Ghostrunner captured the fantasy of being a cyborg ninja better than any other game before it. Its trial-and-error nature could be taxing, but it trained players to perform its many acrobatics in one smooth motion like a “real” cyborg ninja. Momentum defined that cyberpunk parkour game. However, that momentum hasn’t fully transferred to its sequel, Ghostrunner 2. Instead of fully darting forward, it opts to slow down both literally and metaphorically, which keeps this follow-up from reaching a new top speed.

Ghostrunner 2 is able to keep some sort of pace with its predecessor by having many of the same moves. Outside of a few rare and understandable quirks, its smooth controls ensure that it’s always possible to slow-mo dodge, wall run, dash, slash, slide, and grapple around its elaborate urban jungle gyms. Chaining these together perfectly to get through a tough section by mere inches is a rush that often only comes after failing a few times. Generous checkpoints, instant restarts, and the tight controls mean that it is never frustrating and, as was previously stated, allows players to feel more like an adept cyborg ninja. 

This also applies to the arenas with enemies that are more akin to puzzle challenges than combat ones. Figuring out how to most efficiently slash everything to ribbons without taking a single bullet is tricky but often open enough to allow for some player expression. Whereas platforming usually depends on nailing one route, these more violent sections are less linear and thus more liberating. Both halves require skill and reflexes to conquer but intelligently contextualize that thesis in their own ways. It’s one cohesive experience brought together by its fast-paced electronic soundtrack that often perfectly fits the action and cyberpunk aesthetic.

However, not many of these sections are as challenging as they were in the first game or its incredible expansion, Project Hel. Ghostrunner 2 is not an outright easy game, and most of its sections only require a handful of retries to get through. It lacks the tough gauntlets a sequel like this should have, ones that push skilled players and fully stress what its fluid controls can handle. Some of this challenge is relegated to its fantastic roguelike challenge mode, but the base game deserves more complicated sections that force players to improve.

Some of its relatively easiness stems from how many tools and scenarios it borrows from the first game; wall running across billboards and grappling to a platform isn’t tricky after spending a full game repeatedly doing that. The motorcycle and wingsuit seem like they are the tools to do just that, but aren’t properly utilized. 

This isn’t clear during the first section with the motorcycle since it’s a stunning set piece that has players speeding through a narrow hazard-filled tube and then down the side of the massive tower where both games take place. Narrowly avoiding lasers, ejecting from and then grappling back to the bike, and blasting obstructions make it an adrenaline-pumping exercise that takes the core values of the parkour and gloriously applies them to a completely different setting. 

But instead of only using the bike for explosive scenes like this, it mostly devolves into a means of traversing a boring wasteland. Its utility as a faster parkour machine is tossed aside in favor of being a normal bike. The wingsuit is similarly stunted. It’s the centerpiece in a handful of segments that add a whole new dimension to the platforming and show what’s possible, but Ghostrunner 2 simply doesn’t have enough sections like this. It’s also only introduced in the final hour or two, meaning it barely has any time to stretch its wings.

Both shortcomings also feed into how much Ghostrunner 2 slows itself down to a crawl. A lot of its more intense sections are padded out with out-of-place puzzles or sequences that don’t have much else going on. The action is constantly interrupted with cutscenes and brief trips back to base where players are expected to talk to the two-dimensional side characters about the superfluous story. 

Ghostrunner does movement better than most games, so it’s puzzling why it insists on branching out into areas it doesn’t specialize in. It doesn’t need an open wasteland full of mindless traversal, repeated treks back to headquarters, lengthy dialogue exchanges, or puzzles. Going into new territory is not a bad idea in theory, but it is questionable when those fresh ideas directly oppose the series’ core tenets. The fast platforming and action are excellent in Ghostrunner and almost everything that doesn’t support that actively impedes it.

Ghostrunner 2 Review: Final Verdict

Ghostrunner 2 goes against its programming by repeatedly slowing down, but it’s still made up of enough of its classic parts. Sprinting and dashing around the neon-lit city while cutting down its many cybernetic forces can be an empowering trip that’s only bolstered by its thumping electronic soundtrack. A strong core like this deserves to be expanded upon more robustly through its new and existing mechanics, which just isn’t the case here. Ghostrunner 2 has taken a few steps forward and a few steps back, but even though it is running in place, it’s still faster than most of its competition.

Disclaimer: This Ghostrunner 2 review is based on a PS5 copy provided by the publisher. Played on version 1.000.001.

The post Ghostrunner 2 Review (PS5): Running in Place appeared first on PlayStation LifeStyle.

Outside of being DLC in Injustice 2, Hellboy hasn’t had much of a gaming presence in the last few decades. However, that might at least be partially due to the stink solo Hellboy games have left. Titles like Dogs of War (or Asylum Seeker, as it was known on the original PlayStation) and The Science of Evil were all heavily derided upon release and played their part in contributing to the stigma associated with licensed video games. Hellboy Web of Wyrd, the latest attempt to salvage the half-demon’s video game reputation, only furthers that notion since as a terrible roguelite with dodgy controls.

It does, unlike many of those other hellish abominations, at least look like Hellboy. The art direction clearly evokes that of creator Mike Mignola with its stark colors and thick black outlines and shadows. Web of Wyrd completely forsakes realism for a more authentic portrayal of the comic that spawned him, which makes it more striking and unique. Animations are also purposely stilted and its boring cutscenes are presented as panel-like stills, both of which further reinforce its comic book origins. It’s not a one-to-one translation like the two recent Ubisoft-published South Park games, but it still captures enough of that iconic style with its visuals. 

But if Web of Wyrd’s art direction is its metaphorical Right Hand of Doom, everything else is its puny normal hand. A lot of these issues are ingrained in the core of the experience, which starts with how fundamentally it misunderstands the essentials of the roguelite genre. Levels technically change around, yet are comprised of the same boring hallways and nondescript rooms, complete with embarrassingly easy-to-avoid traps. The small pool of upgrades means that almost every run is nearly identical. With such a bizarrely small list of variables, Web of Wyrd is extremely repetitive in a way that only worsens as the hours drag on. 

Web of Wyrd also tries to differentiate itself from its competition, but it only points out why some features are genre staples. Clearing one biome is often the same as clearing a run, as it’ll usually warp players back to home base after beating one of the bosses. Abridged runs means there’s no time to build up to a satisfying conclusion and almost feels like a structure designed to hide — albeit, unsuccessfully — how shallow Web of Wyrd is. It would be much easier to feel its hollow nature if it followed a more traditional roguelite formula and runs were longer than 10 to 15 minutes.

And whereas roguelites are often difficult enough to push players, Web of Wyrd is insultingly easy. Enemies often sit back and take a wallop or four before retaliating. Most bosses can also be easily stunlocked and vanquished in under a minute. Health pickups are cheap and plentiful. Armor regenerates quickly and most foes drop refills upon death. Hellboy also automatically blocks many attacks for some reason. With almost a complete absence of pushback, Web of Wyrd is a tedious exercise that isn’t rewarding to overcome and ignores part of what makes the genre’s best titles work.

Web of Wyrd’s extremely low difficulty almost seems specifically tuned to make its wonky controls less noticeable. Almost everything about the combat is stiff and stems from the sluggish movement and camera speed. The complete lack of animation canceling locks Hellboy into whatever he’s doing, and it lacks the swiftness that most great fighting systems have. Blocking embodies this since it’s a set animation that plays regardless of how long the button is held down.

Because of the loose controls and set animations that lock players in, Web of Wyrd’s combat is more akin to an elongated and unresponsive quick-time event than a tight action game. The potential of its duel-based bouts that encourage players to break down an opponent’s defense and use the environment to their advantage is completely squandered because of its controls. Landing an explosive punch on a stunned foe that washes the screen in red is but a tantalizingly quick glimpse at what could have been.

Hellboy Web of Wyrd Review: Final Verdict

Between its sticky brawling mechanics, repetitive level design, and extremely low difficulty, Hellboy Web of Wyrd simply feels like an unfinished game that was early on its journey to greatness. There’s a heft to its combat, yet the controls aren’t nearly snappy enough, and it’s too easy to be engaging. The striking art design means its worlds look nice, but they’re made up of the same rooms and hallways. Incomplete or not, it utterly fails to realize what could have been and only continues Hellboy’s video game curse.

Disclaimer: This Hellboy Web of Wyrd review is based on a PS5 copy provided by the publisher. Played on version 1.001.000.

The post Hellboy Web of Wyrd Review (PS5): Continuing the Half-Demon’s Terrible Video Game Streak appeared first on PlayStation LifeStyle.

Insomniac Games‘ Spider-Man has butted heads with The Rhino, gone toe-to-toe with fellow half-mechanical octopod Doc Ock, and survived a near-fatal trip against Scorpion, but none of those climactic showdowns have pitted the web-slinger against his greatest enemy: himself. Peter Parker’s insecurities have been made flesh with the symbiote, a goopy alien suit that gives him incredible powers at a heavy mental cost. When Spider-Man wins, Peter Parker loses.

It’s a layered mantra that is only part of what makes Marvel’s Spider-Man 2 a deeper and more nuanced experience when compared to the original. This superior sequel expands upon the foundation set by the prior two titles with added levels of complexity in nearly every area that take this pair of superheroes to new heights.

Some of these heights are literal, as both Miles Morales and Peter can soar through New York City with more grace and style while retaining the fluidity and accessibility that makes traversal riveting on a basic level. The Web Wings are a game-changing addition that enable players to dart through the skyline at a pace that nearly doubles what was previously possible. Catching slipstreams and narrowly avoiding skyscrapers gives gliding a unique thrill and sense of speed that has been unmatched in prior Spider-Man games.

But it’s not just the Web Wings that make getting around such a rush — it’s how they fit in with the other systems and handful of new abilities. Launching off an antenna, catching a wind tunnel with the Web Wings, wall running on the side of an office building, using the mechanical Spider Arms (or Venom powers) to propel forward, and redirecting downward momentum to slingshot into orbit in between regular swinging is an immensely exhilarating exercise that prioritizes speed and player choice. 

Great movement mechanics get users to do more than just hold forward on the stick. And while that is technically still possible at the lowest levels, Spider-Man 2’s many abilities encourage players to use the bustling metropolis as an acrobatic playground and solve random crimes and pick up collectibles as they zip from mission to mission using every available ability. The stylish and exaggerated superhero poses are just the fitting visual flourish on one of the medium’s best traversal systems that all but nullifies the will to fast travel. 

The Spider-Men’s supernatural athleticism is similarly displayed during combat, another aspect Insomniac has streamlined. Clobbering goons is still gratifying because of their agility, and figuring out how to strategically web up or take down the overwhelming amount of enemies is a frenetic exercise that ratchets up the stakes laid out by the narrative. That was true for the 2018 game, but even more so now given Spider-Man 2’s higher challenge and greater hordes of foes.

It earns that higher difficulty by providing a wider move set that gives players more utility. Parrying is the most notable of the bunch and, while it seems superfluous at first, it offers a more aggressive way to turn the tides and seamlessly keep a combo going. These upgraded combos can involve yanking an airborne enemy even higher up for a longer aerial juggle, disarming a sniper by whipping their own gun at them, quickly beating down someone pinned against a wall, or firing one of the many cooldown-dependent bioelectric or symbiote-powered special moves for an explosive finish. Like the traversal, the combat systems are responsive enough to be inherently rewarding but contain many extra layers to master.

The symbiote plays a prominent role in combat as well as the narrative, but it doesn’t start out that way. Spider-Man 2 spends a decent chunk of its intro delving into Peter’s and Mary Jane Watson’s personal life and work-related struggles while the inevitability of the symbiote’s destructive power looms in the background. This buildup pays off because of the symbiote’s natural ability to externalize internal struggles, most of which are shown in the earlier sections. Peter’s insecurities about his ability to be the perfect Spider-Man turn him into a literal monster, something the twisted hunter Kraven only further drives a wedge in with his barbaric rhetoric.

While Kraven’s bloodlust is a constant source of chaos and tension, the dual purpose of the symbiote makes it a more powerful antagonistic force since it pushes the characters emotionally and physically. Venom (or whomever the symbiote is attached to) is a menacing savage that can brutalize armies and level buildings, but it’s even more impressive how that alien is used to incite maturation in the cast. One boss fight in particular highlights this and is a wonderful example of marrying gameplay with the story to make a more powerful and dual-layered scene. Pressuring Peter as well as Spider-Man is what makes the symbiote such a compelling villain because it uses the fictionality of its comic book lore to augment the more human elements of its storytelling.

Miles also has his own problems that intersect with Peter’s, but his arc is not as heavily prioritized. His journey for closure crawls along at a relatively glacial tempo full of dead ends and small developments. It stands out when compared to how well-paced the Peter-focused parts are and how almost all of the other quests on the critical path contain revelations or important character building. Miles’ sections are another way for the game to poke at its themes of who deserves a second chance and the need for balance, all of which culminate in a beautifully constructed conclusion. However, the journey to that beauty isn’t as consistent as it deserves to be.

Miles is better served in the game’s side missions that emphasize the friendly neighborhood nature of Spider-Man. Smaller-scale conflicts bring out the more empathetic side of the hero and show the need for a more pastoral wall-crawler. Observing the horizon with a homeless man and reminiscing with a lost elderly man about his deceased wife aren’t as explosive as taking down a sinister selection of Marvel’s finest baddies, but they’re important to who Spider-Man is as a character. Even though they are outnumbered by more bombastic quests, these community-driven missions hold some of the most powerful moments in the game and clearly demonstrate this sequel’s stronger writing.

Marvel’s Spider-Man 2 Review: Final Verdict

These more intimate scenes coalesce wonderfully with its grander narrative to make Spider-Man 2 an amazing and well-rounded follow-up. Insomniac’s understanding of Spider-Man is unparalleled in the medium, as evidenced by the empowering and expanded combat mechanics, breathtaking traversal, and narrative that focuses on the heroes in addition to those underneath the mask. The team has mastered its craft and, like Spider-Man, is only getting better with experience.

Disclaimer: This Marvel’s Spider-Man 2 review is based on a PS5 copy provided by the publisher. Played on version 1.001.001.

The post Marvel’s Spider-Man 2 Review (PS5): Symbiote Superiority appeared first on PlayStation LifeStyle.

NASCAR games are sometimes dismissed by those who don’t play them for being games comprised of mostly left turns. While that’s correct, there’s a lot of depth to simulation stock car racing to explore, and lengthy races allow strategies to be implemented. NASCAR Arcade Rush is a far different spin, as it’s an arcade-style game that features plenty of right turns and doesn’t resemble the actual sport at all.

The coolest part of Arcade Rush is that the stages are reimagined versions of 12 actual race tracks, such as Daytona and Michigan International Speedway. These tracks often take inspiration from the cities they’re based on and aren’t afraid of getting ridiculous, like Homestead-Miami Speedway featuring a giant ring of fire you jump through. The tracks are the one element that really elevates what is otherwise a solid, yet largely unspectacular, racing game.

The problem with the actual racing is that there just isn’t much to it. Sure, you have a turbo meter that you can use to gain speed, and there are boost strips on the track that’ll reward you for driving on them. However, there’s no drifting or another gameplay system on offer that would’ve given the game the extra layer of depth it could’ve used. For a game that wants to be an over-the-top version of NASCAR, it could’ve dreamed a bit bigger with the actual gameplay.

The only unique gameplay system on display, and one I really like since it takes inspiration from actual stock car racing, is that it incorporates pitting. Since races are only three or four laps long, it is purely optional to pit, and it’s not to gas up your vehicle or address damage. Instead, slowing down temporarily through the pit lane will see your nitro gauge completely refilled. It’s a gamble — as you can also find boost strips that give you a tiny bit of nitro — but one that adds some additional strategy that the game definitely needed.

Ultimately, with only 12 tracks, the game doesn’t have a ton of staying power. You do level up and unlock a bunch of customization options (you can get a Tron-style vehicle, which is cool), but there aren’t compelling reasons to keep coming back. Unlocking real-life NASCAR legends as racers or throwback vehicles could’ve been a good incentive, but instead, there are only generic drivers to go up against. Time trials and online play, in addition to the main tournaments, add some replayability but aren’t overly compelling.

NASCAR Arcade Rush Review: Final Verdict

NASCAR Arcade Rush lives up to its name and delivers a fun, non-simulation racing game that features reimaginings of some of the most iconic racing tracks in the USA. However, it isn’t outlandish and exciting enough to completely win over an average arcade racing game fan, nor is it a love letter enough to NASCAR to make it a must-own game for stock car racing enthusiasts. Instead, it’s in the middle ground, where if you dig both, then you’ll have a good time, but you’ll still find yourself moving on to other games sooner rather than later.

Disclaimer: This NASCAR Arcade Rush review is based on a PS5 copy provided by the publisher. Played on version 1.001.000.

The post NASCAR Arcade Rush Review (PS5): More Right Than Left appeared first on PlayStation LifeStyle.

Liu Kang has spent eons crafting timelines, taking lessons from one era and applying them to the next. All of his meticulous planning has resulted in a new era, one that bends previously sacred rules in order to lead to a better tomorrow. NetherRealm Studios’ journey mirrors Liu Kang’s, and while it didn’t take eons, the studio spent an unusually long time rebooting the Mortal Kombat universe for Mortal Kombat 1. These efforts to reshape the series have led to a more freeform gameplay style where creativity and player expression rule like an empress in Outworld. But such innovation has been paired with a surprising amount of stagnation elsewhere. 

Stagnation began to define Mortal Kombat 11 in its later years, as its focus on neutral and slower play meant there were fewer ways to get creative. While it still held thrills, battles and combos could fall into a routine. Mortal Kombat 1’s fighting mechanics seem designed to address those shortcomings and are better for it. 

Kameos are the clearest example of this newfound approach with the utility they bring to each match. These assists dip into some of the more obscure parts of Mortal Kombat lore — as evidenced by Darrius and Sareena — and have a handful of assists that add a whole new layer to combat. Some may extend combos, others help nullify projectiles, a few get players out of trouble, and a couple provide set play that can lead to some devious setups. 

All of these variables open up possibilities and encourage players to experiment. Cyrax’s spin seems like a generic advancing attack, but it can be an excellent pressure tool. Jax’s unblockable ground pound initially looks like it’s just for catching the opponent off guard, but it’s got huge potential for nasty corner setups, especially for characters with air projectiles. This is particularly true with combos since small pop-ups that are otherwise useless can become extensive juggles with the right Kameo. Kameos add so many unique elements to fights that make Mortal Kombat 1 more dynamic.

The main roster has also been considerably expanded in order to match the newfound freedom given to it through its Kameos. Fighters across the board have been given more tools and meterless launchers; a fine byproduct of Mortal Kombat 1 not having to spread moves out over different variations. Characters have access to a wealth of new options and tricky tactics that make it more dynamic to watch and significantly raise the skill ceiling. Getting ruthlessly bounced around online (which has excellent netcode) is an inevitability and can seem unfair, yet it’s better than a game that prioritizes approachability over depth. 

Mortal Kombat 1 hasn’t forsaken approachability; it just has an array of tools that have been redesigned or introduced to add more complexity for those who seek it. Flawless Blocks now just negate chip damage instead of leading to unearned combos. The new Up Block can now shut down predictable jump-in attacks and overheads. Fatal Blows have been reworked to include a cinematic prelude, which discourages thoughtless spamming since they’re easy to see coming. Meter management is also no longer automatic and is yet another system that can be exploited for an advantage. When these elements are combined with a more versatile cast and unique Kameo system, Mortal Kombat 1 ends up being a fighting game with an exciting future that seems destined to outlast its predecessors.

Many aspects outside of its core fighting mechanics aren’t quite as fresh. Invasion is the biggest solo-focused addition and is meant to take the place of the rotating towers that have been in the past three NetherRealm games (although those are still here, too). It plays out like a board game set in different Mortal Kombat locales where each node is a new fight. They’re often one round and have some sort of gimmick or modifier. 

Invasion’s seasonal approach implies that it’ll be a constant source of new content, but it’s a stale mode at its core. Running through simple one-round fights with constant explosions distracts from the mechanics and doesn’t do anything interesting. NetherRealm has been doing this for four games and the novelty has worn off.

Invasion would have been better if the team innovated on what came before and created something that forced players to experiment with its systems. It could have acted as a subtle tutorial and gotten players to try out new characters and tactics. Instead, it’s a shallow campaign that just fills time. It even makes players worse at the game since it gets them to prioritize bad RPG mechanics and out-of-place Pokémon-like elemental weaknesses over techniques applicable to more competitive play. 

The tutorials are generally thorough and can teach players the ropes, as they exhaustively walk through everything from fighting game fundamentals to more advanced systems. Concise explanations and guided demos are helpful, but making players actually complete these tasks a few times is the hands-on approach a great tutorial needs. It’s so helpful that it makes the lack of character-specific guides even more glaring. Injustice 2 and Mortal Kombat 11 had small tutorials for the whole roster that cleanly conveyed their strengths and weaknesses. With deeper fighters and an all-new Kameo system, Mortal Kombat 1 needed something like this to lower the barrier of entry and provide more clarity.

But this is just one of a few areas where Mortal Kombat 1 is strangely lacking when compared to its forebears. The unlock system is needlessly obtuse because it doesn’t list out what kind of gear is in the game or explain how to get any of it. Some of it is tied to each combatant’s individual level, but their battle pass-like tracks are shrouded in mystery for some reason. Towers also don’t list their spoils, killing the motivation to slog through them. Grinding for cosmetics makes for a solid loop, but not being able to see the rewards in the distance dampens the will to keep pushing. It’s not even clear how to unlock some of the Kameos, which shouldn’t even be locked in the first place.

The entertaining pre-battle banter has also been scaled back and mostly kept to local and unranked matches, robbing the game of some of its personality. Having fewer ways to hear silly exchanges and sick burns lessens the overall narrative presence since these back-and-forth taunts sometimes contained valuable bits of lore. It’s a waste to have them in there in some form but not put them in a majority of the modes.

Mortal Kombat 1 has more pressing narrative problems with its uneven story mode. NetherRealm has long since demonstrated its expertise making fighting game campaigns, and Mortal Kombat 1 lives up to those standards in many ways. Superb facial animations capture subtleties most games still can’t convey. Action scenes are expertly choreographed with incredible hit reactions and shot with wide angles that don’t obscure the kicks and punches. It’s easy to want to play fight scenes in a fighting game, but Mortal Kombat 1 makes watching them satisfying, too. The seamlessness from cutscenes to battles and vice versa is also still impressive and ensures that the pacing never slows down. 

Most or all of that is true for NetherRealm’s gameography and, while familiar, the luster hasn’t faded much. The actual story is where Mortal Kombat 1 stumbles. Seeing a new take on established characters is exciting because most of these changes make for better drama. Witnessing Mileena’s humanity grounds her as a character. Making Sub-Zero and Scorpion brothers makes their conflict even more personal. Turning Baraka into a tragic figure screwed by fate is more nuanced than making him a bloodthirsty jobber. Even the fighters from the 3D era have been thoughtfully redesigned and utilize the team’s improved method of designing characters.

The story starts out promising as it reintroduces these fighters in their new roles. Fighting game stories typically suffer from trying to focus on too many faces at once — and this is no different — but the novelty that the reboot brings overcomes that genre-driven drawback. This fades in the latter half as the narrative balloons and starts revolving around a timeline-ending threat. Brisk pacing makes it easy to watch, but this means that it often falls back on magic to explain many important beats in order to save time. It’s a cheap crutch that hinders the last act and unexpectedly leads up to one of the campaign’s wildest moments. It doesn’t do the legwork to earn it, but it is still a goofy set piece that unexpectedly pays homage to one of Mortal Kombat’s most famous scenes. 

Mortal Kombat 1 Review: Final Verdict

Mortal Kombat 1 has some of the most liberating combat mechanics NetherRealm has ever made, but some of the peripheral features fall a little short of what the studio has achieved prior. Being able to access more tricks and dig into the Kameo system gives fights more depth than they’ve ever had. That ingenuity clashes with the vague unlock system, repetitive Invasion mode, and inconsistent campaign that strangely don’t match the heights of previous NetherRealm games. Mortal Kombat 1 is a victory in many ways, just not a flawless one. 

Disclaimer: This Mortal Kombat 1 review is based on a PS5 copy provided by the publisher. Played on version 1.000.001.

The post Mortal Kombat 1 Review (PS5): Fleshed Out and Familiar appeared first on PlayStation LifeStyle.

As shown by countless pieces of media, Mars is a red hellhole where humanity’s hubris and inability to get along are only magnified by unbreathable air, brutal weather, and crushing isolation. Humans can barely make it work on Earth, the blue hellhole. Fort Solis is a narrative-focused adventure that once again makes those shortcomings clear through its intimate story and condensed cast. And while it crumbles at the end, its performances and impressive presentation make it one of the genre’s better thrillers.

Fort Solis sits adjacent to the Telltale Games style of adventure games, but with one key difference: There are no dialogue choices or big splintering paths. It is initially disappointing and perhaps an avenue Fallen Leaf should pursue in the future, but this highly directed experience succeeds because of its exploration and character building.

Players are quickly dropped into the titular Fort Solis and, after picking up a few keycards, given the freedom to wander its desolate halls. Its atrium is as inviting as it is deserted and uses that mystery to encourage players to look into what happened. Preying on the player’s natural curiosity is what makes pilfering through audio logs, video logs, and emails actually worth engaging in since they’re going to offer answers in a way the dead can’t. 

Emails and audio logs are brief, easy to digest, and either flesh out the world or succinctly glue the other bigger scenes together. The video logs, while usually a little longer, are animated well and humanize the cast by giving facetime to them. An errant odd movement or two doesn’t detract from how well these monologues evoke the distress and emotion of the subject. They say what doesn’t need to be said through small twitches or eye movements and are a big reason why its cast resonates as much as it does. Having only audio logs or emails likely wouldn’t have been as effective. Keeping it all in order can be tricky, but the main menu lists out every collectible chronologically to make the dots easier to connect.

Walking around and tracking down these notes is rarely a worthwhile part of these kinds of games. Some — Fort Solis included — have very deliberate movement speeds or, in Supermassive Games’ case, awkward controls. Fort Solis avoids that pitfall through its harrowing audio design and spectacular visuals that makes these sections additive to the whole experience. 

It’s not an outright horror game, but Fallen Leaf Studio and Black Drakkar Games play with the inherent creepiness of an abandoned space outpost to great effect through the soundtrack. It adds a consistent layer of unease that reflects the horrors that happened there without bombastic screeching or audio stingers. A Xenomorph isn’t going to pop out of a nearby vent, but the ambient tunes make it feel like that could happen at any time. That constant tension makes it a more effective thriller. 

Fort Solis is also detailed enough to be worth trekking around. Impressive lighting and stunning textures make Fort Solis more immersive, but its visual splendor isn’t the only reason why Fort Solis is a compelling space. Seeing how these characters lived and worked by walking through and investigating each wing makes it all more tangible. Being shown Fort Solis mostly through cutscenes would not have the same effect.

That makes it all the more puzzling when Fort Solis rips control away from the player and forces them down a hall during a chaotic set piece. There aren’t many of those moments, but they are frustrating and antithetical for a game so heavily invested in immersion. It’s also strange how little of an impact the quick-time events have, yet another way Fort Solis fumbles when it takes in the reins.

Despite the tiny and misleading map, strolling through its many rooms gives it a sense of place that better contextualizes the anecdotes described in the emails and logs. It may rob some beats of their urgency, yet the freedom to meander is rewarding because players get more agency in how they piece together the story. While it’s not packed to the brim with hidden Easter eggs and is still modestly sized, Fort Solis succeeds because it was designed to be explored.

All of these elements support the story that’s anchored by its three main characters: Jack Leary, played by Red Dead Redemption 2 star Roger Clark; Jessica Appleton, who is portrayed by relative newcomer Julia Brown; and Wyatt Taylor, the latest role from The Last of Us’ Troy Baker. Leary and Appleton’s rapport is charming, and their interactions aren’t solely predicated on eye-rolling quip like so many other games. It’s important that they’re likable since they are so pivotal to the narrative. 

Taylor, on the other hand, is much more complicated and makes for one of Baker’s best performances. He’s a multilayered man fighting bureaucracy with noble intentions and sometimes questionable means. That breadth of layers is most noticeable in his video logs where his internal struggles are sublimely portrayed and brought to life through the aforementioned nuanced animation. Taylor is an excellent example of the subtle difference between a villain and an antagonist.

Gradually figuring out how this tortured soul unspooled is a fascinating journey and one of Fort Solis’ many secrets. Revelations are doled out well — due in part to its many logs — and provide enough incentive to keep pushing through. Decent foreshadowing and the lack of a forced, hard sci-fi twist also means Fort Solis’ core mystery doesn’t fall to pieces at the end. 

However, the actual finale is a mess. It fails most of its characters by speeding through its undeserved finale. Taylor gets snubbed the hardest since the final segment lacks much of a cathartic showdown of ideas that a character with that level of depth begs for. Instead, it opts to go down the quick-time event route where physical altercations take the place of verbal ones. It’s a bad choice for a game with bad quick-time events and great dialogue to go out like this.

Fort Solis Review: The final verdict

While it marvelously blows up during the final moments of its descent, Fort Solis is a mostly successful voyage. Puzzling together what happened at the station is an engaging exercise that incentivizes players to inspect every computer and voice recorder in order to shine light on its dark mysteries. Its narrative doesn’t seem to branch much or push forward in any new directions, yet it achieves its modest goals rather well. Fort Solis was misused as a facility by its staff, but Fallen Leaf and Black Drakkar have utilized it well to tell one effective sci-fi thriller. 

Disclaimer: This Fort Solis review is based on a PS5 copy provided by the publisher. Reviewed on version 1.000.000.

The post Fort Solis Review (PS5): Thrilling and Mostly Fulfilling appeared first on PlayStation LifeStyle.

The Miracle gives. The Miracle takes. But the Miracle still has to be stopped.

The Penitent One’s rest has thus been short lived, as he has been beckoned from beyond the grave to repent once again. The surprise inherent to his first round of penitence was key to the original Blasphemous‘ success, which is not something a second bout can organically have. Blasphemous 2 is a deeper and more well-defined experience, though, in a way that justifies The Game Kitchen’s — as well as the Penitent One’s — return to this world. However, Blasphemous 2’s own sins weigh it all down and keep it from truly ascending over its predecessor.

Blasphemous was a tightly designed experience, yet lacked a sense of direction. It wasn’t quite a search action platformer since it didn’t contain many ability-based gates. It had some soulslike qualities but didn’t have enough depth in its combat to truly warrant the comparison. And even though the Penitent One was an accomplished acrobat, the title’s rudimentary platforming meant it wasn’t quite a platformer, either. Blasphemous was more than the sum of its parts because its parts weren’t too distinct on their own.

Blasphemous 2, on the other hand, is firmly a search action platformer and that acquiescence to a more clear-cut genre gives it a stronger structure. The ability gates mean there are more chances to explore the world and backtrack, and The Game Kitchen has scattered various upgrades and collectibles around to make that exploration worthwhile. It’s a well-worn genre and Blasphemous 2 doesn’t add a fresh spin to it, but the ability to find a greater selection of upgrades, collectibles, and secrets gives it more complexity when compared to the original. 

Scouring collapsed cathedrals over and over for more experience points or spells is further enhanced by the astounding artwork. Its vistas do so much with the pixelated aesthetic by providing unique environments full of small details and vast visual splendor. A crusty cave may be packed with all sorts of decrepit corpses, crumbled structures, and bits of environmental storytelling, while also having a massive inverted tower in the background that has leaked enough candle wax to create a big, goopy ramp up to its entrance.

Not to be outdone by its scenery, Blasphemous 2’s cursed, exaggerated cast that has been grotesquely perverted by the Miracle shows that The Game Kitchen’s knack for eye-catching character designs is still unparalleled, especially in the pixel art space. Much like a Hieronymus Bosch painting, the religious iconography inherent to these sprites lends them a sense of angelic beauty that is delicately balanced out by the horrifying nature of the husks they’ve devolved into.

For example, the giant that enhances the Penitent One’s health flasks is a radiant figure but grows more vile when cherubs start gradually peeling back her skin with each passing upgrade. She’s one of the more evocative designs emblematic of its overall style that blends elegance with obscenity.

Many of the beings are meant to be slashed and sliced and not just gawked at. Blasphemous 2’s combat has many more ways to deal with these monstrosities through its larger weapon arsenal and spellbook. Each melee armament also has its own skill tree, special stats, and unique ability, so duels aren’t just simply about dodging and attacking; they’re about picking and fully utilizing the best tools for the job.

The added complexity yields more varied fights and some of the boss encounters are, unlike the relatively easy first game, thrilling tests of skill and pattern recognition, but there are enough control-related inconsistencies to dull the Penitent One’s blade. Getting hit once can lead to getting unfairly juggled and killed after just one or two hits. Thanks to the ever-present existence of enemy contact damage, merely touching an opponent can start one of those annoying kill combos, too. 

Blasphemous 2 also sometimes asks too much of the player without giving them the tools to overcome. Cramped levels and the stunning shortage of invincibility frames in the Penitent One’s slide and air dash are problems independent of one another, but often combine to make it almost impossible to avoid some attacks. Healing is also a tad too slow and isn’t synced to the game’s overall pacing. Like some other titles with soulslike elements, Blasphemous 2’s penchant for deliberate animations clashes with its urge to be more action-oriented. It’s at an awkward middle ground where it’s a touch too clunky to be an action game but too fast to be a true soulslike.

Some of its soulslike inspirations come in the form of its storytelling that is as indirect as it is complicated. Items hold lengthy descriptions about certain beings or events, characters speak obtusely or in veiled metaphors, and very little is told directly to the player. Putting the pieces together is fitting for the genre label because, as FromSoftware has shown, it’s yet another avenue where players have to earn their spoils.

But while fitting, it’s not handled well. Blasphemous 2, like Oxenfree 2, relies on knowledge of a secret ending of the first game that was patched in after its initial launch and doesn’t provide any sort of recap. It’s confusing out of the gate and doesn’t clear up much past that because of its continued dependence on ambiguity.

Extra characters and events further add to the thick layer of fog obfuscating the narrative and turn it into a puzzle that’s too tedious to solve. The gorgeously animated cutscenes and aforementioned stunning art make it a pleasure to view, but the lack of sense and context sucks most of the meaning out of its narrative. It touches on themes like the overly punishing nature of religion — particularly Catholicism — but its disdain for the fine print makes it all too obtuse to truly resonate. 

Blasphemous 2 Review: The final verdict

Blasphemous 2 is more ambitious than its predecessor with its fleshed-out swordplay and cleaner dedication to the search action genre. And while these additions give Blasphemous 2 more of an identity, they also give it more room to stumble. Said deeper combat is sticky and held back by its dedication to being adjacent to the soulslike genre. Its narrative tries to broaden the game’s world but suffers because of its lack of a solid recap and overreliance on cryptic storytelling. It’s an artistically sublime world but seemingly pays penitence with its uneven gameplay.

Disclaimer: This Blasphemous 2 review is based on a PS5 copy provided by the publisher. Reviewed on version 1.002.000.

The post Blasphemous 2 Review (PS5): Weighed Down by Its Sins appeared first on PlayStation LifeStyle.

Most characters in High on Life rarely shut the fuck up. Silence is at a premium. There are settings to tone down the overall chatty nature, but that doesn’t address how truly unfunny it can all be otherwise. Most of it is the same improvised toilet humor that Rick and Morty co-creator Justin Roiland has been doing for over a decade where almost every punchline revolves around pooping or masturbating; the eye-rolling go-to for someone struggling to think of something actually clever. But that doesn’t mean High on Life is a bad shooter, and it only points out how few unconventional shooters there are.

High on Life is completely alien when compared to its peers. Whereas games like Call of Duty have a ton of different types of the same assault rifle, High on Life has a fleshy gun voiced by I Think You Should Leave star Tim Robinson that shoots little critters that maul foes. Instead of a typical shotgun, High on Life has a bug-eyed frog alien voiced by Curb Your Enthusiasm regular J.B. Smoove that fires flaming discs as well as a traditional shotgun blast. There are only four guns, but they all have a few disparate uses that make them multifaceted tools during shootouts.

Zipping around the battlefield using rocket boots or a jetpack and blasting these one-of-a-kind firearms is unique experience. Even the enemies don’t follow traditional patterns since most are protected by varying levels of goop instead of armor, which is visually striking as it is different. The bright alien worlds are also significantly more colorful than the stages in many of its genre peers and contribute to its peculiar setup. It has that strange aiming bug that some console ports of PC-centric shooters have and the gunplay doesn’t elevate much past just being fine to decent, but it’s the otherworldly presentation that makes it all stand out. Oddworld: Stranger’s Wrath is another unorthodox first-person shooter that took the genre in a different direction and is still a classic two decades later because of that swerve.

It’s a genre that deserves to do more than let players shoot Russian nationalists, bloodthirsty demons, or overly serious genocidal aliens. Thanks to the indie scene, there are some different kinds of shooters like Fashion Police Squad or Neon White (if that even counts), but that type of variety just isn’t present in the higher budget tiers. Call of Duty has casted a long shadow, and High on Life is one of the few that refuses to get swallowed up by it.

And while High on Life’s general atmosphere veers from the standard, its humor veers straight into a ravine of the most unfunny dialogue in recent memory. As was previously mentioned, most of this seems to stem from Roiland’s stammering improvisation that is neither sharp nor funny 10 years after Rick and Morty’s debut. 

Impromptu rambling just isn’t entertaining and is often downright annoying when it’s the crux of most jokes. Roiland’s character Kenny, the commercials playing around town, the sentient tutorial operating system, and many NPCs all just babble endlessly to the point where it is suffocating. There are a handful of solid bits here and there, but they are outnumbered by the relentless waves of bad aimless ones that either don’t have any substance or predictably circle back to the same vulgar tropes. There’s a character whose sole purpose is to sell the player alien cum — that’s the entire gag — and that sums up the game’s humor rather well.

Given Roiland’s exodus following his alleged abusive actions, it’s possible that Squanch Games’ future titles won’t reek of the stagnant stench that has been following the Rick and Morty co-creator for years. It already seems like he won’t be part of High on Life’s upcoming expansion, so that’s a start. However, High on Life still marinated in that stank and suffers because of it. But there’s enough of a different world here that shows that non-budget first-person shooters can and should be more than what Activision serves up on an annual basis. 

Disclaimer: This High on Life feature is based on a PS5 copy provided by the publisher. Reviewed on version 1.030.000.

The post High on Life Is an Annoying Shooter, Yet Still a Unique One appeared first on PlayStation LifeStyle.

Last year, Frontier Developments jumped into the sports management simulation world with the impressive F1 Manager 2022. Sports titles are often iterative, and with regulation changes, revolving rosters, and changes to vehicles, this series has proven to be no exception. That brings us to F1 Manager 2023. Given that Frontier had a strong foundation to build upon, this is another solid entry that adds strong features and brings more overall depth to the core gameplay.

It’s important to note how well Frontier did at translating a dense sim to an easily playable console title. While it’s a bit more cumbersome to navigate than last year’s version due to more layers and menus, it’s still rather straightforward — and the thoughtful user interface has to be applauded. A lot of PC ports can be difficult to navigate with a controller, but the console ports have always been a priority as they don’t feel like a lesser version at all.

My favorite new additions are the new Race Replay mode and the Exclusive Scenarios that come with the Deluxe Edition. Similar to moment-based modes in other sports games, these allow you to relive iconic real-life performances and feats. The best are ones with unique situations, such as tasking the player with mounting a shocking comeback in a limited number of laps or protecting a lead for the final duration of a race. These are challenging and fun situations, made all the more thrilling by the fact that results aren’t fully in your hands. You’re simply deploying a strategy, then hoping for the best result — just like a real race.

While this new mode is fun, it’s very much just a diversion. The bulk of your time will be spent in career mode, which is the only other real option. While it’s still the same basic format, you can opt to take over a top team right off the bat, or try to build out a smaller team into a contender. Numerous tweaks have been made under the hood to make this a more refined, fleshed-out version of the mode.

Six events in the year feature F1 Sprints, which are shorter races that determine the final qualifying lineup. These are fun tests that feel decidedly different from the longer, marathon-like sessions of an actual race that takes place over 50-plus laps. There are also more options to improve the drivers, as you can focus on what elements to train in on. For example, you can make it easier to overtake rival racers, or handle your vehicles on a wet track better. This adds more overall depth, and allows for some really satisfying long-term simulations if you want to play for in-game decades.

Similarly, there are more options with how you approach the pit team and develop new talent. The latter aspect is particularly important, as drivers’ skills and capability to learn new skills will greatly reduce over time. Eventually, even legends like Lewis Hamilton will have to hang up the racing gloves. That’s why scouting prospects and building out a developmental F2 and F3 team are just as important. Even if you start out with a great team, it won’t become a dynasty if you don’t plan for the future.

The extra layers of depth are great, but Frontier also made some really important tweaks to the actual races that make them far more enjoyable. The biggest change is that players now have more control over racing strategy. From telling drivers not to fight with their teammates over position to focus on defense or overtaking, there are several ways to race riskier or try to defend a lead. Depending on how a race is going, you’ll wind up rapidly changing your approach. Additionally, new on-track incidents and better team radio communication also add to the immersion. Each race feels like a unique situation to overcome, instead of just another lap around the track.

F1 Manager 2023 Review: The final verdict

F1 Manager 2023 is a great sequel that improves on every aspect of its predecessor. While the sheer amount of options can be overwhelming, they all serve their purpose and wind up adding to the overall experience. Some smart changes make the actual racing more thrilling than last year’s game. This is a game built to last, and I can’t wait to see how Frontier continues to build this simulation in future installments.

Disclaimer: Our F1 Manager 2023 review is based on a PS5 copy provided by the publisher. Reviewed on version 1.003.000.

The post F1 Manager 2023 Review (PS5): Sequel Adds Depth & Excitement appeared first on PlayStation LifeStyle.

Exoprimal isn’t the dinosaur-based video game anyone wanted Capcom to make. That said, it’s more than solid if you can get past that initial disappointment of it simply not being Dino Crisis.

The team-based multiplayer shooter is an absurd blend of action and sci-fi, making good on the promise of 65 — allowing players to battle a bunch of dinosaurs with futuristic weaponry. Is it high art? Not a bit. Even if the convoluted story warns us of our over-reliance on artificial intelligence, the real appeal boils down to shooting big dinosaurs in their scaly faces.

The matches are uniquely structured, as players attempt to achieve goals on a squad of five. There’s a distinct Player versus Environment atmosphere, as players attempt to clear out waves of dinosaurs faster than the opposing team. Depending on your match type, you either end with a challenging PvE scenario or get a goal that allows for both teams to finally interact.

The latter player-versus-player situations are where the game shines, as players get to duke it out while defending territory or clutching a payload. These allow for surprising comebacks if a team works together well, or crushing defeats where a team loses its sizable head start. Either way, you never feel like you’re out of a match of Exoprimal until this final section, which makes it an engaging multiplayer experience from beginning to end.

There are 10 suits divided into three main class types (assault, tank, and healer), with about three-quarters of them being fun to use. Having a diverse team lineup is key, as the assault types are largely useless without a healer thanks to limited health. While I usually don’t enjoy being a pure support character, most of Exoprimal’s healers can also dish out some damage, which makes them useful and engaging characters to play as. This got me to always change my class if we were lacking in that area, where I might not in other games.

While the core gameplay in Exoprimal is quite fun, it never really reaches a level to truly rave about. The action is always adequate, yet rarely thrilling enough to get your heart racing. The story is interesting at a glance, but told through cumbersome data files and boring cutscenes. It’s a case of being good, yet falling just short of greatness. That makes it hard to feel too much about Exoprimal beyond, “I’ll keep playing it when I have nothing better to do.”

Thanks to cross-play and a selection of levels that expand over time (including some rarer story-based ones), there’s quite a bit of replayability. This includes a lengthy grind toward the game’s Platinum trophy and leveling up the individual suit types to unlock more buffs and cosmetics. I can’t say I ever found the cosmetics all that interesting, as the game doesn’t truly deliver on the carrot-on-a-stick design it aspires to have. But I have been regularly playing for a week, and can’t see it slowing down.

Exoprimal Review: The final verdict

Exoprimal’s biggest strength is that it’s easy to get friends into, and you’re basically guaranteed to have a decent time whether you win or lose. The shooter doesn’t reinvent the genre, but it has enough going for its structure that helps it feel fresh — even when you’re running the same stage for the 20th time. Future updates will be key to its longevity, but Capcom has quite a solid base to build upon, and it’s worth diving in with some buddies if you’re looking for something new to play.

Disclaimer: Our Exoprimal review is based on a PS5 copy provided by the publisher. Reviewed on version 1.000.001.

The post Exoprimal Review (PS5): A Dino-mite Time appeared first on PlayStation LifeStyle.