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Metro Exodus

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You remember that scene in Quentin Tarantino’s Inglourious Basterds? Right in the opening, where Christoph Waltz is talking to that hapless dairy farmer about trying to uncover any Jews hiding in the area. Waltz is amiable, chatty and very decorous right up until the moment he isn’t, and a bunch of nazis are blasting through the floorboards and it’s shocking and scary and you can’t quite believe the tension has finally been expelled? That’s the feeling you get playing Metro Exodus.

Metro Exodus is the third, and possibly final, chapter in the Metro trilogy comprising Metro 2033 and Metro: Last Light. The series has always been a criminally underrated slice of post-apocalyptic, first person action and suspense and hopefully with this entry will finally get the recognition it deserves.

The story revolves around Artyom – a robust but disillusioned man who, along with wife Anna, believes there are people and life outside of the claustrophobic confines of the metro system. Without getting into too many details – he’s bloody right and this fact sets him, the missus and a bunch of other characters off on a mostly above ground journey through post-apocalyptic Russia. This is a huge change for the series, and it works well for the most part. As atmospheric as the tunnels were in previous games, the change of location has added a lot more world building to the tale, and gameplay variety has increased.

The game is essentially divided into three large sandboxes that house the main missions, but also lots of side missions and environmental storytelling. The side missions aren’t 100% essential, but are really worth taking on just for the sake of getting a complete sense of the taste of texture of this grim, evocative setting.

It’s at this point we should probably bring it back to the Tarantino comparison, because Metro Exodus is a slow game. Artyom moves slowly, not sluggishly, but definitely with a certain deliberate pace. Most combat is best tackled in a stealthy manner, because death can arrive with little warning. You’ll need to worry about every bullet, because ammo is scarce, and even the ability to craft new ammo isn’t always going to help because the materials necessary to do so are also scarce. The game rewards thoughtful, meticulous forward planning and strategic thinking. Don’t get us wrong, it’s not a strategy game, and when the action kicks off, it’s frenetic and exciting, but the pace between encounters is not going to be for everyone.

Another potential sticking point is a few moments where the game’s a tad rough around the edges. The voice acting is a bit dodgy – utilising the ubiquitous but senseless ‘speaking English in bad Russian accents’ technique that hasn’t died yet for some reason – and there are minor bugs here and there, with a couple of hard crashes along the way. This is by no means everpresent or game-ruining, and will probably be fixed in patches, but it’s noticeable. There’s a slight clunkiness to some of the movement too, with the melee attack in particular feeling strangely weightless and clumsy. Still and all, these are minor issues when set against everything that works in this sprawling, ambitious tale.

Metro Exodus is engaging, tense and occasionally frustrating, but always compelling. Beset by occasional quirks of its lower-than-blockbuster budget it nonetheless delivers a freight train worth of excitement and never flies off the rails. For those interested in a thoughtful, deliberately-paced thriller with Tarantino-esque explosions of shocking violence, intelligent world building and genuinely scary monsters Metro Exodus might just be the train to board

 
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Resident Evil 2

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Resident Evil 2, the game, was first released in 1998 and it blew audiences away. Although the previous installment had successfully introduced the concept of “survival horror” in 1996, part two honed the formula to a razor’s edge, delivering an experience that was scary, smart and absolutely absorbing. For those of us old enough to have been alive in that era, RE2 was a staggering achievement and managed to penetrate the ubiquitous haze of bong smoke and neglect to make an indelible impact on young psyches.

That being said, 1998 was a long-arse time ago, and time is least kind to video games. As the Resident Evil series lurched onwards it left those early entries behind, peaking recently with the somewhat divisive-but-brilliant Resident Evil VII: Biohazard (https://www.filmink.com.au/reviews/resident-evil-vii-biohazard/) which was a welcome return to pure survival horror. Still, when Capcom announced its Resident Evil 2 remaster it was hard not to get excited – but is it possible to twice catch horrific lightning in a bottle?

One thing we should get out of the way is that this isn’t an HD remaster but rather a full remake. The original RE2 featured static shots, clunky controls and graphics that were spectacular at the time but now look retina-damagingly awful. Although the game has been remastered for various systems over the years, presentation-wise it’s always looked… quaint. 2019’s Resident Evil 2 rebuilds the game from the ground up, putting the perspective in the RE4 over-the-shoulder view with a continuous camera that follows you around, not breaking for loading screens between every area. This is a welcome addition and makes the game play as smooth and immersive as your (lying) memories of the original.

Add to that, graphics as sharp and slick as any other modern release, replete with drippy, oozing zombies, genuinely scary, toothy monsters and character animations that make you actually feel for the other human characters – particularly when so many of them are viciously dispatched.

Actually, we’d be remiss not to mention the zombies at this point. In 1998, zombies seemed an amazingly fresh foe, having barely penetrated the cultural zeitgeist. In 2019, they’re basically a default option for most media, so how to make them scary again? RE2 adds a sense of unpredictability to the mix. The only way to permanently dispatch these ambulatory corpses is by destroying the head. You can do this using heavy weapons or grenades, however the zombies far outnumber your bullets so you simply don’t have the resources to kill them all. Therefore, you’ll need to leave some of the ghastly creatures lying around as potential jump scares, because they might rise at any moment (even if you’ve plugged ten rounds into their slack-jawed skulls) which adds a level of tension to an already scary game. See, Resident Evil 2 isn’t about killing all the monsters, it’s about surviving, solving the puzzles and escaping. It’s Capcom’s classic formula of puzzle solving under duress and it is edge-of-your-seat stuff, all the way through.

In 2019, video games pride themselves on being massive; the idea that more is more. Resident Evil 2 believes that to be a crock of shit, providing four of five medium sized areas to explore but you’ll know them like the back of your hand by the time the credits roll. The game also employs a map that really helps navigation, showing areas in red until you’ve solved the puzzles and collected all the loot in that area – whereupon it turns blue. This is a wonderful addition but much needed, especially as the game progresses and the character known as the Tyrant steps into view, providing a genuinely scary, seemingly invincible foe who dogs your steps like the STDemon from It Follows, and leaps out when you least expect it.

In terms of negatives, RE2 can be frustrating on occasion, particularly during boss fights where the lack of a dodge button would have been appreciated. And certainly, for some folks, the Tyrant is going to be a massive pain in the arse – although he does force you to think on your feet, which can be exhilarating. These are minor quibbles, however, in an overall experience that somehow keeps what was great about the original intact, while updating some of the wonkier aspects, like puzzles, voice acting and overall presentation.

Ultimately, Resident Evil 2 (2019) is everything a video game remake should be. It’s absolutely stunning to look at and a tense joy to play, paying nostalgic homage while improving nearly every aspect of the original. It’s scary, smart and absolutely absorbing – just like it was back in hazy 1998 – but with added levels of gore and unpredictability that will keep even series veterans on their toes. If you’ve never experienced the stories of Leon S. Kennedy and Claire Redfield as they explore a bizarre, avant garde police station in the middle of zombie-infested Racoon City, now is absolutely the best time to do so. And hell, even if you have, 2019’s Resident Evil 2 remake is the best ever version of that iconic story.

 
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Ace Combat 7: Skies Unknown

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Plane combat games are something of a rarity in this wretched year of 2019. Back in the olden days, when the PlayStation or PS2 reigned supreme in the lounge rooms of many, they were a dime a dozen with the best contender being the Ace Combat series. This frequently bizarre mix of unnecessarily convoluted storytelling paired with surprisingly detailed plane combat was a pleasing bit of airborne escapism. Then, for some reason, much like the western in cinema – the genre fell out of favour. Happily, it appears that the dark flightless time is over, as Ace Combat 7: Skies Unknown is here and it’s pretty bloody good, for the most part.

Ace Combat 7 is set in the same alternate earth as the previous games in the series and follows on from the events of Ace Combat 4 and 5. If you can’t remember those events, don’t stress, as the war between Erusea and Usea is just as overcooked and daft as previous entries and you can, and probably should, take it with several heaping handfuls of salt. In short, war has broken out and you, “Trigger”, will need to put missiles aplenty into your enemies. The story is actually truly bizarre, even by Ace Combat standards, because the character you play is a total non event until about halfway through the game and a far more interesting character – imprisoned mechanic Avril Mead – is the one narrating the shenanigans… and yet you can’t play as her. It’s a bizarre, and very clunky, storytelling device that doesn’t really work. However, that’s not the draw here.

What really matters in Ace Combat 7 is what happens in the air and for the most part the game is a triumph of giddy dog fights, bombing runs and set pieces set in vicious storms. It’s actually quite a tough game all told, with some missions featuring ridiculously short timers and insta-fail objectives that may have you punching the couch in frustration (sorry, couch). However, if you listen carefully to the mission objectives, and make sure you have a decent variety of planes taken from the unlockable trees, you should eventually triumph over the game’s 20 missions.

The game also features a robust VR mode and an online multiplayer mode, which is a nice value add and sure to have VR owners dusting off their tech. Ultimately, Ace Combat 7: Skies Unknown is more of the same from the series, for good and ill. It’s fast-paced, frenetic, frustrating and full of fun – if you can get past the baffling narrative conceits and occasionally enraging difficulty spikes. And hell, it’s been a while since you’ve taken to the skies so fire up and go right into the danger zone!

 
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Just Cause 4

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The Just Cause series has always been a strange one. The mixture of vaguely grounded political intrigue and personal stakes often juxtapose awkwardly with the gonzo, Michael-Bay-after-a-fat-line-of-blow bullgoose lunacy of the action sequences and set pieces. Still, despite this inconsistency the games are usually a whole lot of fun, and this is true of the latest entry, Just Cause 4, although there are a few caveats.

Set in the fictional South American country of Solis, Rico Rodriguez is back to take on the Black Hand, an army of ne’er-do-wells run by Gabriela Morales. This rather generic premise leads to a rather generic campaign, whereby you’ll retake various areas of Solis, unlock more main and side missions, grapple and wingsuit your way across the sprawling environments and, of course, blow shit up with great alacrity.

Just Cause 4’s newest addition is extreme weather, including missions where you’ll be forced to brave tornados and super storms that fill the skies with deadly bolts of lightning (which is very, very frightening). Later on, you’ll also gain the ability to control said storms, which is a fine idea but its execution feels a little limited in this context. Other than that, it’s Just Cause business as usual – use the grapple hook to destroy stuff, shoot stuff, explode stuff, repeat. It’s classic but it also feels a little samey, particularly if you have vivid memories of Just Cause 3 which only came out in 2015.

More damning is the fact that a lot of Just Cause 4 is, well, rather ugly. Character models, cut scenes and even some environments look seriously janky at times, and while it never reaches the levels of Fallout 76’s hideousness, it’s strange to see nonetheless. It’s hard to get truly invested in Rico’s story when his ugly mug keeps clipping into his shirt, or the characters that he’s talking to drop textures or pop in and out of view.

Ultimately, Just Cause 4 is a fun time, with great explosions and physics-based mayhem. It’s also basically an oversized Just Cause 3 expansion, with unfortunate technical deficiencies that mar the overall experience. Treat it like a b-grade matinee movie, and you’ll likely enjoy the slightly shonky, but explosive shenanigans on offer.

 
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Darksiders III

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In a world of nuanced, compelling narratives like Red Dead Redemption 2 and God of War, there’s something almost quaint about a game like Darksiders III. Whereas GoW deconstructs ancient stories and superstition to try and ground the more esoteric elements of mythology in emotion, Darksiders III unapologetically leans into the goofiness.

You, the player, inhabit the role of Fury – third horse person of the apocalypse after Darksiders’ War and Darksiders II’s Death. Fury is a bit of a cranky moll, to be honest, wielding an acerbic wit and a powerful whip, she flits about the screen causing bulk carnage paired with nimble acrobatics. For reasons too convoluted to enter into without spending 45 minutes explaining the dense, silly backstory, Fury has to go to Earth – which is a total shitfight due to a war between angels and demons – and defeat creatures that are the literal personification of the seven deadly sins. To help her on the quest, Fury loses a horse but gains a spirit friend, and the mysterious Lord of Hollows assists her rise to power for reasons known only to him.

Darksiders III brims with style and goofy enthusiasm, and as a medium-budget hack and slash adventure there is fun to be had. Unfortunately, it lacks the depth of the previous entry, Darksiders II, and ugly framerate issues persist even when not much is happening on screen. This third entry seems more in line with a Dark Souls-esque experience, with challenging bosses all the way through, but never feels precise or tactical enough to wear that mantle comfortably.

Fury, also, is kind of a dickhead, offering snark and edgy witticisms that feel ripped straight out of a comic from the early 1990s. She’s fun to play, mind you, physically weaker than Death but faster and more agile, and the whip is a grand weapon/swinging device.

Ultimately, your enjoyment of Darksiders III is going to depend on your ability to adapt and accept. You’ll need to adapt to the new direction the series takes here, ignoring your love for the previous entry and focusing on what’s in front of you. You’ll also need to accept that the game has technical issues. Nothing like the bewildering mess of Fallout 76, but enough that you’ll notice it and it may break the immersion.

Darksiders III isn’t quite the sequel fans of the series have been waiting for, but it’s engaging enough that you’ll want to see another, probably final chapter down the road. Hopefully next time they’ll keep the bloody horse!

 
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Fallout 76

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Conceptually Fallout 76 had a lot of potential. The idea of taking Bethesda’s popular post-apocalyptic RPG franchise and making it available as an online world could, if executed well, be a fascinating and intriguing evolution of the series. Imagine spending hours getting lost in byzantine quests with surprising outcomes, all the while sharing your shock and amazement with a group of up to three mates. What a premise! Sadly, however, what Fallout 76 actually delivers at time of writing is a baffling misstep, seemingly avoiding everything cool or interesting about the concept.

The plot is solid enough. The year is 2102 and it’s twenty five years since a nuclear war destroyed most of the earth. You, the player, are a dweller from Vault 76 – an underground bunker in West Virginia – and are now tasked with heading out into the wasteland, fixing what you can and making steps to repopulate the treacherous landscape.

Quite honestly, the first few hours of Fallout 76 are a good deal of fun. You leave the vault and basically need to scavenge weapons, armour and food just to stay alive. You’ll also complete simple, but effective, quests to level up and slowly learn more about the massive open world you’ve wandered into. There’s a genuine sense of discovery and excitement in those early hours, particularly when playing with friends, and you can’t wait until the proper quests begin and you can embark on the real adventure. The problem? The real adventure never arrives. The early hours are basically exactly the same as the later hours, with bigger, scarier monsters but no mission variety.

A major conceit in the game is that everyone is dead. All the humans were killed, so it means that every quest you go on involves schlepping to a place, having a look around, finding a skeleton and then listening to a long holotape and/or reading green text on black on an inexplicably intact computer monitor. This sort of environmental storytelling has worked in Fallout games before, because you can find extra information about the world and dig into the lore if you so wish. However, in Fallout 76 this isn’t the extra spice that makes it nice, this is the whole of the story. Every bastard has carked it which means there are no NPCs, no characters to engage with, no meaningful resolutions to narrative threads and no real point in getting emotionally invested. Even the few quest-giving robots that exist are shallow as hell because there are zero dialogue options and no way of having a discussion with them.

Combine this genuinely baffling storytelling decision from a company known for good stories with janky, unresponsive shooting made worse by turning VATS (a system whereby you could slow time and take enemies down with strategy in previous titles) into a barely functional auto-aim and a legion of bugs, crashes, glitches, frame rate issues and legitimately broken mission objectives and you’ve got a game that feels profoundly undercooked and likely about eighteen months away from being ready to release.

That’s not to say that there aren’t fun moments with friends. You can team up with mates and bumble through the wasteland, getting into fights with monsters and other players (although the PvP is deeply tedious and should probably be ignored) but if shooting shit with your mates is the goal there are better, and much cheaper, games out there! It’s genuinely staggering that a AAA game company thought releasing this shallow, borderline broken title in this state was acceptable and yet here we are.

Look, it’s not all doom and gloom. Perhaps in twelve months Bethesda will have patched this to an acceptable state, because the shooting/looting/crafting loop can be fine, if a tad simplistic, but we simply can’t recommend this game in its current incarnation. Every year one game seems to stand out as the big disappointment of that release period. In times past we’ve had No Man’s Sky, Mass Effect: Andromeda and, unfortunately, this year’s bummer is Fallout 76. “War never changes,” or so the quote goes, but Fallout apparently does and sadly this time it was not a change for the better.

 
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Call of Cthulhu: The Official Video Game

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H.P. Lovecraft’s legacy of otherworldly cosmic horror and profound loathing has cast a long shadow. How long? Well, the bloke’s been dead for 81 years and he’s still influencing popular culture to a shocking degree. The reclusive, super-talented-but-extremely-racist weirdo from Providence, Rhode Island, has left the world a unique vision of Elder Gods, slimy tentacle-faced beasties and strange cults that have had a profound effect on creative types like Alan Moore, Guillermo Del Toro, Stephen King, Neil Gaiman, Stuart Gordon, Thomas Ligotti and, look, bloody everyone to be honest! The dude had an impact, is what we’re saying here.

It’s natural, then, that creators of video games would be drawn to his frequently grim vision although the results have been patchy. See, Lovecraft’s stories tend to depend on unreliable narrators, often writing in journals, about things that drive you mad just by glimpsing them. This is a fantastic literary conceit but doesn’t work as well in the context of a game where you, the player, need to actually play. The latest attempt to capture the master’s mood is Cyanide’s Call of Cthulhu, based on the old tabletop RPG which itself was based on one of Lovecraft’s better-loved tales of the same name.

You play the part of grizzled war vet Edward Pierce, a private dick who drinks too much, self-medicates with pills and delivers frequent grouchy soliloquies. In 1924 Boston, Edward looks like he’s going to drink and mope himself to death until a new case takes him to Darkwater Island where shit really kicks off.

Being a Lovecraft tale lots of scary things greet old Eddie: strange family secrets, rough criminal types and terrifying Boston accents; not to mention a cult that worships a certain calamari-faced deity with a name that’s hard to spell and say…

Call of Cthulhu is, ultimately, a bit of a mood piece. The gameplay entails a lot of exploring, light puzzle solving, talking to people, putting together crime scenes with some stealth sections and very brief combat thrown in late in the tale. It is, for want of a better term, a bit of a walking simulator. The good news is it’s a pretty decent walking simulator with a solid, albeit predictable, central storyline that manages to engage for its 7-10 hour playthrough. The characters are interesting enough, the setting suitably atmospheric and while the reveals towards the end are never particularly terrifying – can Cthulhu really be all that scary in 2018 with his current market oversaturation? – they should satisfy anyone craving a light Lovecraftian perambulation.

Call of Cthulhu won’t drive you gibberingly insane with its vision of ancient Gods rising from the depths, but it provides an engaging yarn that is somewhat let down by shonky voice acting and stiff character animation. Worth a look for fans of twitchy old Howard Phillips Lovecraft, and hell – maybe if it does well there’s a chance Guillermo Del Toro’s oft shitcanned At The Mountains of Madness will live to scare the pants off us all.

 
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Soulcalibur VI

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In some ways, Soulcalibur is the red-headed stepchild of the fighting game oeuvre. Not as technical and respected as the Tekken series, nor as instantly accessible as the Street Fighter franchise, it occupies a strange middle ground and has never been given the kudos that is so overdue. Happily, with Soulcalibur VI, the underrated franchise has its best chance at garnering mainstream attention, boasting a generous offering that is easy to pick up but satisfyingly deep to master.

Soulcalibur VI, like everything in 2018, is sort of a reboot, boiling down the various disparate plot threads from previous games, and plonking them down in one cohesive narrative set in the 16th Century. To be brutally frank, the story is serviceable at best, but it’s also quite clearly not the point. Ultimately both “Libra of Soul” and “Soul Chronicle” (aka: the story) modes want to get you into as many varied fights as possible, utilising various weapons and characters. Libra is the real star here, as you can create your own unique fighter and have them enter the game’s world, even levelling up and improving weapons – in an RPG-lite type of experience. Soul Chronicle offers a similar caper but using characters that already exist in the game, it’s similarly varied and offers action aplenty. These modes are legitimately impressive, and really give a sense of depth and lore (even if you end up skipping past some of the denser walls of exposition on screen).

Of course, a decent story offering would be for nothing if the game didn’t feel right, and yet again Soulcalibur delivers the goods. The combat, unlike most fighting games, is weapons-based and uses a combination of normal hits, hard hits, kicks and blocks. Once you start combining these simple elements – and take advantage of Soul Edge and Reversal Edge attacks – the variety is dizzying, but never so obtuse that it gets in the way of fun. Because, ultimately, that’s what a fighting game should be: a kicky-punchy (or hacky-slashy) good time. Soulcalibur VI delivers this and more, a gorgeously-animated, fast-paced flurry of spectacular moves and interesting modes. Feel like the lord of all creation as you tear through Libra of Soul and Arcade mode. Come falling back down to earth as you get your arse utterly spanked by a 13-year-old kid from Japan in the online component.

Soulcalibur is a great fighting game franchise, and Soulcalibur VI is, quite simply, a great fighting game. Take a chance on this unjustly overlooked combat caper and forge a violent path in this eternally retold tale.

 
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Mega Man 11

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The original Mega Man was the first game to almost break us. The year was 1988 (or thereabouts) and your heroic writer was a burgeoning nerd in an era when such people were generally called “unco” and were punched a great deal. Mega Man was the latest game we played on our beloved Nintendo Entertainment System, a deceptively simple platformer starring a robot boy with a shooty arm. As MM you’d make your way through various levels, all with specific themes (fire, scissors, bombs etc.), and fight a boss that was the culmination of said theme. Once you beat the boss you’d flog their power and move onto the next one. It sounds pretty simple in retrospect but at the time that was a staggeringly clever gameplay mechanic. One boss was giving us the roaring shits, however, as time after time we tried and failed to beat them. Eventually we called the helpline on the back of one of the many Nintendo magazines and they told us whose powers us should use to beat the boss. It was a profound relief and a glorious triumph once implemented.

Thirty years later, with three decades of challenging game experience rattling around inside our bonce, we figured the latest iteration of the game, Mega Man 11, would be a negligible challenge. We’ve played through the Dark Souls trilogy, survived Alien: Isolation and platinumed Bloodborne. This would be a piece of piss, right?

Friends, it was not a piece of piss.

Mega Man 11 basically has the same plot as the rest of them. Ubiquitous antagonist Dr. Wily is back with a bunch of brainwashed robots and it’s up to you, blue, to kick their arses and steal their toys and eventually face Wily himself. This time you’ll have the advantage of the Double Gear system that briefly allows you to slow time, boost your damage or use both at once, although you need to be careful not to overload the fiddly tech. The title offers that classic Mega Man-style gaming. Themed levels, loads of secrets, clever bosses and platforming that will on occasion make you want to primal scream at the moon, begging for an end to the horror. See, Mega Man 11 is challenging. To the point where we found ourself notching the difficulty down to [weary sigh] Casual. And hell, even then we didn’t exactly fly through the levels! We try to tell ourselves it’s because we haven’t played an MM game for years, but part of us knows it’s likely that our old man reflexes aren’t what they used to be.

The thing is, Mega Man 11 – despite or perhaps because of the learning curve – is an enormous amount of fun. It’s bright, it’s colourful, the weapons are cool and the feeling of satisfaction you get when besting a beastly boss is as satisfying now as it was way back in 1988. If you don’t like platformers, or prefer your games more forgiving, then you should probably look elsewhere but if old school gameplay with new school presentation is your thing, Mega Man 11 will have you doing the robot.

 
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Assassin’s Creed Odyssey

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Assassin’s Creed Odyssey follows on from 2017’s Assassin’s Creed Origins, a game that represented Ubisoft’s attempt to get the long running series back on track after a grim few entries. Origins was good. Not breathtakingly amazing, mind you, but a solid course correction for a franchise in dire need of some fresh concepts. Rather than reinvent the wheel, Odyssey improves on Origins in most aspects, although there are still a number of issues that need ironing out.

First, let’s talk about the story because unlike many recent AC entries, it’s a pretty good one! You, the player, step into the shapely sandals of either Alexios or Kassandra in ancient Greece, in the year 431 BC. It’s kind of weird that the game takes place four hundred years before the entry titled Origins but at this stage of the game, the series has so much narrative baggage it’s a relief to enter a relatively uncluttered timeline.

The game has you trying to restore your family by tracking down the surviving members. What you do when you find them is up to you, to an extent, because Odyssey has added branching narrative elements, similar to those in the Mass Effect series or Telltale Games titles.

This is a smart move and makes the dialogue sections much more intriguing. In fact, the cutscenes in general are a series best, featuring excellent facial animation and voice acting. The world of Ancient Greece is similarly honed to perfection, offering a staggeringly enormous canvas upon which you can paint your story. Want to become a bad arse warrior who takes no shit? You can. Rather play it sneaky and stealthy? That’s an option too. The skill trees in Odyssey are much more meaningful, offering genuinely different skills for enormously different play styles.

Okay, that’s the good news. Now let’s delve into what doesn’t work.

Assassin’s Creed Odyssey is massive; like, legitimately enormous, which is fine. But it’s also very repetitive. Particularly after about ten hours or so when for some reason the XP is throttled and the game basically insists you take part in Every-Single-Tedious-Fetch-Quest-Offered. Oh sure, you don’t have to do them all, but if you choose not to you’ll be woefully underleveled for basically every main story mission on offer. This happened to an extent in Origins but it feels even more egregious here.

To make matters worse, the online store offers a permanent XP boost for money, basically enforcing the idea that the game is chockers with bullshit busy work that you’d rather skip and they want you to pay for the privilege. Honestly, this is the kind of shonky crap that was meant to be in Ubisoft’s past and leaves a bad taste in the mouth. Now for some people, the kind of gamers who want to do every single side quest, it’s likely not a problem. But it’s a bit cheeky to claim the game can be “played your way” and then drip feed XP in a slow, grindy trickle.

Other negatives include floaty combat, frequent (though not game breaking) bugs and a general lack of mission variety. Still and all, the game looks stunning and when it’s not pissfarting about with the sort of nonsense described above it can be almost sublime.

Assassin’s Creed Odyssey offers a decent story, great voice acting, improved (though imperfect) combat and meaningful, upgradable skills in a title that provides an expansive, entertaining adventure that will appeal to series vets and newcomers alike – although not without some reservations.