s obviously never as clear-cut as you’d hope, though. While I was keen to uphold the oath I made with Antea, I genuinely felt awful about some of the questionable choices I made along the way.

These choices have obvious ramifications as the story comes to a close, but smaller consequences of them are felt throughout the world. Settlers might snidely remark about a choice you made in a previous quest or might even raise the price of their goods if you killed somebody they were friends with. It’s subtly consistent but not in the forced black-and-white manner that most games use.

THE CHEAPEST COPY: $89 WITH FREE SHIPPING FROM AMAZON

But while choice and story are important to the experience, it’s especially remarkable to discover just how well Banishers plays. If you’ve played Vampyr, it’s obvious this is a spiritual successor to that game in many ways. But Banishers feels bigger and grander in ambition than Vampyr ever was and is better in every way. An open-world adventure at heart, Banishers has you travelling through a haunted America, solving both minor and major hauntings as you journey between settlements. It feels, in many ways, like a road film of sorts. Except that the downtime between the major cases is just as compelling as the conflicts you’ll engage in during the main questlines.

This is because Banishers’ world is densely designed and a joy to explore. Distracting in all the right ways, there were many times when I’d inadvertently take the wrong path and loop around to a settlement I’d just left. Along the way, I’d find various activities to complete and open shortcuts that helped me get around the area quickly. Perhaps that’s one of the greatest compliments I can pay to Banishers – there are fast travel options, but the world is so satisfying to explore, and so inviting that I rarely feel the need to do so. It feels like a meaty, Ye Olde style Metroid, which is a combination of period and gameplay design that I never realised I’d needed until now.

When you’re not investigating, you’ll be fighting. Both Red and Antea can be switched between in combat to rack up massive damage through combos. Red can attack with his sword and rifle, while Antea can attack with supernatural punches and abilities. Combat essentially rewards proper synergy between Red and Antea – freezing someone with Antea and finishing them off with Red will reward you with massive damage, for example. But all the abilities and options contribute to a combat system that flows nicely.

Combat is thus supplemented by a skill tree, which offers a great degree of flexibility to your approach. Each ability or perk provides greater synergy between Red and Antea. Red might be able to recover more energy for Antea to use with his rifle, for example. But each point on the skill tree, once unlocked, can be alternated with another skill, allowing you to change up your build as you go. This flexibility doesn’t feel as cheap as a full respec, and once again features a good sense of choice, as opposed to skill trees in some other games that end up filled out anyway.

Optional content is split into activities and haunting cases. Activities are fairly typical open-world fare – you fight off a wave of enemies, find a spot of treasure to dig up or even find items to remove a curse from a treasure chest. But the haunting cases easily stand out here. They’re smaller stories that focus on the settlers at each settlement. They’re all well-written and nuanced tales that’ll once again have you making difficult choices at the end of each. They don’t feel like side quests either and are just as compelling as the main quests.

That being said, how much you engage with them is up to you. The main story path itself would take most players between twenty to thirty hours to finish, but you can easily double that if you take your time and explore everything that New Eden has to offer. It’s worth mentioning that this isn’t a case of quantity over quality either – the sheer variety of objectives and cases helps keep things fresh. This isn’t as vast as your typical Ubisoft open-world or games like Spider-Man or Horizon. Instead, this is a much smaller but denser world to explore.

Surprisingly, Banishers: Ghosts of New Eden is also a looker. The artistic direction is strong, but even the performance is rock solid. There’s a ton of detail in visual density and ambient sound work to help sell this bleak but real world of New Eden.

But nothing rises above as much as the dark ambient original score in Banishers. It employs ominous and gloomy notes to create a melancholic atmosphere. It’s the perfect soundscape for your adventure through a world that’s slowly succumbing to a haunting curse, but also for the depressing fact that Antea is dead, and you might not be bringing her back. The entire adventure is made better by great performances, too – Russ Bain and Amaka Okafor are worth calling out for their often cute and playful chemistry together as Red and Antea, respectively. They really do carry so much of the adventure.

The post Banishers: Ghosts Of New Eden Review – A Hauntingly Beautiful Adventure appeared first on Press Start.

I often need to remember that Mario and Donkey Kong aren’t best friends. Though it can be hard to keep track, depending which games you play. But it all began as a rivalry – when Donkey Kong ’81 pitted Mario against DK to save the ever-endangered Pauline. Mario vs. Donkey Kong always felt like a natural evolution of that game and Donkey Kong ’94. However, given its origins on the Game Boy Advance, it’s arguably aged poorly.

Now, Nintendo has given their famed remake treatment to the original game. While it’s an impressive redux, it wasn’t the most decisive game to begin with.

The plot of Mario vs. Donkey Kong is simple but effective. Donkey Kong eyes off the mini-Mario toys he sees on television, heads to the shops to buy one, and is disgruntled when he discovers that they’re sold out. Angry, he steals many of them from a factory across the road, and Mario feels compelled to help. He chases Donkey Kong along several worlds, rekindling a rivalry as old as time. It does a good enough job of providing context to Mario’s shenanigans, even if I’m not totally sure what Mario’s motivations are.

But being a puzzle platformer, I don’t think the story matters all that much to a game like this.

Mario vs. Donkey Kong is a remake of the Game Boy Advance game initially released in 2004. Serving as a spiritual successor to the original Donkey Kong game, the game’s general premise has you playing as Mario as he unlocks doors and rescues the stolen mini-Marios. Most levels are smaller than a typical Mario course, and many usually only take up the screen with minimal scrolling. But each requires a mix of careful platforming and puzzle-solving to complete. It’s a slightly slower-paced experience than your typical Mario game, but much more thought goes into how you move through each level.

The remake brings two new worlds that are slipped between the original six. Each world is subsequently split into six standard stages, with a mini-Mario stage and a Donkey Kong stage finishing off each world. The worlds are varied enough, with new elements introduced in almost every stage. The new worlds haven’t just been tacked on either – they’re slotted in at a point where they feel appropriate, at least from a difficulty perspective.

Most levels are split into two zones. The first requires Mario to collect a key and take it to a door to unlock the next zone. The second zone in each level is more straightforward, requiring you to make your way to the mini-Mario and collect it, ready for your showdown with Donkey Kong at the end of the world. I previously called Mario vs. Donkey Kong a puzzle platformer, and that’s because a lot of challenges come from discerning the best route through each level. Pressing one switch might open one route but close another, for example, so you’ve got to work out the correct order to get through properly.

The other two level types are the mini-Mario and Donkey Kong levels. One of each of these level types appears in each world. The mini-Mario level has you leading a group of mini-Marios through a level, ensuring they get to a toybox without taking damage or falling off the course. The mini-Marios can’t be controlled directly, so these levels can be especially tense if you’re going for the perfect rank. They’re fun diversions from the typical level structure, but I would’ve loved to see more of them in the game overall.

Donkey Kong levels are just what they sound like – levels where you confront Donkey Kong himself. Most of them usually require dodging Donkey Kong’s attacks before finding an opening to attack. Attacking three times ends the match and opens up the next world. In my preview last month, I’d hoped that these encounters would become more involved, and I wasn’t disappointed by the battles that played out in the rest of the game. They’re not particularly difficult, mind you, but they feel like great expansions on the classic battles fought in the original Donkey Kong all those years ago. The new battles are a nice inclusion and a highlight for me.

THE CHEAPEST COPY: $59 WITH FREE SHIPPING FROM AMAZON

While it can be easier to get through the earlier stages, later stages in the game really ramp up the tension. Every level is timed, at least in Classic Style mode, and a lot of the higher-level play comes from perfecting and mastering the tight platforming options. This is one of the first games to popularise the movement mechanics that would later become staples in Mario games, including backflips and the triple jump, so it makes sense that they would feel almost perfectly implemented here. It’ll be interesting to see the kinds of tricks players come up with to clear some of the tougher levels in record times.

When you’re seemingly done with the game and finished with the first eight worlds, the game flips the script and introduces “Plus” variations of those worlds. Each of these is similar to the ones prior, but the objective between the original stage and the mini-Mario stage is merged. In each stage, Mario must escort a mini-Mario holding a key to a locked door. They’re a clever way to combine the objective types of the previous worlds, but the fact that they’re a visual retread of previous worlds feels disappointing. Expert Levels are included too, and there’s a new Time Attack mode as well which rounds out the already robust content offering.

This remake also brings a newly added co-op mode, allowing a second player to take on each stage as Toad alongside Mario. Toad moves slightly faster, but his presence enables a degree of multitasking not possible in the original game – presuming you can communicate with whoever you’re playing with. Being able to save time is a godsend in some of the more complex levels, and even though co-op adds a second objective to each stage, it perhaps still doesn’t feel like as significant a concession to the utility you gain by adding a second player.

What I enjoyed about the co-op, however, is that it adds a great degree of manoeuvrability to the already tight platforming. Toad and Mario can collide, meaning that you can jump off of one another to reach heights you couldn’t reach just playing solo. Once again, it breaks the game somewhat, but the fact that two players can quickly burn through the same pool of lives together balances everything out.

The original game utilised a scruffy, crunchy-looking rotoscoped, pixelated look that served the smaller screen of the Game Boy Advance well. While I’ve had many an argument with friends about whether the original visual style had “charm” or “character”, the new style of Mario vs. Donkey Kong is much better. It looks like classic Mario, and seeing all these enemies that only appear in this game but in the typical Mario-looking art style keeps things fresh.

Surprising to me is that the soundtrack has been overhauled similarly. The original music in the game felt loud and tinny, once again, perhaps owing to the console it appeared on, but the new music is a vast improvement and he remake has smooth, jazzy music that fits the mood of the levels better. They’re fantastic updates that, while not faithful at all, fit the overall presentation much more.

Mario vs. Donkey Kong is a strong remake of a game that would only appeal to some. But the visual improvements, difficulty options and addition of co-op make it much more accessible to a broader range of people without compromising on what made the original so popular.

The post Mario Vs. Donkey Kong Review – A Much Needed Update appeared first on Press Start.

It’s been nine years since Batman: Arkham Knight graced our screens and I’d been so eager to discover what Rocksteady were making next. They were seemingly unstoppable – sure, Arkham Knight was controversial for how it handled its titular character – but the Arkham games themselves have always been some of my favourites. Now, Rocksteady is flipping the script and pitting you against the Batman you’ve previously spent so much time with. As a merry band of four villains hunting the Justice League, Suicide Squad: Kill The Justice League sounds like a good time on paper. But unfortunately, it’s just not that simple.

Five years after Arkham Knight’s events, Suicide Squad: Kill The Justice League opens with Brainiac invading Metropolis. He’s brainwashed the inhabitants of Earth, including several key members of the Justice League, and plans to take over the planet in little to no time. Desperate, Amanda Waller brings together a task force of Arkham Asylum inmates, a Suicide Squad, to kill the Justice League and stop Brainiac before he takes over the planet. It sounds like your typical fare, and that’s because it is.

Purely from a story perspective, I enjoyed Suicide Squad more than I thought I would, but for the most part, the story eventually treads familiar steps towards multiverses that just feel so tiring at this point. What I do appreciate about Suicide Squad is that it really nails the tone and comedy that you’d expect from a story like this. The villains are bad guys; they’re not watered down to be anti-heroes; they do bad things to good people and only do good things for selfish reasons. Having the Justice League be the villains and seeing them kill people is an interesting way to portray characters you’d typically see as heroes, although some may find such a choice controversial.

The game is structured like any typical open-world game, borrowing more from the likes of Spider-Man and, of course, the previous Arkham games. There’s a slew of missions to undertake and progress the story with the eventual goal to kill the Justice League and stop Brainiac. You can select one of four characters at launch – Harley Quinn, King Shark, Captain Boomerang or Deadshot – but you can switch among them between mission as you see fit. Some missions offer better XP if you use a specific character, usually if said character has some tie to that mission narratively, but you’re free to play whoever you want from beginning to end.

This freedom and flexibility are welcome, and even if you play solo, the other squad members will still accompany you on missions as bots. This works better than Gotham Knights because it means you’ll still get the banter between all four squad members rather than this disjointed feeling that results from sending one person out to missions at a time. It’s a clever design choice because it means the whole game is designed to have four characters at any given moment, so dropping in and out to play with mates is a breeze, kind of. But more on that later.

Each of the characters plays slightly differently, with unique abilities for both combat and traversal. Mostly, you’ll be travelling through the city from objective to objective. Everyone has their own way of getting around Metropolis, usually from a piece of technology stolen from members of the Justice League. Harley uses Batman’s grapple gun, while Boomerang uses a speed-modulated boomerang to teleport around the place. Each of these abilities is unique, but some are clearly better than others. King Shark’s is the best for covering long distances quickly, leading to him being my primary choice for the brunt of the campaign. Given how vital traversal is for getting around, it’s frustrating that there are clear winners and losers here with each player’s different movement options.

But while the characters are strong and the abilities are mostly well-considered, there is one integral aspect where Suicide Squad falls down, and that’s the flow of gameplay. I could generally come to terms with the fact that this is a game where the loot-heavy, games-as-a-service model has been shoehorned somewhere it doesn’t fit. But the truth is that Suicide Squad suffers from the same pitfalls many of these games have when they first launch – there’s just not enough content here to keep things interesting.

AMAZON HAS THE CHEAPEST SHIPPED COPY AT $89 ($149 DELUXE)

The main storyline is filled with the same objectives, like defending a point, collecting things from one to move them to another or even surviving for a certain amount of time. I kept progressing through the main storyline, hoping it would throw something new at me. Unfortunately, those hopes were never met. This kind of repetitive gameplay loop can be alleviated by playing with friends, as the banter between you will no doubt fill in those slower moments, but at its core, Suicide Squad just feels repetitive. And that’s before considering the fact that the final boss battle is gated behind a grind for one of the game’s five separate resources. Not a great time.

Some moments, especially the boss battles against the titular Justice League, stand out amongst everything else. But these are too few and far between in the grand scheme of things. The monotonous repetition of the same objective types between them made me wonder if it was even worth it at the end of the day. Given the strength of the encounters and scenarios you’d uncover in the Arkham games, especially the first two, it’s an incredibly baffling outcome.

This is all exacerbated by the game’s pacing feeling off. After each mission, you’re shown a results screen displaying what equipment you’ve unlocked and how each player did compared to their friends. Then you’ve got to spend time sifting through different versions of the same weapon, working out which has better stats or suits your playstyle more. I appreciate the flexibility this system affords the player. But on the other hand, I spent more time watching gear unlock and choosing gear than I spent in each mission. And that’s a problem. You can’t even change gear mid-mission, which seems odd.

Thankfully, many of the server issues that players were reporting had been ironed out at the time of writing. I played two of my sessions online with two different friends, and that experience was seamless and worked pretty well. Crossplay works without a hitch, especially if you’ve previously played games from WB together. It’s pretty impressive that four people can free roam around this massive map without limitations, though it’s equally disappointing to discover that my friend’s progress wasn’t saved due to a glitch after a three-hour session. This may be fixed in the future, but that’s the state of the game right now.

One thing I can’t fault Suicide Squad for, however, is the artistic direction and technical achievement that the game represents. While the artistic style separates it squarely from the Arkham games it apparently takes place in the same world as, it’s a bright and vibrant aesthetic that I can’t fault. The character facial animations are especially impressive – sometimes, it’s hard to forget that these zany villains aren’t real people. Besides King Shark, of course. The game doesn’t offer display options, though it does play at 60 frames per second out of the box, which is a nice contrast to Gotham Knights. It’s a good-looking game with some extraordinary-looking characters, but Metropolis just doesn’t feel as vibrant or lived-in as Gotham.

It’s tricky to talk about Suicide Squad without sounding too negative. The truth is that it was engaging enough to hold my interest from beginning to end. But the motivation was the hope that the game would slowly show me something more, and it never does. That being said, it does a great job at bringing some lesser-known DC characters into the mix, and I’m sure that some diehard fans will be keen to see these different takes on characters they’ve come to know and love. Unfortunately, no amount of solid writing, subversive story beats or even sharp comedy can cover up the repetition of the core gameplay loop, which is a shame.

The post Suicide Squad: Kill The Justice League Review – A Controversial Closer appeared first on Press Start.

[Editor’s Note: Silent Hill: The Short Message contains themes such as teen bullying, self-harm and suicide. These themes are also mentioned in the below. Player and reader discretion is advised.]

What even is Silent Hill at this point? I’m not entirely sure that even Konami knows. But I can respect them for trying something different and, much like Capcom, trying to revive one of their crucial legacy IP. Yesterday at the PlayStation State of Play, Konami revealed to the world that Silent Hill: The Short Message was available right then and there, and for free. It’d been a long day, but when I was done with The Short Message, I walk away with mixed feelings and question where the series is going.

In The Short Message, you play Anita, a depressed teenager visiting her friend Maya in a run-down, dilapidated apartment building in Kettenstadt, a fictional city in modern-day Germany. The town is in economic disrepair following the COVID pandemic, and many urban developers have abandoned the area. Once she arrives there, she collapses and wakes up to find the apartments abandoned. Armed only with her phone, receiving random text messages from two of her friends, she delves deeper into the building to find her friends, but of course, not before unpacking some kind of unexplored trauma.

The Short Message is a heavy story; make no mistake. It deals primarily with themes of suicide – the apartment building that the game takes place in is a well-known suicide spot in Kettenstadt – but it’s also a story that’s been conceptually done to death in Silent Hill games prior. The Short Message makes the common mistake of basing its entire identity around Silent Hill 2, dealing with the sins of the past and the protagonist coming to terms with them. If you didn’t like any of the occult elements in the other three games, then fret not because, besides some light allusions in the files, this is all derived from Silent Hill 2. For better or for worse.

As a game, you play as Anita through three chapters as she explores the apartment building for clues about where her friends are. In a relatively novel approach, she’s armed only with her phone. It also acts as her torch, lighting the area in front of her. For the most part, The Short Message has you moving through areas while reading files as you uncover the mystery presented to you. It’s an incredibly basic take on a horror game that you’ve more than likely played in the last ten years.

Sometimes, The Short Message pivots to be more interactive, but it’s not as interesting as I’d have hoped. In the first two major “gameplay” moments, you’ll be chased by a monster while you try to move your way through the world. The depth of mechanics in these moments has you luring it to one area before running around it to the next. The final area is slightly better but borrows heavily from games like Outlast, requiring you to collect five photos from an open area before moving on to the ending. It’s definitely stressful, but it’s missing something important – fun.

Horror games have recently enjoyed a resurgence, but The Short Message feels like those games everyone made when Amnesia became popular. No combat, exploration-based affairs where the only real conflict is running from something. It’s a shame, too, because The Short Message has so much potential. It’s a subject matter that’s rarely dealt with in games, and it’s got an especially novel gameplay gimmick in the mobile phone, but it’s seldom utilized. You’ll receive messages, press a button to send a canned response and go from there.

Games like Blair Witch have flirted with using text messages to instill dread in the player, but The Short Message falls flat. I’ll commend the game for having hardly any jump scares – such a temptation is rarely ignored in most amateur horror – but just as I was unnerved that, for example, the person I was texting in the game wasn’t perhaps a person, the game almost dropped that thread entirely. Not to mention the missed opportunity to have some physical horror – the game looks good enough to reflect things off of the phone screen – but this is never used to any effect to scare the player effectively.

Instead, The Short Message is trying to emulate the minimalist approach of the Resident Evil 7: Beginning Hour demo or, you guessed it, the now legendary P.T. demo. It’s almost shameful just how much The Short Message is lifting from both these experiences, but unfortunately, the art direction of anything besides the otherworld is lacking, and the horror element just isn’t there. I wouldn’t know if you didn’t tell me this was a Silent Hill game.

Perhaps encouragingly, but also not, is that the only things that stand out most about The Short Message are the elements created by the minds that worked on the original games. Masahiro Ito, primarily known as the creature and art director for the first four games, has returned to create the new overworld area and the Sakura Tree monster that chases you through it. While the overworld is familiar, the Sakura Tree monster proves that you can do new things with Silent Hill that still fit the brief. On the same note, Akira Yamaoka, renowned for the music from the series, returns to compose some fantastic tracks that really highlight just how much of his work helps set the scene for a Silent Hill game.

But beyond that, there’s really not much to The Short Message. It’s a serviceable free experience in which I’m sure many will be able to find something to enjoy, especially given the price of entry, but it just doesn’t feel like Silent Hill. That name brings with it so much baggage and so much expectation that I, once again, have to wonder just what Konami’s plan is with the series, given that it clearly has nothing to do with the town or the occult. It feels like they’re just throwing all kinds of concepts at a wall to see what sticks and using the Silent Hill name to get eyes on their projects.

So, while I like elements of The Short Message, it is yet another half-step forward for the franchise. Granted, this is better than whatever Silent Hill Ascension was trying to be, but after experiencing both Ascension and The Short Message, I’m not exactly sure if this Silent Hill monkeypaw is worth it.

Silent Hill: The Short Message is available now, for free, on PlayStation 5.

The post Silent Hill: The Short Message Had So Much Potential But Falls Short appeared first on Press Start.

Another February, another State of Play from Sony and PlayStation. But this one felt different. Over forty minutes long, Sony have promised an extended look at both Stellar Blade and Rise of the Ronin, confirming both for this year.

But what else? Sony rolled out everything else they promised – more games for both PS5 and PSVR2 and, of course, some special guests.

The New Trailer For Death Stranding 2 Clarified Less, As Expected, But Still Looks Intriguing

The game looks great from all fronts, and it looks like Higgs is back as one of the main villains, although he’s dressed as Amelie for some reason and wields an electric guitar that shoots electricity. I’m in.

After Years, We’ve Finally Got A Look At Silent Hill: The Short Message And It’s Out Today

The full game is free to play and is available today. It’s a first-person experience that’s entirely different from the other Silent Hill projects previously announced.

We FINALLY Got Another Look At The Silent Hill 2 Remake

A lot more extended looks at the gameplay, combat and exploration were shown. It’s not got quite the polish of the recent Resident Evil remakes but I’m still keen to give it a shot. But unfortunately it’s still got no date.

We Got A Much Longer Look At Rise Of The Ronin

The game is shaping up to have a good mix of shooting and swordfighting as you’d expect a Team Ninja game to have. It’s releasing on March 22nd 2024.

An Until Dawn Remake Is Coming

The game has been rebuilt and enhanced for PlayStation 5 and PC, and is out this year. It’s being developed by a new studio in the UK called Ballistic Moon.

Another Trailer For Helldivers II Was Shown

I’m sure if you liked the original you’ll like this. It’s still on track for February 8th 2024, which is next week wow.

As Promised, A More Extended Look At Stellar Blade Was Shown And It Was Dated Too

The action RPG is from a new Korean studio and features fast and frenetic gameplay, massive bosses to defeat, and a unique world to explore between battles. It certainly looks like one for the Souls fans. It’s out on April 26th 2024.

A Sonic Generations Remaster Is On The Way With A Bit Of An Edge

It’s called Sonic x Shadow Generations, and as you’d expect, they’ve added Shadow to the proceedings. 2 edgy 4 me. It’s out in Autumn 2024. Which is basically the third quarter of the year. And it has a new campaign where you play as Shadow.

Zenless Zone Zero Is Coming To PlayStation 5

The game is an “urban action role playing game” that takes place in an apocalyptic setting from the developers who brought us Genshin Impact and Honkai Star Rail.

Dave The Diver Is Coming To Consoles With Godzilla Popping Up Too

Lay eggs in my mouth Goddy. It’s out in May 2024.

If You Like Vampires, You’ll Like V Rising

The game is billed as a Vampire Action RPG Survival Game with castle-building elements. Groundbreaking. It’s out in 2024.

Ken Levine’s Next Game, Judas, Is Giving BioShock

The game is looking to play around with planted memories but still looks like the games that put Ken Levine on the map all those years ago. It’s out at some point, but confirmed to be in development for PlayStation 5.

A Brand New Metro Game Was Announced For VR

It’s out this year and is inspired by the Metro 2033 novels.

Legendary Tales Was Announced For PSVR2

It’s an action RPG designed for PlayStation VR2. It’s a dungeon crawling adventure that features multiplayer options.

Yet Another Dragon’s Dogma II Trailer Was Shown

Lots of great magic, huge beasts to hunt and talking Lion priests. What’s not to love? The game is still on track for a March 22nd release.

Kojima Also Announced That He’s Working On An Action Espionage Game After Death Stranding 2

It’s early days, obviously, but there’s more details to come in the future. I hope they call it Wood Equipment Liquid or something.

The post Everything Announced At The February 2024 PlayStation State Of Play appeared first on Press Start.

Mario vs. Donkey Kong. A conflict as old as time. Like Godzilla and King Kong. Kind of. Putting whatever that non sequitur was aside, Mario vs. Donkey Kong is a series that I’ve, once again, not had much time with before now. But the series was popular enough to spawn several sequels that I’ve always managed to evade completely. Now, Nintendo is dipping into its back catalogue for yet another remake. And this time, it’s Mario vs. Donkey Kong. But while this isn’t quite Mario as you know it, it’s still just as compelling and more evidence that Mario is genuinely one of gaming’s most versatile protagonists.

Mario vs. Donkey Kong feels decidedly old school in its execution, bringing back the classic rivalry between Mario and Donkey Kong as it was all those years ago. However, these games are a far cry from what you’d typically know Mario or Donkey Kong for. Instead, Mario Vs. Donkey Kong is more akin to a puzzle platformer. As Mario, you’ll employ a mix of platforming skills and puzzle-solving to finish each level while collecting items. Of course, there are a few showdowns with Donkey Kong, too.

Being a remake, there’s much new here from when the game first appeared on the Game Boy Advance. Two new worlds have been added to bulk up the already meaty level selection to over 130. A casual mode is now optionally available, removing the time limit on each level and allowing Mario to get hit a few times before dying, rather than ending things with a single hit like previously. The entire game can now be played co-op, with the second player taking on the role of Toad. And finally, the game has had a visual overhaul, removing the dated “fake 3D” sprites of the original and instead employing a more traditional Mario style.

Booting the game, it’s immediately apparent how much effort has gone into visually overhauling the style coming from the Game Boy Advance original. Where the original introductory cutscene was a choppy selection of still images and animations, the introduction for Mario vs. Donkey Kong has been overhauled into an entire cinematic. Whoever is doing the cinematics for Nintendo, between Super Mario RPG and this, has to be commended. These beautifully realised sequences are so crisp and high fidelity that I almost forget that I’m playing on seven-year-old Switch hardware.

The cutscenes set up the premise of the game. Donkey Kong is spending his time off watching television when he sees an advertisement for the new Mini Mario toys. Wanting one immediately, he rushes to the store, sees that they’re out of stock, and steals a whole bunch of them from a conveniently placed toy factory across the road. Mario is compelled to get the toys back for some reason, so he chases Donkey Kong through multiple worlds, retrieving one toy at a time. It’s a bizarre story with the same charming sense of comedy as a Disney-Pixar film or Looney Tunes cartoon, but it gives enough context for what happens in the game.

THE CHEAPEST COPY: $59 WITH FREE SHIPPING FROM AMAZON

The game itself is simple. Mario vs. Donkey Kong is level-based. Each level has two parts – one in which you find a key and another in which you find the Mini Mario toy. The goal of each area is to navigate without dying, usually through some gimmick that is generally unique to that level. Each level is a smaller scale than a typical Mario level, with most of them fitting on a single screen, but they’re arranged in such a way that even just discerning the correct path through them can be a puzzle in and of itself.

For this preview, I played the first four worlds of the final game. The first three are just as you’d expect, given that they’re the same as the original game. The fourth was one of the two new additions created for this remake. Each of the worlds has its own respective theme to keep things visually interesting, and, as I mentioned before, each level inside these worlds introduces a new gimmick or enemy to keep things fresh mechanically. There’s nothing as outlandish as the gimmicks introduced in each level of Super Mario Bros. Wonder, but they are notable enough that I never found myself bored of the proceedings.

After completing each world, two additional levels unlock, which are structured differently from the majority – a Mini Mario stage and a Donkey Kong stage. The Mini Mario stage is like a modern take on Lemmings – Mario must lead a squad of Mini Mario toys to a toybox, protecting them from a hazardous environment and creating a path for them. They’re a tense but fun distraction from the main game, and your success in these levels directly feeds into the Donkey Kong level that follows.

The Donkey Kong levels serve as the “boss battles” of the game, pitting Mario against Donkey Kong in a fashion reminiscent of the original Arcade game. The number of toys you save in the prior level influences how many times you can get hit in the Donkey Kong stage before perishing. Each encounter I’ve played so far is fun, but they are simple, and I would love for them to be a tad more challenging.

The star of the show here is easily the co-op, however. The second player can drop in and out with minimal fuss, and adding a second player adds a second key that needs to be found in each level. But the second player adds so much – saving time by hitting switches that Mario would usually have to backtrack to hit himself. There’s even physics here that makes some of the platforming almost trivial – with the right timing, Toad might be able to jump just high enough for Mario to bounce off of him to skip some tricky platforming. It does feel like it breaks the game somewhat, but the fact that you’re sharing lives means that you’ll probably see the game over screen more often than if you were just playing solo balances it out a bit, though I guess it’s dependent on your partner.

While I’m only scratching the surface of Mario vs. Donkey Kong, I’m excited to see how much it continues to evolve and expand as I head further into the rest of the game’s levels. I’m also incredibly excited to try out the “Plus” levels, which are supposedly a more difficult post-game rendition of the main game. But for now, my brief time with Mario vs. Donkey Kong has impressed me, even if it’s a more straightforward affair than other Mario games, and the co-op is an absolute game changer that shouldn’t be underestimated.

Mario vs. Donkey Kong launches on February 16th, 2024 exclusively for Nintendo Switch. Amazon has physical pre-orders for $59 including shipping.

The post Mario vs. Donkey Kong Hands-On Preview – A Promising Puzzler appeared first on Press Start.

I will continue saying it. Ace Attorney games are some of my favourites in Capcom’s repertoire. They take what is typically a mundane event from real life and turn the drama up to eleven to create something engaging that draws you in. They are some of the best games in the genre, with a degree of interactivity that adventure games typically eschew. However, three games have yet to receive the remaster treatment that the rest of the series has. That all changes now – and while these aren’t quite the most popular of the series, they’ve received the most care and attention in the jump to newer platforms.

Capcom has previously remastered many Ace Attorney games, including the original Ace Attorney trilogy and the pseudo-spin-off series The Great Ace Attorney. Apollo Justice: Ace Attorney Trilogy brings the first Apollo Justice game, Dual Destinies and Spirit of Justice, to modern platforms. But don’t be fooled – while the first game in this collection is all about series newcomer Apollo Justice, the other games focus on Phoenix and his friends, too.

For the unassuming, the Ace Attorney games have followed the same format for a long time. The general gameplay loop in each game has you split between investigating crimes and fighting for your clients in court. The games are linear affairs, with the story playing out regardless of how well you fight the cases for your clients. I often wonder whether the games would be more compelling if they were more open-ended, but so much of the storytelling is so tight that I can’t fault it for being so linear.

When you’re investigating, you’ll move from area to area, speaking to people and collecting evidence to help build a case for your client. These are pretty typical adventure game fare – you’ll select locations to move between, pose questions to ask and present items to characters to see if you can pick up any leads. They’re essential to establishing the stakes in the stories and highlighting the main conflicts between the characters, often setting up a whodunit situation that’s a joy to follow with the characters, too. These moments are arguably the “slower” part of the experience, but that’s only because the courtroom sections are incredibly compelling.

When you’re in court, witnesses will be called to the stand to testify. Their testimony is broken into smaller chunks of dialogue. Each piece of dialogue can then be “pressed” for further clarification, or you can present evidence that seemingly contradicts what they’ve said. Doing so often unveils further details about the case, leading to an acquittal for your client. It sounds simple on paper, but it’s presented in such a garishly overdramatic way that it’s hard not to build yourself up with hype as you take down a dishonest witness.

The games each introduced a new gimmick that also made the courtroom more enjoyable. Apollo Justice featured a “Perceive” mechanic, which had Apollo study body language in people to pick up nervous tics and establish when someone was lying. Dual Destinies delves more into the psychological side of the witness testimonies, requiring you to pinpoint which emotions are being faked in the “Mood Matrix” mechanic. Finally, Spirit of Justice has you performing seances, showing the final moments of a victim before their death, and picking contradictions in the insights that come from them. It’s a mix of gameplay mechanics that are admittedly a bit gimmicky but add variety to the proceedings.

The question remains whether these games still stand the test of time, especially when compared to those created by the series creator Shu Takumi. These games are worth your time, even if others worked on them. They each have their issues, and there’s ostensibly a case that feels like filler in each of them, but the same can be said for the original games, too.

Each game has been brought over and scrubbed up to feel part of the same era. Visual improvements are apparent, though I’ll touch on those later. But fonts, menus and user interfaces have all been reworked to be consistent across every game. You can even jump straight into a case if it’s your favourite (and skip any that might not be).

Other accessibility options, both new and old, have been implemented too. Autoplay makes a return, allowing the action to play out automatically, pausing only when you have to make a choice or present some evidence. Those who speed read or are slower at reading can adjust how quickly Autoplay spits the text in each case.

The other significant new mode is Story Mode. You’ll automatically progress through the game without pressing anything when playing in this mode. All answers and evidence are automatically presented for you. I mentioned in my preview that I’m sure this will upset some series purists, but if it means more players can experience these clever and humorous stories, then it’s honestly a good thing. It is worth noting that achievements and trophies are disabled in this mode.

The collection also includes a whole bunch of extras that many series fans will appreciate. The Orchestra Hall is a menu containing over 150 tracks from all three games. The Art Library is a collection of artwork from all the games that were almost lost to time. Animation Studio is the most interesting addition here – allowing you to choose characters, their poses and animations to create custom scenes. It’s a great idea on paper, but the lack of flexibility and inability to export your creations feels limited.

This is the first trilogy where the games included were released across multiple generations. As such, the first game in this collection utilizes the sprite-based 2D artwork, as featured in the first three games, while the other two feature the 3D models as seen in The Great Ace Attorney. The difference will always be contentious amongst fans, but the jump to these newer platforms is incredibly crisp, especially for Apollo Justice. Dual Destinies and Spirit of Justice look great, too, but the lower-quality texture work on some characters feels at odds with the game’s otherwise crisp presentation. 

The post Apollo Justice: Ace Attorney Trilogy Review – A Superbly Polished Finale appeared first on Press Start.

This may be controversial, but I feel like Another Code seems a strange series for Nintendo to resurrect. Not only did it fail to reach the critical success of other franchises that Nintendo has published, but so much that made these games unique was the hardware they appeared on. Fifteen years since the last game, both games have been brought together and remade as Another Code: Recollection. Recollection is a great way to experience these stories, but they’re not as you remember them.

Another Code: Recollection brings together both games into a singular story. You won’t select which game you want to jump into, Recollection instead makes you play through both games as though they were acts of a big story. In both games, you’ll play as Ashley, a young girl looking for her father in the first game and trying to solve a mystery in the second. This approach makes sense given how integral each game is to understanding the other. However, a lot has changed from the original games and this remake is anything but faithful.

Remakes are always contentious because they often dare to change things that so many fans adored about the originals. In Another Code: Recollection, both games have had touch-ups and changes to scenes that affect how the plot flows. Some changes are significant enough that sometimes Recollection feels like a brand-new Another Code game disguised as remakes. The plots of both games hit similar beats, but the way they get there has changed notably. I prefer most of these story changes, as many help the game flow better and remain less predictable.

Recollection reimagines both games into third-person, over-the-shoulder adventure games similar to Life Is Strange or even the more modern Resident Evil games. Other accessibility options have been added, including an optional hint system and a waypoint system for those who might get easily lost. Both games have been (mostly) voiced now, though I’ll touch on the quality of the performances later. Other changes are bound to be divisive.

I say this because so many puzzles have been either reworked or, more often, wholly removed in Another Code: Recollection. To be blunt once more – these remakes aren’t faithful – but they do remove puzzles that wouldn’t be interesting today and, as a result, make the games flow better. Basic puzzles like dragging a rock out of the way with a stylus no longer exist, though removing so many puzzles, especially from the first game, only highlights how integral the novelty of said puzzles were to the entire experience.

The first game, Another Code: Two Memories, was initially released for the Nintendo DS in 2005. It’s always served as a glorified tech demo for the unique abilities of the DS hardware – you’d use the microphone to blow away dust, close the system to solve a particular puzzle and drag things out of the way with your stylus. It was novel. But now, almost two decades later, the novelty is gone. Instead, the first game has been remade into an adventure game with light puzzles. The puzzles are still simple and engaging but never take advantage of the uniqueness of the Switch.

Such a choice to rework Another Code: Two Memories into a story-first adventure game would be admirable if said game had a solid story to hang itself on, but unfortunately, it doesn’t. Stripping away the unique mechanics that made the original game so memorable has only highlighted how basic the whole affair is. It’s an important game because it sets so much context to the events of the sequel, but I’d be lying if I said I found it compelling.

GET IT ON AMAZON FOR $69 WITH FREE SHIPPING

It’s a relief that Another Code: R – A Journey Into Lost Memories makes the jump to Recollection so much more gracefully. This Wii game utilised a lot of the functionality of the Wii Remote when it was initially released, but it is no longer in Recollection. But while many of the motion controls have been removed from this interpretation of the game, it’s done for better pacing overall.

I was astonished to discover how much more interesting Another Code R is compared to the game that came before it. The mystery surrounding Lake Juliet and the tragedy that befell it is much more compelling. It has that charming small-town feel, taking the time to develop all the characters in a fashion similar to games like Life Is Strange or even television like Twin Peaks. Unfortunately, while the plot veers into some incomprehensible sci-fi territory as it concludes, it’s still a much better-structured adventure than the original game.

The crux of the game has you running from character to character, learning more about them and their stories before completing simple puzzles to move things along. Most of the puzzles are incredibly contrived to fit into the “game” of it all, much like any good Resident Evil game strives to be, but they’re all rather cruisy. Barring a bizarre difficulty spike towards the end of the game (which can be alleviated with the hint system I mentioned before), the Another Code games are never too challenging. They are incredibly well suited to gamers just wanting a relaxed experience.

But what does feel like a misstep is the motion-based puzzles. While they’re scarce, some puzzles require you to manipulate the environment with the gyroscope in the controller. These kinds of puzzles weren’t fun in Breath of the Wild and are not fun here either. Some of them are frustrating to pull off when the console is docked while others are nearly impossible when trying to do them with detached joy-cons. I recognise that everyone plays their Switch differently. It might be hard to cater to every player, but there are better ways to include these or remove them altogether.

Putting some of these issues aside, I still enjoyed Another Code: Recollection. It just took me a lot of time to warm it. The game picks up as the second half begins, and the new artistic direction is an admittedly safe but welcome change that helps make both games stand out against their contemporaries. But it’s again bizarre to see so much changed about the plot and yet see so many of the threads left hanging in the original games not be tied up by Recollection. If you’re already taking these creative liberties, why not take things one step further?

One thing that these games always got right is the original music, and that is carried over to Recollection, too. The soundtrack is a very cruisy and relaxed collection of lo-fi electronic music that suits itself perfectly to unwinding as you explore the mansion from the first game or Lake Juliet in the second. The new voice work does a great job at bringing these characters to life, too, well beyond their text-based original presentations all those years ago. Still, the exposition-heavy script does mean some scenes come off as cornier and could’ve done with a rework, given they’re now voiced.

The post Another Code: Recollection Review – A Spotty Flashback appeared first on Press Start.

The Ace Attorney games have long been some of my favourites in Capcom’s repertoire. They always employ witty writing and outlandish twists to turn up the drama in what would otherwise be a rather bland courtroom setting. They’re genuinely the best games in this genre. But while Capcom has put the work in to ensure the best games in the series have had their time to shine on modern platforms, the arguably less popular games have been left out.

I’ve spent considerable time with the opening cases of each of the games in Apollo Justice: Ace Attorney Trilogy, and while they’re still not my favourites, this is absolutely the best way to play them and absolutely worth your time if you enjoyed the previous collection or even the Great Ace Attorney collection from a few years ago.

Apollo Justice: Ace Attorney Trilogy continues where previous Ace Attorney trilogies have left off. The collection brings together the last three Ace Attorney games in the modern-day trilogy. Apollo Justice: Ace Attorney is the first game in the series, initially released for the Nintendo DS. The other two, Dual Destinies and Spirit of Justice, were released for the Nintendo 3DS. All three games and some nifty extras are included in the collection to offer a substantial collection.

If you’ve never heard of an Ace Attorney game, they’re often divided into two distinct parts. In the Investigation phase, you’ll do a lot of interrogating to discover evidence and testimony that could be used to defend your client. These are often typical adventure game-style fare – moving from location to location to find everything you need to build a case. The games are linear, which can lead to some uninteresting moments, but for the most part, the writing is strong enough to carry them.

But the strongest aspects, and easily my favourites, are when you’re actually in the courtroom. In these parts, witnesses will be called to the stand to testify about what happened. You’ll read each statement carefully, press for more information to be added to the testimony, and be given the option to present evidence that contradicts the testimony. It’s a simple system that can get incredibly thrilling, especially as you get closer and closer to the truth about whatever case you’re working on.

It’s a good thing that this collection opens with a bang. This preview covers only the first two cases of each game, and I’d just forgotten how strong the first case of Apollo Justice: Ace Attorney is. It’s one of the best cases in the series and a stark reminder of why I love these games so much. They have a zany sense of humour and a colourful cast of characters that no other game has.

An especially nice touch with this collection is that they’re brought together in a way that almost feels like you’re playing one big game. From the beginning, you can select which game you want to play and which cases you approach first. For first-time players, I obviously recommend playing them in order, but for those long-time fans who might want to jump into their favourite case (or even their favourite part of each case) first, that option is there too.

Numerous modes and settings have also been added that’ll benefit players who struggle with the more interactive elements of the game, too. The first, appearing in previous collections, is Autoplay mode. Autoplay plays out the conversations for you and pauses the actions when you need to make a choice or present evidence. You can even adjust the speed at which Autoplay moves.

The other newer mode is the Reader / Story Mode. When in this mode, you will automatically progress through the game without pressing anything when it is turned on. All answers and evidence are presented automatically on your behalf. I’m sure series purists will fume at the idea of such a mode even existing, but if more players can experience these wonderfully clever, funny, and exciting stories, then it’s hardly a bad thing.

For those who don’t want their hands held entirely, the Consultation option is still available in Dual Destinies and Spirit of Justice. Many players had issues with how explicit these hints were, though, but being able to adjust or turn off these hints completely is still possible. I’d have loved to have seen Consult options added to the first game too, for the sake of consistency, but alas, it was not meant to be.

Other new features include an art gallery and music player that allow you to experience everything in all the games independently. The most intriguing new inclusion is the Animation Studio. This allows you to set up a scene with a character, a pose and a voice line to create unique animations that don’t appear in the game. It’s a novel idea, but there’s no way to export these animations and you’re restricted to how the characters appear in the game (for example, you can’t make Apollo appear on the right side of court given he never does in the game). This does make it feel a bit limited in what you can create, but it is still a pretty nice little extra that I’m sure more creative and dedicated fans will put to much better use than I ever would.

Obviously, these games were released across almost a decade ago. As such, each game has a different artistic style and even different teams working on them. While it’s clear that each game looks different, each has been given excellent polish to look more modern than ever. Presenting these games that originally appeared on the Nintendo DS on a modern television in 2023 would’ve been questionable, but the visual updates in Apollo Justice: Ace Attorney Trilogy are nice.

That being said, it feels inconsistent. The first game, Apollo Justice, employs a 2D style brimming with personality. For this collection it has been upscaled in a way that looks crisp as anything. The other two games made the jump to 3D visuals instead when they were initially released, and while these games are clearly upscaled, it’s clearly all that’s happened to them in this collection. There’s not much retouching or remastering on the latter two games, which is especially obvious with the compressed-looking animated cutscenes that bookend each case.

Putting that slight nitpick aside, Apollo Justice: Ace Attorney Trilogy brings the missing Ace Attorney games to modern platforms with great effort and improvements that’ll no doubt make the series more appealing than it already was. I’m incredibly excited to relive the remaining cases when the game launches next month. And I’m happy that this collection is the best way to experience these games again.

Apollo Justice: Ace Attorney Trilogy is launching on PS5, PS4, Xbox Series X|S, Xbox One, PC and Nintendo Switch on January 25th, 2024.

The post Apollo Justice: Ace Attorney Trilogy Hands-On Preview – A Strong Opening Case appeared first on Press Start.

The Game Awards felt especially long this year and even worse, featured lots of celebrities who had lots to say but had nothing to say all the same.

But there was so much stuff here that I’m not going to waste your time with a witty intro, so please read on and enjoy as we recap all of the biggest announcements from The Game Awards 2023.

Kojima Jumped On Stage To Announce His Xbox Game And Brought Jordan Peele With Him

It’s called OD, and it stars Hunter Schafer amongst others. It will be a horror game “for all players and screamers” and will supposedly play differently to any other game we’ve ever played. Normally I’d roll my eyes, but with Kojima, you know it’s probably true.

Capcom Announced A Brand New Monster Hunter Game

It’s called Monster Hunter Wilds and it’s presumed to be a follow-up to Monster Hunter World. It’s releasing in 2025 and is releasing on PC, PlayStation 5 and Xbox Series X|S. I hope you like waiting though, because Capcom won’t be showing off more of the game until December 2024.

We Got A Sneaky Peek At The World Of Hellblade II And Some More Gameplay Too

It’s looking amazingly realistic but the trailer still didn’t give much away. The game is coming to Xbox and PC in 2024. A more specific date would’ve been nice, but I guess beggars can’t be choosers can they.

A Brand New Jurassic Park Game Is Coming

It looks to take place around the same time as the first two films and will follow an original cast of characters left behind at Isla Nublar. It’s called Jurassic Park Survival and it’s coming to PC, PlayStation 5 and Xbox Series X|S. And don’t worry, it’s confirmed to be a single-player adventure.

Arkane Revealed Their Next Game And It’s A Fucking Marvel Game

Look, I dunno, I’m just done with Marvel. But I trust Arkane. So we’ll see how it turns out. I’m sure it will be ok.

The Brothers: A Tale Of Two Sons Remake Was Announced And We’re Pretending To Be Surprised

The original game was created by Josef Fares, who would later go on to make A Way Out and It Takes Two. It follows two brothers looking for a cure for their father’s illness. Hopefully they add co-op to it this time around. It’s releasing for PlayStation 5, Xbox Series X|S and PC on Feb 28th 2024.

Pony Island 2: Panda Circus Is A Surreal Horror Game

From the mind that brought us Inscryption, this new game looks to blend genres and mess with expectations just like that original game did. If you haven’t played Inscryption already, you should. It’s much more than a card game. Promise.

The Rise Of The Golden Idol Is The Sequel We Didn’t See Coming

The original game was compared favourably to The Return of the Obra Dinn and while this reveal trailer was pretty reserved, it looks to hopefully continue that trend. It’s releasing on all platforms and even Netflix sometime in 2024.

Usual June Is An Action Game That’s Anything But Usual

The game uses a stop-motion style of animation and features action gameplay akin to Devil May Cry. The music is kinda breezy too. It’s out in 2025.

Harmonium: The Musical Is An Adventure That Breaks New Ground For Accessibility

The game is a musical adventure in which the main character signs as she sings. The game is coming to Netflix and Xbox Game Pass when it launches, though no date was announced.

We Got A Peek At The New Game From The Creators Of Dead Cells Called Windblown

The game has a very cute but striking cartoony art direction but is still bloody and violent. The game also supports up to three player co-op. It’s out on PC early access in 2024.

The Trippy New Game From The Team Who Made Thumper Was Revealed

It’s just as trippy as Thumper was all the ways back in 2016. It’s out in 2024 and it’s called Thrasher.

A Dredge DLC Is Coming For Dave The Diver

I am kind of annoyed that I never thought of this collab myself. But the developers did. And that’s all the matters. It’s out on December 15th as an expansion for Dave The Diver.

World Of Goo Is Coming Out Swinging From 2008

Remember World of Goo? I do. It’s finally getting a sequel and it’s coming in 2024. Platforms weren’t announced but you can assume it’ll be on anything.

We Got Another Look At The Persona Team’s Brand New Game

It’s named bizarrely but Metaphor: ReFantazio is looking better and better with every look we get. It’s a medieval style RPG from the team who created Persona 3, 4 and 5. It’s out in 2024.

Matthew McConaughey Popped Up On Stage To Show Off A Game He’s In

It’s called Exodus and it plays around with time and time dilation. Developed in Austin, Texas, the team is comprised of a bunch of vets who worked on the original Mass Effect trilogy.

We’re Heading To Valhalla In The New God of War: Ragnarok DLC

It’s a roguelike experience that’s out on December 12th 2023. Even better, it’s free too. Wow.

The Next Aussie Game From The Untitled Goose Game Creators Was Shown

It’s been called a new videogame for you and your friends and has you exploring what I can only assume is a warped version of the Australia outback. It looks bloody good, is called Big Walk and it’s out in 2025.

Kemuri Is A Batshit Looking Action Game From A Much Loved Industry Vet

It’s called Kemuri and it’s by Ikumi Nakamura, who has previously worked on The Evil Within and Ghostwire Tokyo. She’s branched off and made her own studio and made the obvious pivot from horror to colourful action game, as everyone seems to be doing.

We Got A Look At The Next Game From The Ori Team

The game utilises an incredibly striking artistic style that looks 3D and 2D all at the same time. It’s an action slasher called No Rest For The Wicked and it’s out on PS5 and Xbox. More information is coming in March.

Sega Announced A Ridiculous Amount Of Remakes

There are a total of five games in development from Sega in series that many fans would know and love. Golden Axe, Streets of Rage, Crazy Taxi, Shinobi and Jet Set Radio Future are getting the remake treatment.

A New Dragonball Game Is On The Way And I’m Sure Fans Will Enjoy It As It’s Basically A New Budokai Game

The post Everything Announced At The Game Awards 2023 appeared first on Press Start.

Great videogame adaptations of films are few and far between. There are some obvious successes, but these games rarely stand aside or even rise above the films they’re based on. Avatar: Frontiers of Pandora tries to do things differently. While it still takes place in James Cameron’s immensely successful universe and film franchise, it’s released on its own schedule and takes place in its own little corner of Pandora. But while it’s completely separate from the film and undoubtedly a visual feast, the question remains whether the Na’vi experience translates well to a videogame. Even more so is the question of whether Ubisoft can do better than their 2009 prequel. The short answer to both questions is yes, but the long answer is slightly more complicated.

Frontiers of Pandora takes place about a year before the events of the second film. You play as a young Na’vi enrolled in a program to raise Na’vi in the human cultural sphere. The RDA, the human faction running the program, has ulterior motives, and as the relationship between the Na’vi and the RDA sours, the program is abandoned. You escape the twisted academy of sorts and are let loose onto the Western Frontier of Pandora, plunging yourself into a mission to reunite the clans and fight the RDA to prevent them from exploiting the planet’s natural resources.

Unfortunately, while the story is told in a similar ilk to the films, it lacks any significant surprises. I’d hoped that more would be done with the player character in the game, especially given the unique “origin” story that they had, but the way the story progresses in Frontiers of Pandora is pretty unremarkable. If you’ve not seen the films before, you might find the plot here a bit more novel, but it feels like a typical story about colonialism. Those who have seen the films will appreciate some of the nods to those events, though nothing significant ties into the movie, so the game is just as approachable without prior knowledge.

This thread continues with how Frontiers of Pandora plays, too. When first revealed, many understandably compared the game to others from Ubisoft, like Far Cry. While the uniqueness of Pandora’s setting cannot be underestimated, the core gameplay loop hidden within Frontiers of Pandora feels remarkably familiar. The general gist of the world is that it’s been polluted by RDA facilities, which you’ll infiltrate to shut down and restore colour to that area. Activities appear on the map, some optional, and you can complete them at your leisure.

Does this sound familiar? That’s because it is. It’s a quintessential Ubisoft open-world experience, and how much you still enjoy that formula will influence just how much you’ll enjoy Frontiers of Pandora. It’s by no means bad by any stretch, but if this is a formula you’re beginning to tire of, that will influence how much you’ll enjoy this.

Besides the outposts, bigger than a typical Far Cry game, another central point of difference with Frontiers of Pandora is how it handles its crafting systems. Tying in perfectly with the theme of conservation that runs deep within the world of Avatar, you’re encouraged to harvest items from Pandora responsibly. Grabbing roots from the ground is fine, but ripping them out correctly and in the right conditions will lead to a more potent yield. It’s a nice change that feels at home with the game thematically.

Similarly, hunting sees your Na’vi using their abilities to track down particular creatures in the environment. A comprehensive hunter’s guide can show you where each creature you’ve previously encountered is and what parts they yield when hunted. Hitting them only in their weak points and even killing them in one shot will produce better quality materials, too, as the creature didn’t suffer as it died. In a similar fashion to how harvesting works, killing too many animals senselessly will shut off your Na’vi senses, so it’s essential to only take what you need and not overharvest.

Much of the components you’ll find or harvest can be used to craft new gear and weapons, but most will be used in the cooking system. Much like the recent Zelda games, you can mix certain ingredients to create meals that impart special effects on your Na’vi. Being well-fed can give you better health regeneration and provide specific resistance to help you come out on top during more intense firefights. It’s nowhere near as intrusive of a hunger system as your typical survival game, which is a relief given how much typically I’m not too fond of these kinds of systems.

Cooking also plays a part in keeping your Ikran happy. Also called Banshees, you’ll find one to bond with, and it’ll be your main source of transport throughout Pandora. A flying dragon-like predator, the Ikran can cover great distances fast. Feeding the Ikran is important during more extended flights, so having lots of food on hand is essential. While there are other mounts that you’ll come across later in the game, the Ikram is easily the best and helps to make traversing the frontiers so much more fun than it has any right to be.

GET IT ON AMAZON FOR $89 WITH FREE SHIPPING

In fact, one area that Frontiers of Pandora ostensibly nails is the traversal and movement systems in the game. This side of Pandora is dense, so getting through it and around quickly is nice. Owing to the Na’vi’s incredible athleticism, you can jump long and high to move great distances vertically and horizontally. You can mantle up on edges, too, and it’s so incredibly forgiving that there was rarely a time when I found an area I couldn’t climb. The platforming is similarly well done, especially given how this game is a first-person affair, though the option to switch to third-person would be much more appreciated for those who might struggle with the perspective offered.

Combat is similar to what you’d expect from a Far Cry game. Weapons are split into two types – the Na’vi types and the RDA types. Na’vi weapons are primarily primitive and much quieter but still pack a punch when used precisely. RDA weapons are pretty typical fare – assault rifles, shotguns and rocket launchers. Using them in hunting will lead to poorer yields, but they pack an incredible punch against the numerous RDA enemies you’ll find throughout the game. While there is an excellent selection and a reasonable degree of customization here, I still prefer the Na’vi weapons, which are more suited to a stealthier approach than anything else.

Other optional activities can be completed in exchange for clan favour, an invisible currency that can then be exchanged at specific points for equipment and gear. You can even donate your older gear to the communities, again, in exchange for clan favour. There’s not a lot of variety to the extra activities here – though the memory painting is a serene and meditative activity that really stood out for me here – otherwise, it’s the same kind of side quest design that we’ve come to expect from most games.

But without a doubt, Frontiers of Pandora is one of the most remarkable-looking games I’ve ever played. Playing on PC, I was taken aback by just how lush and dense the jungles of Pandora are. How thick the atmosphere is in the Clouded Forest. How serene and peaceful the world makes you feel while exploring the Upper Plains. It’s an incredible achievement, on a technical level, just how much the team at Massive have managed to create a digital copy of Pandora that feels like it’s literally living and breathing. I can’t stress this enough: it’s a beautiful game.

On consoles, the game looks almost as good. There’s some blurring in the distance, especially when playing in the performance favouring 60fps mode, but overall, the experience is similar to playing on a PC, which is a relief given how dense this game is visually. The music is particularly fantastic, too, creating some standout scenes where I felt nothing short of wonder as a soundtrack filled with an intoxicating mix of booming percussion and heavy chanting helped pull me into the world of Pandora.

There is so much going on in Avatar: Frontiers of Pandora from a presentation standpoint. It’s an incredibly lush world that washes over you every time you play it, even more so with the more time you spend in it. But something is missing. A spark. Perhaps it’s just that the formula has been done to death at this point, the story is predictable, or even the game takes a little bit to get going. It’s not a bad experience by any means, but it is just one that purely exists.

The post Avatar: Frontiers of Pandora Review – A Lush World With A Familiar Footprint appeared first on Press Start.

Super Mario RPG was always a game that eluded me. I’d had many fond memories of playing the opening hours before quickly dropping it in favour of something else. I’ve got no nostalgia for it despite its reverence amongst Nintendo fans, but I’ve always appreciated its unique tone and sense of humor. While many concerns I had in my preview last month still ring true, it’s evident that Super Mario RPG on the Nintendo Switch is the definitive way to play one of the oddest games in Nintendo’s illustrious history.

Super Mario RPG follows Mario and his friends in a tale different from a typical Mario game. A giant sentient sword has plunged itself into Bowser’s castle, shattering the star road in the process and spreading pieces of it throughout the world. Shortly after, the Smithy Gang, a troupe of sentient weapons, invades and more or less challenges Mario to find the pieces. It’s a simplistic plot with minimal surprise, though it’s fun to see Bowser being forced to work with Mario to confront a bigger threat than them.

Super Mario RPG feels like a perfect time capsule of its era. It’s a microcosm of gameplay conventions that you’d expect from a typical RPG. The writing is quirky and witty, sharpened with an acerbic edge. The cadence of conversations between characters and the way jokes are built feel like classic Final Fantasy or even Earthbound at times. It’s a refreshing approach to storytelling within this world. It helps elevate the otherwise typical story you’d expect in a game like this.

[presto_player id=150280]

Feel more with PS5. Beyond the everyday. Beyond extraordinary. Even beyond imagination. Feel it now.

But that’s really where the similarities end. Super Mario RPG does its own thing. You won’t explore a wide-open world but instead, jump between levels on a world map similar to older Mario games. Each level combines isometric platforming identical to previous Mario games with turn-based battles similar to RPGs like Final Fantasy and Chrono Trigger. It’s a simple approach, but that’s almost certainly the point here – this is an RPG for newcomers to the genre.

Being a bit more linear than a typical RPG, there’s no massive emphasis on exploration in Super Mario RPG. There’s rarely a moment where you’ll have to go off the main path, and, if you do, you’re often rewarded with a power-up and rarely anything major. It’s an approach bound to be divisive, but the simplicity of the experience is refreshing and bound to appeal to audiences that would otherwise find these bigger open worlds of other RPGS overwhelming.

The turn-based system follows the same mantra – that simple is best – but is the best execution in the game. Serving as an obvious predecessor to Paper Mario and Mario & Luigi, the menu-based battle system is so simple that it rarely feels like move selections slow the flow of battle. On top of that, everything moves at a snappy pace, too, much faster than any of the turn-based games from that era.

But simple additions to this battle help the otherwise simplistic system stay engaging for the game’s runtime. Each ability used by your party members can be powered up with an additional action – be it a button tap or a joystick spinning – that might do more damage or impart other effects. They’re simple inputs that do great work ensuring the battles stay engaging without disrupting the flow of battles.

There’s a nice mix of abilities available, too, with many being borrowed from the typical RPG archetypes you’re used to seeing. Mario is an all-rounder. Mallow is an offensive mage. Bowser is a tank-like heavy hitter. Peach is a white mage. Geno is a powerful wildcard. The five potential party members are all simple enough that you can get away with playing with any combination you prefer, and the lenient difficulty means that any pitfalls in your party lineup won’t be a make-or-break situation. Even better, the remake allows you to switch members mid-battle, so nobody is ever left on the bench.

GET IT FROM AMAZON FOR $69 WITH FREE SHIPPING

The big new addition with the remake is the Triple Move system. As you successfully perform actions in battle, a meter will fill and give the party access to a Triple Move. Much like a Limit Break or Triple Tech in other RPGs, they’re big and bombastic moves that deal massive damage or impart huge buffs. Your Triple Move varies depending on who’s in your party. Having Mario, Mallow and Bowser in your party will perform an aerial assault from Bowser’s clown car using Mario’s Fire Flower and Mallow’s magic. Others might see Peach using her parasol on the party to protect them from attacks. They’re immaculately presented and an excellent standout from the remake treatment.

Other aspects of the game have also been tweaked in favour of the player experience. Items are automatically picked up when out in the field, autosaves prevent you from losing hours of progress, and visual indicators appear during battle to help land critical hits. They’re minor changes that aid the flow of the game in a big way, remedying many of the complaints about ‘slower’ gameplay that many games of this era commonly face.

Much of the new content in the remake rears its head in the post-game. There’s still some optional content in the original game, too. However, the remake introduces the opportunity to again battle some bosses in the game. Each of these rematches offers a higher sense of difficulty and even features new abilities. They’re a fun distraction that leads to something even more remarkable that I’d not even expected and would, quite frankly, be rude to spoil. But these post-game challenges are a lot more complex than what was in the original game and its main storyline.

From a visual standpoint, the jump from 2D sprites to 3D models will always be controversial, but Super Mario RPG does a pretty earnest job of maintaining the spirit of the original. The new cinematics that introduce each character and boss are super slick and do a great job of bringing certain scenes that were previously just text boxes to life. The game looks amazingly bright, vibrant and crisp with the new change in art direction. Even more encouragingly, everything runs at an excellent framerate, too.

Similar care has been paid to bringing the game’s already strong soundtrack up to scratch with modern expectations. Yoko Shimomura, who composed music for the original game, Kingdom Hearts and Xenoblade Chronicles, has returned to remaster these tracks. Each of the new compositions adds a lot more depth and, dare I say it, soul to the tracks and easily eclipses the original. If you prefer the originals, you can switch to them at any point. There is no voice work, unfortunately, which feels a bit strange, especially in the context of the new cinematics, but otherwise, this is as entirely text-based as it was all those years ago.

At the end of the day, Super Mario RPG represents a unique point in Nintendo’s history that will never happen again. Its quirky and oddball sense of humour and charm easily sets it apart from the rest, and even if it is a simple affair at the end of the day, it’s still endlessly endearing.

The post Super Mario RPG Review – A Big Remake Of A Simple Classic appeared first on Press Start.

If we’re all being honest here, I’ve never played Super Mario RPG properly. I have many memories of playing the opening hour or so before quickly dropping it in favour of something else. I don’t have a lot of nostalgia for it, but I don’t know why I never bothered to finish it, it’s totally within my wheelhouse. A Square-developed RPG set in the world of Mario around the time that Square was arguably at the top of its game. What’s not appealing about that? The game has forever eluded me, but with the Switch remake due out this month, I suspect many will be able to finally give it a proper shot. I’ve played the first three or so hours of the new Super Mario RPG remake, and I’m annoyed that I slept on it for so long.

The game opens with a cutscene that I remember all too well. Princess Peach is kidnapped by Bowser and taken to his castle. But in a bit of a twist for Mario, we begin our journey at the doors to Bowser’s Castle. We battle, as expected, and Mario wins. But then an even bigger threat emerges. A giant sentient sword plunges into the castle from the sky, destroying the Star Road and shattering pieces throughout the world. Mario, Peach and Bowser are thrown in opposing directions. Thus, Mario must begin his journey to save the world again, but this time from a group of sentient weapons calling themselves the Smithy Gang.

It’s a bizarre story because of how much bigger it feels compared to other Mario games. Creating a larger threat in the Smithy Gang is a nice spin on the traditional formula. But one aspect of the plot I like the most is that a lot of the spotlight is on two brand-new characters who, for some reason, have never appeared in games after this. Named Mallow and Geno, they’re the first two party members you’ll recruit, and both their stories are well-fleshed out. I can only hope that attention continues to be given as the story progresses.

After all the introductions, we begin playing as Mario and travelling through the opening areas, learning about the battle system. My immediate thought upon playing the game is that it feels really smooth. It doesn’t feel like new visuals have just been painted over the top of a Super Nintendo game. It feels brand new, built from the ground up. What helps this feeling is the buttery smooth framerate, too. I’m no frame counter, but it feels like 60 frames per second. Combine this with a bright, colourful and vibrant world to explore, and you’ve got a pretty nice-looking update for a game that had aged poorly, at least visually.

It’s here that I am thrown into my first non-scripted battle against some unassuming Goombas. It becomes evident that this isn’t like any other Mario game. A single jump isn’t the way to take out enemies anymore. Instead, like any good turn-based game, you input moves you want to do and watch them play out as enemies, and your party take turns. It’s an incredibly simplistic system that works well, though those who don’t like turn-based battles won’t find this any more endearing than other games of this ilk.

It’s also here that it becomes obvious that Super Mario RPG was the predecessor of the Paper Mario series. While you can input your moves into battle through the menus, many abilities can be made more potent by tapping an additional button when the action actually plays out. For example, tapping a button just before Mario finishes jumping on an enemy will do extra damage, or in the case of the Super Jump move, add another jump. It’s a simple way to keep battles engaging rather than just sitting there and waiting for your turn.

The remake introduces elements that make the game approachable, too. The most obvious is the new Breezy mode, which, as you’d expect, makes the game easier. But now, there’s a lot more visual information shown on screen, such as when you can press a button to bolster your attack or press a button to defend from an attack. You can even be told when an attack isn’t blockable, too. This might sound like a minor adjustment, but it’s so intuitive that I’m surprised it wasn’t a thing in the original game.

THE CHEAPEST COPY: $69 WITH FREE SHIPPING FROM AMAZON

Of course, this does make Super Mario RPG feel a lot simpler than other RPGs, but I would argue that’s always been the point. It’s early days, obviously, but gear and equipment proceed linearly and there has so far rarely been a point where the next piece of equipment I get hasn’t been better than the last in practically every way. There’s a distinct lack of stat management that more hardcore fans would probably want, but the novelty of playing an RPG in the world of Mario more than trumps that for me. If it also serves as a stepping stone to other RPGs, then so be it. This is the gateway RPG you need.

There are some newer aspects added to the battle system that make things feel more dynamic. Every time you perfectly time a move or defend from an action, a meter fills. Once that meter is complete, a special move called a Gauge Move can be performed. This move will vary depending on who is in your party at the time, but it is a nice little crutch that can get you out of a pinch if need be.

And, of course, the game is visually fantastic. It’s vibrant. Scenes that introduce characters with text boxes are now dynamically shot cutscenes. Bosses have little, short introduction scenes, too. All while playing at a great degree of performance. I was worried that replacing all of the sprite work from the original game would make things look generic, but Super Mario RPG’s sense of style somehow manages to escape the trap of looking too generic or clean.

My main worry with Super Mario RPG was that it was just a visually enhanced remake of the game rather than a full-blown remake. Specifically, I had concerns that the speed and flow of the game would be almost glacial. While the creative decisions made to change aspects of the game don’t add a whole lot of new content to the game, they do make the gameplay a lot smoother and flow much quicker than I was expecting, which is a blessing.

There is the issue of difficulty, but to expect this game to get much harder is a fool’s errand. This is clearly positioned to be an entry-level RPG, and I don’t think those looking for a huge challenge will be satiated with Super Mario RPG. That being said, it’s been very tough not to just ruin things for myself and look up whether there are the typical things you can find in an RPG – optional dungeons, tough super bosses and the like, but I’m sure there will be options for those wanting a challenge. I’d have loved to have seen a Hard mode implemented along with the Breezy mode for more seasoned players, too, but alas, it seems to not be.

But for now, having played the opening of Super Mario RPG, I can see why so many people find it so special. It’s an oddly unique snapshot of the time period and a rare collaboration between two masters of their genres. But so far, having spent so much time with the remake, it’s becoming more and more obvious that this is going to be the best way to play Super Mario RPG. Its improvements are small but impactful, and the visual style is as strong as ever. I’m excited to play more, and in a year where there are so many games to play and such limited time, that’s an outstanding achievement and the highest of compliments.

Super Mario RPG launches on November 17th, 2023 exclusively for Nintendo Switch. Amazon has physical pre-orders for $69 including shipping.

The post Super Mario RPG Hands-On Preview – A Simple Start To A Grand Adventure appeared first on Press Start.

I’d never really meshed with the WarioWare games until I’d played Smooth Moves on the Wii back in 2004. It was a fun game that made fantastic use of the Wii Remote’s unique capabilities. Since then, WarioWare games have really done great work in utilising the uniqueness of the platform they appear on, but none have really matched Smooth Moves for both ingenuity and fun. Game & Mario felt like it should’ve been a pack-in for the Wii U. WarioWare: Get It Together was fun for a while but kind of missed the point. Now, with WarioWare: Move It!, we’ve finally got the follow-up to Smooth Moves that I’ve always wanted, and it’s an absolute joy to play.

There is of course a wacky premise in this game too. Wario and his group wins tickets to Caresaway Island after ordering a gargantuan number of garlic burgers in Diamond City. They travel to the island, are welcomed by the locals and are offered Form Stones. They look just like Joy-Cons, and Wario isn’t really interested in them until he discovers they can bring good luck. Each of the group then embarks on their own little journey on the island to use the Form Stones to bring themselves good luck. I recognise that a WarioWare game doesn’t need a story but can absolutely still respect the hustle from Intelligent Systems on display here.

If you’re new to the series, WarioWare games are collections of minigames that often encourage players to act frantically. The big difference with WarioWare against other compilations is that the minigames themselves are often extremely short, lasting a few seconds at best. The genius with these microgames is two-pronged. Their erratic nature creates funny situations in the room, and their brevity means people don’t have time to let inhibition set in. It’s really just a stupid simulator, but you’re the one who’s playing the lead role.

The result is what many people considered so endearing about the Wii era. It’s simple to play and fun to see a room full of people waving around peripherals. Playing Move It! Really reminded me of the fun I had playing WarioWare: Smooth Moves on the Wii, and it’s great to see this style of gameplay return after Get It Together eschewed it a few years ago. Move It! really is magical – there were so many people in my room playing who I would never have expected to physically behave like a chicken. But after playing Move It!, those same people were clucking and pecking at imaginary worms better than anyone else.

Move It! is split into two modes. Story Mode is the first, and tasks Wario and his friends with completing microgames while assuming various forms. Each of the microgames presents the form you should take before it begins. Each chapter culminates in a boss battle that takes a few minutes rather than a few seconds. Story Mode is compatible with one or two players, and each player holds a Joy-Con in each hand. Having dual Joy-Cons for each player means that most of the motion sensing is accurate, which is a smart choice.

While the microgames are all fun, the boss battles in Story Mode are easily the highlight here. The first one has you using hammers to defeat a Wario-looking octopus by bashing its tentacles or hitting projectiles back at it. Another boss has you holding your arms to the sky, equipped with imaginary matches trying to light a cannon while the boss tries to throw water at your flames. They’re very zany situations that really make great use of the Joy-Cons’ motion controls, something that not a lot of games do on the Switch as well as on previous Nintendo systems.

Party Mode is a lot more straightforward but still just as fun. It supports up to four players and features various modes with differing objectives. In Party Mode, each player holds a single Joy-Con and can engage in a variety of activities. These minigames are a little bit more curated, as single Joy-Cons don’t provide as accurate a motion as a pair does in the story mode, but they’re still fun. I just wish the option were provided to kit out each player with two Joy-Cons, but I recognise it might be tough to get eight Joy-Cons in a room in a party situation.

GET IT FROM AMAZON FOR $64 WITH FREE SHIPPING

Each of the Party Modes has a unique twist put on it. The first, Galactic Conquest, is like a warped version of Mario Party where each player takes a turn, plays a microgame, and then moves a certain number of spaces depending on how well they did. The second, Listen To The Doctor!, has players taking turns but has a doctor giving actions for the players to perform while they complete their microgame. I had to howl like wolf while I was pretending to be a chicken to peck a worm out of a hole, for example. The room then votes on how well you followed the doctors ordered before moving on to the next player. The player voted to follow the doctor most wins.

Another has a group of four people running on the spot to sneak up on a crudely-drawn Medusa, requiring them to freeze whenever she looks at them to make sure they don’t become petrified. The twist here is that each player is given obstacles to overcome by playing microgames, and each microgame can be interrupted anytime by Medusa to make players freeze. The first player to reach Medusa and slay her wins.

The fourth mode simply pits four players against each other in an endurance round. The last one standing wins. The fifth is bizarrely engaging – the group splits into teams of two and must complete a series of microgames. At the beginning of each round, one of the team members’ controllers will vibrate to indicate that player is in control while the other player in the team has to imitate them to trick the other players into thinking they’re in control. It’s up to the opposing team to work out which team member is actually controlling the action. It’s a hilarious game because you’ll be watching your teammate to try and imitate their actions and, obviously, it can be tough given how fast and erratic the microgames are.

The microgames themselves are good value too. They’re all, once again, very zany and out there with the things you’re asked to do. You might be tasked to pluck nose hairs with the longest one winning. Others have you waving a massive fan to blow the wool off a sheep. Others take small segments from other Nintendo games, too. You might play as a chicken and try to steer yourself away from Link in a segment lifted from Ocarina of Time 3D. Or have to stop and crouch at the right spot as Samus in Metroid Dread to pull off a shinespark. These are always my favourite aspects of WarioWare, the sheer randomness of it all, and Move It! does not disappoint in that department. You can even go back and play your favourites in other modes or even play microgames that only use a particular pose, if you happen to have a favourite.

Visually, Move It! looks about as good as it needs to. The fully-voiced cutscenes that play in the Story Mode are bright, vibrant and full of character. It’s a well-presented game that has had a whole lot more time and effort put into it than I’d ever expected. On the topic of Wario himself, this is the first WarioWare game to not feature Charles Martinet in the role. Wario’s voice sounds just as it did before, so the change doesn’t feel jarring whatsoever, especially given how much Wario speaks in the game’s story mode.

While WarioWare: Move It! isn’t going to blow as many minds as Nintendo’s other releases have this year, it should still not be discounted for the fact that it’s some of the most fun you can have in a room of people with your Switch. It’s a real return to form (pun intended) for the game and the follow-up to Smooth Moves that I’ve been longing for over fifteen years. While I’m nowhere near as fit as I was then, I am still having just as much fun with it.

The post WarioWare: Move It! Review – A Return To (Many) Forms appeared first on Press Start.

Star Ocean has always lived in the shadow of Final Fantasy. Perhaps you’d argue that’s because it’s a wildly inconsistent franchise. You wouldn’t be wrong. Of the six mainline titles, I’d argue only half of those are sure-fire hits with the RPG crowd. But no game has ever come close to Star Ocean: The Second Story. The first game on PlayStation and the one that arguably blew the franchise up for many people, it’s one of my favourite RPGs. I was hesitant that a remake could do the game justice, given the treatment by a previous remaster in 2009, but Star Ocean: The Second Story R is easily the best way to play.

Star Ocean: The Second Story R sees Claude Kenny transported to the foreign planet of Expel. There, through unfortunate circumstances, he meets Rena Langford, a young girl who grew up on the planet. During a battle, Rena sees Claude using his phaser and mistakes it for “The Sword of Light,” which a prophesied hero would wield. Elsewhere, a mysterious structure called the Sorcery Globe crash-lands on Expel, and people start behaving strangely. Claude doesn’t believe he’s the hero but agrees to help Rena investigate the globe, hoping it will lead to a way home for him.

When you begin the game, you can select whether to follow the story from Claude or Rena’s perspective. The character you choose will affect which side of certain events you’ll see and also affects which characters will join your party. The main path you travel is essentially the same, with slight divergence in the story. Regardless of who you pick, the plot is still much more intriguing than your typical RPG, especially the villains themselves. There’s some plodding through some very typical RPG schtick to get there, of course, but it’s still a great narrative to experience.

As mentioned before, The Second Story has been remastered twice before for both PSP and PS4. Neither of those treatments has come close to the experience that The Second Story R provides. Built from the ground up, the game has essentially been reworked with a modern design sensibility without sacrificing any of the spirit of the original. Many of the design choices are bound to be divisive with more purist fans, but it’s undoubtedly the best way to play Star Ocean 2.

As far as RPGs go, it’s fairly typical in its structure. You take your party around a vast and sprawling world, completing quests for people and progressing the story to uncover the mystery of the Sorcery Globe. The structure and quality of the game is typical for a game coming from the golden age of RPGs. But what Star Ocean does different is what separates it from it’s peers. It’s also the way that The Second Story R streamlines these mechanics that makes it such a more more intuitive and enjoyable experience.

One example of this streamlining is how Star Ocean handles its almost-proprietary Private Action system. Private Actions are essentially 1-on-1 interactions between your main character and the rest of the party. In the original game, you’d experience them by entering a town in Private Action Mode, splitting up your party and letting them all go do their own thing. You can then go and track them down in the city and participate in certain activities to build your relationships. Each of the relationships affects how the endings play out, and, with the remake, you can even see visual indications of how you’re standing with each of your party members.

With the improvements included in The Second Story R, you can switch to Private Action mode at any point with the press of a button. On top of this, all available Private Actions appear on your map and those which are available for a limited time are marked as such. The original game is notorious for having so much hidden from the player and so many interactions missable – a carryover of the design philosophy from this era – but having it visible makes it so much more manageable.

GET IT FROM AMAZON FROM $64 WITH FREE SHIPPING

This design philosophy around making the experience better for the player continues with how exploration flows. There’s still a world map to explore with many towns to visit. You can even veer off the main path to more dangerous areas to level up quickly. But with The Second Story R, you can now pull up a map at any time and fast-travel to locations you’ve previously visited. Even better, you can even travel to specific shops you’ve visited before. It sounds like a small addition, but it alleviates a great degree of tedium from travelling endlessly like you normally would in games like these.

But no other system has been as dramatically reinvented as the battle system. The original game featured a real-time combat system akin to the Tales games, but through random encounters ala old-school Final Fantasy. It was and continues to be a solid battle system, but I’d argue it’s aged a little. Casting spells would constantly pause the action to show them play out, and physically-minded characters rarely offered anything more than mashing a single button to attack. There just wasn’t a lot of depth or nuance there.

The Second Story R expands combat with a new “Break” system. Borrowing from many RPGs of this era, it hides an enemy’s health bar behind armour that needs to be broken with certain moves. Breaking an enemy stuns them, leaving them susceptible to big damage. All characters can also now dodge parry moves to recover MP and break enemies faster too. There are even some battles where an enemy might be designated a leader, and they buff their party but also break their party if you break them. The idea of breaking is done to death in modern RPGs these days, but that’s exactly the point. The Second Story R’s battle system now, arguably, feels a lot more modern and has a lot more depth to it than when it was originally presented.

One aspect of the new battle system that I loved was also the Assault Action system. Essentially, you can nominate an ability for each of your party members and then call in that party member to perform that ability as a one-off assist move. It’s a great way to involve party members you might not use all the time who have the skills you want.  As an even cooler touch, protagonists from previous Star Ocean games have been converted to sprite form and can also be summoned as assist-only party members too.

These are all major improvements that are bolstered by minor adjustments that help The Second Story R escape the typical pitfalls of RPGs from this era. Enemies now physically appear on the map and can be avoided if need be. Cutscenes can be sped up or even skipped if you’re familiar with the story and just want to get into things quickly. There’s even an autosave now, so if you accidently step into a battle that’s too tough, you can reload to an autosave or reload to just before the battle to adjust your party. They’re little adjustments that have a significantly positive effect on how the game flows.

But I can’t really talk about Star Ocean without mentioning the skills systems and crafting. Easily one of the things that Star Ocean does best, the skills system in Star Ocean allows you to better specialise your party into the roles you want them to play. Some skills can also give you specialties, which can be used to craft items that buff you in battle. Specific skills you improve affect how your character behaves in combat but can also feed into the proficiency of these specialties. A crude example would be that increasing your skills with knives will improve your melee damage, but also improve your cooking skills. It’s an incredibly robust and in-depth system that many RPGs still have not matched, though it’s always been a strong point for the Star Ocean series.

I’ve never really wanted to replay an RPG after finishing it, but Second Story R makes an excellent case for why you should, more so than any RPGs of that era. While a typical playthrough might take around forty hours through the content that was in the original, there’s some new content added, too. A brand-new fishing minigame has been included with rewards for catching all fish. Recruiting certain party members will prevent others from joining, giving you more reason to play it again and try every one. But a newly added New Game Plus mode makes those replays more enticing than it was. It makes the need to get more of the eighty possible endings more palatable (if you so wish).

But of course, the presentation is where a crux of the improvements have been made. The original game had pre-rendered backgrounds, similar to older Final Fantasy games. The Second Story R scraps those and rebuilds all environments in full 3D with modern lighting. The sprites from the original game have been kept, adding a bit of an HD-2D look similar to games like Octopath Traveler. This shift in presentation does a great job of improving so many pivotal moments. Where once a scene was just described through text, the dynamic camerawork and improved visuals help to sell the sense of drama and wonder that these scenes were meant to inspire. It’s a fantastic-looking game and one of the most unique implementations of the HD-2D style. Even better is that it runs at 60FPS on Switch, too.

The audio overhaul is less of a sure-fire improvement. It’s a remarkable effort to include options to select the voicework from the original game, the 2009 remaster, and a brand-new dub. But neither English dub matches their characters, so having the option to choose the Japanese audio is appreciated, given how big this game is. The soundtrack, however, is still as impressive as ever. The new re-arranged music has much more depth and richness than the original. However, both are selectable if you want to experience the game as it was from an audio perspective.

When all is said and done, the changes will no doubt upset some purists, but there’s no mistaking that all of the improvements that Star Ocean: The Second Story R makes to the original make it a better game. It’s incredibly modernised and is honestly the treatment that Star Ocean has been worthy of for so long.

The post Star Ocean: The Second Story R Review – A Sea Of Stars And More appeared first on Press Start.

When Metal Gear Solid was released twenty-five years ago, it was obviously something special. It’s often referred to as one of the most significant video games ever made, popularizing both stealth mechanics and longer in-engine cinematics in games.

But for all that prestige and reverence, the entire series has been bizarrely hard to jump into if you weren’t around when it was first released. There’s no single platform to buy the series’ first four games, with the fourth being incredibly elusive. Metal Gear Solid: Master Collection Vol. 1 is the first step in remedying that. And while it’s a step in the right direction on paper, the execution is mixed.

The first volume of Master Collection brings together all of the games that essentially began the Metal Gear canon. Canon and non-canon games are included and, if you buy the Master Collection, with some extras. Many games are included – the original Metal Gear as it appeared on both the MSX and the NES. The official sequel, Metal Gear 2, is also included, but so is the non-canon Metal Gear 2: Snake’s Revenge. The main attractions here, however, are Metal Gear Solid 1 through 3. There are some additional extras, too, but I’ll touch on those later.

Arguably, the centrepiece of Volume 1 of the Master Collection is that it represents the first time that the original Metal Gear Solid has been available outside of the PlayStation ecosystem on other consoles. As such, this game has received the most attention in this collection. Besides the original PlayStation version, the VR Missions and Special Missions expansion packs are also included. The expanded version of the original game, Metal Gear Solid: Integral, is also included, marking the first time it’s been available outside of Japan. It’s an incredibly comprehensive package and easily exceeds the expectation of what would be included with a typical remaster.

That being said, these are essentially the PlayStation version of the game running in a fancy bespoke emulator with minimal improvements. Where the PC version, already available elsewhere, offers higher resolutions, smoother textures and framerates, this version has all the warts that the original PlayStation release had. Rough, wobbly textures and a framerate of 30fps that somehow still manages to drop. Yes, this is the most authentic version of the game that Konami could present, but not giving players the option to also try the PC version seems like a misstep here.

But the intention wasn’t even to include the games as they originally appeared, as the ports included in Master Collection of Metal Gear Solid 2 and 3 are the improved ports from Bluepoints 2011 remasters. These games run at a maximum of 1080p resolution and a buttery smooth 60 frames per second (half that on Switch). While it’s disappointing not to see many substantial changes made to these ports to restore missing content from the original releases, these are still great ways to experience the games. Similarly, while Master Collection includes multiple versions of Metal Gear Solid, only the HD Collection versions of 2 and 3 are included here.

GET IT FROM AMAZON FOR $79 WITH FREE SHIPPING

That’s not to say that the HD Collection ports were terrible. They were the best ways to play Metal Gear Solid 2 and 3 on modern platforms. But their inclusion in Master Collection Vol. 1 feels barebones compared to the treatment the original Metal Gear Solid has received. It’s mainly a bit of a letdown that these games haven’t been tweaked with a bump in resolution, given the power of the consoles we’re playing with now. As it stands, if these were the two games you were interested in within the Master Collection, but you already own HD Collection, this might not be worth the double dip for you.

Besides the games, each comes with a Master Book and Screenplay Book, which any keen Metal Gear Solid fan will appreciate. Each book spans over eighty pages; summarising events, detailing characters and providing tips and tricks that you might’ve read about in magazines if you were growing up when these games came out. They’re all great additions that do a great job of walking the player through each game narratively and showing how each one connects to the overarching mythos. The Master Books are comprehensive, but given their breadth, I can’t help but feel they’d better serve as a physical printed compendium rather than a digital add-on to pore over on a screen.

Despite some questionable remastering choices, it’s a massive boon to Konami that these games are still so strong, regardless of their treatment. While some areas of Metal Gear Solid can be a bit tougher to play today, Metal Gear Solid 2 and 3 are still an absolute joy to play. Metal Gear Solid 3 is, in particular, still one of the greatest stealth games ever. Metal Gear Solid 2 has a story that only gets better and more relevant to the zeitgeist as time progresses. They’re all fantastic games with remarkable polish and strong stories to tell. The original games that appeared on the MSX and NES are a little bit more of an acquired taste, but to be blunt, they’ve aged poorly compared to the trilogy of Metal Gear Solid games included here.

There are some other bonuses, too – namely, the digital graphic novels previously available for the PlayStation Portable and included with specific collections. These interactive novels were fun ways to experience the story of Metal Gear Solid and Metal Gear Solid 2, though they’re not included in the base package and must be downloaded separately to work. For those who love preservation, this isn’t the best way to go about things – even the instruction manuals link to websites that’ll inevitably disappear after decades have passed – but it’s, once again, still nice of Konami to bother to include these. Especially if you struggle to get through Metal Gear Solid as a newer player.

Of course, the question must be asked. Is this worth it? It really depends. When you boil it down to what’s included here, Master Collection is good value for money. If you did the bare minimum in all of the games included here, you’ve got more than forty hours of play to get through. And it’s a good forty hours plus, too. The additional materials, like the Master Books, are fantastic and comprehensive additions that the most hardcore fans will enjoy immersing themselves in. But these consoles that the collection is launching on are capable of so much more – and if you own any previous copies of Metal Gear Solid – it makes the lack of substantial improvements to the games themselves a key deciding factor on whether you’d need to purchase this again.

Still, having the first three games of one of gaming’s most prolific franchises is hardly bad. And given how good these games are, playing Master Collection is just a reminder of how vital preservation is and how many people need to play these games if they haven’t already. And that’s worth celebrating.

The post Metal Gear Solid: Master Collection Vol. 1 Review – Nowhere To Hide appeared first on Press Start.

If you took the time to look up the definition for “wonder,” you’ll find that it’s a word used to describe a feeling of amazement and admiration caused by something beautiful, remarkable and unfamiliar. It only makes sense, then, that Super Mario Bros. Wonder nails the brief wholeheartedly. It’s the first new traditional side-scrolling Mario game in over a decade and as such it’s airtight evidence that good things come to those who wait. Super Mario Bros. Wonder is an achievement in practically every way you could fathom.

Our adventure begins with Mario and his friends travelling to the Flower Kingdom. It’s a new location that neighbours the Mushroom Kingdom, ruled by Prince Florian and powered by energy from the Wonder Flower. Of course, upon arriving, Bowser appears and steals the source of the power, using its energy to merge himself with the castle and become a flying fortress. The denizens of the Flower Kingdom are trapped inside their homes and Mario must subsequently rescue them. It’s a tried-and-true tale with few surprises.

The game follows the typical formula you’d expect from a Mario game of this ilk. Players select their character, jump into a world and clear courses to defeat Bowser. The structure of Mario games has remained unchanged for many years, and I’d argue that’s because it still works just fine. Similarly, the controls are tight and the platforming is equal parts challenging and satisfying. Which is a relief, since so much of Wonder’s success is dependent on these core aspects being adequately achieved.

The most obvious thing about Super Mario Bros. Wonder is that it feels like the start of a new era for Mario. The game is filled to the brim with new enemies and locales that we haven’t seen explored before in a Mario game. While some of the creatures and characters we’ve come to know from Mario’s rich three decades of history still make appearances, the bulk of Wonder is brand new. And it’s this dedication to newness that’s just one of the many reasons why Wonder feels like such a confident and charming reinvention of 2D Mario.

The other side of this reinvention is the Wonder Flowers. They’re a collectible that appears in each level that, when collected, warps the stage or twists the rules of the game to amp up the action. They start off in a rather lowkey manner – some might summon a stampede of enemies to run from. Others are more abstract – changing your perspective of the level or beginning a musical number that your character must participate in with specifically timed jumps.

I’d shown concern in my preview that the Wonder Flowers would get old. That throwing these crazy effects at the player would grow tiresome and tedious as more and more of them stacked up. But, rather impressively, they don’t. The Wonder Flowers are all unique and, while some are reused towards the end of the adventure, the circumstances in which they are reused more than makes up for it. I’d love to be able to talk about more of them, but there’s honestly some genuinely fantastic and creatively rich surprises from beginning to end that it would be remiss of me to spoil them.

The courses are similarly well thought out, with many of them introducing a new enemy or mechanic that hasn’t appeared in previous levels. It’s remarkable how Wonder manages to keep things fresh, gradually revealing itself to the player course by course in a way that remains interesting and engaging. It’s genuinely impressive achievement, and one that I found refreshing given how quickly I’ve felt compelled by other 2D Mario games to put the controller down and take a break. If it weren’t for basic human needs like sleep and work, I’d have easily been engrossed enough in Wonder to have finished it in a single sitting. It’s just that good.

Such a strong sense of pacing is owed to the fact that there are other level types included in the game too. Besides the main courses, of which there are numerous, other smaller missions with specific objectives are peppered throughout the map. “Break Time” missions are shorter stints with a specific objective. “Search Party” missions have the party exploring a semi-open level for collectibles. “Wiggler Race” is self-explanatory and has the party racing against an eager Wiggler to the end of a course. These are all uniquely created courses too, and do a great job of breaking things up, especially during longer sessions.

Super Mario Bros. Wonder also introduces three new power-ups to the fold, providing some great quirks that complement the platforming superbly. The Elephant is the simplest, allowing your character to attack sideways with their trunk or transport water from one area to another. The Bubble Flower allows you to blow bubbles to encapsulate enemies but can be used by savvier players to create bounceable platforms to jump off of. Finally, the Drill Mushroom turns your head into a hitbox, enhances their ground pounds and allows you to burrow and traverse across ground or ceiling like the spider ball from Metroid.

GET IT FROM AMAZON FOR $69 WITH FREE SHIPPING

These power-ups join the Fire Flower to offer up a set of abilities that often have a multi-faceted benefit to the player. They’re all good at defeating enemies, obviously, but so many of the new power-ups create opportunities for players to traverse courses without the need for flashy acrobatics or stage-specific mechanics. They’re incredibly clever additions to the line-up and do great work in giving players freedom in how they approach the courses in the game.

And that’s before I even talk about badges. They’re awarded to players largely by completing badge trials, which are another mission type strewn throughout the map. They buff the party in both active and passive ways, selectable before a course starts or between deaths. Some increase the height of your jump, while others might allow you to wall jump on the same wall twice to reach greater heights. One might increase the drop rate for coins, while another gives you a grappling hook-like ability. They’re simple additions that, once again, allows players to engage with the platforming in Wonder the way they want to without compromising the overall design.

Mario games have historically been fairly easy. Wonder does good work in remedying this complaint, but in a way that doesn’t exclude anyone. For the most part, the courses are fun and challenging with a naturally progressing difficulty curve that never feels unfair. But if you stray from the main path, mainly through hidden exits, you’ll come face to face with optional courses that have been tuned to be pretty difficult.

And I mean difficult. Two of them easily took around half an hour each to complete properly and one of those would’ve taken even longer if it weren’t for me playing with a friend and having the revives that multiplayer provides. It’s kind of refreshing to see something so challenging in a Mario game, even if it only makes up a small percentage of the total courses and is completely optional. If you’re somebody who enjoyed watching those challenging and gruelling courses made by players in Super Mario Maker 2, you’re going to love finding the right sense of flow to get through these tougher courses in Super Mario Bros. Wonder.

Unfortunately, my other major gripe with the 2D Mario games remains – there’s not a lot of variety to the boss encounters and many of them are simply too easy. I acknowledge this is a game targeting a wide audience, but these do feel like they’re over a bit too quickly. Still, they make good use of the Wonder Power concept to offer memorable battles, and they’re only a minor blemish on an otherwise stellar package.

While local multiplayer is supported, the way Wonder handles online multiplayer is also quite novel. When you’re connected, you’ll see the silhouettes of other players playing on the same course. In courses where you might be stuck or looking for something, these ghostly hints can often help point you in the right direction. It feels like Dark Souls, to a certain extent, and really helps make the world feel so much bigger than it is and was helpful in finding a hidden object I was unable to find previously.

You can also erect standees of your character wherever you want, creating checkpoints that other players can use online during more difficult challenges. Is Super Mario Bros. Wonder a strand game, then? Not quite. But the standees can be used to great effect to provide hints to other players. A tub of unassuming goo was in one level and somebody planted their Luigi standee in a post of him diving. Of course, there was something good in there, which was a nice touch. I would’ve done it anyway, but it’s a cool system that, once again, mimics Dark Souls’ notes system and works oddly well with a 2D Mario game.

As the credits rolled on Super Mario Bros. Wonder, it was fun to reflect on just how much it has to offer. While everyone’s playthrough will inevitably be different, it’s easily the biggest 2D Mario game that Nintendo has ever created. Even better, it’s the most compelling. It’s filled to the brim with delightfully realised ideas from beginning to end. And it’s more than likely not over when you’re done either – so many secrets are hidden off the main path that you’ll no doubt want to go back and uncover.

From a presentation standpoint, it goes without saying that Wonder looks phenomenal. It’s vibrant, the colours pop and everything that appears on screen just oozes personality and expression. It’s really one of the best-looking Mario games, and a huge step above the very flat and generic looking art direction seen in the New Super Mario games. All in all, it’s a visually stunning game and while it’s best to keep some of the best-looking courses a surprise, it’s easily up there for one of the best looking and performing Switch titles.

The post Super Mario Bros. Wonder Review – A World Of Ideas In Full Bloom appeared first on Press Start.

Perhaps this is controversial, but I’ve not been a massive fan of the 2D Mario games. I’ve always played them when they were released but never found the motivation to finish them. Something about the New Super Mario Bros. games felt a bit stale. Perhaps it was because there were too many of them or because I loved the wondrous nature of games like Super Mario 64 and Odyssey. Nothing has ever really topped Super Mario Bros. 3 for me. But when Super Mario Bros. Wonder was revealed, I was excited – it looked like a genuine reinvention of the series and, more importantly, a step away from the New Super Mario Bros. aesthetic. Having played a few levels of Wonder, I’m excited to proclaim that this might be my favourite Mario yet.

Super Mario Bros. Wonder sees Mario and his merry gang travelling to the Flower Kingdom. While there, Bowser is up to his usual tricks and, not content with just taking over the castles of the Kingdom, literally becomes them. He steals the main source of power for the kingdom, named Wonder Power, and Mario’s crew commits to helping the Flower Kingdom, all in the name of maintaining healthy political relationships between the kingdoms. Of course. Prince Florian joins them along the way, though I’ll explain his involvement later.

While it’s ironically not named New Super Mario Bros., Wonder is all new in practically every way. A new kingdom. New characters to play as. Brand new mechanics to rely upon. The formula is tried and true- tackle a set of courses and attempt to make it through to the end. You never fix what isn’t broken. But playing these few levels for the preview, it’s evident that Nintendo is redefining what a platformer can be and, even better, drawing on their experience with both 2D and 3D Mario games to offer something familiar and new.

As I mentioned, Wonder looks deceptively similar to previous Super Mario Bros. games. Players choose their characters and travel on a map to different courses. On each course, the goal is to find some collectibles and make it to the end unscathed. This time around, there are twelve playable characters. Mario, Luigi, Peach, Daisy, Yellow Toad, Blue Toad and Toadette are all part of the main roster. There are also four different types of Yoshi and Nabbit selectable, though these options are for less experienced players as they don’t take damage. All in all, it’s a strong and varied roster, and it’s especially nice to see Peach and (to a lesser extent, sorry Daisy fans) Daisy playable.

But it is when Wonder does things differently that makes it special. Every course I played had a Wonder Flower to find, and upon finding that Wonder Flower, it would warp the level in some way to change the level in a major way. Most of these are done in a way you wouldn’t typically see in Mario. In the first level I played, the pipes on the ground began crawling across the level like caterpillars. On others, Mario has to outrun a series of boulder-like spiked balls as he collects tokens. It’s a wild experience that I can’t wait to see more of – you just know that Nintendo is hiding some juicy secrets behind these collectibles and that these aspects included in the preview were only scratching the surface of what Wonder offers.

The other significant new addition is the badges. These are worn by Prince Florian and split into three types, often bestowing some effect on the party while Florian wears them. Action badges give the party new abilities – like a taller jump, a quicker dash or even a grappling hook-style ability. They really change up the way you can approach the platforming. Effect badges give the party an effect, like allowing the party to bounce up for a second chance from a fatal drop. Expert badges are the most interesting- one makes the team invisible (and ignored by enemies) but obviously makes it harder to play, given you can’t see your character.

There’s a whole bunch of badges that can be equipped between deaths or before entering a course, and they’re one of the best new things about Super Mario Bros. Wonder. The potential for players to customise their platforming experience to play how they want to play is one of the greatest design choices made with Wonder. It offers a degree of flexibility that a Mario game has not offered before. Some of these badges make the experience much more approachable, which less experienced players will appreciate. It’s an ingenious system and one that I’m, once again, excited to see more of in the final game.

THE CHEAPEST SHIPPED COPY: $69 AT AMAZON WITH FREE POSTAGE

In my time with the game, I was also able to use the new elephant power-up, which was instantly made into a meme when it was first shown off with the game’s reveal. Elephant Mario controls just like you’d expect him to, but he can use his trunk to destroy blocks from the side and transport and spray water. It wasn’t quite as brand new a power-up as I expected, but given how much of Wonder is new, I’m okay with this ever-so-slight recycling of abilities from previous games. The Bubble Flower and Drill Hat are the other significant new abilities, but I didn’t get as much time with them in this preview, though I am excited to try them in the final game.

Playing multiplayer is a blast, too and easy to set up. Like previous 2D Mario games, up to four players can play together. While there’s a lot more going on when playing with other people, multiplayer can make things easier. You don’t instantly die, for one, instead taking a ghostly form and requiring a revive from your friends. There’s also no more colliding with others. Nobody can pick up and throw anyone anymore, so the whole game flow feels just as good as when you’re playing solo, just a lot more hectic.

But the biggest surprise for me comes with the change in art direction. Super Mario Bros. Wonder is visually one of the most impressive-looking Mario games, donning a new artistic style that I can’t describe accurately but can acknowledge its distinctiveness. Mario and even enemies are visually expressive, colours pop, and during all of this malarkey, the framerate remains rock solid. While the scope and scale might not be akin to Odyssey or even Bowser’s Fury, Wonder is still not to be underestimated from a presentation standpoint.

Of course, I still have some concerns going forward without playing the entire game. I’ve always felt that the Mario games could benefit from some more challenging boss battles, and I, unfortunately, couldn’t discern whether that was the case from my time with these courses. Similarly, with so many fantastic ideas being thrown at me, especially during the Wonder Flower segments, I have to wonder if these will continue to be as surprising or as inventive for the entirety of the game’s run.

All of these concerns might be alleviated after playing the final game when it comes later this month. But for now, Super Mario Bros. Wonder has done more than impress me. It’s made me start to anticipate 2D Mario games more than ever. I’ve always enjoyed dipping my toes in the 2D Mario pool from time to time. Now I’m ready to spend hours there wholly submerged. It’s shaping up to be something truly worthy of its title – a true wonder to behold.

Super Mario Bros. Wonder launches on October 20th, 2023 exclusively for Nintendo Switch. Amazon has physical pre-orders for $69 including shipping.

The post Super Mario Bros. Wonder Preview – An Astonishing Start appeared first on Press Start.

Assassin’s Creed Mirage takes place twenty years before Assassin’s Creed Valhalla and around nine hundred years after the events of Assassin’s Creed Origins. We play Basim as he begins his journey with the Hidden Ones, the group that would eventually call themselves Assassins. He, as expected, becomes embroiled in a silent war with The Order of the Ancients, a clandestine group that would ultimately become the Templars. Of course, people who played Valhalla will know that Basim is not all he seems. That aspect of his existence is explored in Mirage, albeit very lightly.

While I was intrigued as to how the plot of Mirage would play out as it started to get going, it does lose some steam about halfway through. Admittedly, we’ve had thirteen Assassin’s Creed games now with the same conflict playing out in each, and, as a result, Mirage does little to surprise. The plot is mainly engaging, but the series is reusing so many plot devices at this point that I feel it needs a refresh. It also does nothing to move the overarching story forward or tease what’s to come, which, after Valhalla’s ending, feels like a bit of a missed opportunity.

The big selling point of Mirage is, ironically, how much smaller it is than its predecessors. It sounds like a bizarre concept, but it’s a welcome honing of the formula. Initially conceived as DLC for Valhalla, Mirage was eventually expanded to offer an experience akin to games like Brotherhood and Revelations. It provides a single map to explore with manageable and approachable tasks to complete and no deep RPG mechanics or stat management.

That’s not to say that I didn’t enjoy Origins, Valhalla or even Odyssey, the latter of which dived headfirst into RPG territory. I enjoyed all those games. I love that Assassin’s Creed can adapt itself to be something slightly different in every game. But there’s a distinct beauty to Assassin’s Creed Mirage’s simplicity after the intensity and complexity of Valhalla’s experience. It feels fitting it’s releasing around the franchise’s fifteenth anniversary because it harkens back to the games that made the series so famous in the first place.

I say simplicity because Mirage doesn’t have power level requirements or even levelling or stats to pore over to make Basim stronger. Points are awarded for completing critical missions at specific points, and the skill tree has twenty-three skill nodes as opposed to Valhalla’s four hundred. All you have to worry about (and even then, you can quickly get through the game without doing so) is upgrading your gear and tools to better play the role of assassin.

Tools are the bread and butter of your experience as Basim, and they are incredibly helpful. Basim eventually gets a throwing knife, a noisemaker, a smoke bomb, a blowpipe and a trap. Each item can be upgraded up to three times, with each tier of tool upgrade giving you options to customize how that tool behaves. You can make your smoke bombs flammable or make your enemies forget they saw you when they breathe the smoke in, for example. They’re always able to be respecced and can be customized to suit your play style.

Mirage’s plot essentially co-opts the cult investigation structure of the previous games and adapts it to run across the entirety of its runtime. This means that you can investigate certain aspects at your leisure while the story progresses linearly before eventually converging to a finale. In each of the investigations, you’ll do essential recon work before confronting a member of the Order in a more extensive and more open-ended mission.

These missions are the cornerstone of Mirage and easily where the game is at its best. First established in Unity, these missions offer up large area to investigate, with many opportunities to uncover that’ll get you closer to your target. You might be able to bribe someone to find a way in or win an auction to get the attention of your target and gain an audience with them. You might find a note about a secret passage underneath the heavily fortified prison walls you need to infiltrate. There are around five to seven different ways to approach each mission.

THE CHEAPEST PHYSICAL COPY: $64 AT AMAZON

This approach to design for the key assassinations feels like a great way to mimic the style and structure of older Assassin’s Creed games but with the breadth and scope that newer technology and experience have afforded the developers. It’s not quite as open to the point where anything you can think is possible – like Tears of the Kingdom or even Hitman – but it does feel like there are options here for those who like to take an action-orientated approach, a stealth-orientated approach or both.

Stealth is the better option. Combat has less weight and complexity than Valhalla, but at the same time feels more dangerous. Enemies can swarm you quickly if you’re spotted, and most won’t wait their turn to attack you like in previous games. Basim can parry and follow up with a fatal attack, which feels better and more engaging than the countering system seen in the older games. But combat ramps up in intensity so quickly that it’s often better to stay hidden than create a commotion during your infiltrations.

But all this flexibility and openness in design can’t save Mirage from a major flaw that the series, for some reason, refuses to jettison. Tailing missions are back, and they’re just as tedious and as frustrating as in previous games. I challenge Ubisoft to find a way to make them exciting or remove them altogether. They’re exactly the same as when they first reared their ugly head in Assassin’s Creed II and haven’t evolved since – they’re awful and bring down an otherwise great main quest.

There are other activities when you’re not spending time on the main quest. However, most are collecting objects and handing them to NPCs for crafting components or rewards. Like world events in Valhalla, Tales of Baghdad are tiny side quests offering interesting stories that barely last more than five minutes. The problem is that, while it’s a great system to nab from Valhalla, there’s not enough of them in Mirage.

This is the main area where Mirage’s simplified scope becomes a bit of a double edged sword. The side content is numerous, but it’s less engaging than the previous games. I recognize the entire point of Mirage was to simplify things and harken back to the original three games, but the irony here is that in doing so, the same problems that plagued those games have reemerged. Given the sheer variety of experiences Ubisoft has to pull from, it’s a shame to see so little of that potential capitalized on.

From a presentation standpoint, Mirage has the same strengths and opportunities as Valhalla. Baghdad has been brought to life admirably, though despite promises that crowds would be as dense as Unity, Mirage never quite reaches those lofty heights. While I admit that I miss climbing the towers, cathedrals and even colossal statues of previous games, there is, once again, something beautiful in the simplicity of the world that Mirage presents. Lip-syncing is still distractingly off enough to take you out of certain scenes. However, it’s not catastrophic enough to ruin the experience.

The post Assassin’s Creed Mirage Review – Back To Basics In Baghdad appeared first on Press Start.

While I’m a massive fan of the concept of Separate Ways, subsequent revisits to the 2005 version in my later years have had me coming to terms with a simple fact. It just wasn’t that good. A hodgepodge of assets from RE4 stitched together to sell a second version of the game, it’s an interesting case study of what happens when you mix a game with stellar mechanics with lousy encounter design. Separate Ways has been given the remake treatment as downloadable content for Resident Evil 4. And with so much gained, it’s a massive surprise at just how much is on offer here for such a great price.

For the unaware, Separate Ways is a side story that tells Ada Wong’s side of the events of Resident Evil 4. You play Ada as she takes orders from her mysterious superior while colluding with Leon and Luis to find the amber she was after in the main game. It’s a comprehensive package that further rounds the already well-rounded Resident Evil 4. It fleshes out a lot more of Luis and Ada’s motivations and helps fill out the story and tie up any loose ends left hanging by Leon’s adventure.

As implied earlier, the original Separate Ways was made after the fact, with so many aspects of Ada’s side of the story lacking real cohesion with Leon’s. This version, however, feels much more thoughtfully considered. When Ada is crossing the roof of the church, she can hear Ashley crying while she waits to be rescued by Leon. Later, she can hear Leon fighting Salazar on the other side of the castle wall she climbs. They’re small touches, but replaying RE4 knowing that Ada is nearby is a nice recontextualization.

Where the original Separate Ways had you running through Resident Evil 4 backwards, the new Separate Ways is much more thoughtful in the paces it puts Ada through. Many areas are admittedly reused from the main game, but they’ve been twisted enough to resemble something new – not cynically or dully like in Shadows of Rose last year. There’s also more of an emphasis on espionage and reconnaissance in the opening chapters, which meshes well with Ada; things ramp up pretty quickly along its seven-chapter run.

An example of how Separate Ways twists what was presented in Resident Evil 4 is with the first boss battle. El Gigante is fought twice in the main story as Leon, but as Ada, you’ll fight one in the farm area from the beginning of the game. Ada’s grapple hook can be used to jump between rooftops of each barn and, of course, to swing by and deal damage to the beast’s weak point. It’s a fun remix of a battle I’ve personally done to death – and the rest of the encounters only get better. There are three other key boss encounters in Separate Ways, and they’re entirely new and slot nicely into the overall story.

Even more admirable, each aspect of Resident Evil 4 that was sorely missing from the remake has been reworked and incorporated into Ada’s side of the story. It’s a joy to see these key moments reimagined – the gondola ride, the laser room and even a missing boss I quickly noticed in my original review. It’s all included here in Separate Ways with the same sense of respect that the original remake had, and it all makes sense to “give” these encounters to Ada, given how she gets around. It’s remarkable how much it rounds out the already comprehensive package that Resident Evil 4 was.

We already knew Ada was a badass, but I can only appreciate her more as a character after seeing what she was up to after the events of RE4. Much like the remake, Separate Ways masterfully balances the core tenets that make Resident Evil compelling – it’s got a nice mix of puzzles, exhilarating action and some darker horror-tinged moments. While combat primarily flows the same, Ada is equipped with weapons not found in the main game. With enough spinels, she can even unlock the ability to rip away enemies’ shields with her grapple. It is an absolute game changer and ammo saver on higher difficulties.

As you play Separate Ways, you’ll be surprised at how many new and substantial encounters it throws at you. Priced at fifteen dollars, it will take most players between five to six hours to finish, even more if they explore every area and finish every request for the merchant. There’s even a set of challenges to complete with their own related unlockables – including classic costumes from the original Resident Evil 4 for the rest of the cast and the usual weird accessories for Ada herself.

While there was unwarranted controversy surrounding the recasting of Ada Wong with Lily Gao, she turns in an excellent performance here as we get to spend more time with Ada in Separate Ways. Lending an aloof tone with some quippy one-liners to rival the corniness of Leon, this is easily now my favourite interpretation of the character. There are even some great remixes of music from Resident Evil 2 and Resident Evil 4 – including Ada’s theme from the former and a very schmick remix of Infiltration from the latter.

As the credits rolled on Separate Ways, I couldn’t help but ruminate on how polished it was. It felt like the base game, just from a different perspective. The original Separate Ways had many scenes where characters would stand silent as Ada spoke to them. None of that is evident in the new Separate Ways; it feels just as big a budget as the game it complements. That being said, there was one scene where Ada interacted with another character just moments before the finale that was weird and stilted, but otherwise, the majority of Separate Ways feels well put together with excellent production values.

Separate Ways is now available as paid downloadable content on all platforms where Resident Evil 4 is available.

The post Resident Evil 4: Separate Ways Review – Ada Comes Out Swinging appeared first on Press Start.

As someone who is alive, I’m sure we can all agree that there’s nothing worse than sitting down and being uncomfortable. Even more so when you sit down to game after a hard day’s work to relax. There is nothing worse than not being in comfort. I’ll admit that I’ve never been one to dabble too much in gaming chairs, doing a lot of my console gaming from the couch. Still, when I’m at my PC at a desk, I’ve longed for something more, especially during the hotter summer months when my shitty Officeworks chair just won’t cut it. Razer has come to the rescue with the Fujin Pro. It’s a gaming chair that you can tell a lot of thought and technology has gone into producing – but how does it fare in the real world? Pretty well.

The Razer Fujin Pro is a mesh gaming chair designed to sit aside their Iskur support line and Enki’s comfort line. That’s not to say that the Fujin Pro doesn’t give comfort and support – it absolutely does; it represents one of the first significant forays for the gaming giant into mesh chairs. The idea behind a mesh chair is that air flows better throughout the chair and is much more breathable – perfect for the sweaty gamer. Given that the Fujin Pro is named after the Japanese god of wind, they’ve nailed the concept. The airflow is fantastic.

While I was told that the packaging I received for the Razer Fujin Pro is less flashier than when the product hits the market later this year, I was taken aback by how simple everything was. Inside the box, you’ll get the chair’s base, a seat and the backing. Two other smaller boxes house the accessories and headrest and it’s all topped by a gigantic version of the now-signature Razer mantra. The headrest comes included with the Razer Fujin Pro but is an optional add-on for those opting for the plain Razer Fujin. All screws come preinstalled and the tool to manipulate them is included too. You don’t need anything else – it’s all-encompassing.

Betraying my lack of knowledge in this area, I put aside a whole day to set up the Razer Fujin Pro. I was astonished to discover that after unpacking everything, it only took me about twelve minutes to assemble everything by following eleven easy steps. There wasn’t a single point where I got stuck in building the chair and, besides the components themselves being heavy, nowhere where I needed excessive strength or force to put stuff together. Given how intricate some features and customisations are, it’s a straightforward assembly process.

But do be warned – you’ll be handling a lot of packaging. This might seem like a strange thing to highlight but there is a lot of cardboard that you’ll have to recycle.

But before we delve into the nitty gritty, it’s important to highlight how the chair looks assembled. When I think of Razer, I think of outlandish and bright green products adorned with obnoxious RGB lighting. Perhaps I’m being a bit too harsh there – but the Razer Fujin Pro is anything but. It’s a sleek-looking chair with a neutral appearance that could be used with little to no reservations in a professional office setting AND your ostentatious LCD-lit gaming den. I’ve seen gaming chairs with holographic highlights and brightly coloured fabrics that look less mature than the Razer Fujin Pro. It’s a sleek chair that feels incredibly grown up.

When I first sat on the Razer Fujin Pro, I was made aware that mesh chairs aren’t the cushiest. But after several hours on the chair, I was shocked. I didn’t get up nor did I move to my couch. It was comfortable. It’s almost a technical marvel that material pulled so tight and well-ventilated can sustain my erratic bouncing, especially during hours upon hours of play of Mortal Kombat 1, where I’m most animated. But even more so, the chair mesh only seemed to get more comfortable as time passed. I’m not sure if there’s science behind this or if it’s purely a placebo effect, but the Razer Fujin Pro absolutely felt more comfortable the longer I sat in it.

I’ve never been one to tout the wonders of lumbar support, but after sitting in the Razer Fujin Pro, I was suddenly aware of when I’d sit somewhere, and there would be a complete lack of it. Since I’d sat in it, I’d visited restaurants, cinemas and even a friend’s office. None of the seating options there are even remotely compared. I’m trying to say here that lumbar support isn’t something you feel like you need until you’ve experienced it – I was almost longing for it after spending time out of the house.

The Razer Fujin Pro includes a knob on the back of the chair that allows you to adjust the lumbar support’s depth and height. It’s a great feature that works miles better than a cushion attachment, like some chairs opt for, though it’s hard to reach while sitting on the chair. I had to get up and sit down multiple times to find my sweet spot before giving up and asking someone else to adjust it. Theoretically, once you’ve got the sweet spot, you shouldn’t have to adjust it again, but it is worth mentioning for those flying solo.

Right underneath the left side of the seat, you’ll find controls that allow you to adjust the tilt and recline of the chair as well as the depth of the seat. On the right side is the typical height adjustment for the seat and a knob that can be turned to adjust the tension to the seat’s tilt. Essentially, you can recline up to 130° with the controls on the left side of the chair allowing you to lock your tilt in place while the controls on the right side affect how easily you can push the chair back.

This is handy because you can have your chair actively “match” your position no matter how you sit without continually adjusting the chair. It’s a nice feature that is especially handy when sitting at a desk for long periods or just sitting in front of a TV playing games for even longer. Just constant comfiness, which is what you want from a chair like this.

The armrests are similarly entirely customisable. I was a tad worried about the armrests, given I’m a bit wider. However, the degree of movement that the armrests on the Razer Fujin Pro means that almost anyone of most body types can find comfort. Using buttons on each armrest, each armrest can be adjusted up and down, forward and backward, left and right or rotated inward and outward. I’d imagine those with smaller frames might not be happy with how little you can move the armrests inwards, but otherwise they’re incredibly customisable.

The headrest is similarly customisable. Included with the Fujin Pro and available as an optional add-on for the Fujin, it screws onto the chair and is a sturdy addition. It’s also fully adjustable and made out of the same comfortable and breathable mesh as the rest of the chair. Where the headrest is customisable to suit all kinds of angles, I couldn’t quite find the right angle for it being of a shorter stature. I prefer to sit forward when I sit, though, so perhaps this is more of an issue of personal preference than a design shortcoming.

But above everything else, where there are some little design niggles that could more or less be a result of my own personal stature rather than the chair itself, I come away pleased with what the Razer Fujin Pro can do to my posture and my comfort during those longer sessions both gaming and working. But while I can’t help but feel it’s a tad pricey, there’s still that age-old adage that I know to be true: you can’t put a price on comfort.

The post Razer Fujin Pro Review – Comfort and Support With Airflow To Match appeared first on Press Start.

Lies of P is out from today and in my review last week I was keen to tell everybody just how much of a surprise it was. It manages to craft its niche in the much-imitated Soulslike genre to offer something unique. But I wouldn’t be surprised if you’d not heard of Neowiz. The Korean-based publisher and developer has previously worked mainly on mobile games, so this represented their first foray into the very crowded console market. I had the chance to interview Choi Ji-Won, the director who worked on the game at Neowiz, about the development of the game and the inspirations they took.

I asked them how the inspiration for the game came about and, besides the obvious, if any other inspirations helped Lies of P come to life. Where Bloodborne is the apparent influence, Choi Ji-Won told me that their “inspiration comes from diverse sources including other Souls-like games, books, movies, cartoons, and any mass media that centre around the concepts of greed or cultism. The development team’s own life and travel experiences were also a point of inspiration.”

Of course, the main inspiration was the story of Pinnochio, specifically taken from the 1881 novel by Italian writer Carlo Collodi more so than the much beloved Disney adaptation. I naturally had to ask as to why such a story would be chosen for the foundation of an action-RPG like this.

“We wanted to use a story that is well-known around the world, a story people confidently believe they know well, and one that possessed a maturity that would captivate adult audiences. The Adventure of Pinocchio had the elements of innocence, gore, darkness, black comedy, and compelling characters that we were searching for. Moreover, The Adventure of Pinocchio is also a story of growing to be better, which seamlessly aligned with the game we wanted to create.” said Ji-Won.

When players hear that Bloodborne or even Elden Ring inspires a game, they naturally assume that Lie of P might be devastatingly difficult. I mentioned in my review that there were some design choices that clearly attempt to ease more players into the format, making it a good entry level game. But it made me ponder whether Neowiz ever thought to include difficulty options in Lies of P. On the topic of difficulty options, Ji-Won said:

“We believe that solid-level design and balance are extremely important in Lies of P. We felt that we might not be able to offer this if we chose to implement difficulty options, which ultimately led us to stick with the single difficulty. However, even though we decided not to offer difficulty options, we would like to see Lies of P become an entry point for the Souls-like genre. With this in mind, we added various items and other features to make the game a bit more welcoming to new players. For players who worry that Souls-like are too hard to play, we hope that they can leverage those items and elements to help their journey in the Krat.

On another note, there was actually some very interesting feedback we received from the public demo. Players who did multiple playthroughs questioned whether we ever patched the difficulty of the game because they found that it became much easier after their initial run. However, we never applied a patch to the demo and it was just that they improved their skills without realizing, instead assuming the game had been nerfed. Ultimately, Souls-like can be hard for anyone when they first try it out and there is nothing wrong with that. We have all been there before!”

And finally, to wrap the interview up, I was keen to discover how Neowiz working with Xbox might have played out, given a very public display of support from the publishing giant on other third party games like Baldur’s Gate in the months just passed by. On working with Xbox to bring Lies of P to Game Pass, Ji-Won had the following to say:

“Neowiz had joined Xbox Game Pass with previous titles before. Because of that, we already had a relationship with Xbox, and Microsoft showed interest in Lies of P. This ultimately led to further discussions and in August 2022, we announced Lies of P would join Xbox Game Pass.”

“Neowiz solely worked on the game, but whenever we had any troubles around development and launching on Xbox, they always offered tremendous technical help to our team.”

“For studios launching a new IP without a considerable presence globally, I believe it is very important to create opportunities that allow many people to play and experience your game. Xbox has always offered tremendous support on this. For example, we were able to show off Lies of P to a large audience at Gamescom 2023 because of the Xbox team. The same goes for the Xbox Showcase, where the game was on display for a global audience.”

Lies Of P releases today, September 19th 2023, for Xbox Series X|S, Xbox One, PS5, PS4, and PC. It is available on Xbox Game Pass. You can read my review with final thoughts of the game HERE and grab the cheapest copy of the game using our bargain guide HERE.

The post Lies Of P Interview – Balancing Difficulty, Bloodborne And The Importance Of Game Pass appeared first on Press Start.

Mortal Kombat 1 is finally here and with Liu Kang’s new era comes a brand new system to contend with – Kameos. I loved the Kameo system in Mortal Kombat 1 – calling it out in my review as an ingenious way to keep things fresh and give much more flexibility to players.

But as you’ll also see in my review, a lot of the Kameos come locked with a whole third of them being unavailable when you first boot the game. The game also doesn’t tell you much about what you should do to unlock them either, which might leave players in a bit of a pickle.

The solution is tied to your Profile Level for your account. As you finish fights in Mortal Kombat 1, you’ll gain XP. Levelling up your profile will unlock all kinds of things including coins to spend and customisable parts for your profile. But the most important thing is that it lets you unlock the remaining Kameos.

HOW TO UNLOCK KAMEOS IN MORTAL KOMBAT 1

All you have to do to unlock the remaining Kameos in Mortal Kombat 1 is to level up your profile. They happen every five levels.

Level 5 – Scorpion (Mortal Kombat 1)
Level 10 – Sub Zero (Mortal Kombat 1)
Level 15 – Kung Lao (Mortal Kombat 2)
Level 20 – Shujinko (Mortal Kombat Deception)
Level 25 – Motaro (Mortal Kombat 3)

They’re all some pretty great Kameos with Motaro being my personal favourite. Shujinko is the most unique, though, he enters each match equipped with two of your opponents moves and can use them in lieu of other moves. If you’ve played Mortal Kombat Deception, you probably know why.

The post How To Unlock All Kameos In Mortal Kombat 1 appeared first on Press Start.

I’ve been feverishly playing Mortal Kombat 1, and unfortunately, not all the Fatalities come unlocked from the get-go.

Thankfully, even though this is the case, you don’t actually need to unlock the Fatalities to use them in the game.

Unlocking them puts them on your move list for easy reference when you pause the game, but if you know the inputs, you can easily follow the below to do so rather than work your way through mastering your characters. You unlock your second fatality at Character Mastery Level 14.

It’s worth mentioning that Brutalities must still be unlocked by levelling up your characters to perform them. But given that these require a slightly better understanding of your character, I’m okay with it.

Here are all the fatalities in Mortal Kombat 1. They’re listed alphabetically by character.

Don’t forget that you can always try out your fatalities in the FATALITIES option underneath LEARN. There you’ll be given the input and correct distance for each characters first fatality to practice with. The second is still practiceable here too, but given their secret nature they’re not on screen to look at.

Depending on which console, here is the breakdown of the numbers you’ll see in the list below.

1 is Square (PS5), X (Xbox) and Y (Switch)
2 is Triangle (PS5), Y (Xbox) and X (Switch)
3 is Cross (PS5), A (Xbox) and B (Switch)
4 is Circle (PS5), B (Xbox) and A (Switch)
5 is R2 (PS5), RT (Xbox) and ZR (Switch)
K is R1 (PS5), RB (Xbox) and R (Switch)

Ashrah

Heavenly Light
Mid Distance
Down – Forward – Down – 2

Threads of Ill Will
Mid Distance
Down – Down – Back – 4

Baraka

Split Decision
Close Distance
Back – Forward – Down – 1

Four Piece Kombo
Close Distance
Forward – Back – Down – 4

Cyrax (KAMEO)

Annihilation
Mid Distance
Forward – Back – Forward – K

Darrius (KAMEO)

Armed & Dangerous
Jump Distance
Down – Back – Forward – K

Frost (KAMEO)

Breaking Point
Jump Distance
Back – Down – Back – K

General Shao

Spin Cycle
Mid Distance
Back – Forward – Down – 1

Axe-ident
Mid Distance
Down – Forward – Back – 1

Geras

Sand Storm
Mid Distance
Forward – Down – Down – 4

Temporal Execution
Mid Distance
Down – Forward – Back – 1

Goro (KAMEO)

Prince of Pain
Jump Distance
Back – Forward – Down – K

Havik

Atomic Heart
Close Distance
Down – Forward – Down – 4

RAD-ius Incision
Close Distance
Forward – Back – Down – 2

Jax (KAMEO)

Big Boot
Far Distance
Down – Forward – Down – K

Johnny Cage

Hollywood Walk Of Pain
Close Distance
Forward – Back – Down – 2

Krash and Burn
Mid Distance
Forward – Down – Back – 4

Kano (KAMEO)

Heart Ripper
Jump Distance
Back – Down – Forward – K

Kenshi

Blended
Close Distance
Forward – Down – Down – 2

Gyro-Nope
Mid Distance
Back – Down – Back – 1

Kitana

Royal Blender
Far Distance
Down – Forward – Down – 4

Last Kiss
Close Distance
Down – Down – Back – 4

Kung Lao

Lao’d And Clear
Mid Distance
Back – Forward – Back – 4

Slapped Together 
Close Distance
Back – Down – Down – 3

Kung Lao (KAMEO)

Klean Kut
Jump Distance
Forward – Back – Forward – K

Li Mei

Roman Candle
Close Distance
Forward – Back – Forward – 3

Grand Finale
Close Distance
Back – Forward – Down – 4

Liu Kang

Double Dragon
Close Distance
Down – Forward – Back – 4

Spaghettification
Close Distance
Back – Forward – Back – 3

Mileena

Appetizer
Close Distance
Back – Forward – Back – 1

Killopractic Adjustment
Close Distance
Down – Forward – Back – 3

Motaro (KAMEO)

Brain Blast
Jump Distance
Forward – Down – Down – K

Nitara

Vaeternus KomBAT
Mid Distance
Down – Down – Back – 1

Brake Check
Mid Distance
Back – Down – Back – 4

Raiden

The Storm’s Arrival
Close Distance
Back – Forward – Back – 2

Ride The Lightning
Mid Distance
Down – Forward – Back – 1

Rain

The Red Sea
Close Distance
Down – Down – Back – 4

Under Pressure
Jump Distance
Down – Forward – Back – 3

Reiko

The Impaler
Mid Distance
Down – Down – Back – 2

Pinned Down
Close Distance
Back – Down – Down – 4

Reptile

Indigestion
Mid Distance
Forward – Back – Down – 4

Acid Reflux
Sweep Distance
Forward – Down – Back – 3

Sareena (KAMEO)

Inner Demon
Jump Distance
Back – Down – Down – K

Scorpion

Eye-Palling Victory
Mid Distance
Down – Forward – Back – 5

Killer Klones From Netherrealm
Close Distance
Back – Forward – Back – 2

Scorpion (KAMEO)

Toasty!!!
Jump Distance
Down – Forward – Down – K

Sektor (KAMEO)

Compactor
Jump Distance
Back – Forward – Back – K

Sindel

Hair Comes Trouble
Mid Distance
Down – Back – Down – 1

Livin’ The Scream
Mid Distance
Back – Forward – Back – 2

Shang Tsung

Side Effects
Close Distance
Back – Down – Down – 4

Feeding Time
Mid Distance
Forward – Down – Back – 2

Shujinko (KAMEO)

Five Point Strike
Jump Distance
Down – Back – Down – K

Smoke

Hazed And Confused
Anywhere
Back – Forward – Down – 1

Up In Smoke
Anywhere
Down – Forward – Back –  2

Sonya (KAMEO)

Kiss
Jump Distance
Back – Forward – Down – K

Stryker (KAMEO)

Safety Vest
Jump Distance
Forward – Down – Forward – K

Sub Zero

Hairline Fracture
Anywhere
Forward – Down – Down – 2

Brain Freeze
Close Distance
Forward – Back – Down – 4

Sub Zero (KAMEO)

Spine Rip
Mid Distance
Forward – Down – Forward – K

Tanya

Helping Hands
Close Distance
Down – Back – Down – 3

Show Of Hands
Close Distance
Back – Forward – Down – 2

The post Here’s A COMPLETE Mortal Kombat 1 Fatality Guide And All The Inputs You’ll Need To Do Them appeared first on Press Start.

As is tradition, Mortal Kombat 1 features a character who will appear on your character select screen but isn’t selectable.

This unassuming faceless corpse man is Havik. He originally appeared in Mortal Kombat: Deception as a cleric of chaos and an anarchist from the Chaosrealm.

He was a little bit more corpse-like than he is here, but was unique in that he could would break his bones and cause damage to himself to deal damage to others. While he was a bit of an oddball, he’s been relegated to be a bit of a forgotten but much adored character in the series canon.

But now he’s back in Mortal Kombat 1 with a fresh new design but a similar concept.

HOW TO UNLOCK HAVIK IN MORTAL KOMBAT 1

Much like Frost, who came before him in Mortal Kombat 11, Havik is unlocked by completing the Story Mode of Mortal Kombat 1. I didn’t unlock him my first time, but replaying the last chapter again seemed to unlock him for use in any of the games multiple modes.

Given what goes down at the end of the story, I recommend playing that final chapter again anyway. There’s even an achievement or trophy for it.

So don’t fret if Havik remains locked on your character select screen. You only have to just play the game a little bit more to start breaking necks and bones.

The post How To Unlock Havik In Mortal Kombat 1 appeared first on Press Start.

Few franchises can enjoy a thirty-year tenure like Mortal Kombat can. But it’s just a testament to how much the series is willing to reinvent itself, for better or worse. Mortal Kombat has been subject to many successes and failures throughout those three decades. The franchise even survived the bankruptcy of its original publisher. Now, Mortal Kombat 1 is reinventing everything yet again. In light of those successes and failures, it’s obvious that Mortal Kombat 1 is the former and another win for Netherrealm. Quite frankly, I’ve not played a fighting game like it.

The series has dabbled in rebooting and the mixing of timelines already, but none has been as dramatic as with Mortal Kombat 1. Following the events of the last game, Liu Kang is given the power of an elder god and can reset the timeline to a new era. He does this but obviously can’t control what happens in the new timeline, so naturally, there’s a new threat to battle once more. It’s a hammy but a much-needed refresh after the convoluted Mortal Kombat 11.

Being the start of a new era, everything has changed. Some characters play a more significant role in the story. Others might still be as treacherous as in previous games but for different, more noble reasons. It’s a cool shakeup, but I’d argue that where things end up, it’s not quite the dramatic reinvention we’d have thought. But, regardless, Mortal Kombat 1 does feel like a perfect point for a newcomer to jump in while still winking at those who know the already-established lore. Even better, despite being such unadulterated schlock, the production value holding it all up helps bring the engaging story to life.

But this is still a fighting game. You choose your character and arena before attacking each other with special moves and combos. The core concept is mainly unchanged, and combat flows much faster than Mortal Kombat 11 but still slower than Mortal Kombat X. The combo system has also been reworked, allowing you to take your kombos to the air. But no other change is as significant as the Kameo system, which is baked into the design of Mortal Kombat 1.

The Kameo system represents the biggest shakeup to the Mortal Kombat formula. After choosing your main character, you’ll also select a character to call upon to assist you. This is your Kameo character, and while you never control them directly, you can call them in with a button press. Each Kameo has multiple moves, and depending on how you hold the button or what direction you press it will influence which attack they’ll do. They’re tied to their separate meter underneath the health bar, so they’re not easily abusable. But they’re a different roster that pulls from every dark corner of Mortal Kombat’s three decades of history.

The Kameo system is particularly clever because it can compensate for any shortcomings your favourite character might have. Characters with fewer options, when their opponent is up close, could pick a Kameo with abilities that keep your opponent away, for example. Many of them can also be called in mid-combo, depending on the move, and allow you to extend your combo where you usually couldn’t. It’s a great addition that encourages player expression and flexibility built into a game where the roster is already very well-varied.

And as far as the roster goes, this is easily one of the series’ best. Where previous games focused on a mix of newcomers and mainly fighters from the first three games, Mortal Kombat 1 does things differently. Characters from over two decades ago return in a new light, and it’s especially a joy to see the entire series’ history represented here. There’s a good mix of characters from each of the distinct eras of the franchise, and while one or two fan favourites are missing, I’d argue that over ninety percent of everyone’s favourites are here.

While the roster has zero newcomers, there is a case to be made for just how many of these returning characters are genuine reinventions. So many are returning for so long, some even from games operating in entirely 3D space, that they’ve been reworked to play like new characters. Even series stalwarts like Scorpion, Johnny Cage and Kitana play dramatically differently from what came before, with new additions to their kits to change their flow. So, while there are no new characters, the context in which they appear more than makes up for it.

With the advent of the Kameo system, the variations system in the last two games is now gone. While I enjoyed having three different versions of each character, it would almost always be unbalanced. Some variations were better than others, and others would never get used. The removal of variations in Mortal Kombat 1 is welcomed – it means the team has to focus on a single set of moves for each character, and, honestly, the roster is stronger for it. Everyone is a joy to play.

THE CHEAPEST COPY: PREMIUM EDITION FOR $144 AT AMAZON OR STANDARD EDITION STARTING AT $79 

The game is still violent, though Mortal Kombat 1 often errs more on goofy than bleak or realistic. Fatalities and fatal blows are also tuned to be much quicker, getting you back into your game faster. I appreciate this change, though I think people wanting more complicated fatalities will be disappointed. It’s so ridiculous and over the top that it’s almost comical, perhaps indicative of why Mortal Kombat has such broad appeal despite being an outwardly violent game.

Besides the genre-best story mode, a new mode called Invasions is also included here. It’s essentially a tabletop RPG, assigning elemental affinities and stats to manage for your characters as they progress through board games of locations from the story. It’s an intelligent culmination of everything Netherrealm has done previously to appeal to solo players – the living towers are still here refreshing hourly, daily, weekly and monthly – and really is the new version of the Krypt. As such, you’ll do a lot of unlocking of skins and weapons here, with each node of the board allowing you to fight enemies with all kinds of modifiers or effects. You’ll even find items that will open up paths in previous boards, too, kind of like Metroid.

My initial reaction to Invasions is that it’s a pretty massive undertaking. There are at least six boards to explore, comprising hundreds of fights. Some nodes will have you taking on multiple enemies simultaneously; others have mini-towers to conquer. Some even have you just avoiding projectiles without fighting anybody. There’s a nice mix of activities on offer here, and it’s something I can see growing into something even better than what it already is as time goes by. I hope there’s a way in the future to speed up your character’s movement speed on the board, but it’s a minor nitpick, admittedly.

The idea is that each season will bring new boards with new storylines to explore and uncover. I love the idea; though the story is admittedly pretty minimalist, it’s cool to explore some “what-if” scenarios in the world of Mortal Kombat. The first season is already available and concerns the man who was the original Scorpion. If every season is as big as this one, there will be a lot of great solo content for players to get through in Mortal Kombat 1. Time will tell, but Netherrealm has proven before that they’re up to the challenge, so we can only hope that will continue here.

One issue with Mortal Kombat 1 is that it’s yet another fighting game with locked characters. While I recognise it harkens back to when these games first found popularity, it’d be a bit of a bummer to boot the game on a Saturday night with friends and see you can’t play as everyone. One character is tied to finishing the story. At the same time, five of the game’s fifteen Kameos can’t be used until you reach a certain level on your profile. It’s not as egregious as Super Smash Bros. Ultimate, mind you, but it is frustrating if you want to jump in and play with a group with everyone available.

Customisation was a big part of Mortal Kombat 11, but Mortal Kombat 1’s approach is bound to divide. The system has been simplified so that every character has one aspect of their design that can be customised. Examples of this are Scorpion’s Mask, Li Mei’s Gauntlets and Kitana’s Fans. There are still several skins to unlock, each with numerous palettes to change their colour, but the inability to change so much about each character is bound to divide. Once again, I never engaged with the customisation much in Mortal Kombat 11 beyond finding the skins I liked, but those who want to change the most particular aspect of their favourite characters design might be disappointed. And while it’s simplified, the skins on offer here are all good, which makes up for it.

More surprisingly, at the time of writing, the monetisation mechanics aren’t anywhere near as rapacious as you might expect. There are still three currencies, however. Plain coins are earned by playing mainly offline modes. Season coins are made through Invasions Mode and can be used to buy seasonal content. In three hours of play, I’d earn enough to buy five to seven skins I wanted, though you can still earn them in Invasion, too. Finally, there are Dragon Crystals. These are the “real money” currency in the game and can be used in a premium store that refreshes regularly.

While there are in-game purchases here, Mortal Kombat 1 gives out more than enough playing naturally without incessant grinding that I’d expected. It’s a refreshing change that is in stark opposition to how I felt about Mortal Kombat 11, which forced you to grind regularly against battles that were tuned to be way too difficult.

The online modes remain unchanged from Mortal Kombat 11. Public and private rooms can be setup, and there’s still a king of the hill option to emulate that classic arcade experience. Kombat League is also here from the get-go, serving as a ranked mode that rewards gear set around the league theme every few months. Of course, while the net code is strong as ever, it’s a huge disappointment to see that cross-play isn’t here, at least at launch. Especially since it was in Mortal Kombat 11 and worked so well. We have confirmation that it’s coming in the future, but given it’s such the standard now, it’s an odd omission for a game of this calibre.

From a presentation standpoint, Mortal Kombat 1 is the first time the team has moved to a new engine, and it shows. The game has never looked better. Even more encouraging, the levels are all beautifully rendered and wildly colourful. Ever since Injustice 2, it’s been obvious that Netherrealm’s facial animations were something else, and this is especially obvious in Mortal Kombat 1, especially during its lengthy story mode cutscenes. It’s the best-looking fighter available to players so far and it looks so incredibly fluid in motion.

Even more encouraging, the game’s music has been dramatically improved, too. Where music often faded to the background in the previous two games, the new music harkens back to the old eras while still feeling fresh and exciting. Voice work is pretty good. Sure, there is yet another celebrity casting choice that’s clearly out of place, but besides them, everyone else turns in some great performances to bring this epic story to life.

The post Mortal Kombat 1 Review – A Relentless Reinvention appeared first on Press Start.

You need not argue the value of the medium of video games when you see a game like Lies Of P manifesting. Who would ever have thought to combine games like Bloodborne with the tale of Pinnochio, of all things. And who would ever have thought that it worked. Since their success, it’s been easy to write off anything imitating a FromSoftware game as a cynical cash grab, but Lies of P is anything but. It defies all odds. It’s a surprisingly compelling action RPG that builds itself on the shoulders of giants while deftly carving out its own niche.

As you’d expect, the game opens with you stepping into the shoes of Pinnochio. You’re at a train station in the city of Krat, which has recently descended into chaos and madness. Humanoid puppets, previously slaves to the upper class, have turned on their masters, ending the city’s illustrious era of prosperity. You begin on a quest to find your maker, Geppetto, before trying to wrestle back control of the city from those who took it. And, of course, trying to recover your humanity so you can be a real boy again.

While it’s a bizarre premise, Lies of P does a great job of adapting the story of Pinnochio to this melancholic, grimdark world that the developers have crafted. This isn’t Pinnochio as you know it – loosely basing much of its story on the fantasy novel by Italian author Carlo Collody and not so much off of the Disney animated film most will know and love. It’s a left-field choice, but it’s a surprisingly fitting story given how bleak the subject matter is and an exceptional way to experience the novel’s plot. It’s through a warped lens but still charming in its own right.

Anybody who played Lies of P earlier this year would’ve noticed key similarities to FromSoftware’s celebrated action RPG Bloodborne. As such, you know what to expect. A Gothic-tinged semi-open world to explore with an ambiguous narrative and challenging but rewarding combat to overcome. But while the world of Krat is slightly less inviting to explore than other games of this ilk, it’s a world dripping with a dense and heady atmosphere.

Combat is all about being aggressive and parrying wherever possible. Playing aggressively is the best way to get ahead here. When attacked or even after blocking an attack, you’ll lose health. But attacking your enemy shortly after allows you to regain that health. It’s devilishly simple – a risk-reward system boiled down to its purest – but also encourages players to be assertive in their approach. While this is a bit of a shameless imitation of Bloodborne, some little adjustments make Lies of P equal parts engaging and unique.

When you run out of healing items, landing hits on an enemy can eventually renew one (and only one) of them. It’s a slight adjustment that makes those seemingly unconquerable battles much more approachable without making things too easy or letting players play too defensively. Parrying is also incredibly important, though not necessary in Lies of P. For one, it obviously leaves your opponent open to attack. But it also allows you to destroy their weapons, severely limiting their reach or power. They’re minor but nice adjustments to an already potent combat system.

The combat system is supported by a flexible weapons system, too. Each weapon that Pinnochio finds comprises a blade and a handle, each with a unique special ability attached to it. Blade-based abilities tend to be more offensive, while handle-based ones can also offer buffs. Eventually, you can disassemble these weapons to create a combination of weaponry and skills that best suit your style. Even better, you can do this without penalty, so experimentation is possible if you want to try something out. The flexibility in this system offers a nice way for a struggling player to change their approach with little to no effort.

THE CHEAPEST COPY: $72 AT MIGHTYAPE

On top of that, your build is further influenced by the P-Organ. While dubiously named, it’s just a skill tree with five different layers. It’s a linear path through the organ, though each node can be fitted with one of more than fifteen power-ups. This means that most players will have different paths through the organ, and there’s a lot of flexibility in building your Pinnochio as you get through the game. It offers great opportunities for players to complement the stat increases they’ve been buying normally.

Of course, it would be remiss not to speak about the bosses and Lies of P delivers in droves. There’s a nice mix here of bigger-sized beasts to fell and much more challenging enemies to duel. Every boss provides a nice capstone to some already tough battles. And, even better, every death I endured was absolutely my fault. So many of these games often have dodgy hitboxes or shitty dodge mechanics or both. Lies of P has neither. Its fluid and responsive combat meshes beautifully with its intense, fearsome boss battles.

Beyond that, there are some side quests, too, with many of them incorporating the “Lie” mechanic that you’d expect from a game based on Pinnochio. While it feeds into some of the endings you can achieve with your choices, it feels like a shallow system. The side quests are, similarly, trying to be vague in the same vein as Bloodborne, but they’re so basic that it’s rarely much of a headscratcher to work them out. I appreciate that optional content is even here, but overall, it’s a relatively subdued offering.

Thankfully, for some, Lies of P is one of the cruisier games that tries to imitate its FromSoftware brethren. While only marginally less challenging, the combat system having such a great sense of flow (and being so much more responsive) means you’ll have to think less about your strikes. For me, many of the bosses were beaten on their first try, too, so that might be encouraging for those looking to grab a game like this but not wanting to be completely decimated. It’s still disappointing that there are no difficulty options here for those who aren’t well-versed in action games, but given how modest Lies of P is in its challenge, I think it’s not as big of a sore spot.

And finally, from a small team, it’s phenomenal how good Lies of P looks. Not only is the game beautifully presented on a technical level, but also from a sense of artistic direction. The violent and dystopic world of Krat is very well realised. It’s somewhere I’d never want to live, but I’m keen to explore. There are multiple display options, too, but so many of them, even the high frame rate ones, were too unreliable for me. Perhaps these will be fixed with a patch, but I recommend playing on performance mode only for now. It’s a rock-solid sixty frames per second.

While Lies of P doesn’t put its best foot forward in terms of the variety of locales – especially with the environments in its opening hours – it only gets better with time. That’s really how I feel about Lies of P. It’s an excellent action game that takes a bit to get going. But once it does, it’s a joy to play. And I promise, my nose isn’t growing.

The post Lies of P Review – A Twisted Fairy Tale appeared first on Press Start.

It’s hard to think that Skull and Bones has been in development for almost ten years. I remember finishing Assassin’s Creed IV: Black Flag and recognising that the naval combat felt distinct enough to become its own game. So, when Ubisoft first announced Skull and Bones at E3 2017 to be precisely that, it felt like the perfect match. But now, in 2023, so much time has passed, and with the game still under wraps, you have to wonder how it’s faring. With the closed beta coming to a close this weekend, the answer might surprise you, though I have some obvious concerns going forward.

The closed beta held over the last weekend was pretty meaty. I could play around fifteen main missions across two regions, with access to around seven ships and heaps of equipment to customise them with. I’d estimate I’d spent around fifteen hours with the game, though I admittedly wasn’t counting. Having spent so much time with Skull and Bones, I’ve now got a much better idea of how it plays, how it flows and what it needs to do to be successful going forward. There’s a treasure trove of potential here, and I hope Ubisoft will capitalise on it.

The beta wastes no time getting to the action – putting me on a ship in conflict with one of the many factions in this lawless world. Here, it becomes clear that the combat is a lot more flexible than what was previously presented in Assassin’s Creed games. You still select which weapon you’re using by looking at the side of the ship they’re attached to, but you can free aim to hit weak spots much more easily. I did feel like this was a bit more arcade-like than in other games, but given how much you’re controlling at any given point, it’s a welcome quality-of-life adjustment.

The ships themselves are still heavy and unruly to control, though I don’t mean that in any negative sense. You’ll often have to decide between attacking, evading or defending yourself from your enemies, and doing so in a big ship that is hard to move requires strategy. This weightiness to the ships themselves rears itself even more when you’re battling during tumultuous weather conditions, where it’s equal parts stressful and enjoyable.

During the opening, the conflict ends as my ship is sunk by enemy reinforcements. In the aftermath, my character looks at their reflection in a puddle on my shipwreck, and I’m given the chance to customise the appearance of my pirate. There are twelve basic looks to choose from, each being further customisable. It’s not the best character creator I’ve seen, but also not the worst. I’d imagine most players will be able to find a look they’ll like.

Here, your up-and-coming pirate is thrown into the big open world and given the task to build up their infamy. It’s basically a levelling-up system – completing specific tasks in the open world rewards experience, as does completing contracts for people living in the various outposts worldwide. Most of the action here occurs in Saint Etienne, a hub you can walk through to buy upgrades for your ship.

I’m immediately wondering just what the point of these on-foot segments is. You can physically walk through most outposts and even enter some shipwrecks to explore them. But there’s no combat and some very light puzzle-solving elements, so it feels like a strange addition. Perhaps if there were more to these sequences beyond looking in the direction of a waypoint to find treasure, I’d be more excited, but right now, the on-foot segments feel like they serve little purpose. There are even dialogue choices during conversations, but once again, they feel like they’re just there for the sake of being there.

Most of the action will occur at sea, however, and the whole experience of being a pirate is very well-realised. You’re given contracts from people at outposts, but many of them can organically appear in the world while sailing, too. You’ll come across both AI-controlled and player-controlled ships, giving a sense that this world is alive and bustling. Even more so, the world is littered with travel-trade routes that you can sit on to intercept to steal loot to help upgrade your ship.

And there are so many upgrades, too. Upgrades are gated behind levels on the Infamy system, presumably, so you’re not overwhelmed. You can find blueprints out in the wild or buy them from specific vendors, allowing you to craft as many as possible. This is important as it will enable you to customise your many ships, each with different weapon load-outs, to suit your needs. I liked that you’re building your own fleet rather than just focusing on one ship – especially given how weapons and damage are handled in Skull and Bones.

THE CHEAPEST PRE-ORDER: $89 AT AMAZON WITH FREE SHIPPING

There are five different types of damage in Skull and Bones: Explosive, Piercing, Fire, Flooding and Tearing. The first three are obvious. Flooding can be stacked on enemy ships until they begin taking damage over time, slowing down and creating irreversible damage with repair kits. Conversely, tearing rips the ship’s sails and causes the vessel to become immobile. It’s a great system, and it’s similarly crucial to properly think out your ship’s damage-dealing capabilities to take down some of the bigger ships in the game.

But it’s not just about ships either. There’s a wealth of activities to participate in out at sea. Plundering is the one I probably did the most of – you find a fort, send your crew to plunder it and defend the sea around it from enemy ships. The longer you survive, the more loot you grab. Other aspects include listening to conversations or reading maps to find treasures on the game’s many islands. There is even potential to encounter less realistic aspects – sea monsters like a Tylosaurus or even a ghost ship – showing that Ubisoft isn’t afraid to shake up the formula to keep it interesting.

But the bounty board was where I saw Skull and Bones’ potential. It’s a simple activity – you’re given the location of an infamous pirate with a legendary ship and expected to go take them down. I struggled initially in my first encounter – the ship was equipped to be fast and ram me rather than take me down with traditional weapons. But with the press of a button, I could “call for help,” and within seconds, I had two other players helping me out seamlessly. It was exhilarating, and we won, but it felt strange yet rewarding to feel such a strong sense of community with complete strangers so quickly.

Of course, it was short-lived, as other activities will pit you against each other. Cutthroat Cargo is a mode that triggers whenever you pick up a legendary treasure map. The rest of the world is informed when this happens, and while you’re racing to get the treasure, other players will be racing to get the map off of you. It’s a high-risk, high-reward mode that was exhilarating to participate in. It’s a running theme with all the activities in Skull and Bones – fun to participate in and distracting in the best way possible.

I can’t talk about Skull and Bones without talking about Sea Of Thieves, as it’s interesting how both games offer the same experience but in different ways. While the tone of Skull and Bones is unabashedly more serious, the games feel different. Having your team members control their own ships gives a better sense of permanence to everything you’re doing. Not having to focus on the intricacies of operating your ship means that the game can focus squarely on combat. It’s the right choice, as Skulls and Bones offers an experience different from Sea of Thieves rather than just becoming a bland imitation.

But the success of Skull and Bones will only ever be as good as the content behind it. I’m hoping Ubisoft has a good selection of content planned to come to the game, especially given how much time has been spent on the game so far. But I can see so much potential here, too, both serious and goofy. It’d be awesome to run into Edward Kenway in a limited-time event or something. Or perhaps even a ghost ship overrun by Rabbids. Or a Kraken. Or a Megalodon. Who knows. The sky or the sea is really the limit.

But that’s what I keep coming back to with Skull and Bones. While it’s easy to laugh at its prolonged development, I almost trust Ubisoft to turn this ship around (sorry). Sure, they’ve had all kinds of unsuccessful experiments like Hyper Scape and Roller Champions, but they’ve also had some remarkable successes with long-running games like For Honor and Rainbow Six: Siege. Considering my time with Skull and Bones has been nothing short of engaging, even for someone who doesn’t care for pirates, I’ve got the feeling this could be the latter.

It’s early days, but Skull and Bones could easily be up there with Ubisoft’s other brands. While this closed beta shows great promise, only time will tell if the game will live up to its lengthy wait. After playing for so long, I’m optimistic.

Skull and Bones is coming to PS5, Xbox Series X|S and PC. A release date has yet to be announced.

The post Skull And Bones Hands-On Preview – Some Promising Beginnings appeared first on Press Start.

I’ve always adored Don’t Nod. From the first game I played of theirs – Remember Me – I was enamoured by their ability to craft engaging stories in well-built worlds. But Life is Strange put them on the map, a choose-your-own-adventure game where the choices truly mattered. Since then, they’ve been fearless in experimenting with their formula with games like Vampyr and Twin Mirror, though they still kept that underlying DNA of making meaningful choices intact. Banishers: Ghosts of New Eden represents yet another new direction for Don’t Nod. And perhaps even their most playable game so far.

Banishers: Ghosts of New Eden takes place in 1695. You play as a pair of ghost-hunters named Antea and Red. There’s one catch – the couple was attacked during their last mission, and Antea was killed on the spot. Now a spirit following Red through the haunted wilds of North America, the pair look for a way to bring Antea back while still hunting the spectres and spirits that put them in that situation in the first place. It’s a great premise I can’t wait to explore when the game releases later in November. You feel the connection between Antea and Red and get a sense of the forces that might have kept them apart as you trudge through this eerie and dilapidated wasteland. It’s early days, of course, but seeing a story in games that feels so intimate is rare.

Our preview begins a few hours into the game, where Red and Antea have been enlisted to hunt a beast terrorising a local settlement. The first thing immediately obvious to me is that the atmosphere is rife in Banishers. There isn’t a whole lot of colour, but there’re a lot of environmental effects that really sell this dreary and depressing setting. Red can question the villagers to help build the lore of this local legend before meeting with the village leader (kind of), a formidable woman named Thickskin. That’s not her real name, but we go with it.

During this moment, I realised that Antea, my companion on this journey, was actually a spirit. She’s not seen by anyone except for Red, and her spectral powers offer her some key insights into how the people you speak to are feeling. It’s a great but simple way to further flesh out the characters that Red will be speaking to on their journey, and it’s not played as a gimmick in any way. It’s purely there to help build on the already strong story and dialogue.

You then head out to meet with Thickskin’s sister, Kate, to collect a weapon before uncovering that something is troubling Kate. She doesn’t entirely give you all the info, but I quickly get moving to enter the forest and look for this beast that Thickskin wants me to murder. It’s here that I’m first introduced to the combat of Banished. Red and Antea are both playable, and their attacks are more deliberate and considered than I first expected. It feels like a more fluid Dark Souls-style of combat, though the five difficulty options offered mean that anybody should be able to enjoy Banished without feeling too overwhelmed.

THE CHEAPEST PRE-ORDER: $99 AT AMAZON WITH FREE SHIPPING

At any point during combat, Red can swap to Antea, who has different abilities. As you’d expect, her spectral skills are a little bit more abstract when compared to Red’s weaponry, but both the characters control similarly enough that switching between them is never jarring. Antea feels slightly more powerful, but to combat that, she can only be switched to when she has health (and it drains when she’s out fighting). It’s not a crazy cool down – literal seconds rather than minutes – so it feels appropriately balanced without ruining the flow.

Of course, Antea can also use her spiritual powers to reveal invisible clues or move Red to unreachable areas. If you’re playing as Red and Antea notices something, Red’s amulet will glow to indicate this to the player. While so much of Banishers is immensely appealing, I hope that using Antea to solve puzzles becomes more involved than what I saw in this mission here.

While I enjoyed the combat and switching between the two hunters to take down enemies, I am concerned about how much enemy variety there will be in the final game. I recognise this is only one mission, but given that Vampyr suffered from similar issues, it wouldn’t surprise me to see that manifest here as well.

I won’t go into spoilers, but we eventually come face-to-face with the beast as mentioned earlier. It’s truly a beast in every sense of the word – looking like a huge, bony dog-like creature but with the bodies of those that it’s slain attached. It’s a genuinely horrific sight and a fun boss battle that’s not too hard or too easy. Perhaps owing to the tools at Red and Antea’s disposal, I could down him on my first try, though the battle was still satisfying.

At the end of this fight, the Don’t Nod DNA starts to surface. Red is faced with a choice, and, to avoid spoiling it, I won’t say what it is specifically. But it indicates how the choice will affect the story of Banishers: Ghosts of New Eden. One option seemed morally right, but it meant that we’d be one step closer to letting Antea move on. The other was definitely a wrong choice, but it meant that Antea would be one step closer to being resurrected.

I was amazed at how, across only ninety minutes, Don’t Nod made me care enough about these characters to pause to decide what I wanted to do. It may be a testament to their strong character building, but I’m scared to think of how involving future choice across a whole game will look.

This is easily owing to the excellent voicework behind both Red and Antea. They play off of each other so well, which is so important in a game where their relationship plays so much into the story. Amaka Okafor, who voices Antea, is easily the standout here though. She plays the role with such a solemn sense of melancholy that I can’t help but stop and listen to everything she has to say.

I come away from my brief time with Banishers equal parts optimistic and intrigued. This team is known for creating characters you care about and choices you tend to ponder. And I’m already so invested in learning much more about Red, Antea and their relationship and how that will play out. Of course, tracking down ghosts and spirits like a pre-Conjuring Ed and Lorraine Warren doesn’t sound like a drag either. So while I might be concerned about the variety of the experience overall, Banishers: Ghosts of New Eden is now sitting squarely on my radar. And it should be for you too.

Banishers: Ghosts of New Eden launches on November 7th 2023 for PC, PlayStation 5, and Xbox Series X|S. Amazon has pre-orders for $99 including shipping.

The post Banishers: Ghosts Of New Eden Hands-On Preview – An Intimate Introduction appeared first on Press Start.

To think that the last Armored Core was almost a decade ago is nothing short of baffling. To think that FromSoftware has published no less than five action RPGs in that time is similarly astonishing. I wouldn’t have blamed them for never looking back, especially given that they’ve established an entire subset of the genre – the Soulslike. But now, FromSoftware is returning to what was arguably its biggest franchise prior; Armored Core. And while there was so much room for messing it up, Armored Core VI: Fires of Rubicon never loses sight of its predecessors while still feeling as modern as ever.

Like the previous games, Armored Core VI: Fires of Rubicon takes place in a world where civilisation has fallen. Humanity has found a cradle in the form of the planet of Rubicon, a new Earth of sorts. You play as a scientifically modified pilot named Raven, joined by their handler Walter and an AI named ALLMIND to help Raven while deployed on missions. Rubicon itself isn’t in a good place – burned by countless corporations pursuing a naturally occurring energy source called Coral. As a pilot and a mercenary, you’re stuck in the middle of the war between these corporations.

Even though several years have passed since the last Armored Core, admittedly, there’s not a whole lot different narratively here. Every game in the series has had some commentary on the effects of late-stage capitalism and both the horrors of war and the abuse of natural resources. Fires of Rubicon is no different. While this story is bound to appeal to some, especially with FromSoftware’s characteristic hands-off approach, it was humdrum for me. This is further exacerbated by the game’s minimalist presentation. Characters speak, but you never see them, and there’s not much visual stimuli. I recognise that’s how Armored Core was years ago, but today, Fires of Rubicon feels dry in this department because of it.

PRE-ORDER NOW AT AMAZON FOR $89 WITH FREE SHIPPING

It’s a great relief that everything else has been fantastically put together. Equally surprising and delightful, Fires of Rubicon plays just like Armored Core games have played in the past. Rather than try to shoe-horn modern open-world design sensibilities into the game, Fires of Rubicon presents itself as a list of missions to embark on. Some will take players minutes to complete, while others might take hours. But a good variety of missions here are always fun to work through. Of course, while Fires of Rubicon is a challenging experience, some modern tweaks are made to the formula to make it a whole lot better without betraying the spirit of its predecessors.

What took me aback initially was just how playable Fires of Rubicon is. It’s without a doubt one of the smoothest controlling games that I’ve played by the team at FromSoftware. It was initially a bit hard to get my head around controlling the four different weapon types and mobility options I had to juggle simultaneously. But once I did, I felt nothing short of godlike. Armored Core was previously known for how inaccessible and clunky it was, having players form a strange grip around their controller to play proficiently. But Fires of Rubicon is none of that – it’s just as deep and more playable without sacrificing depth of experience.

At the start of each mission, you’ll be able to customise your mech (or Core) for the battle ahead. Owing to series tradition, the customisation options are extensive, but your choices aren’t without consequence. Each part of your mech can be customised, and up to four weapons can be attached as long as they fit within the limit of the mech you’re working with. Making the wrong choice isn’t a big deal either – you can adjust the structure of your mech following death to change up your approach.

This is how Fires of Rubicon differentiates itself from the developer’s other games. For one, you’re never encouraged to stick with a single build. In fact, so many parts often have differing attributes that no individual part’ll ever fit every situation. Similarly, buying a part and selling it back has the same cost, so there’s no tangible penalty for experimenting. It’s a friendly system, and, honestly, its flexibility gives a great opportunity to overcome adversity with adjustments to your setup.

While Fires of Rubicon is difficult – perhaps even the most difficult FromSoftware game I’ve played – some nice adjustments to the game’s design make it a tad more forgiving. All missions incur an expense, and, as a mercenary, you’re expected to cover this expense by taking them out of your earnings. The better you do in each mission means that you’ll receive a better payout, meaning that you’ll be able to buy better grades of equipment in the future.

Where previous Armored Core games penalised you excessively, sometimes even sending you into debt, Fires of Rubicon feels a lot more forgiving in this area. For one, you don’t lose money or fail. Additionally, if you die at a checkpoint, you are brought back with all your heals  intact, which is a simple but forgiving design choice. It’s an especially welcome decision, given the intensity and breadth of the boss battles that you’ll encounter.

The marquee standout in Fires of Rubicon is easily its boss battles. There are a wide variety of enemies that you’ll have to deal with, but the boss encounters are some of the most adrenaline-fraught confrontations I’ve had in games. These bosses will test your mettle, and while I never found myself stuck on a boss for as long as I was with (pre-patch) Malenia, some of these encounters really had me questioning my life choices. But, as Fires of Rubicon encourages, the better life choice is to go back to your mech’s build and loadout and adjust to achieve your goals much more comfortably.

Besides the main missions, Fires of Rubicon also offers a separate Arena mode. In it, you’re pitted against other AI-controlled cores in intense battles. They’re fun diversions and enjoyable to engage with because they offer numerous rewards. Every battle completed unlocks that mech’s preset for you to build, allowing you to automatically do so if you have the parts on hand. You’ll also unlock upgrades for your mech’s operating system, granting damage boosts. It’s a great wealth of side content that offers a nice stopgap for those who don’t want to engage with customisation as much. It’s also great to fight a powerful foe, take them down, and then literally become them too.

Certain missions also present you with choices that can be made to alter the course the story takes. While I wasn’t quite resilient enough to play the game multiple times to do so, there are multiple endings. I alluded the relatively dry narrative earlier, so whether it’s worth replaying to see how things pan out differently will be a personal choice. But it’s still a neat touch that, once again, retains the spirit of the original games.

Irrespective of how I feel about the plot, Fires of Rubicon represents the most time I’ve spent with an Armored Core game. I can’t quite quantify whether it’s bigger than previous games in terms of sheer content, but a fresh run will easily take over twenty hours to finish. To top that off, there’s also an online-enabled PvP mode called NEST, though it’s hard to comment on how well that’s working given the pre-release nature of the game.

Of course, difficulty factors into how long I spent with Fires of Rubicon. Sometimes I spent hours on a single boss, knowing what I had to do but still somehow fumbling with my controller or getting too greedy with my hits. It feels like From’s other games in that way. But there’s no getting around it – Fires of Rubicon is brutal. There are no difficulty or accessibility options to assist you through it. As someone who is naturally proficient at these kinds of games, it wasn’t an issue for me, but it will absolutely be one for a specific subset of players.

In terms of presentation, Fires of Rubicon absolutely delivers. While the colour palette is probably one of the bleakest I’ve seen in games recently, it effectively illustrates the dilapidated and overused world of Rubicon. The game looks its best when you’re skating around an arena, shooting off a volley of lasers, missiles or both while simultaneously boosting out of enemy fire. Battles run incredibly fluid, with only some minor slowdown when there’s too much going on at once. I’d perhaps have liked some more colour in the art direction, but overall it’s still a nice-looking game that nails the staunch brutalist vibe the team is going for.

The post Armored Core VI: Fires of Rubicon Review – A Revitalising Revival appeared first on Press Start.

The EA Originals brand has done an excellent job so far – Wild Hearts was an unexpected favourite of mine earlier this year, and It Takes Two took home many accolades in its year of release. When EA Originals was first established, one of the key tenets underpinning it was the commitment to extraordinary worlds. Immortals of Aveum makes good on that promise. It’s a superbly crafted world bolstered by some clever gameplay with much more depth than I’d ever expected.

Immortals of Aveum takes place in the world of Aveum, a world shaped and influenced by many wars and conflicts over the control of magic. Aveum was originally five kingdoms, but the war has reduced this to two. You’re Jak, a mage who manifests his power later in life as he’s thrown into conflict to defend his home. It’s a simplistic story that’s elevated by a well-established setting.

The depth of detail in Immortal of Aveum’s worldbuilding is combined with a solid story to provide a surprisingly engaging experience. Perhaps my expectations were already low, but almost every twist and turn the narrative threw at me only encouraged me to keep playing. Admittedly, there was one incredibly predictable plot point – perhaps even knowingly, given Jak himself comments on it – but overall, it’s a new story in a new world that’s satisfying to get through. Getting so much right in this area is a real achievement for a new IP.

At first glance, Immortals of Aveum looks like a typical first-person shooter, albeit with spells and charms instead of traditional weaponry. But as you dive deeper into the world of Aveum, it’s obvious the game has a few tricks up its sleeve. It combines the cinematic and bombastic set pieces of Call of Duty with the fast and frenetic combat of games like the recent Doom sequels. It’s not a groundbreaking game when examining its singular parts, but it’s the way these systems come together that makes Immortals of Aveum unique.

The game splits its magic into three categories; Red, Blue and Green. Red magic is more erratic and destructive. Blue magic is more precise in nature. Green magic is still damaging but has typically inflicted buffs and debuffs. Some mages are given control over each of these types in the world of Aveum, but Jak can control all three. Each “weapon” Jak can equip is called a Sigil, an enchanted bracer that affects how Jak conjures each type of this magic. You’ll find spells typically analogous to weapons you’d find in a typical shooter – the Javelin serves as a long-range sniper rifle, for example.

The Sigil system replaces weapons as you’d expect, but the other charms and trinkets that Jak finds can serve a purpose in both battle and exploration. Lash is a magical chain powered by blue magic that allows Jak to reach new areas, similar to a grappling hook. But it can also close the distance between yourself and enemies in combat. Limpets, on the other hand, can slow down fast-moving enemies so that you can target their weak points easily. When exploring, though, they’ll slow down fast-moving objects to help Jak solve puzzles or traverse to new areas.

In terms of combat, while encounters are simple early on, they quickly ratchet up in intensity to force you to utilise all your different spell types. It’s a joy to play – and while it’s not as gratuitously violent as its contemporaries – it’s a battle system that’s immediately compelling. There’s nothing more sublime than blocking spells with your shield spell, cancelling an enemy’s cast with your disrupt spell, and launching homing magical missiles to home in on your enemy. It’s these moments where you combine your abilities where Immortals of Aveum is at its best, especially on the higher difficulty.

GET IT ON AMAZON FOR $83.99 WITH FREE SHIPPING

The game allows players to decompress between these battles, though. To nobody’s surprise, I’m a huge Metroid fan, so I don’t say this lightly, but the exploration in Immortals of Aveum feels very reminiscent of Metroid Prime. Jak can revisit areas between story chapters to use newly found abilities to uncover upgrades and gear for himself. The exploration during the story chapters, especially the more “dungeon” like ones, also flows similarly to levels in a Metroid game, using your abilities to solve puzzles and progress through an environmental blockade.

Backtracking is sometimes a controversial game design choice, but you can engage with it as much as you want in Immortals of Aveum. It’s almost essential for greater difficulties, as it’ll allow you to regularly deal with the hordes of enemies the game throws at you.

Progression is thusly handled by a mix of gear management and skill trees. It’s nothing you haven’t seen in almost every action RPG before this one. Skill trees are powered by skill points earned by defeating enemies or solving puzzles in the overworld. Gear is awarded similarly but can be upgraded at forges peppered throughout the game’s open-level maps. And while Immortals of Aveum is not a games-as-a-service affair, my only complaint is that the loot system feels lifted straight out of one. I’d finish many missions with heaps of similar rings but with minor stat differences. It’s not as egregious as games built around this system, like The Division or Destiny, but it does feel like there’s too much needless gear in the game.

Immortals of Aveum is also one of the first games to release powered by Unreal Engine 5.1. However, the result is slightly mixed on consoles. Targeting a solid sixty frames per second, the game does achieve this, but the density of effects means that the resolution falters. I’ve never been a pixel counter, but while the world is detail-rich and the lighting is as mesmerising as ever, Aveum has a softer visual look to achieve its solid framerate. For me, it’s targeting a sweet spot as the art direction is so strong and performance so stable, but if you’re sensitive to this kind of thing, it bears mentioning.

But coming out of left field, the original score is genuinely fantastic and one of my favourite aspects of the game’s presentation. Composed by a pair of relative newcomers, the score is a bizarrely unique collection of music that complements the chaotic battles and gives a great ambience to the open environments you’ll be exploring. It’s an eclectic mix of lo-fi electro-trap, and it bizarrely meshed well with the medieval-tinged sci-fi world of Aveum. I rarely speak at length about a game’s score this much, but Immortals of Aveum’s is one of the best and most unique I’ve heard in a game for a while.

Involving film performers in games is always a question mark over a project, and Immortals of Aveum is no different. Darren Barnet lends himself well to Jak, landing most of the game’s comedic moments, although some do cross the line into cringe. The rest of the cast turns in pretty decent performances, though I’ll always love Gina Torres in anything she appears in. She was excellent in Serenity and Suits, and she’s great here with some real presence.

But what really strikes me overall about Immortals of Aveum is just its passion and charm. You can tell that the team has painstakingly gone to so much effort to create a world that’s a joy to exist in and a game that feels complete and fulfilling. So much could’ve gone wrong here, especially from a debut studio, like lack of enemy variety, tedious battle system, or an unfulfilling short journey. But Immortals of Aveum isn’t any of that. It’s a substantial journey from beginning to end that feels just as big a budget as its AAA contemporaries but without the chaff that commonly weighs them down.

The post Immortals Of Aveum Review – A Spellbinding Surprise appeared first on Press Start.

It doesn’t feel good to mention this, but it’s been almost a decade since Pikmin 3 was released. I can’t believe it. But while Pikmin’s releases have been sporadic, each game has scratched a different itch for fans. Now, with Pikmin 4, Nintendo has put its best foot forward in practically every aspect to offer one of the best Pikmin experiences ever. No, it’s not as challenging or unforgiving as the first game was, but it’s still just as engaging and charming twenty years on.

Not too keen to deviate from the tried and true narrative, Pikmin 4 once again opens with Captain Olimar crash-landing on an unknown planet and activating a distress signal to be rescued. You play as the newest recruit of the Rescue Corps, but in a continuing comedy of errors, your crew finds themselves also shipwrecked on the planet they need to rescue Olimar from. Your team is scattered across the planet, and it’s up to you to collect them and find Olimar. Again. Of course, there’s a little bit more to it, and while it’s hardly the most gripping of stories, it is one of the better Pikmin tales we’ve heard so far.

Pikmin 4 is hard to categorise. At its core, the franchise is Nintendo’s take on a real-time strategy game, but with puzzles thrown in to keep things interesting. The focus is on your horde of Pikmin that you can control. They’re plant-like creatures who can be directed to collect items, destroy obstacles and fight the hostile creatures you’ll encounter. Commanding your Pikmin is satisfying but harrowing – losing them is especially sad. This might sound a bit absurd, but Pikmin is one of the most potent games I’ve played about war that isn’t explicitly about war.

Bizarrely, every Pikmin game thus far has had a different focus, so opinions are diverse as to which one is the best. Pikmin 4 is different from other Pikmin games – it attempts to leverage the best bits of the last three games to offer the most complete Pikmin experience yet. Diehard fans will no doubt find disappointment in the statement that, yes, Pikmin 4 isn’t as challenging as the original Pikmin was. But the tension and difficulty escalate in a way that feels fair and appropriate and, as a result, much more forgiving without being insultingly easy.

Enter Oatchi. He’s a space dog found by the player when they first land on the planet and, without a doubt, the star of Pikmin 4. Oatchi can do it all – behave like a second squad leader or act like a supercharged Pikmin. He’s incredibly powerful, able to carry Pikmin over certain bodies of water or inflict massive damage against the hostile creatures you’ll encounter. His immense strength means he can hold items like a Pikmin can, and with certain upgrades, he can even resist the elements. He’s absolutely adorable and one of my favourite things about the game, though he does trivialize a lot of the difficulty in the opening areas of the game.

THE CHEAPEST COPY: $69 AT AMAZON WITH FREE SHIPPING

Thankfully, as you progress through the story, the tendency to lean on Oatchi as a crutch becomes less tempting. Enemies will learn new tricks that will render Oatchi useless in certain situations or areas and will purposefully split you and your Pikmin away from him to get you to work harder for your wins. Make no mistake – Pikmin 4 can still be a challenging game; I had essentially halved my total Pikmin population as the credits rolled following some of the more intense battles the game offers.

Pikmin 4 is structured similarly to previous games. You have a hub area where you can upgrade Oatchi and decide where to explore for the day. The levels you’ll explore are more open-ended than in other Pikmin games – there’s rarely a linear path through them like in Pikmin 3. Pikmin 4 instead throws you onto a map and asks you to collect treasure, complete activities, and explore caves to earn enough resources to explore other areas of the planet. Each level is the biggest in series history, so there’s much to do in each. More encouragingly, they’re not just typical locales plucked from nature either; there are some new ideas explored here too.

This translates to a more open-ended experience. Pikmin 4 doesn’t have you separated from your crew and using days to catch up with them. Instead, you’re given free rein to explore each of these levels and bring back as much treasure to the ship as possible. The game splits them into four categories – Surface Exploration, Dandori Battles, Dandori Challenges and Caves.

Caves have made a long-awaited return from Pikmin 2 and a triumphant one. Easily the highlight of Pikmin 4, these caves are handmade content with a theme and puzzles and bosses to match them. Gone are the randomly generated caves from Pikmin 2. Instead, we have mini dungeons split into sub-levels that are a joy to explore. In each one, you’ll have to leverage the different Pikmin types to solve puzzles and harvest as much treasure from the dungeons as you can.

Other activities are a blast too. Dandori Challenges are designed to test how efficient you can be with a pre-determined party of Pikmin. Dandori Battles are even more hectic – pitting you against another character as you compete to collect the most treasure in an area. These battles work similarly to the Bingo Battles from Pikmin 3 and can be played with another player locally when not playing in the Story mode. They’re a fun and intense distraction with which I had more fun than I’d ever anticipated.

Sadly, the strength of the multiplayer offerings ends there. Besides these battles, Pikmin 4 does allow a second player to pick up a joy-con and throw pebbles at the screen. It’s a weird inclusion – but throwing pebbles at Pikmin will speed them up, while throwing them at enemies will whittle down their health. It breaks the balance of an already easy game and honestly feels like an afterthought. I recognize that the story doesn’t suit itself well to the robust co-op we’ve seen in Pikmin 3. However, even having a second player control Oatchi might’ve been more fun than what we got here. It just feels like a missed opportunity.

The other significant new addition is the nighttime expeditions, where the now classic feeling of tension you get from Pikmin games is found. There are ten to fifteen of them, and each has you defending mounds of glow sap from waves of aggressive enemies. As these challenges become more and more intense, you’ll have to assign Oatchi to protect specific points while you harvest Glow Pikmin (a special type of Pikmin unique to these expeditions) to build up your forces to defend yourself. They get very tense and are some of the more significant challenges in the game.

I mentioned before that Pikmin 4 feels like the most complete Pikmin experience thus far, owing to how much this game is packed. There are hundreds of enemies to encounter, over twenty caves to explore and even some other surprises that I won’t talk about. But more importantly – it’s all engaging. It’s a joy to complete and the first time in series history that I’ve 100%ed a Pikmin game on my first run without returning to it later. You’d think that making Pikmin more open-world and less story-driven would make the pacing suffer, but it doesn’t. Pikmin 4’s thirty-hour odyssey is engaging from beginning to end.

And, of course, we can’t ignore the game’s stellar presentation. Without a doubt, this is the best-looking game in the series. Not only from a technical standpoint but an artistic one too. I went back to all the Pikmin games before finishing Pikmin 4, and yes, Pikmin 4 is just a much better-executed visual feast than the games that came before it. It’s a more colourful and brighter world that’s a joy to explore. It’s also one of the best-performing games on the Switch I’ve played in recent years, which is always a pleasant surprise this late into a generation.

The post Pikmin 4 Review – The Cream Of The Crop appeared first on Press Start.

Exoprimal feels like it’s from another era. It harkens back to a time when Capcom was slightly more experimental in its approach to making games. A time when they weren’t relying on remakes of tried-and-true classics but instead were creating new and engaging IPs. It’s a gamble, then, that Capcom would create a new IP and a new multiplayer IP in Exoprimal after their numerous successes with their flagship franchises. But Exoprimal is much better than I expected and does more for the hero shooter genre than I ever thought possible. The gamble paid off.

And there is a story to it all too. It’s 2043, three years since dinosaurs were unleashed worldwide from portals and tears in space and time. You play as a pilot who has crashed and landed on Bikitoa Island following the opening of another portal during a routine flight. Here, on the island, you’re greeted by an AI named Leviathan, who forces you and others into simulations of wargames while wearing powered exosuits against hordes of dinosaurs. It’s ridiculous, but it’s the right kind of ridiculous that lends itself well to the concept.

The fact that there’s even a story to follow in Exoprimal is also a bit of a miracle. Story progression is tied to how many battles you complete – you don’t even have to win – and they’re mapped out in a separate menu to look at in your own time. Some cutscenes are played after specific matches, further detailing the goings-on of your squad, but for the most part, you can engage with Exoprimal’s surprisingly robust story as you see fit. It’s certainly a nice inclusion and hopefully, the beginning of yet another universe for Capcom to pull from.

But it’s easily how Exoprimal carries itself in battle that makes it stand out. There’s technically only one mode called Dino Survival, but within that mode, a lot is going on. More than the game itself tells you. Each match pits two teams of five against each other in two phases. The first phase has the teams fighting to complete objectives faster than the other team in PvE situations. The second phase then moves both teams onto the same map into a PvPvE situation in a battle for the win.

For example, the first phase might have your team fighting waves of dinosaurs, defending a point on the map and then escorting to a certain point. The second phase might have your team protecting a payload (think Overwatch) while dinosaurs and other enemy players attack it. The assortment of objectives and activities you’re given is random, to a point, but there’s a lot here to keep the whole experience both engaging and enjoyable.

Exosuits are essentially heroes as they appear in other shooters of this ilk. There are ten suits to choose from in three categories – Assault (DPS), Tank and Support. Each suit has its own abilities and can be outfitted with unique modules to improve their performance and, more importantly, feel balanced. The exosuits are fun to learn and use and have wildly different ways to approach battle baked into their design. Even support, a category you rarely see to be so popular in games like this, gets a fair shake of the stick when players are building their teams.

THE CHEAPEST COPY: $74.99 AT AMAZON WITH FREE SHIPPING

Even better, you can switch at any point in the match. With a button, your pilot can eject themselves from their exosuit and change to something else. I regularly switched up my suit depending on which objective was in play, which encourages experimentation with the numerous suits and their abilities.

But it’s not just about the players either. There are over fifteen different types of dinosaurs that the game will throw at you, big and small, that ensure that the action in Exoprimal never gets old. From the most basic form in the raptors and the Pteranodons to the history-bending neosaurs that mix dinosaurs we’ve come to know with outlandish mutations to make them more dangerous than ever. The game does a great job at mixing up the combinations of dinosaurs that it throws at you, and some of the heavier ones especially are difficult enough that they encourage you to work as a team to feel them faster than your opponents.

From time to time, the Leviathan AI will get testy and throw a random mission at you that becomes really intense. These are the moments where Leviathan will open a portal and pour out thousands of dinosaurs that attack you. Sometimes he’ll even cut a match short and transport you to an alternate dimension to fight a boss, turning respawns off and bringing together two competing teams of five to throw a ten-player co-op mission at you instead. It’s an incredibly dynamic system, and these set pieces seemingly bridge the gap between what you’d expect to see in a single-player campaign and the multiplayer game that Exoprimal is.

Of course, there is a big dark cloud looming over Exoprimal, and that’s the way that progression is handled. After competing in a certain number of matches, your party will eventually be interrupted by a “story” like mission that’ll pit you against a unique threat. Around six of these encounters’ll happen across sixty or so matches. They’re incredibly fun. But it’s what happens next that might be annoying or just too vague for some players.

Completing these missions then “opens up” more of Leviathan’s simulation for you. So future games you’ll play will have more objectives, maps, and dinosaurs thrown at you. Exoprimal isn’t forthcoming with how this content is dished out nor how you gain access to more of it. Playing with friends who are lower level than you will essentially “lock” you into the lower-level missions, creating an illusion that there’s only one map and a handful of dinosaurs. This is especially obvious in the opening weekend, where your average party level will be lower due to many factors, including the ease of access with the game’s inclusion on Game Pass and the like.

I’m trying to say that as time passes and the overall player population increases in level, the content on offer in Exoprimal will be more obvious to the broader player base. But the other side of this argument is that many players would not necessarily be bothered to get to this point but that they’ll assume Exoprimal is so much less than what it is. 

Exoprimal currently has five PvE objectives and five PvP objectives that can be played out across six unique maps. But most players will easily only see almost half of these if they are playing for several hours. Capcom is promising multiple free updates – including exosuit variants with new weapons, new objectives to complete, new maps and even new dinosaurs. If they keep the content coming, Exoprimal will be something special. It already is, but it needs to put its best foot forward now to convince players that there’s more to it than their lower-level parties might be showing them.

Regardless, at the end of the day, Exoprimal does what I previously thought was unthinkable. It makes a competitive multiplayer game fun, even when losing a battle. There’s a good breadth of balanced exosuits to play with and many activities and dinosaurs to mess around with. Mix this with a unique approach to storytelling and some pretty fantastic setpieces, and it seems Capcom may be on to a winner with some tweaks here and there.

The post Exoprimal Review – Don’t Call It A Dino Crisis appeared first on Press Start.

Being a detective is hard work. I would know, I’ve played so much Ace Attorney, Batman and LA Noire. Surely that counts for something. But despite all this experience with all these different kinds of detective games, I’ve never seen something like Master Detective Archives: Rain Code. It’s a zany and kooky take on a formula that I’m very familiar with, but it does things differently enough that it enthralled me from beginning to end.

Master Detective Archives: Rain Code takes place in the Kanai Ward, a city overtaken by the ominous and authoritarian Amaterasu Corporation. The population is more or less dominated by the weight of the corporation’s power, with people not being allowed to leave the city. They’re everywhere, too – almost all goods and services are provided by Amaterasu, but rumours suggest they’re responsible for the rain that never stops pouring in Kanai. It’s an almost perfect setting for a dark but kooky detective drama, and that’s capitalised on pretty well with the story in Rain Code.

You play as Yuma Kokohead, a detective who awakens onboard an Amaterasu-owned train with no memory of who he was or is now. All he knows is that he’s bonded with Shinigami, a cheerful death god with a twisted sense of humour who haunts him as part of a pact made before Yuma lost his memory. To make matters worse, he’s been accused of murdering everyone on the train. To clear his name, he must prove his innocence to the Amaterasu Corp’s ironically named Peacemakers unit.

Of course, there’s more to it. As you begin to work with other detectives in the area to solve crimes, you’ll not only find mysteries to uncover but that Amaterasu is perhaps more of a presence in the city than they’re letting on. It’s an engaging story from beginning to end, and while there’s nothing too outlandish about the individual cases of each chapter, the overarching story can get pretty wild and goes in some unexpected places. Regardless, the most important thing with a game of this ilk is getting the story and pay-off right, and Master Detective Archive absolutely nails it. 

You’d expect nothing less from the minds that brought us games like Danganronpa and Zero Escape. Master Detective Archive feels like a natural progression of those games – a visual novel with more interactivity that lends the experience a more interesting and engaging style. Imagine if Ace Attorney and Danganronpa (somehow) had a child, and the Persona team dressed it. That’s what Master Detective Archives: Rain Code is. It’s equal parts mystery and adventure dripping in a style that, while liberally borrowing from Persona, is a joy to play. You’ll move from area to area to collect clues and eventually solve crimes and mysteries, but it’s the way Rain Code carries itself that separates it from the rest.

THE CHEAPEST COPY: $69 AT AMAZON WITH FREE SHIPPING

In each chapter, Yuma and Shinigami are paired up with a detective from the agency and given a case to investigate. As you progress, Shinigami will file all of your evidence as “solution keys”, which will be helpful later. You’ll speak to people involved in the case, investigate the crime scene and chat with your assistant to work out theories about what happened. While these sequences are the most typical of the whole experience, they’re never too tiring and feel appropriate in length.

The city itself is explorable from the get-go, though it’s not quite as open or sprawling as other open worlds players are probably accustomed to. At first, I wasn’t even sure it was necessary, but I realised something after time. Just physically controlling Yuma as he explores the city and uncovers clues is much more engaging than running through dialogue, menus and static background images like other games do. Hearing Shinigami or Yuma speak about their own thoughts on the case while they do so is also a nice touch.

Your investigations are often aided by a partner with a “Forte” that they’ve honed since becoming a master detective. These are all kinds of whacky abilities – someone can summon the soul of a dead person, but only if they’re wearing that person’s clothes. Others can see how the scene of the crime looked when it was first discovered by the first witness. One can even turn back time, but only once. Not all these powers get equal amounts of screen time (and you’ll see why once you play), but they add a nice twist to the investigations.

See, these powers aren’t used actively, per se. Instead, each of the powers provides a twisted sense of logic you’ll have to learn and accept to make deductions about each case. For example, Halara Nightmare’s ability only allows you to return the crime scene to how it looked when first discovered. You don’t actively use this ability, but you incorporate your knowledge of how it works into making your deductions and working out who actually saw the crime scene first based on interviews and such. It’s an abstract way to keep things interesting – as each case is underpinned by logic determined by the powers your assistant has access to – and it never gets old.

Even more unexpectedly, you do most of your deductions in the mystery labyrinth. At key points throughout the story, you’ll be able to enter the mystery labyrinth for your case and finally unravel the mystery posed to you. It’s like a metaphysical world where the investigation process is turned into a dungeon of sorts – each line of questioning is represented by a different corridor to travel down in the labyrinth. You’ll also run into phantom versions of people in the real world hindering your case and engage in Reasoning Death Match with them. You’ll have to load your weapon with the solution keys discussed earlier to strike down their arguments as they literally spit them at you to defeat them in battle.

It’s a whacky way to present what would typically be a courtroom or trial situation in this type of game, but it pays off. While similar in visual style, every labyrinth has a mix of minigames and objectives thrown into each one to keep things interesting. Some are as simple as QTEs; others require you to choose an option out of three, with only one leading to the next room. There’s a lot done in the labyrinths to keep the unravelling of the mysteries fascinating, and every one of them even plays with the expectations set by them before, offering up the variety that would otherwise stagnate this format.

Being a story-based game, there’s not much to do once the credits roll. But that doesn’t matter – Master Detective Archive’s thirty-hour-plus runtime is more than satisfying to experience and doesn’t leave you feeling shortchanged. There are optional collectibles to find through clues given to you in the Kanai Ward that unlocks conversation scenes between Yuma and the other detectives, further fleshing out the game world. But beyond that, it’s a one-and-done affair.

Of course, we can’t talk about a Switch game without speaking about performance. Unfortunately, Master Detective Archive does not buck the trend. Running on Unreal Engine, you probably know what to expect from any game that looks this good running on the Switch. Lots of shimmering and lots of framerate drops are apparent here. It’s a bit fortunate that Master Detective Archive is so immaculately presented. The art direction, affectionately coined “psychopop” by its creator, is equally horrifying and colourful. It’s a really good looking game constrained by the aging hardware of the Switch, but such strong and distinctive art direction gets it over the finish line for me.

Similarly, the game’s audio presentation is also stellar. For one, I’d estimate over 90% of the dialogue is voiced and voiced well. Some dramatic scenes towards the end of the game are just perfectly played out. To have a game of the scope and scale of something like Danganronpa or Ace Attorney, but fully voiced, is honestly so impressive. But to have the entire cast turn in great performances with such a large cast with individual quirks and idiosyncrasies is even more so. Shinigami is easily the standout here. She’s equal parts horny and aggressive and I adore the way she brings so much levity to some of the darker scenes. She’s the gem in this already shining crown of voice actors.

The score matches the eclectic nature of the game’s presentation, making a melding of rock, techno and jazz that perfectly complements the drama of the game’s lengthy cutscenes. My only gripe here is that I feel like too many tracks are used too repetitiously, but otherwise, it’s a strong soundtrack and one that absolutely gets the heart beating during the more intense moments of the story.

The post Master Detective Archives: Rain Code Review – A Cheeky Engaging Mystery appeared first on Press Start.

When you think about Bloober Team, you think about horror. But while they had shipped ten games in other genres before Layer of Fear, you’d be remiss for assuming it was their debut. Layers of Fear really put Bloober Team on the map. It balanced an intriguing story with a sense of atmospheric immersion unlike anything before. However, its lack of interactivity hurt it in places. Now, seven years later, Bloober has revisited the game that made it all happen for them. It’s called Layers of Fear once more, but it’s an all-encompassing package that is the best way to experience Layers of Fear, even with all its faults.

[presto_player id=146144]

VIDEO PRESENTED BY FINAL FANTASY XVI: COMING EXCLUSIVELY TO PLAYSTATION 5 ON JUNE 22ND. DOWNLOAD THE FREE DEMO AND PRE-ORDER NOW

While it shares a name with the first game, Layers of Fear is a compilation of everything released in the series. It includes Layers of Fear, its Inheritance expansion and Layers of Fear 2. These three components, previously only available on older consoles and built on Unity, have now been entirely remade and updated to run on Unreal Engine 5. The remarkable result is such a stark visual upgrade that it’s easily the best and most definitive way to jump into the Layers of Fear series.

But there’s a little bit more included here for returning fans too. On top of a rather generous upgrade pricing option, some brand-new content further fleshes out the game’s story. It will honestly be up for debate just how much these new additions add to the experience. It’s still a nice inclusion for those who’ve already played the previous games to death.

The first new inclusion is a brand-new chapter within the first game’s world. It’s called The Last Note, and it sees you playing as the wife of The Painter from the first game. It’s a very brief, albeit enlightening, chapter that tells her side of the story in an attempt to recontextualise events of the first game. With so much detail already put into Layers of Fear and Inheritance, I can’t help but feel this wasn’t needed though it comes with two endings.

I say this because while the second game is much less revered amongst the fans, it’s also had no attention paid to it beyond its original release. This would’ve been a great opportunity to better flesh out the characters’ stories in that game, so it feels a little misfire to not include anything in this otherwise robust package.

The other new inclusion is the story of a character known only as “The Writer”. Her story is presented as a framing narrative – you’ll play one of her (shorter) chapters between the chapters in Layers of Fear and Layers of Fear 2. They’re good at breaking up the monotony of these other chapters, but the transition to them is a bit jarring and not really justified narratively. Still, the writer’s story is a good attempt to tie all the stories together.

Once again, whether that’s done elegantly or in a totally satisfying matter is up for debate. I’m not going to spoil anything here – but it feels like The Writer’s story is doubling down on an aspect introduced in the second game that I wasn’t a fan of. I’m sure some fans will appreciate the direction it takes the story, but for me, it felt like a bit of a cop-out.

But credit must be given to Bloober Team and Anshar Studios. Most developers would be happy to port their old games to a new engine and leave it at that. Including new content in Layers of Fear is appreciated, even if that content doesn’t quite resonate with me. But it’s important to highlight that these aren’t straight remakes either. Both Layers of Fear games have had changes made to address criticisms aimed at them all those years ago.

Many encounters, especially in the first game, have been reworked to take advantage of both newer technology and the presumably evolving talents of the developers. Both games are still largely passive experiences, but some of these remixed and redesigned set pieces do good work in alleviating some of the repetition of the original games, where you’d walk through corridors and impossible spaces while scary voices whispered at you or objects fell to the ground and made loud noises.

This is done in both games in different ways. The first Layers of Fear gives The Painter a lantern to wield, which can “cleanse” objects or areas to reveal new paths in the world. It also allows him to fight off an enemy who stalks him in certain situations. During these moments, you’ll often evade an enemy while moving through a more open area to find a key and escape. This is a good attempt at cleansing Layers of Fear of its often derogatorily used term “walking simulator”, but it’s not quite as engaging as I’d hoped. It feels like Outlast, and given that I wasn’t a massive fan of this design choice almost ten years ago, it still doesn’t play well here.

The second Layers of Fear already had some moments where a monster stalks you, but the changes implemented here feel a bit more carefully considered. Here, you’re given a flashlight. It can stun the monster that stalks you through the ship, alleviating a key criticism of the original release. But It also can be used to solve puzzles – shining the light on specific mannequins will animate them to move something out of the way or hand you an item. It’s a lighter change, but its inclusion makes Layers of Fear 2 feel more like a “game”. It’s also used to up the ante during the game’s numerous chase sequences.

But at the end of the day, while these changes are numerous and nice, I’m reticent about declaring that you’ll suddenly like Layers of Fear if you never did initially. The style of scares is still the same – which will always be subjective at the end of the day. The experience is still essentially linear and, to a certain extent, predictable, despite implementing these more marginally open areas. I’m not implying that linear is always bad, but sometimes Layers of Fear feels so directed that the tension can evaporate once you realise you’re playing a game that wants you to take a particular path.

Of course, it goes without saying that Layers of Fear does a great job of looking the part. The jump to Unreal Engine 5 is nothing short of remarkable. Every location you trudge through looks phenomenal, rebuilt from the ground up to deliver a better sense of place than the original games. Horror games immensely benefit from a well-realised atmosphere, and Layers of Fear provides that in droves. Combining stellar sound design and some awe-inspiring ambient lighting really elevates the presentation of the games beyond what was presented all those years ago.

The post Layers of Fear Review – Adding The Final Strokes appeared first on Press Start.

Capcom had a restrained showing this year, largely choosing to show more of games that we’d already seen at other showcases.

Right down to the trailers which were the same as the ones shown elsewhere.

I won’t lie, it was a very chill showcase with hardly anything of note, even for me, but there were still announcements made, I guess.

Here’s everything Capcom announced at their 2023 showcase.

[presto_player id=146144]

VIDEO PRESENTED BY FINAL FANTASY XVI: COMING EXCLUSIVELY TO PLAYSTATION 5 ON JUNE 22ND. DOWNLOAD THE FREE DEMO AND PRE-ORDER NOW

ALL OF THE CAPCOM SHOWCASE 2023 ANNOUNCEMENTS

They Clarified Platforms For Kunitsu-Gani: Path Of The Goddess And Showed The Same Trailer

It’s a unique blend of strategy and action inspired by a Japanese aesthetic. Capcom basically showed us the same trailer, but confirmed that it’s coming to Xbox Series X|S, PlayStation 5 and PC. It’s launching on Game Pass too. This isn’t a path I’ll walk yet, but I’m keen to see more.

MegaMan X Dive Offline Is A Definitive Version Of A Megaman Mobile Game

It’s a MegaMan X based platformer that allows you to level up a bunch of characters, power up weapons and play as a bunch of characters. Over 100. Some you’ve never been able to play as before. It’s not really for me, and sounds like a dive if you’re asking me. It’s out in 2023 for iOS and Android and PC.

They Reminded Us That Street Fighter 6 Was Out Now

Why did I wake up early for this? RIP. The first details about the Capcom Pro Tour 2023 was also announced with the largest prize pool ever, as well as the Fighters Pass details. Not a whole lot just yet. The first Fighting Pass starts today, though, and will let you unlock music and Blanka-chan stickers amongst other things.

Resident Evil 4 VR2 Mode Will Allow You To Play The Whole Storyline

While it’s a separate mode, it’s also a free DLC that’s exclusive to PlayStation VR2. It looks to use the sense controllers to parry as well as other features. You’ll be able to play through the entirety of the story when it launches. I’m going to use the power of VR to visit a world where this has been dated, because Capcom still hasn’t given us a release window for this.

We Got A Better Look At Pragmata, But It’s Been Delayed Again

The premise is that you’ll be playing as some kind of mech man while you’re escorting a young cyborg girl named Diana through a presumably post-apocalyptic wasteland. It’s been delayed out of 2023 for now, so while we did see a snippet of gameplay, it’s looking like it’ll take a while to come out – though rumours suggest it’s been rebooted internally since it’s initial reveal.

The Ghost Trick Remaster Is Getting A Demo And It’s Out Today

From the creator of Ace Attorney and the director of Dino Crisis 2, it’s an adventure game with a gripping story originally released on the DS some years ago. You play as someone who is trying to solve their own murder. The port marks the first time the game has been available in high definition. It’s out on June 30th, and the demo lets you transfer your progress to the main game. This is worth your time, I promise.

Another Ace Attorney Trilogy Remaster Is On The Way

The collection includes Apollo Justice, Dual Destinies and Spirit of Justice in the same remaster treatment as the other games have received. I love these games, so it’s nice to see them all playable in one place now. It’s out in Early 2024 for all major platforms, including Xbox One (where the original notoriously underperformed) and in seven languages. I might play it once in each language for the full effect. Maybe.

We Got Yet Another Exoprimal Story Trailer

Despite being an online-only, multiplayer-centric game, it’s nice that Capcom is putting effort into giving this ridiculous premise a storyline to follow. It’s still on track for release on July 14th 2023. It’s also launching on Game Pass. We were complaining on the podcast that so many games are three player co-op – but no worry – this game has TEN player co-op. Whew.

We Got A Better Idea Of How The Story Mode Works In Exoprimal Too

You’ll compete in matches that will eventually unlock more of the story and participate in unique boss battles. You’ll also be able to update your mech with components that improve its performance in story mode.

There’s Also A Second Open Beta For Exoprimal In Three Days

The open beta will include story missions as well as other multiplayer ones, and Capcom will continually be listening to feedback to make sure that Exoprimal is the best it can be. I believe them, though I’m not sure I’m still convinced.

The Show Closed With A Familiar Look At Dragon’s Dogma II And Confirmed Pawns Are Back

Capcom showed us the same trailer they showed off at the PlayStation Showcase last month. The game is a single-player adventure with AI-controlled Pawns helping to give the feeling of co-op.

You will have your own pawn you can create and share with other players and two other pawns you can borrow from other players. So you’ll essentially have a party of four.

The world is also said to be four times the size of the original Dragon’s Dogma.

The post All Of The Capcom Showcase 2023 Announcements appeared first on Press Start.

Another year and another Summer Game Fest, and we also have yet another Xbox Games Showcase. The event is slated to kick off at 3AM EST on June 12th and is slated to feature a mix of first and third-party games for the publisher.

Notably, the showcase this year is said to contain a good mix of gameplay and CG footage, though Xbox Games VP Aaron Greenberg has confirmed that “none of our first-party games in the show are full CG trailers” and added that everything shown will contain in-game footage, in-engine footage or a mix with cinematics.

There are also no time restrictions, so that awkward showcase from last year where almost nothing eventuated (yet) won’t happen again.

So, take my hand and skip with me down the green brick road to reminisce on what games I think Xbox might show at their showcase this weekend, complete with arbitrary percentages that I’ve completely made up. Some of the games are even made up.

And as a disclaimer – I won’t mention Starfield here. We know it’s coming; it has its event after, and there is no point in ruminating on its presence at the event.

FORZA MOTORSPORT

Likelihood: 100%

Can you even believe we’re up to thirteen instalments in the Forza series? Me neither.

This one is the eighth in the Motorsport and you know they mean business because they’ve dropped the number from the title. Nobody wants to know you’ve been around the bend eight times, so this is a good choice.

The game will feature more than 500 vehicles and 800 upgrades and everyone’s favourite resource-hog, ray-tracing. There’s even a fully procedural cloud system, so if you ever want to look in the sky, you can rest assured that the clouds will look nice.

Forza Motorsport is due for release in 2023 for PC and Xbox Series X|S.

FABLE

Likelihood: 43.2%

I feel like I’ve been talking about this game for about twenty years, but it’s only been five years, apparently.

Developed by Playground Games, the British-born studio responsible for Forza Horizon, the game is purported to be a reboot. It was revealed to the masses almost two years ago and while we didn’t see anything resembling gameplay, the tone and whimsy was certainly there.

Since then, we’ve seen almost nothing of the game and there’s even been rumours that Playground, who usually make racing games, are struggling to make an action RPG like Fable. Who would have thought? Regardless, let’s hope that we’ll get some kind of update on the game in the near future. The niche that Fable inhabits has been largely untapped, so I’d welcome it back into my home with open arms. Which is more than I can say for most games and even some of my friends.

Fable is due for release at some point for PC and Xbox Series X|S.

CONTRABAND

Likelihood: 66.2%

No, this isn’t the middling 2012 film starring Mark Wahlberg and Kate Beckinsale. It’s an honest mistake that I made myself.

But rather, it’s a brand new IP from Avalanche, the studio who has already done some great work in bringing us Just Cause, Mad Max and RAGE 2.

All we know about the game so far is that it’s a “co-op smugglers paradise” that’s set in a fictional world of Bayan during the 1970s. The concept is great, but given that’s all we know about it, it’s hard to get too excited without seeing more.

Contraband has yet to be dated but it’s releasing for PC and Xbox Series X|S.

SENUA’S SAGA: HELLBLADE II

Likelihood: 87%

It truly feels like a saga at this point, but it’s high time that Senua made a pilgrimage along our screens again.

Once again announced at the 2019 Game Awards, we’ve since been treated to photos of the development teams trip to Scandinavia and a lengthy and super realistic gameplay sequence too.

The time feels right for Hellblade II to make an appearance and maybe even nail down a release window. Ninja Theory have proven time and time again they can craft compelling stories in even more fantastic worlds, so here’s hoping.

Senua’s Saga: Hellblade II will release with or without it’s dead husbands skull for PC and Xbox Series X|S.

EVERWILD

Likelihood: 75%

Announced back in 2019, there were rumours that not even Rare knew what Everwild was.

Originally, the word on the grape vine was that it was a third person adventure game with elements taken from god games, while other reports claimed that the game had no combat whatsoever.

More recent comments on the game claim that it’s been rebooted several times since then, though the latest implies that it could be something like Viva Pinata. Regardless, with Gregg Mayles at the helm, who’s directed greats like Banjo-Kazooie, I’m excited to see what direction Everwild takes.

Continuing tradition, Everwild doesn’t yet have a release date, but it’s releasing for PC and Xbox Series X|S.

A NEW BANJO-KAZOOIE GAME

Likelihood: 12%

Look, I don’t know what else I can say about this, but it’s clear Microsoft isn’t done with Banjo or Kazooie.

Not only has he made his way to Nintendo’s online services, but he’s even appeared in Super Smash Bros. It’s time Microsoft took back some of that furry or feathery goodness for themselves.

I’m honestly at the point where I’ll take just one of them. Give me a Banjo game. I’ll even take a Kazooie game. Even a game where I scrub rust off of Clankers cavernous undercarriage. Please. Anything.

The new grimdark Banjo-Kazooie reboot doesn’t exist yet but if it does it’ll be releasing for PC and Xbox Series X|S.

PERFECT DARK

Likelihood: 6%

It’s been a long time since Joanna Dark graced our screens and perhaps it’ll be even longer until she does again.

Originally announced with a snazzy trailer at The Game Awards, Perfect Dark was slated to be a reimagining of the franchise taking place in an “eco sci-fi” landscape.

It’s a cool take that’ll lean into the spy side of things to differentiate itself from other shooters, but we’ve seen nothing of it since. Several key staff have left and Crystal Dynamics has stepped in to help new studio The Initiative to work on what’s been dubbed the first ever “AAAA” game, whatever that means.

Perfect Dark remains in the dark but when it emerges into the light, it’ll be for PC and Xbox Series X|S.

STATE OF DECAY 3

Likelihood: 82%

It’s been almost five years since State of Decay 3 was announced and even then it was done with a CG trailer by the finest CG purveyor, Blur.

Since then, we’ve, once again, heard nothing. The point of the trailer was to convey a sense of fear, isolation and horror – which is how it feels to be an Xbox fan in 2023.

Jokes aside, there’s so much that can be done with State of Decay’s people-focused take on a pandemic. The trailer seemed to imply animals might be added to the mix, though perhaps I’m being too ambitious.

State of Decay 3 is targeting release for PC and Xbox Series X|S.

HIDEO KOJIMA’S XBOX GAME

Likelihood: 12%

Hideo Kojima reckons that the game he announced in partnership with Xbox last year is the “game he always wanted to make”.

The game is said to be a game that is completely new and that nobody has experienced before. It will apparently utilise the cloud technology that Xbox provides to provide a player experience like no other.

Rumours are swirling that this project is called Overdose and is a horror game of some sort. But, once again, we haven’t seen anything more since the original announcement. The time feels right to show off whatever Kojima’s project is, even if it’s just in-engine footage without raw gameplay.

THE EVIL WITHIN 3

Likelihood: 0.2%

The true Evil Within is the fact that Zenimax hasn’t commissioned another Evil Within game. See what I did there?

Hi-Fi Rush was fantastic, but I would be lying if I said that I wasn’t a little bit disappointed that Tango might not be working on another Evil Within game. I recognise that the first two weren’t great commercial performers, but the market is different now.

Resident Evil is a stronger brand than ever. Alan Wake is pivoting to horror. Even EA put out a stellar horror game earlier this year, even if it was a remake.

Shinjin Mikami has left Tango, but his protege John Johannsen proved that he could direct a game in the series with the second game. The time is right to bring back The Evil Within and tie up all those loose ends left hanging by both games.

The Evil Within 3 doesn’t exist yet but I hope it will someday for PC and Xbox Series X|S.

The post 10 Games We Want To See At The 2023 Xbox Games Showcase appeared first on Press Start.

It was only last year that I was ruminating that we might have a Silent Hill announcement at last year’s Summer Game Fest. Now, we have that, so what else could I want?

I’m not sure, but I stayed up until 3AM to bring you all the latest announcements, so please read on and make it all worth it. Thank you.

There are heaps of announcements, so be sure to read ahead to recap yourself in the most stylish way possible.

ALL OF THE SUMMER GAME FEST 2023 ANNOUNCEMENTS

The Show Closed With Final Fantasy VII: Rebirth

It’s looking mighty fine, with the trailer showing off a lot of the expansive open worlds you’ll be able to explore this time around. It’s releasing in early 2024 for PlayStation 5.

Insomniac Showed Off The Box Art And More Details About Spider-Man 2

We got a look at some cool concept art and lots of teases about Venom which is what people care about. The release date was also revealed, and it’s coming on October 20th.

Prince of Persia: The Lost Crown Is A Brand New Take On The Franchise

It’s an action-adventure platformer that’s releasing on January 18th 2024 for all major platforms. It’s basically the old Prince of Persia style but with a more high octane action-filled style.

A Brand New 2D Sonic With Co-Op Is On The Way

There are abilities to master, friends to play with and a crispy and colourful art style. I was ready to shit on this, but I’m actually pretty keen for it. It’s called Sonic Superstars and it’s coming to all major platforms. It’s out this year.

We Finally Got Our First Look At Mortal Kombat 1 Gameplay

The gameplay reveal showed off a heap of characters, the story mode and characters we’ll be able to summon mid-battle using the brand new Kameo system. It’s just as gorey as you’d expect and releases in September.

We Got To Have A Peek At Some Gameplay Of Path of Exile 2

We have Diablo at home. You’ll be able to find out more on July 28th at ExileCon.

Exoprimal and Street Fighter Are Crossing Over

The trailer showed us robotic Ryu and Guile fighting dinosaurs in Exoprimal. I’m not sure how to feel, but bless Capcom for throwing Exoprimal a bone.

Nicolas Cage Joined Geoff On Stage To Show Off……Himself in Dead By Daylight

Geoff even brought out Nicolas Cage himself to chat about it. He’s coming to Dead By Daylight in July. I will still not be playing. Sorry. Shannon thought it was Alan Wake. It’s all so much.

The Season 3 Trailer For The Witcher Was Shown

Mmm. Witchery. Not the David Jones brand, but the err Witcher. There was lots of blood and magic but no sex, but I’m sure that will come when the season premieres later this year.

We Got A Brief But Juicy Look At Witchfire And A Date Too

It’s like a ye olde first-person shooter with some cool magical effects and skulls. The full package really. It’s launching in early access in September.

We Got A Better Look At Remnant II And It’s More Sci-Fi Than You’d Expect

It has a much more science-fiction tinge than the previous game. It’s releasing on July 25th. Tom, if you’re reading this, we’re playing this. xoxo

Honkai Star Rail Is Coming To PlayStation 5

This was Shannon’s pick of the show. The free to play RPG is coming to PlayStation 5 at the end of the year.

Lies Of P Got A New Trailer, A Demo And A Release Date

This has the potential to be “we have Bloodborne at home” but my nose would grow if I said I wasn’t still keen to try it out. See what I did there? I hope you can grow your nose, snap it off and use it as a weapon. Is that too much to ask? It’s releasing September 19th. It’s also on Game Pass.

Sandland Is A Manga Adaptation From Akira Toriyama

It features a post-apocalyptic desert setting and vehicular combat. Groundbreaking. It’s from Akira Toriyama, and it’s called Sandland. Mmm.

Yet Another Free To Play MMORPG From The Makers Of Guild Wars Is On Its Way

It’s called Throne and Liberty. NCSoft and Amazon Games have teamed up to offer another free-to-play RPG with PvPvE elements. I guess NCSoft succeeded with Lineage and Guild Wars, but I’m still unsure if this is it.

Another Warhaven Trailer Was Shown

It’s a 16v16 third-person action game set in a medieval battlefield. It’s not my vibe, once again, but I’m sure someone will enjoy it.

Party Animals Finally Got A Release Date

It’s looking like a more cooked Gang Beasts. It’s out on September 20th, and is also coming to Game Pass.

The Next Batch of Dying Light 2 Updates Were Teased

The June update will bring more dangerous nights and improved parkour, while future updates will be unlike “anything we’ve done before”. Cute, I guess.

Sam Lake Rocked Up And Chatted About Alan Wake II And Show Us More Of It

The brief gameplay clip showed off some of the combat in Saga’s side of the story. It looks juicy, and I’m ready. It’s coming October 17th.

Warhammer: Space Marine II Has A Co-Op Campaign Now And Looks Better Than The Other 20 Warhammer Games Released This Year

What if Gears of War, Dead Space and Warhammer had a baby? That’s kind of what you’ve got here. The trailer confirmed that the campaign will support co-op for up to three players. It’s still on track for this year, but they won’t confirm when. Sorry.

Yes, Your Grace Is Getting A Sequel Next Year

It’s one of those pixel-art games with realistic lighting, and looks great. It’s out in 2024 and it’s called Yes, Your Grave Snowfall.

John Carpenter’s Toxic Commando Is Giving Left 4 Dead

It’s a brand new world that’s channelling Days Gone and Left 4 Dead. I think I’m done with zombies, but I guess this looks alright. Shannon thinks it looks good so maybe we’ll play it together. It’s out in 2024.

We Got Yet Another Baldur’s Gate III Trailer With Jason Isaacs Too

Please release this so I don’t have to see a trailer at every Geoff Keighley event ever again. Jason Isaacs has rocked up to voice someone who is no doubt the villain, so that’s cool, I think. It’s out on August 31st 2023.

That Game That’s Basically Pokemon With Guns Is Coming To Early Access In 2024

It looks like one of those weird “this is what Pokemon would look like in Unreal Engine!!!!!” YouTube videos and Ewan thinks it looks fresh which is all I think we have to say on the matter. It’s called PalWorld and it enters early access in January 2024.

Lord of the Rings: Return To Moria Is A Thing

The franchise has a stellar reputation in games so far, so hopefully this will do a good job of upholding that. It’s a survival crafting game that takes place in the fourth age of Middle-earth.

Square Enix Is Continuing To Try It With Mobile Games With Final Fantasy VII: Ever Crisis

It’s looking kind of like it will have $100 microtransactions and basically tells the story of Final Fantasy VII in it’s entirety – expect scenes from the original game, Crisis Core, Before Crisis and Dirge of Cerberus. There’s a beta too.

The First Gameplay Of Banishers: Ghosts of New Eden Was Shown

It’s a supernatural-looking action game from the team that brought us Life Is Strange and Vampyr. I like the look of this – it could be a new Plague Tale style surprise from the developer. It’s out towards the end of 2023.

The Yakuza Spin-Off Was Given A Release Date And New Trailer

Calm down. I know it’s called Like A Dragon now. This leaked earlier in the week so yeah. You’re getting two Like A Dragon games this year. Nuts. But good.

Under The Waves Looks Like A Contemplative Underwater Exploration Game

It is absolutely my vibe, and I can’t wait to explore whatever this world is. It’s out on August 29th 2023.

Call of Duty: Warzone Got A New Trailer Detailing Its Fourth Season

Warzone is looking extra arcadey and is maybe jumping the shark now but I know everyone is going to play it. Geoff also confirmed that a new Call of Duty is coming this year.

There’s A Special Limited Edition Porsche Xbox Series X Coming But….

Only a few of them were made and you’ll have to win one through various promotions throughout the year. Trust me, they’re doing you a favour.

Faefarm Is Yet Another Farming Cosy Game

So cosy that I fell asleep. Is there a genre as over-saturated as this one? It’s available on September 8th for the Switch and PC.

A Brand New Hack And Slash Indie Is Coming To PC

It’s a “tactical hack and slash” that’s coming to PC that allows you to rewind time. It’s trying to give Hades, but it’s not quite. It’s called Lysfanga: The Time Shift Warrior, and it’s out in 2023.

Some New Immortals Of Aveum Footage Was Shown

It’s kind of like if Call of Duty replaced guns with magic and spells. While that might not sound super inspiring, I think this could be pretty solid. It’s an EA Original, and it’s out in July.

The Next Fortnite Update Was Shown

I can respect the way Fortnite keeps reinventing itself, but I’d also love it if we could stop trying to make Transformers happen again. The update launches tomorrow.

The post All The Big Summer Game Fest Announcements For 2023 appeared first on Press Start.

Street Fighter 6 needed to do everything it could to right the wrongs of its predecessor. With fighting games enjoying a strong resurgence in recent years, it’s simply not enough to cater solely to the hardcore audience and Street Fighter 6 knows that. Where Street Fighter 5 would eventually fumble to the finish line as a competent product, Street Fighter 6 starts off stronger than ever with an appeal to all audiences. And while the roster isn’t as numerous as most of its contemporaries, it’s laid a foundation riddled with a vigour that can only auspiciously grow into Capcom’s greatest fighter yet.

Street Fighter 6 doesn’t mess with the genre too much. You pick a character and battle it out with an opponent until one of you wins. It’s a system that works. Street Fighters’ main schtick has always been the solid systems underpinning the flow of its combat, making up for its lack of melodrama or violence with good old-fashioned gameplay. Street Fighter 6 is no different. It leverages a solid battle system to appeal to experienced players but incorporates some much-needed changes to welcome new and inexperienced players to the fold too.

The most obvious change here is the three control options it offers up. Typical fighting games require inputting commands and buttons to pull off special moves or combos. This is still in Street Fighter 6, as the “Classic” control mode. But two other control modes simplify things for newcomers. “Modern” lets players pull off special moves and combos with simplified and less intimidating inputs. “Dynamic” is even simpler – allowing flashier combos and move strings with the mashing of certain buttons – it acts as a de-facto “party” mode of sorts for a super casual player.

I’ve experienced first-hand how newer players to the genre might find these games overwhelming, especially when playing against somebody experienced. These control schemes don’t feel like afterthoughts. They’re an earnest step in the right direction to break down barriers that might stop people from picking up the controller. Some aspects of the Modern mode, such as lower damage output, might seem controversial. But it only seeks to illustrate the strength of it – you can throw out moves and combos faster than the average player, so a damage compromise seems fair.

Another less obvious way that Street Fighter 6 feels more approachable is the Drive system. It feels significantly streamlined by incorporating parrying, blocking, cancelling, and all other kinds of gimmicks from previous games into one system. You can use your drive meter to absorb attacks, counter them, or even block or cancel out a string of attacks. Like in previous games, it can even be used to enhance special moves. Giving players so many options at the beginning of a match leads to a flow of battle that’s much faster and, more importantly, more flexible for players.

The Drive system really is ingenious. It manages to roll the cooler gimmicks seen in previous Street Fighter games into one, but it also provides a consistent set of skills that every character can access from the beginning. If you can successfully grasp the concept of the Drive system as a whole, you have a substantial collection of abilities to fight with no matter who you choose. It’s a much more intelligent and elegant system than in Street Fighter 5 – where every V-Skill and V-Trigger had to be remembered and chosen at the beginning of each match. Even then, they were all wildly inconsistent and unbalanced. The Drive system is a more straightforward approach with much more potential.

Appealing to a wider audience, there’s a nice amount of content here to experience as a solo player. The newest, World Tour, has been done in some fighting games in the past, though not to the extent seen here. The mode puts your avatar character into the world of Street Fighter in an action RPG-like mode, where you’ll travel the world to learn moves from your favourite characters and throw down with people on the streets. The transition between fighting and exploration is seamless and fun from a gameplay perspective.

THE CHEAPEST PRICE: $89 WITH FREE SHIPPING FROM AMAZON

World Tour is, for the most part, enjoyable. It was fun to see all my favourite characters behave outside of a match and learn abilities from them to build my perfect characters. It’s not perfect, however. The plot is certainly engaging, but the world just isn’t as interesting or as lore-rich as Mortal Kombat would be in adapting this formula. There was even potential to have satisfying exploration with Metroid-esque gates that only certain abilities could open, but there isn’t anything of that sort here. Most quests are also “move to this area and speak to this person”, so while World Tour does a great job of teaching you the basics of Street Fighter 6, it’s not something I could play for long bouts at a time.

You can take your avatar or any other character straight into Battle Hub, a more complex lobby system for the game online. The hub is like a giant meeting place, allowing you to organize matches with other players or buy gear for your character at numerous stalls. There’s even a massive screen up front that celebrates high-performing players in each room. It’s a great idea that feels like the most well-realised execution of “community” in a fighting game. However, only time will tell whether this concept will stick. I play most of my fighters privately with the same people, but for those who are more sociable, this is an effortlessly seamless way to play with others.

I was fortunate enough to do this with both the betas and the pre-release period for the game. Thankfully, online performance is solid. I had better matches with the random Australian that I ran into (thank you, whoever you are), but even against higher latency opponents, the rollback-based net code performed admirably. Online, as a whole, is masterfully executed in Street Fighter 6. Performance is great. Rematches are quick and snappy. Rankings can be maintained on a per-character basis. The online offerings for Street Fighter 6 are nothing short of the industry’s best and are what other fighters should aspire to be.

Fighting Ground is the other third of the game, and it’s really just a one-stop shop for all the modes the game has to offer. You can fight each other locally, fight other players with crazier rulesets, learn character-specific combos or even just about how to play your favourite character and engage with character-specific stories in the Arcade mode. Back in the day, everything included in Fighting Ground would’ve been enough for a fighting game, but to see this and much more included in Street Fighter 6 is encouraging. For the old-school fan who isn’t a fan of the flashier lobbies that Battle Hub provides, you can also set up private rooms here to invite your friends.

And while Street Fighter 6 looks to be doing so much so well, there was one big glaring omission that I can’t ignore – and that’s costumes. I’d argue they’re a series or even a genre staple, but nothing was included in the pre-release build. Hopefully, these will be included with the addition of a day one patch, for sure, but if absolutely all extra costumes are relegated to paid microtransactions, then this arguably feels like a step back from the Fight Money system that Street Fighter 5 used.

Of course, stylistically, Street Fighter 6 is on point. Powered by the same engine that has powered Resident Evil and Devil May Cry, RE Engine sees each character taking a more realistic approach as a base. But then, building on that base, the game has been heavily stylized to offer up this strange yet distinct visual style that looks better than most fighters on the market today. The animations are fluid, and the flourishes of paint that flick off special moves are bright and striking. This is easily the best that Street Fighter has ever looked.

All of this comes together to offer up a package that tries to right the wrongs of its predecessor and succeeds. It’s truly exciting to see what Street Fighter 6 will look like in the coming years, though if the team can save Street Fighter 5, think about what they could do with this.

The post Street Fighter 6 Review – Hits In All The Right Places appeared first on Press Start.

One of the newer features in The Legend of Zelda: Tears of the Kingdom is the Zonai Devices. These mysterious ancient devices can be used in conjunction with Ultrahand and even Fuse to create some funky new vehicles and mobile structures for Link to move around Hyrule with.

These devices can be found around Hyrule, but portable ones can be picked up by Link and pulled out of Gacha-like capsules as a one-use-only kind of deal.

What Are Zonai Devices In Zelda: Tears Of The Kingdom?

Put simply, Zonai Devices are the building blocks for your creations in Tears of the Kingdom. You’ll be able to use them to create all kinds of things, whether it be vehicles or just stationary battle turrets to assist you in combat. They’re greenish in appearance and can be found lying around the world of Hyrule. There’s at least 25 types of zonai devices to find in the world, and they’re as follows:

• The Fan can produce wind with it’s propeller. It’s most handy for generating thrust.
• The Wing is like a base for a plane, and can ride the wind with the right balance.
• The Cart is a slate with wheels for moving across flat surfaces.
• The Balloon rises when filled with hot air.
• The Rocket produces a quick and powerful thrust, but burns out quickly.
• The Time Bomb activates a timed blast that can activate other Zonai devices nearby.
• The Portable Pot allows Link to cook a single dish no matter where hs is.
• The Flame Emitter shoots fire in a straight line ahead of it.
• The Shock Emitter shoots a bolt from its horn
• The Beam Emitter shoots a laser beam from its horn.
• The Hydrant gushes water.
• The Steering Stick can control the direction of any structure you attach it to.

• The Big Wheel can drive your structures through shallow water and most environments.
• The Small Wheel is best for flat services, but doesn’t handle well on hills or bumps.
• The Sled has a slick underside that minimises friction, so it’s better for moving over grass and sand.
• The Battery provides temporary power for other attach Zonai devices.
• The Big Battery does the same, but holds more than the standard battery.
• The Spring expands with enough power to bounce objects away from it.
• The Cannon fires explosive shots at a regular interval.
• The Hover Stone can defy gravity and just hang in place when powered.
• The Light illuminates the area ahead of wherever it’s placed.
• The Stake can be fixed in place to the ground or wall. Use them as balances for other objects or just as a foothold for Link halfway up a difficult climb.
• The Mirror can focus and reflect light to offer long-distance illumination
• The Homing Cart is like a Zonai Roomba. It will automatically hone in and move towards the closest enemy.
• The Construct Head pivots on the spot to look at the nearest enemy.

What Are Device Dispensers In Zelda: Tears Of The Kingdom?

Device Dispensers are large storage containers that contain the previously mentioned Gacha-like capsules that contain the parts you can use to create some cool stuff in Tears of the Kingdom. You can find them throughout the world, offer Zonai resources to them and watch the dispenser spit out some parts for you to use.

It’s slightly randomised – but take the hint from us – you’ll always get more Zonai Devices out of a dispenser if you offer the maximum amount of FIVE Zonai resources. Make the most of each time you interact with one, and ensure you get the most out of them.

Where Do You Find Device Dispensers In Zelda: Tears Of The Kingdom?

Device Dispensers are predominantly found in the sky, but some are available on the grounds of Hyrule too. You will no doubt come across them naturally on your journey through Hyrule.

But, for now, here are just some of the device dispensers I’ve found in Zelda: Tears of the Kingdom and a list of what parts it spits out. We will be sure to update as we find more.

This is by no means a complete list, but it will guide you if there’s a part you’re looking for to complete your creation.

HEBRA SKY ARCHIPELAGO

Map: Sky
Coordinates:  -1710, 3372, 0948

Parts Found:

• Wing
• Sled
• Fan
• Cart
• Light

NORTH HYRULE SKY ARCHIPELAGO

Map: Sky
Coordinates:  0438, 2819, 1820

Parts Found:

• Shock Emitter
• Light
• Steering Stick
• Homing Cart

LANAYRU SKY ARCHIPELAGO

Map: Sky
Coordinates:  2913, 0509, 0951

Parts Found:

• Cart
• Wing
• Fan
• Beam Emitter

HUDSON CONSTRUCTION SITE

Map: Hyrule
Coordinates:  3802, 1561, 0091

Parts Found:

• Fan
• Small Wheel
• Balloon
• Big Wheel
• Rocket
• Steering Stick

NORTHEAST DEPTHS

Map: Depths
Coordinates:  2186, 2634, -0962

Parts Found:

• Big Wheel
• Steering Stick
• Portable Pot
• Battery

NECLUDA SKY ARCHIPELAGO

Map: Sky
Coordinates:  1784, -1100, 0918

Parts Found:

• Cannon
• Wing
• Spring
• Time Bomb

GERUDO SKY ARCHIPELAGO

Map: Sky
Coordinates:  -1776, -2025, 1148

Parts Found:

• Beam Emitter
• Sled
• Mirror
• Steering Stick
• Stake

LEFT-LEG DEPOT

Map: Depths
Coordinates:  1051, -2316, -0552

Parts Found:

• Wing
• Small Wheel
• Big Wheel
• Rocket
• Steering Stick
• Construct Head

The post All The Zonai Devices And Where To Find Them In Zelda: Tears of the Kingdom appeared first on Press Start.

Much like the original game before it, anybody who has played The Legend of Zelda: Breath of the Wild will know just how essential cooking is to that part of the experience. The same can absolutely be said for The Legend of Zelda: Tears of the Kingdom, which doubles down on the mechanics that it’s predecessor had to offer something truly special.

Cooking is something that you really shouldn’t ignore in Tears of the Kingdom. Not only can it help to recover much more hearts than usual, it can be used to make meals that sell for a pretty penny (or rupee) at shops as well as give Link all kinds of resistances or buffs to the elements.

Through completion of quests and just spying recipes on posters throughout Hyrule, you’ll learn recipes that will no doubt help you on your quest. But we’re here to give you some of the best recipes that’ll help you on your journey in The Legend of Zelda: Tears of the Kingdom.

You can cook at any pots that are placed throughout the world of Tears of the Kingdom.  You can even use wood and a flint to create a temporary, more flimsy cooking station to cook individual ingredients. You can even use one of the new Zonai Devices, a temporary cooking pot, to whip up a meal in a bind.

Simply put, there’s a few principles to go about when creating a meal with the cooking system:

1. 1. Cooking food ingredients that already recover hearts will create something that heals even more hearts
   2. Adding an ingredient with a property (for example, a mushroom that improves stamina when cooked) will add that property to your dish
   3. Mixing a critter (a lizard, a frog, an insect) with a monster part will create an elixir

SOME OF THE BEST RECIPES FOR FOOD AND ELIXIRS IN ZELDA: TEARS OF THE KINGDOM

• Spicy Meat and Seafood Fry
  • Provides Link with some much-needed cold resistance
    • Hyrule Bass
    • Spicy Pepper
    • Raw Meat

• Energizing Meat and Mushroom Skewer
  • Restores Link’s stamina. Perfect as a mid-climbing snack
  • For this recipe, the more Stamella shroom you use, the greater the stamina recovery
    • Any raw meat
    • Stamella Shrooms

• Tough Mushroom Skewer
  • A recipe that provides Link with greater defense and recovers health too
  • The more ironshrooms, the better grade of the defense buff
    • Ironshrooms

• Fried Wild Greens
  • A relatively cheap recipe to make that often recovers a lot of hearts
  • Using five of the same herb is often most beneficial, offering up to ten hearts recovery
    • Any combination of herbs and flowers will make this dish
    • Five Hyrule Herbs will create a dish that recovers ten hearts
    • Five Silent Princesses will create a dish that recovers ten hearts and offers ten minutes of the highest stealth improvement.

• Cheesy Tomato
  • A light health recovery dish
    • Hateno Cheese
    • Hylian Rice
    • Hylian Tomato

• Sunny Veggie Rice Balls
  • This recipe allows Link to recover any hearts he’s lost to gloom, helping you to explore the depths for longer.
  • Increase the sundelion ratio to improve the gloom recovery rate. Otherwise, the more rice you have, the more hearts the dish will recover.
    • Hylian Rice
    • Sundelions

• Bright Fish Skewer
  • A really simple recipe that provides healing effects and a glowing effect
    • Glowing Cave Fish (the more, the better the effects)

• Enduring Elixir
  • Restores stamina AND temporarily extends your stamina wheel.
    • Tireless Frog
    • Any creature part (a wing, a horn, an eyeball)

• Hasty Elixir
  • Increases Link’s movement speed
    • Hot-Footed Frog
    • Any creature part (a wing, a horn, an eyeball)

• Bright Elixir
  • Provides Link with an illuminating effect, lighting up his surroundings.
    • Deep Firefly
    • Any creature part (a wing, a horn, an eyeball)

Each dish you create will have a name that indicates what it does. Look for these descriptors in your culinary creations to work out what they do.

• A BRIGHT meal provides a glowing effect to Link, perfect for exploring the depths
• A SUNNY meal provides an anti-gloom effect, allowing Link to reclaim hearts lost to gloom without having to visit the surface or a lightroot
• A SPICY meal provides cold resistance
• A HEARTY meal provides greater health restoration
• An ENERGIZING meal provides stamina restoration
• An ELECTRO meal provides resistance to electricity and shock
• A MIGHTY meal provides increased attack power
• A CHILLY meal provides greater heat resistance
• An ENDURING meal provides extra stamina wheels (they’re yellow versions of the stamina wheel, and disappear once used)
• A FIREPROOF meal provides resistance to flame, meaning that Link won’t burst into flames if he’s in an extremely hot area
• A HASTY meal provides an increase to movement speed
• A SNEAKY meal provides an increase to your stealth capability
• A TOUGH meal provides improved defense

The post The Best List Of Recipes And Elixirs For Zelda: Tears Of The Kingdom appeared first on Press Start.

Much like its predecessor, Breath of the Wild, The Legend of Zelda: Tears of the Kingdom makes great use of Nintendo’s amiibo figurines, allowing players to scan their favourite NFC-enabled characters to unlock gear and items in the game.

Like before, the amiibo from the Zelda franchise are absolutely the best ones to have on-hand as they’ll provide unique unlocks, unlike the rest of the vast amiibo catalogue which will just spit out random items.

To start using any amiibo in-game, you’ll just need to do the following:

• Select the amiibo ability from your weapon wheel
• Hold the amiibo to the NFC reader on your Joy-Con or Pro Controller
• Watch the rewards drop into the game in front of Link
• Profit!

You can only get one reward for each amiibo per day, but the trick from Breath of the Wild still works. The below guides indicate what items you might get, so keep reloading until you get what you want.

The fabrics you receive from amiibo can be taken to the Dye Shop in Hateno Village to change the look of Link’s paraglider.

And for a handy guide to what each of the Zelda amiibo unlocks, take a look at our complete list below:

TEARS OF THE KINGDOM ZELDA AMIIBO UNLOCKS

TEARS OF THE KINGDOM AMIIBO

LINK

• A random selection of mushrooms and arrows
• Champion’s Leather Fabric
• Levelled Equipment (Knight’s Claymore [Enhanced] and Knight’s Claymore [Dirty])

BREATH OF THE WILD AMIIBO

ARCHER LINK

• A random selection of raw meat, raw fish and arrows.
• Tunic of Memories Fabric
• Levelled Equipment (Bows)

Get the amiibo here.

HORSE RIDER LINK

• A random selection of mushrooms.
• Hylian Hood Fabric
• Levelled Equipment (Random)

Get the amiibo here.

ZELDA

• A random selection of herbs and gemstones
• Hyrule Princess Fabric
• Levelled Equipment (Shields)
• Star Fragments

DARUK

• A random selection of minerals and gemstones
• Goron Champion Fabric
• Vah Rudania Divine Helm
• Cobble Crusher (Sword weapon)

Get the amiibo here.

MIPHA

• A random selection of live fish
• Zora Champion Fabric
• Vah Ruta Divine Helm
• Zora Spear (Spear weapon)

REVALI

• A random selection of acorns, fruit and arrows
• Rito Champion Fabric
• Vah Medoh Divine Helm
• Falcon Bow (Bow weapon)

URBOSA

• A random selection of raw meat
• Gerudo Champion Fabric
• Vah Naboris Divine Helm
• Gerudo Scimitar (Sword weapon)
• Gerudo Shield (Shield weapon)

GUARDIAN

• An iron box
• Ancient Sheikah Fabric
• Levelled Equipment (Random)
• Randomise Ancient Fuse Components

BOKOBLIN

• A random selection of raw meat and Boko parts
• Bokoblin Fabric
• Levelled Equipment (Boko grade)

Get the amiibo here.

THE LEGEND OF ZELDA SERIES AMIIBO

SKYWARD SWORD ZELDA AND LOFTWING

• A random selection of herbs and gemstones
• Goddess fabric

SKYWARD SWORD LINK

• A random selection of arrows
• A wooden box
• Sword Spirit Fabric (Fi-inspired)
• Tunic of the Sky Clothing (Inspired by Link from Skyward Sword)
• Levelled Equipment (Random)

Get the amiibo here.

MAJORA’S MASK CHILD LINK

• A random selection of mushrooms
• Majora’s Mask Fabric
• Fierce Diety Clothing (Inspired by Fierce Diety Link from Majora’s Mask)
• Levelled Equipment (Random)

TWILIGHT PRINCESS LINK

• Epona
  • Epona is a horse with great stats to start, but can’t be upgraded nor can she be attached with the harness for moving equipment.

Get the amiibo here.

TWILIGHT PRINCESS WOLF LINK + MIDNA

• A random selection of raw and cooked meat
• Twilight Fabric

LINK’S AWAKENING LINK

• A random selection of barrels and arrows
• Egg Fabric
• Awakening Clothing Set (Inspired by Link’s appearance in the Link’s Awakening remake)
• Levelled Equipment (Random)

ZELDA 30TH ANNIVERSARY AMIIBO

8-BIT LINK

• A random selection of barrels
• Pixel Fabric
• Tunic of the Hero Clothing (inspired by Link’s Appearance in the original Zelda)
• Levelled Equipment (Random)

OCARINA OF TIME LINK

• A random selection of raw meat
• Lon Lon Fabric
• Tunic of Time Clothing (Inspired by Link’s appearance in the Ocarina of Time)
• Levelled Equipment (Random)

WIND WAKER LINK

• A random selection of live fish
• Kind of Red Lions Fabric (The same sail as the ship from Wind Waker)
• Tunic of the Wind Clothing (Inspired by Link’s Appearance in Wind Waker)
• Levelled Equipment (Random) or a Boomerang

WIND WAKER ZELDA

• A random selection of herbs and gemstones
• Bygone-Royal Fabric
• Sea-Breeze Shield (the shield Link uses in Wind Waker)
• Levelled Equipment (Shield)

Get the amiibo here.

SUPER SMASH BROS AMIIBO

SUPER SMASH BROS LINK

• Epona
  • Epona is a horse with great stats to start, but can’t be upgraded nor can she be attached with the harness for moving equipment.

SMASH BROS GANONDORF

• A random selection of raw meat, moblin guts and gemstones
• A dusk claymore weapon
• An explosive barrel
• Demon King Fabric

Get the amiibo here.

SMASH BROS ZELDA

• A random selection of herbs and gemstones
• Princess of Twilight Fabric

SMASH BROS SHEIK

• A random selection of mushrooms
• Sheik Fabric
• An Eightfold Blade
• A Shield of the Mind’s Eye

SMASH BROS TOON LINK

• A random selection of live fish
• Kind of Red Lions Fabric (The same sail as the ship from Wind Waker)
• Tunic of the Wind Clothing (Inspired by Link’s appearance in Wind Waker)
• Levelled Equipment (Random) or a Boomerang

Get the amiibo here.

SMASH BROS YOUNG LINK

• A random selection of raw meat
• Lon Lon Fabric
• Tunic of Time Clothing (Inspired by Link’s appearance in the Ocarina of Time)
• Levelled Equipment (Random)

OTHER AMIIBO

Tapping any other amiibo into the game will reward the player with a random assortment of weapons or crafting materials.

WE LOVE BRINGING YOU THE BEST GAMING BARGAINS. WE MAY GET A SMALL PERCENTAGE OF THE SALE THROUGH AFFILIATE PARTNERSHIPS

The post What Every Amiibo Unlocks In The Legend Of Zelda: Tears Of The Kingdom appeared first on Press Start.

The Legend of Zelda: Tears of the Kingdom is an adventure that’s best experienced blind and organically. This review contains zero story spoilers beyond anything revealed in officially released trailers.

I didn’t like Breath of the Wild as much as most others seemed to. That much was obvious to anyone who knows me. I still think it’s a great game for what it is, but it missed the mark for me as a Zelda title, eschewing so much of what made the previous entries memorable for me. It was a sad time – I’d thought my interest in a series that played such a strong role in my formative years had long dwindled – until now. Six years later, everything has changed. And I hate being wrong.

The truth is that I can’t remember the last time that I played my Switch or even a video game with as much fervent intensity as I have with Tears of the Kingdom. It’s the potential I saw in Breath of the Wild but almost perfectly realised, balancing the new and the old to fill the void of what I was missing about Zelda.

Tears of the Kingdom is a sequel to Breath of the Wild in many ways. You’ll play as Link once more as he sees himself in conflict with a new threat to Hyrule. As mentioned above, I won’t talk about the plot as it’s best experienced as it unfolds through the game, but it’s certainly engaging. The structure is similar to Breath of the Wild, told through non-linear flashbacks that you can easily piece together as you find them.

THE CHEAPEST COPY: $74 WITH FREE SHIPPING

Despite being structured similarly to Breath of the Wild, Tears of the Kingdom’s plot is much more engrossing this time around. It rights so many wrongs of Breath of the Wild – one of which includes incorporating a villain with presence. Some opportunity has been left on the table, I feel. Zelda’s characterisation definitely feels like a step back from her appearance in Breath of the Wild, for example. Despite this, I found the overarching storyline and the beats connecting it captivating and enjoyable.

Tears of the Kingdom looks and plays like Breath of the Wild at first glance. So many characters and locations from the original are here. But what the game does differently from its predecessor makes it stand apart. Whether it be the dramatic inclusion of two new maps in the Sky and Depths or the improvements to the systems underpinning their exploration, it’s deceptively different to the widely adored game that came before it.

While a highlight in the game’s marketing, the Sky plays a surprisingly more minor role than expected. A selection of islands hovering above the main map, these can be hard to reach but almost always reward players with something special. So many of them invite exploration and discovery, often daring players to solve the simple goal of reaching them. Some serve as locations with hidden treasures, while others as perfect jumping-off points to access the areas below. This means you can line up a jump that takes you from the Sky, through Hyrule and into its Depths if you wish with no load times, which can be an astounding feat to pull off.

The biggest surprise for me has come from the Depths. It’s almost as big as the main Hyrule map and is a dark and sprawling location underneath it. It’s unlike anything Zelda has done before – a dark, lonely, isolated place that’s equally frightening and inviting. As you descend, you can illuminate your pitch-black path with equipment while activating checkpoint-like Lightroots that provide greater illumination. Breath of the Wild was about that authentic sense of discovery – and Tears of the Kingdom doubles down on this with just how much is hidden under Hyrule in the Depths.

The Depths are my favourite new inclusion, but they almost certainly feel like a de-facto hard mode. You don’t know where you’re going, getting hit by enemies down there reduces your maximum health (temporarily), and longer journeys are fruitful but challenging. The gear you discover in the Depths is almost always more helpful than on the surface and the resources are integral in fuelling some of the new powers that Link has at his disposal.

At first, I’d thought it was brave for the team to throw away the powers from Breath of the Wild in favour of these new ones, but they serve similar functions and, in some cases, more function than the runes. There are five powers that Link has access to, and while simple at first glance, their versatility fundamentally changes the way you approach and think about both combat and puzzles. Each of the powers is also used in exploration and combat, so you’ll utilise them all fairly regularly.

THE CHEAPEST COPY: $74 WITH FREE DELIVERY

The most significant new inclusion is Ultrahand, along with Autobuild. They’re intuitive powers that favour creativity but don’t necessarily require it. With Ultrahand, you can make the most haphazardly put-together structure or vehicle, and it will probably work to do what you need. Autobuild is even more essential – it allows you to save your favourite creations to create later using parts lying around or out of thin air (for a cost). Both are great tools, though Autobuild has prebuilt schematics to pull from if you can’t be bothered creating your own vehicles and structures to mess around with.

Link’s new powers and the well-designed puzzles come together to support the one concept that makes Tears of the Kingdom so special. If you can think to do it, it’ll probably work. This approach to design means that the Sky is the limit when it comes to the puzzles you encounter or the situations you’re challenged by across the game’s lengthy runtime. This complexity means that how well you do in Tears of the Kingdom depends on your problem-solving skills, which is arguably less accessible than what was presented in Breath of the Wild. But the options are so limitless that I struggle to fathom a situation where somebody would be genuinely stuck. It’s a robust game held together by such intuitive systems.

Once again, Tears of the Kingdom builds on Breath of the Wild to offer greater variety to the player. It builds on a solid foundation – offering a tweaked map that makes Hyrule feel fresh despite being so familiar. Similarly, there’s a great breadth of enemies to battle with, too – and without ruining things, anybody who had issues with the lack of enemy variety in the previous game will be happy with what’s on offer in Tears of the Kingdom.

Such variety in the enemy types dovetails beautifully with the combat system, which is supplemented well with the new Fuse ability. Allowing you to attach two items together and wield them as a weapon, Fuse allows you to increase a weapon’s power, reach or elemental properties at the press of a button. I was one of those naysayers regarding weapon degradation in Breath of the Wild, and while it’s still here in Tears of the Kingdom, the new Fuse system is an ingenious and elegant solution to that problem. Previously, in Breath of the Wild, I’d finish an encounter and have whittled through most of my weapon stocks. Now, in Tears of the Kingdom, I’d have done the same, but all the enemy parts I’d have gathered would allow me to craft newer and probably better weapons.

Even better, Divine Beasts are now replaced with thematic dungeons. They’re not traditional lock-and-key structures like in previous Zelda games, but instead, more openly designed areas that have you exploring to unlock a central structure that leads to a boss. It’s a more simplified format, leveraging an intelligent compromise between the openness of the new era of Zelda with the situational theming of classic dungeons. They’re all most certainly better than the Divine Beasts, but they’re not as complex as “traditional” dungeons of past games. Still, having unique aesthetics tied around a unique boss battle will be enough for most fans, which is what Tears of the Kingdom offers.

And yes, they’re proper bosses again. Each boss is tangentially attached to the story of the area you’re playing through and often requires you to utilise specific mechanics to take them down. They’re admittedly uneven in their design – some are better than others – but they’re once again better than the Blights in the previous game. There are even more fun optional bosses to encounter in the overworld too, but I won’t spoil them for the sake of preserving surprises.

There’s still much to engage in when you’re not completing the main story. There are over 150 shrines to complete, which feel more involved this time. There are also more than 200 side quests, over half of which have intriguing stories and even more worthwhile rewards. There’s a nice variety of activities on offer here. Even after seventy hours in this world, I wasn’t getting bored. Open-world fatigue is a genuine phenomenon at this point in the generation, so for Tears of the Kingdom to somehow sidestep that is nothing short of a testament to the strength of its design.

Of course, with a game this vast and ambitious on a system like the Switch, it’s important to mention performance. Tears of the Kingdom invariably performs better than Breath of the Wild. It also looks better than most games on the system, owing to a fantastically-realised sense of artistic direction. But it’s still a Nintendo Switch game at the end of the day, and strong artistic direction can only carry you so far. Luckily, I was fortunate not to notice much slowdown beyond the occasional moments where I’d be moving through a heavily populated group of enemies. It’s not the most solidly-performing of games, but it certainly fares a whole lot better than most of the games I’ve played on Switch over the last twelve months.

So much sets Tears of the Kingdom apart from other Zelda games. It’s a rare chance for the series to play with a direct sequel – embracing its changes, building upon them and offering something newer while continuing what worked. It’s a genuinely enthralling open world, an inviting playground that encourages exploration with a genuine sense of discovery that you don’t find in other contemporary games with much, much larger budgets. I struggle to find little wrong with its approach. It’s distracting in all the best ways and rewards that distraction consistently. It’s just a joy to lose yourself in.

The post The Legend Of Zelda: Tears Of The Kingdom Review – A Sequel That Defies Expectation appeared first on Press Start.

After an unexpected two-year delay, Advance Wars 1+2: Re-Boot Camp is finally here. The collection was long looked forward to by fans who fell in love with the Advance Wars series when it launched over two decades ago. Now, while Fire Emblem has arguably overtaken its spot in the cultural zeitgeist, Advance War makes a return and in a big way too. But while Re-Boot Camp is an earnest attempt at a modern update, there are a few things left on the table that could help the package reach its full potential.

Re-Boot Camp includes brand new from-the-ground-up remakes of the original Advance Wars and its sequel. Initially released for the Game Boy Advance, these two games are narratively two sides of the same coin, so it makes sense to include them together. It makes even more sense given that, from a gameplay perspective, both games play pretty similarly, with little difference between them. Both titles have had a visual makeover and sport other gameplay-related improvements that make them more approachable and streamlined.

From a narrative perspective, things are pretty simple but take a surprising turn. Advance Wars sees you playing as leaders of the state’s military on a fictional continent. You are the Orange Star and the game opens with you being at war with the Blue Moon. These two nations have been in conflict for years, but when another two countries enter the fray – the Yellow Comet and the Green Earth – and accuse the Orange Star of starting a war between the other nations, things get a bit dicey. I won’t spoil how it plays out, but it’s an intriguing, simple, engaging story.

Fans of Fire Emblem have a lot to owe to Advance Wars. Developed by the same team, these games are turn-based strategy affairs. You and an opponent take turns defeating each other in war. A selection of different units are available to you with differing roles in battle. Some are better for simply scouting out the battlefield, and others can attack from afar. Some can transport other units greater distances than they could themselves. Your goal is to destroy all enemy units or capture the enemy HQ.

It’s a simple premise, but it requires some thinking. While released over two decades ago, Advance Wars still packs a punch with difficulty. You must think through every turn to come out on top, and the enemy AI can be relentless. I’m keen on this strong challenge, even if it took some getting used to, but I acknowledge other players might not be, and it might be a bit off-putting or overwhelming.

Re-Boot Camp thusly includes a new casual mode, but it feels like a poorly thought-out inclusion. This is the only issue I have with Re-Boot Camp. Both the original difficulty and the casual difficulty lack that Goldilocks principle. They’re tuned to occupy both ends of the difficulty curve with nothing in the middle to cater to the average player. I’d have loved to have seen a middle difficulty introduced, as both the provided options will alienate some players.

That’s my only major complaint about Re-Boot Camp which might seem a little controversial. Everything has been improved for the better. Bringing together both games under the same banner, the quality-of-life changes implemented here are integral. So many of these additions feel simple enough but impact the game’s flow dramatically. You can now fast-forward enemy turns and battle animations. You can reset your turn if you make a mistake, so long as you don’t end that turn. You can even attack an enemy outright by selecting them – which might sound like a small change – but any design choice that removes button presses to achieve the same result is a UX win.

THE CHEAPEST PRICE: $68 WITH FREE SHIPPING FROM AMAZON

There are other aspects that are similarly fantastic – tutorials are now streamlined into the campaign, introduced to you more gradually rather than forcing you through some simpler uninteresting missions like the original game did. Even better, though these tutorials are embedded in the main missions now, they’re skippable for people who know what they’re doing. I appreciate good onboarding more than anyone, but also respecting returning players by allowing them to skip these elements that would otherwise bore them is, once again, a win for the player.

But putting all of those opening moments aside, both Advance Wars games still play as well as they did back then. The campaigns each gradually introduce the key concepts until you’re eventually faced with challenging gauntlets and a story that’s simple but intriguing enough to keep you going. It can be demotivating to spend fifteen to twenty minutes on a battle only to lose and start again, but that’s the nature of the beast with a game like this. However, the quality-of-life improvements mentioned earlier carry a lot of weight in alleviating this pain.

It boggles my mind to think that Fire Emblem fans who began their journey with that franchise on the 3DS might never have played an Advance Wars game. But given the shared DNA between the two, there’s most certainly some crossover in appeal, though it depends on what you enjoy Fire Emblem for. Today, Fire Emblem is just as much about taking your prospective waifu to a euphemistic tea party as it is about the solid strategic battle elements. Advance Wars feels ironically and oddly refreshing in that the gameplay takes centre stage first behind the characters and story. Your mileage will almost certainly vary, but I enjoyed playing a strategy game solely grounded in the strategy.

Of course, bundling together two games represents tremendous value for money. Both of the adventures included within will take most players upwards of forty hours to complete, and that’s before you might even try to attempt the high-difficulty campaigns on offer. There are also other modes to jump into as well. A level designer allows players to make their own missions while War Room pits the player against tough odds in even more brutal battles. Both are nice touches that add more value to Re-Boot Camps overall package, but I’m not so sure about the implementation of multiplayer.

Multiplayer was always contentious when it comes to Re-Boot Camp. I won’t beat around the bush – it’s a somewhat limited offering. I can appreciate that there is still support for a local four-player versus mode, but offering only a two-player online mode feels like a missed opportunity. Similarly, given games like Wargroove have popularised the notion of an asynchronous multiplayer mode – where you and others can play your turn at your own leisure rather than be stuck in a live game – to not see something like that implemented here also feels like a bit of a letdown. Of course, having online in a game that is ostensibly twenty years old is still a great addition, but given the current climate of these games, it still feels a bit simplistic in its offerings.

Perhaps even more controversial is the art style, however. Everything to do with Re-Boot Camp’s artistic direction is purely up to your personal tastes. On one hand, I miss the sprite-based look of the original game and could love to see what an art style like HD-2D could do for a game like this. On the other, while the fully rendered style does admittedly look cheaper and more generic, it does look more like plastic toys battling each other on the battlefield. I’m still determining which look I prefer overall, but the action that played out while units exchanged fire was definitely more interesting to look at than whatever is served up here.

On the other hand, the remake brings voice work that does a good job of breathing life into characters we’d previously never heard from. The cast does a great job at turning in some hammy performances that perfectly suit the tone of both games. The music, on the other hand, while good at first, can get grating during more extended missions. The developers were aware of this, I’m sure, as there is an option to turn it off, but it is most definitely worth mentioning.

While Re-Boot Camp doesn’t capitalise on its potential, it’s by far a much more accessible version of the original game it is based on. Your gripes with it will no doubt be purely based on personal factors. Still, there’s no denying that underneath it is a solid selection of strategy games that are well worth a look.

The post Advance Wars 1+2: Re-Boot Camp Review – An All-Round Improvement appeared first on Press Start.