Guerilla games took a big gamble with Horizon Zero Dawn. They left their comfort zone, kick started a brand new IP and it paid off in a big way, with one of the most memorable releases in recent memory.

With the Frozen Wilds, players are given a compelling reason to venture back to this world of post-post-apocalypse. The expansion opens up a large section of map to the north, in the lands of the spiritual Banuk tribe, who Aloy has encountered briefly during the main game. The Banuk lands are are true to their ‘Wild’ name, with environments and creatures which will test even veteran players.

The landscapes can be frankly jaw-dropping. Horizon has always had impressive snowy vistas but this expansion captures a savage beauty of the far north in a way that up’s the game’s already impressive aesthetic standards.

The story centers on a new ‘demonic’ force infesting machines, and Aloy’s quest to discover their origin and learn more about the ancient machinery which still controls the world from behind the scenes. There are new weapon, armor and enemy types, all of which are very much scaled toward higher levels.

The content can be tackled before you finish the main quest, but in terms of difficulty, feels like a post game addition for veteran players. I welcomed the chance to feel tested again after coasting through my end-game experience with my practically invincible shield-weaver armor, and close to maxed stats.   

The combat is still exceptional, with new purely elemental weapons adding welcome extra depth to an already excellent combat system and with new enemy types which require quick reflexes and creative thinking to overcome.

The ‘demonic’ enemies are a tier above their ‘corrupted’ counterparts, so if you thought taking on a corrupted Thunderjaw was tough, just you wait. Elements play a central role in the expansion, mirroring the brutal climate of your surroundings. The most imposing of the new enemies are giant robotic elemental grizzly bears which harness ice and fire, and they look as cool as you’re imagining.

Overall, the story was as engaging and entertaining as the central plot, but felt a little like a missed opportunity. The writers clearly wanted players to experience this part of the world without having finished the main story but this held them back narratively. It would have been great to see this expansion setup the future of the franchise, instead it provides interesting context and fills in a few more areas around what we already know.

The side quests also stand up to Horizon’s high bar for story telling, with even simple fetch quests given enough narrative context that I never felt like I was grinding. The new weapons and armor are all deeply tied to Banuk culture and feel like organic extensions of this new environment.

One of the more significant additions to the game overall is a brand new ‘Traveller’ skill tree. The skills here are generally quality of life improvements like the ability to repair your mounts and overridden machines and clear up inventory space.  While these new skills are useful, they feel slightly redundant at the late stage the majority of players are going to be engaging with this content. An extra tier of powerful abilities on existing skill trees for late game players to strive for would have been welcome.

Frozen Wilds is a worthy addition to an already excellent game. While I would have liked the narrative to push further, that is really just a testament to how invested I still am in Aloy’s world. The main pleasure of the Frozen Wild’s is the pleasure of exploring, which was at the heart of the original game’s success. By introducing stronger enemies, new loot and giving veteran players a real challenge to accompany a beautiful new sandbox to explore, Frozen Wild’s reminded me of everything I loved about this game.

I can’t wait to go back.  

The post Horizon Zero Dawn: The Frozen Wilds DLC (PlayStation 4) Review appeared first on Shane the Gamer.

Let’s get something straight – Thor is the silliest Avenger.

Super assassins I can handle. Genetically engineered super soldier? Seen it before. Billionaire playboy with fancy gadgets? Essentially just a cheerful Batman. Man who gets big and strong when he’s angry? Totally within my suspension of disbelief.

Then we get to Thor Odinson. The Literal Norse God of Thunder. 

Because of this imbalance in plausibility, the Thor franchise has never quite found its footing, swinging between shakespearean melodrama and slapstick silliness without finding a consistent or compelling tone.

Luckily, if there is one director who knows how to make something fun out of something fundamentally silly – it’s Kiwi born Taika Waititi. Ragnarok leans into the insanity of its source material and makes it a strength.

The central arc of Ragnarok is Asgard being taken over by the newly returned Goddess of Death, Hela, (Cate Blanchett). Thor and his long estranged brother, Loki (Tom Hiddleston), must attempt to get back to Asgard after ending up trapped on a new world, Sakaar.

Sakaar is a dumping ground, where wormholes jettison whatever they’ve sucked up from across the Universe. It’s crowded and colourful and presided over by a gloriously camp Jeff Goldblum as ‘The Grandmaster’. Here is where the film is strongest, surrounded by fresh locations, characters and a playful tone which is a joy to watch.

As has been beaten to death by trailers, it is here where Thor meets up with old Friend Bruce Banner / Hulk, and new friend Valkyrie (Tessa Thompson). Loosely based on the iconic “Planet Hulk” storyline, in which Hulk is forced into becoming a gladiator on a barbaric alien world, the Sakaar section of the film is a wonderful medley of action and comedy.

Chris Hemsworth embraces the more humorous tone of his iconic character, and shows he has a surprisingly strong knack for humour, providing the most fun Thor we’ve yet seen.

The set design and soundtrack are both beautifully evoke the classic, Flash Gordon style 80’s epics which obviously inspired the film and every new set in Sakaar is a joy to behold.

Mark Ruffalo is once again excellent as Bruce Banner / Hulk, with Hulk in particular being an actual character this time around, instead of a rageful force of nature. His interactions with Thor make for some of the film’s best laughs.  

Newcomer Valkyrie makes a far better female lead than the series had in Jane (Natalie Portman), she’s a hard drinking, capable warrior who proves more than a match for Thor.  

The usual cameos and inter-film tie ins also abound, from Stan Lee to Dr Strange (Benedict Cumberbatch), with Odin (Anthony) Hopkins popping in briefly to provide some grave exposition to his sons. Loki (Tom Hiddleston) is his usual scheming self, though somewhat toothless these days, more snarky but harmless sibling than villainous God of Mischief .

Taika Waititi himself makes the best new addition to the cast, as the Rock monster ‘Korg’, bringing a uniquely Kiwi brand of offbeat humour which grounds the film during some of its more highfalutin moments.  

The action in Ragnarok is excellent, with Taika showing that he doesn’t just have the chops for comedy, but can deliver the awe inspiring moments Marvel has banked on ever since Avengers first assembled. This is also the first movie to really explore Thor being the God of Thunder in any actual meaningful way, with some impressive CGI sequences near the films climax.

Cate Blanchett is wonderful as Hela, Goddess of Death, but she is under utilised in Ragnarok. All the significant action takes place on Sakaar, with Asgard essentially bookending the film. I wanted to see more of Hela interacting with the central cast, but she spends most of her time delivering speeches in empty halls or to faceless crowds of Asgardians.

It’s unfortunate that compared to Sakaar, Asgard is stale and boring. While being consistently beautiful, Asgard and it’s residents has never truly felt fleshed out in any meaningful way, and this is never more apparent than here. The size of both the world and the population within it seem arbitrary according to the current shot and head-scratchers abound. Are the people hyper advanced aliens? Or medieval peasants? Why is Heimdall (Idris Elba) omniscient only when it’s convenient? These questions don’t derail the film, but definitely rob it’s finale of impact, as we never truly connect with the world that the cast is trying to desperately to save.

Ragnarok is definitely the best film so far in a somewhat troubled franchise. It’s combination of humour, strong performances and killer effects make for a worthy cosmic caper. However underneath it’s slick style, there are some tired narrative bones at work. It remains to be seen what  place this new, more self aware Thor will have in the wider Marvel universe as we close in on Avengers 3, but Ragnarok gives me some cautious hope for the future of Earth’s mightiest, most ridiculous hero.    

The post Thor: Ragnarok (Marvel – 2017) Review appeared first on Shane the Gamer.

The significance of the original Blade Runner is hard to overstate, considered by many to be one of the pinnacles of the genre it almost singlehandedly invented cyberpunk and set the standard for intelligent sci-fi in cinema.  

It is with understandable trepidation that the news of the sequel was announced, under the direction of Denis Villeneuve, best known for Arrival and Prisoners. As much as I loved his earlier work, I came to this viewing with my arms crossed and ready to be disappointed.

I wasn’t.

For those unfamiliar with the original, the central premise is that in a not too distant future, humanoid machines known as ‘replicants’ are used as a slave class. When a machine goes rogue, specialised police known as ‘Blade Runners’ track them down. These machines may not even be aware that they aren’t human, the ethical quandaries this creates building the backbone of the film.  

Set 30 years after the original, the film follows K(Ryan Gosling) a new generation of blade runner hunting down a new model of replicants. The marketing team has done a great job of not allowing to much of the film to be spoiled in trailers, suffice to say that the story quickly takes a direction I had not expected.

Blade Runner 2049 takes the thematic core of the original film, what is it to be human? And then expands to even more fundamental question- what is it to be ‘real’? 

The visuals of the film are as beautiful as they are impactful. Every frame of every shot is immaculate, those familiar with Arrival, will know something of Villeneuve’s style and it is  perfectly suited to the neon-drenched rainscape of Blade Runner.  

While CG is used to great effect throughout the film, the director takes pains to keep the movie grounded with practical effects, which was instrumental in the originals success. What signifies cyber punk has always been the drudgery of life juxtaposed with the gleam of hi-technology.

Every shot is packed with details which make the world of Blade Runner tangible, from what people eat to how they huddle in the rain, a thousand small touches ground this epic, almost 3 hour adventure.      

Sound design is particularly fantastic, from the heavy scrape of K’s gun being dragged across a desk to the deep thud of bullets smashing into concrete, the sounding of the film supports it’s impressive visual scope

There have been few films in the past ten years that I have felt demanded to be seen in IMAX, but this is surely one of them. The scale of some shot’s is enormous, and IMAX gives them a punch which left me trembling.

Ryan Gosling’s flat delivery is perfect for the role of K, and when he does eventually meet up with hero of the original film, Deckard (Harrison Ford), their chemistry is compelling.

Jared Leto as Wallace, the sinister successor the original films Tyrell, brings his own form of brooding intensity to a role that was originally written for David Bowie. While some might find his poetic murmurings a little too on the nose, overall he provides enough of a menacing backdrop to propel the plot.

Leto and Ford are both used sparingly throughout the film, both in it long enough to lend weight without overstaying their welcome.

Dave Bautista further proves his acting chops with a small but powerful role in the fims opening, setting the stage for the unfolding plot with an interesting mix of quiet grief and savage violence.  

The stand out of the cast is (Sylvia Hoeks), who gives a sleek lethality to her role as ‘Luv’, Wallace’s henchwoman. While she carries off her character’s violence and ruthlessness brilliantly, it’s her bitter touches of humanity which make the character stand out.

My single critique of the film would come in the form of its treatment of female characters. While each stands on her own as a strong character, to my mind too much of the film revolved around their interactions with the male protagonists.  While all the individual plots were justified narratively, I feel more effort could have been spent in fleshing out the female casts stories away from the central narrative of K and Wallace.

Blade Runner 2049 is overall a staggering achievement from a master film maker, which holds up both the closer you zoom in and the further you step back. It is a sequel that many people prayed would never be made, but thank god that the right person did.

The post Blade Runner 2049 (Sony Pictures – 2017) Review appeared first on Shane the Gamer.

When Blade Runner was released in 1982, the Cyber Punk genre first flickered into mainstream consciousness. Contrasting high technology with low quality of life, techno-dystopia has provided fertile ground for storytelling ever since.

Now from Polish developers Bloober Team, we have Observer, a worthy and ambitious successor to the Blade Runner legacy. Set in 2084 (100 years after another conspicuous influence), you play as the titular Observer, Daniel Lazarski, a new form of police-officer in what remains of society.

A plague has wiped out much of humanity, while the war which followed has eliminated the global super powers, leaving a vast corporation ‘Chiron’ to fill the void of government. The inspirations of Observer are obvious, but it quickly moves the narrative into new territory and does so while setting a new standard for writing in sci-fi.

Functionally the game is mostly puzzle solving through environmental interaction, using different vision modes to scan for biological and electronic clues. The core gameplay hook, and where Observer truly shines, is Lazarski’s ‘Dream Eater’ augmentation. This device allows you to enter the minds of your suspects and experience a hellish vision of their subconscious.

In gameplay terms, the dream eater allows for almost unlimited creativity in level design, with large portions of the game taking part inside the minds of other characters, as you experience twisted representations of their memories and thoughts.

The dream sequences are, while at times terrifying, always engaging. I would recommend playing the game with headphones in, as the soundwork is excellent. From the hum of fluorescent lighting and the creak of floorboards, to the scream of spectral nightmares, every sound is well crafted and atmospheric.

While not a triple AAA title, the game stands up graphically, with each environment rich in detail, making each scene uniquely immersive as you comb for clues. The control scheme is also enjoyably tactile, giving the player control over how much force they apply to game objects through use of the analogue stick, meaning a door can be flung wide or inched open during a tense encounter.

Voiced by Blade Runner’s Rutger Hauer, Lazarski is the central focus of the game and his scripting in impeccable. Hauer brings a weary, cold competence to the character, evoking enough of his most famous role to add gravitas without being derivative.

The quality of the script isn’t restricted to the central cast, even the most minor side characters are fleshed out with natural dialogue which constantly deepens the game world. Even if it’s a passing conversation held through a door with an unseen citizen, the writing feels genuine. Unlike many games, there is no stark divide between the quality of writing for the NPC on the street and the central characters, making the story much stronger.

Each element, from lighting, to score, to script layer together in creating a cohesive tone which is quickly established and consistent through the whole playthrough. While the relentless darkness as Lazarski toils through the muck of society may be oppressive to some players, the surreal wonder of dream eating coupled with an unfolding mystery kept me pushing through the broken streets and neon nightmares.

There aren’t many games that have tackled the thematic ground found in Observer, and I would argue none have done it with the same level of creativity. This is a game that wears its inspirations on its sleeve, but never just follows in their footsteps, instead telling a unique story which is equal parts spectacular and frightening.

The post Observer (PlayStation 4) Review appeared first on Shane the Gamer.

To be honest, I hated this game when it first came out.

Well maybe I didn’t hate it, but I was definitely disappointed. My love affair with FF10 was still not over at the time, and I had heard unsettling rumours about how much had changed in this new Final Fantasy.  

The classic battle system was dropped for something simultaneously more complicated yet strangely hands off, the levelling system caused every character to end up identical, actually moving through the game world was more of a chore than a pleasure because of long and frequent load times.

Now, years later, we have received a polished remaster with gameplay tweaks, graphical boost and an entirely new levelling system. So, it was with some trepidation that I picked up my controller to jump back into the world of Vaan, warring empires and dashing sky pirates.

Was it different this time around? Yes. Yes. A thousand times yes.

To start, it looks great. The game is vibrant and colourful and the graphical edges are smoothed over with just enough HD buffing to hide its age while keeping its aesthetic intact  

The welcome inclusion of a “Jobs” list, in which all of your characters may pick a class from Final Fantasy staples such as Black Mage or Knight, means you can tailor your party to your playstyle, instead of ending the game with a party of identically versatile death machines.

A major frustration in the original release (and to be honest, all Final Fantasy titles), was the drudgery of level grinding.  Zodiac Age has included a “Fast Mode”, where you can speed gameplay up significantly with the press of a button, making travel or levelling much more bearable.

In terms of the game’s actual story, it has held up surprisingly well.

Maybe it’s because I’ve come to it off the back of finishing FF15, but I can’t help but feel a contrast between the two.

FF15 built a world that was beautiful, vast and hollow. The creatures in it felt separate from the world instead of inhabiting it, the cast were one-note caricatures. By contrast, everyone in Zodiac Age develops as the story progresses, each becoming invested in the epic scope of the conflict in seperate ways.

Yes, the plot is over the top in the style of all Final Fantasy titles, but it is still sincere and thoughtful in ways that FF15 lacked.

Zodiac Age gives a depth to even minor side characters. This is expressed most obviously in the side missions, the place where all RPGs worth their salt focus extra attention.   

Even the most trivial of fetch quests are fun, provided that you are given reason enough to care about why you’re finding 30 seashells for the local down on his luck doctor. Particularly when completing his many errands results in an entirely new area to explore or unique boss fight.

Overall, this is the game I wish I got to play 11 years ago, but god I’m glad I get to play it now.

The post Final Fantasy XII: Zodiac Age (PlayStation 4) Review appeared first on Shane the Gamer.

Some fanart of Charlize Theron as James Bond has been doing the rounds of social media recently. After seeing Atomic Blonde, it’s not hard to see why.

Based on the graphic novel, The Coldest City, the film comes from David Leich, co-director of John Wick.

The story takes place in East Berlin, days before the fall of the Berlin Wall. Theron plays Lorraine Broughton, a British spy, tasked with finding a double agent with the help of David Percival (James Mcavoy).

Charlize Theron is impossibly cool as Broughton, with an icy aloofness and killer style that beats the hell out of any Bond in recent memory. The soundtrack and visual aesthetic of the film pair perfectly with it’s magnetic lead, propelling the audience through the runtime with pulsing 80’s beats and and flashing neon.

James Mcavoy brings a greasy sort of charm to his portrayal of Percival, and he works well as a swaggering foil to Theron’s detached calm and immaculate fashion. However occasionally his portrayal comes off as cartoonish and forced, particularly near the films climax.

John Goodman and Toby Jones fill out the supporting cast as intelligence officials, but are underutilised and essentially just spout exposition.

Sofia Boutella puts in a solid performance as french operative Delphine Lasalle, and shares a memorably steamy scene with Theron early on. This definitely isn’t a film to watch with your parents.

The actual plotting of Atomic Blonde is it’s weakest point, but I’ll mention it only briefly, because it’s a minor consideration next to how good it is at everything else.

In John Wick, Leich based his film on a superbly simple premise, which never got in the way of our enjoyment of the action onscreen.

Retired super-assassin wants revenge for his murdered puppy. Done. Take my money.

Atomic Blonde sets up so many plot threads that it occasionally becomes tangled, and we are kept guessing far beyond when we are kept caring.

Thankfully, due to its strength elsewhere, the film’s the muddled story feels more like a missed opportunity than a crippling flaw.

Leichs’ particular flair for action choreography is on full display throughout the whole film, and  the set piece sequences are some of the best I’ve seen. Fights are messy, brutal and visceral in a way that so many blockbuster flicks have lost touch with. Theron is never mindlessly dispatching improbable hordes of bumbling enemies, she’s taking them down one painful encounter at a time.

Lorraine Broughton is lethal and skilled, but always believable, she gets hurt, and she stay’s hurt. The scenes of Lorraine struggling through her injuries help ground the film and keep the violence affecting.

While Wonder Woman has been making headlines as the aspirational female hero film that we needed, I would argue that Atomic Blonde is doing something just as important. This movie casts a powerful woman as the hard drinking, sexually dominant and effortlessly cool spy-a character that has till now almost exclusively been portrayed by male actors.

Haphazard plot aside, this movie proves that Charlize Theron can go toe to toe with any action hero, and that she deserves her own franchise. Luckily, I can practically hear a sequel being green-lit as I type this.

The post Atomic Blonde (Universal Pictures – 2017) Review appeared first on Shane the Gamer.

Edgar Wright makes interesting movies.

Whether or not you enjoyed Scott Pilgrim vs the World, Hot Fuzz, or Shaun of the Dead, you’d be hard pressed to argue that they’re boring. Every shot is creative, dynamic and bursting with playful energy.

When I discovered his latest project was an action thriller packed full of car chases with a kick-ass soundtrack, I couldn’t imagine a better use for his talents, provided the film didn’t take itself too seriously. 

No worries on that front, Baby Driver is 2 hours of over the top, incessant fun, which moves through it’s run time in a frenzy of action, music and slick dialogue.

The movie is, unsurprisingly, about a getaway driver named Baby (Ansel Elgort), a real “Mozart in a Go-Kart”. An awkward youth who lost his parents as a child and fell into a life of crime after becoming indebted to “Doc” (Kevin Spacey), and his motley crew of enjoyably over the top gangsters.  

Kevin Spacey is a perfect counterpoint to the cartoonish flash of the other thugs, as he brings his unique brand of subtle menace to the role of mob boss.

Ansel Elgort pulls off the lead role well, giving Baby the effortless cool of Ryan Gosling in Drive, but with a much needed dose of humanity and humour to balance out the stern faced automotive acrobatics.

Things get complicated when Baby strikes up a romance with waitress Deborah, (Lily James), and he has to try keep her safe from the dangers of his criminal companions.

While the entire criminal cast is solid, with the likes of John Bernthal, John Hamm and Eliza Gonzalez all providing great performances, It is Jamie Foxx, playing the unhinged “Bats”, who steals the show.  

The narrative is perfectly serviceable, but it’s the action and music which make this movie great.

There is no-one better than Wright at capturing a fluid sense of motion on camera, whether it’s something as simple as Baby moving through his apartment, or a 20 minute car chase cross half the city, he finds creative ways to convey speed and movement which provide incredible spectacle with minimal visual fatigue.

This cinematic flair is enhanced by the incredible way the soundtrack is organically blended with each shot. While there have been many great films that have their score close to the heart of the film, I don’t think I’ve ever seen such a close weaving of the story, cinematography and soundtrack.

The music is the glue which holds the whole film together, instead of just the auditory lace around the edges. Each track organically melds to its scene, and each beat matches a moment of action.

While there have been many films who have told a similar story, none of them had the flair or pure fun of this one. Baby Driver takes a familiar formula and delivers something effortlessly cool and endlessly entertaining.

The post Baby Driver appeared first on Shane the Gamer.

I love horror games.

I don’t think there’s any more effective delivery mechanism for a scare than in the video game format. The extra level of immersion provided by the controller make the awful events on screen something that happens to YOU, not just a character you passively observe.

Therefore I was certainly excited to boot up indie horror, Roots of Insanity.

The game puts you in control of Riley Mclean, a young doctor working the night shift. After hearing a strange noise, he goes to investigate the abandoned wing of the hospital.

Predictably, thing don’t go smoothly, particularly considering that Riley is epileptic, and is occasionally debilitated by seizures and hallucinations.

Functionally, this is a first person exploration / survival horror along the lines of Outlast, right down to the use of the handheld camera to see in the dark.

While this set-up isn’t exactly original, the story does go on to unfold in some interesting ways, with Riley’s epilepsy proving to be the most interesting point of difference. At crucial moments the player might lose control, or see something that isn’t there, which gives the constant sense of unease crucial for a successful horror.

Most of the story is told through the player character’s interior monologue, and through notes found scattered through the hospital. Riley’s voice acting is solid, which makes the lack of other characters less of an issue, but occasionally the writing of the game leaves a little to be desired.

My biggest issue with the game narratively however, is how often it spoon feeds it to you instead of letting you discover it. Often, when you find a note crucial to the plot, instead of waiting for you to  read it, the game will simply summarise the contents and tell you what to do next.

This may sound pedantic, but it makes a big difference when the second you touch a blood stained note, a text bubble pops up effectively saying

“You’re now sure that experiments were being held in the basement, head down there now and try turn on the generator. It’s down the stairs to the left”.

This removes any need for the player to actually engage meaningfully with the gameworld, which will be fine for speed runners and people who just hold out for jump scares, but I found my immersion was often broken.

These issues are compounded by some frustrating gameplay imbalances.

While the game says that it wants you to do very little fighting, even going out of it’s way to remind you that ‘Riley is a Doctor not a Fighter’, yet it ends up insisting that you do a lot of fighting. The fighting mechanics are bland at best, and grow repetitive as the game continues, with essentially only two different types of enemy.

I feel the game should have taken the lead of its inspirations more to heart, and worked on the survival aspect of the horror, instead of asking you to hack your way through generic enemies, force you to run and hide in whatever corner or closet you can cram yourself.

In terms of art design and graphics, the game can be a little hit and miss. It’s clear that Roots of Insanity comes from a small team, and they cram a lot of creative visual scares into this game with the resources they had available. However for every unsettling and darkly aesthetic portion of the game, there are also sections dominated by muddied textures and drab environments.

Overall, Roots of Insanity has some interesting ideas which were held back by poor execution. While it’s clear where the game’s inspirations come from, it hasn’t quite learned the lessons in what made those games great.

Die-hard fans of the genre will probably enjoy picking this one up, but for everyone else, I’d recommend you source your scares elsewhere.  

The post Roots of Insanity (PC) Review appeared first on Shane the Gamer.

Acaratus probably has one of the best elevator pitch concepts I have ever come across in a game.

Steampunk battle suits.

If you’re anything like me, you’re now sold on playing this game.

The good news is, Acaratus definitely delivers on that fascinating premise, albeit with a few missteps along the way.  

The narrative context for the game relies on cliche, but generally in a way that makes the world feel familiar as opposed to fake. The world is dominated by the Emperor Helios, who holds a monopoly on the technology behind steam powered mecha, you’re predictably part of the resistance to bring him down.    

You can feel the passion of the developers in designing this world, and it plays like an adaptation of one of your favourite books, with a cheesey charm that had me rooting for the characters even as I rolled my eyes at certain pieces of writing. However, while the story has definite substance, it’s delivery can be haphazard, with a text heavy approach and a lot of exposition, it occasionally becomes a slog instead of a pleasure.

Thankfully, the core systems of the game are solid. Gameplay is a top down, turn based tactical affair, similar in execution to games like Metal Gear Acid. The player moves through a grid of squares,  executing attacks and abilities through playing ‘cards’. That can sound confusing if you’re unfamiliar with card based tactical games, and there is a modest learning curve in this instance, but the gameplay feels intuitive enough that most players should feel comfortable quickly.

Card’s can be combined in interesting ways, so the depth of gameplay variety is impressive. This is added to by the ability to customise your mechs from a wide array of parts, adding a welcome RPG element that had me spend hours tinkering with different loadouts. This is has always been the bread and butter of a mech game, the one element you need to get right, the mechs needs to feel in some way personal to the player, and Acaratus nails this perfectly.

I large part of this is thanks to the game’s art design, the Mechs have such a perfectly executed steam-punk aesthetic, and are excellently animated, so much so that each one you design feels like a character unto itself.

Unfortunately, it must be said that while the Mechs are colourful and vibrant, many environments you pass through are drab and generic. This isn’t a huge concern, as the mechs themselves are what draws the eye, but it would have been nice to have them on a more interesting backdrop.

Acaratus isn’t game from a huge publisher, it feels like the passion project of a small team with some fascinating ideas and a clear vision of the world they want to create. While this means there are certain elements of polish and balance missing, the core mechanics of the game are satisfying and well executed. Acaratus is something fresh and interesting, a blend of two genres that I can’t believe have not been combined before, and I will be very interested to see what’s next from this team.

I mean, come on, Steam. Punk. Mechs. Nuff said.

The post Acaratus (PC) Review appeared first on Shane the Gamer.

Let me just say straight up, I love couch co-op brawlers. Actually, scratch that, I love couch co-op as a genre. As the ubiquity of online gaming has spread, so often multiplayer player experience is reduced to having a torrent of abuse shouted at you by a child in another country. There’s something wholesome and genuine about playing together with your friend, who is physically in the room, against hordes of bad guys.

Zheroes is, in other words, right up my alley. A beat em up brawler, with a sprinkle of platforming and shooting, it’s a game that get’s a lot right, but is held back by a lack of polish and variety. While it’s possible to play as a single player game

Narratively, Zheroes is as simple and direct as they come. There’s a bad man in a hat, he keeps making bad robots, an improbably large man and incredibly agile woman are going to stop him. Exposition complete. Start punching.  I was a little put off at first by how simple the setup was, but it grew on me. This is a game that knows exactly what it is, and is charmingly upfront about it’s lack of plot.

That being said, a little narrative fleshing out beyond the bare bones that is provided, would have definitely helped sustain the players interest into the latter half of the game, where the game  started to drag.

The art design is vibrant and hyper saturated, think Ratchet and Clank with more fist fighting. Graphics are probably the strongest aspect of this game, with it’s cartoonish palette and character design meshing nicely.

While the gameplay itself seemingly a decent depth, such as characters able to use shields and guns to mix up their play style, it never quite hits the mark. The most important thing about beat-em-up games is that the fighting is satisfying but intuitive, that’s what makes the genre lend itself to couch co-op so well, because anyone can pick up and play.

While you can certainly button-mash your way to victory in this campaign, the fighting never quite feels precise or polished enough, and awkward unlockable combos are more frustrating to pull off than exciting. This is true of the Level design as well, most stages feel like I’m pushing through a ceaseless horde, being given little reason to care. There is a decent enough spread to the enemy design, but since fighting them become steadily less enjoyable, their variety isn’t as much of a plus.

While the platforming sequences aren’t significant in this game, it’s lack of polish is apparent here also, as the controls aren’t quite responsive enough to avoid frustrating falls. This isn’t helped by strangely placed checkpoints which lose you a disheartening amount of progress.  

The game’s DLC came packaged for this review, and while it adds an additional character, some news enemies and locations, the fundamental issues of the game remain the same.

Overall, ZHeroes is a flashy, briefly fun but ultimately shallow adventure that will certainly provide you with you a few hours of oldschool fun with a friend, but little else past that.

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