The List's Reviews
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.