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Resident Evil VII: Biohazard

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Sometime over the last two decades Capcom seemed to forget what made the Resident Evil video game franchise awesome. It wasn’t the gunplay or action movie-style cutscenes, it wasn’t the increasingly convoluted narrative or baffling plot twists and it certainly wasn’t whatever the hell Umbrella Corps was supposed to be. No, what made Resident Evil awesome was its “survival horror” core, a foundation of suspenseful, creeping fear and clammy-palmed desperation.

As the credits rolled on my first playthrough of Resident Evil VII: Biohazard, I sat back on the couch and let out a deep, shuddering breath. Over my 10 hour journey I’d been clobbered by a seemingly invincible madman, stalked by a cackling lady who controlled insects and eviscerated by my own psycho ex wielding a chainsaw. I’d fought shambling, ink-black creatures in dank sub basements and solved devious puzzles in elaborate death traps and throughout it all I was tense, on edge and often genuinely scared.

RE VII wastes little time immersing you in its grimy, horrific atmosphere. After an incredibly brief cutscene you’re thrust into the first person view of likable everyman, Ethan Winters, who has received a weird message from his missing wife, Mia. Ethan has traveled out of the city to the sprawling, unkempt rural property of the Baker family, which has clearly taken design tips from The Evil Dead and The Texas Chainsaw Massacre. Initially unarmed and increasingly agitated, you’ll explore the filth-encrusted stink palace, descending into the cellar and that’s when the horror really begins.

res1A big point of contention for RE VII has been the shift from third person to first person POV. While initially jarring for longterm fans of the series, this proves to be an excellent move and increases the immersion to a huge extent. The early hours of RE VII, when you’ll find yourself with nothing but a pocket knife, handgun and very few bullets, is the literal stuff of nightmares. Every corner you turn around or door you push open can lead to a messy death, especially when the members of the Baker family are following you. As the game progresses you’ll get better weapons, including the shotgun – your new best friend – but you never feel particularly overpowered as your foes will find inventive new ways to end your existence.

Ironically for an entry that seems to be such a massive change in terms of perspective, the gameplay in RE VII most closely resembles the original 1996 classic, Resident Evil. You’ll find yourself in a focused environment, with puzzle solving opening up new regions and objectives, and you’ll constantly need to manage your inventory and backtrack through areas that were previously inaccessible. It’s classic Resident Evil through a grimy, first person perspective filter and it works to a revelatory degree.

The boss fights in particular are showcases of gleefully creative grindhouse gore and you’ll need to keep your wits about you to defeat them. This will be a recurring theme, in fact, as puzzle solving under duress is what Resident Evil does best. Are you able to craft some burner fuel for your flamethrower? Yeah? Well how about we send a hideous, clawing, insect/human hybrid creature after you at the same time? Let’s see how you fare now, professor!

res2That’s not to suggest everything in RE VII is stellar. The 10-12 hour playthrough time is a little on the short side, and while it’s nice to have an experience not artificially expanded with tedious filler I would have liked another 3-4 hours of content. Another sticking point is more subjective: there are no zombies in RE VII. They are instead replaced with a group of creatures known as Molded; filthy, slurpy, black things that gurgle and gibber and slide from ceilings and out of walls. They’re undoubtedly cool looking but RE purists may be disappointed that you’ll never fight off traditional shambling undead in first person.

Possibly the biggest bummer is the game’s third act. It isn’t bad per se but compared to the rest of the game it’s a little unimaginative. Like a lot of previous Resident Evil titles it mostly eschews horror for action and in a game that gets the horror so right for so long that’s a little disappointing.

That said, Resident Evil VII: Biohazard is easily the best RE title since part four. Capcom seem to have course corrected this sinking ship of a franchise and delivered an intense, nerve-shredding experience that delivers scares, gore and a satisfying story (almost) completely free of franchise baggage.

So grab your green herb and your shotgun, gird your loins and get ready to crawl into the murky depths of the Baker residence and beyond. Resident Evil is back and this time it’s up close and personal.

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REVIEW: The Last Guardian

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“Fuck you, you stupid fucking feathered fuckwit!” That’s me screaming at the telly and punching my couch while playing The Last Guardian. I’m not proud of myself.

“Oh how enchanting and lyrical. It’s lovely.” That’s me again, still playing The Last Guardian, mesmerised by the visual poetry unfolding.

“JUMP! Jump, you fucker, JUMP! I’m pressing JUMP! WHY WON’T YOU JUMP, YOU BAFFLE-WITTED PRICK? JUMP!” That’s also me, a few minutes later, hating The Last Guardian with every hairy fibre of my being.

Welcome to The Last Guardian review. Truly it was the extremely brief best of times and the frequent, enraging worst of times.

The Last Guardian is a game with baggage. Team Ico – the renowned developers responsible for Ico (2001) and absolute masterpiece, Shadow of the Colossus (2005) – began work on the title way back in 2007.

The game was delayed so frequently it became a running joke, like Half-Life 3 and Final Fantasy XV. Well, FFXV arrived and so has The Last Guardian and although this sounds strange to say about a game that has appeared almost a decade after its inception: it really needed further development.

The Last Guardian’s story, like all Team Ico efforts, is basic and told through visuals and actions, rather than extended cutscenes. You play as a young boy who wakes up in a gloomy pit, covered with strange tattoos and no memory of how he got there. You’ll soon find a huge winged bird/dog/cat hybrid, Trico, next to you chained up and injured. After pulling spears from the great beast’s hide, and giving him some glowing barrels to eat, you and Trico begin to form an unlikely alliance and try to understand the situation you’re both in.

The concept of a boy and his monster on an epic adventure is a good one, and Trico is an impressive creation. Beautifully animated and featuring an AI that makes him seem like a living creature, one can’t help but be impressed by the work of director, Fumito Ueda and his dedicated team.

That sense of respect dwindles, however, when you actually start playing the game in earnest. Put simply The Last Guardian’s controls are absolutely woeful. The little boy wanders around and staggers over objects just like a real little boy, but his imprecise movements, while visually impressive, soon become annoying when exacting jumps and fiddly climbing are required. Worse than the boy’s controls, however, is Trico. A few hours into the game you’ll be able to give Trico commands, to jump, stop, follow and so on. Trico actually heeding those commands, however, seems to be up to the mysterious whims of chance.

Now it’s true in real life one wouldn’t expect a wild beast to behave obediently but a game needs to have a sense of consistency. I lost count of the number of times I knew how to solve a puzzle but Trico simply wouldn’t obey and I was unable to progress. I’d punch the couch a few times, hurl obscenities and rage quit. Later on, I’d load up the game and Trico would do it on the first go. Needing to reset the entire game to get past a puzzle isn’t good game design, it’s a bug and a fiercely annoying one at that.

That’s not to say The Last Guardian is without its charms. When everything’s working properly there is a deep and abiding sense of satisfaction to be gained from solving a tough puzzle, or getting Trico out of a sticky situation. The problem is the game is so inconsistent it’s hard to tell whether you’re stuck because you haven’t found the solution or the game’s AI has just popped out the back for a smoke, and will return when it’s good and bloody ready.

It’s hard to be swept away by visual poetry when you’re rage grinding your teeth into a fine powder.

Ultimately The Last Guardian is an acquired taste. If you can handle inconsistent, buggy AI and awkward, cumbersome controls you may find something to love here – other people certainly have.

However, for me, The Last Guardian was mostly an exercise in enraging, furniture-abusing frustration only occasionally leavened by moments of magical whimsy.

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REVIEW: Final Fantasy XV

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Final Fantasy XV is one of the weirdest AAA game releases in years. Like, wearing-a-traffic-cone-on-your-head and yelling-at-guide-dogs-about-the-impending-invasion-of-lizard-people nutso. It’s also endearingly charming and hard to dislike, at least in the first two thirds of the experience.

FFXV tells the tale of Prince Noctis and his mates Gladiolus, Ignis and Prompto who are off on an epic road trip, the end of which will see Noct marry the beautiful and ethereal Lunafreya. Not to mince words but the lead foursome look like a boy band circa 1990. Their fashion choices are somewhere between camp, baffling and clown shoes, so it’s initially a little jarring when you realise you’re actually meant to take the escapades of these gaudily-clad adventurers seriously.

When we first control the gang they’re pushing their broken-down supercar to a 1950s style petrol station and diner, where a half-naked blonde lady who inexplicably talks in a yeee-hah southern American accent tells you she’ll fix your ride if you go and kill some monsters for her.

At this point you’ll either need to go along for the ride or eject the disc immediately. If you can get past the mishmash of tones and genres, you’ll soon find the game’s charms are many. For one thing it’s absolutely gorgeous: the four leads move, chat, hang out and cook in organic-looking, vivid ways in stunning, massive environments. The revamped combat system is also visually splendid and a lot deeper than it first appears, although players seeking classic turn based combat will be disappointed.

What really sells the game, if you let it, are the four lead characters. As the story kicks into high gear and takes the foursome to dark and dangerous places, the initially ludicrous-looking band become a more substantive and emotionally rich group. Yes, it’s bizarre to see a game that has you fighting giant water demons while texting on your mobile phone, but it’s so gloriously silly that you can’t help but grin.

Less smile-worthy, however, is the final third of the game where the open world structure is more or less abandoned and it all becomes a bit of a linear slog. You’ll probably want to push through to see the ending, which is surprisingly emotional, but it’s a pity the more open structure couldn’t go the distance.

Final Fantasy XV plays like the idle fever dream of a horny Japanese teenager passed out and listening to their iPod on shuffle. It’s weird, silly, occasionally baffling and quite a lot of fun – if you can leave your sense of logic and reason at the door and embrace the high camp lunacy.


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Dishonored 2

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It’s my first playthrough as deposed empress, Emily Kaldwin and I’m sneaking through the dingy depths of a sub-basement in an abandoned asylum. Guards patrol the main floors so I sneak through the back rooms where bloated corpses and nests of parasitic blood flies ooze with filth and disease. Suddenly I turn a corner too quickly and a guard spots me. Before he can say a word I sprint over and knock him unconscious. I hide his sleeping body behind a torn up couch and keep on creeping.

It’s my second playthrough as protector of the crown, Corvo Attano. I swagger through the so-called Dust Distract and slow time with ancient magic. I send explosive crossbow bolts at four guards who are standing close to one another. The bolts hang in the air like a promise. I unfreeze time and make good on that promise: the bolts blasting into them and sending burning bodies and scorched limbs everywhere. More guards are alerted but that’s fine. I have plenty of magic, explosives and steel for everyone.

Dishonored 2 is the sequel to Arkane Studio’s 2012 sleeper hit, Dishonored. The action is set fifteen years after the events of the first game with Emily Kaldwin now ruling as empress. However, before you can say “how do we justify the name of this sequel?” she is deposed by alleged “rightful heir to the throne” Delilah, who orchestrates a bloody coup and, depending on the player’s choice, leaves it up to either Emily or Corvo to make things right. This early choice is important because you’ll be playing that one character throughout your entire first run. Personally I chose Emily because of her ability to turn into a stealthy shadow beast that can suck the air out of a foe’s lungs, but it’s ultimately up to you. Both choices are good and incredibly varied in terms of unlockable magical powers and weapon usage.

Do a low chaos (minimal kills, stealthy) and a high chaos (burn it all down) run and you’ll really see how strong the gameplay mechanics in Dishonored 2 are. My first run was low chaos as Emily and I found myself sweating every encounter, as I was powerful but weak. A couple of sword blows and I’d go down, and it’s actually harder not to kill your targets. This resulted in a 15 hour plus initial run that was tense, exciting and ultimately very fulfilling. My second run, as Corvo was high chaos and I played the game like Jason Voorhees: all would fall to my malevolently creative murder traps.

Dishonored 2 works precisely because it gives you so many options for play and the level design has never been better. The Addermire Institute, The Clockwork Mansion and The Royal Conservatory are three of the best levels in Dishonored’s history and brimming with replayability. You’ll love spending time searching the various back alleys and hidden rooms for runes to upgrade your powers and become a magical assassin. The downside to this is by the end of the game you’re such a bad ass that the challenge factor goes down. Experienced players would do well to play on one of the two harder difficulties otherwise the last third of the game tends to feel a little breezy.

Ultimately Dishonored 2 is a little let down by a predictable story and a slightly underwhelming ending, but the emergent storytelling, side quests and details within the levels more than make up for this shortfall. There’s such a vivid sense of rich history and detail to the proceedings that you’ll want to explore every nook and cranny and discover different ways to off your foes. Dishonored 2 is one of the best games of 2016 and absolutely unmissable for fans of stealth titles but even players who’d rather kill creatively and noisily are served well by the incredibly rewarding gameplay on offer here.

Check out Anthony’s stabby/slashy Dishonored 2 highlight reel, put together by the mighty Grizwords.

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Battlefield 1

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Over 100 years ago, humanity entered into one of the most ill-advised engagements in history, a global massacre that became known as World War 1 and, horribly ironically, “the war to end all wars.” As history buffs, or indeed anyone with a working internet connection, will tell you: war did not end, and WWI got a series of increasingly unlikely sequels that sadly continue to this very day.

Battlefield 1 has the unenviable task of taking WWI and making it (1) a compelling environment for a videogame, and (2) not cry-in-a-dark-room depressing. See, games have long used WW2 as a backdrop for action combat because although the death and horror was just as hideous, it seemed like the good guys/bad guys divide was a lot more clearly defined. WWI was a far stranger affair, not to mention lacking the improved technology utilised in future wars.

It’s quite a surprise, then, that Battlefield 1 works as well as it does. Extraordinarily well sometimes, especially in its single player campaign. The Battlefield games have often been notorious in their half-arsed campaigns, with 2015’s Star Wars Battlefront eschewing it completely, so it’s nice to see developer EA DICE improve on their spotty record.


The single player campaign is cleverly divided into six War Stories. Each story functions as a standalone adventure set in various locations around the world. The quality and length of these stories varies, but Through Mud And Blood (set in a tank in 1918 during The Battle Of Cambrai) and Friends In High Places (about a manipulative gambler and liar who takes to the skies in a stolen plane) are highlights. There’s even an Australian story, The Runner, set during the Gallipoli campaign of 1915, which is oddly moving even though the gameplay is a tad simplistic.

When you’re done with the single player campaign (it’s better to tackle at least one or two War Stories first) you can join the various multiplayer options that feature huge battles in enormous locations. Here the game becomes much more like Battlefield business as usual, although it has to be said that beginners will have a tough time here. There’s a savage brutality to Battlefield 1, where you’ll often spawn and die within seconds, coughing and choking in mud-filled trenches or burning deserts. It’s vivid and nightmarish and occasionally not very much fun. Battlefield 1’s multiplayer is much better enjoyed if you have a squad of up to four friends so you can try to coordinate your efforts, because by yourself, well, war is hell.

Battlefield 1 was a risky move, going backwards in history instead of forwards, and yet it has paid off. It features a robust and memorable single player campaign and a huge, often daunting, multiplayer component. It’s not always fun, but it’s vivid and affecting, and will stay with you a lot longer than most war games.

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Mafia 3

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Mafia 3 makes a great first impression. When you boot it up, the game opens with a disclaimer, stating that this fictionalised depiction of the American South in 1968 will feature racism which, while deplorable, is accurate to the time period. Then we meet the game’s African-American protagonist – Vietnam veteran, Lincoln Clay. The game introduces us to Lincoln in a documentary style format with older versions of the surviving characters talking about their regrets and trauma from the events that you’re about to play.

It’s a stunning and original way to open a video game, and the first two to three hours of gameplay are a joy. Lincoln struggles to adjust to life post-war, and finds that his old neighbourhood has changed…and not for the better. As a poor young black man with few skills other than violence, he soon becomes involved with organised crime. This culminates with a bank heist and a betrayal by mob boss, Sal Marcano. The double cross leaves most of Lincoln’s friends and family dead, and Lincoln with a bullet in his head. Against the odds, Lincoln survives. Once fully recovered, he sets out on a path of bloody revenge, dismantling the mob in New Bordeaux, the game’s fictitious version of New Orleans.

If only Mafia 3 had managed to fully execute its stylish, violent revenge story, because there’s so much about the game, setting, and soundtrack to love. But once the open world becomes open worldy, Mafia 3’s many flaws become glaringly obvious. For a start, 90% of the vehicles handle like a dog on wet lino. They’re mostly heavy, unresponsive, ungainly dinosaurs that are a chore to maneuver. This would be less of a problem if the game featured some kind of alternative mode of transport, such as trains, buses, or perhaps fast travel, but there’s none. At all. So you’ll often find yourself driving from one end of the massive map to the other just to trigger a cut-scene and then head back somewhere else.

The map is worth mentioning too, because although it’s enormous, it’s also pretty much empty. There’s none of that sense of discovery or rewarded exploration that you get in the open worlds of Grand Theft Auto or Skyrim. Another problem is the mission structure. At first, you’ll be able to access story missions as you go along, and these are usually worth doing. But as you open up more territory and recruit underbosses to expand your empire, you’ll find yourself repeating the same handful of activities over and over again until the next story mission unlocks.

This wouldn’t be so bad if the activities were ball-tearingly awesome, but due to a combination of clunky controls and shocking enemy AI, you’ll find little joy in the twentieth seemingly identical assassination mission. Whistle for an enemy, stab them when they come to investigate, repeat a dozen times, and then kill the boss. It’s a format that you should get used to. You’ll be doing it. A lot.

On top of all that, the game features a number of bugs and glitches of varying degrees of seriousness, not to mention murky textures and inconsistent lighting, that hamper immersion and hamstring enjoyment. That being said, Mafia 3 does have some joy in it. The aforementioned story missions are usually solid and cinematic, with exciting shoot outs in memorable locations like a Ku Klux Klan rally or a sinking steamboat. The characters are mostly well drawn, and the direction and story are top notch. It’s just a pity that the game requires you to do so much dull busywork to get to subsequent chapters.

Mafia 3 has great moments where story and gameplay meet effectively, but it’s simply too artificially protracted and mechanically unexciting to be anything more than above average. Unfortunately, Mafia 3 makes you an offer you could probably refuse.


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Destiny: Rise Of Iron

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Destiny: Rise Of Iron is the latest content drop for Destiny, Bungie’s ambitious MMO/shooter hybrid. Released in September 2014, Destiny has improved a great deal since its somewhat inauspicious beginnings. The sci-fi/fantasy story was negligible upon release, and improved only very slightly with The Dark Below and House Of Wolves additions. Things took a turn for the better when The Taken King arrived, a decent-sized content addition, replete with a coherent story, improved gameplay mechanics, and – shock of all shocks – a sense of humour! Things were finally looking up for Destiny’s future, and Bungie’s alleged “ten-year plan” seemed a more attainable goal than ever.

Destiny: Rise Of Iron, then, has a lot resting on its broad shoulders, and, we’re sad to say, the results are not all that they could have been. First things first: if you haven’t played Destiny, here’s the quick recap. Destiny is a gorgeous FPS shooter with some of the most satisfying gun mechanics in modern gaming. The simple act of pulling the trigger, fighting off waves of enemies, and launching visually spectacular, gleefully destructive super attacks feels profoundly satisfying. Destiny is also extremely light on content, it suffers from an almost non-existent story, and is comically repetitive at times, particularly if you’re trying to grind up to Raid-ready light levels.

Basically your enjoyment of Destiny comes down to one question: do you have friends who regularly play the game? If the answer is no, then you might want to reconsider Destiny. The single player campaign can be a lonely old trip, and the endgame content, when you finally reach it, will likely be a nightmare. If the answer is yes, then you’re honestly in for some of the most satisfying multiplayer gaming available on consoles.

Destiny: Rise Of Iron doesn’t add much new to the mix. There’s the new patrol area, The Plaguelands, which is a continuation of maps set in Old Russia. There’s a new enemy type, SIVA-infused Splicers, which like The Taken are essentially reskinned versions of foes that you’ve faced a thousand times before. There are a couple of new Strikes (which are fun) and a new Raid (which I’ve yet to properly experience) and a gorgeous looking social hub area, Felwinter Peak. The campaign missions on offer are enjoyable, but the entire questline can be easily blown through in 90 minutes or less.

Essentially Destiny: Rise Of Iron suffers from the same issues as year one Destiny: not enough content, not enough imagination, and too much grinding. That said, playing with my regular Destiny crew is still an absolute hoot. There’s “Jase-ON-too” who vents his frustration by punching his couch and swears with the alacrity of a cursing poet. There’s “Bemused-Moose” who seems to have some kind of special deal with Bungie and gets all the good drops. And there’s “yourmumsawesome”, an actual journalist who will never live his name down. This band of brothers from the Salty Little Biscuits clan are what makes Destiny: Rise Of Iron fun to play; it’s just a pity that the content itself isn’t a worthier addition.

Destiny: Rise Of Iron is a solid but inessential addition to the Destiny canon, and a step back in terms of quality from The Taken King. It’s still worth the journey for Destiny obsessives, but could have been so much more.

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The BioShock Collection

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The BioShock Collection comprises BioShock, BioShock 2, and BioShock Infinite, a loose trilogy of titles linked by heady philosophical themes, original environments and, in the case of the first two games at least, a profound sense of tension and fear. The original BioShock in particular is just as impressively suspenseful and engaging as it was back in 2007. All three games have been given a current gen makeover, which is extremely apparent in the case of the first two titles. BioShock Infinite was released in 2013, so while it’s prettier in this collection than on release, the upgrade is less noticeable.

The big question for HD remasters is: is this worth the $90 asking price. We’ve had a few disappointing remasters this year (we’re looking at you, Resident Evil 4), so it’s not always a simple question. With The BioShock Collection, however, if you’re on XBOX ONE or PS4, the answer is an emphatic hell yes.

BioShock’s remastering process is beauty to behold. The game is already a masterpiece, and a top ten all time title, but Blind Squirrel Games have done a superb job of making the graphics slicker, with the framerate running at a solid 60fps. Some of the gameplay mechanics can feel a little dated, but that’s due to the game being a decade old rather than poor remastering, and if you don’t currently own a copy of the game, then there’s no excuse not to take another trip down to the depths of Rapture, where politics and plasmids battle in a surreal nightmarish adventure.

BioShock 2 is the red-headed stepchild of the BioShock series. It’s essentially a somewhat artless retread of the original BioShock, and it lets you play as a Big Daddy, which is something that no one was really asking for. That said, it’s a retread of an amazing game in a brilliant location, and is well worth a second spin or first time playthrough. It also comes with DLC Minerva’s Den, which is considered some of the best extra BioShock content currently in existence. It’s not without its narrative flaws, but it’s a hell of ride nonetheless.

Rounding out the package is BioShock Infinite, a game with limitless promise that is let down by a sagging, ordinary second act and unexciting, repetitive shooter mechanics. That said, it also has one of the greatest openings and endings in video game history, and though it never hits the heights of the original BioShock, it toys with fascinating concepts that are explored in the game’s final act and the Burial At Sea DLC, which is also included.

Put simply, The BioShock Collection is an essential purchase if you (a) love BioShock and (b) own a PS4 or XBOX ONE. PC Players with high end rigs have probably experienced Rapture and Columbia as truly intended already, but console owners are in for a treat because The BioShock Collection shows how remasters should be done.


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Fallout 4: Nuka World

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Fallout 4 was released way back in the year 2015. It was a different time, a more innocent era, and generally the game was reviewed favourably. While not as deep and intricate with potential choices as Fallout 3 and Fallout: New Vegas, Fallout 4 was entertaining and engaging and well worth playing. At the back of many players’ minds was the season pass that Bethesda promised would be rich with expansive, intricate DLC. Sure, the vanilla story was a little lacking, but oh boy, we’d all be delighted when that DLC dropped.

Well, Nuka World, the final piece of Fallout 4 DLC, is here, and the overall impression of the much-touted season pass is…meh. That’s perhaps a little unfair, as there have been high points thus far. Automatron was a short but fun adventure that added a small questline and customisable robots. Far Harbor, easily the best of the DLC, added a large new location and a genuinely interesting storyline with morally ambiguous choices. The rest of the season pass, however, comprised Wasteland Workshop, Contraptions Workshop, and Vault-Tec Workshop. In case the titles haven’t clued you in, this isn’t story-based content – it’s crafting and building.

Now there’s nothing wrong with tinkering in Fallout 4; some of it is quite fun, but a lot is resting on the shoulders of Nuka World to make that season pass worth the time and money. It certainly has a great concept. Nuka World’s story is set in The Nuka World Amusement Park, a kind of alternate reality Disneyland focused on Fallout’s iconic Nuka-Cola beverage. But this is not the happiest place on earth, especially now that gangs of raiders have taken over.

Fallout 4: Nuka World

Fallout 4: Nuka World

Nuka World’s concept is: what would you do if you were the leader of the raiders? It’s a great premise, combined with a fabulous location, and the result should be a total winner. But sadly, Nuka World’s slight, fetch-quest focused story ends up feeling like a mildly entertaining but easily forgotten diversion. You can help the raiders (which results in more story missions) or kill them (which ends the DLC far too quickly) and clear out a number of Nuka World’s themed sections. It’s fun, for a while, but ultimately leads to a series of underwhelming skirmishes that are extremely similar to the ones you’ve had before.

There are some new weapons and new enemies, there’s a new companion and power armour, but in terms of story and choice, Nuka World doesn’t compare to Far Harbor’s robust narrative. Once you’ve taken over Nuka World, the game curiously gives you the option of commanding your chosen raider faction to take over the Commonwealth. It’s a fascinating idea, raiding the very communities that you spent so long creating in vanilla Fallout 4, but again: it’s a concept that’s never given much weight or consequence. If you already purchased the season pass, Nuka World is worth a gander. It’s fun and violent and silly. But in terms of must-have DLC, Far Harbor is really the only destination that you absolutely need to see. Nuka World is worth a visit only if you desperately want to revisit the Wasteland and maybe watch it burn.