Wolfenstein: The New Order Game Review

Released: 20th May 2014

Developer: Machine Games

Publisher: Bethesda Softworks

Certificate: 18

Formats: PlayStation 3, PlayStation 4, Xbox 360, Xbox One and PC

Format Played: PC

Creating the first-person shooter genre in 1992, the Wolfenstein series achieved an immense following, as did its original developer ID Software; in the years since, both have come down from their once widespread prominence. After many years in obscurity, the classic shooter series returned to the gaming scene under developer Machine Games in 2014, proving that single-player shooters can still be carefully and passionately crafted products.

Taking place after the events of 2009’s Wolfenstein and beginning in 1946, Wolfenstein: The New Order follows series regular William "B.J." Blazkowicz (played by Brian Bloom) as the allied forces launch a desperate assault on a Nazi compound, hoping to: “cut the head off the Kraut war machine”. The attack turns out to be a disaster; hopelessly outmatched by superior technology from robot dogs to mechanised mutants, William and a few of his fellow men barely escape the sadistic General Deathshead (Dwight Schultz), but William is sent into a coma and awakens fourteen years later to find that the Nazis rule the world. He soon links up with a small band of compatriots and the mission to topple the fascist power begins, taking him and later the resistance on a round trip of Nazi-controlled areas around Europe and the often-horrific implications of their victory. With a central narration by the main protagonist, Wolfenstein: The New Order does something that no other title in the franchise has before; it humanises the characters. Sure, William B.J Blasckowickz is a Nazi-killing super-soldier in a thick leather coat by gaming standards but the struggle he and the resistance faces, alongside being out of his element in the Nazi-ruled 1960s adds a fair bit of poignancy to his character. The relationship he forms with the Polish nurse Anya (Alicja Bachleda) is also a key emotional point. Every character in the resistance feels important and this drives the player to pull through the campaign. It’s also aided by a strong pacing that shifts between locations and events with cutscenes in-between. Add to that the truly loathsome villains, who are all introduced with dramatic monologue sequences and you have the most fully-featured and engaging plot the series has ever seen.

Wolfenstein: The New Order is entirely focused on delivering an engaging single-player component and with every resource committed to doing so, the game succeeds. The opening level features a nasty choice that shifts many factors over the course of the campaign, particularly where story and characters are concerned. There’s a brilliant level of variety here; on-foot combat, light platforming, a simple stealth system, commandeering vehicles and taking on bosses. Yet despite a relatively linear campaign led by specific objectives, The New Order is filled with replayability; while some shooters today make use of throwaway collectables, in this game they add to its setting. Enigma codes offer additional unlocks from the main menu, all sorts of newspaper cuttings and letters are strewn around the environments for further context and on top of all that, Blazcowickz can unlock new abilities and perks by completing specific challenges throughout the game, whether it’s tossing grenades back or increasing movement speed when sneaking. With some openness to the levels, the player is rewarded for exploring with some particularly great easter eggs thrown in for long-term fans of series. The game takes at least ten hours to beat, but with so much to find in that main campaign, alongside the alterations of that first choice, The New Order offers far more than its contemporaries in a market so intent on putting more focus on multiplayer.

By setting itself apart from most shooters on today’s hardware, Wolfenstein: The New Order feels remarkably fresh. The game offers a regenerative numbered health system in increments of 20, making scavenging for health packs around the levels essential; you can also buff your health further and up Blazkowicz’s durability with armour pick-ups. A light cover system ensures a more careful approach on lower health by leaning and peeking over walls and cover When William’s health rises above 200 however, you can take more risks, running and gunning in a hail of ammunition and grenades. When combat does heat up, it feels incredibly punchy and impactful; every enemy you riddle with bullets falls and tumbles with often gruesome results and the control scheme is kept simple and straightforward. Enemy AI is quite good with standard helmeted soldiers moving between cover points while robots relentlessly track and surround the player. The protagonist carries plenty of weapons on him at all times; assault rifles, shotguns, silenced pistols and throwing knives, as well as a rechargeable laser weapon whose potency only grows over the course of the game. You can also dual wield weapons and rip off gun turrets for even more firepower, which is a must as the Nazis that show up get gradually tougher; for the most part this raises the challenge seamlessly though occasionally it can boil down to bullet sponge robots which make combat drag on longer than it should. The stealth system can also feel relatively simplistic at times too; certain levels will have Nazi officers who must be killed silently to prevent reinforcements being called in. If you are spotted, enemies will keep pouring in until the officers are eliminated; this could have been expanded, along with the perk system to allow a more stealth oriented playthrough. Aside from a few slightly archaic gameplay choices, Wolfenstein: The New Order is able to empower the player with some of the more ferocious action seen in recent shooters.

The New Order runs on ID Software’s Tech 5 engine, but it’s the art style that makes a far greater impression. The metallic steampunk style gels incredibly well with the Nazi version of the 1960s; saturated grey columns, mechanical monstrosities stomping around, the use of analogue devices, it all works to create an absorbing effect that speaks of the utter domination imposed by the fascist third reich. The sheer scale of the antagonist’s hold on the world only adds to the illusion with vast domed buildings and expansive towers. Environmental variety is also a strong point, but this goes hand-in-hand with the game’s often brutal source material; you’ll uncover some truly disturbing sights over the course of the game, mostly featuring the Nazi’s cruel treatment of test subjects and prisoners. It makes it all the more satisfying to punish them for their evil, further contributing to the plot motivation. Brilliant voice acting makes every character unique and interesting and with a hint of fantastical elements thrown in, the latest entry in the Wolfenstein series feels more grounded, alongside a soundtrack that brings together pumping rock tracks and a classical sixties tone. With barely a drop-in performance, Wolfenstein: The New Order comes together cohesively; even the load time between each mission are kept relatively low, meaning the game never loses much of its immersive qualities.

I was genuinely surprised at how good Wolfenstein: The New Order was; it’s easily one of the standout first person shooter campaigns to come out in recent years with a resonating story, powerful combat and a sinister, terrifying and often sadistic alternative future. Whether you’ve played a Wolfenstein game or not, The New Order is a welcome diversion from all the modern military shooters that now dominate the genre.

Rating: 8.5/10 (Great)

John Wick: Chapter 2 Movie Review

Released: 17th February 2017

Length: 122 Minutes

Certificate: 15

Director: Chad Stahelski

Starring: Keanu Reeves, Santino D'Antonio, Common, Ruby Rose, John Leguizamo and Ian McShane

In 2014, John Wick made a smashing big-screen debut, proving that not all action films have to be poorly shot, underdeveloped messes. With the sequel, Chad Stahelski, Keanu Reeves and the production team have gone even further, resulting in another excellent effort from true experts of the action craft.

John Wick: Chapter 2 picks up right from the last one, with the deadly hitman taking back his car which was stolen by the antagonist in the original film, a furious opening that hooks into the audience. From here the first act hits the same beats as the original; Wick is once again wronged by a high-ranking member of the mob, this time from the Italian crime lord Santino D’Antonio (Riccardo Scamarcio), which eventually turns into a vengeance mission. But at the second act, things go sideways for John as a bounty is placed on his head and that’s where things really get started. The unpredictable tension is heightened immensely as the hitman dashes from place to place, not knowing who will be after him next. It never lets up all the way to finish, allowing Chapter 2 to set itself apart and create a scenario with even more intensity. The pressure keeps piling on top of John as the film proceeds, making it even more unpredictable and intense than the first film. There’s also a far greater focus on structure and rules this time around as John Wick Chapter 2 delves deeper into the criminal underworld, showcasing a code that switches up the narrative even more. For example, one part of this restricts the conducting of business, violent or otherwise, inside a criminal hub. By switching up the proceedings in this way, John Wick Chapter 2 skirts around the trap of most sequels, continuing rather than rehashing its predecessor.

With a greater focus on the criminal underworld, Chapter 2 introduces a more diverse set of characters that really deepen and expand the seedy world the central character inhabits. The introduction of Laurence Fishburne as the leader of a band of highly trained folks on the fringes of society is a highlight, creating a smooth personality that contrasts with the more controlled serious nature of the mob. Other assassins also make their entrance here; rapper Common as Cassian and Ruby Rose as Ares both deliver great physical performances, throwing themselves into the combat sequences. The main characters haven’t lost any of their impact either; Wick’s tortured life once again imbues an element of sympathy to his character, he wishes he could escape the life of a hitman and settle down but finds he has no choice. Reeves’ performance is matched by Ian Mcshane’s Winston, whose stern mannerisms ground the film’s theme of rules into the film seamlessly. Strong yet simple characterisation allows John Wick: Chapter 2 to commit ample time to what it does best; pure adrenaline-charged action.

John Wick: Chapter 2 continues the original’s talent at producing expertly shot and choreographed action sequences; with a multitude of fighting styles present, not even one of these is ever obscured from view or drops its obsessive attention to detail. As John Wick efficiently shoots and punches his way through the film, excellent stunt work, brutal violence and confident editing work in tandem to deliver a blend that few other action films can match. The overall look of Chapter 2 feels far more elaborate than its predecessor, with a dazzling opera event that leads to the film’s best action scene where Wick alternates between different firearms in a claustrophobic underground setting. A collection of montage shots is used to keep the action moving along quickly, meaning it never loses its frenetic edge, while the soundtrack’s combined use of echoing synths and pulse-pounding flourishes continues to give off the neo-noir style that characterises the series. The set designs are appropriately high class, with ritzy hotels placed against backdrops of New York and Rome respectively. The second chapter in John Wick’s story sets a high standard for every other film in its genre; it works with every action element so slickly that it’s hard to imagine any other action franchise coming close to its level of quality.

Deftly produced and viciously thrilling, John Wick: Chapter 2 is an action spectacle, one which ups the ante from the original while providing one of the best thrillers of the year so far. You’ll be blown away and then some.

Rating: 4.5/5 Stars (Brilliant)

The Great Wall Movie Review

Released: 17th February 2017 (UK and US)

Length: 104 Minutes

Certificate: 12A

Director: Zhang Yimou

Starring: Matt Damon, Pedro Pascal, Jing Tian, Willem Dafoe and Andy Lau

Mixing the fantasy genre against a historical backdrop and aiming to appeal to an audience beyond Chinese cinema, The Great Wall has an impressive size to its imaginary war but doesn’t have much else to offer in comparison to other films of its kind.

In the time of the Song Dynasty, two European thieves named William Garin (Matt Damon) and Pero Tovar (Pedro Pascal of Game of Thrones fame) are on an errand to retrieve the explosive black powder which would surely turn the tide in other national conflicts; while trying to escape with valuable materials, they come across the Great Wall of China and are taken prisoner by its occupying army, the Nameless Order. Things grow complicated when a pack of lizard creatures attack and the two of them are soon roped into a desperate defence to keep the creatures from rolling over all of Asia. The Great Wall is broken into three acts which vary in terms of overall quality, the first two offering some decent action set-pieces. Momentum is rarely its strong suit however; dropping off the action, the audience is treated to some dull character moments which don’t much the overall narrative. It’s very heavy on exposition as well, which spoils a lot of the mystery behind the creatures attacking the wall; at many points the characters will simply spell out the fantastical elements to the audience, resulting in a lot of wasted potential. The third act also goes downhill somewhat as we’re introduced to a very underwhelming Emperor character and his advisors. At the very least, The Great Wall is a self-contained story, but it struggles to fit its action into a well-told story.

Despite making a solid use of Chinese actors, the characters of The Great Wall are very lacklustre across the board; Matt Damon and Pedro Pascal aren’t very interesting and the fact that they start the film off with identical make-up styles doesn’t work to set them apart. It’s impossible to care about their goals because there’s never any deeper dives into their positions as thieves and how they tie into the overall struggle. Contrary to all the controversy, The Great Wall is far from a “white savior” production; as much of the focus goes towards Jing Tian’s character and the army she comes to command; Tian is easily the best actor of the film, despite a few flat moments here and there. Wilem Dafoe doesn’t have a lot to do and the same also goes for many of the generals of each sect in the Nameless Order; they don’t have anything to them sadly, which makes their contributions ring hollow throughout the film. It’s a significantly lowered amount of investment if the characters aren’t all that memorable and The Great Wall really falls short here.

Computer generated imagery has a large presence in The Great Wall and it does succeed at creating a colossal battle raging throughout one of man’s greatest constructs. There’s a real sense of scale as the camera pans up and over the massive structures of the titular landmark, giving a full view of both armies as they clash. A heavy use of drums populates adds a real weight to the proceedings and the extras do well to sell the action which cuts between various war machines and troops to create further immersion. The designs of the creatures, bipedal with mouths full of razer sharp teeth also look capably threatening. As well shot as the action is though, there are some silly moments which detract from the its fantastical tone; colour coding the different factions of the army feels too simplistic and a certain sequence involving bungee jumping feels very ineffective. When the film is aiming to give off the impression of a capable Chinese army, these points stick out more than they should.

The Great Wall may offer an alternative take on the fantasy epic but it isn’t worth getting excited over. When the action heats up, it can be mildly entertaining, but when it has to slow down and give time to the characters, it just doesn’t work, pulling it down from its lofty ambitions.

Rating: 2/5 Stars (Disappointing)

Overwatch Game Review

Released: May 24th 2016

Developer: Blizzard Entertainment

Publisher: Blizzard Entertainment

Certificate: 12

Formats: PS4, Xbox One and PC

Format played: PC

New projects can be a double-edged sword in the gaming industry; either they shoot to stardom or fail horribly, resulting in much wasted potential. Despite entering in the relatively crowded space on the online multiplayer shooter genre, particularly in the PC market, Overwatch stamps itself onto the scene, complete with a look and style unlike any of its competitors.

The basic story at play in Overwatch follows a band of heroes disavowed by the government in the aftermath of a robot invasion and much like Valve’s Team Fortress 2, much of the narrative is contained within animated shorts online. The heroes remerge, this time fighting against each other and after a slick intro cinematic, you’re free to launch into quick match and training modes to get to grips with the game’s character focused design. As of 2017, twenty-three characters are available to choose from and each one features their own unique playstyle and weapons; with the exception of some healers, each one requires a fair amount of skill to master, alongside a devastating ultimate ability which, when charged up, can turn the tide of battle. Each match usually takes place across ten minutes, ending with player stats being toted up and commended by others, making for a relatively quick and easy game to set up. Arcade mode mixes things up a bit with three-round elimination matches and competitive mode features ranked matches across seasons with ten preparatory matches used to determine your overall skill level, an often-brutal challenge that requires impeccable teamwork and coordination. With some options for spectating and detailed player stat tracking, the final aspect of Overwatch is its loot crates which are earned either by levelling up or paying real money; luckily though, every item, be it sprays, character skins or voice lines are all purely cosmetic, leaving no chance for a pay to win scheme creeping its way in. The only real downside to Overwatch’s content is a reduced number of game modes which have been bound to specific maps; you’ll be capturing points and pushing a payload cart most of the time. But in the end, this really doesn’t sour the game’s fun factor and considering the free updates and seasonal modes further down the line, this is sure to be rectified soon.

Playing Overwatch is very much dependent on player choice; Four main classes make up the roster; offense offers the most aggressive playstyle, defence characters hold down objectives, tanks pack a large health pool and support heals the team in varying ways while not being too great in a fight. You’ll be blowing away enemies, supporting teammates and taking on objectives to earn points while keeping an eye on timers for your abilities which vary between characters. Movement plays a role as well with characters such as Hanzo scaling walls and Reaper teleporting from place to place. Some of my favourites include the group-healing DJ Lucio, bomb tossing Junkrat and the heavyweight laser-shooting Zarya. No matter which you choose though, a skilled team can often completely dominate the opposite side, making lone wolf endeavours very ill-advised. The maps are equally well-designed, offering all sorts of nooks and crannies as well as a helping of verticality to catch enemies unware. With some practice, you can take some shortcuts to flank the enemy or make a quick escape, particularly with DVA and Pharah’s jump jets which briefly enable flight. The game makes a real effort to emphasise the importance of team balance during every match, the character menu informing the player if they have: “No healers”, “Too many snipers” or other quick messages. As fun as the characters can be though, it’s the moments where the team synergises their abilities and ultimates that things are at their most exhilarating, even when you’re on the receiving end. In one game I was subjected to a Genji dragonstrike, powered up by Ana’s damage boost and his blade cleaved through the entire team without taking any damage. The game also sees fit to reward these awesome moments with “play of the game”, short clips that act as moments of glory for the best players; occasionally these can go to unskilled moments such as the turret-building Torbjorn but for the most part POTG offers another great incentive to play well. Some clips are saved to a recent games list upon exiting though personally I would like to see a full on saved films feature in the future.

Overwatch is a gorgeous looking game, with a cartoony art style very reminiscent of a Pixar film; the characters and the world they inhabit are all incredibly diverse and imaginative, pulling the player into every match. Add to that the number of customisable skins and things become even more vibrant and colourful. It all runs so smoothly as well, with not a single bug, glitch or hard crash and this meticulous attention to detail ensures that matches always push on without any hitches. Killstreaks and other announcements flash up on screen and a long list of carefully selected sound cues populate the ups and downs of battle to further the game’s focus on balance; if an ultimate has been fired off by the opposite team, a corresponding voice clip plays, giving you some time to get out of the way or move to counter an incoming assault. The voice talent gives all the characters their own unique personality while the soundtrack is incredibly action-packed, imbuing the action with a dramatic flair that’s hard to resist. Even if you’re not a fan of shooters, Overwatch’s presentation, with all its eye-catching facets, makes an impression all its own.

If all the fanfare and awards over the past year wasn’t any indication, Overwatch is a vastly entertaining shooter with few stumbles regarding both business practices and composition. But what really makes it such a superb multiplayer game is the immense care and detail that went into every character, map and technical detail. It’s fast and frenetic, but also possesses a steadfast organisation to its team-based mechanics, making it a fantastic new IP from Blizzard.

Rating: 9/10 (Brilliant)

Fallout 4 Game Review

Released: November 10th 2015

Developer: Bethesda Game Studios

Publisher: Bethesda Softworks

Certificate: 18

Formats: PlayStation 4, Xbox One and PC

Format played: PC

The Fallout franchise is one of the most venerable in the role-playing genre. After a five year wait and tons of anticipation, Fallout 4 was released, promising to be “Bethesda’s most ambitious game ever”. Contrary to this goal, it’s easily the weakest mainline game of the series, despite making some progress where the shooting is concerned.

Beginning in the year 2077, a soldier and his wife have come off a long war with China and hope to settle down with their infant son on the outskirts of Boston Massachusetts. However, a nuclear attack is imminent and the family hurries to Vault 111, an underground facility based in the study of cryogenic suspension. They enter the vault in the nick of time, unaware of the experiment they are about to be unwilling test subjects for. 200 years pass and the Sole Survivor reawakens to find their son gone and the world beyond the vault in ruins. From here he or she sets out to find their missing child while also coming across all manner of factions who wish to stake their claim on the technologically rich city of Boston. Fallout 4’s opening is incredibly flimsy with barely enough time spent with the protagonist’s family in the pre-war era to build a strong connection. You’re rushed to Vault 111 without any real build-up and things don’t really manage to pick up after that. The two biggest problems with the story are the voiced protagonist and an overall lack of personality and flair. Giving the main character a voice in a bid to catch up with current role playing titles was a very misguided choice; from the get-go, you’re stuck playing as either a rather generic soldier or lawyer character (Depending on the gender you choose) with little to no variation outside of appearance. Aside from a few select examples such as the savvy journalist Piper, the world they inhabit feels monotonous as well with factions that feel more like archetypes rather than intriguing additions to the Fallout lore; the most glaring of these are the Minutemen, a boring “good-guy” group who favour laser muskets and 17^th Century hats. The writing is very uninspired as well, severely lacking in a wit that would make you care for the characters and the world they inhabit. Throughout much of the main story, you won’t feel very invested in anything that happens, outside of a few select moments regarding the future technology the games are known for. Add to this a drastically reduced amount of player choices and you have the least memorable story in the entire franchise.

If you’ve ever played a modern RPG then Fallout 4 will be an easy game to get into. Exploration is still Bethesda’s major strength; it’s enjoyable to just wander around, coming across the newly added legendary enemies and weapons while completing the occasional side-quest. But where Fallout 4 takes a step backwards is in player investment, something made possible by the role-playing mechanics of previous titles. In fact, many of the systems that have become synonymous with Fallout are no longer present; the karma system, repairing weapons, skills and traits are all gone for Fallout 4 to deliver a more streamlined experience. The problem with removing these facets is that the role-playing aspects of this latest entry feel incredibly neutered; across any playthrough, your ability to use any type of weaponry, craft, pick locks and hack terminals are all fairly universal from the offset, instead requiring iterative perks to upgrade abilities. Of all the mechanics, it’s the iconic power armour that has undergone the biggest change, though this is for the better. Power armour is no longer an equipable item, but a vehicle that needs to be powered by fusion cores and constantly repaired with junk over the course of the game. When you’re using any of the customisable suits, it feels tremendously weighty and powerful while also providing buffs to carry weight, removing fall damage completely and reducing weapon recoil. It’s a far more balanced, well rounded system that fits seamlessly into the upgraded combat. This goes hand-in-hand with an extensive customisation system that applies to weapons, armour and the new settlement feature. Crafting modifications for equipment is a very welcome addition that adds purpose to all the bits of junk lying around the game world. The settlement feature doesn’t fare as well; clearly designed to cater to Minecraft players, at first building and managing settlements can be a worthy distraction, but it never mixes things up over the course of the game. You’re always doing the same thing; deconstructing wreckages into junk, attracting citizens and then defending them with turrets and other defences. Combine this with the soulless NPCs and there’s not a lot of motivation to keep at it. Fallout 4 ultimately feels like a collection of systems repackaged from Bethesda’s previous outing: Skyrim with a few extra bits added on top. Some of these do add to the game but most end up being regressive and detrimental to the game’s overall appeal.

Setting out to improve the core gameplay, the fourth main entry in the Fallout series achieves some success. The gunplay feels solid across the board; powerful weapons, a real sense of weight and impact and the newly added melee bash all contribute to shooting on par with most modern releases. Radiation levels now bleed the player's health bar rather than issuing negative status effects. Combat continues to be performed with a combination of real time shooting and VATS which slows down time to target specific body parts; landing crits is now dependent on building up a meter, making for better balance between the two options. Enemy AI has been updated too with raider gangs taking cover and retreating when on low health. It’s only when enemies start swarming at close range that things become woolly to control. On the other hand, partner AI could be much better; they constantly set off traps and occasionally interrupt combat with speech options. It was clearly a priority to significantly reduce the number of menus and pop-ups and Fallout 4 does succeed in some ways here. There’s a lot less stopping and starting during the action outside of the Pip-Boy menu as sorting items in containers is done organically in the game world. Not all changes here are for the best though; the dialogue system, in a bid to get alongside the likes of Mass Effect has been severely butchered, making it the worst aspect of the game. First, there are only four options to choose from, limiting your bearing in conversations; second, the options are vague, meaning you’ll often be confused as to what your character will say and finally, the conversations have a nasty habit of cutting out at random if you accidentally move, forcing you to reposition. All being told, the strong gunplay isn’t enough to keep the player fully engaged here. While some of the side-quests take you to varied locations, many are endlessly repeated quests from factions that have no bearing on the overall story whether it’s defending settlements or scouring locations for technical documents. With the reputation system from Fallout: New Vegas also absent, the complex interplay between factions and whom the player decides to assist has also been lost. A common gameplay formula I experienced in Fallout 4 usually involved finding a new location, looting it dry, selling off the junk and using it to repair gear, fast travelling back to a settlement to store it all before repeating the process again. Put simply, the game ends up removing much of the enjoyment I had with the series, a very unfortunate thing indeed.

Right from the off-set, Fallout 4 is a title that runs on the aging Creation Engine, sitting below other technical powerhouses and aiming to make its gameplay give the stronger impression. For a post-apocalyptic wasteland, the Boston Commonwealth is a lot brighter than previous entries, which may diminish the grim atmosphere for some. Character models look especially stiff with awkward facial expressions that create a further distance from any story engagement. While the graphics don’t really impress, the attention to detail, physics and animations have been upped; weather effects swap seamlessly between day and night. Leap down on top of enemies in power armour and the shockwave will stun them for a moment. Enemies such as mole rats and feral ghouls will crawl out of the ground and under obstacles and when travelling through the Commonwealth, you’ll also witness Vertibirds flying around and engaging other factions in battle, a sizeable step up from Fallout 3 and New Vegas. The music hums with an ambient, almost hopeful tone before giving way to tense combat pieces that provide a somewhat urgent backdrop that the game’s story can’t match. Bethesda’s latest title is no stranger to some bugs here and there, most notably floating bodies and items but none of these damage the game’s performance in any major way. With all its stumbles in design and gameplay, Fallout 4 manages to move past its simplistic textures and backgrounds, delivering a suitably efficient aesthetical upgrade in the process.

Fallout 4 makes a few steps forwards with presentation and gameplay mechanics, but it also makes very costly mistakes by stripping itself of much that made the series what it was. I really wanted to love the game but instead it feels rather pedestrian when compared to other modern RPGs, focusing on superficial distinctions that add little to its open world structure. It’s a shooter first and role-playing game second; to series newcomers this won’t be a problem, but for anyone who has played the franchise for a while, especially the old isometric titles, Fallout 4 will be very disappointing.

Rating 6.5/10 (Fair)

200th Post: My Top Ten Favourite Video Games

I’ve reached 200 posts on the Cainage Critique which calls for another countdown. This time I’m flipping it around and talking about my favourite games that I’ve played for as long as I can remember. Some newer games I’ve been getting into such as Overwatch, XCOM 2 and The Witcher 3 won’t be included here as I haven’t put enough time into those titles to really appreciate them over the following games in my list (Though I will be getting to those later with fully-fledged reviews). This post will also be inherently biased as I’ve mostly been a PlayStation fan over the years, having only recently gotten into full-on PC gaming. Thanks very much again to everyone who reads my blog.

Honourable Mentions

·       Dishonored (PS3)

For developer Arkane’s first main title, Dishonored really does excel. With an absorbing water-colour style world and a sense of morality woven into its gameplay, Dishonored releases the player into environments and allows them to choose the fate of Dunwall from the offset with a variety of awesome powers and weaponry. It misses the main list because its story is predictable and some other niggling things (Which I talked about in another series on this blog) get in the way of player choice at times.

·       Deus Ex: Human Revolution (PS3)

Marking the return of the franchise after many years, Deus Ex Human Revolution was a title I zeroed in on as soon as I saw the initial trailer. It’s a great RPG with a strong focus multi-layered levels but intrigue is one of its greatest strengths, personified with a tough future where corporations come first, waging literal warfare against each other. The black and gold hue marks it as an incredibly stylised title and the amount of player choice on display is extensive, allowing for tons of customisation and play styles, whether you’re upgrading Jensen’s abilities as an augmented super-soldier or a stealthy covert operative.

·       Assassin’s Creed II (PS3)

Assassin’s Creed has become a highly divisive series; but before it went downhill, it used to be one of the more unique and thoughtful action games out there. II was the first game I played in the series and I was positively blown away by how good the game was and how likeable Ezio Auditore Da Firenze could be as a protagonist. Brilliant writing and characters served the foundation for a superb tale of revenge set across the beautiful environments of the Italian Renaissance. Just about every flaw in the first game had been rectified and fixed as well. Even over six years after its release, ACII is still the most well-rounded of the entire series for me and a reminder of the level of passion Ubisoft once put into its games.

·       Sly 3: Honour Among Thieves (PS2)

The last of best of the Sly trilogy, Honour Among Thieves rounded off the underrated series with a bang, offering the same brilliant platforming action while also bringing in a heap of new characters to play as the adventure went on. The game was also incredibly dynamic with its scenarios for the time, swapping from hacking mini-games to pirate ship combat and back again over its duration. It’s story also had many improvements with a real camaraderie being created between the gang of thieves as they searched for a way into the Cooper family vault. It was a fitting end to the story, though 2013’s Thieves in Time had other ideas further down the line…

·       Ape Escape (PS1)

Ape Escape is extremely underappreciated and it’s a game I played a ton as a child. Outside of Pokemon, there aren’t many games like it nowadays and the series remains dormant to this day. A shame because the first game was a crazily corny, yet fantastic platformer. Running around and catching escaped super-intelligent monkeys across time seems like a recipe for chaotic madness, but the game created a real structure and progression to the formula. Acquiring new gadgets as the levels grew more and more complex was only part of the fun as the game made great use of the PlayStation’s analog sticks for an intuitive control scheme.

10. Half Life 2 (PC)

Starting off the main list is Valve’s legendary shooter sequel, and to some extent its episodic expansions. With one of the most memorable and well-paced campaigns in FPS history, Half Life 2 creates an unparalleled level of immersion right from the get-go as the oppressive nature of the Combine Controlled City 17 bears down on Gordon Freeman and the characters around him. From there the player is taken across a solid variety of locations, enemies and encounter, all without a single dip into cutscenes or instances where control is taken away from the player. Powerful weapons, smart enemy AI, it’s all top-of-the-range when it comes to the shooter genre. The episodic expansions continued to build on this layer with an even greater variety of environments and battles to undertake, inevitably leading up to gaming’s most infamous cliff-hanger that still hasn’t been resolved a decade later…

9. Spyro 3: Year of the Dragon (PS1)

Spyro 2: Ripto’s Rage was the very first video game I owned and completed on the PlayStation 1, but despite my nostalgia for it, Year of the Dragon is my favourite of the three because it built on an already solid foundation. Much like Sly 3 it brought in new characters (The flying penguin Sgt Byrd being my most played) and expanded on the base platforming. From a surprisingly fun set of skateboarding levels to full on race-tracks, Spyro: Year of the Dragon boasts the most varied gameplay of the series, something down to its more complex level design which packed even more ventures in every world visited. It’s just too bad that after Insomniac Games left the series, it all went downhill for the purple dragon and his dragonfly sidekick.

8. Batman Arkham City (PS3)

Arkham City is not only the best Batman game but remains the greatest superhero game ever created. Not even its sequel Arkham Knight could top it in 2015. In 2009, Batman: Arkham Aslyum proved that the genre didn’t have to be confined to crappy licensed games. But in 2011, Arkham City blew the lid off the top, improving on its predecessor and upping the ante in every way. A deeper combat system, more twisting narrative and an even bigger world to do it all in; everything is taken to the next level. Whether playing through the engaging main story or the well thought out side-quests, it’s the ultimate Batman simulator, remaining an absolute must buy for any game player, comic book fan or not.

7. Red Dead Redemption (PS3)

Taking a break from Grand Theft Auto in 2010, Rockstar saw fit to develop a spiritual successor to the underrated Red Dead Revolver. Using what they had learned from their main series, the result was one of the most acclaimed open world games on the seventh generation of consoles, nothing less from a master of the genre. Where Red Dead Redemption differs from Grand Theft Auto is through its plot; I like a brilliant story in games and Red Dead Redemption is by far the most thoughtful tale that Rockstar has put out in this regard. As John Marston sets out to capture or kill his old gang, walking the path set out for him by the corrupt government, there’s a sad poignancy to it all, a sense that an age of freedom is turning to a time of order and control. It’s backed up with a solid sub-set of gameplay systems that really pull you in to the dying old west. Some people call RDR Grand Theft Auto with horses; I call it one of Rockstar’s crowning jewels when it comes to plot and narrative, an immensely engaging title that can stand alongside the best spaghetti westerns.

6. Uncharted 2: Among Thieves (PS3)

Uncharted Drake’s Fortune marked Naughty Dog’s debut on the PlayStation 3 but fell somewhat short in terms of quality. For the sequel in 2009, the developer saw fit to improve on the first in every conceivable way and they certainly delivered. Uncharted 2 is a fantastic second entry and a showcase for the system it is exclusive to. From the start of the Nepal level around a third into its runtime, Uncharted 2 becomes a non-stop thrill ride all the way to the finish, turning it into a game that you don’t want to put down. It stands above both Uncharted 3 and 4 in this way, turning it into a game you don’t want to stop playing just because you want to see where the story goes. Polishing itself to a fine sheen, Among Thieves remains one of the most rip-roaring adventures committed to a controller.

5. Team Fortress 2 (PC)

This class based shooter is insanely fun, with my favourite class being the engineer. Originally, I played TF2 on the PlayStation 3 version of The Orange Box back in 2007 before it inevitably fell to hackers and a dwindling player base. On PC however it’s a completely different story and when I got back into the game in 2011, it was still just as wild and enjoyable as it was before. The nine classes and their different play styles are great to experiment with and a constant stream of new content for free ensures the game will never go stale; Team Fortress 2 has lasted so long because it has a personality and wacky charm that few other online shooters can match.

4. Ratchet and Clank 3 (PS2)

Those who have known me for a while will know that I was all over Ratchet and Clank back at primary school and 3 is still the one I go back to the most. I can remember first playing it at a friend’s house soon after it released in 2004; little did we know that we walking into one of the finest exclusives the PlayStation 2 had to offer. It packed the funniest humour and a massive web of weapon systems and awesome looking planets into one comprehensive package. On top of all that, the third game in the series added multiplayer for four players, resulting in all sorts of manic moments round friend’s houses with split-screen. Ratchet and Clank 3 is ultimately a perfection of the platformer-shooter hybrid that Insomniac continues to pride itself on today.

3. Metal Gear Solid 4: Guns of the Patriots (PS3)

Released in 2008, Metal Gear Solid 4 was the first “must-have” game for the PlayStation 3 and after reading through the included encyclopaedia to catch up on the story, I dived into the series for the first time. Metal Gear Solid 5 may have the most refined and open-ended gameplay but for me Metal Gear Solid 4 is the most complete and fully-featured game in the entire series. A phenomenal campaign paced with stunning cinematics and countless set-piece moments with a bleak, depressing tone hanging over all of it as Solid Snake’s story comes to a close. It’s still one of the most detailed and tightly produced games out there with a story that wraps up the Metal Gear franchise perfectly while also delivering the tense stealth gameplay and pushing the console hardware to its limits.

2. The Last of Us (PS3)

As a titan of the industry, Naughty Dog has put out some stellar titles ever since they first started working under Sony; I enjoyed the Crash Bandicoot and Uncharted trilogies a fair bit throughout the PlayStation’s 3’s lifespan but it was The Last of Us which really cemented them as the best in the business. From the heart-wrenching opening all the way through to its somewhat ambiguous conclusion, the game boasts some of the best voice acting and presentation facets ever seen strung along with some brutally intense stealth gameplay in which item crafting, survival horror and a ferocious set of encounters had me on edge the whole way through. Even the multiplayer stood out as very innovative, rather than a tacked-on extra. It’s a staggeringly well-realised combination that dwarves many other AAA games. The Last of Us made a very serious run at my number one spot but settled at number two. As an emotional journey, it remains unsurpassed, but when taken as a whole package, there’s only one game that can top it…

1. The Mass Effect trilogy (PS3)

My favourite game by a mile is Mass Effect, not a single game but the entire trilogy. Much like Avatar in my top 10 favourite films, it’s a culmination of everything I enjoy about science fiction taken to the highest level. I first got into it when Mass Effect 2 came to the PlayStation 3 in 2011 and then the third game in 2012. At the end of that same year, the first game also came to the system to complete the set. I couldn’t pick just one entry in the series when all three games form a cohesive, emotional and insanely awesome tale. Blending action-packed gameplay and meaningful choices against the backdrop of a vast and expansive galaxy of lore. You become so attached to the characters and the world they inhabit. Each of the games have their faults; Mass Effect 1’s clunky mechanics and 3’s ending being the most glaring but none of them are enough to sour my overall enjoyment. Even years after their releases, I’m still heading back to the series, mixing and matching character classes and enjoying the ride time and again. Will Mass Effect Andromeda live up the immensely high standard set by the original trilogy? I’m looking forward to finding out when it releases in March.

(Images used for the purposes of review under fair use)

Trainspotting 2 Movie Review

Released: 27th January 2017 (UK)

Length: 117 Minutes

Certificate: 18

Director: Danny Boyle

Starring: Ewan McGregor, Ewan Bremner, Jonny Lee Miller, Robert Carlyle and Anjela Nedyalkova

Trainspotting has gone down as one of the most revered British films; after a twenty year wait, Danny Boyle and the original cast have returned to the cult classic, though this time things have certainly taken a step back in terms of both tone and focus.

Having been away from Scotland, Renton finally returns to his childhood home in Edinburgh, reuniting with Simon “Sickboy” Williamson (Jonny Lee Miller) and Spud Murphy (Ewen Bremner) and mucking in with a scheme from Sickboy to build a brothel on the outskirts on the city. However, the psychopathic Begbie (Robert Carlyle) has escaped from prison and wants Renton dead for stealing money from a drug deal twenty years before. More misadventures and nasty moments are abounding as the lads past friendships are put to the test. Moving away almost completely from its drug fuelled pacing, Trainspotting 2 is a story of wistful middle-aged men going through hard times and disappointment. This is immediately apparent as the film reintroduces us to the characters, who are all down on their luck. They soon turn back to crime, only this time it’s more of a caper rather than petty felonies to grab more heroin. It’s a very nostalgic film with the characters seeing echoes of their past lives, but the film still takes care not use too many call-backs to the original. There’s still plenty of humour to be found here alongside a higher dose of emotion with the introduction of families and reminiscing on some of the harder times faced previously. It certainly isn’t fast-moving like its predecessor and those expecting a similar pacing will be disappointed; ultimately Trainspotting 2’s plot speaks to those who saw the original two decades ago, implanting its theme of a mid-life crisis onto the audience in a rather poignant way.

Looking very out of place in the 21^st Century, Trainspotting 2 keeps its characters consistent with the first film. Renton has been suitably subdued for the sequel, his narrations kept low while maintaining that sense of morality at the end of the first film. Spud has been given more influence this time around and his struggle just to find work and worth in a place so eager to reject him is one of the more emotive moments of the film. Miller adds a grouchy, ratty nature to Sickboy’s persona and Robert Carlyle’s Begbie goes straight for the craziness, a violent individual made even worse by twenty years in prison. While the main cast does a fine job returning to their old roles, others aren’t as well-portrayed. Veronika (Played by Bulgarian actress Anjela Nedyalkova) goes by really underused, mostly commenting on the action and only receiving a larger part towards the film’s end. The side characters are decidedly weaker this time as well; Kelly McDonald’s Diane, fellow conman Mikey Forrester (Played by Trainspotting author Irvine Welsh) and Renton’s father have very brief scenes, minimising the impact they could have had on the plot. The main cast performs well here, but by taking a step back from the strong side characters from before, the impact of T2 is lessened a bit.

Boyle’s inventive filmmaking style returns for Trainspotting 2 and it once again works to sell the wackier moments of the film; a set of CCTV footage is cut against the robberies committed by Renton and Sickboy whereas a rather awkward scene in a Protestant swing club bounces on and off the stage. The film works in oodles of modern tech, lingo and other references to the current times, further emphasising the distance between the two films. This is matched by the film’s brighter colour palette, creating a further disconnect between the characters and the modern society they inhabit. A few modern tracks creep into the soundtrack this time around, alongside remixes of tracks from the original film. Born Slippy by Underworld is echoing, slow and methodical for T2, indicating a tired tone that hangs over the character’s dissatisfaction. Towards the end of the film, strong shadow work and gloomy lighting engulfs its climax, a perfect analogy for what the friendships between the characters have turned into. Ultimately the presentation is a great throwback for the director which implements elements of today’s society without any real issues.

Trainspotting 2 is well made and acted, making a few stumbles where the original did not. It can’t really measure up to the supercharged pacing the film had before but it is nevertheless a well thought out sequel that takes advantage of the twenty-year gap to deliver a more sentimental tone and plot.

Rating: 3.5/5 Stars (Good)