What you’re left with is one of the better PSVR horror experiences, and one absolutely worth your time. Just be careful, as this one’s not for the faint of heart.
Despite the gameplay and level design being pretty middling, we still think this game is worth a spin. It’s all about the atmosphere, and the organism itself, both of which are rousing successes and worth the price of entry alone.
With a compact, but dense world to navigate – most of the game takes place in one sprawling interconnected area – you’ll learn your way around in no time. This is aided by the game’s clever fast travel system, which cuts down on pointless back and forth greatly.
NHL 22 surprises by making its debut on a new console without removing any of its modes, but those who played NHL 21 may find this version a little too familiar. X-Factors on paper should be a game-changer but are mostly underwhelming. The switch to Frostbite does massively improve the fidelity of the rink – even if character models still look downright demonic – but should that really be the biggest change to the game? The ultimate question is: can the price increase be justified on the PS5? And given how little really has changed from last year to this year, the answer has to be a “no”.
Enemies are visually grotesque, and their blinding-rage aggression makes for an experience that, even if you’ve played previously, is a challenging experience. You have to make the most of all your weapons, although the classic strategy of “use your shotgun as often as possible” remains viable. Ditto for the rocket launcher, the weapon most closely associated with the game.
For all the similarities, I Expect You To Die 2: The Spy and the Liar exceeds its predecessor in terms of tone. The first title was a cheeky game with a biting wit to match its great puzzles, but this sequel really outdoes itself, crafting even more ludicrously operatic scenarios all the while seamlessly integrating the humor into the gameplay experience. If you don’t have the patience or interest to sit through overlong monologues or sequences with a slow burn, you can just rush past them and the game adapts with you, but not before letting out a few extra jokes for good measure.
It doesn’t hurt that the game is designed with a confidence and flair we don’t often see in VR. Absolutely everything down to the menus has a level of swagger that makes for a stunning experience. Cel-shading works well in certain settings, and VR is absolutely one of them: it allows Fracked’s environments to have exponentially more detail and complexity than a similar game without cel-shading, adding much more life to the title's alpine mining facility.
While many of the heavy-hitting artists like Caravan Palace, Muse, and The Offspring are paid tracks, the base track list is diverse, impressive, and, most importantly, fun. Though if you find yourself craving more, the paid packs of songs include 'Experiences' that are more akin to interactive music videos, and they’re quite stunning.
The game's list of issues outside of its inventory is mercifully short. Climbing trees is janky, but the basic locomotion system – a mechanic where you ride stilts hand-made for the PS Move – is exquisite, so getting around is a breeze. The bigger concern – something that may well be fixed by the time you read this – lies with crashing. The pre-release version of the game we reviewed crashed a ludicrous number of times, and as this is a VR experience, it’s especially disruptive.
The end result is a vastly improved version of what is by far the best title set in Dmitry Glukhovsky’s apocalyptic Russia – even if the voice work, in English at least, is uneven to put it kindly.
The sandbox mode allows you to craft your very own puzzles, and share them with the online community. While there’s already quite a bit to pick from, we can’t wait to keep revisiting this area of the game and see what kind of madness players have cooked up.
While the levels make no logical sense in true retro shooter fashion, they do make game sense, all having clearly defined layouts that expertly navigate you through some truly massive environments. One standout is an entire level that takes place within a canyon, with a foreboding level of verticality. The design knows just which cues to provide you, and actually finding where to go is no more challenging than with any other modern game. While many of the environments rely heavily on white tiled walls, as you progress further outside, more colour breathes life into the world, a most welcome change.
DOOM 3 VR is also able to breathe new life into one of the game’s more divisive facets: the horror. While jump scares are constant, and as annoying as ever, the VR succeeds in placing you on Mars in a way DOOM 3 has never previously been able to accomplish. This means all of the ambient audio, the lighting, the abrupt discomfiting silence – everything contributes to the creepiness of the experience to an unprecedented level. It provides an opportunity to appreciate all of the things that DOOM 3 did well all those years ago, without having to carry the baggage of defining the series moving forward. And it’s better for it. Just don’t expect much of a visual upgrade, as thanks to the headset’s limitations, things more or less look the same as when the game first launched.
Each of the game’s three “campaigns” distinguishes itself from each other as well. From the sandy canyons of Geonosis, the eerie halls of the Prosecutor, or the densely forested Kashyyyk, they all feel distinct. While it may not be a visual feast anymore, the takeaway with Republic is less look how far we've come but rather look how far ahead it really was.
However, the writing is a bit of a letdown. The character interactions are solid, and seeing their interplay is a delight. There’s also an impressive level of detail paid to the minutiae of film-making that we rarely see. Unfortunately, this level of care doesn’t touch all corners of the experience. The character's connection to the primary narrative is tenuous. Outside of the very first mystery, the protagonist's motivations for remaining involved in these murders don’t feel warranted. This is especially problematic when it comes to Rintaro’s chapters, which comprise the brunt of the game’s 15 or so hours. The writing is able to somewhat successfully sidestep this problem, through sheer force of intrigue, but it’s not wholly successful.
These are all problems that were present in the title upon its 2005 launch, so the port can only do so much. With this in mind, the game is solid — stable frame rate, the assets look as good as they possibly could without an overhaul, and the modernised controls are a demonstrable improvement. Hit detection is a little sluggish, but it's worth the price of entry for getting a peek at such an oddity. While saying the game lacks focus could be construed as an insult, it’s truly fascinating to see a game made with, for its time, such a high level of quality that wears so many different hats. And for that, we appreciate the opportunity to experience it in the modern era.
The maps are huge, and have points of interest to discover littered throughout. Really the only obstacle for enjoyment is your own patience and just how much time you’re willing to spend doing all the less-than-thrilling activities.
While the campaign is reasonably fun — and houses a few really great set-pieces — the standout mode in the game is time attack, where you are tasked with completing a series of 20 obstacle courses as quickly as possible. Perfecting run after run in this mode is a standout of the game, and honestly, the price of entry is worth it for time attack on its own.
Control: Ultimate Edition represents a great achievement. Between its already impressive gameplay and a robust number of performance upgrades, Control both looks and feels like a next-gen title. Sussing out secrets and uncovering the myriad mysteries and suspicious happenings tied to one of gaming's most unique and interesting places are better than ever. For anyone who had been holding off on playing the game, there's never been a better time to give it a shot.
While recurring problems persist, MXGP 2020 is the new highpoint for Milestone's licensed racing series. Hugely reduced load times and more immersive gameplay than ever before help push this year's entry that extra little bit ahead, though it continues to be let down by its environments and lack of content. The addition of Race Director Mode - a transplant from the Monster Energy Supercross titles - at a later date will definitely help, but a more substantial update in 2021 would be even better.