The List's Reviews
The game cracks along at a fair pace thanks to a smart, funny script and top performances from Alessandra Mastronardi as sidekick Gina, the late Tony Todd as mysterious foe Locus, and a scenery chewing, lip-curling turn by Marios Gavrilis as Nazi boss Emmerich Voss. This is a triumphant adaptation of the beloved franchise, and here's hoping it heralds an exciting new era for Indiana Jones.
Surprisingly, the game’s aesthetic is rather cartoony. Character models, while expressive enough, are disconcertingly smooth and would have seemed a bit austere even a decade ago. While the design choice sits fine within the narrative, and there are many spectacular vistas to explore, it does seem like an odd decision for one of the biggest games of the year in an industry that’s forever striving for greater graphical fidelity. Looks aside, The Veilguard is a worthy addition to the roster of superb recent fantasy RPGs that together represent a stunning renaissance for the genre.
There are ways in which the game would have benefited by diverging from its progenitor: it has far too many enemies, while the hospital and prison sections are interminable. But remaking Silent Hill 2 was a mighty big ask and Bloober Team have crafted a fine remake. For fans of the original who want the same experience but shinier, this is an unmitigated triumph, and for newcomers it’s the best way to experience one of gaming’s greatest horror stories.
Still, it’s a typically atmospheric game, with expressive animation, detailed (if restrictive) environments and foreboding chiaroscuro lighting. Fans of Dead By Daylight will feel at home with certain story beats and its use of skill checks to make progress, and it briefly nods to Alan Wake with its camera combat mechanic. While it’s an entertaining few hours, it does feel as if Supermassive have hemmed themselves in with another studio’s story, when they’re much better branching off on their own.
Players must navigate Barnsworth (sometimes tricky without a map or quest log) while helping its scattered citizens with various whimsical tasks. These folk are beautifully animated and voiced with utter charm by comedy performers including Matt Berry, Em Humble and Chris Cantrill. Each is imbued with an exacerbated cadence so they sound like adult versions of the supporting players from Wallace And Gromit. Standout characters include a pair of bickering young supermarket workers, a handyman trying to avoid the advances of a randy fish and chip shop owner, and a conspiracy theorist demanding ‘bring back asbestos’. A particular highlight is the convoluted backstory of Roger the greengrocer and his oddly shaped head. Thank Goodness You’re Here! is a sublime piece of entertainment, as much cartoon as game, with a hilarious script performed by an absolutely top-drawer cast. Developers James Carbutt and Will Todd (who also contribute to the performances) have a style that’s unlike anything else around.
The strategy itself starts off relatively easy to grasp, with the game gradually layering in new features and complexities over the brief campaign’s 13 missions (there’s plenty of multiplayer options for longevity). When the action inevitably overwhelms, players are free to use ‘tactical pause’ to gain some wiggle room. That’s also a good opportunity to safely take in the stunning vistas; it’s just a shame that the UI is a little too imperious, frequently blocking the view. Nevertheless, Homeworld 3 is a fitting return to form for this influential series.
It certainly looks the part: lush, dynamic backgrounds are detailed with cascading waterfalls, impossibly huge machines and enormous mythical beasts. And this is just as well given that players will become very acquainted with the map. When new abilities are unlocked, it’s necessary to return to previous locations that can then be explored further. And in order to keep track of awkward sections, it’s possible to pin screenshots to the map, a neat feature we’ll hopefully see taken up by other games. The Lost Crown is a bold new entry for this series and a great entry point for players new to the genre.
New theatrical set-pieces have been captured using ‘volumetric video’ which means that it’s possible to walk around the ghostly actors as they perform; it’s not quite as spooky as it sounds but it’s technically impressive. While the performances are a big improvement on the original’s famously hammy sequences, they’re knowingly arch and fit right into the setting. And although the mansion design has been slightly tweaked, fans of the first game will feel right at home; the house starts off in a ruinous state but progression helps to bring it back to life by dusting cobwebs and fixing its disrepair. There remains much love for this franchise and it’s great to see new technology and artistry being used to bring it bang up to date for a modern audience.
But, as is always the case with Assassin’s Creed, the setting really makes it stand out. A built-in codex features a treasure trove of historical research, all of which has fed into this version’s immaculate creation and, while its various systemic changes will annoy some, there’s no denying that its representation of historical Baghdad is a joy to explore.
Elsewhere, a revamped tutorial is a genuine attempt to boost the skills of amateur players, making this otherwise neglected mode well worth checking out. While the enormous popularity of FUT continues to dominate the playlist, all other modes tag along as expected. Volta Football has had a little TLC but career modes continue to languish at the bottom of the table. Perhaps one day they’ll get the love they need.
Motorfest is a real looker, at least when cruising between races when it’s possible to safely look at the surroundings. While it lacks some of Forza Horizon’s presentational flair, it at least reins in some of that game’s irritating excesses, such as showering you with cars and prizes at the end of every encounter as if you’ve won the lottery. The game’s ‘playlists’ neatly change up the environment, such as a series of Japanese events featuring night-time races bathed in a delicious blue neon glow. Its negatives are also the sins of Forza Horizon: excruciating banter from AI opponents, a vexatious AI sat-nav, and a pervading sense of automotive fetishisation that will test all but the most ardent petrolhead. But right now, these issues are baked into this relatively nascent genre, and The Crew Motorfest is a strong contender for the lead.
It’s a shame there isn’t an interactive tutorial. Instead the game asks you to sit through a surfeit of text-heavy videos. But then nothing beats actually playing the game to learn its intersecting systems. It really looks the part: the family members all resemble their on-screen counterparts (including the hitchhiker and the cook) and the locations and discordant soundtrack are highly evocative of the source material. These particular games rely on solid post-launch support so time will tell if it will survive and what will be left of it.
Thankfully, its sequel is a calmer affair. Set aboard an ocean liner, it relies on a more subtle creepiness and is much less reliant on clichéd tropes such as thunderstorms, dolls and toy clowns. Away from the constraints of the first game’s mansion, it presents a more imaginative mise en scène and the path forward is mercifully clearer. Overall, this is a good package with plenty of scares, although at times it can feel a bit much, like being bludgeoned by a haunted fairground ride.
Player customisation (historically a really big deal in this series) is laughably limited, the menus are buggy, there’s terrible lag when taking shots, and there’s no proper tutorial to explain how all the complex systems work. And yet it is the best-looking golf simulation around thanks to the heft of EA’s vast resources. Knowing the importance (and price) of the PGA licence, it’s hard to imagine the various issues won’t be fixed. But it was obviously released way too soon and currently sits in the rough.
The game’s AI director rations health and ammo in such a way that players never feel like they have enough resources for the fight ahead. The resultant state of dread rarely lets up over the game’s 15-hour campaign but its meticulous balance mitigates frustration. As well as a serious graphical overhaul, some of the plot has been tightened up and the cheesy dialogue has been rewritten and is performed by new actors. Resident Evil 4 has never looked or sounded so good, and for new and returning players alike, this is now the definitive way to play.
The standard multiplayer generally retains the series’ three-lane structure, although some new maps (including one set at the aforementioned border and filled with explosive cars) smartly mix things up. With the huge success of Call Of Duty’s battle royale, Warzone, and its enormous player counts and vast maps, it almost seems like a novelty to indulge in short multiplayer battles with regular bursts of spawn/kill/die action. The Special Ops co-op mode also makes a return, although it’s less distinct than previous entries and it hews irritatingly close to Warzone’s expanse. It’s strange to see Call Of Duty so circumspect but overall this is an impressive package.
It wouldn’t work at all if the player hadn’t put in hours of preparation, although some might find their patience is stretched before the penny drops. Charlotta Mohlin (Agents Of SHIELD) deserves praise for her extraordinary work in these scenes, alternating between malevolent entity and misunderstood victim. Underpinning it all is a breakout performance from Manon Gage. If she wasn’t utterly convincing as the story’s doomed ingénue then the whole narrative would fall apart. Immortality is a remarkable moment in gaming and it’s hard to imagine how Sam Barlow could ever top it.
Each chapter is introduced by a mysterious fortune-teller played by Grace Zabriskie (Twin Peaks' Sarah Palmer) and she is absolutely mesmerising: a deeply unsettling, tic-filled clairvoyant with mysterious intentions. The Quarry is a superb piece of interactive horror, featuring great performances and animation so impressive that you can easily forget it's not a real film.
And so to the finale. If you're new to the trilogy then just ignore the naysayers and enjoy the ride. Long since Mass Effect 3 sent fans into a rage they've had Game of Thrones and The Rise of Skywalker to focus their ire, but this game's ending deserves no such hostility. The failure of 2017's Mass Effect: Andromeda thwarted Bioware's plans to expand the universe (exploring a different galaxy) but a sequel to the original trilogy was announced in December. In the meantime, this is audacious, epic storytelling filled with wonderful characters and spectacular locations, the likes of which we've not seen since and we're unlikely to see for some time.
Away from the battlefield, rough cutscene animations betray a modest budget. Likewise, while Andy Serkis lends his indisputable vocal skills to the cast, the audio is often left wanting: the quality of voice talent varies and there's a disconcerting lack of ambient sound. But these issues are relatively small, dwarfed by its enthralling tactical gameplay which will appeal to fans and newcomers alike.