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Agents of Mayhem

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Your enjoyment of Agents of Mayhem really boils down to one question: are you a fan of Saturday morning cartoons? As a youngster – or, hell, a full grown person – did/do you thrill to the slightly generic, safe violence of G.I. Joe, Teenage Mutant Ninja Turtles or The Transformers? If no, then Mayhem will cause you to roll your eyes and sigh loudly, a lot. If yes, then we have much to discuss.

Agents of Mayhem is set in a futuristic Seoul, South Korea. MAYHEM is actually an acronym for Multinational Agency Hunting Evil Masterminds, and it’s up to you – playing as twelve different heroes (fourteen with pre-order) – to stop LEGION aka League of Evil Gentlemen Intent on Obliterating Nations.

If the above paragraph sounds like insane nonsense to you, congratulations – you are correct. Agents of Mayhem is a powerfully silly story, but where it shines is with the heroes themselves. You can team up said protagonists into groups of three and switch them on the fly. Personally I enjoyed a team consisting of Daisy the alcoholic derby girl with a Gatling gun, Oni the insane, serial-killing former Yakuza who fights with fear and a silenced pistol and Braddock, a tough-as-nails former military lady who brings the pain and airstrikes. However most combinations can be effective, and unlocking each of the new characters and experimenting with them is a great deal of fun. The variety of characters you can choose from is such that even if you find half a dozen of them annoying – and you will probably will – there are likely just as many you’ll kind of dig.

The first ten or so hours of AOM are fantastic, you’ll unlock characters, defeat boss enemies, investigate underground bases and slowly take Seoul back. The problem is at around the halfway point the game stops evolving in any meaningful way. It’s still fun, mind you, but the repetition becomes a little deadening after a while and Volition’s trademark humour becomes less edgy and more annoying-younger-brother-on-a-sugar-high as time goes on.

Enemy variety is also a little disappointing, as you end up fighting the same faceless, generic robo-soldiers over and over. If one were to be particularly kind one might suggest it’s a knowing homage to the cartoons that pulled similar crap in the 1980s, but even if that’s the case it still doesn’t make it any more engaging.

Those caveats aside, Agents of Mayhem is a lot of dumb fun. The run-and-gun gameplay is an absolute joy and triple jumping around the huge (albeit somewhat lifeless) map never stops being a blast. Like the disposable Saturday morning cartoons it seeks to emulate, Agents of Mayhem is a slight, goofy good time that offers colour and movement but it’s unlikely to leave a lasting impression.

 

 

 

 

 

 

 
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Diablo III: Rise of the Necromancer

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A corridor full of slavering monsters greets me as I enter the dark crypt. They’re not much for formalities and charge forward, an ungainly horde of teeth, claws and homicidal intent. I sweep my hands over the ground, raising bloody spikes from the floor to impale my foes. They die badly, screaming and baying. Another wave of enemies approaches and this time I conjure the corpses of the first wave to rise, rise and attack their living compatriots…

Rise of the Necromancer is Diablo III’s first major content drop since 2014’s Reaper of Souls expansion. Gallingly, it doesn’t add any story content, but as the name suggests it does introduce a class new to Diablo III: the Necromancer.

The good news is the Necromancer is one of the best classes in the game, hewing closest to the Witch Doctor in terms of skills, but otherwise quite unique. Turning corpse piles into vengeful spiders or spears, summoning wraiths to do your bidding and literally raising the dead from the bloodied battlefield to fight alongside you feels wonderfully morbid and shockingly powerful. Fans of Diablo’s darker, gothic aesthetic will really dig on this class, and the many combinations of powers you can equip on your way to level 70 and beyond.

The bad news is that there’s no new story content in which to launch your brand spanking new necromancer, making the $21.95 price tag feel a little steep. Don’t get me wrong, if you have a regular Diablo III crew running Greater Rifts you’ve probably already purchased this bad boy and are enjoying it mightily. If, however, you’re looking for the next sizable chunk of content to make Diablo III feel brand new, you’ll likely be a little disappointed.

Ultimately Rise of the Necromancer is lots of fun, but a little slight. Still, this is a game released in 2012 that still manages to feel engaging and addictive, so maybe it’s time to jump back in and desecrate a few corpses.

 
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Rime

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Rime feels like a fairy tale, or some half-remembered dream. You play as a small boy who wakes up on the beach of a mysterious island. You have vague memories of a boat crashing into rocks and falling into the sullen depths of the sea but it’s all fragmented, confused.

Once you leave the beach you’ll soon come to a series of puzzles that you’ll need to solve without hints, save for the occasionally cryptic help of a magical fox companion. The puzzles get harder, and the stakes higher, and you’ll slowly solve the mystery of who you are and what secret the island holds.

Rime is an attempt to ape the dream-like quality of the excellent Journey and the clue-free puzzle solving of games like The Witness. It’s certainly a laudable goal, and when the game succeeds it’s mellow and cathartic. The problem is, stretched over a six-hour playthrough it feels a little thin.

Journey succeeds so well because you can knock it over in 90 minutes. The Witness succeeds, and frustrates, because its puzzle solutions are increasingly obtuse. Rime, on the other hand, never really ratchets up the tension. The puzzles get a little harder, sure, but it’s ultimately a series of repetitious climbing or exploring followed by samey puzzle-solving.

It is charming, mind you. The animations, the music, the art style are all top notch… but one can’t help but feel there’s something missing here. Perhaps it’s the slightly clunky controls, or the fiddly camera but ultimately, you’ll probably persevere just to see the ending.

The ending, which we won’t spoil, is sure to be divisive and it certainly makes a statement, it’s just a pity the game before it feels so familiar and executed better elsewhere. Rime is… fine, but a little rote and while it has its charms they don’t extend for the length of the entire experience.

 
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Injustice 2

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You’ve heard the argument at school, in comic book shops and on internet forums. Which hero would win in a fight? Batman vs Superman, Catwoman vs Wonder Woman, Green Lantern vs a terrible movie adaptation – who will be triumphant? Thanks to Injustice 2, the latest fighting game from NetherRealm Studios, you can answer the question in real time, in your lounge room; pants optional.

Injustice 2 is the sequel to 2013’s Injustice: God’s Among Us, and continues the tale of divided superheroes and villains, and the arenas in which they beat the shit out of one another. The original game was a good time, but if you’d rather gargle a tankard full of razor blades and ground glass than subject yourself to the shrieky, nightmarish experience of combat games online, it had a limited shelf life.

Happily, Injustice 2 offers an embarrassment of riches in terms of content. To begin with there’s the 4-6 hour story campaign, in which you control a rotating roster of heroes and villains, ultimately siding with team Bats or Supes. The story is a bit of a goof to be honest, with some wince-inducing dialogue and outrageously contrived premises for fights. That said it is gorgeously cinematic and features fantastic voice actors like A Nightmare on Elm Street’s Robert Englund aka Freddy Krueger as Scarecrow and Re-Animator’s Jeffrey Combs aka Doctor Herbert West (!) as Brainiac.

Once you’ve completed the campaign there’s still plenty left to do. If you’re a glutton for punishment – or just spectacularly good at fighting games – you can head online to punch on with your fellow gamers. If you’re less proactive, but still want some sweet, sweet loot, you can enter AI battles with other players where the game plays out the matches for you – and you reap the lazy benefits.

However the jewel in the crown of Injustice 2 is Multiverse mode. This is a mode that features a number of temporary alternate realities, where you’ll fight various foes, at different levels of difficulty, with modifiers changing the way you play. The modifiers might feature flaming assistance from John Constantine, or perhaps the map will tilt back and forth like a seesaw, or poison bombs fall from the sky. The more you fight the more you’ll level up (towards the cap of 20) and grind for loot, which drops in Mother Boxes of various flavours. Naturally you’ll want to upgrade your preferred characters as you can then take them into tougher Multiverses and get even more fancy defence-boosting-trousers or strength-enhancing tiaras. You can also customise the numerous clothing options of your characters, so get ready to spend a lot of time cosplaying on screen.

Quite honestly this could, and in fact should, feel like a grind but when the combat mechanics are so tight and well-honed it’s hard to complain. The spectre of micro-transactions does enter into the proceedings somewhat, but can be ignored with no detriment to your enjoyment.

Ultimately Injustice 2 is one of the most consistently engaging, enjoyable and surprising fighting games in years. It takes everything that was great about Injustice: Gods Among Us and makes it faster, prettier and deeper. If you’re even vaguely interested in fighting games, DC superheroes or grinding for gear, Injustice 2 will give your free time a highly-addictive kicking and leave you begging for more.

 
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The Surge

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The “Dark Souls-like” sub genre has been booming of late. Indie charmer Salt and Sanctuary (2D Souls) was followed by the excellent Nioh (Feudal Japan Souls) and now we have The Surge, which could be broadly described as exoskeleton Souls… in the future!

The story opens with a cleverly executed sequence, where the protagonist, Warren, is revealed to be in a wheelchair, quietly maneuvering himself to an augmentation station to have an exoskeleton installed. Naturally the installation doesn’t go smoothly, taking place at the same time as some initially unspecified catastrophe, and the hero of the hour wakes up in a very different world. Certainly you’re now ambulatory, thanks to the exo, but now it seems the machines have risen and are ready to kill their meat puppet masters.

In classic Souls style, The Surge has more of a premise than a story; with details of the world sketched out via environmental cues and audio logs you can find along the way. The game’s opening hours are very evocative as you test the limits of your combat against smaller robots and other exo-suited foes. Horizontal and vertical attacks can be used to defeat enemies and combine for some appealingly chunky combos. You can focus your attacks on limbs, heads or bodies – either going for the weak spot for an easy kill, or ripping off a well-armoured arm or leg to gain a weapon or upgrade. It’s a cool, albeit grisly, way to advance your character’s progress but sadly it’s the only truly fresh idea on offer here.

The rest of The Surge is classic Souls. You’ll explore an area, fight foes, collect Tech scrap to level up or upgrade armour/weapons and, of course, if you die you’ll lose everything and need to pick up your dropped gear up within a short time limit. Problems arise when you start facing bosses, the heart of any good Souls clone. They’re simply not very interesting when compared to the glowering beasties from Dark Souls, Bloodborne or even Nioh. Plus the mission areas, particularly in the first half of the game, suffer from a sameness that makes exploration less exciting. When combined with the game’s seeming delight in making you grind for your supper, The Surge occasionally feels like a slog.

That said, there are joys to be found in The Surge’s dystopian future. When the aesthetic works it feels very compelling, in a strange sci-fi/horror hybrid kind of way. The combat is mostly satisfying, with some spectacularly bloody finishing moves, and the overall experience is engaging, although nowhere near the level of quality of the games it shamelessly apes.

If you want a tough-as-guts Souls-like experience but find dragons and monsters overplayed, and feudal Japan does not appeal, then perhaps The Surge will exo-suit you.

 
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Prey

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I’m smashing coffee cups with my spanner. I’ve been doing this for almost ten minutes, the floor’s covered in shards of white porcelain. But I know, I just know, one of these bastard mugs isn’t what it appears to be. I’m in the kitchen of a massive space station, Talos-1, and I’ll not be leaving until the mimic reveals itself. Suddenly there is an ear-splitting screech and the next mug on my kill-list transforms into a spidery black monster that lunges at my face. I jump back and start swinging my tool like a madman, knocking over chairs and smashing glass. The mimic hits me; I start taking damage so I switch to my shotgun. I don’t have many shells left but I’ll be putting one inside this little bastard. I fire, the mimic dies and I collect its guts. I’ll be using them later to craft more ammo.

Welcome to the paranoid space madness of Prey, the latest game from Arkane Studios who recently gave us the wonderful Dishonored 2. Prey tells the tale of Morgan Yu (male or female optional), a protagonist who finds themselves part of a strange scientific experiment on a massive damaged space station, Talos-1. Why are you on the space station? Who is experimenting on you? What happened to your memory and while we’re on the subject, what the bloody hell are all those inky black monsters about? All these questions will be answered over your 15-25 hour playthrough.

Gameplay-wise Prey is a bit of a mimic itself, aping notable classics such as System Shock, BioShock, Deus Ex and Dead Space. You’ll explore the space station in a first person POV, fight mimics and other Typhon, discover secrets via computer terminals, audio logs and the occasional survivor. As the game progresses you can unlock powers possessed by the Typhon aliens. These powers include the ability to mimic objects – so you can finally live that dream of transforming into a coffee cup, hitting enemies with a massive blast of psychic energy and even necromancing corpses to get off the ground and assist you. Using these alien powers will occasionally cause a huge beast called The Nightmare to come and try to kill you, but it’s totally worth it. Although the game does include the option of staying totally human, if you’re a boring monkey.

Prey gameplay

As you slowly piece together your past, and what happened to Talos-1, you’ll have choices to make. People to save or ignore, sections of the ship to repair or destroy and numerous side quests to complete for needy Talos residents. Without getting too spoilery, these choices will greatly impact your game’s ultimate ending, although perhaps not in the way you might have assumed.

Ultimately, Prey’s best asset is the space station itself and the fascinating world-building that Arkane have achieved. The game is actually set in an alternate universe where JFK was never assassinated and the space race shifted into overdrive. I lost hours of time reading alternate history books, emails between colleagues and strange, sad little stories told dynamically through notes and environmental cues.

The more you explore the more materials you’ll find, which can be used in 3D printers to craft ammo, weapons, medkits and so on. The gameplay loop of exploring, killing a bunch of Typhon, breaking down your inventory items and crafting more useful gear becomes incredibly addictive. Combined with the slowly ratcheting tension of the story, the majority of the game is utterly compelling.

Prey does stumble a little in its final third, however, ramping the difficulty level to occasionally teeth-gritting extremes. Sporadic technical hitches also marred the experience, including one instance where a saved game file became corrupted and I was forced to redo a section that took a couple of hours. None of this is game-breaking, mind you, and Arkane have been patching away as I write this, but it’s worth noting nonetheless.

That said, lovers of cerebral sci-fi and outer space horror will find a lot to enjoy in Prey. The confused tension of the early hours, the more impressive monsters and story revelations of the middle section and even aspects of the game’s head-fucking ending will thrill and delight. Just make sure you keep an eye on those two coffee mugs over there. I swear there was only one a minute ago…

 
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Mass Effect: Andromeda

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The original Mass Effect trilogy had the feel of a trashy but engaging series of space operas. The story was compelling if derivative, the gameplay was fun albeit familiar, but it was the characters, and the player’s relationship with them, that made the series so strong. The bonds you forged, sometimes emotional, sometimes physical, with the characters – human and alien – were where the true joys of the series lay.

The series ended with Mass Effect 3, featuring a conclusion that very few found satisfying. Still, despite not sticking the landing the first three Mass Effect games are generally remembered fondly. Sadly I suspect the same will not be true for Mass Effect: Andromeda.

Released five years after ME3, Mass Effect: Andromeda is an attempt at a soft reboot: new galaxy, new characters, new adventures. In theory it’s a wonderful idea. No more Shepard baggage, no need to deal with “that” ending, a clean slate. Why then did BioWare choose to play it so damn safe and dull?

This time around players control one of the Ryder siblings as they attempt to guide the various people of The Initiative in the Andromeda galaxy. The concept of you the player being the alien in a mysterious new galaxy is a fantastic one, but it’s never even vaguely explored in a meaningful fashion. Within one or two missions everyone will be calling you “Pathfinder” and the reused, bipedal aliens you’ve seen in the original trilogy (plus two new, rather dull, also bipedal races) all react in familiar, predictable ways.

Mass Effect: Andromeda Gameplay

Mass Effect: Andromeda Gameplay

Worse still is the game’s writing. It’s wildly inconsistent, veering from mildly interesting to jaw-droppingly infantile from moment to moment. It’s like the writers chucked the script in blender full of tropes, quirky one-liners and solemn-sounding bullshit and concocted a smoothie of staggering, derivative mediocrity. Every moment of wonder is swiftly undone by a clanger delivered by you or an NPC and it’s hard to engage with characters when they seems to change at the capricious whims of someone unseen, idiotic deity.

All this would be pretty disappointing even if the game functioned beautifully but, as you may be aware already, Mass Effect: Andromeda is beset by a bewildering number of bugs, glitches and outright broken elements. On my playthrough on PS4 I glitched through walls, fell through the ground, experienced mission markers that wouldn’t work until I reset the game and textures popping in and out like a demented fever dream. Although the combat is slicker and better tuned than previous ME games, it’s difficult to get swept up in the action when your enemies randomly hover above the ground staring into the middle distance like gormless mannequins.

The end result is that Mass Effect: Andromeda often feels like a slog. Occasional moments of combat and exploration-based excitement are buried beneath bad writing, poor characters and technical issues that sap the immersion and enjoyment with depressing regularity. There are elements of a good game buried in the mess that is Mass Effect: Andromeda, hidden beneath fetch quests and howlingly bad dialogue, but it too often feels like tedious grunt work to try and find them. Exploring a brand new alien galaxy should never feel this relentlessly average.

 
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Sniper Elite 4

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Shooting Nazis is almost as ubiquitous a trope in video games as hearts representing health pick ups or red barrels being explosive. The average 30-something gamer has probably killed over a million on screen Nazis in their life, and that’s a conservative estimate. Frankly the whole thing had started to become a bit passe in recent times but then the world went fucking nuts and suddenly Nazis are back in the zeitgeist, and positions of political power, once more.

While that’s shockingly, heart-breakingly bad news for humanity it’s a pretty sweet deal for killing Nazis in video games, which brings us to Sniper Elite 4.

Sniper Elite 4 tells the tale of Karl Fairburne, an Office of Strategic Services agent who has all the personality of unsalted tofu but boy can he shoot folks. After Karl grunts through a fairly unexciting opening cutscene you, the player, are dropped into action in a sprawling map of Italy in 1943. Immediately the game distinguishes itself from its very linear predecessors by giving you options and many of them. Naturally sniping is the main focus, but you can also lure enemies into traps, drop crates on groups or even destroy trucks or heavy ordinance while a cadre of Nazis mill around nearby, creating hilariously nasty death traps.

When you make a kill the game switches to an X-ray mode so you can see the exact impact of your bullet, or other projectile, and watch it literally tear through organs, splinter bone and smash testicles. Yes, the series’ favourite iconic testicle shot is back and it’s even more wince- and chuckle-inducing than ever before. There is an immense sense of satisfaction to be garnered from setting up and executing a perfect scrotum-smashing shot, or popping a Nazi eyeball. It’s grim and nasty but given the nature of the enemy, there’s a great deal of catharsis to be had.

On the downside Sniper Elite 4’s story is a non-event. That’s to be expected to an extent in this kind of choose-your-own-path-to-kill title, but even a touch of character or Inglourious Basterds-style gallows humour would have been appreciated and made the wholesale slaughter all the more satisfying.

That said, Sniper Elite 4 scratches an ultraviolence itch in the best kind of way. The ten generously proportioned maps offer a wealth of opportunities to kill your foes in interesting, creative ways and a surprising number of co-op and PvP modes round out the package, offering decent multiplayer options for those who want to shoot their friends and co-workers right in the ballbag.

Sniper Elite 4 knows exactly what it is, and as a way of blowing off steam, or engaging in some splattery wish-fulfillment fantasy, it’s a bloody good time.

 
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HITMAN: The Complete First Season

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The road to Hitman: The Complete First Season has been a tortuous one. After numerous delays and a missed 2015 release date, the game saw its first content drop on March of 2016, but there was a wrinkle: Hitman was going to be released episodically.

Reaction to this news was mixed, to put it charitably.

However credit where it’s due, the first batch of content – featuring a number of tutorial missions and an assassination at a Paris fashion show – was quality and hearkened back to Hitman’s best entry, Blood Money, as opposed to the more recent, critically derided Hitman: Absolution.

The problem was the monthly(ish) release schedule didn’t exactly engender a sense of momentum or a strong desire to revisit the game. Once you’d eliminated the target or targets and played a few escalation missions the whole exercise felt a little half-baked.

It didn’t help that Hitman featured a baffling ‘always online’ mechanic that in the wifi dead zone of Australia caused progress-shattering drop outs with frustrating regularity.

Many players and reviewers (including this one) decided to wait until the game was released in its entirety. So that day is now and the result is… pretty good, actually, with a few caveats.Hitman: The Complete First Season features the iconic, bald, barcoded bonce of Agent 47 who travels the world, steals other people’s clothes and ganks fools in creative, often hilarious, ways. The puckish sense of humour that’s always driven the series is present and some of the methods of dispatch are genuinely clever. Impaling a charismatic, right wing dictator on a church steeple was particularly satisfying and ending an enemy assassin during an early morning yoga session was extremely memorable. Namaste, motherfucker!

On the downside the story has been stripped back to a bare bones sketch of a thing that honestly barely registers and inexplicably ends on a cliffhanger. Presentation wise there are flaws present too, with the character models looking similar and moving stiffly. Plus it seems like only half dozen voice actors were used over and over, which is particularly jarring when the same noisy American brays in Paris, Bangkok and Hokkaido.

That said, there is a genuine sense of satisfaction when you pull off an unlikely assassination and manage to get away, and revisiting the same six maps to wipe out tougher, smarter foes in escalation missions – and the excellent, PS4-exclusive Sarajevo Six content – gives the game legs it might not otherwise have had.

Ultimately Hitman: The Complete First Season is an experiment that works. It’s rougher around the edges than stealth stablemates Metal Gear Solid V: The Phantom Pain and Dishonored 2, but it has a unique appeal and dark sense of humour for those with a flexible moral centre and a love of sociopathic experimentation.

 
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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.