While Polyarc doesn’t get too wild and crazy with its second title, it didn't need to considering how solid the foundation was with Moss. Book II takes the time to tighten up a few lingering issues from the first title, while providing more of the incredible world of Moss, albeit on a grander scale. Moss: Book II is further proof that Polyarc is among the best developers working in the VR space.
What the game ultimately delivers is a charming, unique debut title from a studio we’re certainly interested to see more of.
FAR: Changing Tides is largely more of the same. With how good the first title is, that's not a bad thing, but it leaves a little something to be desired. Great sound design and music, as well as incredible environmental art, don't quite balance out the pacing issues, hard as they try. Your new vessel has more components to juggle than last time, and it's mechanically satisfying, but you spend too much time doing it. While traveling underwater does add a new gameplay component to account for, the puzzles don't offer enough of a challenge. All that said, Changing Tides is still worth your time.
The script is sharp and remarkably funny. Even with the frustrations of the game’s technical shortcomings, we couldn’t help but laugh at many of the quips, getting a good hearty chuckle at least a dozen times across the three hour adventure. The characters and the insane world they exist in stand the test of time, and it’s a lone bright spot in an otherwise frustrating endeavour.
The adventure does ultimately end up being a worthwhile one, with interesting characters, an incredible art style, and great music. But if there were more to the gameplay, the game – and its world – could have offered so much more.
Rainbow Six: Extraction's core gameplay is decent, and its level variety is great, but the game definitely has some blind spots. While a zombie title focused on stealth and tactics makes for an interesting experience, anytime the game strays from that, it's less successful. It draws extra attention to weak spots, like unimpressive AI and an obnoxious RNG progression system. Go in with a couple of friends, though, and you will get some fun out of this. All the levels are visually distinct and interesting to look at, and three squad members stealthing their way through a field of enemies can be immensely rewarding. It's just unlikely to hold your attention in the long term.
Ultimately, the extra bits draped around the core experience are the real star, offering up a helping of charm and wit that help sell the title as a cosy little experience worth your time, even if you might not have much cause to return to it once you’re done.
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.