From the possibly damaged brain of the guy who brought you the beautiful nonsense that was Katamari Damacy and Noby Noby Boy, is Wattam. Presumably it is called Wattam because when you see it for the first time, you say “what? erm”.
The plot is that everything has exploded and gone away and you, as a lonely square mayor has to bring everything back. And you do this by making trees eat your friends and turning them into fruit, by making everyone cry using an onion, and by getting a disembodied mouth to eat everyone, turn them into poos, then you flush those poos in a toilet (which you control) and then they turn into gold poos and then you have to stack the gold poos on top of each other so they’re as tall as a giant bowling pin, then you plant an acorn and everyone holds hands and then you take your hat off and explode..
That’s right. The game makes even less sense than Noby Noby Boy and Katamari.
It has clunky controls and a clunky camera just like its predecessors, it has bizarre music like its predecessors, and against all odds the weirdness actually means it’s a lot of fun, also like its predecessors.
It’s not the sort of game I’d ever normally consider playing, and I didn’t know that much about it apart from that it was by David Cage (which itself meant very little as I’ve never played a Cage game) and involved a murder story. I thought it was a bit like one of the Telltale Games adventures, but more “cinematic”. But, coerced by two people I considered, until this point, as friends, I played it.
I should point out that as I type, I am still very angry about this game. A game which is now the worst game I have ever played. And oh boy have I played some crap. This post will be full of spoilers, which frankly you should think of in the same way your parents tell you not to eat berries from the garden.
Heavy Rain’s plot is this: someone is kidnapping children, drowning them in rainwater, and dumping their bodies. You, as in, the four different characters you play as throughout the game, are trying to find out who the killer is. One of these characters, Ethan, is especially invested in finding out because his son Shaun has just been kidnapped and he’s been left a series of ridiculous and Saw-like challenges to prove his love for his son and potentially save him before he drowns.
I should try to get the positive points out before I vomit bile onto the page. There are some excellent toilets, and a lot of them, in Heavy Rain. Most locations in the game have at least one, and you can actually use them too. The plot would also make a good film. That’s it. Two things.
It’s hard to pinpoint exactly where Heavy Rain gets it wrong because it gets so many things wrong. Each thing individually is, for the most part, relatively minor but they’re so damn numerous that it’s just a writhing mess of broken game elements thrown at a wall like over-salted porridge. Let’s start with the controls.
The controls are bloody awful.
Let us imagine you’re the person who though the best parts of Shenmue were the QTEs. But you didn’t just love them, you fantasised about them. You made up stories about how you wooed them, married them, and had children with them. Grew old with them. You ate and breathed ever more fanciful QTEs where using your Playstation controller became more like a game of Zen Twister, embellishing button presses with stick flicking and pad flailing. As if Dragon’s Lair and Wii Sports had been involved in a matter transporter incident and the resulting Brundlefly was how David Cage decreed every action sequence was to be played out.
But the QTEs had bled out into the rest of the game. You’d not just be required to press X to open a door any more. No, you need to perform a hadouken instead. Every button, switch, cupboard. Every time you stand up, check your pockets, put your glasses on. Each and every time you answer your phone or look in a mirror. They’re all mini-QTEs. Games have evolved to the point where you just press a button to activate things for a reason. Adding nonsense complexity, especially when often the button prompt on the screen isn’t, well, even on the screen – at least long enough or in a visible way – is like tying your own shoelaces together. Why are you making it more difficult to walk? It isn’t making the game more interactive or realistic, it’s just reminding the player that this is a stupid game and you have to do stupid game things.
And at least in Shenmue if you fail a QTE sequence, you get to try again. Here, if you fail in certain places, you change the ending of the game. People die. You might die. I mean, in real life. There’s a lot of flailing. That’d can’t be good for you.
That isn’t the only issue with the controls. No, the game also suffers from the same tank controls that died years ago with the original Resident Evil games. A control system which was borne partly from the lack of two analogue sticks and semi-static camera angles, and yet here is Heavy Rain channelling it again. You have times were you can’t change direction, or it changes for you, or you move out of one room into another but then the camera changes and you find yourself spinning around to walk back out again by accident. The lack of fine-tuning on your movements means it’s all too easy to move slightly past something you want to interact with then have to fight the controller to turn around and get into the correct position.
These issues would be enough to sink any game, but the controls and camera are just the tip of the iceberg. Although as we know just the tip of an iceberg sank the Titanic so you can see how bad this is going to be already.
I have played many games with serious flaws that have been worth it overall because of either the story or the sense of achievement. The need to find out who the Origami Killer is perhaps pushed me to complete Heavy Rain, but even that carrot wasn’t really enough. I had to dig deep to fight the urge to just stop and look up the ending, so perhaps the real reason I completed it was because I just didn’t want to cheat. It wasn’t worth it.
You see, the game is full of plot holes, contradictions and things that make no sense to the story. Characters do things when there is no reason to do them. They jump to conclusions when there is no evidence – or worse, when there is evidence but that particular character isn’t party to it but acts like they are. For example, when Madison is told who the killer is, she is shocked even though she has no idea that person even exists. In fact, even the killer is unaware he is the killer, because although it’s made clear that he is, you play as him and you didn’t know.
Some more “fun holes”:
The killer plants a car in a garage for Ethan to pick up. The car has been there for two years. In the glove box is a video showing Ethan’s son from just a few hours previously.
How did the gun get through the metal detector into the lockers?
Did the killer follow Ethan around constantly waiting for Ethan to have one of his blackouts? He’d have to in order to kidnap his son.
When the killer killed the antiques dealer, why did he call the police?
What happened to Scott’s asthma? After an hour it vanishes forever.
If Ethan isn’t the killer, why does he end up in the street where the real killer used to hang out, why does he dream about being the killer, and why does he “wake up” with origami in his hand?
How did Madison know to call Jayden, when until then she wasn’t even aware of his existence?
There are more. Hundreds of things, perhaps. I have a list.
On the subject of Jayden, I have to mention his magic FBI gear. For a game which is based completely in reality with no “magic”, science fiction or supernatural elements, Jayden’s See Everything sunglasses and You Can Really Feel the DNA glove are completely out of place.
But as Jimmy Cricket would say, come here, there’s more. Oh so much more.
I could talk for paragraphs about the woeful animation. Look, I understand this was originally a PS3 title and things were a little different then, but it was supposed to be one of the selling points of the game. Everyone walks like they have a limp. They look at things like they’re snapping their spine. They wave their arms around like Gerry Anderson is in control of their upper bodies. There’s a sex scene between Ethan and Madison (which also doesn’t make sense, but I’ll leave that) which is like Ken and Barbie mashing their faces and bodies together. That’s not how people kiss, David. All open mouthed like they’re trying to eat each other’s jaws.
And speaking of Madison, just… what? When we’re introduced to her in her vest and knickers because she’s a woman, she’s in the middle of a nightmare where she is being chased around her utterly huge apartment by two burglars? Assassins? Who knows. Then she wakes up. And aside from a mention of insomnia later on this is never mentioned or expanded on ever again. Also, again because she is a woman, she seems to get undressed a lot. Worse, even though all the male characters can use the toilets in the game, can she? Of course not.
Why didn’t the police investigate the people that Scott killed in the mansion?
Why didn’t the police investigate the ex-doctor that Madison killed?
Why didn’t the police investigate the father than Ethan killed?
The latter of these would normally have bothered me. In that, I had to decide to kill this guy or not. I’m usually pretty moralistic in games, to the point where even if it makes the game harder I’ll try to spare the life of people who don’t deserve to die. I was in knots trying not to kill the girlfriend in the original Prey, for example. But here, although I technically had the choice, I just wanted the easiest route to the end of the game and didn’t even pause for thought. Bang, through the head, move on. So much for the game wanting to trigger emotions and having to make difficult decisions – all overwritten by just the need to have the game over and done with.
Other supposedly difficult to deal with scenarios included the other trials for Ethan like chopping off a finger and drinking the poison. The game had made me so disinterested in such unbelievable characters in such contrived and impossible situations that I didn’t care in the slightest. Ethan might have a wobble about My Son or My Finger but frankly I couldn’t give a toss at that point and Antoinette’d that digit immediately. The game’s first hour goes out of its way to explain what a boring guy Ethan is anyway, what with it basically being a Grand Designs style tour of his house. Then his bird dies for no reason. Then his other son, Jason, also dies for no reason. It’s rubbish.
The almighty problem with the game, however, is undoubtedly the reveal of who the killer is. It doesn’t make any sense to be Scott. If it was better written, then of course it could have made sense, but it feels like they’d intended the killer to be someone else and changed it. Perhaps depending on your choices, more than one killer would be possible. But no, they chose Scott. Scott who, in the game, is 40, and 44, and 48. Scott who murders a man while you’re playing as Scott, only somehow you don’t see it happen. Scott who, when you “think” by pressing L2, ponders who the killer is. Scott who, for no reason at all, has a list of subscribers for some origami magazine which only serves to incriminate himself. Scott who owns a car with a pull-out cigarette lighter even though that particular model car pre-dates the invention of the pull-out cigarette lighter by 7 years. Scott who visits Gordi knowing it will endanger his own life in doing so, to find out if Gordi is the killer, even though Scott knows who the killer is BECAUSE THE KILLER IS SCOTT. Jesus Christ.
All of this, and so much more, made me very angry. Angry I’ve wasted so many hours playing this crap. Angry I’ve been duped into playing it in the first place. Angry that the developers think me so stupid I wouldn’t notice everything wrong with this. Angry at myself that I didn’t just stop after a couple of hours and read the Wikipedia entry instead. Angry that I discovered that Omikron: The Nomad Soul is also by Quantic Dream and I’ve always wanted to play that because it has Bowie in it, but now I can’t because Heavy Rain has ruined it. That’s right – it’s so bad that it has affected how good other games are.
I urge you to never play this game. Just don’t. Even if you want to play a bad game because it’ll be funny, this is not the game for you. Go and play Gynophobia or Bad Rats or something instead. David Cage is clearly a man who would be able to make a good film or perhaps a TV series, but instead he’s shoehorning a film plot into a poorly realised interactive “experience” where the flaws shine like beacons and the mechanics detract from the story. If you want to make a game more like a film, just make a bloody film. Stop playing his games and maybe he’ll go away and do that instead.
After a little time away playing other stuff, I went back to The Most Impressive Game this week to do some of the DLC. I’d previously put maybe an hour or two into The Hidden Ones, but now I’ve finished it off.
It’s more of the same, really. That’s not a complaint, just a fact. And it’s all I wanted, actually. It feels a bit rougher, with less impressive terrain and a lot more places where they seem to have forgotten about the rock formation geometry (translation: some of the cliffs have holes in them), but it was just as fun as the rest of the game.
All the Yakuza games are, effectively, the same. Sure, they have different stories (although they’re not really that different), and some have different characters, but ultimately, they’re the same. And actually, that’s just fine.
Kiwami is a remake of the first Yakuza game, which I’ve never played. I knew some of the plot as there’s a brief catchup video before Yakuza 3 (my first Yakuza) and the others I’ve played reference it, but I was looking forward to doing it “properly”. Turns out it’s the usual backstabbing, betrayal, plot twists and punching everyone in the face. This time with added bikini girls dressed up as insects. No, really.
I won’t go into the plot as it isn’t that important, but it was a bit of a shock how Nishiki changed since Yakuza 0. There’s also a “feature” called “Majima Everywhere”, which is pretty self explanatory – Majima pops up constantly in the game and you have to fight him. Doing so lets you relearn all your forgotten Dragon stance moves, but in reality it’s just padding the game out and I rarely used Dragon stance anyway.
So I completed it (although actually completion percentage is just 26%!), and then wanted to start Kiwami 2 straight afterwards. Only I couldn’t because I hadn’t bought it in the PSN sale last month when I thought I had. Tch.
It was quite some time ago that I bought this, but as I’m trapped on the sofa recovering from an operation, I decided to start it this week. Which was a slight mistake to start with since I’d just had my stomach effectively torn open and the first ten minutes of Wolfenstein II has BJ also recovering from having his stomach torn open. In a much more horrific way, but still.
Anyway. I’d enjoyed the previous two games in the series, and this was almost as good. Or better. Hmm.
It’s somewhat different, in that you’re in America for most of the game, where Manhattan has been nuked. And, since it’s set in an alternative 1960s, it’s very hard not to draw parallels with Fallout for these reasons. The bombed out buildings and constant radiation, along with green-screen computers and the aesthetics on board your stolen Nazi submarine feel about as Fallout as you can get. There are other locations, which are less nuclear holocausty, though, such as New Orleans.
It’s also different in there aren’t as many giant dogrobots as in previous games, and there’s no weird Nazi experiments or messing with the occult. You do, however, end up on Venus for a while because the plot is utterly ridiculous.
But despite the differences, and the changes in personality for both Fergus and Engel, neither of which seem to fit with their previous characters, it’s an excellent game. It has fun weaponry, fast combat (I think it has taken a few pointers from Doom here, actually), and some great new characters. Apparently Youngblood, the followup to this, is a bit of a stinker, which is a shame as there aren’t many first person shooters I enjoy these days and another Wolfenstein would be appreciated. Maybe when it’s cheap I’ll try it anyway.
When I bought the Shenmue I&II pack, my intention was to play them just before Shenmue III came out. Only, I didn’t start II right after I because III had been delayed. Fast forward a bit and the actual release of Shenmue III is suddenly almost here, and I hadn’t started II! So I did that.
As I mentioned when I played Shenmue I around this time last year, I didn’t remember Shenmue II as well as the first game, and when I came to play it, I was right. I recalled the bit where you get off the boat, some of the Hong Kong harbour, having to find the Four Wude (but none of the detail in doing so), being chased by Dou Niu at some point in Kowloon, and a very, very long walk with Shenhua. I didn’t remember Wong, Ren or Xiuying, all of whom play massive parts in the game. I didn’t remember the street fights and the scout in Kowloon. I had totally forgotten about how you meet Shenhua and that you end up at her house, and – somehow – I forgot the hilarious tape you listen to from the wiretapper. I’d also forgotten, spoilers, about Shenhua’s powers.
Compared to the first game, there are a lot of improvements. Maps for each area are portable and overlaid, you can wait until the right time (most of the time), and the graphics are much improved. The latter point may be because this is a port of the Xbox version rather than the Dreamcast, however. The audio sounds less muffled too, perhaps for the same reason. It’s a bigger game as well, both in terms of scope (with three main, very different, locations) and length (it’s nearly twice as long). There appears to be a lot more in the way of QTEs, however, and some of them, such as the plank walking one, are pretty brutal. Having a sequence of complicated ones after the long slog to fight Dou Niu, only have to fight him again if you miss any one of them, is especially cruel.
But, it’s a great game. For all the repeating floors in the Kowloon buildings, and the never ending “Shenhua?”/”Nani?” conversation, and the worse-than-forklifts book airing section, it’s a gripping tale and I can’t wait to get into Shenmue III now. Please don’t let me and my £270 pledge down, Suzuki-san.
I have always maintained that the best Burnout, is Burnout Paradise. And I was slightly concerned going into this that perhaps my memory is faulty and maybe the eleven years that have passed since I played the original version on the Xbox 360 have not been kind. I needn’t have worried – it’s still excellent.
However, the passage of time has still had an effect. The main thing being that the massive open world map doesn’t feel massive any more. Or even big. In fact, since you can drive from one side to the other in about two minutes, it actually feels small. Perhaps other games I’ve played since, like the spiritual sequel Need for Speed Underground, or Forza Horizon, just raised the bar. It’s also not quite as much fun as I remember, but only because of niggles like no instant restart and having to go back to the junk yard every time you want to change car. I’d bet these would be fixed in a new game these days.
I went into the game in a lot more detail on episode 26 of the ugvm Podcast if you want to hear more, but overall it was a lovely £5 trip back to a great driving game and I enjoyed playing it all again. DJ Atomika or no.
I’d read in a lot of places, and the screenshots didn’t help, that Q.U.B.E. was a poor man’s Portal. Aside from the first person view and the clinical environments, it really isn’t. Mainly because there aren’t any portals, and so the puzzles rely on other quirks instead. Mainly, making use of coloured shapes that do various things – extend, act as a trampoline, create blocks, and so on. You do this to hit switches, move cables, or direct balls, and after each section of the game (of which there are seven) new elements are added, such as being able to rotate parts of the room or direct lasers.
OK, so it’s still a little bit like Portal.
Apparently for the Director’s Cut, they added a story. I’m assuming this is the one sided conversations you listen to on your radio in the game, and if so, before they added them it would have been a very quiet, rather pointless affair. The plot is that you are on some sort of spacecraft made of cubes, and by simply solving puzzles which exist for some reason, you’re destroying the spacecraft. Which is on a collision course with Earth or something. A woman tells you who you are (you’re conveniently suffering from amnesia) and praises you, but then you start getting messages from someone else who says this woman is a liar and you’re going to die. Who do you trust?! (Spoiler: you have no say in the matter).
Anyway, it’s not too difficult (although I did accidentally pass a few of the puzzles without realising), and certainly I enjoyed it, but I can’t say it’s a classic or anything.
My understanding of this game was that it wasn’t anything like previous Assassin’s Creed games. It was written from scratch, didn’t reuse any engine or assets, and had completely new gameplay. The title also suggests it’s the start of the Assassins. It turns out nothing is true, everything is permitted.
Maybe Ubisoft did scrap everything from the series and built it all up again, but it doesn’t show. In fact, aside from the new control scheme (attacks are on the shoulder buttons now), and the biggest map so far, this is just more of the same. But that’s actually fine.
Yes, so there’s a literal eagle vision now (with an actual eagle), and yes, it tells the story of the start of the Brotherhood, but it’s still parkour and stabbin’ just like before. This time it’s set in the achingly beautiful setting of Egypt, which is far more varied than the sand and pyramids you’d expect, but the core missions are still scoping out the enemy, picking them off, and assassinating a series of important historical figures. And it’s so much fun.
Your guy this time is Bayek, a medjay (a sort of trouble fixer) from the region of Siwa, who, along with his wife Aya, is out to get revenge for the death of his son. Bayek, despite the “by ‘eck” link that can’t be unheard, is a great protagonist. He’s well voiced, has real empathy and morals, and is hard as nails. He’s probably one of the best the series has ever had, actually. At points in the game you also get to play as Aya, who is also great but her sections are generally boating (straight out of Black Flag, and so the worst thing about the game) or combat-lite. She also doesn’t have an eagle, which makes the final mission a bit tricky.
I’ve since found out that the next game, Odyssey, is actually set hundreds of years before Origins, not immediately afterwards as the story of Origins might suggest. This does make a bit of a mockery of the name of this game, but I suppose it doesn’t really matter. I hope they do bring Bayek back for another game though, perhaps round Greece?
I was 100% certain I’d played the original game before. I can clearly remember some parts of the game, some of the puzzles and characters, some of the events from when I originally had it on my Amiga. So imagine my surprise that I actually recognised very little of the game at all, and it turns out there never was an Amiga version. So why did I have the bowl, Bart?
Even more confusing, is how now that I’ve established I haven’t played it before, I remembered the solutions to some of the puzzles and part of the ended. Which is even more baffling as I know I’ve definitely never completed it.
Anyway. In a sort of reverse comparison, I’m going to mention The Secret of Woolley Mountain here as I’d compared that to Day of the Tentacle erroneously so it only seems fair to do the reverse now. In it’s favour, DOTT has much higher production values, but then you’d expect that as it also had way more staff and money. The graphics in particular have moved away from the functional style of the original Maniac Mansion to some really very good cartoon characters and backdrops. Sure, some of this is down to it all being HD and not pixelated like the non-remastered DOTT, but it’s still a world away. The voice acting is pretty good too.
However, as I mentioned in my Woolley Mountain post, the puzzles in these older point and click games are often a bit obscure. They’re not as bad in Day of the Tentacle as they are in Maniac Mansion or something like Grim Fandango, but some are obtuse. Take the use of “Booboo B Gone”, which is suggested by the name it’s some sort of cream or ointment for cuts and bruises rather than actually being Tippex. How you use it on a cat is then also a bit of a reach even knowing that.
That said, it’s well put together, hasn’t aged at all, and was a lot of fun. And very funny, of course.
Sparkle 2, or “I Can’t Believe It’s Not Zuma” was a free PS+ rental that I’ve been playing off and on for a few months. It’s not taxing, it’s not hard, but it is fun in the same way Zuma was. It’s just 91 levels of shooting balls at other balls, but it does it well enough and I enjoyed it. Not sure what else there is to say about it, really.
This is something I’d had my eye on for a while (nice looking pixel Metroidvania, so of course I have), and then, just when I was thinking about actually buying it a little while back, it popped up on PS+. Normally, that means it won’t get played at all, but since I’m letting my PS+ subscription expire (it’s just not worth the money now they’ve halved the number of games per month) I decided to give it a go before I can’t play it any more.
And it’s really good! It has interesting game mechanics, not least the literal mechanics of being an actual mechanic with a big wrench, looks wonderful, has a strange but enjoyable story, and is just a lot of fun to jump around in. And that’s the important thing in this sort of game – it has to be a lot of fun to jump around.
Also a big plus, is that it’s nowhere near as difficult as Hollow Knight. Sure, I love that game but it’s punishingly hard. Much too hard. So hard it’s verging on torture rather than enjoyment. But this is possible for mere mortals! It’s true that some bosses took a few attempts, but other than that, it was pretty easy and a lot more fun for that.
Aside from that “hide and seek” boss, of course. That was pants.
Literally rising from your gwave and welcoming to your Doom.
Usually, for me to enjoy a first person shooter, there needs to be some added mechanics. Some puzzles. A story. Something more than just mindless shooting. When I think of games from the genre that I’ve liked a lot in the past, I think of stuff like Bioshock, Wolfenstein The New Order or Dishonoured.
But then I forget the older FPS titles which were very much the opposite – the original Wolfenstein 3D and Duke Nukem. Properly mindless. Open a door? Loads of baddies. Pick up a key? Loads of baddies. Press a button? Loads of baddies.
And now there’s Doom. Or to give it its correct title, DOOM (2016). Which is as anti-cerebral as you can imagine. Most of the time the only thoughts you need are “which gun should I use?” and “has my shotgun got enough ammo?”. And you know what? That’s perfect.
Yeah, there’s a story. Some nonsense about you being awoken from stasis to work for the guy who helped unleash Hell on Mars by un-unleashing Hell on Mars. What the story actually is, is Shoot All The Things. Sure, you also have to destroy a big tower and shut down a computer but you even do these things by shooting everything. Or elbowing everything. What DOOM (2016) adds to the formula is the concept of “glory kills” – damage a demon enough and it glows. Then melee it and you finish it off with an elbow to the neck, or rip off their arms, or crush their face, or tear out their heart, or any one of a number of other visceral dispatches. There’s a reason, besides the gory fun, to do this too: glory kills make ammo and health pop out of the corpse.
But mainly the gory fun. So much gore. So much blood and entrails and faces that explode and dripping dismembered corpses and unidentified severed body parts and fleshy chunks of unknown peoplemeat. Gory fun.
The best bits of the game are the arena type areas where demons all spawn and try to take you down while you run around both manically and maniacally, gunning and elbowing all the time. It’s quick paced, feeling a bit more like Quake 3 Arena than original Doom, and far more fun than I can explain. You’re always forewarned one of these fights is going to happen because of the “Checkpoint” save icon and loads of health, ammo and armour is strewn around. In lesser games I’d see these signs and think, gah – another fight. In DOOM (2016) I’m oh hell yes bring it.
One failing the game has is between these big fights, especially on the levels set in Hell itself, is the platforming sections. Platforming and first person don’t sit well together usually (Mirror’s Edge notwithstanding), and when bottomless pits are added, and enemies who can shoot you as you jump the gaps, it’s just annoying. Thankfully most are short and enemyless. In the scheme of things, it’s a minor point but baffling nobody on the development team thought perhaps it was a stupid idea?
Finally, a mention to the sound in the game. The thrashing metal music is great, but the meaty bassy sound effects and excellent “ambient demon noises” in surround sound are just perfect. It’s not creepy enough to be scary, but it’s certainly worrying, when you’re walking down a corridor and the monsters can be heard behind the walls or above the ceiling or seemingly behind you…
Here’s a video of my complete playthrough:
(P.S. there aren’t many in the game, but the toilets that are there are excellent)
This is the first of the “needs Lego Dimensions but is actually a complete adventure in itself” Story Packs we’ve played (we as in, my daughter and I). We’ve the Ghostbusters and Fantastic Beasts ones lined up too, but decided on this one initially.
There’s very little to write about Lego games. If you know one you know nearly all of them. As a Lego Dimensions expansion, you can use all the characters from other series (Midway Gamer Guy being incredibly useful) as you play. The plot is mostly that of the Lego Batman film, with some divergence. In particular, there’s a whole section set in the Phantom Zone with gravity changes and warps. There’s also a new use for the portal – a “Phase” power which lets you summon sections of up to three different worlds, which you can only access if your character standing on the associated part of the portal.
We enjoyed it. It’s shorter than a normal Lego game, but much longer than a level pack.
Much has changed. Much has stayed the same. But it’s the changes that prompted a replay of the game that sold me a PS4 over a year before it even came out. Sadly, it was not a happy reunion, and there were more than a few problems…
Bugs are to be expected in games these days more than ever before, but bugs that break the game, then are supposedly patched out, yet still exist, should not exist. It seems along with all the new stuff in No Man’s Sky, a plethora of additional game breaking bugs were added and not completely removed again.
As it was new, I was following the Artemis Path for this playthrough. It involves trying to save Artemis, a fellow traveller, and to do so requires stepping through a sort of base building tutorial. You make a base, build some rooms, employ some staff who give you missions and blueprints, and eventually you have everything you need in order to build a Mind Arc that can rescue Artemis. Only in my case, the game skipped several bits in the middle there so initially, I was unable to craft a circuit board, needed to progress. The game thought I’d been given the blueprints. I had not.
Thankfully, it was fixed in a patch. Eventually. So I could progress, and make the circuit board and the thing I needed it for. Next up – make some Living Glass so I could use that to craft the Mind Arc, except of course, the game thought I’d been given the blueprint and, again, of course I had not.
Several game patches came and went, and still I couldn’t progress. Someone on Twitter saw my complaints and offered to help: If I joined his game, he could create Living Glass which should make my blueprint appear. So I joined him, and then even more bugs appeared. Sigh.
I could give him the materials, but he couldn’t give them – or anything else – back, as the menu to choose where to send stuff (your ship, roamer, storage, etc.) didn’t show me on his screen. Then we tried him putting them in a storage unit on his freighter, but when I went to take them out they weren’t there. In fact, his storage units showed the contents of my storage units on my base hundreds of light years away. What. Finally, we quit the game and he joined me instead – which actually let him pass on the components to me directly. I didn’t get the Living Glass blueprints, but I did get Living Glass (and a Mind Arc) so I could progress the story at least. My saviour waved goodbye and off I went to give the Mind Arc to Artemis.
Only that wasn’t the end of it. The place he was supposed to be, marked on the map, wasn’t there. I had no choice but to restart part of the questline and do it all again. That worked, luckily, and a few hours later, I’d finished the game. The most bugged of all games.
OK, yeah. I enjoyed it. I enjoyed the exploration, the souping up my spaceship, the naming every star system “Dave” – but that was all there in the “old” No Man’s Sky. The new stuff just gave me more to do, and sadly, it was all broken. Last time, I spent 125 hours on it. This time, “just” 80, around 20 of which was working round bugs and redoing missions. I genuinely think they’ve made the game worse instead of better, which is a massive shame. It’s still great, but it’s too broken for me to recommend it as wholeheartedly as I did before.