Video Games / Platform / PS4

Buy Metal Gear Solid 5 For Kojima – Supporting a Vision

Buy Metal Gear Solid 5 For Kojima – Supporting a Vision

Konami have done the seemingly impossible, they’ve become more disliked than EA games. While hatred towards EA is often misguided, and clumsy, Konami have seemingly went on a campaign to elevate themselves to a higher level. As company, Konami have long been a slobbering mess, stumbling around, popping out games ranging from fair to utterly broken. Their treatment of the ‘core’ franchises has not exactly helped things either. Releasing broken HD remasterings of both Silent Hill and Zone of Enders, and simply refusing to fix either release, left a bitter taste in the mouth of the collective consumer mouth. Of course, it’s hard to talk about Konami without mentioning Hideo Kojima, the former golden boy turned wandering exile. In truth, Kojima has played his part in some of  Konami’s mistakes, a fact often ignored by many because ‘it’s Kojima’, but the breakdown between the two has been spectacular. The Metal Gear series is not just another video game franchise, it’s relevance and importance to the industry is undeniable, it’s fan base fiercely loyal. While most franchises are celebrated as video games, Metal Gear has always been there, side by side, with Kojima as a video game cultural event. The man himself has became just as much of a focal point as his creations. His bizarre, often pretentious, works have carved out a unique space for him in the hearts and minds of many. Much like Shigeru Miyamoto, or god forbid Cliff Bleszinski, Kojima has taken up the mantle of  industry icon. This position comes with a huge amount of power, both business wise and socially. The break down between Konami and Kojima wasn’t simply a business matter, or even a creative matter, it grew into it’s own story. Fans sat back and saw almost daily updates on the decaying relationship of two iconic names. Backlash started to bubble up, blog posts and tweets started to spit venom, the knives we’re out for Konami. The final straw seemingly came in the form of Konami removing Kojima’s name from their records, denying his efforts, including the effort put into Metal Gear Solid 5: The Phantom Pain. Fans of Kojima, and not-so-fans like myself, began to take notice. This was no longer just a disagreement between employee and employer, this was something much more. Konami had been nurturing a bad reputation for sometime now, KojimaGate (least I tried) was merely the flame that set off the explosion. With a huge cloud of animosity engulfing Konami from nearly every corner of the industry, and the sense of injustice towards Kojima, the resulting consequences have produced a few interesting dilemmas. Konami have one of, if not, the biggest release of 2015 on their hands. Metal Gear Solid 5, Kojima’s last effort in the franchise, is hard to ignore, but is buying the game supporting a shitty company like Konami a good thing? It’s easy to rush to the conclusion that we should boycott Metal Gear 5, hit Konami in the pocket. While they may be raking it in through various arcade machines, their biggest game flopping would surely be a dagger to side. The most furious of people may support a boycott, after all, boycotting has been a popular concept in video games for sometime, even if it often fails to materialise, but there’s a problem with this form of protest in a creative industry.   Kojima does not just make video games, he crafts his visions and inspirations, resulting in a video game. . His general attitude towards the art form , and creative media as a whole, is admirable. His tweets, much like his work, often reflect various influences and nods towards what inspires and interests him. Even after all the bullshit between him and Konami, I find it hard to believe that he would support a boycott, even more so if it was at the expense of his work. Much like a artiest wants to express themselves to others, Kojima would surely want as many people as possible to see his masterpiece. Buying Metal Gear Solid 5 isn’t you supporting a shitty company like Konami, it’s witnessing the final strokes on a creation spanning well over a decade....

Jump, Run, Kill, Die, Repeat – Black Ops 3 Beta Impressions

Jump, Run, Kill, Die, Repeat – Black Ops 3 Beta Impressions

The more things change, the more they stay the same, these are the words that echoed within each hour spent playing the Black Ops 3 Multiplayer Beta. The Call of Duty franchise has became something entirely different from what it started out as. The scrappy underdog, willing to go toe-to-toe with the established Medal of Honor franchise in a attempt to rejuvenate the World War 2 shooter. The little game that could, is now the big game that does what it wants. Call of Duty is now placed in a position in which it can create two franchises within it’s own brand. The Black Ops side of the brand has been celebrated for deviating from the ways of it’s sister, with creativity and adventure being favored over gritty modern warfare. The Black Ops games have progressed their story in a natural manner, to the point where Black Ops 3 is a futuristic pseudoscience romp, complete with exo-skeletons and robots. This new setting has of course allowed Tryarch more creative freedom in the multiplayer.   The Black Ops 3 Multiplayer Beta was open to all PSN Plus members this weekend, a brief glimpse into the next step in the progression of Call of Duty  Black Ops. From the moment the Beta loads up, it’s clear to see that there’s already been a big change to the core game. The addition of Specializations gives a structure to the game, a much welcomed addition as opposed to mix-and-match system that has featured in padded forms for the last few years. Each specialization has it’s own special (as you’d guess) weapon and equipment, both of which can turn the tide of any given the game. The holy trinity of play styles is catered for with weapons ranging from a bow and arrow, to a multi-grenade launcher. The motivation that comes with handling these special weapons is what gives Black ops 3 a genuinely satisfying edge. There’s a certain tinge of glee when using the immensely powerful power and arrow to pull off multiple direct arrow kills. Specializations open up a layer of depth, even within the Beta. Experimenting with each spec, and building a class around it, presents so many play styles and unique builds that give each match has it’s own unique flair.It’s expect that, like most games of it’s nature, a few builds will become the norm, but kudos should be paid towards the systems attempts to freshen things up. The weapons, attachments and perk system mostly remains the same. The unlocking system does a decent job of supplying the player with various new items at a fair pace, even if some of them feel rather trivial compared to others. This issue of a lot of ‘fluff’ (items, or score streaks that don’t feel very useful) has always been present in Call of Duty titles, and Black Ops 3 seems to be no different. At times, some weapons feel like they’re there just to make up the numbers, this thought is reinforced by the sheer lack of people using them. It is of course a Beta, and this is the exact issue that can be solved by Beta, but only if the player base bothers to make their thoughts heard. Movement is by far the best thing Black Ops 3 has going for it. Wall running and parkour movement systems are becoming more and more common place, even more so in first person shooters. With the likes of Mirrors Edge, Brink, Titanfall and Advanced Warfare all having a crack, Black Ops3 has it’s own accumulation of all past efforts. Movement if fast, tight and fluid. It all flows and syncs with the general action, feeling like a natural system rather than a gimmick. Regardless of the game, stringing together a number of slick movements and jumps always produces a giddy sense of ‘yeah, that was bad ass’. Black Ops 3 finds a middle ground between fast and fluid movement, while maintaining a sense of control. It’s rare you’ll find yourself scaling a wall by mistake, or grabbing onto a ledge, resulting in a cheap death. The only element holding back Black Ops 3′s free-flowing movement is it’s map design. The basic rules of Call of Duty map design are still very much present. Cover is always 5 seconds within reach, multiple exits and entries fill each section of the map and multiple levels can be reached to gain a height advantage. Surprisingly, there’s a number of ‘hidden’ paths neatly sowed into each map, catering for the more crafty players. The real issue with maps is they can feel too contained, stifling  the  free-flowing movement. Some maps feature areas that look like they can, and should, be accessible but are anything put. These areas put a slight downer on the experience, as well as coming off as refusing player’s creativity in their navigation of the map. On the whole, Black Ops 3 multiplayer Beta was a enjoyable romp that suggest the mulitplayer is making steady progress, even if it’s restrained by it’s established ways. There’s so much going on at any given time, so many grenades, bullets and scorestreaks just popping off all over. It’s hard to look passed how hyper active the multiplayer is. The way in which players can spawn, kill and die within the space of 30 seconds can become a little overwhelming, much like a child with attention deficit hyperactivity disorder. Call of Duty is known for this pace, it’s known for it’s general accessibility and instant gratification through quick kills and almost instant respawns (in the relevant game modes), but this is starting to hold the experience back.  It’s hard to soak things in when everything is exploding around you, or killing you every four seconds on loop. The Beta does enough to maintain interest in the final product, mostly thanks to curiosity rather than being straight up impressive . The market is undoubtedly there, and the new additions could  go far in changing Call of Duty’s image of ‘same shit, different year’ but at it’s core, it’s still the twitchy, hyper active multiplayer shooter it has been since Modern Warfare 2. The future’s bright but it’s also high on sugar and booming sound affects....

Early Access On Consoles: Understand The Risks, Enjoy The Rewards

Early Access On Consoles: Understand The Risks, Enjoy The Rewards

PC gaming is often celebrated for numerous reasons. Often at the forefront of video game advancement, PC gaming has often shaped the path most console trends take. For the most part, the trends from the PC side has helped improved the industry as a whole, but the most recent trend is steep in controversy. Early Access is seemingly becoming common place for both indie games and big budget releases. A curious mix of Beta testing and demo, Early Access has many sides to it, not all of them positive. For the money the customer invests into the game, what they receive in return isn’t exactly known. The level of risk involved with purchasing a Early Access title is great, you’re essentially buying a work in progress, that could drastically change at any point. The positive side to Early Access comes in two forms. Purchasing a Early Access title is directly supporting the game, allowing for it to improve and grow. Responsible developers will engage with their Early Access customers and use feedback and input to enhance the game in question. The customer is, of course, getting their hands on the game sooner rather than later. The PC platform allows Early Access games to receive updates generally quickly, without much hassle in terms of red tape. Consoles are now following in the path of the PC by introducing Early Access, which feels like a bad idea. The market, culture and general attitude of PC circles is radically different to that of the console. There’s more of a acceptance for change, more ability to be more open minded in terms of new services and concepts. Console markets are known for being set in their ways, especially when it comes to how they purchase their games. It feels like a problem waiting to happen when Early Access hits consoles. The staggered manner in which consoles titles are updated presents the biggest potential issue. Early Access games live or die on how often they are updated, if the updates come slow and staggered, it’s hard to see the service ever becoming viable, at least on consoles. Questions over how much said games would cost is another curious issue. There’s also the practical problems to do with the limited hardrive sizes more consoles shipped with. Looking for positives is not hard, as Early Access still supplies plenty of benefits. As previously mentioned, having the ability to back a game and play it straight away, even if it’s in a early state, is still a appealing concept. Microsoft are planning to put their own games on Early Access, hopefully resulting in less technical train wrecks (Master Chief Collection style) from appearing in final version releases. The key to making Early Access on consoles relies on various things, the first being penitence. The console market needs to understand what Early Access is, they need to understand the games will be buggy and incomplete. The platform is there, the market is there, for Early Access to be successful on consoles, as long as the risks are understood.  ...

Zombi U: Can The Cult Classic Truly Be Reborn?

Zombi U: Can The Cult Classic Truly Be Reborn?

For all the stick the Nintendo Wii U has suffered, at least when it comes to a lack of adult games, Zombi U always remained a firm favourite. The misunderstood Ubisoft effort was a genuine step forward for survival horror. Touch screen gimmicks were transformed into viable gameplay elements that provided some truly intense moments. The slow and sluggish nature of the gameplay, the way in which a single zombie posed a genuine threat, Zombi U was fantastic. Unfortunately, Zombi U was met with a number of struggles. The Wii U’s initial launch was a troubled on. Slow sales aside, the Wii U inherited the Wii’s image of being a ‘family console’, resulting in a number of people simply not caring about the console. Nintendo’s name choice, and the Wii’s legacy, meant Zombi U found itself in a awkward position. Unsurprisingly the game’s sales figures failed to meet expectations. Zombi U was met with mixed critical reviews, but garnered a cult following. Genuine fans of survival horror, and not the modern ‘BOO, BANG BANG – repeat’ horror of modern games, appreciated Zombi U. Miiverse hosted a interactive player base, with players trading tips and secrets, resulting the game feeling more alive than ever. The way in which Zombi U works, most notably it’s rogue like elements, allowed for players to craft their own stories, their own experiences. Player X often had a much different experience than Player Y when they both respectfully entered the streets of London. The social elements of Zombi U have remained one of it’s most underrated features. Finding notes left by other players, Demon/Dark Souls style, lent the game a sense of life. Uncovering a secret stash of goodies, thanks to a note, always presented a bizarre sense of satisfaction and gratitude. Zombi U utilized friend lists in glorious double edged manner. Finding a note left by your friend, informing you of a crossbow stored in the next room enforced the bonds between the two players. Creeping into said room, looking for said crossbow, took a whole new twist when presented with the Zombified remains of your former friend. It’s a novel concept, but it enhanced the game tenfold. Following a paper trail of notes left by a friend, aiding you in your quest for survival, only to be met by their shambling corpse, it had impact. Ubisoft are many things, but in the case of Zombi U, they’re overlooked. With the news of Zombi U, now renamed Zombi (odd choice given the film franchise sharing the name), coming to PS4 and Xbox One, Ubisoft may get the credit they are owed. This jump from Wii U to Xbox One and PS4 does bring up a few worries however. The most obvious worry is how the game will look. Zombi U was fantastic, but a looker it was not. Muddy visuals, some basic textures, repeating assets, it’s visuals were adequate at best. People expect their Xbox One & PS4 games to look top notch, something Zombi could struggle to achieve. The main worry with the transition is that the game’s character could be lost in the process. The Wii U pad enchained Zombi U greatly, a vital part of the experience. While the PS4 does offer a touch pad that could partly recreate some of Zombi U’s joy, the Xbox one has nothing. Kinect and tablets are the only methods the Xbox One has to offer, and neither of those feel all that appealing. Zombi U is still, and always was, relevant purely down to it’s character and soul. It’s hard to shake off the concerns over it’s jump to the current generation. The cynical side suggests that Zombi will be a cheap cash in on a hot sub-genre in which anything with zombies turns a profit. It all remains to be seen, but at the end of the day, Zombi U will always be remembered as the game that deserved so much more.    ...

Rocket League Is Not The Game We Asked For, But It Is What We Needed

Rocket League Is Not The Game We Asked For, But It Is What We Needed

Rocket League is nothing short than utter brilliance. It’s simply, it’s efficient and god damn is it fun. For the most part, we tend to look at Nintendo for ‘pure’ video game experiences, but Rocket League has propelled itself into that very same space. The Auto-football video game is a gentle reminder that simplicity will always have a place in the industry, even when every other games are overproduced and bloated. Breaking Rocket League down in order to see why it works is a curiously enjoyable process. Marveling at how basic the game is, yet how deep the game can be, it’s all part of the enjoyment. While a average person can sit down and understand the core game within a few moments, there’s a extra level of ‘flair’ underneath the basic concept of ramming a ball into a huge goal. Mastering the art of perfectly timed jumps, the craft of a well timed defensive power slide, the thrill of scoring a fancy goal. Rocket League is exactly the game the 2015 market has needed. The cult following around the game has already taken hold of social media and Twitch. The core concepts lend themselves perfectly to reliving the old days of ‘fun’ multiplayer, rather than competitive. The cynical side of me can’t help but think that Rocket League would receive more acclaim if was developed by Nintendo. Rocket League deserves to be a huge success, both commercially and critically. It strikes me as a game that has the potential to become ‘that’ game a group of friends/players return to for a quick blast of pure video game thrills, much in the way people return to Timespillters 2, Mario Kart or NBA Jam. Rocket League is simply a joy worth experiencing, giving even the most jaded of video game players something to smirk about. Psyonix, who are also credited for the fantastic Nosgoth, have struck gold with their mash up of driving and football, and here’s to hoping they supported it with a decent stream of DLC and events.   P.S, welcome back Split-Screen local multiplayer our old friend.   *Rocket League Ranked stream each night at 7:pm GMT over on our Twitch    ...

Bethesda Goes Big At E3, Doom Emerges As Potential Game Changer

Bethesda Goes Big At E3, Doom Emerges As Potential Game Changer

It’s beautiful, it’s gorey, it’s Doom. The gameplay shown was pretty much exactly what most die hard Doom fans wanted. It’s literally a jaunt through various corridors making a utter mess of the various hell spawn the Marine encounters. Gun porn was also included, as too was some cheerful chainsaw footage. It started violently, and ended violently. Doom, much like the original, is a complete package. Single player, old school multiplayer (power ups, rocket jumps, no dial up internet), editing tools. This is a modern Doom in every sense. Snapmap could the difference between the game being a flash in the pan, or online power house. Doom showing closed with a showing of Hell, it’s as grim as you’d expect. The smoke effects seemingly went unappreciated, but they do set off the environment perfectly. Overall, Doom maintains it’s classic DNA, while splicing it with modern day features and more open levels. Personally, I find Doom to be a much more interesting prospect than most other games we’re aware of. One slight concern, Doom’s old school approach may be jarring for the modern day console player. They’ve come to expect cinematic story driven games, blitzed with QTAs and cut scenes. Doom says ‘fuck that’ and throws you a shotgun. Battlecry is one of those games that has never truly felt like it’s doing anything ‘big’. There’s still questions over exactly what it is, even with a decent amount footage being out in the wild. It’s going into world wide Beta, it still looks like it could be fun, but nothing that’ll set the world alight…even more so given competition in the same space. Dishonest 2′s big reveal was ruined after they ‘accidentally’ mentioned it during a stream that was ‘accidentally’ broadcast. In truth, Dishonored feels like it came out years ago. With the Thief franchise all but dead, Dishonored fills the gap nicely. One of the new leads is a female, so Polygon will surely be creaming themselves before ranting about the character not being conflicted enough about her gender/sexuality. The penis bearing character option still exists, so don’t worry. Elder Scrolls Online takes front and center. It’s boring, as in truly boring. Think of all those MMORPGs that came out in 2001-2002 that had no quality of life features, awful questing mechanics and no real reason to party up for the most part, that’s Elder Scrolls Online. The flower picking system is good however. But brutal honesty aside, it’s a decent enough experience now it’s gone free to play, but there’s much better on offer in terms of MMOS both on PC and console. Elder Scrolls Card game (Legends), because you know, Hearthstone and Magic The Gathering are making card combat ‘cool’ again. Hard to see them knocking off Hearthstone from the Card Combat throne, but what ever, the more the merrier. Fallout 4, the game we all knew was coming (at some point), then all acted surprised when it was announced. Even after the years of wanting Fallout 4 to be real, people still moaned when it became reality. Concept art was shown, there was a ghoul pirate which looked pretty radical (get it? RADical?). Fallout 4 goes into the unexplored Pre-war, which feels a little off , mainly due to the showed content feeling like fan service. The complaints about the visuals some people had come off even more silly, Fallout 4 looks beautiful, the art style fits the tone perfectly. All the characters are fully voiced, with dynamic dialogue. Pip Boy is all fancy, mini games, holotapes, 3rd renders of items, it’s like the Iwatch with a actual point. There’s a collectors which will no doubt sell-out, and be sold on e-bay for five times the RRP. Fallout Shelter, a mobile game for people who love the Sims, love Fallout, and cramp riddled necks. Micromanagement with a Fallout twist. It’s free, no pay wall, no internet connections, it’s almost like free-to-play actually exists. The most interesting feature of Fallout 4 is the ‘re-building’ feature. The player can build settlements, which attract other NPCs to live in, which in turn increases the size of the settlement. Build defences, market stalls, caravans. This is how you add infinite replay value. The crafting systems scope carries over to weapon customization, the sheer amount of options at hand is staggering. Power armor is fully customizable, it’s almost like Bethesda want you to give up your social life…and job. Fallout 4 looks like the next step in the franchise, genuine progression for the series, and the industry. If the Devil is in the detail, Bethesda are covered in virgin blood and blasting out Swedish death metal. The release date is this November, but there’s always a hint of cynicism when it comes to release dates and E3.     So Bethesda started off the E3 showings with a bang. Doom is setting up to be the dark horse of their line up. The gameplay won’t be to everyone’s taste (history shows this on consoles) but the Snapmap feature could place Doom as a long term success, and not just a flavor of the month. Fallout 4 is Fallout 4, it’s going to sell well, the hype is already there, people want it. The scope of the game is insane, the release date is still a little suspect but either way, it’s Fallout 4. Dishonored 2 was only shown in trailer form, and it’s oddly went under the radar across social media. The market needs Dishonored 2, the lack of stealth games is hugely apparent, and the recent demise of the Thief franchise has left the door open for Dishonored 2 to take it’s seat of power. Bethseda paced their showing perfectly, moving from game to game. They gave facts, and not promises, smaller reveals were covered quickly and precisely, never out staying their welcome. Fallout 4 will obviously be the game on everyone’s lips, but Doom is the game to watch, purely down to Snapmap, that feature could change the console scene for the better.                ...

The Best So Far, But Not Yet Great – Game of Thrones Ep4: Sons of Winter Review

The Best So Far, But Not Yet Great – Game of Thrones Ep4: Sons of Winter Review

TellTale’s Game of Thrones series has been their weakest work since Jurassic Park, but there’s always been a since of hidden potential just waiting to burst through. The firs three episodes have plodded around, often looking for a real direction, with the intention of setting the pieces into places. Episode four, Sons of Winter, marks a turning point for the series, welcoming back TellTale’s ability to tell a story while engrossing the player, but it’s not without it’s faults. By the time Sons of Winter rolls around, the core cast of characters all have their defined goals, traits and ideals. Each story arc has a distinct tone in keeping with themes often covered in both the books and the TV show. Family values, honour, responsibility, tradition all continue to play key parts in each respective character’s story. The theme of revenge remains prevalent throughout Sons of Winter, only this time it comes into conflict with the concept of a ‘the greater good’. Sons of Winter is much more direct episode in the series, with the action coming at a steady pace. The constant small talk of the previous episodes is replaced with action scenes and plot progressing interactions. This new found flow allows the episode to feel much more compact, never allowing the player to settle into a lulled sense disenchantment. The storyline around the Forrester/Whitehall stand off benefits most of the change of pace, becoming a much more engrossing tale. The conversations between key characters carries much more weight than initial episodes. The lack of small talk frees characters, allowing them to command a presence in their respective scenes. Both Mira and Rodrik Forrester’s once staggered stories are now a interesting mix of political intrigue and intense tension. Rodrik in particular shines thanks to a number of intense stand offs and decisions. Mira’s section is a much more subtle affair, akin to her character. Her weapons are not physical, but verbal, as she adopts to the game of lies played across Kings Landing.   Asher plays a pivotal part in Sons of Winter, presenting some genuinely interesting back-story and filler during events shown in the TV series. His continued tale of avenging his family leads him to running into Daenerys Targaryen on the even of her conquest of Meereen. While the TV series featured the outcome of her conquest, Sons of Winter shows the beginning with Asher and Beskha on the front line. The simmering tension between the two friends continues to boil, with Beskha growing increasingly frustrated with Asher’s willingness to obey others. The relationship between the two characters becomes to focal point for the episode, with one of them revealing some genuinely interesting back story. As ever, one story is sacrificed in terms of how much spot light they receive. Gared’s exploits at The Wall are significantly cut down, leaving his story to be left in the dust. His section mostly consists of quick time combat events, with one or two minor interactions in between. In truth, the Gared storyline was starting to lose it’s momentum during episode three, that momentum is essential dead by the close of Sons of Winter. Telltale have almost written themselves into failure with Gared’s quest to reach the grove. His story feels slightly hoakey when compared to the deadly game of wits and brawn present in the other Forester family tales. The main issues Sons of Winter suffers can be found in the shape of the inclusion of the Queen of Dragons. Her demeanor is jarringly hostile, nothing like her appearances in the TV series. Her inclusion in the episode feels slightly like fan service more than a means to drive the plot. Emilia Clarke’s wooden acting does not help things, but does suit the robotic nature of the character models. TellTale’s engine is seriously showing it’s age now, muddy textures, robotic animation and some utterly bizarre facial movements are the main issues to be found. Sons of Winter is easily the best of the bunch so far, suggesting the series is finally ready to hit it’s hot streak. Compact story telling, interesting revelations and some top notch pacing results in a hugely enjoyable experience. While the games are starting to look aged, the core elements all work together neatly. All of the pieces are in place, with three of the four stories at boiling point, episode five is already looking promising. Engaging, intense and utterly enjoyable, Sons of Winter is everything the last three episodes failed to be....

Why Ask For Female Led Games Only To Ignore them?

Why Ask For Female Led Games Only To Ignore them?

The last few years has seen a huge push for more female representation in video games. A number of video game journalists, pop culture critics (still not sure what that exactly entails) and industry figures demanded to see well rounded female characters leading video games. It’s a admirable stance, but the issue of practicing what you preach quickly reared it’s head. A small Brazilian indie developer, named Swordtale, recently released a game by the name of Toren, a puzzle adventure that explores gender roles and the concept of growing up. Toren was reviewed on this very site, and slated for it’s poor mechanics and dated gameplay…but not it’s attempts at exploring a female character. Toren’s main character is a young girl named Moonchild, her role throughout the game is the find her place in the world. Moonchild is neither objectified, sexualised or portrayed as weak. Moonchild, for all intents and purposes, is exactly what a number of people have been asking for…so why have they ignored the game? It’s hard to pin down exactly why Toren was ignored. Press releases were sent out, both big names and little names were offered review codes along with a link to the trailer. From the small site that is PixelGate.co.uk, to James Rolfe (The Angry Video Game Nerd), Toren’s PR did a good job of offering codes for review across the board. As they say, ignorance is bliss, and that certainly seems true in Toren’s case. For a game that provided what many were asking for, there sure wasn’t a whole lot of support from the people you’d expect. Toren may not be packing the ‘big’ names behind it, but Swordtale are undoubtedly contributing to the library of female led video games, a library not as small as some would have you believe. The method in which Toren explores it’s character is organic and well woven into the context of the story. There’s no misplaced attitude, no ‘issues’ that some people feel is a requirement for any female character. Moonchild’s journey from young child, to mature young women, happens before the players eyes in well crafted manner. Perhaps Toren wasn’t promoted in the right way. If Toren was thrown out into the public space and marketed as a game with the main selling point being a female lead, then perhaps social media would of buzzed with interest. Torren was marketed it as a video game, a video game with interesting themes and art style, and not just a vehicle for a female character. It’s a shame that a game like Toren fulfills the wishes of a vocal majority, yet receives barely any of their backing. Denying the scent of hypocrisy is a hard feat. When people are making a living off bemoaning the lack of female lead games on the market, should we really be shocked when they chose to ignore games like Toren?    ...

Bloodborne & Splatoon Prices Drop, Hard To Resist

Bloodborne & Splatoon Prices Drop, Hard To Resist

One of the finest video games in recent years has been given a healthy discount. From Software’s Bloodborne is now available for a mere £33.95. Given the quality, and the amount of content, £33.95 is a fine price. With the new generation of systems lacking ‘must play’ games, Bloodborne came about at the perfect time. Nintendo’s experimental title, Splatoon, is already being discounted. Gameseek has the standard version up for £22.50 when using the code SPREE5. The recent play tests resulted in a spike in pre-orders, a price drop would surely push Splatoon further towards the levels of success Nintendo may quietly be expecting. David Cage’s Beyond: Two Souls was the definition of a love/hate game. Left to rot in the bargain bin pretty early on, Beyond: Two Souls remains as one last gens curiosities. For £5 you’d be hard push to feel out of pocket, even if Ellen Page’s soulless performance kills your enthusiasm.  ...

Dark Souls 2: Scholar of the First Sin, The Order 1886 & FF: Type 0 HD Made Cheap

Dark Souls 2: Scholar of the First Sin, The Order 1886 & FF: Type 0 HD Made Cheap

It’s hitting the end of the month, and a lot of people are skint…or least near skint. Fear not, there’s still games to be had at £20 or under, some are even new(ish) releases.   Dark Souls 2: Scholar of the First Sin (PS3/360) £19.99 -   While Bloodborne dazzles and frustrates the masses, Dark Souls 2 has crawled out packed with all of it’s DLC. The buzz around From Software has never been so hot, making it the perfect time for them to re-release their past work, even if it’s not as good as their previous creations. £20 buys you a lot of content, the core game will last most people well over 25-30 hours, with the DLC adding even more. Sure it’s hard, sure it’s kinda ugly to look at, but much like a cheap takeaway, it gets the job done.   Final Fantasy Type-0 HD – Xbox One £18.35   We all love last generation remakes, but Square went one step further and remastered a PSP game. The Final Fantasy brand has taken a utter lashing these last few years, mostly due to the bizarre dedication Square had to making Final Fantasy 13 ‘work’. Type-0 is one of them odd little spin offs in the franchise, but does supply a nice breath of fresh air. Think Final Fantasy crossed with X-men, and a dash of awful textures, and Type – 0 HD is a pretty decent deal…but most people just want that damn Final Fantasy XV demo. £18.95, down from the £40 quid it launched with a mere few weeks ago, what a drop.   The Order 1886 – £19.95   The game that the internet just can’t stop arguing about. At this point, The Order 1886 has went beyond just being another video game, it’s now a actual focal point for discussion on the topic of modern game design. The game looks, and performs, fantastically, but the gameplay is a little less impressive. It’s a decent game, that most forum posters will either praise as the next coming, or label it the devil. For £19.95 you can play the thing yourself, and make your own mind up.   P.S Buy it, just to spite Angry Joe    ...

Page 1 of 8123»