End-of-Year Awards 2020

Spoiler Warning: There are spoilers ahead for some of the films, games, and television shows listed below.

Welcome to my first annual End-of-Year Awards! These are the best (and worst) entertainment events of the year – in my subjective opinion! Rather than writing a top ten list (like I did last year to mark the end of the decade) I’m instead choosing a few categories and awarding my picks for the best entertainment experiences of the year.

I’m including a few titles from the tail end of 2019 on this list simply because many people will have only got around to watching or playing them this year. These decisions are always difficult and I often feel that – because people put these lists together weeks or months before the end of the year – titles released in December tend to miss out. As such you’ll find a few titles from the final few weeks of 2019 being given an award – and perhaps next year there may be a title or two from the end of 2020 featured!

Most categories will have a runner-up and a winner; a few only have one, and in those cases that title wins by default.

A note about exclusions: if I haven’t seen or played a title for myself, for reasons that I hope are obvious it can’t be included. I’m only one person, and I don’t have every moment of the day to dedicate to entertainment. As such, some titles others may consider to be “massive releases” for 2020 aren’t going to be given an award. In the gaming realm, this also applies to titles that I haven’t completed. The exclusion from these awards of titles like Ghost of Tsushima and Tenet isn’t to say they aren’t good; they may be – but I have no experience with them so I’m unable to comment at this time.

With all of that out of the way let’s jump into the awards! If you like, you can try to imagine a fancy stage and some celebrity presenter handing out statuettes. That may or may not be what I’m doing as I write!

Web Series:

Nowadays many of us get at least a portion of our entertainment away from big-budget productions on websites and apps like YouTube. There are a number of top-tier YouTube shows that may have started off as typical amateur productions, but have since become far more professional. As better cameras and microphones become readily available, even low-budget YouTube productions can offer impressive audio and visuals.

Personally I watch a video or two on YouTube most days, and there are a number of channels which have produced top-quality entertainment this year. When the pandemic hit, many YouTube shows were able to keep going despite the chaos engulfing the wider entertainment industry. They had the means and the technology to do so, and that’s fantastic.

🥈Runner-up🥈
Linus Tech Tips

Linus Tech Tips is one of the first YouTube channels I began watching regularly, having stumbled upon it when looking for PC building tips a few years ago. Though some of what they do is complete overkill (what YouTube channel needs $20,000 cameras?) they have a lot of fun while doing it. Linus Tech Tips explores the high-end and cutting-edge of computers, cameras, and other technologies, and the presenters manage to make it entertaining.

The channel has continued its steady growth and now boasts a number of regular presenters in addition to the titular Linus, most of whom specialise in particular topics. There are also several other channels produced by the same team, including TechQuickie, Short Circuit, and TechLinked. The combined output of the main channel plus its subsidiaries means there’s at least one new video per day, which is great. Even less-interesting topics can be made fun when presented well, and the team at Linus Tech Tips manage to be interesting and entertaining every time.

🏆Winner🏆
SORTEDfood

I love a good cooking show. Not only can they be entertaining but also very relaxing. SORTEDfood has a usual output of two videos per week, and while in recent years they’ve stepped away from purely doing recipes and into things like kitchen gadget reviews, everything is food-themed and the enthusiasm that the five presenters have is infectious. During the coronavirus pandemic, London (where the show is recorded) was in lockdown. Despite that, the team found creative ways to get around it, and even incorporated it into their videos. In addition to recipes there were helpful things like reviews of food delivery services, which at the height of lockdown here in the UK was actually really useful. I was able to use a couple of the services they recommended to send gifts to people I couldn’t see in person; gift ideas I would never have had were it not for SORTEDfood.

Their pandemic programming was good, but when lockdown was lifted it was nice for the team to come back together and get back to their regular output. I’m a huge fan of their “ultimate battles” in particular, which pit the presenters head-to-head to create the best dish. The “pass it on” series, where all five take turns to create a single dish, is also fantastic – and often very funny. SORTEDfood manages to be both informative and entertaining, and their output during lockdown was phenomenal and undoubtedly helped many viewers during a difficult time. For all of those reaons, I’m crowing SORTEDfood the best web series of the year.

Documentaries:

I’m setting aside a whole category for documentaries because I’m a big fan. There have been some great ones in 2020, both standalone films and series. Netflix has surprised me over the last few years by growing to become a huge player in the documentary genre, funding many productions – including some Academy Award nominees. Disney+ joined the streaming wars late last year – or in March this year if you’re in the UK – and has also brought some fascinating pieces of documentary content to the small screen. It’s a great time for documentaries at the moment!

🥈Runner-up🥈
We Need To Talk About A.I.

This documentary was fascinating, if perhaps somewhat alarmist. Looking at the possible creation of general artificial intelligence, and the potential for such an AI to surpass humanity, it was a truly interesting peek behind the curtain at what researchers are doing on the cutting-edge of AI research. The documentary was presented by Keir Dullea, famous for his role as Dave in 2001: A Space Odyssey. That film saw his character go up against an out-of-control AI, and Dullea brings a gravitas to the role of narrator as a result.

The film made reference to a number of sci-fi films which look at rogue AI, most significantly Terminator 2: Judgement Day, whose director James Cameron was interviewed. From my perspective as a Trekkie, having just seen Star Trek: Discovery Season 2 and Star Trek: Picard Season 1, which both look at the potential for out-of-control AIs, the documentary brought the world of fiction uncomfortably close to the world we inhabit today. While most of the interviewees offered a fairly bleak look at future AI, particularly in the military realm, others did paint a more positive picture. The biggest thing I took away from it, though, it how little consensus there is among researchers and scientists not only on whether AI is a good idea, but whether it’s even truly possible, or how long it will take.

The film is a fascinating, slightly unnerving watch.

🏆Winner🏆
The Imagineering Story

Though it isn’t a subject I’ve talked about often here on the website, I have a great fondness for Disney’s theme parks. It’s doubtful given my health that I’ll be able to go any time soon, but I have fond memories of visits to several parks with both family and groups of friends. Combine that love of Disney with my aforementioned love of documentaries and I got what was one of the most underrated yet fascinating entertainment experiences of the year!

Prior to the launch of Disney+ in the UK in March, there was already a Disney-branded streaming platform here. I wasn’t sure what kind of an upgrade to expect when the new service arrived – except for The Mandalorian there didn’t seem to be much new. The Imagineering Story was one of the few documentaries on Disney+ at launch, but it’s absolutely fascinating, detailing the behind-the-scenes work that went into building Disney’s various parks and themed lands.

The addition of some National Geographic documentaries to Disney+ over the last year or so has made the platform into a good home for the format, though I would like to see more films and series either added from Disney’s extensive back catalogue or better yet, commissioned exclusively for Disney+.

But we’re off-topic! The Imagineering Story was beautifully narrated by Angela Bassett, and as a series made by Disney itself was able to get the perspectives of many senior people who worked at the parks and on many of the projects it covered.

Video Games:

Despite the all the chaos and pandemonium in the world in 2020, many new games – and two new consoles – managed to make it to release. While it’s true that some titles have suffered delays, by far the majority of planned and scheduled releases made it, and that’s no small accomplishment!

As a new console generation gets ready for its centre-stage moment, it’s often been the case that we get a quieter-than-average year as companies shift their focus. Despite that, though, we’ve seen some pretty big titles in 2020, including a couple that will likely be heralded as “game of the generation” or even “game of the decade!” If I’m still alive and kicking in 2029, by the way, check back as I may have a thing or two to say about that!

Though it’s far too early to say which of the two newly-launched consoles will do best in the years to come, 2020 has given all of us some great gaming experiences… and some crap ones.

Worst Game:

Let’s start by getting the worst games out of the way. 2020 has seen some stinkers, including big-budget titles from successful developers and publishers. They really ought to know better.

🥈Runner-up🥈
Marvel’s Avengers

Marvel’s Avengers is the Anthem of 2020. Or the Fallout 76 of 2020. Or the Destiny 1 of 2020. Or the The Culling II of 2020. Pick any of those live service, broken-at-launch disasters, and that’s what Marvel’s Avengers is. The “release now, fix later” business model has condemned what could have been a popular and successful title to failure. But Marvel’s Avengers hasn’t even failed spectacularly enough to be forever etched in the annals of gaming history alongside titles like 1982’s E.T. Instead it’s slowly fading away, and in six months or a year’s time, nobody will even remember it existed.

Disney and Square Enix looked at a long list of crappy video game business ideas, including paid battle-passes, console-exclusive characters, corporate tie-ins with unrelated brands like phone providers and chewing gum makers, in-game currencies, and microtransactions for each of the six main characters individually. They then decided to put all of these into the game, robbing it of any soul or heart it could have had and turning it into a bland corporate cash-grab. As soon as I heard the company planned the game as a “multi-year experience,” the writing was on the wall. If, underneath all of the corporate nonsense, there had been a halfway decent game with fun gameplay, perhaps more players would have stuck it out. But, as usual with these types of games, there wasn’t. I’m not the world’s biggest Marvel fan. So I’m not horribly offended by this game in the way some folks undoubtedly are. But I can sympathise with them, because fans deserve better than this steaming pile of crap to which Disney and Square Enix have attempted to affix the Marvel logo.

🏆Winner🏆
The Last of Us Part II

The Last Of Us Part II’s cover-based stealth/action gameplay is fine. Though better than the first game, I didn’t feel there was a colossal improvement in terms of gameplay – but that could be said about countless sequels over the last couple of console generations. Where The Last Of Us Part II fell down was its story. This was a game I was sceptical of from the beginning; the first title felt like lightning in a bottle, something that neither wanted nor required a follow-up. In 2020, though, practically every successful title ends up being spun out into a franchise.

With a theme of breaking the cycle of violence, The Last Of Us Part II considers itself “artistic” and clever. Unfortunately that theme led to a horribly unsatisfying narrative, with players not only forced to take on the role of the person who murdered Joel – the protagonist/anti-hero from the first title – but ends with Ellie letting her escape and refusing to take revenge. Had the same concept been part of a new game with new characters, it could have worked better. But crammed into this title it fell flat. I stuck with it out of stubbornness as a fan of the first title, but it was a profoundly unenjoyable ride, and that’s why The Last Of Us Part II is the worst game of 2020.

Best Casual Game:

How do we define a “casual” game? It’s a difficult one, and it’s one of those contentious topics where fans of a title who may have spent hundreds of hours in the game world will get upset at hearing their favourite game referred to as “casual.” When it came to choosing titles for this category, I looked at games that could be easily picked up for a short burst, then put down. Games that can be played for a few minutes and that have gameplay suited to that was one of the main criteria. Games in this category also had to be pick-up-and-play. Some casual games can indeed be hard to truly master, but for my money, any game to which we assign the “casual” title has to be accessible and easy to get started with.

So that was how I came to my shortlist. Now let’s look at the runner-up and winner… though if you’ve been a reader all year I doubt you’ll be too surprised!

🥈Runner-up🥈
Fall Guys

Fall Guys seemingly came out of nowhere in August. It wasn’t a title I’d heard of, let alone one I was looking forward to, but it turned out to be a lot of fun. Taking a format inspired by television game-shows like Gladiators or Total Wipeout, the basic gameplay consists of running a series of obstacle courses, looking to be the last one standing at the end to win a crown.

I’m not usually interested in online multiplayer titles, but Fall Guys was something so genuinely different that I was prepared to give it a go. And what I found was a game that was shockingly fun. Each round lasts barely a couple of minutes, meaning even if you don’t qualify it’s not a big deal. Just jump into the next game. Though there are microtransactions, at time of writing they aren’t intrusive and the game is quite generous with the in-game currency given out simply for playing. There are fun cosmetic items to dress up your adorable little jelly bean character in, and the whole game is cute and lots of fun. Though it did have a cheating problem for a while, the addition of anti-cheat software appears to have fixed things. I’m probably about done with Fall Guys as I move on to find new things to watch and play, but I had a wonderful time with it this summer and autumn.

🏆Winner🏆
Animal Crossing: New Horizons

With over 120 hours played, I’ve spent more time this year with Animal Crossing: New Horizons than with the next two games on my list put together. That’s no small accomplishment – even if my 120 hours seems paltry compared to the amount of time some players have put into this title. Time alone doesn’t make a title worthy of winning an award, though. Why Animal Crossing: New Horizons deserves the title is because practically all of those hours were enjoyable.

It’s true that the base game at launch was missing features from past entries in the series, notably 2013’s Animal Crossing: New Leaf. And I find that disappointing, even if updates have since improved the game. But despite the missing content, what the game did have was fantastic, and there really isn’t anything like New Horizons on the market. It’s cute wholesome fun, and the kind of game that can be played for even just a few minutes at a time. It doesn’t demand a huge commitment in the way some titles do – but if you get stuck into it, you’ll find yourself wanting to spend more and more time on your island.

Best Racing Game:

There’s only one game in this category this year, simply because the other racing games I’ve played in 2020 were released in previous years. I had a lot of fun with Forza Horizon 4 in particular, but as a 2018 title it can’t be included here for obvious reasons.

🏆Winner🏆
Hotshot Racing

Congratulations to Hotshot Racing for winning by default! Jokes aside, this game is a lot of fun. An unashamed arcade racer that makes no attempt at realism, it’s fast-paced, exciting, and ridiculous in equal measure! What attracted me to the game when it was released in September was its deliberately mid-90s aesthetic; a beautifully simple art style inspired by racing games of the Sega Saturn and PlayStation 1 era.

At a time when many games feel overpriced, the £15 I paid for Hotshot Racing actually feels cheap! For how much fun the game is, even when simply playing against the AI, it could arguably ask for a lot more money! Speaking of playing against the AI, that’s something Hotshot Racing encourages, and considering how many titles that supposedly offer a single-player mode still try to force players to go online, I appreciated that. In the mid-90s, some games could do four-player split-screen, but many titles were limited to just two players at the most, so racing against the AI was something all gamers had to do; that was just how those games were meant to be played!

As a visual throwback to games past, Hotshot Racing caught my eye. But there’s more to it than just the way it looks, and what’s under that cute retro skin is a genuinely fun arcade racer.

Best Star Wars Game:

It’s unusual for two games in a single franchise to release within a year of each other, but that’s what happened! There was even supposed to be a third Star Wars title this year – Lego Star Wars: The Skywalker Saga – but it was delayed until 2021.

🥈 Runner-up 🥈
Star Wars: Squadrons

Though Squadrons is less arcadey than classic starfighter titles like Rogue Squadron, it’s a remarkably fun game. If you’ve ever dreamed of being a pilot in a galaxy far, far away, this is about as close as you can get! Though I don’t play in VR, the option to use a VR headset – as well as to set up a proper HOTAS or other flight controller on PC – surely makes this the most immersive Star Wars experience out there. Even just with a control pad, though, Squadrons truly transports you to the cockpit of an X-Wing, TIE Fighter, or one of the game’s other starfighters.

The single-player campaign was fun, giving players the opportunity to fight on both sides of the war as the New Republic seeks to defeat the rump Empire – the game is set in the aftermath of Return of the Jedi. I’m not much of a multiplayer gamer, so the fact that there is an AI mode, allowing me to continue to have fun just playing against the computer, is fantastic. I had a truly enjoyable time with Star Wars: Squadrons, and I keep going back for more.

🏆Winner🏆
Star Wars Jedi: Fallen Order

Jedi: Fallen Order was released in November 2019, so including it on this list is a bit of a stretch, I admit. But I got to play it this year, and it was the first game where I fully documented my playthrough. Jedi: Fallen Order managed to feel like a cross between Knights of the Old Republic and the Uncharted series, with protagonist Cal taking on a quest to visit several ancient worlds in search of a Jedi Holocron.

There were twists and turns along the way, but the whole time I felt like I was taking part in a Star Was adventure all my own. After the disappointment of The Rise of Skywalker, playing through Jedi: Fallen Order convinced me that the Star Wars franchise was going to be okay, and that there were still new and original stories worth telling in this universe.

The gameplay was great too, with lots of exciting action and lightsabre-swinging as Cal took on the forces of the Empire. I won’t spoil the ending if you haven’t played it for yourself, but Jedi: Fallen Order was a wild and incredible ride, and one I heartily recommend.

Best Action or Adventure Game:

This category ended up with two first-person shooters, but I’m keeping the name the same! There were many great action, adventure, and first-person shooter titles released this year, and I didn’t have time to play all of them. Here are the two I enjoyed most.

🥈 Runner-up 🥈
Doom Eternal

The sequel to the wonderful 2016 reboot of Doom is just fantastic. Gone is the horror vibe that Doom 3 mistakenly introduced, and instead what you get is action and excitement – with some interesting platforming sections thrown in for good measure. There is a story, of course, but unlike many games I’m not really all that interested in it. I come to games like Doom Eternal to feel like a demon-killing badass, and that’s precisely what the game offers.

There was a lot of fun to be had in the days leading up to Doom Eternal’s launch, as it coincided with the launch of Animal Crossing: New Horizons. I greatly enjoyed the memes and artwork created by folks on the internet, depicting Doom Guy and characters from the Animal Crossing series together! All in all, this is just a fast-paced, fun shooter that doesn’t try to be anything more. It isn’t a jack-of-all-trades; it does one thing and does it to perfection.

🏆Winner🏆
Halo: The Master Chief Collection

Throughout 2020, developers 343 Industries have brought the Halo series to PC. Halo: Reach arrived late last year, and in the months since we’ve gotten every other title in the series – except for Halo 5! It had been a long time since I played Halo: Combat Evolved on the original Xbox, and I had a lot of fun rediscovering the series and enjoying it all over again. The updated graphics improved the experience in a lot of ways, but it was also fun (and innovative) to be able to switch between visual styles on the fly.

I hadn’t played either Halo 3: ODST or Halo 4, so I not only got to recreate my Halo experience from years past, but expand on it too. The setting the series uses is as unique and interesting as any sci-fi video game I’ve played, and I’m very curious to see what Halo Infinite can bring to the series when it’s eventually ready.

Television Shows:

There have been some wonderful television shows this year. While the pandemic led to the shutdown of cinemas and a delay in many films being released, a lot of television shows were able to press ahead – at least, those that had completed filming before the worst effects were felt. I hoped to include more categories, such as best miniseries, but time got away from me and I have a number of shows still on my list of things to watch!

Worst Television Series:

Luckily there’s only one in this category! If I’m not enjoying a television series I tend to just stop watching – unless there seems to be a real prospect of improvement. Likewise, if I feel something won’t be to my taste I’ll just skip it; life is too short, after all, for bad entertainment. That said, there are exceptions, and I found one in 2020.

🏆Winner🏆
Supernatural

Supernatural is the king of running too long – a crown it inherited from The Big Bang Theory! Fifteen years ago, when it debuted, there was a great premise as brothers Sam and Dean Winchester set out to hunt ghosts and monsters, all the while keeping an eye out for the demon that killed their mother and Sam’s girlfriend.

But by the time the show reached its third season, many of its ongoing storylines had concluded. The writers began reaching for new and different demons and creatures for Sam and Dean to tackle, and the quality dipped. By the time the show crossed over into the self-congratulatory fan-servicey mess it has been in recent seasons it had just become ridiculous; a parody of itself.

As the seasons dragged on, writers began pumping more and more Biblical themes into Supernatural, transforming its protagonists into invincible prophets anointed by God. An episode a few seasons back saw Sam and Dean cross over into a world where their adventures are a television show in what has to be one of the worst examples of fan-service I’ve ever seen.

Thankfully Supernatural has now wrapped up its final season. I tuned back in – against my better judgement – to see if the impending end of the series would make a difference to its quality. But it didn’t, and I stand by something I’ve been saying for years: many television shows have a natural lifespan. Supernatural had maybe three decent seasons, and should certainly have ended a long time ago.

Best Animated Series:

🥈 Runner-up 🥈
Rick & Morty

We got five episodes of Rick & Morty in 2020; the back half of Season 4, which had premiered last year. The show’s entire premise is wacky, sometimes over-the-top humour, and that doesn’t always stick the landing, especially when the creative team have been working on it for seven years already. So with that in mind, I consider four episodes out of five being decent to be a pretty good run.

When the show stopped flying under the radar and really hit the mainstream in 2017, there was a fear perhaps that the newfound popularity would lead to changes. But I don’t really think that’s happened, and I wouldn’t say that this year’s episodes were substantially different to those in past seasons. They weren’t necessarily any better, but certainly no worse.

There were some great jokes, some hilarious moments, and some weird and wonderful aliens as Rick and Morty (along with Summer, Jerry, and Beth) took off on their interdimensional adventures.

🏆Winner🏆
Star Trek: Lower Decks

It could hardly be anything else, right? Building on the success of both the Star Trek franchise and animated comedies like Rick and Morty, Star Trek: Lower Decks represented the franchise’s biggest attempt to try something new – and arguably its biggest risk – in a very long time. Despite the controversy surrounding Lower Decks’ lack of an international broadcast, judging the series on merit it was a very enjoyable ride.

There were plenty of laugh-out-loud moments in Lower Decks, but more than that, the show paid homage to my personal favourite era of Star Trek – the 24th Century. There were so many callbacks and references to events in The Next Generation, Deep Space Nine, and Voyager and the series managed to feel like Star Trek while at the same time having an overtly comedic style.

While its sense of humour won’t be to everyone’s taste, there’s no denying that Lower Decks was made by fans for fans, and I’m really excited to see its second season whenever that may come – especially now that the show’s international broadcast has been settled meaning that fans everywhere can enjoy it together.

Best Live-Action Television Series:

🥈 Runner-up 🥈
Cobra

Right at the beginning of the year I watched Cobra, a British thriller about a government dealing with the aftermath of a disaster. Such an interesting fictional concept, I thought. How innocent we were back then, eh?

Cobra wasn’t what I expected. Having read the pre-release marketing I was expecting a disaster series, something dealing with an apocalyptic event. Instead it’s much more of a thriller with elements of political drama. Even though that was completely not what I expected, I had an enjoyable time with the series.

Robert Carlyle – who plays the role of a British Prime Minister clearly inspired by Tony Blair – is an actor I’ve always felt was underrated. I saw him a few years ago in a miniseries called Hitler: The Rise of Evil, and ever since I’ve found him to be a decent actor who can take on a variety of roles. He was the star of Cobra – but didn’t overwhelm the series. It was an entertaining ride with some truly tense moments.

🏆Winner🏆
Star Trek: Picard

This should come as no surprise to anyone who’s followed my articles and columns this year! Star Trek: Picard did something I’d been desperately wanting the franchise to do for basically twenty years: move forward. Since Enterprise premiered shortly after the turn of the millennium, Star Trek has looked backwards, with all of its attention focused on prequels and reboots. Many of those stories were great, don’t get me wrong, but I wanted to know what came next, and Picard scratched that itch.

But its premise alone would not make it the best television series of the year! Star Trek: Picard told an engaging, mysterious story as the retired Admiral Picard set out on a new adventure. The story touched on contemporary themes of artificial intelligence, isolationism, and mental health, and was an enthralling watch. Though it stumbled as the first season drew to a close, the first eight episodes were outstanding, and have hopefully laid the groundwork not only for future seasons and more adventures with Picard and his new crew, but also for further Star Trek stories set at the dawn of the 25th Century.

It’s difficult to pick out one individual episode and say it was the best the season had to offer, because Star Trek: Picard is designed to be watched from beginning to end as one continuous story. But that doesn’t mean I won’t try!

Star Trek Episodes:

2020 was the first year since 1998 with three Star Trek productions, so there’s a lot of episodes to choose from! As Trekkies we’re spoilt for choice at the moment – long may that continue! This year I reviewed every single Star Trek episode that was broadcast. The year began with Picard in late January, then Lower Decks came along in August, and finally Discovery premiered in mid-October.

Worst Episode:

There weren’t a lot of options here, because the quality of modern Star Trek has been high. That said, every Star Trek show has misfires and duds from time to time, and this year was no exception.

🥈 Runner-up 🥈
Et in Arcadia Ego, Part 1 (Star Trek: Picard)

After an incredibly strong start, Star Trek: Picard stumbled as its first season drew to a close. My primary complaint about Et in Arcadia Ego as a whole (aside from that godawful gold makeup they used for the synths) was that it introduced too many new characters and storylines, most of which didn’t get enough screen time to properly develop. The first part of a finale needs to bring together everything that’s already happened, not dump an awful lot of new things onto the audience, but that’s what Et in Arcadia Ego, Part 1 did.

The episode was also very poorly-paced, which is down to a combination of scripting and editing. The story jumped from point to point without sufficient time for the audience to digest what was going on. It also skipped over what should’ve been massive emotional moments, like Picard and Soji learning Hugh’s fate, or Elnor learning of Picard’s illness. Dr Soong and Sutra in particular needed more development and more screen time – though Isa Briones’ terrible, one-dimensional performance means that’s something I’m half-glad we didn’t get!

Overall, this was Picard’s worst episode by far. The aesthetic, editing, and pacing were all wrong, and if the story of Season 1 wanted to include all of these new characters, factions, and settings, we needed not only more episodes, but to have brought them in much earlier.

🏆 Winner 🏆
Envoys (Star Trek: Lower Decks)

Envoys’ opening sequence, in which Ensign Mariner kidnaps a sentient energy lifeform “for a laugh,” was the closest I came to switching off Star Trek’s second animated series and not going back. Where Lower Decks succeeded was in making the regular goings-on in Starfleet comical. Where it failed was in attempting to set up Ensign Mariner as Star Trek’s answer to Rick Sanchez (from Rick & Morty). This sequence encapsulated all of Mariner’s worst qualities, and was about as un-Star Trek as it’s possible to get.

It’s a shame, because the episode’s B-plot starred Ensign Rutherford in what was one of his better stories as he hopped from role to role aboard the ship, trying out different postings in different departments. The main story stuck with Mariner and Boimler, and derived much of its attempted humour from her mean-spirited selfishness. The ending of the episode did go some way to humanising Mariner, and arguably set the stage for her becoming a much more likeable character across the remainder of the season. But that opening sequence in particular is awful, and is the main reason why I’m crowing Envoys as the worst Star Trek episode of the year.

Best Episode:

This is a much more fun category than the one above! And there are plenty of candidates. All three shows managed to have some real gems, and picking just two was not an easy task.

🥈 Runner-up 🥈
Far From Home (Star Trek: Discovery)

After Michael Burnham arrived in the 32nd Century in the season premiere, Far From Home saw Discovery and the rest of the crew arrive too. We were treated to an excellent crash landing sequence that was reminiscent of Voyager’s fourth season episode Timeless, and we got an interesting storyline which saw Saru and the crew forced to adapt to a very different and difficult future.

Saru and Tilly both stepped up, and the dynamic between these two characters has been continued through the rest of the season. As two main characters who hadn’t spent a huge amount of time together before this episode, their relationship was somewhat new and very interesting. Saru stepped up to become the captain we all hoped he could be in Far From Home, and Tilly showed us that there’s more to her than mere comic relief.

As the second half of the series premiere, Far From Home does a lot of world-building, establishing the violent, chaotic nature of the 32nd Century. It was also rare in that it was a Star Trek: Discovery episode with practically no input from Burnham – something which allowed many other crew members to shine in unexpected ways.

🏆Winner🏆
Remembrance (Star Trek: Picard)

I don’t think I’ve ever been more excited for a Star Trek episode than I was for Remembrance. This was the moment Star Trek returned to the 24th Century for the first time since 2002’s Nemesis – and it was the first time the overall story of the Star Trek galaxy had moved forward since we heard about the destruction of Romulus in 2009’s Star Trek.

Children of Mars – the Short Treks episode that served as a prologue to Picard – had been somewhat of a let-down, so there was a lot riding on Remembrance as far as I was concerned! And I’m so happy to report that it delivered. It was mysterious and exciting, with moments of tension and action, and although the now-retired Admiral Picard was not exactly the same as he was the last time we saw him, flickers of the man we knew were still there.

Remembrance set the stage beautifully for Season 1 of Star Trek: Picard. It took things slow and didn’t overwhelm us with storylines and heavy plot all at once. By the end of the episode we’d only really met two of the season’s principal characters. Perhaps seen in the light of the rushed finale this could be argued to be a mistake, and that we needed to get a quicker start. But I don’t think I agree with that assessment; Remembrance is perfect the way it is, and probably the best single episode of television I saw all year.

Films:

Let’s be blunt for a moment: 2020 has been a catastrophic year for the film industry. So many titles that should have been released simply didn’t come out due to the pandemic, and as a result it’s been slim pickings. A few bigger titles managed to premiere in January or February before the worst effects hit, but since the end of February very few titles have come out. We’ve missed out on films like No Time To Die, Ghostbusters: Afterlife, and Dune, all of which have been delayed to 2021. And there will be ramifications for years to come, as titles planned for 2021 are being pushed to 2022, and so on.

There have been some titles that managed to come out this year, and from my selfish point-of-view, I’m happy that more have come straight to streaming! My health is poor, and one thing that I sadly can’t do any more is get to the cinema (I haven’t been able to for several years). So in that sense I don’t feel that I personally have missed out in quite the same way! However, the massively-curtailed release schedule has had an effect, and as a result I don’t really have a lot of titles to choose from for this section of the awards. In another year I might’ve split up the films into several genres, but instead we just have three categories.

Worst Film:

Luckily there’s only one film in this category this year. If you recall my review of it from the spring, it perhaps won’t be a surprise!

🏆Winner🏆
Star Wars Episode IX: The Rise of Skywalker

The Rise of Skywalker is saved from being the worst Star Wars film solely by the existence of The Phantom Menace – and it’s not always clear which is worse. The clumsy insertion of Palpatine into a story that was clearly not supposed to have anything to do with him is perhaps the worst example of corporate-mandated fan service I’ve ever seen. Not only does Palpatine ruin The Rise of Skywalker, but the revelation that he’s been manipulating the entire story of Star Wars from behind the scenes undermines every other story that the cinematic franchise has tried to tell. It was a monumentally bad decision; the worst kind of deus ex machina. And his presence wasn’t even explained.

But while Palpatine stank up the plot, he wasn’t the only problem in The Rise of Skywalker. The ridiculously choppy editing meant no scene lasted more than a few seconds, leaving the audience no time to digest what was happening. There was some truly awful dialogue. General Hux’s story makes no sense at all and was totally out of character. Rose Tico was sidelined, despite her character being a huge part of the previous film. Palpatine’s plan – and his decision to announce it to the galaxy before enacting it – makes no sense. The stupid limitation to his fleet also makes no sense. Rey’s character arc across the trilogy was ruined by the decision to listen to bad fan theories. Poe and Finn basically did nothing of consequence. And the scenes with Leia – I’m sorry to say given Carrie Fisher’s untimely demise – were so obviously lifted from another film that it was painful.

JJ Abrams ran around undoing so many storylines from The Last Jedi that The Rise of Skywalker felt like two films haphazardly smashed together, but cut down to the runtime of a single picture. There was an occasional moment where either something funny happened or perhaps the nostalgia hit hard, but otherwise it was a total failure, and by far the worst film I’ve seen all year.

Best Animated Film:

🥈Runner-up🥈
Frozen II

Disney does not have a good track record when it comes to sequels. Most of the time their big animated features are one-offs, with any sequels being relegated to direct-to-video offerings. But Frozen had been such a cultural landmark after its 2013 release that a sequel was, perhaps, inevitable. And far from being an afterthought, Frozen II was a film that equalled – and occasionally surpassed – its illustrious predecessor.

There was some fantastic animation work in Frozen II, such as the effects used for the fog. There was less snow than in the first film, and the snow in Frozen was beautiful, so that’s a shame in a way! The soundtrack was fantastic too, with several catchy songs that are well worth listening to.

Frozen II’s story was engrossing and genuinely interesting, and unlike some Disney sequels managed to avoid feeling tacked-on. The parents of the two sisters at the heart of the story had been killed early in the first film – and Frozen II saw them learn more about what happened to them, as well as discovering the source of Elsa’s powers.

🏆Winner🏆
Phineas and Ferb the Movie: Candace Against the Universe

Phineas and Ferb went off the air in 2015, and as Disney Channel shows are usually one-and-done affairs I didn’t expect to see it return. But Candace Against the Universe premiered in August on Disney+ and was absolutely amazing.

After a five-year break the film brought back practically everything that made Phineas and Ferb great. There was a wacky but fun plot that brought together the kids and Dr Doofenshmirtz, there were some great musical numbers, and above all a deep story that had heart. Candace – the sister of the titular Phineas and Ferb – took centre-stage in a story that made depression accessible to even the film’s young target audience. It ended by telling a story that showed kids that they don’t have to be the centre of the universe to matter, and I think that’s an incredibly powerful message.

I’m a big advocate of sensitive depictions of mental health in entertainment. Not every story has to touch on the subject, of course, but Candace Against the Universe did – and it did so in a way that was relatable and understandable. But beyond that, it was a fun return to a series I thought was over. It’s possible the film could be the springboard for more Phineas and Ferb, but even if it isn’t I’m still glad we got to see it.

Best Live-Action Film:

Ordinarily I’d try to split up films by genre, and at least have sections for comedy, sci-fi, and maybe one or two others. But so few films have staggered out the door this year that there’s not really a lot of choice. As I’ve seen so few new films I just picked my top two. It wasn’t even all that difficult.

🥈Runner-up🥈
Sonic the Hedgehog

In any other year, Sonic the Hedgehog wouldn’t have got a look-in as one of the best releases. But this is 2020, and as we’ve already discussed, there aren’t a lot of options. After receiving backlash for its visual effects when the first trailer was released in 2019, the creative team behind Sonic the Hedgehog went back to the drawing board and redesigned the titular Sega mascot, bringing him closer to his video game appearance. The willingness of the studio to delay the project in response to fan criticism is appreciated, especially when many other studios have chosen to double-down in the face of such backlash.

The film itself is surprisingly fun, though as with 1993’s Super Mario Bros., features a storyline quite far-removed from the video game franchise it’s inspired by. Jim Carrey hasn’t exactly disappeared in recent years, but has been nowhere near as ubiquitous as he was in his late-90s heyday, so his performance here feels like a return to form. And that’s all I have to say, really. It was a fun film, and an enjoyable way to kill a couple of hours. Is Sonic the Hedgehog going to be hailed as a classic of modern cinema alongside Lincoln and Bohemian Rhapsody? Of course not. But out of the available titles this year, it’s one of the best.

🏆Winner🏆
1917

Now for a complete change of tone! 1917 was released in December last year, and is a truly epic war film that missed out on winning any of the top Academy Awards. However, despite the snub by the Oscars, it’s an outstanding piece of historical cinema, and though its novel “one-take” style of editing was perhaps less impressive than I expected it to be, it was nevertheless interesting.

I fully expect 1917 to be considered a classic of the war genre in decades to come, such is its quality. At its core is an emotional story of two young men thrown into a gut-wrenching situation. The First World War was one of the worst and bloodiest in history, yet few films have depicted that horror with such brutal accuracy as 1917.

Though it isn’t the kind of popcorn flick you’ll want to watch a dozen times in a row, 1917 is artistic and inspired in all the ways that matter. From the performances to the costuming to the camera work, every tiny detail has been honed and perfected. Director Sam Mendes deserves a lot of credit for putting together this masterpiece.

Announcements:

In this final section I’ll briefly cover a handful of announcements for upcoming productions that got me excited in 2020. There are so many interesting projects in the works, and while some of these may not see the light of day until 2022 or even later, they’re still genuinely appealing and I’m keeping my ear to the ground listening for news!

Video Games:

🏆Winner🏆
Mass Effect: Legendary Edition

I’d been hoping for an announcement of the remastered Mass Effect trilogy ever since rumours of its existence began to swirl earlier in the year. Though EA and Bioware kept us waiting, the remaster was finally announced a short time ago and is due for release in 2021. Whether it will really tick all the boxes, and whether enough time has passed for a remaster to feel like a substantial improvement are both open questions… but I’m very interested to find out!

Television Shows:

🥈Runner-up🥈
Alien

There’s a television show based on the 1979 classic Alien in development! Practically everything is being turned into a streaming television series right now, so perhaps that shouldn’t come as a surprise, but I’m truly interested to see what the Alien franchise can do with more than a couple of hours. Television as a medium allows for longer and more complex stories than can fit in a two-hour film, so there’s a lot of potential here.

🏆Winner🏆
Star Trek: Strange New Worlds

Almost since the moment he beamed aboard Discovery at the beginning of the second season, fans had been clamouring for a Captain Pike series, and Alex Kurtzman and ViacomCBS listened! Strange New Worlds was announced in May, along with a short video from its three principal cast members. The show has already begun production, and while I doubt it’ll see the light of day before 2022, it’s one of the things keeping me going right now!

Films:

🥈Runner-up🥈
The Matrix 4

Though I have no idea where the story of The Matrix 4 could possibly take the series, I’m cautiously interested. Filming has already begun, but was disrupted by – what else – the pandemic. The two sequels to 1999’s The Matrix didn’t quite live up to the first part of the saga, but nevertheless were solid action-sci fi titles. I’m hoping that, after the series has taken a long break and with access to better CGI than was available in the early 2000s, The Matrix 4 will be just as good as the first. Could this be the beginning of a greatly expanded franchise?

🏆Winner🏆
Dune

The first part of this new Dune duology should have been released this month, but because most cinemas remain closed it’s been pushed all the way back to December next year. Dune has previously been difficult to adapt, with at least one attempted film version never making it to screen, but this adaptation has clearly been a labour of love. It seems to feature a great cast, and based on the trailer will have some stunning visual effects. Here’s hoping that it can get the cinematic release that the director and studio hope for.

So that’s it!

Those are my picks for the entertainment highlights of 2020. It’s been a very unusual year in terms of what all of us have been able to watch and listen to. A number of big titles weren’t able to make it to release, especially in the realm of cinema. We’re also going to be feeling the knock-on effects of this disruption well into 2021 and 2022, even if things get back to normal relatively quickly – which hopefully will be the case!

2020 brought Star Trek back to the small screen in a huge way. There literally has not been this much Star Trek to get stuck into for decades, and as a big fan of the franchise I think that’s just fantastic. It’s also been a year which has accelerated the move toward streaming as a main way of accessing content. I wouldn’t like to guess how many cable or satellite subscriptions have been cancelled in favour of Netflix, Disney+, CBS All Access, and the like!

I hope that you managed to find some fun things to watch and play this year – even as the outside world seemed to be falling apart. Entertainment is great escapism, and we all needed some of that in 2020. This may be my last post of the year, so all that remains to be said is this: see you in 2021!

All titles listed above are the copyright of their respective company, studio, broadcaster, publisher, distributor, etc. Some promotional images and artwork courtesy of IGDB. Stock photos courtesy of Unsplash. This article contains the thoughts and opinions of one person only and is not intended to cause any offence.

Some great Steam Holiday Sale deals for PC gamers

Important: The Steam Holiday Sale has now ended. Prices below will no longer be accurate.
Check back in June-July for the Summer Sale, and December for the next Winter/Holiday Sale deals.

Spoiler Warning: There are minor spoilers ahead for some of the games on this list.

The Steam Holiday Sale runs from today (22nd December) through to the 5th of January. Prices and discounts listed below are for the UK versions only and may vary by region. Prices and discounts were correct at time of writing but may be subject to change.

Steam treats PC gamers to big sales twice a year, in addition to the many smaller sales that seem to run almost all the time. As I’ve said before, these sales go a long way to making PC gaming competitive from a price standpoint, even though the initial expense of buying a gaming PC is higher than buying a console.

That’s especially the case in 2020, as the launch of new consoles has meant that getting a gaming PC of comparable spec has become pricey! However, if you do spend the money on a PlayStation 5-beater – or even if you don’t – there are some fantastic deals on great games this holiday season. Let’s look at a few.

Number 1: Halo: The Master Chief Collection (2019)
40% discount, £17.99

If you don’t already have Halo: The Master Chief Collection on Xbox or Game Pass, it’s well worth picking it up on Steam. The first six games in the Halo series – i.e. every title except for Halo 5 – are included in the package, and have been updated over the last few years to meet current-gen specifications.

Halo had, until last year, been exclusive to Xbox consoles, so many PC gamers haven’t had the opportunity to try out these great first-person shooters. There is an online multiplayer mode, but for me the enjoyment of the Halo series has always been its single-player campaigns. It could be a long wait for Halo Infinite, so why not replay the rest of the series in the meantime?

Number 2: Fall Guys (2020)
20% discount, £12.79

Though a 20% discount isn’t huge – and I was half-expecting something larger – for less than £13 Fall Guys is fantastic. It’s my second most-played game of the year, behind only Animal Crossing: New Horizons, and it’s a ton of fun. I logged back in for the first time in a few weeks to check out the most recent update, which has brought a lot of Christmas- and winter-themed costumes and events.

Fall Guys, if you’re totally unfamiliar, is an online “battle royale” game in which players run obstacle courses. The courses are based on classic television game shows like Total Wipeout and Gladiators, and it’s an absolute blast.

Number 3: Ryse: Son of Rome (2013)
70% discount, £2.39

Ryse: Son of Rome was one of the few Xbox One launch titles back in 2013, which was when I first played it. It was arguably not worth the £45-50 I paid for it back then, not least because it isn’t very long at around 6-7 hours, but it did a wonderful job of showing off what we could expect from what were then the next generation of consoles in terms of visuals. Ryse: Son of Rome’s graphics hold up remarkably well today, and the PC port of the game is decent.

It’s a single-player hack-and-slash game set in the Roman Empire, and for history buffs or fans of anything to do with Rome it’s well worth a play for less than the price of a pint!

Number 4: Hotshot Racing (2020)
50% discount, £7.99

I picked up Hotshot Racing when it was released in September, and even for its £16 original price I thought it was well worth it. This isn’t a hardcore racing sim that needs a racing wheel, it’s purely an arcade racer.

What first drew me to Hotshot Racing was its retro aesthetic which mimics titles from the mid-1990s. But there’s far more to this fun, fast-paced racer than just its visual style, and I’ve had a lot of fun with it.

Number 5: The Deus Ex Collection (2000-2016)
88% discount, £7.79

If you’re desperate to play Cyberpunk 2077 but have been put off by the bugs and the backlash (or if you just don’t have a good enough PC to run the game very well) then the Deus Ex series is an interesting alternative. The four games in the series are far more linear than the open-world Cyberpunk 2077, but many elements cross over between the two titles, such as first-person action, augmenting your human character, and a dystopian future setting.

The two most recent titles in the series – Human Revolution and Mankind Divided – made my list of ten games to play instead of Cyberpunk 2077 a couple of weeks ago.

Number 6: Plague Inc: Evolved (2016)
60% discount, £4.79

Depending on your sense of humour this could either be timely or incredibly offensive! Plague Inc: Evolved is an expanded port of a game that was originally released on Android and iOS in 2012 and sees players take on the role of a disease looking to wipe out humankind. In that sense it’s a unique experience as there’s nothing else quite like it on the market!

Plague Inc: Evolved is a lot of fun, and offers a number different ways to play as well as different upgrade paths for your chosen pathogen. Obviously the current pandemic makes it a somewhat controversial choice, but it is undeniably an entertaining little strategy game.

Number 7: Star Wars: Squadrons (2020)
40% discount, £20.99

Since I wrote up my first impressions of Star Wars: Squadrons back in October I’ve continued to play the game. It’s been an incredibly enjoyable experience, slipping into the role of a fighter pilot in a galaxy far, far away. I know some folks are put off by the “realistic simulator” style of play and the mandatory first-person viewpoint, but if you can look beyond those limitations and are willing to invest a few hours into learning the way it works, under the surface is a fun game.

I haven’t played much multiplayer; as you may know I’m not really an online multiplayer fan. But if you like that, and you want a different Star Wars experience to enjoy with friends, this could well be the game for you.

Number 8: Control (Ultimate Edition) (2020)
50% discount, £17.49

Big caveat here: I have yet to play Control for myself. It’s been on my radar for a while, though, and I may even write up my playthrough as part of my Let’s Play series here on the website. The game is a single-player action-adventure title with a strong narrative, focusing on Jesse as she has to figure out a supernatural event.

Control and publisher 505 Games have rightly received criticism for the way they handled the rollout of the Ultimate Edition – refusing players a free upgrade despite the game being only a few months old. If you can look past the controversy, however, Control has received great reviews and I’m excited to try it for myself.

Number 9: Skully (2020)
50% discount, £12.49

It’s unusual for me to spend so much money on an indie title, but Skully is an absolutely delightful 3D platformer in which you get to play as a disembodied skull. That premise alone sold it for me, and I was not disappointed when I sat down to play the game in the autumn. I have an article about Skully in the pipeline, but as with so many writing projects here on the website I haven’t bashed it into shape yet!

Despite the game’s protagonist being a literal skull, there’s more to it than just rolling around – though the physics used for the rolling sections is exquisite! Skully can take on different golem-style bodies, and even though a game based on a skull might seem spooky, there’s a magical fantasy theme rather than anything grotesque or horrifying. I thought it was great value when it was full price, but with a 50% discount it’s absolutely worth picking up this underrated gem.

Number 10: Steep (2016)
80% discount, £5.19

It’s winter! Or at least it is here in the northern hemisphere, so snow and winter sports are on our minds. Steep is a fun winter sports title that lets you ski and snowboard in a large open world, as well as take on the extreme sports of paragliding and wingsuit flying.

Steep has a few DLC options available – which are similarly discounted – but one which stands out is Road to the Olympics, which added in extras related to the 2018 Winter Olympic Games. Even without any DLC though, the base game is great fun. It’s one of those sports games which is easy to get started with but difficult to really master.

Number 11: Black Mesa (2020)
50% discount, £7.49

The non-existence of Half-Life 3 has become a meme at this point, and although the VR-only title Half-Life Alyx may have offered a glimmer of hope that the series isn’t entirely on ice, there’s been no announcement of future titles at this stage. What we did get in March this year, though, was Black Mesa, a fan-made remake of the original Half-Life from 1998.

As you’d expect from a remake, Black Mesa incorporates everything that players loved about the original, but updates the visuals to bring it in line with more recent first-person action titles. If you missed the original Half-Life in the late 1990s or just want to relive that experience, Black Mesa comes highly recommended!

Number 12: Red Dead Redemption 2 (2019)
33% discount, £36.84

Another title which needs the “I haven’t played it yet” caveat, Red Dead Redemption 2 is widely hailed as a masterpiece. The Wild West-themed action title comes from Rockstar, best known for the Grand Theft Auto series, and promises to transport players back in time to the latter days of the American frontier.

I’ve been waiting and waiting for Red Dead Redemption 2 to go on sale, and while a 33% discount isn’t huge it’s certainly more than generous enough to make this fun title worth a try. The main campaign alone is said to be over 40 hours, with many players spending 60+ hours in Rockstar’s American west setting. I’m genuinely interested to try it for myself, and if reviews from professional and amateur critics alike are to be believed, it’ll be a fun time.

Number 13: Pillars of Eternity Collection (2015-18)
70% discount, £24.06

Obsidian Entertainment developed these two fantastically detailed old-school role-playing games, and to see both titles plus their DLC so heavily discounted is great. There is literally days’ or even weeks’ worth of gameplay and story to get stuck into here, and again if you’re craving a role-playing game to play given the recent release of Cyberpunk 2077 these two games could be a worthwhile – if wholly different – alternative option.

It’s hard to say too much about either game without spoiling the narrative – which is, of course, the primary focus of such titles. But they’re amazing, in-depth experiences and if you get stuck in you’ll find yourself playing for hours on end.

Number 14: Resident Evil 2 (2019)
60% discount, £13.99

The remake of Resident Evil 2 won many awards in 2019, and was many folks’ choice for game of the year. The horror title debuted in 1998, but was rebuilt from the ground up for this version. There are mutant monsters, zombies, and jump-scares galore in this gory, visceral horror title, and it is not for the faint of heart!

After the disappointment many felt at Resident Evil 3′s cut content and short runtime earlier in the year, Resident Evil 2 seems even better by comparison. It’s possible to pick up both remakes for a little over £25, though, and for the heavily discounted price, Resident Evil 3 doesn’t feel quite so bad. It’s like I always say – length doesn’t matter, as long as a game is priced accordingly!

Number 15: Vampyr (2018)
75% discount, £8.74

Set during the 1918-19 Spanish flu pandemic, Vampyr is another game you might consider timely given the state of the world today! It’s got a unique premise as far as vampire titles go – the player character is a doctor, a newly-turned vampire who must balance his bloodlust with his Hippocratic oath in a hauntingly beautiful rendition of interwar London.

The pandemic can be a touchy subject, and it’s totally understandable for folks to want to skip Vampyr for now. But give it a chance and you’ll find an enjoyable title, one that blends reality and the supernatural within a truly interesting historical setting. Though arguably a little short, it’s the kind of narrative-heavy game where you feel your choices genuinely matter in the world you’re inhabiting.

Number 16: FIFA 21 (2020)
63% discount, £25.89

Ah, the annual FIFA series. Not to every gamer’s taste, I admit, but if you like football and support a team in any of the major divisions around the world, there’s no other football title that offers as much. I’m surprised to see FIFA 21 so heavily discounted so soon after its October release, because there’s nothing wrong with it at all.

That being said, modern FIFA games are iterative rather than transformative with each new release, and players who’ve picked up any title in the series in the last few years won’t see a huge difference or improvement with FIFA 21. Personally, it isn’t a series I buy every iteration of every year, and having waited three or four years since I last picked up the latest entry, there was enough going on in FIFA 21 for me to have an enjoyable time with its single-player mode.

Number 17: Disney Classic Games: Aladdin and The Lion King (2019)
60% discount, £9.51

With an original asking price of over £20, I felt that Aladdin and The Lion King was far too expensive for what it was when it was released last year. Despite Aladdin in particular being an outstanding platformer, I found it hard to justify the steep cost for two games which are now more than a quarter of a century old. With a reasonable discount, however, this two-game bundle feels more accessible and appropriately-priced.

I fondly remember both games from the SNES days, and though it’s the Sega Mega Drive/Genesis versions that were used for this collection, those nostalgic feelings are still present! If you’re in the market for a couple of cute but surprisingly difficult 2D platformers, Aladdin and The Lion King could be just what you need. It’s also well worth showing games like these to younger players, to let them experience a slice of gaming history.

Number 18: Kingdoms of Amalur: Re-Reckoning (2020)
40% discount, £20.99

Though I adore Kingdoms of Amalur, this version must come with a caveat: despite claiming to be a remaster, it’s really little more than an upscaled version of the original title. Very little has been changed, and players (like myself) who expected more of a remake were left underwhelmed. So if you already own the original Kingdoms of Amalur: Reckoning, there’s basically no reason to get this version.

If you missed Kingdoms of Amalur when it was new, or never owned it on PC, however, it’s definitely worthwhile picking it up. What you’ll find is a fantasy role-playing game that combines some of the best elements of franchises like the Elder Scrolls and Dragon Age series into one exciting title. There’s a unique and interesting story at the core of the game, too, and if it hooks you in you won’t want to put Kingdoms of Amalur down until you’ve unravelled all of its mysteries!

Number 19: Jurassic World Evolution (2018)
90% discount, £3.49

Jurassic World Evolution is the dinosaur park builder that every fan of the Jurassic Park/World series has always wanted. A blend of the dinosaur-themed series with the likes of “tycoon” games such as Rollercoaster Tycoon, it’s a surprisingly detailed yet incredibly fun experience. And with such a heavy discount, there’s no excuse not to give it a try!

As someone who returned to the theme park-building genre after a long absence, it took me a while to get to grips with the plethora of options and massively expanded nature of titles like Planet Coaster and Jurassic World Evolution. Better technology means these games can offer a lot more – and that means that there is a learning curve! But stick with the tutorial and you’ll learn all you need to step into John Hammond’s shoes and run your own dino park!

Number 20: Star Trek: Bridge Crew (2017)
60% discount, £8.39

When it comes to gaming lists, it’s hard to find Star Trek titles to include! The franchise has not always been well-served in the gaming realm, unfortunately. Star Trek: Bridge Crew was originally designed as a VR-only title, but an update not long after its release allowed for non-VR play too. It’s best enjoyed with friends, as each of you can take on the role of a character on the bridge of a Starfleet vessel.

I wrote up my first impressions of Star Trek: Bridge Crew a few months ago when I picked it up, and suffice to say the VR-oriented controls take some getting used to. But if you’ve ever wanted to take command of a Federation starship and have your own Star Trek adventures, this is one of the only modern titles that allows you to get anywhere close to that experience. And as I often find myself saying, it wouldn’t be one of my lists without at least one Star Trek title!

So that’s it. Twenty recommendations from the Steam Holiday Sale. If you were to buy all of them I reckon you’d have spent £269.29. That doesn’t sound as impressive as some of my previous lists of Steam sales, but this time I tried to focus more on recent titles instead of going back to games of yesteryear! If you consider that it averages out to £13.47 per entry on this list (several of which are bundles) I think it’s pretty good considering we’re looking at mostly new titles! These sales give PC gaming an edge over consoles, and even as services like Game Pass begin to take off, there’s still a place for the Steam Holiday Sale!

Even though I’m not a huge fan of Epic Games these days, there’s a sale running over on the Epic Games Store too. In addition, Epic is giving out several free games this holiday season, and a £10/$10 voucher. Cyberpunk 2077 is available on the Epic Games Store, and even though it isn’t discounted right now, if you use your free voucher to buy it you can reduce the cost of 2020’s hottest mess!

So there’s some inspiration for you as you head over to Steam to check out the holiday sale. I hope this has been useful, and if your favourite title isn’t on sale this time, don’t panic! It might be included in the Steam Summer Sale next year!

Prices and discounts included in this article were correct in the UK at time of publication. The Steam Holiday Sale begins today (22nd December 2020) and runs until 6:00pm GMT on the 5th of January 2021. Prices and discounts are subject to change at any time, and may vary by region and currency.

All titles listed above are the copyright of their respective studio, developer, publisher, and/or corporation. Some promotional screenshots and artwork courtesy of press kits on IGDB. This article contains the thoughts and opinions of one person only and is not intended to cause any offence.

Another surprising twist in the Cyberpunk 2077 saga

Having said all I wanted to about Cyberpunk 2077 both before and after its release, I was content to sit back, wait for the patches and updates to be rolled out, and not discuss the game again until I’d played it for myself – something I still hope to do some time next year. But out of nowhere came a truly shocking piece of news and I just had to add my two cents to the conversation. If you somehow missed it, here’s the lowdown: Sony has removed Cyberpunk 2077 from sale on the PlayStation Store and is offering a refund to every single PlayStation player who picked up the game.

People throw around words very easily these days, so forgive me for emphasising this point: this action is unprecedented. Sure, some games do get removed from sale from time to time, sometimes for rights or licensing reasons, sometimes for copyright, sometimes because they were literally cobbled together from pre-bought assets and barely function. And of course Nintendo has its “forced scarcity” business model that we’re seeing with Super Mario 3D All-Stars, which will be pulled from sale in March.

Cyberpunk 2077 is being removed from the PlayStation Store.

But in all the years I’ve been involved with the games industry, I have never seen such a major release as Cyberpunk 2077 being removed from sale. Never. Nintendo and their anti-consumer practices aside, the only games that tend to get pulled from shelves are the non-functional pre-bought asset “games” that have been put together by amateurs. A major release on this scale has, as far as I know, never been unceremoniously de-listed in this way. It is wholly without precedent.

On the one hand, I actually sympathise with CD Projekt Red (the developers behind Cyberpunk 2077). There is a process involved in getting a game onto the PlayStation Store in the first place – as indeed there is for any digital shop. Part of the process requires approval from Sony, who will have been given pre-release access to the game to test for themselves. So from CD Projekt Red’s perspective, they may feel that Sony acted unfairly, and that if they didn’t want to sell the game they could have denied it access to their platform weeks ago.

Cyberpunk 2077 was developed by CD Projekt Red.

However, as with everything to do with major corporations, it’s more complicated than that! In a competitive market, with Sony up against Microsoft both with the Xbox One/Xbox Series X and PC gaming, they could hardly be the only place Cyberpunk 2077 wasn’t available. In short, if there was going to be a prohibition of the game’s sale due to bugs and glitches, if Xbox didn’t follow suit it would hugely disadvantage Sony in the short-term. Secondly, I have no doubt that CD Projekt Red wooed Sony with promises of day-one updates and patches to some of the major issues that they surely uncovered during their own tests.

But most importantly there’s a legal component to what’s happened. CD Projekt Red initially offered refunds to anyone disappointed with Cyberpunk 2077 on their platform of choice. Sony, by some accounts, had difficulty processing those refunds when players requested them. In order to avoid legal action from players who had been promised a refund, or from players who may claim the game was not as advertised, Sony have stepped in and used the proverbial “nuclear option” as a last resort.

Cyberpunk 2077 launched in a broken state.

When I first saw this news break I thought the individual writing about it must have got confused or been exaggerating for clicks. It simply did not seem possible that a major game from a huge company would be pulled from sale entirely on the PlayStation. After all, Cyberpunk 2077 has hardly been abandoned; patches, hot-fixes, and updates have already been rolled out and more are already scheduled. Even if the game is buggy at launch, improvements are on the horizon. I was stunned to learn it was true, and it’s even been covered by mainstream news outlets here in the UK.

It’s hardly the first time a major game has arrived with bugs and glitches. Fallout 76 a couple of years ago was truly awful on that front (in addition to being just an awful game all around) yet it remained on sale. As did the likes of Skyrim, Aliens: Colonial Marines, and Assassin’s Creed Unity. Despite having incredibly buggy launches, none were pulled from sale in the way Cyberpunk 2077 has been. And this must surely irk CD Projekt Red.

The notoriously buggy Assassin’s Creed Unity is still for sale on the PlayStation Store.

Despite what I said a moment ago about feeling a pang of sympathy, let’s not overdo it. This is entirely CD Projekt Red’s own fault. Despite having been willing to delay the game twice, they ultimately decided to force a release before the title was ready – if indeed it ever can be ready on current-gen consoles given its obvious PC and next-gen focus. There are two reasons I can see why they chose not to delay the game into 2021 – a desire to get the game out in time for the Christmas season (also known as the E.T. problem) and perhaps because the board game upon which Cyberpunk 2077 is based is called Cyberpunk 2020, and there was a clear desire to release the game in this calendar year.

When I wrote about Cyberpunk 2077′s first delay all the way back in January, I said that “the response from the [gaming] community when any game is delayed is almost always overwhelmingly positive.” That is a universal truth. There are a handful of troublemakers and brain-dead idiots who get upset and say stupid things – such as making death threats – when a title is delayed, but everyone else understands. We would rather play a good game in six months than a broken one now.

We’ve been talking about this game for a while!

In the case of Cyberpunk 2077, the hype bubble got out of control. Partly what’s happened is a result of CD Projekt Red trading on past success and their good reputation; they hadn’t released a new game since 2015, and it’s easy to seem like a good, pro-consumer company when you aren’t in the trenches. Perhaps the insane hype that grew around the game is why the company chose not to shift their focus entirely to next-gen hardware and higher-end PCs. That would be a difficult pill for many players to swallow, but had such a decision been made a year or more ago, by the time the game finally made it to its launch date practically all of that would have abated.

So the question now is: what happens next? CD Projekt Red have completely botched this launch. Many players found the game so bad it was unplayable, and by now the plot and even the side-missions have all been spoiled for a lot of people. The excitement of playing the game for the first time has gone, and for players who had a disappointing experience, even if it’s patched and fixed over the next few months, they can never get that back.

Cyberpunk 2077 will not be available on PlayStation 4 for the foreseeable future.

Given that the PC version is generally more stable, I can’t imagine the big PC gaming shops like Steam and Epic Games will be willing to follow suit and refund everyone who bought it. Microsoft might, though, and it’s possible in the coming days (or even hours) we’ll see Xbox make a similar announcement.

I’m still shocked. Even though I could tell the hype bubble around Cyberpunk 2077 was completely out of control, and I expected at least some players to find the game underwhelming, I had no idea what was coming. CD Projekt Red have gone from one of the best-loved games companies to one of the most criticised in a matter of days, and it’s not unfair to say that the hype bubble has completely burst. Cyberpunk 2077 is not the amazing, barrier-breaking, genre-redefining interactive experience that fans hoped for. As I predicted, it’s just a game. A bug-riddled game that’s so “unplayable” for many that Sony had to step in, refund everyone who bought it, and pull it from sale. Absolutely extraordinary.

Cyberpunk 2077 is out now for PC and Xbox One. The Xbox One version is compatible with the Xbox Series X. Cyberpunk 2077 is the copyright of CD Projekt Red. This article contains the thoughts and opinions of one person only and is not intended to cause any offence.

So Cyberpunk 2077 doesn’t work…

Oh dear. The launch of Cyberpunk 2077 has not gone well for a lot of players. The lucky few who managed to acquire a next-gen PlayStation 5 or Xbox Series X seem to be managing to have a decent enough time, as do PC players with an above-average machine. But anyone who picked up the game on PlayStation 4 or Xbox One has encountered a bug-riddled mess that many have described as “unplayable.”

CD Projekt Red is now receiving a lot of criticism, not only for releasing the game in a broken state, but for trying to cover that up. Reviewers who received copies of the game prior to release were only given access to the PC version – the version of the game which seems to run best – and were prohibited from using in-game footage they took themselves; launch day reviews were only allowed to use footage of the game provided by the developers. These things add up to a company trying to shield their game from well-earned criticism – and, as usual, the gaming press fell for it.

Welcome to Cyberpunk 2077!

There is once again a disconnect between reviews from professional games journalists and reviews from the general public. On Metacritic – which is usually a decent aggregator of both professional and amateur opinion – Cyberpunk 2077 is sitting at a 90 from professionals, but even on PC it’s only getting a 6.6 from regular players. On consoles the average score dips massively – 3.2 on Xbox One and 2.6 on PlayStation 4 respectively.* There’s a degree of review-bombing, with many players giving the game 0/10. And if the experience is so bad it’s “unplayable,” I can quite understand why.

On a normal Xbox One or PlayStation 4 – i.e. not an Xbox One X or PlayStation 4 Pro – frame-rates for the game routinely dip below 20fps, textures are massively downgraded, there are fewer cars on the road, fewer NPCs on the street, and the game suffers from a strange haze effect that makes it look blurry. And that’s before we get into a single bug – such as hard crashes, broken missions, and so many different graphical issues that it makes Mass Effect: Andromeda look good by comparison.

Keanu Reeves stars as Johnny Silverhand in Cyberpunk 2077.

The overwhelming consensus is that the game should not have been released on Xbox One and PlayStation 4. At some point during the development of Cyberpunk 2077 – which began in earnest in 2015 having been in pre-production since 2012 – the decision was made to prioritise higher-end PCs and next-gen consoles over current-gen machines. However, the game remained in development for older hardware and has clearly been unable to adapt. It’s possible that patches may be rolled out in the coming weeks that blunt the edge of some of these issues, but if the game is fundamentally built with better hardware in mind, it’s hard to see how that’s something that can be patched out.

Even if patches are coming, though, many players are asking themselves a perfectly reasonable question: why wasn’t the game delayed? Cyberpunk 2077 was delayed twice: from its initial April release to November, and again from November to December. With the game clearly in such a state, how on earth did CD Projekt Red decide to go ahead with the release? Surely they anticipated this reaction – otherwise they’d have allowed reviewers access to the console version of the game. Knowingly launching a broken game is something we’ve seen become all too common in the last few years, and as I’ve said before: it almost never works.

Driving is one aspect of Cyberpunk 2077.

Players have trusted CD Projekt Red as one of the few “good” games companies out there. Compared with the likes of Electronic Arts and Ubisoft, CD Projekt Red have a good reputation, largely because they’re considered pro-consumer. That reputation is in tatters right now, and the trust they’ve broken with millions of players will be very difficult to rebuild.

We’ve seen games launch in a bad state many times, and often it’s a killer blow. A few titles like No Man’s Sky manage to partially rehabilitate their reputation over time, but I know people today who still refuse to play that game because of the “lies” and broken promises at launch. And of course there are many games that simply fail because of the reputational damage suffered by a buggy, broken launch. Mass Effect: Andromeda is a good example; its planned expansions were cancelled and the entire franchise put on hiatus after its disastrous release.

Cyberpunk 2077′s poor console performance is doing serious harm to the reputation of CD Projekt Red.

Even if Cyberpunk 2077 can be reworked on Xbox One and PlayStation 4 to be basically playable, the damage to the game’s reputation has been done. As many commenters have said: it doesn’t matter how good the game might be if it doesn’t work on the console they have. Pretending Cyberpunk 2077 is a PlayStation 4 and Xbox One game was a mistake. CD Projekt Red have clearly known for some time that current-gen consoles are not capable of running the game in any meaningful way, and a decision should have been taken a long time ago to either make significant changes and scale back some of the next-gen elements, or to make it a next-gen exclusive.

Had such a decision been taken a year or more ago, Cyberpunk 2077 would be in a better place today. It could have been one of the launch titles for the new generation of consoles, hailed as a great advertisement for what players can expect in the years ahead. Instead it’s being attacked and ridiculed for being such a mess.

Cyberpunk 2077 is broken on PlayStation 4 (pictured) and Xbox One.

We haven’t even touched on an issue I brought up last time I wrote about Cyberpunk 2077 – the insane level of hype that has surrounded the project. I said then that many players, having built up in their heads an idea of what the perfect game could be, will come crashing down to earth when they realise it’s just a game. A good game, perhaps, but just a game. I didn’t anticipate this, though. For players who’ve been eagerly awaiting this game for eight years, this must feel absolutely awful.

Far from being the spectacle they wanted, the game doesn’t even work. Anecdotally I’ve heard from players who literally can’t get past the main menu, hard crashes that make any meaningful progress impossible, and the framerate being so low that at key points the game cannot be played. Players have crashed their cars or been unable to survive a firefight because the framerate tanked at the wrong moment. The sheer frustration that must lead to is unparalleled.

Promo art for Cyberpunk 2077.

The most important lesson we’ve learned here is this: DO NOT PRE-ORDER GAMES! Don’t even buy them on launch day! Wait! Slow down, jump off the hype train, and be patient. Wait for the game to be properly looked-over by professional and amateur critics before making a decision, no matter how much you think the game looks amazing or that the developer can be trusted.

On the developers’ side, the lesson they need to learn is that exaggeration and false advertising always comes back to bite you. The marketing team at CD Projekt Red allowed the hype for Cyberpunk 2077 to get wildly out of control, and now that players have their hands on the buggy, barely-functional game, all of that criticism is their fault. They took the No Man’s Sky approach of failing to rein in the hype when they had the chance, of over-promising, exaggerating what the game would be like on current-gen hardware, and all the problems and low scores are their own fault. I have very little sympathy for the marketers, and as someone who worked for several years in video game marketing, I understand fully the environment they’re in.

It’s possible that Cyberpunk 2077 will eventually be made to run better on current-gen machines, but I wouldn’t bet on it looking anywhere near as good as advertised prior to launch. If you were planning on picking it up, wait. Either wait till you have a next-gen console or a PC, or keep checking to see if the issues have been fixed. For such a highly-anticipated game, I get that it won’t be easy to do so, and I sympathise. But paying £50/$60 for it today will only lead to disappointment.

Shameless plug time: I wrote a list of ten games you could play instead, and you can find it by clicking or tapping here.

*All review scores were correct at time of publication.

Cyberpunk 2077 is out now for PC, PlayStation 4, and Xbox One. PlayStation 4 and Xbox One versions may be used on PlayStation 5 and Xbox Series X respectively. Cyberpunk 2077 is the copyright of CD Projekt Red. This article contains the thoughts and opinions of one person only and is not intended to cause any offence.

Ten games to play instead of Cyberpunk 2077

Highly-anticipated (and almost certainly over-hyped) role-playing game Cyberpunk 2077 releases today. If, like me, you don’t really have £50/$60 to spend on a single game this close to Christmas – or you don’t have a PC or console capable of playing it – I thought it could be fun to go through a few alternatives.

I don’t hate Cyberpunk 2077. It’ll most likely be a decent game, and I’m sure I will eventually give it a shot. But there are many fun titles out there that offer comparable experiences – and most don’t cost as much! Here’s ten options for those of us who aren’t indulging in Cyberpunk 2077 on day one.

Number 1: Star Wars: Knights of the Old Republic & Star Wars: Knights of the Old Republic II – The Sith Lords (2003; 2004)

Coming after The Phantom Menace and Attack of the Clones had left the franchise in a pretty disappointing place, Bioware’s Star Wars epic and its Obsidian-produced sequel were outstanding. At a time when I wasn’t enjoying Star Wars’ cinematic output, these games came along and did a lot to save its reputation. For around £15 (on Steam) you’ll be able to pick up both titles and enjoy two of the best stories in the entire franchise. The two games are significantly better than several of the Star Wars films, so if you’re even slightly interested in a galaxy far, far away but haven’t given either title a try yet, it could be a great time to do so.

Number 2: Deus Ex: Human Revolution & Deus Ex: Mankind Divided (2011; 2016)

When I think about many of the components of Cyberpunk 2077 that people are most excited about – such as the ability to augment your human character, first-person gunplay, and different ways to reach objectives and complete missions – I’m reminded a lot of the Deus Ex series, especially its most recent offerings. Though a far more linear experience, for a lot less money you could play through a couple of solid stealth/action games that offer at least some of the same features as Cyberpunk 2077. It’s even set in a dystopian future where corporations are in charge!

Number 3: The Witcher 3 (2015)

The Witcher 3 was CD Projekt Red’s last game before Cyberpunk 2077, and it’s widely hailed as a masterpiece. Though the two games are certainly different in terms of setting, point-of-view, and the like, if you’re like me and haven’t yet got around to playing one of the generation’s best role-playing games, this could be a great opportunity to do so. The Witcher 3′s huge success and positive reception is a big part of why Cyberpunk 2077 has seen such a massive hype bubble.

Number 4: Shenmue I & II (1999; 2001; re-released 2018)

Though its story disappointingly remains incomplete, if you’re looking for a game with a truly engrossing narrative Shenmue could be just what you need. These two ambitious titles were originally released for the Dreamcast, sadly sharing the fate of that console and being underappreciated. Both were re-released for PC in 2018 as a single bundle, and if you missed them when they were new it could be a great time to jump in. Shenmue pioneered the idea of an open world before anyone even knew what that meant, and was the first game I ever played that felt genuinely cinematic. I think I’ll be recommending these games to people for as long as I live!

Number 5: Doom & Doom Eternal (2016; 2020)

If Cyberpunk 2077′s big draw was its first-person shooting, Doom and Doom Eternal could be great substitutes. If you want to feel like a total badass, kicking butt and taking no prisoners (literally) then there’s no better choice. The rebooted Doom series ditched the horror vibe of Doom 3 and went back to its roots – shooting demons in the face by the absolute boatload. The two games both have fantastic soundtracks that perfectly suit the fast-paced, explosive gameplay. And Doom Eternal introduces a grappling hook. Need I say more?

Number 6: Grand Theft Auto V (2013)

Because of the ridiculous hype bubble that’s grown around Cyberpunk 2077, a lot of players are going to be disappointed when they realise it isn’t “Grand Theft Auto in the future.” So why not play the most recent entry in Rockstar’s crime saga instead? It’s a huge open world, there’s plenty to do, and if you want the experience of running amok causing havoc in a densely-packed city, this is about as close as you can get right now. There’s even a first-person mode (except on the Xbox 360/PlayStation 3.)

Number 7: Titanfall 2 (2018)

A fun, futuristic shooter with mechs. That’s what Titanfall 2 is, and this underappreciated gem was sadly released at a very competitive moment in the first-person shooter genre. That led to underwhelming sales, but if you’re willing to give it a shot you’ll find a truly exciting, action-packed experience. Part of the appeal of Cyberpunk 2077 is its first-person perspective, and while you won’t find as many customisation options or a branching story, what you’ll get with Titanfall 2 is some of the best gunplay ever put into a game with weapons that have a realistic kick.

Number 8: The Elder Scrolls III: Morrowind (2002)

One of the best role-playing games every made, and the high-water mark of the Elder Scrolls series in my opinion, Morrowind is packed full of fun and interesting quests, random NPC encounters, and a diverse set of locations and environments across its open world. Eighteen years after it was released there are quests I’ve never completed and whole storylines I haven’t seen; it’s just too big to fit everything into a single playthrough. Despite being released a decade earlier, Morrowind has much more going on than Skyrim – more weapon types, more factions to join, and even more NPCs to interact with. You just have to look past its text-based interface, which can admittedly feel dated in 2020.

Number 9: Pillars of Eternity & Pillars of Eternity II: Deadfire (2015; 2018)

Both Pillars of Eternity and its sequel have a decidedly old-school feel, thanks in part to their visual style and use of an isometric perspective. Each game takes 40+ hours to beat – longer if you play more side missions and take your time – so there’s a lot of role-playing to get stuck into. It’s hard to say much more without spoiling the experience, but if you’re looking for an in-depth role-playing experience with fun customisation and where your in-game choices truly impact the story, look no further.

Number 10: Halo: The Master Chief Collection (2014; 2019)

When I think about “futuristic first-person shooters,” one series springs to mind ahead of all the others: Halo. The Master Chief Collection brings together the first six titles in the series (or every game except Halo 5) for hours and hours of single-player or co-op gameplay. Cyberpunk 2077 doesn’t offer co-op! The exciting tale of humanity’s war against an alien alliance known as the Covenant is detailed in these games, and although the quality of the series has waned somewhat in recent years, even Halo at its worst is still light-years ahead of many other games.

So that’s it. Ten games you could play instead of Cyberpunk 2077 while you wait for the day-one bugs to be patched out and for the game to drop in price! Or because you aren’t interested in one of the biggest releases of the year.

If nothing else, this was an opportunity to talk about some fun games and highlight them in the run-up to Christmas. Remember that the Steam holiday sale is likely coming up in a matter of days; it could be worth waiting to see if any of your favourites will be on sale. I highly doubt Cyberpunk 2077 will see even a 5% discount so soon after its release, but you never know!

All titles listed above are the copyright of their respective studio, developer, and/or publisher. Some screenshots and promotional artwork courtesy of IGDB. This article contains the thoughts and opinions of one person only and is not intended to cause any offence.

The real price of next-gen consoles

Were you lucky enough to secure a pre-order of the Xbox Series X or PlayStation 5? If so, congratulations! You’re one of the few who managed that feat. Both consoles sold out as soon as pre-orders were available, meaning a lot of people hoping to pick up one of the new machines this year were left disappointed.

A lot of factors came together to make this happen, and we’ll look at them in turn. First is the confusing way in which both Sony and Microsoft made their consoles available. Pre-orders for the PlayStation 5 “accidentally” went live hours ahead of schedule, meaning a lot of people who had planned to pre-order at the promised time missed out. There is no one place where consoles may be pre-ordered either, with retailers from big outlets like Amazon and supermarkets down to smaller specialist games or electronics shops all offering to take customers’ money. As many found out later, problems with stock availability and allocation meant that a lot of pre-orders were either cancelled, rejected, or could not be fulfilled on launch day.

The newly-released PlayStation 5.

Then there are the “bots.” Automated computer programmes bought up a significant percentage of the available supply of new consoles, leaving many machines in the hands of touts and scalpers. These consoles are currently being re-sold for well over the asking price to disappointed gamers who missed out.

Finally there’s the question of how many machines were manufactured. When coronavirus hit China hard earlier this year, production of next-gen consoles was majorly disrupted. Some factories were closed for weeks, others cut back their output, and the consequence for both Sony and Microsoft was that far fewer next-gen consoles were available in time for launch than they expected. I noted this a few months ago when I asked the question: is now really the right time to launch these machines?

There was always going to be high demand for these machines, and both Sony and Microsoft knew that they’d sell out on launch day. In fact that’s usually part of the plan; selling out makes a machine look exciting and cool, and fear of missing out drives sales. No company wants to see images of huge numbers of unsold machines sitting on shelves in the period after launch.

An Xbox Series S/X control pad.

But even in that environment, the reduced manufacturing capability has had a huge impact, make no mistake. The plan had been for millions more consoles to be available; Sony told us this directly when they announced a few months ago that they would have several million fewer consoles ready to go on launch day than they initially planned. When their business model was already based around artificial scarcity, the loss of several million units has made an already difficult pre-order process practically impossible when combined with the other factors listed above.

So on to the title of this article: how much does an Xbox Series X or PlayStation 5 really cost if you want to get one before the end of the year? I went to a popular auction website and compiled a short selection of listings. Take a look:

A selection of auction listings for Xbox Series X and PlayStation 5 consoles in the UK on the 17th of November 2020.

As you can see, prices are approaching double the recommended retail price here in the UK, with scalpers and touts even selling pre-ordered consoles that they don’t actually have in their possession yet. Anecdotally I’ve heard from friends in the United States of PlayStation 5 consoles being sold for upwards of $1200 – well over double the asking price.

In a way, this is “pure capitalism.” This is what happens when companies don’t have enough stock for consumers; the law of supply and demand kicks in. If someone is willing to pay £900 for a PlayStation 5, then there will be a market for that. The true price of these machines right now, in November 2020, is not the recommended retail price of £450. It’s £700, £800, or £900. And with no indication of the availability of either console improving before Christmas, those prices may yet rise further.

Companies are totally fine with this. It doesn’t matter in the slightest to Microsoft or Sony whether a genuine player buys a console or a bot picks up that console for a scalper or tout to re-sell later. They still make just as much money no matter who the buyer is, so they have absolutely no incentive to find ways to stamp out this behaviour. Likewise, retailers from game stores to supermarkets to giants like Amazon don’t care – and it’s through online retailers that the vast majority of pre-orders have been taken.

The market – that amorphous entity that economists love to talk about – determines the price and value of products. If people are willing to pay £900 for a PlayStation 5 then that’s its true value. But is it worth it? Could any video game console possibly be worth £900?

It will come as no surprise to you to learn that my answer is a resounding “no.” Not only are these machines not worth such a ridiculous amount of money, they’re probably not even worth their official price right now.

This new console generation is, at best, a minor improvement over the current one in most of the ways that matter. Add to that the fact that practically every game currently available for the PlayStation 5, and every single game currently available for the Xbox Series X, are also available on PC, PlayStation 4, and Xbox One, most players would find it hard to tell the difference between playing on a current-gen or next-gen machine. There are iterative changes, such as faster loading times, better controller battery life, and so on. But there’s nothing significant in terms of graphics or gameplay that make either console a “must-buy” in 2020. Any such improvements won’t be seen for a year or more; perhaps by 2022 you could make the case that games are getting better thanks to these machines. But not yet.

There was a lot of hype and buildup to the launch of these new consoles, as is to be expected. And a lot of players were sucked in by the hype and decided that they needed a new Xbox or PlayStation on launch day no matter what. If they paid over the odds for their machine from a scalper or tout, I bet a lot of them regret that investment today.

With the new consoles offering small improvements at best, there’s no need to get one right now. Don’t reward the scalpers and touts with their scripts and bots who bought up as many consoles as they could. Jump off the hype train and be patient, and enjoy the exact same games on current-gen hardware. Chances are you wouldn’t be able to tell the difference anyway.

The Xbox brand – including the Xbox Series X and Series S – is the copyright of Microsoft. The PlayStation brand – including the PlayStation 5 – is the copyright of Sony. This article contains the thoughts and opinions of one person only and is not intended to cause any offence.

Games of the Generation

Spoiler Warning: There are minor spoilers ahead for the titles on this list.

The launch of the Xbox Series X earlier today marked the beginning of a new console generation – and thus the end of one too. That generation began in November 2012 with the release of the Wii U, and saw both the Xbox One and PlayStation 4 arrive a year later. I’ve been incredibly fortunate over the last eight years to have played a number of different games across all four major consoles, and while I need to say for the record that there are still plenty of big titles I haven’t got my hands on, there’s certainly enough to put together a list like this.

As we say goodbye to the current generation of consoles and jump headfirst into next-gen, let’s take a few minutes to look back at some of the best gaming experiences of the generation… in my subjective opinion!

But before we dive into the list, here’s a short recap of each of the major consoles. The Wii U came first, but was blighted by horrible marketing (even months after release, many gamers were confused as to what the Wii U even was, with many believing its clunky plastic controller to be nothing more than an accessory for the Wii). Nintendo began making losses during this period, and even laid off a number of staff. The console saw some very fun games, but I was one of less than fifteen million people who bought the machine – which in 2012 was clearly not good enough to cover Nintendo’s costs – making the console an expensive failure. For the sake of comparison, the original Wii sold over 100 million consoles, and the Switch is currently sitting at over 60 million a mere three years after release.

The Wii U kicked off this generation in November 2012, but was unsuccessful overall.

Next came the PlayStation 4. Only a few months earlier I’d bought a PlayStation 3, the first Sony machine I’d ever owned. I’d done so solely to play The Last Of Us, and I wasn’t disappointed! After the Xbox One suffered a rocky run-up to launch (we’ll come to that in a moment) PlayStation seized the chance to convert gamers to their platform after running behind for the entirety of the previous generation. And many folks who had previously been invested in Xbox made the switch – PlayStation 4 has almost certainly sold twice as many units as Xbox One, and that couldn’t have happened without Xbox 360 players jumping ship. PlayStation 4 has also had by far the better crop of exclusive games, and that’s another huge factor in its success this generation.

The PlayStation 4 arrived in November 2013 and has been the generation’s best-seller by far.

Xbox One arrived only a week after the launch of the PlayStation 4, but it was not a smooth road for Microsoft’s console. From the moment the console was announced it attracted the ire of gamers. First was its complicated always-online nature, which Microsoft had to backtrack on. Next was the issue of trading in games or sharing them with friends, with Xbox initially seeming to “lock” each disc to a specific user account. This was also something Microsoft U-turned on. Those fiascos were bad enough, but next came Kinect. Bundled with the system – and with no way to opt out – Kinect bumped up the price of the Xbox One at launch, making it $100 more than PlayStation 4. Looking back over several console generations, the cheaper machine usually sells better, and so it proved again. Xbox One also struggled with a lack of decent exclusive games to compete with those available on the PlayStation 4. Despite all of that, however, Xbox Game Pass (a paid subscription service which gives players access to over a hundred titles) definitely found a foothold as the generation drew to a close.

The Xbox One launched a week after the PlayStation 4 – for $100 more.

Finally, 2017 saw the launch of the Nintendo Switch. Where the Wii U had been Nintendo’s attempt to recapture the “hardcore gamer” market, the Switch saw Nintendo realise that its success with consoles like the Wii and the handheld DS and 3DS lineup was due to their appeal to casual players. A console deliberately less powerful than its two competitors, the Switch retained the motion controls that had proven popular on the Wii alongside a new gimmick: the console is a hybrid that can either be played as a handheld device or connected to a screen. After the disappointment of the Wii U, the Switch proved a success from day one, and eclipsed the Wii U’s total lifetime sales in a matter of months.

The Nintendo Switch is the newest major console, having been released in 2017.

So those were this generation’s consoles. Now let’s look at some games!

This list is in three parts. The first part consists of titles that I consider to be incredibly important to the overall gaming landscape of the generation, even if they weren’t “my thing” and/or I don’t have much personal experience with them. The second part of the list contains a handful of titles that failed hard, and whose failures had an impact on gaming in some way. And finally the third part of the list is what you’re all here for – my personal top ten games of the generation.

Without any further ado, let’s get started!

Honourable Mentions

As stated above, this section of the list consists of a few titles that, for whatever reason, weren’t necessarily something I enjoyed or bought into, yet were landmarks in gaming this generation. No “games of the generation” list would be complete without their inclusion.

Number 1: PlayerUnknown’s Battlegrounds (2017)

PlayerUnknown’s Battlegrounds – or “Pub-G” as some insist on calling it – was the first truly successful battle royale game. There’s debate over the origins of battle royale, and at one point PlayerUnknown’s Battlegrounds attempted to patent the format, but there can be no denying that this is the game that brought it to mainstream attention. By doing so it revolutionised online multiplayer gaming, and for a while was the most-played game in the world.

Considering how big battle royale titles still are, no end-of-the-generation list would be complete without PlayerUnknown’s Battlegrounds. Though the game is still being played, it has arguably been eclipsed by some other titles in the genre it spawned – most notably Fortnite. In that sense it’s one of the most influential games of the generation… even if it isn’t one that’s enjoyed as much ongoing success.

Number 2: Fortnite (2018)

If PlayerUnknown’s Battlegrounds kicked off the battle royale craze, Fortnite took it to the next level. This title became a powerhouse in the gaming world; a phenomenon the industry hadn’t seen since Minecraft. And it’s a free-to-play game. Many of Fortnite’s biggest fans have never paid a penny despite spending hours and hours playing it, yet it’s managed to become one of the biggest and most financially successful titles in gaming. Ever.

Fortnite isn’t innovative with its gameplay, nor is it innovative in being free; mobile games in particular have used a free-to-play model for years. But Fortnite has taken the world by storm by refining those things and putting them with a fun, cartoony aesthetic that has widespread appeal, especially to younger players. For many kids, Fortnite has been their ticket into a brand-new hobby, and the importance of expanding gaming beyond where it was even a few years ago is immeasurable.

As with any successful title, other games have tried to imitate Fortnite’s success, and in some ways we can assign some degree of blame to Fortnite for making lootboxes and microtransactions more acceptable. However, it isn’t only this game’s fault that companies continue to pursue in-game monetisation!

Number 3: The Witcher 3 (2015)

With so much focus on multiplayer this generation, The Witcher 3 really stands out as a comparative rarity. It demonstrated clearly and unequivocally that there is a market for well-made, expansive single-player games at a time when many companies seemed to be abandoning them. It’s widely considered one of the best games of all-time, not just of the generation, and the success of The Witcher 3 did much to demonstrate to the industry that single-player games could still be critically and financially successful.

As I mentioned when I took a look at a few great games that I haven’t played, The Witcher 3 is on my list and I hope to eventually get to it. Single-player fantasy role-playing games are exactly my kind of thing, but I haven’t got around to this one yet! As a standout title that really boosted the medium, though, I can appreciate The Witcher 3′s success from afar.

Number 4: Grand Theft Auto V – online mode (2013)

Grand Theft Auto V has been a juggernaut this generation, having initially been released on the previous generation’s Xbox 360 and PlayStation 3. For the last seven years it has seldom dropped out of the top ten bestselling games, which is an incredible achievement. The success is largely due to its online mode, which has made developers Rockstar an insane amount of money.

Competitive online gaming really isn’t my thing, but no list appreciating the generation’s finest should ignore Grand Theft Auto V’s multiplayer mode. Taking the beautifully-crafted world of Los Santos and opening it up to players for jobs and heists together has been a masterstroke on Rockstar’s part.

I was, however, a little disappointed to see that Rockstar simply plan on porting the game to the Xbox Series X and PlayStation 5. I get that it’s been a phenomenally successful title this generation – but I had hoped for a new entry in the series (or a new title altogether) as the gaming world moves on. They see things differently, however, and given Grand Theft Auto V’s success and bustling online scene, maybe they’re right.

Number 5: Undertale (2015) and the whole indie scene

I chose Undertale as an example because it has been widely praised, but this entry also stands to represent titles like Dead Cells, Cuphead, Untitled Goose Game, Donut County, Shovel Knight, and many more indie titles that have wowed audiences this generation. Making a game as an independent developer is a difficult and often expensive undertaking, yet many of these titles – including Undertale – have been fantastic and received critical acclaim.

There’s a perception that all indie games are pixel-art 2D platformers, and while there certainly are titles which fit that description there’s also much more going on in the indie scene. Some of these games go on to inspire whole sub-genres, and as we go into the new generation its a great thing that there are so many independent, smaller developers out there. It keeps the games scene interesting!

Disappointments and Disasters

This section looks at a handful of controversial, disappointing, or outright bad games which nevertheless impacted the games industry this generation. Not every innovation or change to the way games are made comes from success, and some titles may be better-remembered for serving as bad examples than good games.

Number 1: Star Citizen (Unreleased)

How can a game that hasn’t even been released be one of the biggest disasters of the generation? Simple: it’s become the textbook example of how crowdfunding can go wrong in the gaming realm. Star Citizen’s troubled development began way back in 2012, before any of the current-gen systems launched. And it raked in millions of dollars in crowdfunding from eager gamers – only to miss release window after release window, while continuing to beg and scrounge money out of its remaining loyal fans.

At this point, in late 2020, the team behind Star Citizen have raised – and mostly spent – over $300 million. That’s an utterly insane amount of money for any video game, and if reports and rumours are to be believed, it’s still nowhere near complete. What happened with Star Citizen is basically this: a developer had a decent idea for a game, put together a small team, and began work. But as the crowdfunding campaign took off the developers began to promise more and more features, leading to more development time. More development time in turn meant they needed more money, which meant more crowdfunding, which meant more features were promised, and the whole thing has spiralled out of control to the point where the game is an overhyped undeliverable mess.

Star Citizen isn’t a “scam,” because I firmly believe there were good intentions behind it. But the developers needed someone competent to manage the project before it got unwieldy, and someone in charge to prevent it from ever getting so out of control. The idea of selling in-game content for an unreleased game is already pretty shady, but when some of that content can cost thousands of dollars I think someone has to step in and say that it isn’t acceptable. It’s still possible the game will see a release – one day – but even if it does it’s hard to imagine it will be anything less than underwhelming in the extreme for fans who’ve waited years and hyped it to oblivion.

Number 2: Star Wars Battlefront II (2017)

Battlefront II saw the bubbling lootbox controversy boil over. Though it’s been over three years since its 2017 launch, the ramifications of that are still being felt as jurisdictions across the world move to regulate or ban in-game gambling. Electronic Arts has, for years, pushed the envelope for what gamers will tolerate in terms of in-game monetisation. And with Battlefront II they finally pushed too hard and too far.

The game itself is perfectly playable today, but only because EA ripped out as much of the gambling as they could before it hit shelves. Battlefront II also had poor timing, causing controversy in the Star Wars fandom at a time when The Last Jedi was already proving hugely divisive. The combination of the poorly-received game and film meant that Star Wars was in a dark place going into 2018.

Number 3: Mass Effect: Andromeda (2017) and Anthem (2019)

Oh, Bioware. How heroes fall! For a number of reasons that boil down to project mismanagement, both Mass Effect: Andromeda and Anthem were rush jobs, put together in months instead of years. And it showed. Andromeda was memed to death, and even though the worst of its bugs and visual glitches were fixed within days of launch by patches, the damage was done and the game’s reputation never recovered.

Anthem overpromised based on a trailer at E3 that was entirely fake. Players who did buy into the game found a half-finished and underwhelming live service experience, and promises of updates and more content weren’t enough to convince more than a few to stick around. As of late 2020, Anthem’s “roadmap” for further updates has been cancelled, and the game is essentially dead.

For a studio like Bioware, these failures feel so much worse because we know that they’re capable of producing some incredible games. Knights of the Old Republic, Jade Empire, and the first two parts of the Mass Effect trilogy are among my favourite role-playing games of all time, so to see the buggy overblown side-mission that was Andromeda and the live service failure that was Anthem is nothing less than a colossal disappointment. There may be light at the end of the tunnel for this once-great developer, however, with a Mass Effect trilogy remaster having been announced a couple of days ago.

Number 4: Fallout 76 (2018)

As above, a developer once revered for its amazing experiences churned out a buggy, underwhelming online multiplayer title. Fallout 76 came after years of declining quality of Bethesda’s own titles, which included port after port of Skyrim and little else. I could never get past the fact that this was a Fallout game with absolutely no non-player characters. The heart of any game like this is its story, and a story needs characters. Fallout 76 thus contained little more than a moderately pretty environment – one built on an ageing engine meaning even the game’s visuals were hardly spectacular.

After walking around, checking out the scenery, and battling a few monsters, there was literally nothing to do. The gunplay was also mediocre to poor, something the Fallout series’ VATS system had masked in previous titles built on the same engine. But with multiplayer there was no way to implement VATS properly, meaning the game’s shooting had to stand on its own… and it fell down.

The first of these points – the missing NPCs – was eventually addressed in an update. But Fallout 76 has been own goal after own goal from Bethesda, including crappy product tie-ins that got recalled, a $100 premium membership, and more besides. The game was a bug-riddled disappointment.

Number 5: Shenmue III (2019)

Shenmue III is one of the biggest disappointments to me personally. Other titles in this section have their problems, but when it comes to my most-anticipated games ever, Shenmue III had been at the top of the list since 2001. After a dedicated group of hardcore fans raised an incredible $7 million through a crowdfunding campaign, the only thing I expected from Shenmue III was that it would finally finish Ryo Hazuki’s story.

In 2001, Shenmue II ended on a cliffhanger, with Ryo’s quest for revenge incomplete – and having just taken an interesting turn. But the failure of the Dreamcast – and the game’s lacklustre sales – meant no sequel was forthcoming. Yu Suzuki, the game’s creator, had always said that the Shenmue saga was an ambitious project, and that’s to be commended, but while I can’t claim to speak for every Shenmue fan, really my only expectation going into Shenmue III was that it would bring the story to a conclusion. If there was too much story to tell in a project this size, then someone had to come in and make cuts to all of the unnecessary fluff to make it fit. For some inexplicable reason, that didn’t happen. Fans raised millions of dollars to end on another cliffhanger. Does Yu Suzuki seriously think he’ll raise millions more to make Shenmue IV and Shenmue V to keep telling this story?

And that’s why it’s such a disappointment. It had one objective as far as I was concerned: finish the story. Fans donated their own money to make that dream a reality, but the developers blew it. This was a once-in-a-lifetime chance for a dead, failed series to come back to life and finish its ambitious story. I can’t get over the truly awful decision-making that meant it didn’t happen.

Games of the Generation

Now we come to my personal top ten. I played and loved all of these games this generation, and while there are many more that could have made the list, when I whittled it down these are the titles which made the final cut. These titles are not in any particular order, so this isn’t a ranked list. All ten titles are very different, and thus they’re all my Games of the Generation!

Number 1: Mario Kart 8 (2014)

Originally released for the Wii U in 2014, Mario Kart 8 has since reappeared – in “deluxe” form – on the Nintendo Switch. It isn’t particularly ground-breaking, simply refining and polishing the Mario Kart experience for the high-definition screens that became commonplace over the last decade. But that’s absolutely fine, because Mario Kart doesn’t need a radical overhaul; what keeps players coming back for race after race is that it’s pick-up-and-play fun.

The Switch version bundles the original game with its two DLC packs and adds a few new characters to the roster too. And that’s the way most players have experienced Mario Kart 8, since so few people owned a Wii U! It’s a shame that Nintendo chose to paywall its originally-free online multiplayer, and that decision deserves criticism as it’s awful to implement paid online features to a game that once enjoyed those same features for free.

Regardless, Mario Kart 8 is a lot of fun. Some will argue that the fun is best shared with friends, and though you could certainly make that claim I still find myself picking up the game for a quick race or two against the AI.

Number 2: Star Wars Jedi: Fallen Order (2019)

I played through Jedi: Fallen Order earlier this year, and I had a wonderful time. In fact, I’d go so far as to call the game the best Star Wars experience I’ve had in a long time, far surpassing some recent film and television attempts from that franchise! Cal’s journey from the shipbreaking yards of Bracca to, well, spoilers, was truly exciting.

This kind of linear, story-focused game has fallen out of favour with many of the bigger games publishers this generation. The rush to make every game an online experience (with recurring monetisation) has unfortunately seen less of a focus on titles like Jedi: Fallen Order; the Star Wars brand saw only the two Battlefront games in the years before its release. However, the success of this title both critically and commercially has already led to a sequel being developed – and hopefully demonstrated once again that there’s life in these kind of games!

Though I did encounter a few bugs and other issues during my playthrough nothing spoilt the experience. There were some great voice acting performances, interesting and varied planets to visit, a couple of neat cameos by characters from the films, and truly beautiful visuals that really brought the setting to life and truly immersed me in a galaxy far, far away.

Number 3: South Park: The Stick of Truth (2014)

I’m not the world’s biggest fan of South Park. Its social commentary can be biting and funny, but sometimes it goes over-the-top to say the least! However, while I haven’t been a regular viewer of the series since I lived in the United States in the mid-2000s, the game South Park: The Stick of Truth managed to catch my attention early in the generation. I gave it a shot, and I’m glad I did!

The game’s visual style is practically identical to the television series, and that alone makes it interesting. Animated shows have been adapted as games many times, but rarely is the appearance so remarkably similar. I think that’s what first captured my attention, but what I found when I played the game for myself was a surprisingly fun role-playing experience.

Not every joke landed, and a few moments in The Stick of Truth were just plain silly. But as an authentic South Park experience that really feels like playing through an extended episode of the television series it’s something unique – or it was until a sequel, South Park: The Fractured But Whole, was released in 2017.

Number 4: Ori and the Blind Forest (2015)

Ori and the Blind Forest never pretends to be a AAA blockbuster. It’s relatively short, with an average playthough lasting around eight hours, but those hours are spent in a beautiful, artistic world. The levels are diverse, and are interesting and challenging in equal measure as protagonists Ori and Sein bid to save their forest home.

Words like “masterpiece” and “beautiful” are thrown around all too easily these days, but I genuinely feel that both apply to Ori and the Blind Forest. For a game about spirits and sprites it’s surprisingly emotional too.

In a generation where Microsoft and Xbox lagged well behind Sony in terms of the quality of their exclusive games, Ori and the Blind Forest was a rare win. It’s since been followed up by Ori and the Will of the Wisps, a sequel which builds on everything the first game got right. Both titles are available on Xbox Game Pass, and are well worth a play for anyone who likes 2D platformers.

Number 5: Uncharted 4: A Thief’s End (2016)

As with Jedi: Fallen Order above, Uncharted 4 is a linear, story-focused game. This generation has been dominated by sequels, and Uncharted 4 brings to a close the tale of Nathan Drake which began on the PlayStation 3 in 2007. What I love about the series is that it feels like a combination of Tomb Raider and Indiana Jones, setting up a mythical-historical mystery for Drake and his comrades to uncover.

The first three games in the series were fantastic, but Uncharted 4 was a step up. Truly stunning visuals that pushed the PlayStation 4 to its limit really helped with immersion, and the swashbuckling story was perfectly-paced and well executed. Naughty Dog is a fine studio, and they refined this style of gameplay to perfection by the time of Uncharted 4‘s release.

The PlayStation 4 has had some amazing exclusive games this generation. Whether Uncharted 4 is the best of them will always be a matter of debate, but for me it has to be at or near the top of any such list.

Number 6: Minecraft (2011)

This one is a total cheat since Minecraft was released a full two years before any of the current-gen consoles. But it isn’t unfair to say that the game has enjoyed continued success this generation, which culminated in parent company Mojang being acquired by Microsoft in a deal reportedly worth $2.5 billion. That’s a lot of money for a game I initially dismissed as a scruffy-looking pixel graphics mud hut-builder!

Minecraft became the best-selling game of all-time, and a phenomenon that took the world by storm. It introduced the gaming hobby to millions of new players, including many children, and its ubiquity on practically every platform helped that immeasurably. Even nine years after its initial release the game is still being played and replayed over and over. The Minecraft brand has also been expanded upon, with titles like Minecraft: Story Mode and Minecraft Dungeons set in the same fictional world.

Where I had the most fun with Minecraft is in multiplayer with friends, starting from scratch and building whatever we wanted. I wouldn’t like to guess how many hours were lost digging tunnels, mining resources, and planning how to build a castle with a lava moat or a city in the sky.

Number 7: Middle-Earth: Shadow of Mordor (2014)

The world of Middle-Earth has been ripe for video game adaptations ever since The Lord of the Rings trilogy hit cinemas in the early 2000s, and Middle-Earth: Shadow of Mordor follows some truly outstanding games from years past. It took a step back from the books’ familiar characters, introducing players to Talion, an Aragorn-esque Ranger, as he takes the fight to Sauron.

What made Shadow of Mordor stand out mechanically as a video game was its revolutionary “nemesis” system. The game’s AI would track which Uruk commanders that Talion battled – and there were many! Those Uruk could not only become more powerful by killing the player, but defeating them was a key part of the gameplay experience. Orcs and Uruk could be promoted within Sauron’s army, and the aim of the game was to encounter and defeat them. Even now this gameplay mechanic is innovative, and it makes Shadow of Mordor a game with plenty of replay value.

Unfortunately the series was tainted somewhat by the in-game monetisation forced into its sequel, Middle-Earth: Shadow of War. While most of that has since been removed, the reputation of both games suffered. It’s a shame, because Shadow of Mordor is one of the best and most immersive experiences set in Tolkien’s world, and is still worth playing today.

Number 8: Super Mario Odyssey (2017)

Super Mario Odyssey took everything that had been great about 3D Mario games and condensed it into one phenomenal title. It dropped gimmicks from Mario Sunshine and Mario Galaxy and returned the series to a style much closer to the beloved Super Mario 64, which remains to this day one of my favourite games of all-time.

The level design was brilliant and incredibly varied, with water levels, desert levels, and even a voyage to the moon all on Mario’s agenda as he races to – once again – save Princess Peach from the clutches of Bowser. Hardly an innovative premise, you may say, but the fun of Super Mario Odyssey is in the gameplay rather than the story. There are very, very few titles about which I’d say something like that – so that should show you just how outstanding this game really is.

Despite being brand-new, Super Mario Odyssey gave me a hit of nostalgia and took me back to the mid-1990s when I played Super Mario 64 for the first time. It really does feel like an updated version of that classic game.

Number 9: Fall Guys (2020)

Fall Guys came out of nowhere this summer and surprised me! From the moment I heard the concept – jelly bean-like characters running obstacle courses in a video game homage to the likes of Total Wipeout – I knew I had to give it a try. And despite my general dislike of online multiplayer titles, what I found was a truly fun experience.

Fall Guys makes it easy to jump into game after game, and because each round is so short, even losing doesn’t feel that bad. The different ways in which people play makes every round unique, and while it certainly has its frustrating moments the core gameplay is plenty of fun. A cheating problem plagued the PC version for a while, but an update brought in anti-cheat software and that issue has now all but died out, restoring the fun!

If you’d asked me at the start of the year – or even in June – what my top ten games of the generation were likely to be, Fall Guys wouldn’t have even been on my radar. And when I was putting this list together I was wondering if including it would seem like recency bias; ignoring older games in favour of one I picked up just a few weeks ago. But looking at it on merit, I had a lot of fun with Fall Guys, and I’m happy to include this fun, casual title as one of my top games of this generation.

Number 10: Subnautica (2018)

In the wake of Minecraft’s success many games attempted to recreate its survival and building/crafting features. Many of these so-called “Minecraft clones” were crap, but one survival game that took the genre to wholly new places was Subnautica. The game has an interesting story as players find themselves crash-landing on a watery planet and must explore, collect resources, and build their way to freedom.

Subnautica is one of the few games even in modern times to really get its underwater world feeling right. Many games are notorious for bad underwater sections or levels, and when the whole game is based around swimming and moving underwater, this was something Subnautica couldn’t afford to screw up! The skill and attention to detail that went into this aspect of the game really is incredible.

The underwater setting also made the game feel like something genuinely different in a survival genre that was full of samey titles. Subnautica managed to be something unique as well as plenty of fun, and that combination is greatly appreciated.

So that’s it. A few of the best games of the generation – in my opinion, at least. There are many, many titles that could have made this list, including games I’ve played but forgotten all about, and games that I didn’t get around to yet.

This generation has offered up some truly amazing experiences, and even as we begin the transition to new consoles, there will be more to come. Cyberpunk 2077 and Halo Infinite are both due in the next few months, and there will be a number of other titles released before production fully shifts to the new machines over the next couple of years.

On a personal note, this has been a generation where, for a number of reasons, I found myself playing fewer games than I had in the past. A combination of health, ageing, work, and other factors are to blame – if indeed blame needs to be assigned. Despite that, I had fun with all four of this generation’s major home consoles, something I can say for the first time as a generation comes to a close!

I have no immediate plans to purchase an Xbox Series X or PlayStation 5, so there won’t be new console reviews coming on the website any time soon. But I can save you the trouble: both machines will be iterative improvements on their predecessors, offering things like faster load times, better controller battery life, and so on. It will be several years before we see any significant improvement in game design or graphics, simply because most upcoming titles are cross-generation and will continue to be limited by the requirements of this generation’s hardware.

Hopefully this has been a fun and interesting look back at some of the highs (and lows) of this generation on the day we mark the official beginning of the next one.

All titles listed above are the copyright of their respective studios, developers, and/or publishers. Some screenshots and promotional artwork courtesy of IGDB. This article contains the thoughts and opinions of one person only and is not intended to cause any offence.

Cyberpunk 2077 and the dangers of hype

With CD Projekt Red’s new game Cyberpunk 2077 now only a few weeks away from release, the already-excessive hype surrounding the game has reached fever pitch. In fact, it’s been a long time since I’ve seen such an over-hyped title. Excitement for a game is good, and from the point of view of the game’s developers, it’s good news that there’s an engaged and excited audience waiting for the title to be released. But there is such a thing as too much hype, and we’ve seen countless times how that can ultimately lead to disappointment – even if a game is pretty good.

For the record, because I know an article like this is ripe for misinterpretation: I am categorically not saying that Cyberpunk 2077 looks like it’s shaping up to be a disappointment or a bad game. Instead what I’m saying is that too much hype can be a bad thing, and even if a game is decent, can lead to players feeling underwhelmed.

In the absence of independent reviews, what we have right now is marketing material released by the game’s developer. And that marketing material is scripted and edited in such a way as to show the game in the best and most exciting light; that’s what the objective of marketing is, after all. Many of these trailers and small recorded clips of gameplay look thrilling and very exciting, but anyone with a computer can cut together a trailer that looks decent. Any game, even notoriously bad ones like Marvel’s Avengers or Contra: Rogue Corps, can be made to look good in their own marketing.

Is Cyberpunk 2077 over-hyped?

Right now, the hype surrounding Cyberpunk 2077 is allowing players to do the one thing any developer needs to be very wary of: build up a personal expectation of what the game could be. All the talk of customisation and unique quests is setting up an expectation that the game can literally be anything players can imagine, and the absence of reviews or any real gameplay amplifies that. How many games have we seen seemingly promise the moon only to fail to live up to expectations?

No Man’s Sky is a recent example of a game that generated similar levels of hype leading up to its release. In that case, players accused studio Hello Games of false advertising, as they were left disappointed when promised features were not what they expected. Hello Games certainly over-hyped No Man’s Sky, but it was players themselves who took that hype and built it up to impossible heights. I can’t be the only one feeling at least a slight sense of déjà vu, can I?

I want Cyberpunk 2077 to be a phenomenal game and to sell well. I want it to demonstrate unequivocally that there is still plenty of life left in the single-player game space, given how many big publishers have abandoned it in the push to always-online multiplayer titles. But I’m nervous. A lot of players seem to be building up Cyberpunk 2077 in their minds to an impossible standard, one that no game could ever live up to. And all the while, CD Projekt Red seem content to let them do so.

Are players setting themselves up for an underwhelming experience?

In all the discussion surrounding the game, never once have I seen CD Projekt Red say “no.” They have never said “no, that feature isn’t part of the game,” “no, you can’t do that,” “no, you can’t go in every building, fly every aircraft, romance every NPC,” and so on. Because their marketing team has been quite happy to show off a range of things players can do, both in written and video form, I feel there’s a real danger that expectations are being created for many players that can simply never be met.

It’s far too late now to change course. Any damping down of expectations needed to happen months ago if players were to get into the right mindset in time for the game’s release. Cyberpunk 2077 should be judged on its own merits, not pre-judged by players with self-created notions of what the game could have been, yet that’s what happens time and again when a game sees this level of fanatical over-hyping. Cyberpunk 2077 may very well turn out to be a good game – but like every game, it will have its limitations. There will be things players can’t do, limits to customisation, and perhaps even the odd bug or glitch that snuck through testing or couldn’t be patched before launch. None of these things are uncommon in games, and in most cases would be happily overlooked. But in a title that has received such inflated hype, the crashing back to earth as players realise that it’s just a game, not an infinitely spectacular sandbox, can be devastating.

Can Cyberpunk 2077 possibly live up to the lofty expectations players have?

No Man’s Sky was good, even at launch. The only reason that’s an unpopular opinion is because the game had been hyped to oblivion and back for months, and when players quickly realised that there was little more going on than flying a spaceship, mining minerals, and exploring, they were devastated. The dream of living a second life in whatever galaxy they’d imagined in their heads was dashed – and thus the game was considered crap. A lot of the fault lies in the way No Man’s Sky was marketed… just like a lot of the fault for Cyberpunk 2077′s massive hype bubble lies with CD Projekt Red.

Maybe they’ll pull off the impossible, and release a game so spectacularly amazing that it will truly let players do everything they can imagine. And if that’s the case then sign me up, because I’d want to play a game like that! But as things sit right now, I’m getting that sense of déjà vu that I mentioned. Are we going to see a game on par with the best titles of the generation? Are we about to see a game that breaks the mould and redefines what a game can even be? Or are players going to hit the wall when they realise that Cyberpunk 2077 is just a game?

Even if it turns out to be a great game, too much hype could damn it. We all need to be careful when it comes to pre-release marketing and trailers, even for projects we’re excited about. Until the game is ready and is in the hands of reviewers and the general public, the possibility for deception or misunderstanding exists. And even in cases where games haven’t been deliberately dishonest, excessive hype can lead to the sense that a title is underwhelming and disappointing when it doesn’t do everything players hoped for.

I’m keeping my fingers crossed for Cyberpunk 2077 being a lot of fun. But I’m also trying to avoid boarding the hype train.

Cyberpunk 2077 will be released on the 19th of November 2020 for PC, PlayStation 4, PlayStation 5 Xbox One, and Xbox Series X. Cyberpunk 2077 is the copyright of CD Projekt Red. Screenshots and promotional artwork courtesy of the Cyberpunk 2077 press kit on IGDB. This article contains the thoughts and opinions of one person only and is not intended to cause any offence.

Age of Empires III: Definitive Edition – First Impressions

Earlier in the year I wrote an article looking at Age of Empires II: Definitive Edition and my experience getting back into it after it was remastered. I had a lot of fun with that game, and I’ve even gone back and played a few matches here and there over the summer. I played the first two Age of Empires titles to death in the late 1990s/early 2000s, but when Age of Empires III was released in 2005 I was less than impressed. While the core gameplay was similar, the addition of features like “home cities” and “cards” complicated things and, in my opinion at the time, detracted from the real-time strategy experience that I hoped to have. This also coincided with a period where I was particularly busy with my professional and personal life, and as such there were a number of factors involved in me putting down the game and not picking it up again.

Until now, that is! Age of Empires III: Definitive Edition was released a few days ago and follows on from last year’s Age of Empires II: Definitive Edition and 2018’s Age of Empires: Definitive Edition, completing the trilogy. The remastering process has brought all three titles in line with one another, at least from a visual standpoint, and were it not for differences in building and unit styles, it would be hard to tell them apart. Age of Empires III, being a more recent title, was visually better than the first two titles to begin with, and in that sense perhaps the upgrade doesn’t feel quite so dramatic. However, the game looks great and a lot of work has been put into that side of things.

A promotional screenshot depicting a naval battle.

I wouldn’t have necessarily rushed out to buy Age of Empires III: Definitive Edition, especially not this close to its release. But as you may recall, I recently became a subscriber to Microsoft’s Game Pass for PC service, and in line with the company’s policy of bringing every new first-party release straight to Game Pass, it was available to me. So I downloaded it! Game Pass for PC is still not a seamless experience, and frustratingly logs me out every time I so much as minimise the Xbox app. Also, for some reason the download progress bar wasn’t working right; although the title did download, it told me it was stuck at having downloaded 14 megabytes the whole time. These are pretty basic things that Microsoft will need to work on if they want Game Pass for PC to be taken seriously, and now that the service is about to exit its “beta” phase, I hope to see such problems fixed. However, this isn’t meant to be another review of Game Pass!

The first thing players see upon booting up Age of Empires III: Definitive Edition is a note from the developers explaining that some changes have been made to the game compared to its 2005 iteration. While there are gameplay changes (quite a lot of them, though many are minor) this message focuses on the way Age of Empires III treated indigenous peoples. The names of the game’s two Native American tribes have been changed – in the 2005 version of the game they were called the Sioux and the Iroquois; in 2020 they use the more accurate native names of Lakota and Haudenosaunee respectively. There have also been some changes to the way Native Americans are portrayed within the game, and Microsoft worked with Native American advisors in order to help shape the remaster.

The developers’ note in full.

This speaks to a much broader point, one which a single article can’t sufficiently cover. How can developers make history-based games that accurately depict the vast range of cultures and civilisations that existed? And how can a game like Age of Empires III possibly be made “fair” to all players when there are major differences between cultures and their levels of technology? This is an issue present in a lot of strategy games in particular, and the way developers have tended to handle it has been to “westernise” non-western civilisations, giving them technologies and resources they didn’t historically have in order to keep them competitive from a gameplay perspective. Age of Empires III: Definitive Edition does this too, and we see it prominently in other games, such as Civilization VI.

I don’t have a good answer when it comes to depicting history in media. On the one hand there will be people who say “it’s just a game,” as if to shut down the argument and just focus on whether or not the gameplay itself is good. And there will be others who practically want a boycott of titles that even try to deal with colonialism and the like. In a title like Age of Empires III, the entire aim of the game is to build and maintain a colony. Colonialism is the absolute core of the game, and that can’t be removed without fundamentally changing it into an altogether different experience. However, I like to think that we’re getting better with the way we treat history and different cultures in 2020, and the way that Native Americans are depicted in the game is not particularly historically accurate, despite attempts to make it better.

History, and the legacy of colonialism, can be a complicated subject for entertainment media of all types.

Age of Empires III: Definitive Edition brings in several changes to the original experience in order to make the game more accessible to new players. One change that I particularly appreciated was to the user interface; there are now options to either retain the original 2005 UI, to use a new UI developed for the remaster, or to use a UI that’s almost identical to the one seen in the first two games. This definitely helps move much more smoothly from one game to the next, and when remastering a title there’s no excuse for things like radically different UI or controls. One thing that I found extremely annoying in the 2018 re-release of Shenmue I & II was that on PC, the main action button (used to interact with the environment) changed from one game to the next. That’s the kind of annoyance that should be fixed in any remaster, and Age of Empires III: Definitive Edition has certainly made changes with players in mind.

As someone who isn’t all that familiar with the original version of Age of Empires III I’m not well-qualified to speak on gameplay changes between the two editions. That said, there are some that seem quite major, such as a big expansion of the “revolution” system, the changing of resource gathering rates, changes to resources on certain map types, and many more besides. For players used to the original version of the game who may have well-established ways to play, it’s worth reading through the entire list of changes on the Age of Empires III: Definitive Edition website. Even having done so, however, it will no doubt take time to get used to the new way everything works!

The beginning of a deathmatch game, showing the revamped user interface.

There are two new civilisations in the game – the Inca and Sweden – bringing the total number of civilisations to 16. Compared to the 35 playable civilisations in Age of Empires II: Definitive Edition this may seem paltry, but unlike in the other two games, each civilisation has more unique features. For example, in Age of Empires II each civilisation would use one of a handful of architectural styles, meaning no civilisation looked unique. In Age of Empires III, each civilisation has its own distinct look.

The addition of home cities (which also look unique for each civilisation) which I disliked back in 2005 also adds further distinctiveness to each civilisation, as do the cards which are used to set up each game. In a way I stand by what I would have said about the game fifteen years ago – these factors complicate gameplay. But at the same time that doesn’t have to be a bad thing, and after getting used to the way the game works and figuring out each of the systems, their value to gameplay cannot be understated.

Promotional screenshot showing the Swedish civilisation.

Overall, Age of Empires III: Definitive Edition lives up to its name, at least based on the short amount of time I’ve spent with it so far. It is undeniably the definitive version of the game, having not only been given a visual overhaul, but with the development team having worked hard to rebalance the game to address player feedback. After fifteen years of a dedicated playerbase enjoying the original version, the developers had plenty of information to go on! It has been pointed out by those who know more about the game than I do that many of the changes made for Definitive Edition reflect changes and rebalances in some of the original version’s most popular fan-made mods. That says a lot – the developers have listened and tried to make the game as fair and fun as possible while still retaining some of its original quirks.

For me, as a Game Pass subscriber, getting Age of Empires III: Definitive Edition was a no-brainer. On Steam it sells for £15/$20, and for that price I think you’re getting a good strategy game with visuals comparable to any of today’s better games, and gameplay that has been improved based on fifteen years’ worth of player data and feedback. That seems like a pretty good deal, and for that matter all three of the remastered Age of Empires titles have been good value. Though I have heard from others that there are bugs and even crashes, I didn’t experience any of that during my time with the game. I would also add that if there are issues of that nature, they will almost certainly be patched out soon as the team behind Age of Empires are continuously working on updates. Age of Empires II: Definitive Edition has received regular updates since it was released last year, and I see no reason why the same won’t happen here. That said, I found nothing game-breaking in my time playing.

Some of the changes made will be controversial with fans of the original version of the game, but that’s to be expected with any major overhaul. In the case of the first two titles in the Age of Empires series, the remastered versions are widely acclaimed and even considered superior in many ways to the original versions by fans. Whether that will be the case here is uncertain, and some of the more contentious issues – like those surrounding the nature of colonialism itself – will take time to settle down. However, for my two cents I think Age of Empires III: Definitive Edition is fun, and gives me a second chance with a game I mostly overlooked first time around.

Age of Empires III: Definitive Edition is out now for PC. The game is the copyright of Microsoft, Xbox Game Studios, Tantalus Media, and Forgotten Empires. This article contains the thoughts and opinions of one person only and is not intended to cause any offence.

Star Wars: Squadrons – First Impressions

Spoiler Warning: There are spoilers ahead for the story mode prologue missions of Star Wars: Squadrons. Further spoilers may be present for other iterations of the Star Wars franchise.

It’s a rarity these days for me to pick up a new game the day it’s released, but that’s what I did for Star Wars: Squadrons. I remember with fondness titles like Rogue Squadron, which I played on the Nintendo 64, as well as the spaceflight sections of the first Battlefront II, and I’d had Squadrons on my radar (pun intended) since it was shown off at EA Play in June. I don’t pre-order as a rule, but when the game was released I picked it up on Steam. My slow internet connection meant that I had to leave it overnight to download and install, but I got up the next morning eager to jump into the cockpit!

First, Squadrons needed me to download and install the latest Nvidia graphics card driver. It’s been a while since any game insisted on something like that! But that didn’t take too long and I was ready to go – only to be confronted with a strange graphical issue when the game booted up. I have a 4K display, and for some reason Squadrons had cut off the majority of the display, only showing a small portion stretched out to full-screen. If anyone else encounters this issue, here’s how I fixed it: pressing Alt + Enter to exit full-screen mode. From there, I was able to access the graphics settings and change them from whatever bizarre resolution Squadrons thought I wanted to a standard 1080p full-screen experience.

This was all I could see at first! Not the best start…

When the game restarted I got the proper experience. I appreciate that Squadrons offers a range of options for colour-blind players; though I’m not colour-blind myself my brother-in-law is, and I know some titles can be almost inaccessible for people with visual impairments. Any accessibility features like that are a welcome addition.

Despite being marketed as a game with a multiplayer focus, Squadrons insists that you first play the prologue of its campaign. It’s also recommended to complete the campaign, but after the prologue is complete it’s possible to jump into multiplayer. As someone who isn’t big on multiplayer gaming I was planning to play the campaign anyway, but it’s worth knowing that it isn’t possible to go straight to multiplayer if that’s what you’re buying the game for. All told, the prologue took less than an hour to complete, so it isn’t a huge time-waster for people who want to dive right in.

You’ll receive this message upon clearing the prologue.

The campaign has an unusual format in that players are assigned two playable characters, one on each side of the conflict. The main setting is post-Return of the Jedi, looking at the conflict between the remains of the Imperial forces and the New Republic, but the prologue takes place years earlier, just after the destruction of Alderaan (as seen in A New Hope). This narrative choice won’t be to everyone’s taste, and I’ve already seen criticism online from players who wanted to be able to pick a side and stick with it all the way, but I don’t mind that. It’s different, interesting, and it gives a more rounded view of events (as well as allowing players to fly both Imperial and Rebel/New Republic ships).

The destruction of Alderaan, as seen in-game.

The character creator is rather basic. In fact, I wouldn’t even call it a “creator,” rather there are a dozen or so pre-created faces and two body types (male or female) to choose from. There are a few different voices, and although the player character doesn’t seem to talk much, that’s a nice touch. The game is played entirely in first-person mode, so perhaps a character creator is unnecessary. You do get to choose your character’s name, though, and there’s a “randomise” option if you want the game to generate a Star Wars-sounding name.

My Imperial pilot…
…and my Rebel/New Republic pilot.

The voice options and the name are the more important points. The voices are good, and although there are only a few types, they are all clearly different from one another. Names will be shown in subtitles (if you have subtitles enabled; I always do). After customising the two characters, the prologue began, and it was a moderately interesting story surrounding a convoy of refugees fleeing Alderaan. The Empire tasks a squad of TIE fighters with finding and destroying the convoy, and the Rebels task a group of X-wings with defending it.

The game begins with the Imperial mission, and this is where I got my first taste of gameplay. Squadrons is not a cakewalk, and it takes time to get the hang of the controls. I’d say it’s closer to a simulator experience than an arcade-style game such as Rogue Squadron, so be prepared for a learning curve.

The view from the cockpit of a TIE fighter.

I’m someone who prefers to play with a gamepad, but even so I didn’t find the controls easy at first. The control pad is mimicking – in a very basic way – a HOTAS or dual-stick cockpit, with the left thumbstick used to throttle up and down and the right for turning. I found this counterintuitive at first; most games use the two triggers – right to accelerate, left to slow down or reverse. Using the thumbstick for this takes some getting used to.

The throttle controls.

In that sense, players who use a proper HOTAS setup – which Squadrons does support – may find it easier and more immersive. I have seen reports online that it takes time to calibrate a HOTAS for Squadrons, but I think that’s true for many titles, and as someone who doesn’t have a HOTAS I can’t verify that. However, if I find myself getting really into the game, perhaps getting that kind of setup is something I’d consider.

Squadrons gives you plenty of time to acclimate to the controls, though. The first few minutes of the mission consist of gently following the lead TIE fighter around the fleet, and from there the action amps up slowly rather than dumping you right into a huge battle. This is not only greatly appreciated, but arguably necessary! Perhaps the most ardent combat flight sim players don’t need this level of hand-holding, but I’d suggest that most gamers will.

It was definitely helpful that the game didn’t launch right into a huge firefight.

The prologue offered an interesting – if somewhat predictable – story of an Imperial pilot (not the player character) who defects to the Rebel Alliance. During the aforementioned mission to chase down a fleeing fleet of refugees from Alderaan, the TIE squad’s captain chooses to defect, and after a firefight and a chase, the action then switches to Rebel forces. This is the dual narrative at work.

Taking on Rebel X-wings.

I did die once during this section; Squadrons will automatically destroy your ship and force you to respawn if you fly out of bounds of a given section of a mission, and I chose to investigate a tunnel before it was time. The tunnel would turn out to be where the refugees were hiding, and where Captain Javes would defect, but the linear narrative doesn’t want players straying from the course laid out, which is fair enough. There’s a short timer to give you a chance to turn around before having to restart.

Going the wrong way leads to dying and having to restart.

I’m not sure whether this applies to all the different classes of starfighter – I assume it does – but it’s possible to be out of weapons range. Even when a target appears to be relatively close, the game will designate it “out of range” unless it’s within 1000 metres (or whatever the Star Wars galaxy’s equivalent of metres is!) Again, once you get the hang of this it’s fine, and targets all have floating distance numbers when locked-on to tell you how far away they are. 1000 is a nice round number that should be easy to remember!

An out of range target.

After the defection, the action switches to Rebel forces, and I got a chance to pilot an X-wing! This was great fun, and both ships have incredibly detailed cockpits. I’m sure the other vessels that can be played will also be created in such stunning detail too. The visuals in Squadrons are truly impressive and offer an immersive Star Wars experience as a result. I know some people will insist that “graphics aren’t everything,” and while this is true, there’s no denying that a title like this works exceptionally well when it offers players the best visual experience possible.

The X-wing cockpit.

After another “fly around the fleet and get used to the controls” section, the X-wings are called into action to assist the refugee fleet that we’d been pursuing as the Empire moments earlier. These missions work well back-to-back, and I enjoyed the different perspectives. Both the Rebel and Imperial missions offer a lot to do, with different objectives to complete in addition to dogfights against enemy fighters.

My X-wing came under attack!

Captain Javes, the defecting Imperial pilot, is welcomed into the Rebel family and provides information that helps the Rebels defeat the Imperial forces and protect the refugee fleet. It was a fun sequence to play though, and while I feared for the defector’s life, he appears to have survived the events of the prologue!

The refugee fleet.

There was a great sequence which involved attacking a Star Destroyer at close range. After defeating a handful of TIE fighters, the Imperial defector insists we need to take out the capitol ship’s ability to track the fleeing refugees, otherwise they’ll just follow and catch up to them later. I believe that this is the first taste of Squadrons’ “fleet battles,” in which players team up in multiplayer (or against the AI) to take on larger fleets. Each ship has several weak points that have to be knocked out. Here in the prologue we just had to destroy one before retreating with the rest of the Rebel forces.

Jumping to hyperspace.

Overall the prologue serves as a great starting point for what seems to be a fun title. Its control scheme and semi-simulator style will mean it isn’t to everybody’s taste, and players looking for a more casual experience may be disappointed. There’s only one viewpoint: a first-person, in-cockpit view. This means you can’t switch to get a third-person view from behind your spacecraft, and again this is something that won’t be to everyone’s taste.

Electronic Arts has shown a great deal of respect for the Star Wars brand here, not only by avoiding microtransactions, but also by pricing the game below the standard “full price” of £55/$60. I almost certainly wouldn’t have picked it up on release at that price, but for £35 it feels fair and a reasonable purchase. The short campaign (estimated at around 6 hours) may have a bearing on that, but as we’ve seen recently, some other titles – such as the remake of Resident Evil 3 – have been content to try to charge more for campaigns of a similar length. Credit to Electronic Arts for not doing so.

The Rebel player character.

Squadrons is a simple game with complex gameplay that will take time to master. But it’s fun! I had a great time earlier in the year playing through Star Wars Jedi: Fallen Order, and this looks set to be my second fun Star Wars experience of the year. Even while I’m writing up my first impressions I’m itching to jump back in and have another go at piloting an X-wing or a TIE fighter and having my own crack at being a pilot in the Star Wars galaxy.

For this price, it’s hard not to recommend Star Wars: Squadrons if you’re someone who enjoys this kind of gameplay. If you aren’t, but still want that Star Wars pilot experience, there’s always Battlefront II, which has a starfighter mode, or you could even go back and look at older titles like Rogue Squadron.

Star Wars: Squadrons is out now for PC, Xbox One, and PlayStation 4. Star Wars: Squadrons was developed by EA Motive and published by Electronic Arts. The Star Wars franchise is the copyright of Lucasfilm and Disney. This article contains the thoughts and opinions of one person only and is not intended to cause any offence.

Steam is going to have to address its Epic Games Store problem

Steam is the biggest digital shop in the PC gaming world. Many PC players – myself included – have built up Steam libraries over a number of years that are irreplaceable. But Steam is not the invincible juggernaut it once was. Not only is the growth of Microsoft’s Game Pass subscription service something that has the potential to be a major disruption, the Epic Games Store has been aggressively elbowing its way onto Steam’s turf.

I had an Epic Games account until recently. However, when their crappy customer support caused me a problem that should have been easily resolved and cost me money, I vowed not to shop with them again. But that’s not always easy, because the way Epic has been competing with Steam has been to buy up the rights to as many games as it can, making them exclusives or timed exclusives to the Epic Games Store. Players like myself who only use Steam thus can’t access the titles – and Epic hopes that will bring more players into its marketplace.

The Epic Games Store is proving to be a major competitor to Steam.

To be fair to Epic, despite this policy being anti-consumer it has worked. And again, to be fair to Epic, asking PC players to install a second launcher for games isn’t a huge request. The Epic Games Launcher isn’t particularly cumbersome and works as intended. It’s a minor annoyance, but one players are willing to put up with to play the games that they want to. I may have my own reasons for disliking Epic Games considering they cost me money, but most players – even those who were initially opposed to Epic’s policy of buying up exclusive rights – have softened their tone and signed up. After all, for those titles it’s the only way to play if you’re a PC gamer.

Watch Dogs Legion and the remaster of Tony Hawk’s Pro Skater 1 & 2 are two of the latest titles to be snapped up by Epic, and at this point the exclusivity problem is beginning to bite. Watch Dogs Legion looks moderately interesting, but I was definitely excited to play the remaster of a skating game I remember with fondness from the Dreamcast era. Alas, the only way to do so is to subscribe to Epic.

The upcoming game Watch Dogs Legion isn’t coming to Steam.

For Steam, this is a growing problem. One or two titles here and there can be written off. Shenmue III may have generated a lot of controversy amongst its Kickstarter backers, but since hardly anyone bought the title the actual loss to Steam is negligible. Watch Dogs Legion, however, is a pretty big release – the kind the games industry refers to as “AAA” or “triple-A.” Its loss to Steam is going to be significant, with revenue easily into the hundreds of thousands of dollars simply disappearing.

One way or another, Steam is going to have to get a handle on this. Their recent partnership with Electronic Arts has brought some popular titles – like the FIFA series – to Steam, but that’s a distraction rather than addressing the problem. Steam has never faced such stiff competition; the platform had the PC gaming realm almost all to itself for a long time. I’m not sure that, at a basic level, they even know how to deal with a problem like competition from Epic Games.

Steam will need to tackle Epic Games somehow.

Epic Games has been throwing its wallet around to nab as many exclusives as possible. Not only has it worked for them, but that practice shows no signs of slowing down. If anything, we’re likely to see more games go Epic-exclusive, not fewer. In addition, the backlash games could expect to receive online for announcing a deal with Epic gets smaller and smaller every time. In the cases of Watch Dogs Legion and Tony Hawk’s Pro Skater 1 & 2, I don’t recall seeing any criticism at all – no one even mentioned it. It wasn’t until I looked up the titles for myself that I learned they’re Epic exclusives, so from a developer or publisher’s perspective, there’s a lot to be gained and almost nothing to lose by signing on with Epic Games. Why wouldn’t they do it?

Competition in a marketplace is usually a positive thing. It forces all participants to be better in order to remain competitive – at least, that’s the theory. It doesn’t always work, and there are times where competing companies have done some pretty crappy and shady things in order to get a leg-up on their adversaries. But broadly speaking, competition can force companies to do better and to ditch bad practices. Epic Games should be a wake-up call for Steam. After years where they’ve had an effective monopoly, there’s finally some real competition. They need to step up, because Epic won’t give up and go away. Not when they’ve found a model that works, and one that’s becoming more palatable to players by the day.

Tony Hawk’s Pro Skater 1 & 2 (the 2020 remastered version) is another Epic exclusive.

Even though I’m still stinging from Epic’s refusal to help me a few weeks ago, I have to admit it’s probably only a matter of time before I give in and sign up for an account again. Tony Hawk’s Pro Skater 1 & 2 almost pushed me into doing so; it’s only anger at this point that’s keeping me from jumping back in. As a single person, it’s easy to feel like any such protest against a large company is meaningless. Epic doesn’t care in the slightest that I don’t have an account. They already have the money I spent on the few titles I owned, and any lost revenue from me – especially given that I’m not someone who buys games every day of the week – is negligible to a huge company like that. Regardless, I continue my one-person protest simply out of spite!

Steam has a real problem on its hands. And they need to start looking for creative solutions. The more Epic Games’ presence in the PC gaming realm grows, the harder they will be to dislodge. Steam can no longer afford to wait it out – Epic is clearly not going away. Fighting fire with fire is one option; Steam could use its considerable resources to buy up exclusive rights for a lot of upcoming titles, beating Epic at their own game. Or they could undercut Epic on every shared title, even if that means selling some games at a loss. The point is they have options, but right now they seem to think they can coast. Steam seems to think that their position as the current number-one in the PC gaming space is unassailable, and that they can ignore Epic’s presence altogether. That is simply not viable.

The Epic Games Store homepage.

This article may have been prompted by a couple of recent games, but there are dozens of big Epic Games Store exclusives. Here’s a short list of some of the big ones that Epic has successfully kept away from Steam:

Anno 1800, Assassin’s Creed Valhalla, The Division 2, Ghost Recon: Breakpoint, Hitman 3, Industries of Titan, Magic: The Gathering Arena, Maneater, Rocket League (free-to-play version), The Outer Worlds, Saints Row The Third Remastered, Shenmue III, The Settlers, SnowRunner, Super Meat Boy Forever, Tetris Effect, Total War Saga: Troy, Twin Mirror, and The Wolf Among Us 2.

That’s by no means an exhaustive list; there are many more titles that Epic has snapped up. In some cases the games are available elsewhere, such as on Uplay or Game Pass, but Epic has still been willing to open its wallet purely to stop the title also being released on Steam. And Steam quite happily lets them do it, offering no protest and no rebuttal.

Something’s got to change over at Steam, because if they don’t get a handle on this – and soon – their days as the number-one PC gaming shop will be over.

All titles mentioned above are the copyright of their respective studio, developer, and/or publisher. Watch Dogs Legion promo art courtesy of the press kit on IGDB. This article contains the thoughts and opinions of one person only and is not intended to cause any offence.

The Nintendo 3DS has been discontinued – let’s look back at this unique system

With all the hype surrounding the upcoming next-generation consoles, one gaming story that flew under the radar over the last couple of weeks has been the discontinuing of the Nintendo 3DS. The 3DS is arguably the last successful true handheld gaming platform – the Nintendo Switch is a hybrid, and the PlayStation Vita didn’t come close to matching the 3DS in terms of sales. As the console’s life comes to an end, I thought it would be a good opportunity to look back on some of its accomplishments.

I’ve never been massively interested in handheld gaming. I didn’t own an original Game Boy, and on past handheld systems, like the Game Boy Advance and the first Nintendo DS, I basically played Mario Kart and not much else. When home consoles and PC offered better graphics and generally more well-rounded experiences, that was how I preferred to play. Even when I was much more interested in gaming as a hobby, I was still content to wait to get home from work; I never felt that I needed a system I could play on the go. So that was the mindset I had as the Nintendo 3DS launched in 2011.

An original Nintendo 3DS.

When I first encountered a 3DS, I confess to being unimpressed. Though the system did offer some improvements over the older DS, which had been released in 2005, it didn’t seem to be massively better, and the almost-identical dual screen design left me underwhelmed. Its autostereoscopic 3D felt like a total gimmick too; I was convinced that someone came up with the name “3DS” and then made a product to fit! There were a lot of reports at the time of the 3D screens causing headaches and migraines, and I believe Nintendo issued official advice not to use the device in 3D mode for more than an hour at a time.

So for a number of reasons I found the 3DS an underwhelming prospect at first. I had a Wii and an Xbox 360 by this point, so I wasn’t short of ways to play games, and having never really felt the need to play games while travelling or commuting I was content to give the console a pass. However, I ended up changing my mind for a couple of reasons. The first was that I really was quite keen to be able to play Mario Kart 7, and secondly my girlfriend at the time wanted to be able to play some 3DS titles together. What really sealed the deal, though, and convinced me that I needed to get a 3DS for myself was Animal Crossing: New Leaf.

Dedicating a new bridge in Animal Crossing: New Leaf.

I’d been dimly aware of the Animal Crossing series, but as someone who hadn’t owned a GameCube the first title wasn’t one I got to play for myself. New Leaf sounded fantastic, though, with lots of customisation options – and I do love a game with plenty of customisation! It was this game that finally pushed me into spending my money and buying a Nintendo 3DS.

Animal Crossing: New Leaf is a game I’ve sunk innumerable hours into in the seven years since it released. It was so much fun to play with a friend, with almost limitless single-player gameplay and a ton of fun mini-games to play in multiplayer. It’s also the kind of game that’s very easy to pick up for a few minutes at a time. I would find myself regularly picking up my 3DS during moments of downtime to perform a single small task in my town.

Mario Kart 7 was no disappointment either, and I had lots of fun with that title. Regular readers may remember that I used to work in the games industry, and for a time I worked in a large office where several colleagues also had 3DS consoles and enjoyed Mario Kart 7. We’d often get together during breaks or downtime and use the 3DS’ Download Play feature to race against one another wirelessly. It was great fun!

Promo screenshot for Mario Kart 7.

I loved the customisation options that Mario Kart 7 introduced. There were different kart pieces that could all be selected prior to the race, and that was an innovation for the series. Mario Kart Wii had introduced a broad range of karts, but Mario Kart 7 was the first entry to allow players to choose different tyres, different kart frames, etc. It also introduced a first-person viewpoint (which was seldom used), and the ability for karts to glide.

So those are undoubtedly my top two games from the system. Animal Crossing: New Leaf in particular was a game I was still playing even earlier this year; it has incredible longevity. Let’s look at a few other titles that did well on the system.

Obviously there were the obligatory Pokémon titles: Pokémon X & Y and Pokémon Sun & Moon released on the 3DS and though Pokémon has never really been my thing, I can acknowledge that the games are among the console’s best-sellers. Both titles (or all four, I guess) were considered iterative rather than transformative in the way the Switch title Pokémon Sword & Shield has been, but at the time they were well-received by fans.

Promo screenshot for Pokémon X & Y.

Donkey Kong Country Returns was ported from the Wii, and obviously had to undergo a minor graphical downgrade to work on the less-powerful handheld system, but nevertheless was great fun. This was one of Nintendo’s big experiments with porting more modern titles to their handheld platform; older titles like Super Mario 64 had succeeded on the original DS, but there was a question-mark over how well a Wii title would work. Because Donkey Kong Country Returns is a 2D platformer, the 3DS held up remarkably well. Games like this also set the stage in some respects for the porting of “bigger” titles to the Nintendo Switch a few years later, and now it’s not uncommon to hear people say they can’t wait to play a Switch port of their favourite title so they can play it on the go.

The two main Mario games on the 3DS – New Super Mario Bros. 2 and Super Mario 3D Land did well too, and both were enjoyable. I loved Mario’s return to the 2D platforming genre on the Wii, and the 3DS title was more of the same. Super Mario 3D Land was okay, but didn’t really bring a lot to the table. It was criticised by some self-proclaimed “hardcore gamers” for offering players a way to skip tricky levels when they’ve been unable to get through after ten or more attempts. We could talk all day about difficulty options and accessibility – and perhaps we should one day – but suffice to say the argument was particularly stupid, as the inclusion of such options doesn’t change the main part of the game in any way.

Several Nintendo 2DS and 3DS variants in official marketing material.

Aside from games, the Nintendo 3DS leaned heavily into being a connected device that could do things like play YouTube videos and communicate with friends. It could connect to the internet via wi-fi, which was something home consoles at the time either couldn’t do or could only do with additional accessories. It also came out of the box with a basic augmented reality minigame, and thus was my first real experience with AR. Augmented reality never really took off in the way it could have, and in that respect feels gimmicky even today, but it was nevertheless interesting, and it’s something that the console was set up for – if any developers had been interested!

The 3DS had a camera that could not only take digital photos, but was also capable of taking autostereoscopic 3D photos. The 3D functionality in general was not something most folks were interested in, but again this is something that had potential in 2010/11 to take off, and if it had done so we would perhaps be hailing the 3DS as a pioneer! Remember it was around this time that 3D televisions were being pushed as “the next big thing” along with 3D blu-rays. Had the public been more receptive to 3D as a whole, some of these features would have surely been refined and reused.

The Nintendo 3DS came with a basic set of AR minigames.

Nintendo could see the writing on the wall for 3D, though, and released the Nintendo 2DS only a couple of years after the 3DS launched. The 2DS was marketed at kids, and was a less-expensive variant of the console that didn’t have the autostereoscopic 3D functionality. Partly released to overcome the worries of parents who’d heard about the problems that 3D could cause, the 2DS did well in that market. I couldn’t get past the fact that it didn’t fold up, though!

At a time when the Wii U’s failure threatened Nintendo as a company, the 3DS helped them tick over. It remained a profitable system, and even at the height of the Wii U’s problems in 2012-13, the 3DS continued to churn out titles and move units. The importance of its success in that period to Nintendo can’t really be overstated – without the money it was bringing in, Nintendo would have been in a much more shaky position.

The Wii U failed hard, but the Nintendo 3DS kept the company’s head above water.

Before Nintendo tried (and failed) to recapture the “hardcore gamer” market with the Wii U, the 3DS continued the trend of appealing to casual and occasional players in a much broader market. Titles like the Brain Age series, Sudoku Party, Nintendogs + Cats, and even Tomodachi Life appealed to many people who wouldn’t have considered themselves “gamers.” I know of disabled and elderly folks who enjoyed the 3DS for its casual puzzle and brain training titles, and the system was a gateway into the gaming hobby for kids who wanted to play some of the cuter titles. In that sense, the 3DS was an important platform, even if it wasn’t as transformative as smartphones and tablets.

The 3DS gave me one of my favourite games of the last decade in Animal Crossing: New Leaf, and one of the best multiplayer experiences in Mario Kart 7. For those two games alone I can say it was a fun system, and I greatly enjoyed my time with it. As smartphones have become a major gaming platform, it’s hard to see how another dedicated handheld gaming system could replicate the 3DS’ success. Even Nintendo themselves have recognised this, releasing mobile games that feature some of their biggest characters and franchises. With the system being discontinued in 2020, it may be the last ever dedicated handheld gaming system that isn’t either a phone or tablet.

The Nintendo 3DS – and many of the games mentioned above – is the copyright of Nintendo. Promo screenshots courtesy of press kits on IGDB. This article contains the thoughts and opinions of one person only and is not intended to cause any offence.

That Microsoft-Bethesda deal came out of nowhere!

I’m a couple of days late on this one, but if you didn’t know already, Microsoft surprised and upended the games industry by announcing a deal to buy ZeniMax Media. ZeniMax is the owner of Bethesda – the company behind such titles as The Elder Scrolls V: Skyrim and Fallout 76. The deal also includes id Software, developers of Doom and Doom Eternal, as well as several other associated companies, including the developers of The Evil Within, The Elder Scrolls Online, and the Wolfenstein series. Wow.

I’ve seen a lot of… interesting commentary to have come out of this acquisition, including people who seem to think this means there can be no more console-exclusive titles ever, and some overly-optimistic PlayStation fans still expecting their favourite Bethesda/ZeniMax titles to come out on that platform. A lot of the details of the deal and its fallout (pun intended) are still under wraps, but I think we can make some reasonable assumptions – and cut through some of the nonsense.

Buying ZeniMax Media gives Microsoft control over all of these game series – and many more.

First off, let’s clear something up. Microsoft wouldn’t spend $7.5 billion on this company and its subsidiaries for no reason. There are unquestionably going to be changes as a result of this deal. There are several ways it could manifest, but if we look to recent history we can pick out a couple of examples. The Outer Worlds was late into its development when Microsoft purchased developer Obsidian. With the game already scheduled for release on PlayStation, Microsoft honoured that commitment and didn’t make any changes. Likewise when they bought Mojang, Minecraft didn’t become an Xbox/PC exclusive. Those games were either already released or releasing imminently, likely with deals and agreements already signed, so Microsoft kept to those agreements.

The titles people seem most concerned about are The Elder Scrolls VI, which was announced a couple of years ago but is still several years away, and the next game in the Fallout series. No announcement has been made of a new Fallout title, but the assumption is that there may be one in pre-production. As someone who worked in the games industry for a time, I really feel that no company in Microsoft’s position spends this much money not to have exclusive titles. Unless this is part of some longer-term strategy to force Sony to bring their exclusive titles to Microsoft’s Xbox and PC platforms – which it almost certainly isn’t – we can say goodbye to the idea of any upcoming games being multiplatform. Despite Microsoft’s statements that they don’t care what platform someone plays on, they obviously do or they wouldn’t be investing so heavily in the Xbox brand and in PC gaming.

When The Elder Scrolls VI is finally ready, it may not come to PlayStation 5.

The Elder Scrolls VI is far enough in the future that I’d argue it won’t affect the purchasing decisions of 99% of gamers in 2020/21. Even hardcore Elder Scrolls fans should feel confident buying a PlayStation 5 if they want to this Christmas, because the next game in the series is years away and there will be time to get a cheaper Xbox Series S later if necessary. But thinking strategically and thinking long-term, the reality is that if players want to guarantee access to upcoming titles in any of these franchises, they’ll need to look at Xbox. That could be in the form of a console or it could mean getting a PC capable of running newer games. Either way, right now there’s no guarantee any of these titles will come to PlayStation – and if I were advising Microsoft, I’d say they’re in a rock solid position to demand compromises from Sony if Sony want to make any of those games and franchises available on their new system.

As we gear up for the launch of the two new systems, it’s hard to see that many people who had been planning to get a PlayStation will be swayed by this move – at least not in the short-term. All titles which have already been released – including the likes of Doom Eternal, Fallout 4, etc. – will still be available on Sony’s systems. On PlayStation 5 specifically, upgraded and/or re-released versions of some games are coming, and backwards compatibility with PlayStation 4 will mean all current-gen titles will run on the new system. Also the upcoming Ghostwire: Tokyo and Deathloop, which have already been announced for PlayStation 5, seem certain to keep their console releases. So anyone looking ahead to the next year or two need not be too concerned. It’s the longer-term prospects that may worry some PlayStation gamers.

Future ZeniMax/Bethesda titles may not come to PlayStation 5.

With this acquisition, Microsoft will be bringing all of Bethesda’s titles – including upcoming releases – to their Game Pass service. I wrote recently that Game Pass is already a pretty great deal, not to mention the cheapest way to get into current- and next-gen gaming. Add Bethesda’s titles into the mix and the value of the service goes up even more.

This is the real genius of the move. Exclusivity will certainly pull in some players, as those unwilling to miss out will have no choice but to buy into the Xbox ecosystem in some form. But Game Pass is Microsoft’s killer app right now; a subscription service offering players hundreds of games for a monthly fee instead of shelling out $70/£65 per title is not only in line with the way people consume other forms of entertainment (like music and television) but also feels like a good value proposition as we enter what could be a long-term spell of economic uncertainty as a result of the coronavirus pandemic.

I’m a subscriber to Game Pass for PC – and it just became a much better deal!

Game Pass is already available on Xbox and PC, and has been steadily growing its subscriber base. It doesn’t have the library that a service like Steam has, but I can absolutely foresee a time in the future – the near future – where Game Pass will be the platform of choice for many players, perhaps with Steam as a backup to buy occasional titles that aren’t available elsewhere. And once someone has signed up for Game Pass, Xbox Live, and started racking up achievements and making friends, they’re hooked into the ecosystem. It isn’t impossible to switch or leave, of course, but Microsoft will make staying as appealing as possible.

As far back as 2000/01 when Microsoft decided to jump head-first into the home console market, commentators were wondering when they’d start throwing their wallet around. A company with the resources of Microsoft is in a unique position to spend, and we’ve seen them do so several times. On the whole, for players mostly interested in single-player titles I can understand why this feels huge. It is. But at the same time, the deal to buy Mojang a few years back was probably more significant!

In summary, this is good news for PC and Xbox players, and anyone who’s a Game Pass subscriber or on the fence about the service. PlayStation players shouldn’t notice any major short-term ramifications, but if you desperately want to play an upcoming game like the sequel to Doom Eternal, Starfield, or The Elder Scrolls VI, I think you’re going to need a PC or an Xbox.

All titles mentioned above are the copyright of their respective studio, developer, and/or publisher. The Xbox brand is the copyright of Microsoft. This article contains the thoughts and opinions of one person only and is not intended to cause any offence.

Is it the right time for new video game consoles?

A lot of things in the world are a mess right now, upended by the ongoing coronavirus pandemic. In addition to the tragic loss of life we’ve seen lockdowns, job losses, and economic chaos on a level unseen for a long time. And tech companies – including Sony and Microsoft – have suffered as a result of major disruption to supply chains and manufacturing facilities. Yet despite all that, both companies are pressing ahead with their new video game consoles, scheduled for release in November. But is that the right decision? Or might it have been better to wait a year or two?

One of the things that struck me most when looking at all the gameplay and footage released by both companies is how absolutely minuscule the so-called “upgrades” are, at least in terms of the way games will look on PlayStation 5 and Xbox Series X. Both companies use graphics as one of their major selling points, yet when you stack up a current-gen and next-gen version of the same title side by side, it’s hard to really see a difference.

Perhaps some consumers who have an incredibly fancy (and incredibly expensive) television – or superhuman eyesight – will notice a big change. But I didn’t, and from what I can tell by reading and listening to the reaction from players, a lot of other folks can’t either. There is more to a good game than graphics, but when it’s a key selling point I think it’s not unfair to say that players expect something more than either new console is able to offer.

The trouble is that even on the oldest version of current-gen systems – those consoles released in 2013 – games look pretty good. Players have been enjoying the visual style of titles like The Witcher 3 for years, and even some launch titles from 2013, like Ryse: Son of Rome, look fantastic. Any upgrade was always going to be minor, and things like slightly more realistic controller rumble or faster loading times are difficult things to market to the average player. The result? It’s hard to escape the feeling that the two new consoles already feel like a minor upgrade at best… and a waste of time and money at worst.

That’s before we account for the fact that disruption across all areas of the industry has massively complicated matters.

The Xbox Series X is going to be released without its key launch title – Halo Infinite. This game should have been one of the console’s selling points – despite its simultaneous launch on Xbox One. Without it, the Xbox Series X will be released with some cross-platform games and not a lot else.

However, things are even worse for Sony. The company recently announced that they were producing several million fewer PlayStation 5 consoles than expected. As a result there has been pre-order chaos. Initial plans to hold a “lottery” to determine who could pre-order a machine didn’t pan out, and the console sold out within minutes of being made available. Reportedly, some shops have either cancelled pre-orders outright, or informed irate gamers that they may not receive their console on launch day despite thinking they’d secured a pre-order.

We’ve seen consoles launch without sufficient stock numerous times. Here in the UK, getting a Nintendo Wii was nigh-on impossible in 2006 and throughout most of 2007, such was the lack of stock. Even with that in mind, though, this feels worse. Reducing the number of units available worldwide is clearly indicative of a company struggling with production, yet rather than delay or take steps to rectify the situation, Sony has been quite happy to make the PlayStation 5 impossible to get hold of – something which will only be to the benefit of shady resellers who’ll happily sell the console for double its asking price in the run-up to Christmas.

All of this comes at a time when many people are in financial difficulty or face an uncertain financial future. As the pandemic drags on and the idea of “getting back to normal” seems further away than ever, companies are closing left and right, and as temporary schemes like the furloughing of employees come to an end, many people will be out of work. A £450/$500 outlay in that environment is an impossible ask, and feels decidedly anti-consumer. This is made worse by price rises of games themselves, many of which look set to retail for £65/$70 when the new generation arrives.

As we approach what could be a bleak and lonely Christmas for many people, players and parents are looking at these companies and asking themselves how they could possibly have the audacity and lack of awareness to go ahead with something like this. The minor upgrade that most people perceive is incredibly overpriced at £450, and even the Xbox Series S with its lower price will still be out of reach of many in 2020.

I look at these consoles, and the footage the companies selling them have released, and I’m asking myself who would be interested? At least Microsoft can say that their policy of releasing games on Xbox One for the next couple of years – bizarre though that is in many ways – means that players can stick with their current systems and don’t need to shell out a ton of money for this minor upgrade. But Sony still plans on having exclusive games, and are in effect gating off those titles behind a very expensive paywall, one which will prove insurmountable for many players in 2020.

“Big companies do something anti-consumer” is not a surprising headline, either in the games industry or beyond. And as someone who worked for a large games company in the past, I understand that there are many factors at play, including research, development, and manufacturing contracts that were almost certainly too far along to be undone at the time the pandemic hit. Even so, I’m struggling to see how releasing these machines now is a good idea. A one year delay would allow both companies to resolve manufacturing issues, produce far more stock, and allow more development time for launch titles in order to overcome pandemic-created problems. We might even see marginally better graphics as a result. And a delay of a single year wouldn’t mean the internal components of either machine would feel out of date – they would still be cutting-edge devices even if they weren’t launched until November 2021.

Regardless of what some of us may think, the console launches are going ahead. Manufacturing is well underway, and with mere weeks to go until launch day it would be very difficult – if not outright impossible – to slam the brakes on at this late stage. Despite my misgivings both machines will still sell, and will be picked up by enthusiasts with enough disposable income. The beginning of a new console generation always leaves behind those who can’t afford to make the switch; this time around there’s just more people in that position. Hopefully things really will get back to normal soon so everyone can enjoy the next generation of consoles… and the minor changes they have to offer.

The Xbox brand – including the Xbox Series X – is the copyright of Microsoft. The PlayStation brand – including the PlayStation 5 – is the copyright of Sony. Both the Xbox Series X and PlayStation 5 will be released in November 2020. This article contains the thoughts and opinions of one person only and is not intended to cause any offence.

Star Trek: Voyager – Elite Force (Twenty Years Later)

Spoiler Warning: There are minor spoilers ahead for Star Trek: Voyager – Elite Force and for Star Trek: Voyager.

On the 20th of September 2000, Star Trek: Voyager – Elite Force was released. That’s twenty years ago – to my great shock – so it seems like a great opportunity to take a brief look back at what is arguably one of Star Trek’s best and most successful video game adaptations.

The Star Trek franchise hasn’t had a lot of luck in the video game arena, despite the fact that there’s a good deal of crossover between Trekkies and gamers. Most Star Trek games really only appealed to existing fans, and failed to either cross over and win support among a wider gaming audience, or to bring in any new fans. Elite Force was – for a time, at least – an exception to that. As a result it’s fondly remembered not only by Trekkies but by many fans of first-person shooters in the early 2000s.

Star Trek: Voyager – Elite Force was released twenty years ago!

Elite Force was the first game released that was made using the Quake III engine (also known as id Tech 3) except for the original Quake III Arena, and many first-person shooter fans just after the millennium were excited to see what this new game engine would bring to the table. Elite Force also offered local and online multiplayer on PC at a time when the idea of playing games via LAN or online was becoming a bigger and bigger deal in the PC gaming sphere; it was certainly the first such game I ever played at a LAN party!

Using the tagline “Set phasers to frag!” – where “frag” is (or was) a gaming term for “kill” – Elite Force became a moderate success for its multiplayer mode. Gaming as a hobby was much smaller around the turn of the millennium than it is today, and also skewed younger in terms of the average age of gamers. Most players at the time were aware of Star Trek, which had been on a roll through the ’90s, and where Elite Force truly broke new ground for a Star Trek game was in reaching out beyond the franchise’s usual fanbase to appeal to non-fans. It’s unfortunate that the game’s release coincided with the end of The Next Generation’s era; I think if it had been released earlier in Voyager’s lifetime it might have been able to retain some of those new players and convert them to Trekkies. The idea of the “box set” hadn’t really materialised in 2000, so with Voyager already into its final season, and with The Next Generation and Deep Space Nine already over, there wasn’t much Star Trek content for those who did enjoy the game and its setting to get stuck into.

A cut-scene set in the briefing room.

In that sense, Elite Force was released at a time when the Star Trek franchise was entering a period of decline, and the end of Voyager’s run a few months after the game was released meant that the franchise wasn’t able to keep many of the players who gave Star Trek a chance. That’s a shame, but it can’t be helped!

Beyond its multiplayer mode, Elite Force told a really interesting story. The game begins with the explanation that Captain Janeway and Tuvok have created a specialist “Hazard Team” for the USS Voyager, of which the player character is a member. Elite Force was one of the first games I played that allowed players to choose their character’s gender; Ensign Munro could be male or female. It was groundbreaking in the sense that the game didn’t change at all depending on the player’s decision – if Ensign Munro was a woman she was just as capable as if she were a man, and no one aboard the ship would behave differently. That decision alone represents Star Trek’s vision of an equal future. Gender representation in games is getting better, and there are some great female protagonists. But some franchises and series have still never offered players a female lead, and others struggle with writing a female protagonist successfully. Elite Force got this right twenty years ago, so there’s no excuse!

Elite Force let players choose to play as a female or male character. Both were fully-voiced.

To get back to the story, Hazard Team has been assembled in response to the threat of the Borg and other dangers the ship faces in the Delta Quadrant. The first level of the game is set aboard a Borg vessel – which soon turns out to be a holodeck simulation! I liked the creative use of Star Trek’s technology to explain some in-game features; players were said to have a personal transporter buffer which contained their inventory, explaining how it was possible to carry so many items at once. That was a neat little addition!

The USS Voyager itself was recreated using the aforementioned Quake III engine, and remains one of the best in-game depictions of any Starfleet vessel. It was such a shame when fan project Stage 9 was forcibly shut down by ViacomCBS a few months ago, as their recreation of the Enterprise-D was stunning. Elite Force did something similar with Voyager, and in between missions several large areas of the ship were able to be explored. This was a complete novelty at the time, and it was amazing to be able to wander around the ship looking at every little detail that developers Raven Software had built.

The bridge of the USS Voyager was one of many locations on the ship that could be explored.

When the USS Voyager is pulled into a rift in space, it comes under attack by scavengers who reside there. The Hazard Team is deployed on a number of missions to recover supplies, defeat opponents, and find a way for the ship and crew to escape. Interestingly, some Alpha Quadrant races (including humans) are present in the “graveyard,” along with Delta Quadrant races like the Malon.

I don’t want to spoil the story too much, because it is still possible to find copies of the game both for PC and PlayStation 2 second-hand if you want to try it for yourself. Suffice to say that I found the story of the single-player campaign to have a solid Star Trek feel to it. Fans of the franchise might find a couple of nitpicks here and there, but generally it was great fun. Voyager would use a somewhat similar premise – getting sucked into a rift in space populated by scavengers – in the seventh season episode The Void, which was broadcast a few months after the game was released.

The USS Voyager in the “graveyard.”

Almost the whole Voyager cast stepped in to voice their characters. The main two in terms of the storyline and in terms of who Ensign Munro interacted with were Tuvok – who is the head of security and nominal leader of the Hazard Team – and Captain Janeway. Aside from Jeri Ryan, who was unable to voice Seven of Nine, and Jennifer Lien, whose character of Kes was not part of the game, the entire main cast were present. A couple of Voyager’s minor recurring characters (Chell and Vorik) were also voiced by their television series actors, which was a nice touch. The game was certainly far better for having the proper voice cast!

A darling of early-2000s LAN parties and a pioneer of first-person shooters in the online multiplayer space, Elite Force is a rare example of a Star Trek video game that broke the mould and expanded beyond the fandom. It’s also one of the better Star Trek video games both in terms of gameplay, where the Quake III engine provided a rock solid first-person shooter experience, and in terms of storyline, which for the most part felt like players were taking part in a real episode of Voyager. It’s a wonderful game, well worth playing for any Trekkie, and it would have been a shame to let its twentieth anniversary pass by unnoticed.

So here’s to Star Trek: Voyager – Elite Force! Happy anniversary!


Star Trek: Voyager – Elite Force probably remains the copyright of Activision-Blizzard. Star Trek: Voyager – Elite Force is available for purchase on PC via GOG. The Star Trek franchise – including Star Trek: Voyager – is the copyright of ViacomCBS. This article contains the thoughts and opinions of one person only and is not intended to cause any offence.

Super Mario 3D All-Stars is… fine, I guess

Spoiler Warning: There are spoilers ahead for Super Mario 3D All-Stars (and its three constituent games).

Tempted by the promise of replaying Super Mario 64 – which remains one of my favourite games of all-time – I overlooked Nintendo’s godawful “forced scarcity” business model and stumped up £50 for Super Mario 3D All-Stars. And the game is fine. All three titles work, and in the short amount of time I’ve been able to spend with them today, there haven’t been any glitches or bugs that would make me feel it was somehow unfinished. And there shouldn’t be – these games are between thirteen and twenty-four years old, after all.

Let’s talk about this business model, then. I mentioned this when I talked about Super Mario 3D All-Stars shortly after its announcement, but the idea of releasing a game as a limited-time only thing is a blatant attempt by Nintendo to drum up more support than it would otherwise merit. Removing the game from sale – even as a digital download – after a mere six months is just awful, really, and there’s no excuse for it.

Super Mario Galaxy is one of three games in the collection.

This is a shameless marketing ploy, nothing less. And Nintendo is playing right into the hands of scammer and scalpers, who are already selling copies of the game for well over its asking price on sites like eBay. This is something that will only get worse as time goes by and as the deadline for buying the game next March passes.

I guess why I feel underwhelmed by Super Mario 3D All-Stars is that the game could be so much more than Nintendo chose to make of it. There are small details in the games that have been improved – such as the text in Super Mario 64, which has been upscaled. Some of the in-game icons have clearly been polished too; gone are the rough edges where a lack of pixels caused a blocky effect, replaced by the smoother lines a modern title can deliver. Super Mario Sunshine and Super Mario Galaxy have been upgraded to be in 1080p widescreen.

Super Mario Sunshine is now in widescreen.

But that’s all. Super Mario 64 doesn’t even get the 1080p treatment, and isn’t even in widescreen, leaving weird black bars on all four sides of the screen when played on a television. Sunshine and Galaxy are at least in widescreen, and as more modern games to begin with don’t look quite so out-of-place.

The soundtracks are a something-and-nothing addition. All three titles’ soundtracks are included, but can only be played via the Switch. If you don’t mind having the console on and doing nothing but listening to music, perhaps that’s okay. If you want to listen to it in the background while working or studying, perhaps that’s okay. If you want to do other things or if you want to listen to the music while on the go, you can’t unless you bring your Switch with you – hardly something easily done while jogging or engaged in any number of activities. An mp3 of the albums would have been a far better offering – perhaps redeemable via a code. As it is, all three albums are stuck on the Switch.

The soundtracks don’t really offer much by way of added value.

Perhaps I rushed to buy Super Mario 3D All-Stars too quickly. Perhaps I was taken in by Nintendo’s decision to artificially limit the game’s availability. Perhaps… something. Because I feel like for £50, Super Mario 3D All-Stars is quite a big ask. In a way it’s hard to argue that I didn’t get my money’s worth, because I picked up a slightly-updated version of one of my favourite ever games, got the chance to replay a great game I only rushed through once in like 2002/03, and a game that everyone says is amazing that I haven’t played yet. Yet it still feels like a lot of money for these games considering the newest of the bunch is from 2007. Maybe PC gaming, with its Steam sales and heavily-discounted older titles, has spoilt me!

For somebody who got into gaming this generation and thus missed playing all three of these games when they were new, I would recommend Super Mario 3D All-Stars. These are not just classic Mario games, all three are classics of the 3D platformer genre. Super Mario 64 in particular is a piece of gaming history and well worth any Nintendo fan and indeed any gamer’s time. The problem is that in its current form it still feels like a piece of history – its outdated controls and unimproved visuals will be offputting for some players.

Super Mario 64 has weird black bars on all four sides. Not the best look.

Instead of releasing three titles in a bundle for £50, what Nintendo could have opted to do is to release them one by one after giving them a proper remaster. The engine used for Super Mario Odyssey a couple of years ago could certainly be repurposed, and the games rebuilt from the ground up akin to the work Capcom put into Resident Evil 2. A fully-remade version of any of these games would still have been a celebration of Mario’s past, and if they were to make all three they could retail for, say, £35 each or thereabouts.

Regardless, I knew what to expect from Super Mario 3D All-Stars. I can hardly say the game was not as advertised; it absolutely was as advertised. And again, for the price getting three awesome games – one of which I haven’t played in almost twenty years and one of which I’ve never played – is still good value, even if they haven’t been upgraded as much as I would have liked.

For Mario superfans, I think this is a must-buy. And for gamers who skipped these titles for whatever reason when they were new, it’s also a must-buy. For me… perhaps Super Mario 3D All-Stars is a shouldn’t-have-bought.

Super Mario 3D All-Stars is out now on Nintendo Switch, but will only be available until the 31st of March 2021. Super Mario 3D All-Stars is the copyright of Nintendo. Some screenshots courtesy of press kits on IGDB. This article contains the thoughts and opinions of one person only and is not intended to cause any offence.

Some next-gen ports are receiving a well-earned backlash

Whenever a new console generation kicks off, it’s inevitable that there will be some games that are released on both new and old systems. This is perfectly understandable in many cases, as games which are new and have had a lot of time and effort put into their development want to get the widest audience possible. Many titles in this category go unnoticed, or at most some reviewers will point out that the game may not be fully-optimised for new hardware. But some other titles are the subject of pretty heavy criticism, and I can fully understand why.

When it was announced that Grand Theft Auto V would be ported to the Xbox Series X and PlayStation 5, many fans were upset. This was a game initially developed for the Xbox 360 and PlayStation 3, and it’s going to be ported again? Grand Theft Auto V has been a juggernaut this console generation after getting its start in 2013, but after more than seven years fans are itching for a new entry in the series.

Grand Theft Auto V was originally released in 2013 for the Xbox 360 and PlayStation 3.

In 2014, when Grand Theft Auto V was re-released on current-gen consoles, it was barely a year old. No one at the time begrudged Rockstar the chance to port the title to new hardware because there was an understanding that the game had been a big undertaking. As the Xbox 360/PlayStation 3 era drew to a close, it made sense to bring some new titles to the new systems.

But that was six years ago, and in that time Rockstar has developed and published precisely one new game – Red Dead Redemption II. There are arguments to be heard that the pace of game development as a whole has slowed, and I don’t want to ignore the reality that developing an open-world game on the scale of Grand Theft Auto V is a colossal undertaking. But that doesn’t excuse what seems to many fans to be the company taking shortcuts.

Red Dead Redemption II is Rockstar’s only game in seven years.

What’s worse is that the time and effort spent on creating a next-gen port could arguably be better spent creating a new title. Even in a studio with the financial resources of Rockstar, porting existing games does take time, resources, and personnel away from other projects. So it’s not just a case of corner-cutting – fans feel that the company is wasting time.

Practically every current-gen title is going to be “forward-compatible” with new hardware anyway. What that means is that any Xbox One game should work on the Xbox Series X, and any PlayStation 4 game should work on PlayStation 5 by default – including titles like Grand Theft Auto V. So there’s no need to spend time and money reworking a seven-year-old game for new hardware; existing versions will work just fine.

Both next-gen consoles will be backwards-compatible with current games by default.

If the upgrades were going to be free, allowing players who own a current-gen copy of the game to experience the tweaks and changes on new hardware, I don’t think anyone would mind. In fact, players have praised companies like CD Projekt Red, whose 2015 title The Witcher 3: Wild Hunt is receiving such a free upgrade. But Rockstar – and other companies too – plan to re-release their old games and get gamers to shell out more money for the next-gen version. It feels decidedly anti-consumer.

Even though I’m not a big online multiplayer person, I recognise the appeal that Grand Theft Auto V has as an online experience. But after seven years I feel that online experience has run its course, and most players will be ready for a new challenge. Those who want to stick with what they already have can either continue to play on Xbox One/PlayStation 4 or can even bring their existing copy of the game to the new consoles; there’s no need to buy it all over again.

Grand Theft Auto V is getting a next-gen re-release in 2021… eight years and two console generations later.

Another company that has been roundly criticised for its approach to next-gen is 505 Games, publisher of Control. This is a game I’ve been looking forward to playing, as it has great reviews, but it’s another example of next-gen upgrades being denied to existing fans. The only way to play Control will be to buy it again on the new consoles, and to many fans the small upgrade seems like a big expense.

The Last Of Us was similarly criticised at the beginning of the PlayStation 4 era for being re-released in a “remastered” state less than a year on from its PlayStation 3 debut. At the time I was genuinely shocked by the gall of developer Naughty Dog; how can a game less than a year old be remastered already? But The Last Of Us sold very well on PlayStation 4, cementing this business model in the minds of executives as one that works and will rake in cash for comparatively little effort.

The Last Of Us was re-released on PlayStation 4 mere months after its PlayStation 3 premiere.

At the end of the day, that’s what this is all about. Money. Re-releasing a game with a few minor upgrades and hardware-specific tweaks is relatively inexpensive and offers companies huge financial rewards. It should be no surprise to learn that a big company wants to make more money, and I get that we live in a society where profit and growth matter. It’s just that it feels so anti-consumer, and even big companies need to be aware of their reputations. It’s easy to dismiss criticism and backlash as coming from just a whiny minority of hardcore fans, but companies like Electronic Arts have found – to their great cost – just what can happen when they push players too far.

It’s only in the last console generation that the idea of cross-generation releases has been such a big deal anyway. In the days of the SNES and the Nintendo 64 the idea of a game from one system being ported wholesale to new hardware just didn’t exist. There were ports, but they tended to be things like Super Mario All-Stars, which was a compilation of several games instead of a single title, and offered players good value as a result.

There weren’t many ports in the SNES era, and those that did exist were bundles like Super Mario All-Stars.

But if you’d told me in 2005, when the Xbox 360 was launched, that the original Halo game was just going to be straight-up ported to the new system and that players would be expected to “just buy it again” I’d have been absolutely gobsmacked. What a nonsense idea that would have been even as recently as 2005! We’ve come to accept some of these things in the fifteen years since, but even by today’s standards, some of the proposals for next-gen re-releases are drawing well-earned backlash.

Though it wasn’t possible to predict the impact of the coronavirus pandemic even a few short months ago, the changing situation in the world should be something companies take note of. There’s a good chance that many folks are going to have less disposable income at least in the short-term, and being asked to re-purchase a seven-year-old game on a new console is definitely not something that should be considered under current circumstances. Even were it not for the pandemic, I think this practice would still be inappropriate and anti-consumer. But given where things currently sit, it’s even worse.

This is the kind of practice that can start big companies on a slippery slope to reputational damage and more widespread criticism, and I would advise them to tread carefully. Rockstar – or any other company engaged in a similar practice – could garner a lot of goodwill today by announcing that the next-gen version of whatever game they’re working on will be free to anyone who currently owns it. Or, on the flip side, they could continue to draw criticism and ire for their greed and lack of care.

All titles mentioned above are the copyright of their respective studio, developer, and/or publisher. Some screenshots and promotional artwork courtesy of press kits on IGDB. This article contains the thoughts and opinions of one person only and is not intended to cause any offence.

Ten films that (probably don’t) need a video game adaptation!

Spoiler Warning: There are spoilers ahead for the titles on this list.

Gone are the days when your run-of-the-mill popcorn flick came with a video game adaptation. Why? Well, the truth is that many of those games were mediocre or just outright bad, and after a while the entire film tie-in sub-genre became tainted. Gamers weren’t as interested, and at the same time, studios and publishers were able to make more money developing their own franchises instead of sharing the proceeds from a licensed title. There are still tie-ins from time to time, but not to the same extent there were a few short years ago.

Today, there are a few remaining film franchises that produce video games, but more often than not they’re not direct film adaptations. Instead we see titles like Alien Isolation, which is set in the world of the 1979 film Alien, but isn’t a direct adaptation of any of the films. There are also games like Star Wars Jedi: Fallen Order, which I recently played through. Jedi: Fallen Order likewise uses Star Wars’ setting but tells an original story.

It’s a shame, because over the years there have been some outstanding video game adaptations of films. I talked about this a little while ago when I put together a list of titles that I’d love to see remastered, but the adaptation of Star Trek: Generations is up there as one of my all-time favourite games.

With all that in mind, here are ten films that I’d love to see adapted as a video game. The usual disclaimer applies: these are not titles that I’m saying will ever be adapted, just titles that I feel could be fun to play through – provided the game was good (and had a suitably high budget!)

Number 1: Star Trek: First Contact (1996)

Out of all the Star Trek films, First Contact’s relatively action-heavy nature could make for an inspired first-person shooter. The narrow hallways of the Enterprise-E and the menacing threat of the Borg would make for a terrifying combination, and this could even be a game which veers close to the horror genre if developers chose to go down that route. As I said when I wrote about the Borg a little while ago, out of all of Star Trek’s villains, they’re the ones best-suited to a crossover into horror.

There are several ways this could go, including a multiple-protagonist approach which would see players take on the roles of several of the main cast. Or alternatively, the player character could be a nondescript security officer tasked with retaking the lower decks of the Enterprise-E.

First Contact isn’t exclusively a Borg story, though, and the game could be split into different chapters which would include slower-paced missions set on Earth, repairing the Phoenix and preparing for humanity’s first warp flight.

Number 2: Commando (1985)

By coincidence, a video game sharing the title of this action flick was released the same year as the film, and some people still think the game is supposed to be an adaptation – but it’s not! Commando has garnered a cult following that arguably exceeds its status as a competent but otherwise unremarkable title. Arnold Schwarzenegger gives a typical “Arnie” performance, and the story is suitably over-the-top.

But I bet players would love stepping into the shoes of Colonel John Matrix and just going postal on wave after wave of kidnappers, terrorists, mercenaries, and all manner of typical eighties action film baddies! This one wouldn’t need to be a massively high-budget production to be successful; any mid-tier action/shooter could be redressed in the style of Commando and be a success. It would work as either a first- or third-person title.

Number 3: Any of the recent Marvel titles

A couple of the earlier films in the MCU received proper video game adaptations, and a couple of others got mobile game tie-ins, but there hasn’t been a major game in the series since the Xbox 360/PlayStation 3 era. The new Marvel’s Avengers video game is plagued with issues, and one of the strangest for me is that it didn’t license any of the actors’ likenesses. I’ve heard the game described as feeling like “a cheap knock-off” of the films as a result.

I’m not the biggest fan of Marvel or of comic book films in general, but even I have to admit that they’re big business right now, and should be ideally suited to a proper video game adaptation. Realistically any of the films could work, but what might be even better is a game that lets gamers play through the events of multiple films, perhaps those leading up to Avengers Infinity War and Endgame.

Number 4: All Quiet on the Western Front (1930/1979)

This is really just an excuse to talk about the lack of First World War titles! However, both the original 1930 version and the 1979 remake of All Quiet on the Western Front are great films with strong characters and an emotional story that could be adapted to make a fascinating game.

When looking at war stories, in some respects the “obvious” choice is a first-person shooter – in the vein of Battlefield One, one of the rare shooters to use a First World War setting. But for All Quiet on the Western Front, a real-time tactics game akin to the recent Broken Lines could be great too – that format can work well to tell stories that rely on multiple playable protagonists.

Since Wolfenstein 3D in 1992 – which was a game that led directly to the creation of the first Doom a year later – many war games have used World War II as a setting. There’s nothing wrong with that (though the World War II shooter definitely became stale by the mid-2000s) but the First World War makes for a fascinating, underused setting.

Number 5: Moana (2016)

Disney was one of the last companies to give up on tie-in games, and because their films are aimed at kids, it makes a certain kind of sense that they’d feel able to churn out a basic but playable title to accompany big releases. However, by the time of Moana’s 2016 release even Disney wasn’t interested in tie-ins, and while a free mobile game was cobbled together it’s no substitute for a proper video game adaptation.

Moana’s adventure narrative perfectly suits an action/adventure title, as she travels from island to island on her boat to save her people. A 3D platformer with puzzle elements would also work, in the vein of a classic title like Banjo-Kazooie. The world of Moana offers a lot of different environments, including different islands and the realm of monsters, meaning a good variety of levels should be available.

Number 6: The Quatermass Xperiment (1955)

Based on an earlier television special, The Quatermass Xperiment is a fascinating example of mid-century horror/sci-fi, and features a plot in which an alien organism infects an astronaut. The infected man escapes, and the titular Professor Quatermass must work to find him before it’s too late. This setup would make for an exciting horror/adventure title, in which players would not only have to track down the mutating monster, but would have to find clues to figure out what’s happening and what to do about it.

The original film was in black-and-white, and I love the idea of having both a colour and monochrome version of the game to allow players to choose what kind of experience they want to have. I’m not the biggest fan of black-and-white in a general sense, but in some properties it works very well, and it’s something that has only ever been attempted in a handful of modern games.

Number 7: Deep Blue Sea (1999)

Recent titles like this year’s comic Maneater demonstrate that there’s still a market for shark-horror games, and 1999’s Deep Blue Sea is one of the better shark films of recent years. A game adaptation would be a marriage made in heaven then, surely?

If you’ve played Star Wars: Knights of the Old Republic, you may remember an underwater base on the ocean planet Manaan that served as one of the game’s levels. It was creepy and claustrophobic as players had to contend with not only the wildlife outside, but flooded sections and crazy inhabitants of the base. Deep Blue Sea, being set on an underwater facility, lends itself to that kind of gameplay too, and players could navigate the base and the waters outside while trying to fend off the hungry, overly-aggressive sharks.

Number 8: Star Trek II, III, and IV (1982-86)

The Wrath of Khan remains for many Trekkies the high-water mark of both the Star Trek film series and of all stories featuring The Original Series’ cast. It also formed the first part of a trilogy of films that told one expanded story, and in many ways, a game that only adapted The Wrath of Khan would be leaving out the rest of that story.

The Wrath of Khan would obviously be the best and most exciting part, and could feature the Battle of the Mutara Nebula as its climactic boss fight. Ship-to-ship combat has been tried in a number of Star Trek games, and in my opinion getting this aspect of the game right would be the biggest challenge – but one that would have the biggest payoff if it was successful.

The Search for Spock could have levels including stealing the Enterprise, which could make for a fun stealth section, as well as sabotaging the USS Excelsior, and The Voyage Home would not only let players pilot a Kingon Bird-of-Prey but would also feature a fun and nostalgic ’80s setting. I love this idea, and producing a fun adventure title from this trilogy would be amazing.

Number 9: Forbidden Planet (1956)

Forbidden Planet is an absolute classic of the science fiction genre, and arguably inspired franchises like Star Trek and Star Wars to a degree. The fictional world it created, with the planet Altair IV and the starship C-57D has never been revisited – though the film has been referenced and paid homage to many times.

This is one film where the plot could be directly adapted, but also we could see a broader game world based on the setting that it created. When you consider the success of the Fallout franchise with its ’50s-esque retro-futuristic aesthetic, there’s clearly a market for the visual style of Forbidden Planet in the gaming realm.

Number 10: For Your Eyes Only (1981)

James Bond films tend to have stories that are well-suited to a stealth/action title. The Nintendo 64 game Goldeneye is a classic example of how Bond can work as a video game. While other attempts to make Bond games have been overshadowed by Goldeneye in some respects, there are several creditable titles that have been released.

For Your Eyes Only might be my favourite Bond film – though there’s certainly room for others, like License to Kill! The storyline is a Bond classic – the secret agent must retrieve a stolen piece of technology that could fall into enemy hands. Roger Moore’s Bond visits a number of exotic locales, gets to drive some classic cars, and of course has an array of fancy gadgets at his disposal. All of which would make for an exciting and fun video game!

So that’s it. Ten films which probably don’t need a video game adaptation – but could absolutely be given one regardless! In a way I can understand why the tie-in video game has disappeared, and while many players won’t be terribly upset or won’t care, there are many recent titles which, had they been released fifteen years earlier, could have been accompanied by a solid video game.

The titles I’ve put on this list are from a variety of eras, including some from well before video games existed! But as we continue to see with titles like Friday the 13th and the aforementioned Alien Isolation, going back to older films isn’t something game developers should be afraid of. Trying to make an unabashed classic into a modern game may draw criticism from some quarters, but if the game is good when it ultimately releases, practically all of that criticism will melt away and the game will find an audience.

This list was just for fun, and to give a few examples of titles that could – but almost certainly won’t – be made into video games.

All titles mentioned above are the copyright of their respective studio and/or distributor. This article contains the thoughts and opinions of one person only and is not intended to cause any offence.

Ten more games I’d remaster (if I could)

A little while ago I looked at ten games from years past that I wish would be remastered and brought up-to-date. That list was fun to put together, but I ended up leaving off a number of titles that I had considered including. This new list will make up for that!

The same methodology applies as last time: more recent titles – which I’m defining as anything from this console generation or the one preceding it – are excluded by default. And the rest are games that I’ve personally played… albeit I haven’t touched most of them in years or even decades. Remember that this isn’t me saying that these games will be remastered. I’m just saying that, if I had unlimited resources, I’d like nothing more than to bring them up to date and give a new generation of players a chance to experience them.

Number 1: Super Mario Kart (SNES, 1992) and/or Mario Kart 64 (Nintendo 64, 1997)

I’d love to replay the classic tracks of the first two Mario Kart titles using the more modern engine used for Mario Kart 8. A few of the tracks from these two titles have reappeared in recent Mario Kart titles, but not all of them and the two games have never been remastered in their entirety complete with all of the tracks and the same roster of characters.

Super Mario Kart was one of the first games I bought for myself in the early ’90s; I think I’d played a demo of it in a shop and desperately wanted my own copy! Mario Kart 64 is probably my personal favourite entry in the series; it had such an amazing set of tracks. If you want to see some of the best racetracks from these titles and others that I think would be great for the next Mario Kart title, I have an article all about that. With 2022 being the 30th anniversary of the series – and with Nintendo’s love of anniversaries – they could certainly take that opportunity to bring one or both of these titles fully up-to-date!

Number 2: Space Harrier (Arcade, 1985)

On my first list I didn’t include any pre-1990 titles. Partly that’s because a lot of older games were rather basic. Space Harrier is undeniably in that category; it’s an on-rails shooter without any real story, the only objective is to shoot at aliens and creatures. But there aren’t many games like that in 2020, and perhaps with a major visual overhaul it could offer something different to players. The other option would be to take its main character, settings, and alien races and expand on them – turning Space Harrier from a run-and-gun shooter into something more like a story-driven action/adventure title in a unique sci-fi setting.

I never had the chance to play Space Harrier in a real arcade. The closest I got to that experience was playing it in Shenmue – that’s where I first encountered the title. But nostalgia is a big deal these days, and perhaps some people would be tempted to see a reworked version of this classic.

Number 3: Spirit of Speed 1937 (Dreamcast and PC, 1999)

Racing games are a lot of fun, and some modern titles do make an attempt to include older vehicles – classic cars from the golden age of motor racing. I could be wrong, but I don’t think there’s been another game like Spirit of Speed 1937, though, which was set in that era and exclusively featured pre-war vehicles.

I played the Dreamcast version of this game, and it was a lot of fun. It was also something wholly unique among racing games that were either fun but un-serious kart racers in the vein of the Mario Kart series, or modern-day racers and rally games featuring up-to-date cars. I believe that niche still exists today, and it would be a lot of fun to have a classic racer like this to fill it!

Number 4: Star Trek: Voyager – Elite Force

I’ve had an article in the pipeline for a while that I haven’t knocked into shape yet looking at the state of Star Trek video games. To make a long story short, while a number of them have been pretty good, practically none reached out beyond Star Trek’s preexisting fandom. Elite Force was different, and some fans of first-person shooters who didn’t give a hoot about Star Trek played and enjoyed the game when it released in 2000. Its multiplayer mode in particular was something gamers at the time appreciated.

Elite Force had a great single-player campaign too, which included down time in between missions where the player character – Ensign Munro – was able to explore parts of the ship. The story was perfectly Star Trek in its theme, and Voyager would even go on to use a vaguely similar premise for an episode called The Void which aired about six months after the game was released.

Number 5: The Elder Scrolls III: Morrowind (Xbox and PC, 2002)

It would have been hard to imagine in the 2000s, but there hasn’t been a game released in the Elder Scrolls series for almost a decade. Though Bethesda have promised us that The Elder Scrolls VI is in development, it seems years away. The company has remastered Skyrim several times and ported it to every platform under the sun, and while we continue to wait for The Elder Scrolls VI, why not bring Morrowind up to date?

Morrowind is undoubtedly my favourite game in the series. It massively expanded on previous entries, with a huge variety of quests and styles of play. It was possible to be a wizard, sneaky assassin, warrior, and all manner of other things. Beginning with its sequel, Oblivion, Bethesda actually began cutting content, and the most recent Elder Scrolls titles have far fewer NPCs, weapon types, factions, and so on. While we can argue about which game is “better” and get nowhere – such things are subjective, after all – for my money Morrowind offers players the biggest choice of things to do. It’s been eighteen years since I first played it, and I still haven’t completed every quest!

Number 6: Super Mario 64 (Nintendo 64, 1996)

I kept this title off my first list because there had been rumours floating around of a remaster being worked on. Sadly, as I noted when I looked at Nintendo’s lineup for Mario’s 35th anniversary, Super Mario 64 was only included in its original form as part of a bundle. But replaying this amazing game in the Super Mario Odyssey engine is something I really want to experience, and with the game’s 25th anniversary coming up next year, perhaps Nintendo will finally bring Super Mario 64 up-to-date.

I first played Super Mario 64 when it was released; it was the first Nintendo 64 game that I owned. I’m not sure if it was the first ever true 3D game I played, but it was certainly one of the earliest titles I got to enjoy that wasn’t 2D. It has a special place in my heart as “my” Mario game – I played the SNES versions of classic Mario titles, but even at the time they were “old” games, and Super Mario 64 was the first that I got to play when it was new.

Number 7: Medieval: Total War (PC, 2002)

Medieval: Total War is almost certainly my most-played game of the early 2000s. It followed on from the also brilliant Shogun: Total War, but took the setting from feudal Japan to the more-familiar western Europe. It was a game that was very easy to mod – I remember opening up the game’s files in Notepad and editing things like the year the game began, which factions controlled which province, and even the names of provinces! I loved the dual gameplay, which was unique among strategy games at the time – both a grand strategy game that required detailed faction management and real-time battles were present in the same title.

The Total War series is still going strong in 2020, and recent titles like Total War: Warhammer and Total War: Three Kingdoms are carrying the flag for the franchise on a massively improved engine. Medieval II: Total War did bring the series back to this setting in 2006, but even that game is rather outdated compared to the latest entries, and it would be amazing to see a remake of Medieval: Total War using the technology at the franchise’s disposal today.

Number 8: TimeSplitters 2 (GameCube, PlayStation 2, and Xbox, 2002)

Out of all the games I’ve ever played, TimeSplitters 2 may have the best ever multiplayer mode! It was certainly something that was a huge amount of fun to play on the original Xbox, with its goofy time-travel narrative taking players from Prohibition-era Chicago to futuristic Toyko and beyond. The TimeSplitters games were never going to be on par with other first-person shooter titles like Halo or the Call of Duty series, but the series had heart and did what it did incredibly well.

The recent remake of Destroy All Humans shows that there is a market for early/mid 2000s games with a sense of humour to be remastered, and I’d absolutely love to welcome back TimeSplitters 2 after all this time.

Number 9: The Simpsons: Hit and Run (Multiplatform, 2003)

Talk to anyone who was a gamer in the mid-2000s and I bet they’ll remember The Simpons: Hit and Run with a sense of nostalgia! I didn’t actually own this game for myself at the time (being a broke student) but a friend did and we played it regularly when I was at university. The game is basically a Simpsons-themed Grand Theft Auto-clone, playing on the popularity of that sub-genre in the wake of Grand Theft Auto III and Vice City, and while fans of Grand Theft Auto will find the more extreme violence of that series decidedly toned-down and cartoonish, it’s a solid game nevertheless.

Recent games have steered away from tie-ins with films and television shows, and the days of a big-budget game based on a popular series are all but gone. There was a time when many popular titles got video game adaptations, and while as a whole tie-in games picked up a (not undeserved) reputation for being pretty poor, there are some real gems too. The Simpsons: Hit and Run is absolutely one of them!

Number 10: Operation WinBack (Nintendo 64, 1999)

Despite languishing in relative obscurity in 2020, Operation WinBack – known as WinBack: Covert Operations in the United States – is an incredibly influential title. Doom was the father of the first-person shooter, and similarly Operation WinBack is the instigator of the cover-based third-person shooter genre. Titles like Gears of War and Mass Effect would not exist without Operation WinBack, and while its cover system – which was so unique at the time it debuted – is now a standard feature, there are still plenty of reasons to bring back this fun spy adventure.

Operation WinBack had a good story, one that would be at home in films like the Mission: Impossible or James Bond series. 2016’s Doom has proved that there’s an appetite among gamers for going back to the roots of established genres, so it could be time to return to the world of Operation WinBack.

So that’s it. Ten more titles that are – in my opinion – worthy of a remaster in 2020. Will any of them ever get one? Let’s just say if I were a gambler I wouldn’t put any money on it! Well… maybe one or two? Some of the biggest companies in the games industry have recently put lots of money into remakes and remasters, and some games that I’d never have expected – like Destroy All Humans and Command and Conquer – have been brought up-to-date. So there’s a chance. There’s always a chance!

Though several of these games are undoubtedly out of print, each one is worth playing in its original form if you’re able to track down a copy, and even though it’s been years or decades since I got to play some of them, I recommend every title on this list!

All titles listed above are the copyright of their respective developers, studios, and/or publishers. Some screenshots courtesy of IGDB. This article contains the thoughts and opinions of one person only and is not intended to cause any offence.

The Xbox Series S is an exciting prospect for players on a budget

I haven’t exactly been the biggest supporter of Microsoft’s strategy as we approach the new console generation. In particular, the company’s decision to make all Xbox Series X titles also available on Xbox One for the first couple of years of the new console’s life seems like a weight around its neck, and makes it a much harder sell at what was already a difficult time. But the leak/announcement of the Xbox Series S – along with its reasonable price at £250 – has definitely shifted my opinion.

The launch of a new generation of consoles is a fun and exciting time for enthusiasts with a suitably high budget, but for a lot of people it can be a moment where they feel left out and left behind. Technology moves on and new games are released, but only for those who can afford it. For players who’ve had to save up just to get a current-gen machine, it can be disappointing to see the newest and best titles be beyond their reach. It’s a position I’ve been in several times, and I know it’s not a nice feeling.

The Xbox Series S.

The Xbox Series S is a unique piece of kit. Though there have been cheaper variants of consoles – there’s even an Xbox One S available now – none were released simultaneously with the brand’s flagship machines, meaning that the beginning of a new console generation has always offered players a binary choice: pay up or don’t participate. The Xbox Series S offers players that budget option right from the start, and for many people who have been in the position of thinking next-gen will be unaffordable at launch, it’s undoubtedly a welcome surprise.

The Xbox Series S is not as powerful a machine as the Xbox Series X, and for some players perhaps the perceived downgrade will be a disappointment. But the Series S is still more powerful than the current crop of consoles, and for the market it’s aimed at, I think few will care about 1440p compared to 4K, a smaller, possibly slightly slower NVMe solid-state drive, and other minor differences. The processor at the system’s core is the same one used in the Series X, and while its graphics chip is a less-powerful version, it’s built on the same architecture as its sister console’s.

The console promises to be smaller than the Series X.

In short, the Xbox Series S is like getting a mid-tier gaming PC instead of a high-end one. And the PC comparison is apt, because compared to many PC gaming setups, the Series S blows them away. It would be impossible to build anything even vaguely comparable to the Series S for £250 or less, so it feels like a decent machine.

I recently took a look at Game Pass for PC, and the subscription service is also available on Xbox – where it offers over 100 games. The combination of the £8-a-month subscription with the cheap console is an incredibly enticing proposition for budget gamers, and one which is honestly hard to beat. It will likely be hard to beat for several years at least!

Ori and the Will of the Wisps is on Game Pass.

For less than the price of a standard Netflix subscription, players will have access to a huge library of titles, including every Xbox exclusive and every new game from a Microsoft-owned studio. Titles already on the service include: Dead Cells, Forza Horizon 4, all five games in the Gears of War series, Halo: The Master Chief Collection, Kingdom Hearts 3, Minecraft, No Man’s Sky, the two Ori games, PlayerUnknown’s Battlegrounds, State of Decay 2, Streets of Rage 4, The Outer Worlds, and Wasteland 3. Those are just some of the highlights, and it’s not unfair to say that Game Pass offers phenomenal value to console players. Combined with the low asking price of the Series S, I think it’s a steal.

There are still some concerns. The fact that Microsoft still plan on releasing games for Xbox One for the next couple of years or so means that realistically, buying an Xbox One S or even a preowned Xbox One is still a cheaper prospect. And I have to confess a degree of concern at the possibility of the Series S’s lower specs potentially holding back next-gen titles within the next five years or so. In short, if Xbox games have to be built with Series S compatibility in mind, will that slow the pace of game development considering that the Series S is comparable to a PC you could buy today?

The Xbox Series S won’t take discs.

The first of those points – that the Xbox One is still the cheaper option – may sway some budget gamers. In that sense, as I wrote once before, the biggest competition that the Xbox Series S/X will have won’t come from PlayStation – it’ll come from the Xbox One. But despite that, I think that players who don’t just want a console for the next couple of years could future-proof their gaming setups with a Series S. The low price still makes it a solid option, even if it’s possible to pick up an Xbox One for less money. The price difference between an Xbox One – even preowned – and the Series S won’t be that large, and when the Series S will be able to play new games for the next six-eight years instead of one or two, it ends up being better value in the long run.

If you couldn’t tell, I like this console. I like it far more than the Xbox Series X or the PlayStation 5! It fills a niche that no major company has tried to fill before, and offers players on a budget a way into next-gen gaming right from day one. There are a lot of people who fall into that category, and for some of them who may have felt next-gen was simply out of reach, they may now feel that they will be able to join in. Expanding the gaming hobby to more people is a great thing, and helping people who would have otherwise missed out or had to wait get a foot in the door is fantastic. I applaud this decision from Microsoft.

The Xbox Series S will be available in November. The Xbox brand is the copyright of Microsoft. This article contains the thoughts and opinions of one person only and is not intended to cause any offence.

Some interesting Mario projects for the franchise’s 35th anniversary

The Super Mario Bros. 35th anniversary Nintendo Direct.

I don’t usually watch Nintendo Direct presentations, at least not unless I’m eagerly anticipating a title. I only own a handful of Switch games, as they often remain expensive even years after release. When I have a stack of unplayed PC games, spending £50 on a Switch game feels wasteful! This year marks the 35th anniversary of the Mario franchise, as Super Mario Bros. debuted in 1985. Though a 35th anniversary is hardly one of the “big ones”, rumours had been swirling for months that Nintendo would take the opportunity to do something significant in celebration of their most famous character and mascot.

Super Mario All-Stars, which features the original Super Mario Bros. as well as its first three sequels, was one of the first games I owned when I had a SNES in the early 1990s. I enjoyed playing through those games, and while the Mario series has never been my biggest fandom, it’s one that’s usually offered fun and well-made titles. Though I skipped the Mario Galaxy games, I’ve played many of the other mainline entries, including the recent Super Mario Odyssey.

Super Mario Bros. was released in 1985 – 35 years ago.

The main reason why I tuned in, though, was because there had been rumours of a remastered Super Mario 64 – perhaps my favourite entry in the series. I was at least a little disappointed that it hasn’t received an upgrade, as seeing that game with the visual style of Odyssey would have been spectacular in my opinion! But Mario 64 is coming back in its original form, bundled with Mario Sunshine and the first Mario Galaxy game as part of a collection called Super Mario 3D All-Stars.

The collection looks like a lot of fun, and being able to replay Mario 64 will be great. I’ve also only played Mario Sunshine once, in like 2002, so it’ll be fantastic to have a proper look at that game for the first time in a long time too. And as someone who’s never played Galaxy, perhaps now’s the time to give that one a try! But Super Mario 3D All-Stars comes with a stupid and artificial limitation – in true Nintendo style. I criticised Animal Crossing: New Horizons for the arbitrary decision to prohibit players having more than one save file per console, despite there being no reason for such a limitation. And Super Mario 3D All-Stars deserves all the criticism it gets for its forced scarcity business model.

Super Mario 64 might be my favourite Mario title.

Super Mario 3D All-Stars will only be available for six months. At the end of March next year it will be removed from sale – both physically and digitally. I’ve never heard of such nonsense as a digital download game being removed from sale. It’s arbitrary and it’s clearly designed to drum up as much support as possible by playing on gamers’ fears of missing out. Many people, myself included, choose not to buy games at launch because they’re often discounted (or available pre-owned) a few weeks or months later. Super Mario 3D All-Stars, thanks to its unnecessary removal from sale, won’t be in that position, and thus the only way for players to get a copy is to snap it up as quickly as possible. This is a scummy tactic from Nintendo – a company that, despite its family-friendly façade, is no stranger to them. Resellers will be loving this – copies of Super Mario 3D All-Stars will go for big money in six months’ time, and even Switch consoles with the game pre-installed will sell for a packet. Just look at how scalpers have been making money selling iPhones with Fortnite installed since the Epic Games/Apple fight. Something similar will happen in this case too.

It’s one of those difficult situations. I want to like this game, and I’m interested in playing it, but at the same time I don’t want to endorse or support a company that uses such an unfair and anti-consumer business model. Though I felt the same way with Animal Crossing: New Horizons I did ultimately buy the game… and I guess I will be one of the suckers who buys this one too. But I want to register my protest at its business model – which is so incredibly stupid. Nintendo won’t even see most of the benefit, as resellers and scalpers will take the profits. It’ll just screw over ordinary gamers.

It’ll be great to replay Super Mario Sunshine.

As it costs £100, Mario Kart Live: Home Circuit is a bit beyond my budget! But the concept is fun, and I can see this becoming a must-have Christmas toy this year. Augmented reality is a neat idea, but the applications I’ve seen of it have always felt like little more than gimmicks. And usually the nature of augmented reality either necessitates every participant using a single platform or makes the experiences one-person things. Mario Kart Live: Home Circuit is basically just a remote control car with a camera strapped to it and a few gateways to drive through, but the Mario Kart branding, and being able to race around courses in the real world, hold some appeal.

The only drawback I can see is that it’s very much a one-trick pony. And considering most people don’t have huge homes, there will be limited options for setting up a racetrack. Once those options have been expended, the toy will perhaps be cast aside in favour of others, and while that is the nature of toys, £100 for something that looks like a day’s worth of interest at best from the average child means it feels like poor value. Some of Nintendo’s gimmicks are just there for the sake of it, and while there’s nothing wrong with that, the single-use nature of Mario Kart Live: Home Circuit feels like it would be offputting except for Mario fanatics and wealthy parents.

Mario Kart Live: Home Circuit looks gimmicky, but fun.

It’s encouraging to see Nintendo making use of the Mario Kart brand, though. I’m still hopeful we’ll see Mario Kart 9 on the Switch before too long; I even made a list of tracks that could be included a little while ago. Mario Kart Live: Home Circuit shows that Nintendo is still making use of the brand, and that raises expectations – at least a little – of a new game perhaps being in development. The original Super Mario Kart was released in 1992; with Nintendo making a big fuss about anniversaries, 2022 will be that series’ 30th so perhaps that could be a good time for a new iteration? I guess we’ll have to wait and see!

The other big announcement was a port of the Wii U game Super Mario 3D World, which will bring with it what looks to be a new expansion pack titled Bowser’s Fury. I played this a few years ago, when I was one of about fourteen people who owned a Wii U, and while it was okay and I enjoyed the cat suits the characters can wear, I’m not in a mad rush to replay it so soon after its launch on that console. Nintendo have released some solid Switch titles since 2017, but they’ve also put a disproportionate amount of time into porting Wii U titles to the new system, and the result is that some franchises haven’t got the attention they deserved. Even Mario Kart 8 Deluxe is a port – there are a few extra characters and the DLC included, but nothing about the game is substantially different to the Wii U version. The Bowser’s Fury expansion for Super Mario 3D World may make the game worth a second look, but we didn’t see a lot of it in the direct and while it absolutely could be great, it could also turn out to be insubstantial and a bit of a let-down.

Super Mario 3D World is getting an update and a re-release.

The final game worth mentioning is a very strange one – Super Mario Bros. 35 is a multiplayer competitive version of the classic game, played with 35 players in homage to the title’s 35th anniversary. Defeating an enemy will send it into another player’s game, and it looks like whoever racks up the most points per level wins. Or something. I’m struggling to see how this will be all that fun – Super Mario Bros. simply isn’t designed for something like this, and if the game sticks with the original level design I think players could be overwhelmed with enemies. I know multiplayer isn’t usually my thing to begin with, but even with that caveat this doesn’t seem like a game that will be a lot of fun!

So my dreams of playing Super Mario 64 in the engine used for Odyssey will have to wait for another day! The 3D All-Stars collection is tugging me in both directions right now: it looks like fun, but I’m upset at its crappy anti-consumer sales tactic. Otherwise, despite the pandemic, Nintendo has managed to pull out several fun surprises to celebrate Mario’s 35th anniversary. Not all of them will be to everyone’s taste, but even a casual Mario player should be able to find at least one title that they’re interested in.

The Super Mario franchise, including all titles listed above, is the copyright of Nintendo. Some screenshots courtesy of press kits on IGDB. This article contains the thoughts and opinions of one person only and is not intended to cause any offence.

Game Pass for PC – first impressions

Xbox Game Pass for PC has been out for a little while now, and after weighing up the options I decided to finally take the plunge and sign up. In this article I’ll cover my reasoning behind becoming a subscriber as well as my initial impressions of the service and its Windows 10 app. This won’t be a fully in-depth review, it’s really just my first impressions of the service.

First up, I’ll explain why I became a subscriber – and why you might want to as well. In short: I wanted to play Forza Horizon 4 and Game Pass was the cheapest option. I no longer own an Xbox One – I gave mine away years ago – so the only way to get that game is on PC, which is my primary gaming platform these days. But the “standard” edition is £50, and with the game not available on Steam (where sales happen more often) I hadn’t felt committed enough to trying it out to spend that much money. It’s rare that I’ll pay full-price for a game these days, and as someone on a limited budget £50 is just too much.

I subscribed to Game Pass as an inexpensive way to play Forza Horizon 4.

Enter Game Pass. At time of writing, the PC version of Game Pass is still in its “beta” phase, and costs £4 per month with the first month for just £1. That seems like a pretty good deal – even if the price is set to double when the service fully launches at some point in the future. At £4 per month I could play Forza Horizon 4 for a full year, cancel the service, and still have a few pounds left over compared to buying the game outright – and also have access to dozens of other titles to play in that time. It seems like a solid deal, and that’s why I signed up.

In recent months I’ve been critical of Xbox, mostly because of some of their odd decisions in the run-up to the launch of the Xbox Series X. But I have to admit that for Xbox gamers, Game Pass is a great deal. It’s by far the cheapest way to jump head-first into current-gen gaming, and when the Xbox Series X releases in a couple of months, it’ll be the most economical way to get into next-gen gaming too. Even if the Xbox Series X is priced similarly to the PlayStation 5, Game Pass provides an incentive for players to at least consider Microsoft’s platform simply because of the number of titles on offer. We’re primarily looking at Game Pass for PC today, but the console version currently offers more titles than the PC version and is thus an even better deal.

Microsoft currently plans to launch all of their major first-party games onto the service, and besides Forza Horizon 4 you’ll find such titles as Ori and the Will of the Wisps, The Outer Worlds, Halo: The Master Chief Collection, and even the brand-new Microsoft Flight Simulator. Upcoming titles I’m looking forward to include Age of Empires III: Definitive Edition, and I’m sure that there will be others. Although Xbox’s lineup of exclusives hasn’t been stellar this generation, Microsoft have made moves in that direction in recent years, snapping up studios like Obsidian and Ninja Theory who will now create titles exclusively for their platforms. Obsidian announced a new title a few months ago called Avowed, which looks to be their take on the fantasy/roleplaying genre and seems to have great potential. Avowed is just one title I’m following with interest from Microsoft, and guess what? When it’s released it’ll come to Game Pass.

Avowed, the upcoming title from Microsoft-owned Obsidian, is one game I’m anticipating.

So those are the key points in favour of Game Pass as I see it. It feels like a cost-effective way to play some of the newest titles, and even if there’s only one or two games on the list that you’re interested in, Game Pass can still be the cheaper option compared to buying them outright.

Now let’s look at the Windows 10 app.

This has been the least enjoyable part of the Game Pass experience so far. The app is very much a “beta” app, with a weird glitch that signs me out often and a small window that seems to constantly try to pop up only to immediately vanish. This happens every few minutes, and if I have the Xbox app minimised it flashes orange on the taskbar. It’s a minor annoyance, and one I’m sure will be fixed in future, but if you like perfect, seamlessly smooth experiences, the Xbox app for Windows 10 isn’t quite there yet!

However, signing in is a simple procedure – which is good considering how often it signs me out – and most importantly, downloads are at least as fast as those offered by other PC game launchers. The area where I live doesn’t have great internet; I don’t have fibre broadband or 5G or anything like that, so my downloads are never especially fast. But those from Game Pass are as fast as I get elsewhere, so from my perspective that’s about as much as I could have expected!

Game Pass for PC titles download at least as fast as those on Steam and other platforms.

One other issue that I have is that the same notification keeps popping up every time I sign in. It tells me something like: “your Xbox Live Account is not the same as your Microsoft account!” even though they are both the same account, linked together. Not sure if this is an issue which just affects me or if it’s something everyone has to put up with at the moment!

This is an incredibly minor point, but in the past Xbox allowed players to upload custom pictures to represent themselves and their gamertag – as other platforms like Steam do. But the current version of the Xbox app for PC only allows you to choose from a set list of pictures. As someone who has no friends (on Xbox Live, not in real life!) it doesn’t matter all that much to me, but it’s worth pointing it out.

One thing I did like about the app is that is has a “Surprise Me” button – when clicked this recommends a random game from the Game Pass collection. It’s a bit of fun, and for someone unsure what to play next could even be useful! I don’t see myself using it all that often, but it’s a neat little inclusion.

This is a neat feature – albeit one I doubt I’ll use often!

I’m sure that Microsoft is working on the app behind the scenes to fix its issues and get it ready for prime-time. In a way, it makes sense for them to focus on the console market at the moment, with the launch of the Xbox Series X being imminent. Minor gripes with the PC version can wait while they focus on having as good a console launch as possible under the circumstances.

With enough time and attention, though, Game Pass for PC has the potential to go from strength to strength. At this stage I don’t see it as a Steam competitor – there simply isn’t a big enough library to say that. But it is something that PC gamers could use to augment their Steam libraries, as well as a way to save money on some impressive new titles.

The caveat with any service like this is that you don’t own any of the games, and they can in theory be removed from Game Pass at any time. Game Pass itself could also cease to exist at some point in the future, making replaying games more difficult. In that sense it’s less permanent even than a Steam library, which while wholly digital does at least have a degree of permanence in that you “own” the games you bought. As someone who grew up when renting games – and even consoles – was a big deal, however, that doesn’t bother me all that much.

Game Pass aims to position itself as “the Netflix of games”, and just like Netflix adds and removes content, so too will Game Pass. Most Netflix subscribers are happy with the deal – the subscription provides a huge amount of things to watch, and not owning them doesn’t feel like a particularly big drawback. The same applies to Game Pass – it’s a different, but not altogether unfamiliar – way of gaming.

If you’re someone with an unlimited budget for gaming and a full Steam library, perhaps you don’t need Game Pass. But for budget-conscious gamers looking to get value for money, it really feels like a decent offering. At its supposed full price of £8/$10 a month you’ll be paying £96/$120 per year, which is the cost of around two full-price games. But when you consider you get far more than two games included in Game Pass, from my perspective as someone on a low income that definitely seems like a good deal – provided there are two or more games currently included with the service that you actually want to play! For me it was Forza Horizon 4, but I’ll also surely check out The Outer Worlds and several others, and when my first month only cost £1 and I can now play Forza Horizon 4 immediately, it feels like I saved a packet compared to buying the game outright.

Game Pass isn’t going to totally revolutionise the way we play games – at least, not on current form. But for gamers on a budget it offers an inexpensive way into the hobby, as well as a way to complement an existing library of games for everyone else. Despite the issues with the Windows 10 app, I recommend taking a look.

This post was not sponsored; I purchased a Game Pass for PC subscription for myself and these are my genuine opinions based on my experience. The Xbox and Game Pass brands, as well as others mentioned above, are the copyright of Microsoft. This article contains the thoughts and opinions of one person only and is not intended to cause any offence.

How long can Sony and Microsoft get away with hiding their prices?

For me, the beginning of September has always marked the start of the slow march to the holiday season. It’s the end of the summer holidays, kids return to school, the weather slowly cools, leaves begin to fall, and sunset gets earlier – all signalling that autumn has begun. It’s around this time of year when thoughts turn to the holidays, and to budgeting for big expenses at that time of year. With that in mind, now that we’re into September, it’s a surprise to me that we don’t know how much the PlayStation 5 and Xbox Series X are going to cost.

It’s pretty obvious that both companies are playing a high-stakes game of “chicken” – neither wants to announce first so they’re both holding fast, waiting for the other to make the first move. Looking back at past console launches, the cheaper system has been by far the best-seller. The Xbox 360 undercut the PlayStation 3 and enjoyed great success in that console generation, and the PlayStation 4 came in $100 cheaper than the Xbox One, and while in that case price arguably wasn’t the only factor in the Xbox One’s troubled launch, the fact that the cheaper console sold significantly better is clearly impacting Microsoft and Sony’s decision-making at this critical time.

The upcoming Xbox Series X. Price? Unknown.

But in past cycles, prices were announced much earlier. By the middle of June 2013 we knew the prices for the PlayStation 4 and Xbox One – more than five months ahead of their launches. Microsoft promise the Xbox Series X is coming in November, and it’s assumed that the PlayStation 5 will follow suit. But November is literally in just a couple of months now, and there’s still no price information.

If it were good news, I think it’s fair to assume we’d know by now. If either company were planning to launch a system for less than say £350, they’d have made that abundantly clear and would be using it as a selling point. The fact that they’re keeping their pricing plans secret is in part because of how they’re in competition with each other, but it’s also at least in part because it’s bad news – both consoles are going to launch with a hefty price tag, which is not a good look in 2020 with the economy flailing.

Microsoft has perhaps the most riding on pricing. As I’ve said before, undercutting the PlayStation 5 is perhaps their last good strategy for the already-beleaguered Xbox Series X, which has seen incomprehensibly bad business decisions already hamper its launch. If the Xbox Series X could find a way to be a hundred dollars (or more) cheaper than the PlayStation 5, suddenly it seems a better proposition and Microsoft is back in the game.

The soon-to-be-released PlayStation 5. How much will it cost? Nobody outside Sony knows.

Sony seems better-placed than Microsoft right now, with a good lineup of exclusive games that are being built from the ground up for the PlayStation 5 instead of being limited by current-gen hardware. But an excessively high price could see them repeat the problems faced by the PlayStation 3 two generations ago, and even if they don’t end up charging $600-650 as some have suggested, if Xbox is able to undercut them they could still suffer. So while Microsoft has arguably the most to gain from a positive reaction to pricing, Sony certainly has the most to lose from a negative reaction.

At this late stage, though, both companies are going to suffer criticism and negative feedback for as long as they keep their prices covered up. With two months to go until launch, players and parents need to know how much to budget; keeping this information private is incredibly anti-consumer. Both Sony and Microsoft know their prices by now, having worked out how best to break even and turn a profit. They’re staying quiet on purpose, and people are starting to talk about that.

These are undoubtedly going to be pricey machines.

Sooner rather than later, both sides are going to have to rip off the metaphorical bandage. If the prices are high, reaction will be negative, especially from players whose jobs are under threat in a seriously disrupted economy. But going into the launch with that negativity around their necks will be harmful to Sony and Microsoft, and the more time they have after making price announcements means more time for their marketing and PR departments to spin it in a positive way – or at least blunt the edge. In short, if it’s bad news, giving players more time to get used to it rather than going into the launch window with potential buyers still reeling from the shock announcement will be beneficial.

A delay helps no one, and in the end will backfire on both companies and hurt them as they go into their most important sales window in seven years. In the absence of news, people will make their own assumptions – and the assumption right now is that if they had something good to say on pricing, they’d have said it ages ago and built their marketing around it! The conclusion gamers are drawing is that both consoles are going to be expensive – perhaps the most expensive machines ever, even topping the $600 mark. That’s putting people off right now, as in the current economic climate it’s increasingly hard for many people to justify such a large expense on a “luxury item” like a games console.

We need to see both companies make immediate announcements on price and stop messing around. The corporate game of “chicken” has gone on too long, and its anti-consumer nature is already causing both companies and their brands harm. They can’t keep this up any longer – players have a right to know how much they’re going to be expected to fork over for the new consoles.

At this stage I don’t know when we could expect an announcement. It may be imminent from one or both companies… or it may not be something we’ll get for weeks or even until next month. That would be a mistake for the reasons I’ve already given, and at a time like this, consumers need clarity. Both the PlayStation 5 and Xbox Series X are going to be expensive pieces of kit. We get it. But please just tell us how expensive so we can either start saving up or get the disappointment out of the way.

Both companies have been looking at this situation selfishly. Microsoft sees a pathway to a better-than-expected launch, and Sony fears losing the dominance they’ve enjoyed for years. But both companies’ selfishness has crossed a line into being something decidedly anti-consumer, and it needs to stop. At this point, I’d even wager that the company willing to make an announcement will get at least some positive reaction simply by demonstrating they’re not covering up their price. Either of them could even stage an event based around how their competitor is keeping their price a secret – something that could give them at least a temporary boost.

Either way, this has gone on too long. It’s past time that players around the world got to learn how much they’ll have to play for next-gen gaming in a couple of months’ time. We shouldn’t be in this position of having to ask and ask and ask – this information should have been available ages ago. From this point on, every day that Microsoft and Sony continue this cover-up is going to hurt them – and hopefully when they see that, they’ll finally come clean.

The Xbox Series X is the property of Microsoft, and the PlayStation 5 is the property of Sony. Both consoles are due for launch before the end of 2020. This article contains the thoughts and opinions of one person only and is not intended to cause any offence.

Marvel’s Avengers looks an awful lot like Battlefront II…

One of the things that seemed weird to me about Marvel’s Avengers – the new video game, not the film series – is that the game seems to be using a visual style very similar to the Marvel Cinematic Universe… but without any of the actors’ likenesses. I wondered why they hadn’t been able to negotiate with the various actors like Robert Downey Jr., Scarlet Johannson, etc to use their faces or even get them to provide their voices to the title. Given the popularity of the MCU, that struck me as odd. But perhaps now we know why – the game is going to be very controversial.

If I were an actor in the films or an agent/advocate for them, I’d take one look at Marvel’s Avengers and think to myself just how glad I am to be able to say I have nothing whatsoever to do with it. The controversy the game is drawing for its incredibly aggressive monetisation and microtransaction policies is going to be toxic – and any brand or individual associated with that should watch their backs.

Star Wars Battlefront II generated a lot of controversy in 2018 for its in-game monetisation, and while it’s up for debate whether Marvel’s Avengers will reach that level, it’s trending in a very similar direction. Every single aspect of the game seems designed to extract as much money from players as possible – in a game that charges £50/$60 to purchase in the first place – with a £66 deluxe edition, of course.

Battlefront II released to widespread controversy.

When the game was announced as one of these always-online, “multi-year experience” games, the writing was on the wall. In recent years we’ve seen such titles as Anthem and Fallout 76 try to go down that route, and practically no game which does so manages to avoid controversy. Even by the low standards of this type of game, though, Marvel’s Avengers is taking the piss.

One of the Marvel franchise’s most iconic characters – Spider-Man – is going to be a console exclusive on the PlayStation 4. There are tie-ins with all sorts of random companies, each providing in-game rewards for purchases or subscriptions. There’s an in-game currency which can be bought with real money. Each character – of which there are six at launch (or seven if you’re playing on PlayStation 4) will have their own paid “hero cards”, which seems like a necessary feature to get the most out of each character.

In short, if you can think of a crappy anti-consumer business model used by a recent video game, publisher Square Enix has thrown it into Marvel’s Avengers.

One of several in-game marketplaces ready to vacuum up players’ cash.

The £10 “hero cards” per character is perhaps the most egregious of all the monetisation tactics. It means that players who want to fully experience the game – a game that they have already paid full price for up-front – will need to continually shell out more and more money, perhaps even spending double the initial asking price. That’s not accounting for other cosmetic items, skins, costumes, etc. that are all going to be paid for. The only thing the game doesn’t seem to have is lootboxes – something they make a big fuss about as if expecting gamers to reward them for it.

I’m not a big fan of Marvel, or of comic books in general. But some games with a comic book setting can be decent, and if this were a single-player action title with a big budget behind it I might’ve been tempted to give it a try. Not like this, though. Not with the game being in such a state. People who had early access to play through the beta version have even been reporting back saying that underneath all the aggressive microtransactions, the game isn’t actually all that good.

Marvel’s Avengers may not be as exciting as this promo artwork suggests…

So a 6/10 title is going to cost easily upwards of £100 if you want to buy the deluxe edition and all of the battle passes and in-game currency and cosmetic extras… and you still can’t get iconic character Spider-Man unless you spend all that money on the PlayStation 4 version. I don’t know about you, but to me it’s beginning to sound like it might not be the best value proposition in the gaming world right now.

The Star Wars brand has been dragged through the mud in recent years – admittedly not just because of decisions in games. But the release of Battlefront II and the controversy and backlash it generated tarnished the overall brand to a degree, and I can’t help but feel Marvel is in serious danger of making a very similar mistake. The fact that both Star Wars and Marvel are owned by Disney is worth noting; clearly the company is fine with going all-in on these kind of aggressive money-making tactics.

If I were a Marvel fan, I would have been looking forward to the franchise’s biggest game in a long time. But I’d be looking at the underwhelming game drowning in microtransactions (if we can call £10 “micro”) and feeling sick to my stomach. This is barely even a game – it’s a shop, designed to rope players in and force them to spend more and more and more money. If the core game underneath was decent, perhaps players would be willing to do that. But if reports from those who played the beta are accurate, there isn’t even the kernel of a good game at the heart of this mess.

Ms. Marvel in a promo screenshot.

And perhaps that’s to be expected. The best games are passion projects – titles developed because the team behind them genuinely loved the idea and wanted to see it fully realised. Everything about Marvel’s Avengers feels corporate and soulless, like the game has been conceived in a boardroom full of men in suits who looked at the list of franchises they own then tasked some poor team of developers with making a money-printing machine. These are people who looked at the success of titles like Fortnite and Grand Theft Auto Online and – without understanding anything about them – said “make me one of those!”

The sad thing is that there are many comic book fans and fans of Marvel who would have loved the chance to work on a fun title and bring the superheroes to life for players. But it seems like none of them got a look-in, or if they did they saw this sad, corporate shell and walked away. The suits in charge don’t care, and what has been built is a game where the nicest thing anyone can say is that it looks pretty. Visually impressive, but mediocre and drowning in attempted monetisation.

Disney tried this a couple of years ago in partnership with Electronic Arts. The result? Star Wars Battlefront II, a game so controversial it literally got politicians involved and will probably end up getting in-game gambling banned in at least some areas of the world. It will be hard for Marvel’s Avengers to fail quite so spectacularly, but it seems like they’re willing to try.

Marvel’s Avengers is due for release at on the 4th of September on Xbox One, PlayStation 4, PC, and Stadia. Marvel’s Avengers was primarily developed by Crystal Dynamics and published by Square Enix. The Marvel franchise is the copyright of the Walt Disney Company. This article contains the thoughts and opinions of one person only and is not intended to cause any offence.

Perhaps Fall Guys could fix some of its issues before releasing Season 2?

I was a little surprised to hear that Season 2 of Fall Guys – a game that only launched at the beginning of August – would be arriving in early October. That seems an awfully short span of time for a “season”, though admittedly Fall Guys has hardly been a game that follows the beaten path. If you’re unfamiliar with the concept of seasons in online games, it’s something that popular titles like Fortnite have been doing for several years. In short, each season brings new content and new opportunities to progress. In Fall Guys’ case, this means new mini-games and new cosmetics.

But Fall Guys has some issues, and I’d much rather see time and attention spent on improving the core experience before adding new content.

And I know: it isn’t just an either/or case. But at least some of the development time dedicated to building new content for the game – if indeed it is new and wasn’t cut from the initial release – could be reallocated to fixing some of the problems Fall Guys has. Most egregiously I’m thinking of cheating.

There are countless videos on YouTube advertising hacks and cheats for Fall Guys. In this example, a player is able to fly above the course far faster than the players below can run.

I know, right? What kind of pathetic basement-dwelling low-life needs to cheat in a fun little game like Fall Guys? It’s sad, really. But unfortunately, at least on the PC version where I play, it’s becoming much more common. When I first played the game in early August, I didn’t encounter a single cheater. And for the first couple of weeks or so that continued to be the case; the thought never occurred to me that cheating would even exist in a game like this. But in the last couple of weeks cheating has become commonplace. I would guess that roughly one in five games I play now has at least one cheater; some have several.

I don’t pretend to understand the technical side of how the cheats and exploits work, but in-game they appear to give characters the ability to move very fast, fly, and even clip through obstacles and scenery. This gives cheaters a massive advantage, and I’ve played some racing rounds where one or two cheaters were able to qualify before everyone else had even got past the first quarter of the course. This has been going on for some time, and it clearly hasn’t been fixed or patched out yet, but it should be a priority.

When an online game becomes plagued by cheaters, it becomes offputting for everyone else. What’s the point in continuing to progress through the rounds to make it to a finale when you know you’re going to lose to a cheater who can fly all the way to the top of the mountain before you’re even a quarter of the way there? Or who can levitate over the course while everyone else has to hop from tile to tile? There’s no fun in that! And it’s going to result in people no longer wanting to play.

There are other issues too, most notably lopsided teams in some of the team games. I made note of this when I put the rounds in a ranked list, but some of the team games can be horribly uneven. Even a single extra player can provide teams with a huge advantage in some cases, and while the patch notes for a recent update claimed to have fixed the problem, I’ve continued to see unbalanced teams often.

It can be frustrating to play a heavily one-sided team game.

Some rounds need tweaking too, at least from my experience. Perfect Match – a game that involves memorising tiles to avoid falling – routinely ends with hardly anyone being eliminated, and despite the fact that it’s a very enjoyable round, surely something’s got to change there. Likewise Roll Out, which is another round I have a lot of fun with, can take forever as it just isn’t that difficult, meaning it takes a long time to eliminate the right number of players. Better to fix the current rounds than work on a bunch of new ones, right?

Though the server situation has improved massively since the game’s launch, there are still disconnects and failures to connect to contend with. It can be very disheartening to make it all the way to the finale only to get disconnected from the server!

I don’t want to just attack Fall Guys. This is developer Mediatonic’s first big hit, and I genuinely want the game to continue to be the roaring success that it has been this month. According to sales reports, the PC version alone has sold over seven million copies! That’s an astonishing accomplishment for any game, let alone one developed by a small studio. It would be such a shame to see that hard work undone if players are driven away by cheating and other unfixed issues.

Preparing a big update – or “season” – as we head into the autumn does make sense for a business perspective, and I understand that Mediatonic and publisher Devolver Digital recognise they’ve got a hit on their hands and want to keep players engaged. But I’d caution them by saying this: new content will only achieve that objective if players believe that games are fair and that the rules apply to everyone. If cheating continues to run rampant, and cheaters continue to get away scot-free, it won’t matter how much new content is available because there’ll be no one coming back to play it.

Staying ahead of the curve when it comes to stamping out cheating and exploits is part of the job for any company that wants its multiplayer title to be a success. The moment an exploit or cheat is identified it needs to be patched out; Fall Guys has only released a couple of patches since launch, and by now they must know how players are able to exploit the game to fly, move quickly, clip, etc. Quicker fixes for cheats is a must – and any player found cheating needs to be permanently banned from the game.

New cosmetic items are great and all, but preventing cheating would be better.

The most successful online games take a tough stance on cheating. It’s a shame that it exists, that there are people so scummy as to cheat in a game like this. But not understanding it or taking a dim view won’t make it go away, and with the PC version of the game not even using player’s gamertags/Steam names, identifying cheaters to report them to the developer is even more difficult for regular players. Mediatonic and Devolver Digital need to step up – they’ve got a hit on their hands, but they’re in danger of losing it.

Focusing on bringing out new content while these issues still exist feels wrong. Players who’ve had their fun ruined by cheaters are well within their rights to ask why the growing problem doesn’t seem to be getting the attention it warrants, and while it’s absolutely fair to say that a developer can do two things at once, the messaging and marketing trying to hype up Season 2 is in danger of becoming a bit of an own goal from a PR perspective.

Here’s hoping that cheating can be stamped out, and other issues tackled, so we can all get hyped up for Season 2 and the new content it will bring. I’m looking forward to it – but I’m also increasingly worried about some of these issues.

Fall Guys is out now on PC and PlayStation 4. Fall Guys is the copyright of Mediatonic and Devolver Digital. This article contains the thoughts and opinions of one person only and is not intended to cause any offence.

Ten games that I’d remaster (if I could)

A few days ago I looked at the possibility of a remastered Mass Effect trilogy. While unconfirmed, this project has been rumoured to be in development for at least the last six months, and while I could certainly consider the argument that we don’t need a remaster less than a decade after the trilogy wrapped up, it got me thinking about games that I really would like to see given a proper update for 2020.

When it came to choosing titles, I excluded anything from the last couple of console generations, as those are new enough – in my opinion – to hold up reasonably well in 2020. I excluded titles that have been remastered already, as well as one title (Super Mario 64) that has been the subject of intense speculation regarding a potential upcoming remaster. I considered a number of titles from the 1980s and early ’90s, but despite some good contenders, the titles I ultimately chose are all from the mid ’90s through to the mid 2000s. Remember that these are just my opinions; the list is subjective.

This list is just a fantasy. Some of the games below may one day be remastered, but others are so obscure that I may be one of only a handful of people who knew they existed even when they were new! So don’t get excited at the prospect of an impending remaster; if you must play a title on this list… I dunno. Try eBay?

Number 1: Star Trek: Generations (PC, 1997)

Data and Picard in stellar cartography.

When it comes to naming my “all-time favourite” game, I struggle. There are so many good video games that I’ve played over the years, and what I enjoy playing changes with my mood. That said, the PC game Star Trek: Generations has to be a contender. Part Doom-clone, part puzzle game, part tactical ship-to-ship combat game, featuring fully-voiced characters and some great sequences set in stellar cartography that I don’t even know how to categorise, Generations was a fantastic and incredibly well-rounded experience. It’s such a shame that it released way too late – several years after the film – and was overlooked by even the hardest of hardcore Trekkies.

A first-person away mission.

The main part of the game is a series of Doom-inspired first-person missions to various planets. Generations took a randomised approach – there are a number of planets that the villainous Dr Soran can visit, and which ones he travels to differs with each playthrough. All of the main characters from The Next Generation have their own missions, and the final act of the game lets players take on the role of Kirk. The story sticks to the film in the beginning and near the end, but diverges greatly in the middle during some of the away missions. It’s a fantastic title, and a few years ago I was able to track down a copy on eBay. I’ve been intending to replay it but haven’t got around to doing so yet.

Number 2: Jet Force Gemini (Nintendo 64, 1999)

Saving a Tribal in Jet Force Gemini.

Jet Force Gemini was a Nintendo 64 exclusive just before the turn of the millennium, and it was a fun sci-fi adventure in an original setting. The game gave players three characters to control: twins Juno and Vela, and their dog Lupus. An action/adventure title with some basic 3D platforming sections, the game had a slightly over-the-top story that involved saving teddy bear-like creatures and defeating a nefarious villain. Considering how many sequels and franchises exist right now in all forms of entertainment, Jet Force Gemini could offer something different – or at least something most players in 2020 haven’t experienced before!

Lupus the dog.

Developed by Rare, the game had weapons that could be upgraded as well as an open level design that was comparable to other Nintendo 64 titles at the time. Though it was included in the Rare Replay compilation a few years ago, no remaster – or even a sequel – has been attempted, which is a shame. If a title like Jet Force Gemini were to launch today it would undoubtedly spawn a whole franchise!

Number 3: Knights of the Old Republic I & II (PC & Xbox, 2003-04)

I talked about Knights of the Old Republic a few times during my playthrough of Jedi: Fallen Order, because some aspects of the two titles are comparable. I’ve made no secret of the fact that I didn’t enjoy the Star Wars prequels, and the first two films were especially bad. But in the aftermath of Attack of the Clones I got to have two of my favourite ever Star Wars experiences – these two games.

With all the discussion around a Mass Effect remaster, Bioware’s Star Wars game hasn’t been mentioned. But it should be – both Knights of the Old Republic and its Obsidian-developed sequel are phenomenal. The Star Wars franchise has struggled to break away from its original trilogy and characters for a long time, but Knights of the Old Republic took a genuinely original and interesting setting and told a story that took place millennia before the films. These games did wonders for the Star Wars brand at a time when two crap films had tarnished it, and playing them again but with the enhanced graphics of a title like Jedi: Fallen Order would be amazing.

(A KOTOR remake was subsequently announced in 2021!)

Number 4: Blue Stinger (Dreamcast, 1999)

Protagonist Eliot explores Dinosaur Island.

The only Dreamcast exclusive on this list was a bargain-bin find even at the time it was released! But that’s such a shame, because if you can look past the hammy dialogue and silly premise there’s a fun game hiding just beneath the surface. Blue Stinger didn’t pretend to take itself too seriously. Its dinosaurs-from-space apocalypse setting precluded that! But not every game – or every film – has to be dark and gritty; there’s plenty of room in the gaming realm for titles like this.

Fighting a monster.

What I liked most about Blue Stinger was the fact that the game offered a lot of customisation. Different outfits and different weapons for the multiple playable characters all contributed to making my playthrough feel unique, that I was having an adventure all my own. Few games at the time offered that kind of experience, and I appreciated it.

Number 5: Arx Fatalis (PC & Xbox, 2002)

An underground lair.

After playing and loving The Elder Scrolls III: Morrowind on the original Xbox, I was looking for another fantasy-inspired roleplaying game to play. There were a few such titles around, but after finding Arx Fatalis and seeing little more than the box art I was convinced it was going to be the next big thing. The PC version of the game – which I didn’t play – is generally considered to be better, as its spellcasting system involves using the mouse to draw symbols in the air. That extra sense of immersion must have felt great!

The magic system.

Arx Fatalis’ underground setting was amazing, with towns and settlements built into caverns, and I had a great time exploring the dungeons and caves of this unique world. There was a decent amount of choice, both in what quests I could take on and how to go about completing them. While Arx Fatalis arguably offered less than Morrowind, it was a solid and decent title nevertheless. Sadly it didn’t sell very well, partly due to being overshadowed by Morrowind, and remains in relative obscurity.

Number 6: Star Trek: The Next Generation – Future’s Past (SNES & Sega Mega Drive, 1994)

Riker, Worf, and Picard on the bridge of the Enterprise-D.

You knew that there was going to be at least one more Star Trek title on the list, right? Future’s Past (or Echoes from the Past if you got the Sega Mega Drive version) plays out like an extended episode of The Next Generation in a lot of ways, and there are things to do on the bridge of the Enterprise-D as well as on away missions. A team of up to four crew members – including both redshirts and major characters – can be assembled for away missions, and different combinations of characters can yield different results.

An away mission.

The away missions take a top-down view, making the game a kind of real-time tactics game as well as being a fun Star Trek adventure. Some of the game’s systems are quite in-depth for a mid ’90s title, and performing tasks like navigating the ship from one star system to another actually made it feel like you were a crewman on the Enterprise-D!

Number 7: FIFA 97 (Multiplatform, 1996)

Though the FIFA series had been running for three years by the time FIFA 97 arrived on the scene, it was the first iteration that I owned. FIFA 95 had introduced club teams after the first entry only featured national sides, but it was only available on the Sega Mega Drive. FIFA 96 was the first truly multiplatform release, and after the excitement of the 1996 European championships in England I was craving a football game to play!

FIFA 97 had a choice of indoor or outdoor stadia to play in!

Nostalgia is big in entertainment at the moment, as people look back fondly on the past. What could be absolutely fascinating to see, as a football fan, is a recreation of the various leagues and divisions as they were in the 1996-97 season, but with the graphics of modern FIFA titles. I think such a game would play on the nostalgia that football fans have for the players, stadia, and kits of their younger days, and if it were successful, there could even be a whole range of legacy FIFA titles going all the way back to the inception of competitive football leagues! Can you imagine a FIFA game set in the 1890s featuring clubs like Northwich Victoria, Glossop North End, and Small Heath? Maybe it’s just because I’m a history buff but I’d love something like that!

Number 8: Pirates of the Caribbean (PC & Xbox, 2003)

Ship combat in Pirates of the Caribbean was great.

Despite the name, 2003’s Pirates of the Caribbean has very little connection to the film series – the first iteration of which was released the same year. Though the Black Pearl makes an appearance, the story is really that of Captain Nathaniel Hawk, an original character. Hawk must put together a crew and then can sail across several islands in a shrunk-down map based on the Caribbean. There’s a main quest involving a war between England and France, and a number of smaller side-quests too.

The player character – Captain Nathaniel Hawk.

The popularity of titles like Sea of Thieves and Assassin’s Creed IV shows that gamers love a good pirate-themed title, and I think the under-appreciated Pirates of the Caribbean could work brilliantly in 2020. It had a fun and engaging story, and was a title that allowed a decent amount of player choice.

Number 9: Donkey Kong 64 (Nintendo 64, 1999)

The DK rap…

As I mentioned at the beginning, Super Mario 64 has been rumoured to be the target of a remaster. But the Nintendo 64 also saw the first 3D adventures of that other great Nintendo character – Donkey Kong. Where the Donkey Kong Country games on the SNES had introduced Diddy Kong and a couple of others, Donkey Kong 64 kicked things into high gear by having five playable characters.

Diddy Kong with his twin pistols.

The game is similar to both the aformentioned Super Mario 64 in terms of its 3D platforming as well as titles like Banjo-Kazooie, which was also developed by Rare. It had a multiplayer mode, well-designed and diverse levels, and while the plot was pretty basic it was a lot of fun. The game was re-released on the Wii U as a download title, but wasn’t remastered.

Number 10: Max Payne (PC, Xbox, and PlayStation 2, 2001)

Max duel-wielding his handguns.

Despite receiving two sequels and a feature film adaptation, no attempt has yet been made to remaster the original Max Payne. I’ve often talked about how Shenmue on the Dreamcast was my first experience with a game that felt genuinely cinematic – well Max Payne was the second such game I played. Gaming before the turn of the millennium was a lot of fun, but as an art form and entertainment medium, it hadn’t fully hit its stride. Many games had stories which were childish, over-the-top, or just silly; Max Payne was a classic detective/noir adventure that would have been just as at home on the big screen.

Taking out an enemy with a shotgun.

The story and even 95% of the gameplay would need absolutely no adapting; this is one game that just needs to be updated using today’s better graphics! The story is what makes Max Payne worth playing. Its sequels were fine, but nothing can top the original experience. Though the game’s signature “bullet time” has since been reused in many other titles in the years since its release, the story underneath the gameplay is still one that players today could enjoy.

So that’s it. Ten games that I’d remaster if I could. In the years since I got my first home console in the early 1990s – a SNES – I’ve been lucky to play many different games on a range of platforms. These are just a few that I’d love to remaster – if I had a studio, an unlimited budget, and a willingness to lose money!

This has been a fun topic, and it’s one I may revisit in future. I had at least ten more titles lined up that could have made the list, and with so many great games from the past, there’s no shortage of options! It was great fun to talk about some games of yesteryear that I enjoyed during the 1990s and early 2000s.

All titles listed above are the copyright of their respective developers, studios, and/or publishers. Some screenshots courtesy of IGDB. This article contains the thoughts and opinions of one person only and is not intended to cause any offence.

A Mass Effect remastered wishlist

Spoiler Warning: There are spoilers ahead for the Mass Effect series.

It’s been eight-and-a-half years since Mass Effect 3 was released, rounding out the original trilogy of Mass Effect games. Since then, the franchise has put out a single new title – Mass Effect: Andromeda – which was underwhelming to say the least. For the last six months or more, rumours have been floating around of an impending Mass Effect remaster, and while I was disappointed not to hear any official mention of it at June’s EA Play event, the rumours haven’t subsided. Is something going on with the Mass Effect series?

I have absolutely no idea. But that doesn’t make it any less fun to speculate and fantasise!

Promo artwork for Mass Effect 2.

After Andromeda’s weak launch led to mediocre reviews, memes, and poor sales, EA put the franchise “on hiatus” and Bioware moved on, focusing on the ultimately unsuccessful Anthem. To many of us that sounded ominous – especially given EA’s history of shutting down game studios and killing brands – but if it’s true that a remaster really is in the works, I have a wishlist of things I’d like to see included.

For the record, because I know people like to get excited: I have no idea if a Mass Effect remaster is even being worked on, let alone if any of these ideas or concepts will be included. This is a wishlist from a fan, not “insider information”. If anyone tells you they know something for sure about an unannounced or unreleased project, take it with a grain of salt. With that caveat out of the way, let’s look at my wishlist, which is in no particular order.

Number 1: Delay the project if necessary.

“My face is tired…”

This may seem like an odd one – why talk about a delay to a game that hasn’t even been announced? Well there are two reasons: Anthem and Mass Effect: Andromeda. Bioware’s two most recent titles launched before they were properly finished and polished, resulting in lacklustre sales, mediocre review scores, and online mockery. I’ve said it before, but the memes hurt Mass Effect: Andromeda’s sales far more than review scores. It’s a shame, because the most egregious visual bugs and glitches were fixed in a patch within days, but by then it was too late – the damage had been done.

Andomeda’s development was difficult, and the final build of the game was – at least according to reports – put together in mere months, despite the game having been in development for five years. The reason why I’m saying to EA and Bioware that one of the things I want from any potential Mass Effect remaster is a delay, if necessary, is because I want them to learn from that mistake. The “release now, fix later” concept doesn’t work, and if the game launches to mockery, memes, and mediocrity as Andromeda did, there’ll be no salvaging it – or the franchise, quite frankly.

Number 2: 4K resolution and 60 frames-per-second.

The whole point of remastering a game is to improve its graphics and the way it looks using newer and better technology than was available to the original development team. But the second and third Mass Effect titles in particular still look decent today, and as I keep saying, graphical improvements get smaller and smaller with each new generation.

One thing that has improved in the last few years, however, is the frame rate games can run at. 30fps was commonplace in the Xbox 360 era, when Mass Effect debuted, but now we have 60fps as standard, and on higher-end machines we can push frame rates way further. The bare minimum for a big-budget game in 2020 is 4K resolution at 60fps. If the Mass Effect remaster can’t manage that, a lot of people will wonder what the point of it is.

Number 3: Rework Mass Effect 1 to use Mass Effect 2 and 3′s gameplay.

Mass Effect 2 offered massive gameplay improvements over its predecessor. Gunplay was faster and more fluid, the complicated inventory system was streamlined, and many more quality-of-life improvements made the second game way better than the first. If a Mass Effect remaster is going back to the drawing board to rebuild the games from the ground up, it would be a great opportunity to update the first game to be in line with the second and third.

Aside from making the first game more enjoyable to play, this would also standardise the remastered trilogy, making it an easier experience to go from one game to the next, especially for new players. Mass Effect 2 and 3 don’t really need much improving from a gameplay point of view, but the first title could do with an update.

Number 4: Include all three games – plus all of their DLC – in one package.

No special editions. No deluxe editions. No console exclusive characters or missions. No paid DLC for a thirteen-year-old game. All of the content for all three games should be available in one package. While I’d prefer to see the full trilogy released all at once, one possible option is to follow the trail blazed by Halo: The Master Chief Collection on PC and release the first game, then the second, then the third. But regardless, one price should get players all three games plus all of the DLC.

The Mass Effect series has been poor in this regard. Both Mass Effect 2 and Mass Effect 3 had day-one DLC – which is industry slang for cut content that they could sell separately for more money. Some of the expansions were great, but others added what felt like content that should have been part of the main game, or felt like small additions for the asking price – like adding a single character. Javik, the series’ first Prothean character, was only available as DLC – despite the fact that he played a pivotal role in Mass Effect 3. It’s a good opportunity for the series to put all of that behind it and release the entire story in one package.

Number 5: If the game needs microtransactions, save them for multiplayer.

Mass Effect 3 and Mass Effect: Andromeda had multiplayer modes. I only knew about Mass Effect 3′s multiplayer because failure to participate had an impact on your “war score” or “galactic readiness” during the single-player campaign, which was incredibly annoying. But both games enjoyed moderate success with their multiplayer modes, so I wouldn’t be surprised if EA crams multiplayer in to a Mass Effect remaster too.

If there is a multiplayer mode, this is the place to dump DLC and microtransactions, not in the already-complete single-player story. As someone who doesn’t play a lot of multiplayer, having DLC and microtransactions here will have no impact on my enjoyment of the campaign. If EA has to include in-game monetisation, the least they could do is keep it away from the story.

Number 6: Tweak Mass Effect 3 to at least pay lip service to more player choices.

This was a huge moment in Mass Effect 3 that seemed to go unrecognised afterwards.

I’m not asking for Mass Effect 3′s ending to be fundamentally rewritten; that will never happen. What I think could be done to massively improve the final third of that game is to add in some more cut-scenes, animations, and lines of dialogue recognising the choices players made across all three titles. One of the most disappointing things about Mass Effect 3 for me was that during the climactic final act, many accomplishments from earlier in the game and in the series went completely unacknowledged.

To give an example I’ve used before: if players followed a specific path across all three titles, it’s possible to save both the Geth and Quarian species when it looks like it would only be possible to save one or the other. Having both powerful fleets instead of just one feels like it should have a huge impact on the war against the Reapers… but it didn’t. A few extra “war score points” and two words of dialogue confirming that both fleets had arrived for the final battle was literally all you got for all that effort, and it just felt so hollow and disappointing. That was almost worse than the actual pick-a-colour ending.

Bringing back a few of the voice actors to record a few extra lines, creating some new animations to represent different combinations of fleets, soldiers, and survivors, and overall just tweaking and adjusting the final portion of Mass Effect 3 would go a long way to negating this issue, and if the game is being massively overhauled anyway, why not put in the extra effort? Fans may still be disappointed in the ultimate finale, but if the journey there were improved, it would be a better experience as a whole.

Number 7: Set the stage for a potential Mass Effect 4?

One of the possible endings to the trilogy.

I don’t know if this is really something I want – hence the question mark. But I can only assume that a Mass Effect remaster would be seen by EA and Bioware as a stepping stone to a potential new entry in the franchise, and after the disappointment of Andromeda, surely the only way that could happen would be a fourth mainline entry in the series.

Andromeda’s fundamental problem, beyond the animations and glitches and bland characters, was that it felt like an overblown side-quest. The entire game felt like the B-plot of a better story, and I think that feeling would have persisted regardless of how well-built it might have been. So how could a fourth Mass Effect game work? That’s a huge question, because the ending of Mass Effect 3 was simultaneously so final yet so transformative.

An idea I’ve been kicking around for a while is this: in the aftermath of the Reapers being defeated, a past race that had survived a Reaper harvest re-emerges or returns to the galaxy, looking to reclaim what they see as “theirs”. Shepard comes out of retirement, perhaps fifteen or twenty years after the end of Mass Effect 3 (which would allow time for the galaxy to have rebuilt). The new enemy would be tough and would be just as much an existential threat as the Reapers had been – keeping the stakes high and avoiding the sense of the new fight being anticlimactic.

The Leviathans featured in DLC for Mass Effect 3 and are exactly the kind of faction I’m thinking about with this concept.

But that’s just one fan concept, and there are myriad ideas for how a fourth mainline game could work. However it may happen, the Mass Effect remaster will have to set the stage for a potential fourth game – perhaps by adding an epilogue.

As we’ve recently seen with The Last of Us Part II, some stories don’t need sequels, and when a decision is made to make one anyway, what results can be disappointing to fans. There’s definitely an argument to be made that the Mass Effect trilogy was so special and unique that a sequel is unnecessary – or even unwanted.

Number 8: More customisation options and a better character creator.

The character creation screen in Mass Effect 1.

For a game that released in 2007, Mass Effect’s character creator was okay. But even by the time Mass Effect 2 and 3 were released, the limitations of the original game’s character creator were apparent. Games today can offer so much more in terms of building a unique face for a player character – from hairstyles to tattoos to beards and so much more. The Mass Effect trilogy is jam-packed with cut-scenes which show off Shepard, so making him or her look good is important! The default faces are fine, but a roleplaying game needs some degree of customisation, and the outdated character creator definitely needs an overhaul.

And while we’re at it, let’s have more cosmetic options for armour and weapons. The first game was noticeably lacking in this department, but the second and third titles did have pretty solid armour and weapon customisation. I’d like to see this expanded with a variety of cosmetic options for customising Shepard’s appearance and outfits, including his uniform when not in armour as well as individual weapons. While it may be tempting to turn this feature into a microtransaction marketplace, as mentioned above let’s try to keep that just for multiplayer!

So that’s it. A few things I’d like to see from a potential – but still unconfirmed – Mass Effect remaster.

Fans of Star Trek: Picard who haven’t played through this fun sci-fi game series will note some similarities in the broad strokes of the plot: an ancient race left behind a beacon, warning of the dangers of a race of synthetics who will come to wipe out all sentient life in the galaxy. Sounds familiar, right? While Star Trek: Picard took a very different approach to this story outline, the similarity in premise is something I thought at the time was noteworthy – I even referred to the unnamed faction of super-synths in that show as the “Mass Effect Reapers”.

Remember this faction from Star Trek: Picard?

Is it the right time for a Mass Effect remaster? That’s a good question. The stink of Andromeda is still pretty fresh for a lot of gamers, and the trilogy only ended in 2012. I could absolutely entertain the argument that it’s something best saved for five or ten years’ time rather than something the gaming world needs in 2020 – but I’m not the one making those decisions! If there is a remaster this year or next, I have no doubt I’ll take a look to see what it has to offer. I’ll be curious to stack up a remastered version of Mass Effect 2 or Mass Effect 3 against the original to see how much better it could really look. As I’ve said before, in a lot of ways I’d be happy with a game that has Mass Effect 2′s visual effects even if it were released today, so any remaster will have to go above and beyond to wow me with the way it looks.

Still, I’ll take any excuse to revisit a beloved series. In December I put Mass Effect 3′s ending on my list of entertainment disappointments of the decade, and I stand by that. It was a let-down then. But time is a great healer! Although I’ve replayed the trilogy several times I haven’t touched it in five or six years, so it will definitely be nice to jump back in – assuming the rumours are true and there really is a remaster in the works!

I hope you’ll check back soon for more sci-fi and gaming articles!

The Mass Effect series – including all titles discussed above, as well as potential new titles – is the copyright of Electronic Arts and Bioware. Some screenshots and promotional artwork courtesy of press kits on IGDB. This article contains the thoughts and opinions of one person only and is not intended to cause any offence.

Let’s Play Jedi: Fallen Order – Final Thoughts

Spoiler Warning: There are spoilers ahead for the entirety of Star Wars Jedi: Fallen Order, including its ending. There may also be spoilers for other iterations of the Star Wars franchise.

At the end of July I completed Star Wars Jedi: Fallen Order. If you missed it, I documented my playthrough of the game, and you can find the entire series by following this link. However, that won’t be required reading for this piece, which will serve as a review/summary of what I thought of the game as a whole. So let’s get started!

My recent history with the Star Wars universe has been complicated. Due to disability, I haven’t been able to go to the cinema in person for several years, meaning that the most recent Star Wars films had been spoiled for me, and I was aware of their basic storylines before I could sit down to watch them. The last film I got to see unspoiled was 2016’s Rogue One. I enjoyed that film a lot, and at the time I enjoyed the first and second parts of the sequel trilogy – The Force Awakens and The Last Jedi, despite its controversial nature. Solo was okay, I guess I’d call it average. But I didn’t enjoy The Rise of Skywalker at all, and I found The Mandalorian to be bland and uninteresting, as well as a show that struggled to break away from the franchise’s past.

The Rise of Skywalker was a visually impressive film let down by a truly awful story.

Enter Jedi: Fallen Order. I’d been very much looking forward to the game since Electronic Arts announced it at E3 2018. It had actually been a long time since I played a Star Wars game when I first heard of Jedi: Fallen Order – though I would subsequently play the Star Wars Battlefront II campaign in late 2018 or early 2019. The only thing I was concerned about with the game before I played it was its difficulty; any time something is described as “Souls-like” (a reference to the Dark Souls series) I tend to think it probably isn’t something I’ll enjoy. However, the subsequent revelation that the game features an easier mode made me feel better. I bought Jedi: Fallen Order when it was on sale on Steam in the spring of 2020, a few months after it was released. Unfortunately around that time my PC was having issues, which meant I couldn’t play it immediately. I ended up replacing my graphics card – though the whole machine needs an overhaul at some point soon – and I was finally able to sit down and play.

I had a pretty good idea of what to expect from a game described as a “linear, story-driven, action-adventure” title, and from a gameplay perspective Jedi: Fallen Order was more or less what I was expecting. Cal had a lightsaber that he used as his only weapon, and a handful of Force powers that could be used both in combat and for puzzle-solving. As strange as it sounds when discussing a video game, I wasn’t particularly interested in the gameplay side of things. I wanted it to function correctly with no major bugs, and of course I wanted it to be an enjoyable and not-frustrating experience, but my real reason for playing the game was its story. As long as the gameplay didn’t get in the way of that I expected to be at the very least satisfied with the way Jedi: Fallen Order played.

Protagonist Cal Kestis.

My playthrough lasted 19.8 hours according to Steam – though a few minutes of that was taken up with the first-time setup, connecting to Origin, and a couple of updates that needed to be downloaded before I could play the game. Having looked it up online, the average seems to be around 20 hours, so I think my 19.8 hours is pretty much bang on what you could expect. I only died a handful of times (thanks in part to playing on the aforementioned easiest difficulty setting), so players who go for the hardest difficulty and end up having to respawn a lot more frequently than I did may find the game takes a little longer.

In my 19.8 hours I feel I accomplished as much as I could. I completed the game’s story, and there weren’t really side-quests of the type that many modern titles have, so the only things I could have done that I didn’t were collecting more cosmetic items and finding a few more “secrets” on each of the levels. These secrets mostly seem to be Force echoes – Cal can use the Force on certain objects or at certain locations to sense the past, and this would usually play out in an audio clip and perhaps an entry in the game’s databank. In short, as someone who isn’t a completionist who has to visit every last cave and open every single chest, I got as much out of the game as I reasonably could have. Backtracking simply for the sake of a few short audio clips and perhaps an extra outfit or lightsaber hilt colour doesn’t hold much appeal to me – so I didn’t.

Lightsaber customisation was a small part of the game – but a fun one.

Let’s talk about backtracking, because this is one of the few complaints I’d have about Jedi: Fallen Order. The game consists of seven planets – each planet forms one “level” for the purposes of our discussion. The first planet, Bracca, is a tutorial level, it’s very scripted, and within the first hour or so, Cal has left and there’s no option to return. Two of the other levels, Ilum and Nur, are relatively linear and compact, and may only be visited once. That leaves four levels: Bogano, Dathomir, Kashyyyk, and Zeffo. These are where the bulk of the game takes place, and they’re larger levels with some degree of exploration required to progress. However, the game’s story takes Cal from one planet to the next… then back to the previous one. This formula plays out for each of these four worlds, and frankly it got repetitive. I’m not averse to the idea of Cal revisiting the same planet – in the context of the story it made sense. But what I think would have worked better is if the levels had been broken down into two smaller chunks, with Cal visiting one location each time. This would have avoided the feeling of repetitiveness while still allowing the game to make use of many of the same assets for terrain and the environment.

The downside of bigger levels is that they can be confusing to navigate. Jedi: Fallen Order does provide an in-game map, but I found it difficult to get the hang of, especially on those bigger levels where a map would’ve really come in handy. The map is 3D, it’s entirely in shades of blue which made identifying any features difficult, there was no way to see the entire level all at once without completely losing my bearings, and generally the map was unhelpful most of the time. It was useful for seeing things like blocked doors and unnavigable passages, as these were usually highlighted, but for finding my way around a level and getting from point to point I have to give the holo-map a failing grade.

The holo-map.

Because Jedi: Fallen Order didn’t offer many shortcuts or ways back to the beginning of the level (i.e. where Cal’s ship was) after completing the level’s objectives, having a good map would have been very helpful when it came to backtracking through each of the levels. This was definitely something I found to be frustrating – with the mission over, I was keen to get on with the story and having to spend twenty minutes or more finding my way back through a level I’d already completed wasn’t a lot of fun. I can’t think of many games that do this – at least, not ones I’ve played – and it feels like padding. With the objective complete and the mission over, having to waste time going back through an already-completed level can hardly be described as anything else.

At a couple of points, Jedi: Fallen Order felt as though it was trying to present itself as a game that offered me a choice of things to do when really no such choice existed. In the worst example, after completing the tutorial level and visiting Bogano for the first time, Cal had a choice of two planets to visit. I chose to go to Dathomir, as I thought it may contain a side-mission and I didn’t want to miss out on it if the story moved on too quickly. The game didn’t make clear that there was absolutely no point in going there – Cal would be unable to progress in any meaningful way on that planet until far later into the game. This fact wasn’t even acknowledged while at the section of the level where Cal was blocked from progressing. In short, Cal needed to jump across a gap in a damaged bridge, but the gap was too wide. After trying and failing once, he says to himself something like “it’s too wide to jump.” After saying that once, that was it. It took me looking up a walkthough online to realise that there was no way at all to progress further on that level, and that’s just something which shouldn’t happen.

The impossible jump.

This ties into a much bigger theme that was present throughout the game – there were many points where an extra line or two of dialogue would have gone a long way to improving the story. In the case of Cal failing the jump on Dathomir, we needed more explanation than a single ambiguous line, something to make it clear the way was shut. But at numerous other points the same issue was present. While I wouldn’t say the story was confused as a result, there were a number of places where it wasn’t as clear as it could’ve been. I pointed these out as I found them, and it’s something I seemed to say often in my playthrough posts!

While Jedi: Fallen Order had one main story – Cal’s quest to find a Jedi holocron – it made an attempt to introduce a B-plot involving the Stinger Mantis’ pilot Greez and a faction of bounty hunters. But this storyline was not properly developed and seemed to be abandoned toward the end of the game with no conclusion. A sequel to Jedi: Fallen Order is in the works, and it’s possible it may come back at that point. But the storyline didn’t feel like it ended on a cliffhanger. One minute Cal was captured by bounty hunters, a few minutes later he’d escaped. For the rest of the game bounty hunters would periodically show up – even in places where it seemed illogical to find them – but they never said anything or did anything of consequence. They were just slightly annoying enemies to fight. The storyline just fizzled out, and as of the game’s finale felt like it had been abandoned; it wasn’t even mentioned once during the final couple of hours of the game.

Cal speaks with the leader of the bounty hunters. The character was seen only once in the game.

There were a handful of moments which I felt were immersion-breaking, where Jedi: Fallen Order stopped feeling like an unfolding Star Wars adventure and started feeling like just another video game. I looked at these moments as they happened, but the worst one was the escape from Ilum. After Cal retrieved his lightsaber crystal from the old Jedi temple, it was a race back to the Stinger Mantis with Imperial reinforcements on the way. Cere jumped on the radio to tell Cal to hurry – Star Destroyers were inbound! But when Cal made it back to the ship, Cere and Greez just stood there. And I had to walk Cal over to the galaxy map to choose the crew’s next destination. What should have been a daring last-second escape turned into a horrible anticlimax and completely robbed what had been a great part of the story of much of its dramatic effect.

As a whole, however, I liked Jedi: Fallen Order’s story. The idea of chasing a hidden holocron in what was a kind of archaeological/historical puzzle felt like something Jean-Luc Picard would have done in Star Trek: The Next Generation! As a history buff myself, I felt that the galactic history angle was fascinating and added a lot to the story. As far as I know, the Zeffo are new to Star Wars; they were certainly new to me. And in that sense, the story really did feel mysterious much of the time – I was never quite sure, especially early in the game, just was I was going to discover.

One of the Zeffo tombs.

The characters all felt real and added to the story, too. Cal himself is perhaps the least-interesting of the main characters, but as someone who has to be the “everyman” protagonist that’s fair enough. And he did have a backstory – a padawan who survived Order 66. Cere and Greez were interesting too, though as mentioned part of Greez’s story – his gambling debt and the trouble with the bounty hunters – feels incomplete. But perhaps my favourite character was Trilla, the Second Sister.

When she was first introduced near the beginning of the game, Trilla felt rather flat. Slightly over-the-top and leaning into being evil meant that there didn’t seem to be much depth to her character; she felt like she could’ve ended up being one-dimensional. But the subsequent revelation that she had been Cere’s padawan, and had turned to the dark side after being tortured by the Empire, was not only a fascinating story twist that rivalled some of Star Wars’ best (and far exceeded some of its worst), but one which transformed her into a character who was complicated and even sympathetic. Her death at the end of the game – when she seemed on the cusp of forgiveness and perhaps even redemption – was heartbreaking.

Trilla was a great character.

Though it worked well for me, I can understand why some players may have felt that the ending of the game wasn’t its strongest point. We can set aside the accusation of Darth Vader being a “deus ex machina”, because in the context of the Star Wars universe I feel it worked. But Cal and Cere’s mission, for the entirety of the story, had been to retrieve the holocron for the express purpose of using it to track down and train the Force-sensitive kids. The setup of the story strongly implies that this has been Cere’s quest for a long time – perhaps even years. Cal’s decision to renege on that, and to destroy the holocron instead, didn’t exactly come from nowhere, but it was a story point that was less developed that it could’ve been. His motivation for doing so comes from Merrin, but they only had two very brief conversations on the subject before the pivotal moment – one of which was an optional conversation that would have been easy to miss. So I can understand why some fans will have felt that the ending was unsatisfying.

However, I’d like to explain why it worked for me. Firstly, Cal changed a lot over the course of the game. He came to realise that putting Force-sensitive kids through Jedi training would lead to them being hunted by the Empire. He lived much of his life since Order 66 in hiding, and having experience the Empire’s Jedi-hunters firsthand was not content to see other kids go through what he went through. Secondly, the vision on Bogano showed him how training the kids could go wrong and lead to them being captured or killed. And finally, the conversations with Merrin were what pushed him over the edge and convinced him to destroy the holocron rather than keep it. For me, he has more than enough motivation from his background and his recent experiences to feel that destroying the holocron makes sense – and from out perspective as the audience, keeping the kids safe from the Empire is still a huge victory.

Cal destroyed the holocron at the end of the game.

Finally, let’s look at a couple of minor things that I didn’t like in terms of gameplay. Firstly, Jedi: Fallen Order was not as polished as I would have expected from a major release. There were a number of bugs and glitches, which mostly consisted of the environment or characters behaving incorrectly – characters would float in mid-air, stand on an invisible ledge, fall through the scenery, etc. The worst two glitches involved Cal getting stuck in the environment. At one point he was unable to cross a narrow beam because the game didn’t register where he was stepping correctly, and on another occasion he got stuck in the scenery after climbing an invisible wall. If I found these issues in a standard playthrough, QA testers must have spotted them during development. Between the game’s release and when I played it there were eight months in which a patch could have been rolled out; it’s a shame that these things were there in the first place but there’s been more than enough time to fix them.

Climbing an invisible wall.

There were a couple of gameplay features that I wasn’t wild about either. Both of these were creative decisions and not glitches or bugs, so I respect the decision to include them. But from my point of view, they didn’t work very well. The first is the checkpoint system. I haven’t played a game since the ’90s that had fixed checkpoints instead of allowing players to save freely, and even though it wasn’t something I had to make use of all that often, it’s not my favourite way to play. In the past it was a limitation of computing power that games had to get around because there was no alternative; in 2020 that isn’t the case. It’s a creative decision, one which aimed to bring Jedi: Fallen Order in line with titles like the Dark Souls series, and I respect that. I just don’t like it.

The second point wasn’t something I disliked per se, it’s just a feature that got old pretty fast: sliding. In the first level, the brief sliding section was wild and very fun. But the feature was repeated multiple times throughout the game and honestly it lost its appeal. Where it felt unique and fun the first time, after several mandatory sliding sessions the novelty wore off. Not to mention that several of these sections required milisecond-perfect button presses which could be very difficult.

Jedi: Fallen Order.

On the plus side, Jedi: Fallen Order gave me what might just be my favourite ever experience in a Star Wars game: piloting an AT-AT. Unlike the sliding feature, which was reused multiple times, the game only gave me one shot at this, but it was so much fun. Cal and BD-1 stayed in the vehicle’s cockpit, and over a fifteen-minute section blasted their way through other AT-ATs, ground forces, and even Imperial ships on the surface of Kashyyyk. It was undoubtedly the most fun section in the game purely from a gameplay perspective!

Speaking of Kashyyyk, it was fun to revisit a planet I’d played through years ago in Knights of the Old Republic. Though on my first visit the level looked quite different to the Kashyyyk I remembered from the older game, the second mission to the Wookie homeworld definitely brought back memories, and at points felt like playing an upgraded version of that classic from the original Xbox era.

Wookie chieftain Tarfful on Kashyyyk.

There were some great scripted moments in Jedi: Fallen Order. When Cal is dreaming while on the train on Bracca, there was a moment where the train was suddenly replaced with an Imperial ship. It was seamless and perfectly shocking. I liked the voice acting performances that the characters gave – at no point did I feel they misspoke, over- or under-acted a scene, or were anything other than competent throughout. BD-1, Cal’s droid, is absolutely adorable and I love him. There were some genuinely emotional moments in the story, such as where BD-1 encouraged Cal not to give up in the crystal cave. But above all, Jedi: Fallen Order was fun to play. I enjoyed myself most of the time, and came out of it with a renewed appreciation for the Star Wars franchise after the disappointment of the most recent film.

I’m not going to give Jedi: Fallen Order a score out of ten. Metacritic and others have plenty of numbered reviews if you need to put a score on it. What I’ll say instead is that I enjoyed the game, and it’s one I would recommend to anyone who either likes Star Wars or who likes Tomb Raider-esque action/adventure titles. Even non-Star Wars fans who like that style of game would find something to enjoy here, but obviously for a fan of the franchise the game offers a lot more.

Cal and Merrin.

Having completed the story, I’m in no rush to play Jedi: Fallen Order again. It isn’t a game which offers branching storylines or even a light/dark system to increase its replayability. However, I enjoyed my time with the game and definitely recommend it to anyone who’s on the fence about trying it. If you’re playing on PC and you’re on a budget, the game was recently discounted during the Steam summer sale, so I think there’s a better than average chance that in December, during Steam’s holiday sale, you might find it at a steep discount. I don’t think there’s any real advantage to be gained from buying the deluxe edition – it seemed to offer a couple of customisation options and nothing more, and given how many customisation options are picked up just from playing the game, unless you desperately want an orange lightsaber or yellow skin for BD-1, I’d say skip it and save the few pounds/dollars.

It was fun to document a playthrough in this way. I’ve already started a much more casual playthough of a second game – Disneyland Adventures. That series is ongoing and I’ll be updating it occasionally as we go through August and into the autumn. I haven’t decided what game in the style of Jedi: Fallen Order I might play next. I was initially considering Control, but after my recent bust-up with the Epic Games Store that’s not an option right now. I do have several other titles I’m considering, though, both modern and retro.

I hope you’ll check back regularly for more game reviews, gaming discussion, and articles about Star Wars, Star Trek, and the wide world of geekdom. Until next time… May The Force Be With You!

Star Wars Jedi: Fallen Order is out now on PC, Xbox One, and PlayStation 4. Star Wars Jedi: Fallen Order is the copyright of Respawn Entertainment and Electronic Arts. The Star Wars franchise is the copyright of Lucasfilm and Disney. This article contains the thoughts and opinions of one person only and is not intended to cause any offence.

All Fall Guys rounds ranked!

About a week ago, I gave you my first impressions of Fall Guys, which has been a game that completely took me by surprise. I’d even go so far as to call it the sleeper hit of the summer; it’s been very popular and has received widespread praise. When I wrote down my first impressions I’d spent a couple of hours with the game, which was enough time to know I liked it but not enough time for a really detailed breakdown. This time, I’m going to put all 25 of Fall Guys’ rounds in a ranked list from worst to best. Now that I’ve played all of them multiple times I’m in a good position to know which work well and which need some tweaking!

It’s worth pointing out that Fall Guys has a roadmap for more content, and that will include new rounds at some point. So eventually this list will be out-of-date! I’m also assuming, for the purposes of the list, that you have some degree of familiarity with the game. With those caveats out of the way, let’s rank these rounds!

Number 25: Door Dash

The basic problem with Door Dash is that it’s purely a game of luck. You have no control over which doors are fake and which are real, nor over whether you start near the front or back of the pack. Because the course is so short, hitting a wrong door even once can be enough to relegate you to last place, and if you’re at or near the back of the pack when jumping through the final door you may as well not bother because there’s only a very short distance at the bottom to the finish line. This round universally ends up with every player (and there can be up to 60 if it’s the first round) jumping through the final door within seconds of each other. It’s just not a lot of fun.

Number 24: Tip Toe

Because Tip Toe usually appears as a later round when there are fewer players – and thus, fewer qualification spots – it’s one that most people seem to take very cautiously. If you step on a wrong tile there’s no chance to jump back before it disappears and you fall, meaning it’s possible to do very well and make it almost to the end only to fail, and if you fall one or two tiles from the finish line, there’s usually not enough time to get back in with even a chance at qualification.

Number 23: Jump Showdown

The worst of the final rounds. Because the platforms fall away at random, it’s all too easy to simply be in the wrong place because that’s where the game placed you when the round began. Take away the falling platforms and you have Jump Club, which is one of the better minigames. Unfortunately the addition of the falling platforms means it doesn’t work nearly as well, and there’s often no skill involved whatsoever; it’s pure luck. For a finale, I think that’s poor.

Number 22: Fruit Chute

The entire race takes place on a treadmill moving away from you, with obstacles shaped like fruit being constantly fired down the track. There’s nothing wrong with the setup, but it’s another round where a single – often unavoidable – collision can mean failure to qualify. It’s more random chance than skill-based, and spawning at or near the front of the pack can give players an advantage.

Number 21: Roll Out

Several large rotating platforms with obstacles to jump between make for a tricky setup. However, at least in the rounds I’ve played, most people seem to have mastered it very quickly, and these rounds can drag on and on if not enough people get eliminated. If it would speed up or change direction or do something to make it harder as time went on, it would be more fun.

Number 20: Rock N Roll

I like the premise of this game, which involves three teams pushing a large ball to the finish line. It requires teamwork, which some of the other “team” games really don’t, and it can be just as much fun to stop another team making it to the end as it is to help your team! I think the obstacle course part of the track needs tweaking a little to make it harder or longer, as what often happens is all three teams basically make the same progress, at which point the ones who qualify are the ones who do best at holding up their opponents.

Number 19: Fall Ball

This is basically a Rocket League clone, but with two balls instead of one. Oftentimes it’s fine – though I’m undeniably bad at it – but what can be an issue is lopsided teams. I’ve seen games where it was six against eight and seven against nine, and when considering such a small number of players per team, a two-person advantage is huge! This isn’t something that can always be avoided, but it can be very frustrating to lose 10-0 through no fault of your own.

Number 18: Hex-a-Gone

Another of the finales, and perhaps the one I’ve done best at, Hex-a-Gone features hexagon-shaped platforms that behave like the donuts in Super Mario games – step on them for a second or so and they fall. This game is fun, but on a couple of occasions I’ve fallen from near the top to near the bottom, missing the platforms in between. Not sure if this is a bug or just the way the level is designed. For a finale, a “last one standing” is good, and the fact that you’re in control of where you walk and jump makes it far better than Jump Showdown.

Number 17: Gate Crash

A less-extreme version of the problem with Door Dash afflicts Gate Crash, and it’s another round where a solitary mistake – especially one near the end – can mean failure to qualify. I like its premise and design, and I especially like the slippery ramp leading to the finish line, but the fact that it’s very unforgiving stops it being ranked higher on this list.

Number 16: Hoarders

These next two games are very similar. Basically Hoarders is a team game where the team who has the fewest balls in their segment of the map is eliminated. It’s fun, raucous, and fast-paced, but as with every team game if you’re teamed up with someone crap, or a couple of players on your team disconnect, you can lose through no fault of your own.

Number 15: Egg Scramble

Egg Scramble is basically Hoarders but with several dozen eggs instead of a handful of balls. Once the pile of eggs in the middle of the map have all been claimed, players begin raiding other team’s “nests” to get theirs! It’s pretty good fun – but with the usual team caveat of sometimes losing because of other players being useless.

Number 14: Royal Fumble

Another of the final rounds, and a pretty solid one. There’s only one tail, and whoever is in possession of it when the timer runs out wins. It’s less important who has the tail earlier in the round, but keeping track of it so you can grab it at the last moment is challenging! It’s a competitive round in a game where sometimes it’s possible to win just by concentrating on yourself, and that makes it somewhat unique among the finales.

Number 13: Jinxed

By running away and avoiding anyone on the opposing team, it’s possible to do well at Jinxed. Rounds can be equal or very lopsided depending on who you’re teamed up with, but compared to something like Fall Ball your success or failure is at least partially in your own hands. It’s also a round that doesn’t seem to appear as often; I think I’ve only played it three times.

Number 12: Hoopsie Daisy

A rather unique offering, Hoopsie Daisy has a fun level design with spinning discs, conveyor belts, ramps, and open areas. The hoops appear randomly but in set locations, and they’re easy enough to jump through while at the same time not being too easy – it’s possible to mess up and miss the hoop if you mistime your jump.

Number 11: The Whirlygig

Spinning fans that resemble aircraft propellers and spinning bars to jump over are the two obstacles here, and the course is fun and can be challenging. It’s quite a forgiving round, and it’s possible to recover from even three or four falls to still qualify. The final jump, with the very slow rotating blades opposite, seems to cause a lot of problems for newbies!

Number 10: Team Tail Tag

Team Tail Tag has one of my favourite levels in terms of layout. It looks like a battle course from the Mario Kart series, and its upper and lower levels, with a few obstacles and a ring of conveyor belts near the centre, is a ton of fun. I’d even suggest it could be re-used for other mini-games if the developers wanted to! Team Tail Tag gives each team a set number of tails to start with, and whichever team ends with the fewest is eliminated.

Number 9: Tail Tag

The version of Tail Tag without teams is every so slightly nicer, in my opinion, than its team variant for the simple reason that victory or defeat is in your own hands instead of being tied to a bunch of random players.

Number 8: Jump Club

Jump Showdown, mentioned above, is the worst of the finales. But the game it’s based on, Jump Club, is actually very fun. The spinning bar is easy enough to jump over on its own, but the beams above it provide an extra challenge. It’s so frustrating to survive to almost the end only to be the final player eliminated… speaking from experience here!

Number 7: Dizzy Heights

A series of spinning discs are the main obstacles here, and the round is plenty of fun. There’s no “best” path from the start line to the finish, which shows how well-designed the level truly is, and the final section, with three platforms moving in opposite directions and occasional balls rolling down is deceptively tricky! I’m getting pretty good at Dizzy Heights, and it’s a round I can expect to qualify from more often than not.

Number 6: Perfect Match

Perfect Match is utterly unique and thus hard to place on this list, but I like it so I’m ranking it in the top six. It’s not particularly difficult, and doesn’t always result in a lot of players being eliminated, but in a game that can be very fast-paced, it’s a slower game that’s about more than just who’s faster at pressing buttons. A good memory is very important – but you can sometimes get away with following other players if you’re quick!

Number 5: See Saw

I love See Saw. It’s a ton of fun, and deceptively tricky. It looks like it should be simple to get across the platforms, but a mistimed jump or an awkward landing can lead to a fall. However, it’s a very forgiving round and falling several times isn’t enough to put you out of contention. The only criticism I’d have is that players who spawn at the front of the pack have an advantage, and it’s possible to see the first four or five players qualify long before everyone else simply because they had a clear path to the finish line.

Number 4: Slime Climb

I’m atrocious at Slime Climb. In fact, I’ve qualified from this round precisely once – and that was by sheer luck! But in terms of what Fall Guys aims to be – a game about running fun obstacle courses – Slime Climb has it all. There are moving platforms, slippery sections, balance beams, a conveyor belt, moving obstacles, and bouncing balls to avoid on the way to the finish line at the top. And all the while, the slime is slowly rising! I love it, even though I suck at it.

Number 3: Fall Mountain

Fall Mountain is my favourite finale – even though I’ve never won at it! It’s a proper obstacle course, with different things in your path as you race to get to the summit and claim the crown. As balls roll down the mountain providing randomised obstacles, there are things to dodge and push and jump over, and it feels like a proper finale where your fate is in your hands!

Number 2: Block Party

Although it doesn’t always succeed at eliminating a lot of players, I like what Block Party is about. A fairly narrow platform is all the space you have, and there’s not a lot of time to get out of the way of the obstacles that come flying at you! The final seconds of the round are incredibly tense as players rush from side to side to side to get out of the way of speeding blocks! It can be tricky and tense, but it’s fantastic.

Number 1: Hit Parade

For me, Hit Parade epitomises the “obstacle course” concept better than any other round in the game. The round begins with beams to balance on and a slippery slope underneath. Then the next section has spinning gates to push and a moving barrier with a small gap. Up next are the swinging balls to avoid, and finally a slippery slimy slope to climb to reach the finish line. Of all the rounds, Hit Parade offers the most diversity in terms of obstacles, it’s perfectly designed to be just the right length, it’s forgiving enough if you make a mistake without being too forgiving, and above all, it’s just good fun.

So that’s it. All the rounds in Fall Guys ranked… according to me, anyway. I’m having lots of fun with this game, even though there can be a couple of frustrating rounds! Even the “worst” ones can still provide a good time, though. For pure pick-up-and-play fun, there isn’t anything quite like Fall Guys on the market, and I’d encourage anyone with a PC or PlayStation 4 to give it a go.

If your favourite round wasn’t one of my favourites, please don’t get upset. This list is the subjective opinion of one person, and even within a single game there will be a range of opinions on which course or level is “best”. If you like a round that I don’t, or vice versa, that’s okay. It’s great that we don’t all like the same things!

I’d love to see Fall Guys ported to the Switch – I think it could be a phenomenal game on that platform. And of course bringing it to Xbox would complete the lineup and make it a true multiplatform experience. I’m curious to see what the roadmap brings – will the new rounds be just as good as those already in the game? What else could they bring to the table? I’d like to see another logic or thinking-based round to go along with Perfect Match, which feels like an outlier at the moment. And more obstacle courses with diverse challenges instead of rounds where all the obstacles are the same type. Those would be my requests!

I mentioned in my first impressions that the game has microtransactions. I wanted to clarify that point before I go, because having played the game for longer, I can now say that there’s plenty of content available without spending a penny on the microtransactions. Each round provides players a certain amount of “kudos” – the in-game currency – and this can be exchanged for cosmetic items. In short, unless you desperately want a limited-time item and there’s no way to play enough rounds to afford it, you can play the whole game without touching the microtransactions and still rack up a huge variety of cosmetic items. The best cosmetics – or rather, the rarest – are only available with “crowns”, the second in-game currency. Crowns are awarded for winning – i.e. being the last player standing after the finale. While microtransactions can be an issue in games, they aren’t in Fall Guys in my opinion.

Maybe I’ll see you out there in the wild, pushing you out of the way to make it to the finish line!

Fall Guys is out now on PC and PlayStation 4. Fall Guys is the copyright of Mediatonic and Devolver Digitial. This article contains the thoughts and opinions of one person only and is not intended to cause any offence.

Halo Infinite’s delay doesn’t matter at all for the Xbox Series X

The blogosphere and the gaming world have been aflame today, following the announcement that Halo Infinite has been delayed. 343 Industries – the studio which acquired the Halo brand when original developer Bungie left the series a decade ago – made the announcement earlier, and it’s significant because the new game will no longer launch alongside the Xbox Series X. Well, unless that gets delayed too!

The general consensus is that this announcement is the worst possible news for the Xbox Series X and could ruin its launch. But will it?

I don’t think the Halo Infinite delay will prove to be all that significant for one major reason: the Xbox Series X was going to have an underwhelming launch anyway. The hardest of the hardcore Xbox fanatics will buy a console, and perhaps a few well-meaning aunties and grandpas will buy one for their relatives for Christmas, but the console most gamers are interested in and excited for is the PlayStation 5. And I’m not saying that as a PlayStation fanboy – for the longest time I was an Xbox guy. It’s just the reality of where most console gamers are right now.

A scene from the recent Halo Infinite trailer.

Microsoft – as I’ve noted several times already – has made the incomprehensible decision to launch the Xbox Series X with literally no exclusive games. Not even one. Halo Infinite is also scheduled for a release on Xbox One and PC, as are a number of other first- and third-party titles that Microsoft has shown off. The arguments in favour of buying an Xbox Series X this year were already nonexistent, so removing one non-exclusive game from its launch lineup will have no material impact on sales. I can practically guarantee that.

With all of the issues that are stacking up right now – including those of Microsoft’s own making – I’d argue there’s a pretty solid case for delaying the console’s launch until next year. In the current economic climate, I’m already expecting that fewer people than usual will be interested in a brand-new console for the inevitable £400+ price tag, and many fans – even those who are genuinely interested to play some next-gen games – may have no choice but to wait it out.

If the Xbox Series X launches alongside the PlayStation 5, all it will do is draw unfavourable comparisons. The lack of exclusive titles is a large part of that, and it’s not inconceivable to think that there could be hundreds of thousands of unsold units sitting on shelves or in warehouses come January. It feels like it’s going to be an expensive flop, and while it may eventually build up a solid user base a few years down the line, the Xbox Series X is already lining up to be the upcoming generation’s second- or even third-tier machine.

The upcoming Xbox Series X.

The Halo Infinite delay will upset some Halo diehards who were excited to see their favourite franchise get a new release for the first time in over five years. But in terms of the launch of the new console – where it wasn’t a system exclusive – it’s genuinely hard to see how it will have any impact whatsoever.

When considering the more general issue of game delays – and, incidentally, delays in other entertainment media as well – I’m all in favour of them. How many titles have been released just in the last few years that would have benefited massively from some additional development time? I can think of many, such as: Anthem, Fallout 76, Mass Effect: Andromeda, No Man’s Sky, 2013’s Star Trek, and WWE 2K20. All of these games released to negative reviews and underwhelming sales, so from that point of view, I fully support the delay to Halo Infinite – and to any other upcoming title that needs it.

I think Mass Effect: Andromeda is a good example of how to screw up a launch, and a great comparison to Halo Infinite. The Mass Effect series was already tarnished by the ending of Mass Effect 3, and was relying on Andromeda to be a semi-reboot of the series. Similarly, the Halo series has been experiencing gradually declining reviews, and while there isn’t one moment fans can point to on a par with Mass Effect 3′s ending that really upset the fanbase, there’s a sense that the series isn’t as good as it once was. Halo Infinite has billed itself as a soft reboot, aiming to return Halo to its roots and put some recent disappointments behind it.

Mass Effect: Andromeda launched in a broken, glitch-riddled state.

When Mass Effect: Andromeda launched, it was a bug-riddled mess. It was mocked online, and the mockery and memes hurt its sales far more than the mediocre reviews the game received. Halo Infinite has already seen its trailer come under heavy criticism for its visuals, which many felt look decidedly current-gen – an odd criticism for a game that literally is a current-gen game as it will be released on Xbox One, but that’s beside the point. If Halo Infinite were to release later this year in its current form, it would have undoubtedly drawn criticism on a scale similar to Mass Effect: Andromeda. And that game killed the Mass Effect series, which was “put on hiatus” in the aftermath of its disappointing launch and underwhelming sales.

It’s clear that 343 Industries and Microsoft feel that Halo Infinite needs more development time to work on the issues it currently faces. And to them I say: take all the time you need. I’d rather wait a little longer for a better, more polished game than play a rushed, broken mess.

Another moment from the Halo Infinite trailer.

But I don’t agree that it will damage the reputation or sales performance of the Xbox Series X. That’s not because the game doesn’t matter to that console – the Halo series is one of Xbox’s few strong selling points, after all – but because behind-the-scenes business decisions have already condemned the Xbox Series X to second place behind the PlayStation 5. In fact if I were advising Microsoft, I’d ask them if they wanted to take this opportunity to delay the console as well.

Flip the issue on its head, and let’s think about it this way around: would Halo Infinite have been a massive help to the Xbox Series X at launch? Because that’s the fundamental assumption people are making when they say its delay will hurt the console, and from where I’m sitting that doesn’t feel true. If I don’t own an Xbox or a PC and – for some reason – have a desperate need to play Halo Infinite, my best bet is to pick up a cheap Xbox One S or a preowned Xbox One from 2013 and play it there. I don’t need to buy an expensive Xbox Series X to play a game that I could play on a console that costs less than half the price. And if I’m already an Xbox One owner, I’m in no rush to upgrade because every Xbox Series X game is coming my way, including Halo Infinite.

So at the end of the day, Halo Infinite’s delay should be good for the quality of the finished title. I’m all in favour of that. And it won’t have any material impact on the launch of the Xbox Series X – because that console is destined for a seriously disappointing launch anyway.

Halo Infinite is the copyright of 343 Industries and Xbox Game Studios. The Xbox Series X and Xbox One consoles are the property of Microsoft. Header image and Mass Effect: Andromeda promo screenshot courtesy of press kits on IGDB. This article contains the thoughts and opinions of one person only and is not intended to cause any offence.

Ten of the best games… that I’ve never played!

After Star Trek, gaming and the games industry is probably the subject I write about most here on the website. I used to work in the games industry as regular readers will recall, and I’ve enjoyed the hobby for decades – though I spend less time playing these days for a number of reasons. However, with decades of gaming under my belt, and time spent on the inside, I like to think I can write about the subject from a unique perspective and perhaps even with some degree of authority. So let’s completely ruin that by looking at some of the biggest games and game franchises that I’ve never even played!

The entries on this list are games (and franchises) that I’ve heard almost universal praise for; these titles are undeniably good. However, for a variety of reasons I simply haven’t got around to playing them, or they seemed like “not my thing” so I never gave them a try. I’ll make an attempt to justify myself… but I’m sure you’ll agree that this seriously harms my “gamer” pedigree! There shouldn’t be any major spoilers because these are games I haven’t played, but we will be discussing some details. If there’s a title you want to avoid even the slightest chance of spoilers for, it may be safer to skip that entry and move on to the next.

Here comes the disclaimer: just because I’m not interested in these titles or haven’t played them doesn’t mean I’m saying that they’re bad. Look at the title of this list! These games are generally held in very high regard, so if one of your favourites is here and I’m being negative about it, please try not to take it personally. Our experiences are all subjective; we all enjoy different things. And that’s great!

So without further ado, let’s look at the list!

Number 1: The Pokémon series (1996-present)

When I was still at school in the late ’90s, Pokémon cards became a short-lived craze among some of the younger kids. I considered myself “too grown-up” for a silly card game like that, which was a pretty typical attitude among my teenage friends at the time! I did, however, receive a pack of the cards as a gift at one point – and promptly gave them away to someone I knew who was collecting them.

I also didn’t own a Game Boy at the time – though in those days they were available to rent! Do you remember going to a rental shop and literally checking out a whole console? But because I didn’t own a Game Boy – and could afford to rent one so infrequently – I never got around to trying out the first entry in the series. Since then, there have been eighteen mainline Pokémon games across eight “generations” that have come out on six systems, and a number of spin-off titles too, including Pokémon Go, which seemed to take the world by storm in 2016.

And I’ve managed to avoid playing any of them! Japanese-style RPGs aren’t my favourite kind of games usually – particularly due to their style of combat – and combined with Pokémon’s youthful style and seemingly ever-growing list of critters, it’s something that’s never seemed like “my thing”. The increasing number of creatures in particular feels a little daunting at this point, and the series has developed a lore over the course of almost a quarter of a century that spans not only the games but a long-running animated series as well. At this point, even if I were interested in the series, I wouldn’t know where to start!

Number 2: Practically every arcade game!

I grew up in a rural community, and none of the small towns in this part of the world had arcades, not even during the height of their popularity in the ’80s. The closest I got was a small “penny arcade” in a seaside town which had a couple of video games alongside claw machines, slot machines, and pool tables. On the odd occasion that I’d get to go to bigger cities in my youth, visiting a video arcade was never a high priority.

As such, I’ve only ever played a handful of arcade games, and even then not many times and not for very long. The one I can remember playing most is 1994’s Sega Rally Championship, which I was fortunate enough to play a few times when I lived overseas. But I missed out on the arcade experience that many gamers of my generation had, and I’ve never played the arcade version of titles like Pac-Man, Space Invaders, Donkey Kong, Out Run, the Star Wars arcade titles, or Space Harrier. The closest I got to playing Space Harrier in an arcade was in Shenmue on the Dreamcast! Though this entry might seem like kind of a cheat for this list since I have technically played many of these games when they were ported to consoles or via emulators, the experience isn’t the same.

Because of my health, I’m no longer in a position where I can travel very far, nor would I be able to really use an arcade machine for any length of time (unless I could do so from a seated position). So unfortunately it looks like I’ll never really be able to have that arcade experience.

Number 3: Red Dead Redemption 2 (2018)

So far we’ve looked at games I wasn’t interested in and games that were generally unavailable to me. Red Dead Redemption 2 is in neither of these categories. I could have played it upon its 2018 release on PlayStation 4, or after its 2019 PC release on my computer, yet despite being interested in its historical setting, I simply haven’t got around to doing so – at least, not yet.

As a history buff, a game like Red Dead Redemption 2 should be exactly the kind of thing I’m looking for. It ticks almost all of the boxes for things I’d enjoy – a single-player game with a detailed story, an open world with lots to do, and a fun historical setting. American history is one of my favourite fields of study (despite not being American), so there’s really no excuse for not playing this game, right? The only real drawback is that it’s a sequel (technically a prequel, despite the somewhat confusing numbering) and I’m not usually someone who likes to jump into a series that’s already in progress.

I’ve been interested in Red Dead Redemption 2 since it was released, for all of the reasons listed above, yet I just haven’t got around to picking up a copy yet. I think if I’d seen it discounted I might’ve, but on Steam during the recent summer sale event it was only 20% off, which still left it priced at over £40. I don’t have a huge budget for games, so that’s definitely one reason why I haven’t picked it up yet. Unlike some of the other entries on this list, Red Dead Redemption 2 is a game I absolutely plan to get around to playing… one of these days!

Number 4: The Dark Souls series (2011-2016)

This entry could really be expanded to encompass a number of other titles besides the three main Dark Souls games which fall into that new pseudo-genre inspired by the series. “Souls-like” games are notorious for their high difficulty, and the three Dark Souls games pioneered and epitomise that. I respect people who play games for the challenge, and I’m sure it must be very rewarding to finally overcome a difficult level or boss after numerous attempts. However, I’m not that kind of gamer!

If you read my playthrough of Star Wars Jedi: Fallen Order, you’ll recall I played on the easiest difficulty setting. I usually do this where possible, because in single-player titles I’m more interested in an engaging story than a challenge. The Dark Souls series deliberately doesn’t offer lower difficulty options, which is an artistic decision that I respect; I’m not going to argue that the game should go out of its way to accommodate players like myself. However, it means that it’s a series I have no interest in playing.

I’m not the world’s best gamer. Completing Jedi: Fallen Order and The Last of Us Part II on their lowest difficulty settings have been two of my big gaming accomplishments of 2020, and perhaps the most challenging games I’ve played have been rounds of Fall Guys! But I’m not really someone who seeks out a challenge. I don’t have the skill to be a top-tier gamer, nor the patience to play one game over and over and over again to “git gud”. If Dark Souls seemed like it had a genuinely interesting story underneath the difficulty, perhaps I’d be willing to try. But everything I’ve seen from the series looks like an incredibly generic fantasy world with hack-and-slash gameplay, so I don’t think I’ll be convinced to give it a try any time soon.

Number 5: PlayerUnknown’s Battlegrounds (2016) and Fortnite Battle Royale (2017)

I’m not really into competitive online gaming, at least not unless a title offers something genuinely different. Fall Guys, which I mentioned above, does fall into that category, but PlayerUnknown’s Battlegrounds and Fortnite really don’t. Both titles are in the action/shooter genre, and if I wanted to play a game like that I could choose from myriad single-player offline titles.

However, in both cases I have a great respect for what the games bring to the table. PlayerUnknown’s Battlegrounds didn’t exactly create the battle royale genre, but it certainly elevated and refined it, and Fortnite is a phenomenon that the gaming world hadn’t seen since Minecraft. Both titles brought millions of new people into gaming as a hobby and helped the medium grow to the point where it’s wholly mainstream. I’ve touched on this topic before, but when I was younger, gaming wasn’t exactly a niche but it was certainly a nerdy, geeky hobby to be associated with, shunned by adults and self-proclaimed cool kids. The rise of titles like PlayerUnknown’s Battlegrounds and Fortnite – and their ubiquity on practically every platform from consoles to phones – has meant the video gaming hobby has expanded far more than I would have ever thought possible a few years ago.

That doesn’t mean, however, that I’ll be tempted to try either of these games any time soon.

Number 6: World of Warcraft (2004)

Earlier, I criticised the Dark Souls series for feeling very generic and uninteresting in its fantasy setting. The same simply cannot be said of World of Warcraft, the title which arguably defined the massively multiplayer online roleplaying game (MMORPG) genre. It has a rich lore and a deeply detailed, painstakingly crafted world, all of which has been built up over more than fifteen years with updates, patches, and expansions massively improving the game in that time.

From my perspective, World of Warcraft falls down simply because of its online nature. I just don’t enjoy playing with other people in this kind of always-online environment, and I find that interacting with other people is immersion-breaking. In a fantasy world, I need that sense of immersion to enjoy myself and have a good time, and as I said in the previous entry on this list, there are many single-player titles which offer something similar.

The longest I’ve ever stuck with an MMORPG was Star Trek Online, which attracted me for obvious reasons! However, even being set in my favourite fictional galaxy and having some enjoyable story missions couldn’t overcome the issues I have with this kind of game, and after struggling on with it for a while, I eventually stopped playing.

Number 7: The Final Fantasy series (1987-present)

As I mentioned when talking about Pokémon, I’ve never been the biggest fan of Japanese-style roleplaying games. The combat in particular is something I find offputting, not because it’s bad but there’s something about its slower, turn-based nature that I tend to feel doesn’t gel with an action-oriented title. The Final Fantasy games have always had this style of gameplay, which is one reason I’ve never been all that interested.

The second major reason why I’ve never jumped in is that the Final Fantasy series is complicated. There are sixteen “main” games (counting Final Fantasy XIV twice as it has an online and offline version), as well as dozens of other titles (perhaps as many as fifty if you consider mobile games and spin-offs). There are also films and other associated media, making the series quite daunting to get started with. While I gather many of the games are semi-standalone titles, there is a lot of background and lore that connects them and keeps the series intact. Maybe that’s a bad reason not to jump in, but coupled with the style of gameplay being something I generally don’t enjoy, it’s enough to be offputting.

Though I have owned several of the consoles that Final Fantasy titles released on – like the SNES – many of the most well-received entries in the series are or were PlayStation exclusives. As someone who didn’t own a PlayStation until the dying days of the PlayStation 3 (which I bought so I could play The Last of Us) I didn’t have access to most of the games released between the mid-90s and the mid-2000s.

Number 8: The Legend of Zelda: Breath of the Wild (2017)

The SNES was the first home console that I owned, but for many of the same reasons given above regarding my general dislike for Japanese-style RPGs, I didn’t play the only Zelda title released on that system: A Link to the Past. Nor did I play the Zelda titles on the Nintendo 64, Wii, DS, 3DS, or any other Nintendo console I’ve owned in the years since. I wouldn’t say I’ve deliberately shunned the Zelda series; it’s more a case of having other priorities and putting my money elsewhere.

I must be practically the only Nintendo Switch owner to have not played Breath of the Wild, as the game has been one of the system’s best-selling titles since it launched in 2017. Though I have been tempted to pick up a copy, especially if I could find it pre-owned or at a discount, I simply haven’t got around to it yet, as I’ve had other games I’m more interested in playing.

Number 9: Super Mario Galaxy (2007) and Super Mario Galaxy 2 (2010)

Ever since I received Super Mario 64 for Christmas in 1997, I’ve been a huge fan of Mario’s 3D adventures. I was even lucky enough to play through Super Mario Sunshine on a friend’s GameCube as I didn’t own the console for myself. Yet I skipped the two 3D Mario titles that were released on the Wii.

The Wii had one of the best Mario titles ever in New Super Mario Bros. Wii, and I had great fun playing that game. But the two Mario Galaxy titles didn’t hold much appeal, mostly due to the level design, which consists of a number of spherical planets and asteroids to navigate. I found those environments looked incredibly confusing, and the Wii’s motion controls seemed like they would make that worse. With so many other titles to play on the Wii, which was a fantastic console that had a great library of games, I kept putting off playing Super Mario Galaxy. When a sequel came out I put that to the back of the queue as well, and I’ve just not got around to picking up either game.

I think I still have my Wii in the attic, so perhaps one day I need to get it out, dust it off, and finally pick up one or both of these games. In 2018 I had a great time with Super Mario Odyssey, so it’s clear that my enjoyment of 3D Mario titles hasn’t waned at all!

Number 10: The Witcher 3: Wild Hunt (2015)

A couple of years ago I set out to play the famed Witcher series. Not wanting to begin with the third entry, I started with the first game – but I had a hard time getting into it and haven’t picked it up since. It wasn’t the world, the lore, or the story that I found offputting, but rather the mouse-and-keyboard controls. I’m so used to playing most action/adventure titles with a control pad these days that it was a bit of a jolt, and I’m surprised that a game from as recently as 2007 didn’t have any controller support on PC!

As a result, I didn’t get into the series and haven’t got to its incredibly popular and critically-acclaimed third entry yet. The Witcher 3 is many people’s pick for game of the decade or game of the generation, and I’m very interested to try it for myself. I own the game and both its expansions, so I will one day get around to playing it – once I’ve completed the first two titles!

The Witcher and The Witcher 2: Assassins of Kings are supposed to take around 40 hours each to complete, so it may be a while before I finally get to this acclaimed game, but unlike some of the other entries on this list, it’s one I hope to play one day.

So that’s it. Ten great games and franchises that, for a variety of reasons, I’ve never played. Sorry if your favourite made the list, but remember that this is all one person’s opinion, and I’m in no way trying to argue that these games are bad. Some of them just aren’t my thing. If you love them or are passionate about them, great! Diversity takes many forms, including the titles we enjoy in the entertainment space. It would be a very dull world indeed if we all enjoyed the same things!

Hopefully this list has been a little bit of fun. If you’re new to the website, I write lists and articles on gaming and related topics often, so I hope you’ll check back for more in future. Until next time!

All titles listed above are the copyright of their respective studio, developer, and/or publisher. Screenshots and promo artwork courtesy of press kits on IGDB. Arcade machine photo courtesy of Unsplash. This article contains the thoughts and opinions of one person only and is not intended to cause any offence.

Fall Guys – First impressions

I’m not usually an online multiplayer guy, and Fall Guys – also known as Fall Guys: Ultimate Knockout – is the kind of massively-multiplayer game that I’d ordinarily overlook. The last online games that I played with strangers were Mario Kart 8 and Rocket League, and it’s been a while since I played those. But after hearing great things about its fun, silly gameplay I decided to take a look for myself, and for £16 on Steam it wasn’t a huge risk despite Fall Guys being a new title.

To be up front, Fall Guys currently has some issues with its server capacity; this is something that’s being worked on. High demand for the game seems to have caught developer Mediatonic and publisher Devolver Digital a little wrong-footed, but I’m confident that, with the game reviewing well and being popular, those problems will be fixed before too long. It is, however, understandably frustrating to get disconnected or to have to wait a long time to join a game. But part of the fun of Fall Guys is that its levels are very short – a couple of minutes or so at a time – so it’s easy enough to jump back in, and losing or getting disconnected doesn’t end up causing a huge amount of lost progress. If you’re on the fence about buying the game, though, it’s worth being aware of this server problem. It may be prudent to wait a couple of weeks to see how quickly it can be fixed if you’re really worried about it.

A couple of server error messages.

The first time I tried to play Fall Guys after installing it, I was hit with this server problem. Despite waiting almost half an hour I wasn’t able to join a game. It was only when I came back to try again several hours later that I was actually able to successfully play. Although the server problems made for a poor first impression, Fall Guys is a ton of fun!

The game is a cross between a competitive “battle royale” and television game shows like It’s A Knockout and Total Wipeout. For some reason, it also reminds me of late-90s kids’ show 50/50. Fall Guys’ levels are designed to look like they’re taken from such shows, deliberately using the aesthetic of soft foam rubber obstacles. In fact, many of the levels are designed like obstacle courses! An indoor children’s play area would be another good comparison when considering the look of the levels.

One of the levels, showing off the “soft foam rubber” look.

The other side of Fall Guys’ aesthetic is the incredibly cute character design. It’s hard to say exactly what these little guys look like – personally I feel like they’re somewhere between Oompa-Loompas and marshmallows – but they’re absolutely adorable. There are customisation options, some of which can be unlocked simply by playing enough rounds of the game. Other character customisation options are, however, paid for with in-game microtransactions. Because Fall Guys has a very child-friendly atmosphere, it’s worth making sure your parental controls are up-to-date if you plan to get the game for your little ones to play. Obviously I’d prefer a game that had no microtransactions at all, but this is the realm of online multiplayer – and these days, in-game monetisation comes with the territory. If Fall Guys were charging more than its £16 asking price I’d be annoyed at their inclusion, but considering that there are some cosmetic items that can be acquired in-game, and taking into account the relatively low up front cost, I think the microtransactions are okay. They’re easily avoided for those who don’t want to participate.

Microtransactions.

So Fall Guys is a battle royale/game show? How the heck does that work? Glad you asked! 60 players compete in a variety of events, including races, challenges, and some team events, to be the last one standing. Though it’s possible to play the game in such a way as to sabotage someone else’s chances of progressing, for the most part – at least in the early rounds – it’s easier to focus on one’s own character or team. Navigating the obstacles – like see-saws, spinning platforms, and windmills – to win a race or to make it to the next stage is great fun. And the team challenges borrow from the likes of Rocket League – there’s even a football-themed one!

I’m not great at games in general, let alone competitive multiplayer titles. Yet despite my limitations, I had a lot fun. I was able to progress to the latter rounds on several occasions, and the times where I lost in round one or two it usually only took a few seconds to load up a new game and try again. Fall Guys isn’t something you can be great at on your first attempt, even if you’re a regular online gamer. However, with each round lasting only a couple of minutes or so, losing doesn’t feel so bad.

Losing at Fall Guys is no big deal. Just try again!

Each round whittles down the number of players until only a few remain. The first round is supposed to begin with 60 players (though I’ve seen anywhere from 49-60 in practice), and of those, perhaps 40 will qualify for the second round. The game continues in this way until it reaches a final round, with the survivor crowned champion. Though I haven’t won (yet?) I’d reckon playing a full session from the preliminary round to the finale is only going to take maybe quarter of an hour at most. And as I keep saying, any time you’re eliminated, getting into a new game doesn’t take all that long.

There’s a “roadmap” of updates planned for Fall Guys, promising more content, more cosmetic items, and new levels. Though I’m generally sceptical of this kind of business model, the current version of the game has a lot to offer and doesn’t feel like it’s missing anything major. If you play for a while you do start to see the same levels repeat – there are 24 levels at time of writing, including three “final rounds” – but again, each one only takes a couple of minutes, and they’re chosen at random. If you discover a burning hatred for a specific one, I guess it might be annoying to keep encountering it, but Fall Guys is the type of game where even something like that doesn’t have to be a big deal.

An example of a character in the game.

It’s been a while since I played through a game that’s as apologetically fun as Fall Guys. There’s no story, there’s no background or explanation given for why these weird little characters are taking part in a game show, and there doesn’t need to be. It’s just simple, casual, pick-up-and-play fun. I had a smile on my face practically the whole time, and making it to the end of a challenging level when it looked like I wasn’t going to manage in time has been legitimately thrilling.

A lot of care and effort has gone into crafting what could be one of the sleeper hits of 2020. Though the server issue is definitely frustrating, it’s something that will hopefully be resolved in the coming days, and aside from that I encountered no bugs or glitches during my time playing. I’m looking forward to jumping back in!

A race begins!

So this has been my initial first impression of the game after spending a couple of hours with it today. I may write another piece in the coming weeks if I find that I have more to say after spending longer with Fall Guys. But for now, what I’d say to anyone on the fence is that Fall Guys is great fun, and the kind of game that practically anyone could pick up easily. The server issues are a problem, but when I got into the game on my second attempt I didn’t experience too many disconnections and was able to load up a new game every time without having to wait too long. However, it may be worth checking back in a few days or a couple of weeks to see if that’s still an issue if you’re concerned. For £16, though, I can’t really fault the game for the way it plays. If you’re a subscriber to PlayStation Plus, you’ll get Fall Guys for free this month – and if you’re in that category you have no excuse for not trying it out immediately!

Fall Guys is available now for PC and PlayStation 4. Fall Guys is the copyright of Mediatonic and Devolver Digital. This article contains the thoughts and opinions of one person only and is not intended to cause any offence.

Let’s Play Disneyland Adventures – Part 1

Spoiler Warning: There are spoilers ahead for Disneyland Adventures.

I miss Disneyland. It’s actually been well over a decade since I was last able to take a trip to any of Disney’s theme parks, and I miss the rides, the food… even the queues! If you’re like me and you’re missing spending time at Disney – especially with the current pandemic messing up holiday plans – I’ve got just the game for you: Disneyland Adventures!

This is actually the second time I’ve bought a copy of this game. I first played it in 2011 or 2012 when it was on the Xbox 360 as Kinect Disneyland Adventures. The Kinect was Microsoft’s foray into the motion-control space, and it was a peripheral for the Xbox 360 (a second version was later bundled with the Xbox One). The Kinect device consisted of a camera and a sensor, and the idea was that it would allow for controller-less play; players would use their arms, legs, and whole bodies to control games.

The Kinect sensor for Xbox 360.

We could spend hours delving into the history of Kinect and its hits and misses; suffice to say the concept was good, but the execution – especially in this first version on the Xbox 360 – wasn’t perfect. Though the Kinect peripheral and its bundled game (simply titled Kinect Adventures) actually ended up being the Xbox 360’s best-selling title, it’s fair to say that it wasn’t the success Microsoft hoped for. The Kinect concept has since been discontinued for gaming, though it is still used in some specialist applications.

Disneyland Adventures is the 2017 re-release of the original 2011 title, and came out for Xbox One and PC. Most importantly it doesn’t require Kinect, nor any other motion controls, and can be played with a normal gamepad. This is the version we’ll be looking at today – and in future updates to this series of posts. If you followed my last “Let’s Play” – where I played through 2019’s Star Wars Jedi: Fallen Order – the format will be similar.

Let’s Play Disneyland Adventures.

So what is Disneyland Adventures? It’s a game for kids that features a digital recreation of Disneyland (the original in California) to explore. Fan-favourite characters can be found who’ll give the player little tasks and quests, and some of the park’s most famous rides are reimagined and stylised to form mini-games and levels away from the open space of the theme park.

Today we’ll take a look at the game’s introduction and check out one of those rides.

After a very brief opening cinematic, I had the opportunity to “customise” my character. I’m putting that in inverted commas because the customisation options for Disneyland Adventures are limited, even for a game from 2011. There is a choice of gender, and several of the characters I interacted with had gendered dialogue which I’m assuming does change depending on whether you choose to play as a boy or a girl. And yes, that’s what the game calls its gender choices – the player character is a kid, after all! Other than the gender option there were a handful of different preset faces and a few outfits, and that was all.

My newly-created character by Sleeping Beauty’s Castle.

I’d wager that if you’re even vaguely familiar with Disneyland or the Magic Kingdom, you’ll find that the digital recreation of the park in Disneyland Adventures will feel familiar; I certainly felt that way! The game opened with my (unnamed) character being given a task by Mickey Mouse – take an autograph book to Donald Duck and get his signature. However, after being set this task I was free to explore the park, though there was a quest marker constantly showing my route to Donald’s location.

The Disneyland Monorail makes a loop of the park.

After taking my time to make it to Donald, he signed the autograph book and sent me back to Mickey Mouse. The character voices are all exactly what you’d expect from classic Disney characters, and though the 3D anthropomorphic style used for the characters might take a little getting used to, especially if, like me, you’ve only seen these characters in older 2D animated features, they have a truly classic Disney feel. En route back to Mickey I ran into Captain Hook, and while I couldn’t get his autograph I could interact with him which was fun. Collecting autographs and high-fiving the various characters is going to be a big part of the game.

Dancing a jig with Captain Hook.

Mickey Mouse was still standing near the castle and I returned the autograph book to him. The next quest was to take the book to Goofy in another area of the park, but I took the opportunity to get Mickey’s autograph first. The autographs are one of the games collectables, and they’re divided up into groups of characters.

Getting Mickey’s autograph.

My next task, courtesy of the main mouse himself, was to head over to Goofy and deliver the book. But on the way I decided to have a little bit of a wander through the park – that’s really the main appeal of the game for me! In Tomorrowland, the sci-fi/futuristic area of the park, I met the aliens from Toy Story.

The little aliens.

After that encounter, I tried out one of the attractions – the classic Tomorrowland ride Space Mountain. I’m not wild about ultra-fast rollercoasters usually, but the ones at Disney are done very well and I’ve always enjoyed Space Mountain in particular. In fact, Tomorrowland as a whole is kind of a sci-fi geek’s paradise! The versions of the ride differ at the different theme parks, and I’m sure people who’ve visited all of them will have an opinion on which one is best! In Disneyland Adventures, the attraction stays true to the original theme of the ride – outer space – but kicks it up a gear or two!

Boarding Space Mountain.

I wasn’t sure what to expect from the ride; it’s been a while since I played this game, and because even in those days my health wasn’t great, I struggled with the motion controls and didn’t play Disneyland Adventures – or any other Kinect title – very much. But I was pleasantly surprised to find a delightfully old-school on-rails spaceflight game.

An asteroid to avoid in the centre-right, and coins to collect on the right.

In the style of classic arcade games, the player’s vehicle – styled after the ride cars used on the real Space Mountain – moves forward on its own; control is limited to moving side-to-side to avoid obstacles, collect power-ups, and some sections involved shooting a laser-gun.

Targeting reticle to the upper-left and a “hyperspace gate”.

I wasn’t great at the Space Mountain game, I have to be honest. I kept flying into the asteroids and I missed a bunch of power-ups and coins! Luckily the game is very forgiving and every time I crashed I respawned in the same place, not losing any progress. There are more levels within Space Mountain – at least two more – but I didn’t carry on after completing the first stage. There was a “story” of sorts within the mini-game, following my character through several different space environments, including a battle!

Flying past other spaceships in a battlefield.

After exiting Space Mountain I decided to call it a day. I’ll pick up Disneyland Adventures again soon – unlike my last playthrough I’m in no rush to race through everything that the game has to offer. There may be another few parts in this series to come over the next few weeks though, so stay tuned!

I hope you had fun, and if you’re missing Disneyland or find yourself unable to go because of the pandemic, for £15 on Steam this could be a fun distraction. If you aren’t interested in mini-games and collectables perhaps you won’t enjoy it, but for a relatively low price it’s worth a punt in my opinion. If not, keep checking back and follow my playthrough!

Disneyland Adventures is available for PC and Xbox One. Disneyland Adventures is the copyright of the Walt Disney Company and Xbox Game Studios. This article contains the thoughts and opinions of one person only and is not intended to cause any offence.

Release now, fix later

The rise of the internet, and the fact that more and more people around the world have a reliable connection to it, has changed the way video games are being made and released. Many games are no longer finished – or even close to finished – when they launch. “Release now, fix later” has become the standard model across the games industry, but I feel it does gamers a disservice – as well as being potentially costly for games companies.

This column was prompted by – of all titles – Animal Crossing: New Horizons. In a video a couple of days ago, Nintendo announced the latest update for the game, bringing the ability to have a cloud save backup (for those players who paid for Switch Online), as well as a few other additions to gameplay. This is the third major update to the game, and a fourth was teased right at the end of the video. While New Horizons’ updates have brought new features to the game – most of which have been longstanding features of the Animal Crossing franchise that were missing at launch – shouldn’t it beg the question why they weren’t included in the first place?

Animal Crossing: New Horizons is getting an update.

Before you say “coronavirus”, Animal Crossing: New Horizons was released on the 20th of March, before the worst effects of the pandemic and its associated effects on working were strongly felt. And this business model has been used for years; expansion packs used to be additions to already-complete games, like Age of Empires adding its Rise of Rome expansion, for example. But sometime in the mid/late 2000s, companies began changing the way expansions worked. Increasing internet connectivity and faster download speeds meant it was possible to release all kinds of post-launch patches and DLC, even on consoles, which had previously lacked internet connectivity.

Many gamers remember Oblivion’s infamous “horse armour” DLC, which was one of the first examples of a small piece of cosmetic paid-for DLC that came to prominence. At the time I remember thinking that no one would pay money for something that silly, but enough people bought it – and similar items – that companies like Bethesda realised they had a huge opportunity on their hands.

The Elder Scrolls IV: Oblivion’s infamous Horse Armour DLC.

There are really two issues here – paid DLC that could and should have been part of the base game, and unfinished games that are subsequently updated either through paid DLC or for free. These issues can be related, and both are pretty crappy from a consumer standpoint. Even when updates are free, it really does leave me wondering why a games company would risk releasing an incomplete title.

Reviews for Bioware’s Anthem, released last year, were mediocre. The game was criticised for a number of issues, including repetitive gameplay, a lack of fun items, and a bland story. Bioware and EA planned Anthem as one of these “ten-year experiences”, but within a single year the game’s updates had been dropped from the schedule and as of right now it seems pretty dead. This is the danger of launching an incomplete title – it receives negative or mixed reviews, putting people off. Why should I, as a consumer, invest £55 into a game that’s average at best with vague promises of getting better later? That’s no way to market a product.

Anthem was incomplete at launch and received mediocre reviews as a result.

My review of Animal Crossing: New Horizons made note of some of the missing features that have subsequently been added to the game. I don’t want to give myself too much credit here, but if a potential buyer had read my review, in which I said that I enjoyed the experience overall but that it felt a little threadbare compared to the previous entry in the Animal Crossing series, they may have chosen not to pick up a copy. While New Horizons generally received glowing reviews, there were others like mine which took a more nuanced approach to the game, pointing out some of its big missing features.

Including these missing features now is a good thing, and I’m glad it was done for free instead of as paid DLC. But waiting an extra couple of months to release the title with everything already included would have been better – and it would have meant, from my point of view, that some of those points of criticism and negativity could have been omitted from my review. I don’t want to give a company much credit for adding a missing feature after launch that should have been present from the start.

This feature, soon to be added to New Horizons, should have been available at launch.

I’m not disappointed by Animal Crossing: New Horizons adding a free update that brings in more features, but I am confused as to why those features weren’t part of the original experience. I had fun playing New Horizons overall – I played it almost every day for two months, and sunk over 120 hours into the game in that time. I’m tempted to jump back in to see what the update has to offer, but I’m also disappointed to have missed out on playing the complete game the first time around.

Microsoft showed off a first look at Halo Infinite a few days ago, and as I noted at the time the response was lacklustre. I felt the game looked okay – if clearly current-gen – but upon hearing that it’s planned to be another “ten-year experience”, alarm bells started to ring. That kind of live service business model almost always results in games that are released incomplete. “Release now, fix later” is the mantra. And I can think of only a few such titles that came anywhere close to lasting ten years.

Who genuinely believes Halo: Infinite will last ten years? If you put your hand up, I’ve got a bridge to sell you.

The 2014 game Destiny – released, somewhat ironically, by the Halo series’ former development studio Bungie – was one of the most high-profile underperfomers. Its promised decade of updates and improvements lasted barely two years, and a full sequel was released only three years after the first game launched.

With the exception of a minority of gamers who dedicate most of their time to a single title, people like having a variety of things to play. After completing a game, they’re ready to move on to the next. This surely means that the entire concept of live services and ongoing updates is flawed – most players won’t stick around no matter what the update brings as they’re already planning their next title.

I’ve just completed Jedi: Fallen Order and I’m ready to find something else to play. Even if it was promising updates and DLC I wouldn’t be sticking around for years playing the same game.

These business decisions are taken by executives and managers; they see the success of a title like Grand Theft Auto V and think they can replicate its accomplishment with their own “ten-year plan”. Some poor team of developers is then tasked with bringing that experience to life, but without the same resources as a studio like Rockstar, which puts years and years of development time into its biggest titles. The result is a half-baked game that players abandon – if anyone even played it in the first place.

In short, the internet has made it very easy for companies to try their luck by releasing an unfinished game. Many titles in 2020 have day-one patches that fix bugs and improve gameplay, and while those things aren’t bad in and of themselves, it’s something that titles in the past couldn’t get away with. Because on the developer side it’s relatively easy to roll out a patch, there’s a temptation for games to be “good enough” at release with a view to fixing them later.

These decisions are taken by CEOs and managers who are trying to imitate the financial success of better titles.

The problem is that they usually aren’t “good enough”, and by the time updates, patches, and DLC plug the holes of an incomplete title, players have moved on. If a game has a bad enough launch these planned updates and DLC may never even see the light of day. The biggest example of this in recent years has to be Mass Effect: Andromeda, a game that massively underperformed at launch due to bugs and glitches that should have been fixed in pre-alpha. Andromeda’s DLC was scrapped and its story abandoned in the aftermath of bad reviews and online mockery, meaning that the players who stuck it out got screwed over twice: first by the crappy launch of a broken game, and second by the game’s abandonment.

The “release now, fix later” business model doesn’t look like it’s going away any time soon, which is unfortunate. It really can harm games and make them less enjoyable at the moment where they have the most potential. If all the hype and excitement for a new title ends with a letdown, it can be impossible to recover from that. It can doom not only a single title but, as we saw in the case of Mass Effect: Andromeda, a whole franchise.

There is a frequently-overused quote from Super Mario creator Shigeru Miyamoto: “a delayed game is eventually good, a bad game is bad forever.” Some games companies think that rule no longer applies. Unfortunately for them, in practically every case it still does.

All titles mentioned above are the copyright of their respective developer, studio, and/or publisher. This article contains the thoughts and opinions of one person only and is not intended to cause any offence.

Let’s Play Jedi: Fallen Order – Part 12

Spoiler Warning: There will be spoilers ahead for Star Wars Jedi: Fallen Order as well as for other iterations of the Star Wars franchise.

Welcome to the final part of my playthrough of Jedi: Fallen Order. Yes, that’s right – this session was the last one as I made it to the end of the game! This won’t be the final piece I write about Jedi: Fallen Order, though – I plan to write up a conclusion/review of the game as a whole at some point soon, so I hope you’ll stay tuned for that. Last time Cal had finally acquired the Zeffo Astrium in the tomb on Dathomir. He defeated Taron Malicos and brought a new ally – Night Sister Merrin – aboard the Stinger Mantis.

Merrin and Cal aboard the Mantis.

After loading into the game, I chose Bogano from the galaxy map on the Mantis and the ship took off. I wasn’t sure what to expect; it didn’t seem as though Bogano would be the immediate end of the game – though the story was approaching its climax – so I was wondering if something might happen en route or upon arrival (this is why I’ve usually been saving before setting course for Cal’s next destination!) Choosing to go to Bogano triggered a cut-scene between the Mantis crew. Cal set the Zeffo Astrium on the table, and Merrin, Cere, and Greez all had something to say.

The Zeffo Astrium.

The moment with Greez was very sweet – Cal and Cere both expressed their appreciation for getting them safely from place to place, and Greez seemed genuinely overwhelmed for a moment. Merrin piped up and offered her opinion on the holocron – is it fair to the children to force them to become Jedi when that will mean the Empire will hunt them the way they’re hunting Cere and Cal? Definitely something to ponder, but at the very least Cal says he needs to keep the holocron out of the Empire’s hands.

Merrin, Cere, and Cal discuss the holocron.

The flight was uneventful, as was landing on Bogano. After disembarking, Cere, Greez, and Merrin were all standing outside the ship, and optional conversations with each of them had a definite finality to them. “We’re in this together” was a phrase that came up a couple of times with Greez, and Cere warned Cal that there may be unexpected dangers in the vault. Merrin’s conversation was the most interesting, and in light of what happened later I think should have been a mandatory cut-scene instead of a chat which players could easily have missed or skipped. She asked Cal a very pointed question – whether the children whose names are in the holocron would have even been in danger had he and Cere not intervened. Merrin sowed doubt in Cal’s mind about what to do with the holocron and the children, and also suggests to Cal that taking them away from their families to fight as Jedi may not be their choice.

The crew of the Mantis socially distancing on Bogano.

I liked these optional conversations, but they definitely had an air of finality to them, which led me to believe that the game might end soon after Cal arrived at the vault. Crossing Bogano to reach the vault was no issue, as practically all of the hostile creatures were once again absent, as they had been when we revisited Bogano in search of supplies. The only monster was the large three-eyed mini-boss near the entrance to the vault, but I chose not to fight it this time (that fight was annoying, and I felt Cal was already as levelled-up as I wanted him to be). It only took a couple of minutes, using the unlocked shortcuts and with abilities like wall-running and double jumping, to arrive at the vault.

Cal scrambles up the hill that leads to the vault.

One thing that surprised me (though it really shouldn’t have, since Cal is the only one who’s been here) is that no one bothered to re-seal the vault after Cal first opened it. Though it’s a tight squeeze to crawl inside, given that Trilla and the Empire are trying to get the holocron too, it might’ve been prudent to lock it down after Cal’s first visit. Inside the vault I was aware of how this large circular room would make for a perfect boss battle arena! I’d been half-expecting Trilla or a squad of Purge troopers to have been there, but to my surprise it was empty. I did take a moment to look around, just in case there was anything I hadn’t seen or any loot to grab, but aside from a spot in the centre of the room to interact with, there was nothing. Pressing the button led to a cut-scene in which Cal seemed to put the Astrium in a spot on the floor. This in turn caused the vault to move – Cal described the vault itself as being akin to a large holocron. Now this is something I don’t understand – for the first time while in the vault, Cal looked up, and there’s no roof! Cere made a huge fuss about accessing the vault, which appears to be just inside the door/crawlspace on the hilltop. Yet once inside, apparently it has no roof!

The roofless vault.

At first I thought the lack of roof may have been connected to the vault moving when Cal used the Astrium, but looking back that isn’t the case – it had always been open. Given that, I wonder why Cere needed Cal to access it in the first place. The entryway to the vault didn’t seem to be transporting Cal to anywhere other than a couple of metres along inside the hill, so presumably near to the vault entrance it should be possible for anyone to just jump into it from above. I guess I just found this to be confusing, and aside from Cere at the beginning of the game saying it needed the Force to open, there’s no real explanation of how the vault works. Is it cloaked somehow? Or hidden to anyone other than a Force user? Considering the Zeffo placed a record of their civilisation inside that they wanted someone to find, why would they hide it instead of putting it out in the open? Not for the first time I’m left thinking we needed a little more explanation of part of the game’s story. The vault’s movement opened up a mirror on the far wall, and Cal walked over to it.

The mirror in the vault.

Touching the mirror caused Cal to have a vision. Initially he was spoken to by a member of the Zeffo race, who briefly explained that they created the vault to serve as a record of their people, who for some reason were going extinct. I actually interpreted what this Zeffo leader had to say as being cult-like: he said his people had become decadent and strayed from “balance”, and that he would lead them “into the great unknown”, which sounds an awful lot like a metaphor for mass suicide to me. Did the Zeffo drink the proverbial Kool-aid? It wasn’t explained any further. I stand by what I said about the Zeffo looking at least somewhat similar to the Protheans from the Mass Effect games, though.

The Zeffo leader who created the vault.

This vision was similar to the one Cal had of Master Tapal – it was very dark and cloudy, with characters and the environment being blurry and out of focus. This gave it an incredibly creepy feel throughout, and I was constantly expecting to be ambushed and attacked by someone – or something – hiding in the shadows.

The vision. Note the blurriness, shadows, and how Cal can’t see more than a few feet in front of him.

Though the Zeffo leader only spoke for a moment, Cal’s vision wasn’t over. Progressing through this level led to Cal seeing the children he hoped to train. Initially he saw their progress as they called him “Master”, but the next section saw their home under attack by Stormtroopers. If this was a premonition of the future, it was bleak. But Cere had warned Cal that he would be tested, and perhaps this was part of the test. None of the characters could be interacted with, and none of the enemies could be battled; these scripted sequences played out as Cal walked through each area, but even if he wanted to he couldn’t do anything.

Cal sees a vision of the children he hopes to train.

The vision grew bleaker as Cal progressed. I liked one section which saw him climbing up a wall – the scenery was designed to make it look as though, rather than climbing, Cal was crawling through a trench. It was very well done. Eventually he was confronted by a vision of Trilla, who drew her lightsaber. If Cal surrendered she promised to spare the children’s lives, so he knelt before her. Surrendering saw Cal fall into an Imperial facility of some kind, where the vision showed him the children imprisoned and a very dangerous-looking machine.

One of Cal’s padawans in the vision.

Walking further through the Imperial facility saw visions of Stormtroopers and other Imperials, and in this section Cal would walk toward an open doorway only for the door to slam shut. It happened several times, yet still managed to make me jump each time! Ultimately Cal ended up in a small hallway where the lights went out, leaving the screen black for a moment. Cal ignited a red double-bladed lightsaber, and had a vision of himself as an inquisitor, dressed in the same black uniform as Trilla.

Cal the inquisitor.

After seeing himself in the inquisitor’s uniform, Cal was in a long hallway. At the end of the hallway seemed to be the mirror in the vault on Bogano. I approached it cautiously; there had been no enemies to fight in the vision yet, and I was expecting something at any moment. However, Cal made it back to the mirror, and seemed to stare at his reflection in a cut-scene. One thing that Jedi: Fallen Order has done that I really liked has been to always show Cal in whatever outfit I chose for him, even during cut-scenes. Yet at this moment, for some reason Cal was in his original outfit from Bogano, with no poncho. It kind of detracted from this moment a little, as it was supposed to show Cal – our Cal in the real world – confronting the dark vision of himself. Yet without those customisation elements it didn’t quite feel like our Cal, and the fact that the original outfit was a dark navy colour didn’t provide a great contrast with the black inquisitor uniform either. I would have liked to have seen Cal in the outfit I’d chosen for him in this moment, and because Jedi: Fallen Order has done that in every other cut-scene, I don’t know why it didn’t happen here.

Cal vs. Cal.

Despite anticipating a boss battle of some kind during the vision, as Cal confronted his dark self the vision came to an end. Cal had apparently cracked the mirror, perhaps from hitting it or pressing on it while he experienced the vision. Behind him in the centre of the room, above the spot where he’d placed the Astrium, was the holocron. Cal approached it to pick it up… but this seemed too easy!

Cal approaches the holocron.

It was, of course, because the moment Cal collected the holocron, Trilla revealed herself. How long had she been here? Had she just been standing there watching Cal as he completed his vision? Seems a little voyeuristic… Regardless, she ignited her weapon and, in true villain style, thanked Cal for doing the hard work for her. She believed the holocron would “win her the Emperor’s favour”, presumably elevating her position among the inquisitors. A duel was inevitable, and compared to the earlier fight against her on Zeffo, I felt it wasn’t especially difficult.

Trilla and Cal duelling.

Trilla had a few moves at her disposal, and as with the fight against Taron Malicos, the hardest part was getting her guard down long enough to land a blow. Cal’s Force powers were mostly useless – Trilla was immune to pushes and pulls, though some of the fancier moves, like the lightsaber throw, did work against her. I wouldn’t rank it as one of the game’s toughest boss battles, though – which certainly should’ve been an indication that this wasn’t the end!

Crossing lightsabers during the duel.

Eventually I was able to grind Trilla’s health bar all the way down. I rather naïvely thought that the fight was over and that Cal could leave with the holocron! A cut-scene triggered which showed Cal knock Trilla’s weapon from her hands. He picked it up – at which point it was clear the fight was over. But Cal has the ability to sense Force echoes from places and objects, and touching Trilla’s weapon caused him to have a vision of what she experienced – all the pain and rage that her weapon had been through had left a powerful impression in the Force. Cal couldn’t control it, and while he was temporarily incapacitated, Trilla stole the holocron.

Cal holds Trilla’s lightsaber and experiences a Force echo.

The Force echo – which we got to see in full this time, not just hear – was interesting. Cal witnessed Cere attempting to draw the Empire’s forces away from Trilla and another young Jedi, as well as Trilla’s capture and torture by the Empire. This culminated in her becoming an inquisitor, putting on her mask for the first time in front of Cere. The vision also showed the beginning of Cere’s escape from Imperial captivity. One thing that was interesting was Trilla’s helmet – it doesn’t allow a very wide field of view (as we might’ve guessed from looking at it). While aesthetically that might look “cool” (if the Sith care about coolness/intimidating looks) it’s hardly very practical to purposefully limit the vision of some of their top soldiers. In addition, the mask seems to give everything she looks at a red hue, which may be useful in dark environments but again can’t be practical most of the time.

This is what Trilla could see with her mask on.

When the Force echo was over, Trilla was nowhere to be seen, having fled the vault. After Cal regained his composure he headed back outside, as there was nowhere else to go from here. I took advantage of the meditation spot in case another big fight was looming, and while there was a squad of Stormtroopers outside, they were very easily avoided as Cal retraced his steps to get back to the Mantis. The Stormtroopers were busy anyway; the large monster had also spawned and as Cal snuck past the troopers were engaged in a fight against it.

The Stormtroopers battled this monster while Cal escaped.

Once again this had a very “video gamey” feel to it, and the story didn’t seem to have a natural flow. The Mantis was sitting a few hundred yards away, out in the open, yet no Stormtroopers were bothering the ship and crew. In fact, the small squad immediately outside the vault were all the troops that the Empire had bothered to send to Bogano. Trilla had successfully got the holocron, but if the Empire still wanted to capture and/or kill Cal and Cere, they missed a golden opportunity. As it is, Cal was able to gently stroll back to the Mantis, and talk to those on board before taking off.

Cal returns to the Mantis. An unobservant Stormtrooper can just be seen in the upper-right.

Despite the fact that Cal had fought Trilla again, and that she had stolen the holocron, the Force echo seemed to be another hint at her possible redemption – a theory I’d been tossing around since she was given a name and backstory when Cal faced her on Zeffo. Upon returning to the Mantis Cal apologised to Cere, not only for losing the holocron but for not understanding what she’d been through.

Cal explains what happened in the vault to Cere, while holding Trilla’s weapon.

Cere told Cal that Trilla is her responsibility – she still felt responsible for allowing her to be captured and turned into an inquisitor. She knew where Trilla would take the holocron – the inquisitor’s home base: Fortress Inquisitorius. To me that name sounds like it comes right out of the Warhammer 40K universe, but that’s okay! The fortress was where Cere escaped from, and is where the inquisitors take Jedi and other Force-sensitives to turn into more inquisitors. She was very anxious about going back, but seemed to snap out of it pretty quickly. She used the Force to pull Trilla’s lightsaber to her, and in a scene reminiscent of the knighting of Brienne in the final season of Game of Thrones, knighted Cal, making him officially a Jedi.

The knighting ceremony.

This was a real emotional moment in the story for me – Cal had come a long way from hiding out amongst the scrap and dead ships on Bracca. Even though the Jedi Order was all but gone, he had managed to become a Jedi Knight. Cal had been a great protagonist thus far, definitely channelling some of the same energy as Luke Skywalker in the original film. Cal’s journey in some ways parallels Luke’s – a young man from an out-of-the-way planet, thrust into a galactic adventure by events outside of his control. Yet at the same time, Cal’s background as a padawan, his deliberate decision to stay in hiding, and his willingness to confront his own guilt and past make him very different from Luke – and taking steps away from the original films is something Star Wars as a brand needs to do if it’s going to survive and be successful. But we’ve strayed off-topic! After the knighting ceremony, to my surprise I had control of Cal again. At the holotable on the Mantis, all the previous planets – Dathomir, Zeffo, Ilum, and Kashyyyk – were available to travel to. There was also a new destination: Nur.

The galaxy map.

Nur had two Star Destroyers in orbit on the galaxy map, which looked pretty intimidating! But there was no point going anywhere else. The story had reached its climax; Nur was surely the game’s final level. The galaxy map shows as a percentage how much of each planet has been explored, and how many secrets and hidden chests have been discovered. For every planet I was between 85-90% explored, which I think is pretty good, and I’d found over half of the secrets and about two-thirds of the hidden chests (which contain cosmetics like lightsaber parts, Mantis and BD-1 paint schemes, and ponchos for Cal). As someone who isn’t a 100% completionist, I consider all of that to be pretty decent, especially for the first run through a game. With all that in mind, I selected Nur and the Mantis headed out.

The crew of the Mantis assess the situation on Nur.

Upon arriving in the system, two Star Destroyers were present in orbit of the moon. Greez told the crew that their usual methods of avoiding detection would not be good enough, and worried about how they’d be able to get to the surface safely. Merrin had a solution – using a spell to cloak the ship. Despite Greez’s initial unease, this worked perfectly, and the ship disappeared from view.

Merrin performs the ritual…
…and the Mantis vanishes.

With the ship safely cloaked, approaching the moon wasn’t an issue. Cere and Cal would both be going; Cere planned to disable the fortress’ scanners and defences while Cal retrieved the holocron. This reminded me of Luke and Obi-Wan splitting up during their mission aboard the Death Star, and I didn’t expect Cal to see Cere again. However, it also felt like Cere had finally overcome her fear of using the Force and had embraced her Jedi nature once again, which has been a very satisfying character arc to see play out.

Cere and Cal part ways.

After using the Mantis’ escape pods to land on the moon – which is covered by an ocean, at least in the vicinity of the fortress – Cal was on his own, though Cere would check in by radio. After Cal’s pod splashed down, the area immediately outside the pod was not well-laid out and was confusing to swim through. There was no obvious path through the water, and no landmarks to allow me to get my bearings. Cal also couldn’t swim to the surface, despite the surface being visible only a few metres above his head. And finally, during swimming sections the holo-map can’t be used, all of which contributed to a very confusing few minutes of blindly swimming around.

Swimming near the fortress.

The fortress itself is apparently constructed largely underwater – the idea being that sections or even the whole thing could be flooded if necessary to prevent Jedi prisoners from escaping. In the aftermath of Order 66, this is the facility the Empire used to hold Jedi, torture them, and turn the survivors into inquisitors. As a concept I quite liked it; it definitely seems like a tactic the Empire might have used. Though it raised the question of how Cere was able to escape a facility with such a permanent and deadly failsafe!

Fortress Inquisitorius on Nur. Most of the facility, including its prison, is underwater.

After eventually figuring out where to swim to, Cal made it into the fortress via one of its underwater airlocks. This section contained a few Stormtroopers and little else. In fact the base as a whole – except for the latter areas that we’ll come to in a moment – was mostly uninteresting. There were a few hallways, some of which had windows to the outside underwater environment, but aside from a single puzzle (one of those connect-the-power-cable ones we’ve seen quite a few times) there wasn’t much of note.

Cal uses Force pull to drag a Scout trooper to him.

Over the radio, Cere made contact to tell Cal she’d succeeded in disabling the fortress’ shields. Cal flooded this section of the base and then swam to the next – fortunately this swimming section was less of an issue than the first. After entering the next dry section of the base, Cal found himself at a training dojo where a couple of Purge troopers were practicing. This room would soon become a battle arena, with several waves of all kinds of Stormtroopers and Purge troopers to defeat – by far the largest fight in terms of numbers in the whole game.

One of the many waves of Stormtroopers to fight in the training dojo.

One part of the floor of the dojo opened up to reveal a pit, and though the troopers weren’t hard to fight one-on-one, as with the zombie Night Sisters back on Dathomir, in numbers they were a challenge. The pit in the middle of the room created an additional danger, but was also useful for Force pushing troopers into – a favoured tactic of mine throughout the game! Eventually Cal prevailed, and a meditation spot emerged as a reward. I checkpointed my progress here before heading further into the fortress.

Sending a Stormtrooper to his demise in the dojo.

The next room was the prison – though it was lacking any prisoners, as presumably there are fewer and fewer Jedi for the Empire to hunt down these days! Cal also had his first run-in with Cere since arriving at the base, opening a blast door for her and seeing a pretty cool scripted sequence as she defeated several Purge troopers using Trilla’s lightsaber.

Cal watches from behind glass as Cere takes out a squad of Purge troopers.

Cere was able to unlock a route for Cal to leave the prison and get to the holocron, which was being kept in the heart of the fortress – the interrogation chamber. For some reason – it wasn’t clear why – the fortress was built atop a lake of molten lava. Makes you wonder why the Empire is always doing things like that! It gave this part of the level a weird aesthetic: a mixture of Star Wars’ Empire with a Bowser’s Castle level from Super Mario! One thing I thought as we arrived on Nur was that the fortress (or the part of it above the water, anyway) vaguely resembled Darth Vader’s castle in Rogue One – his castle is similarly built above molten lava on Mustafar, the planet where he lost the fight against Obi-Wan.

The fortress is built above a lake of lava.

The route to the interrogation room was eerily deserted. Cal noticed a turbolift and suggested to BD-1 it could be an escape route. Otherwise he was walking across a long, open-sided bridge that led from the prison room to the interrogation chamber, but there were no troopers or enemies of any kind. Two large, intimidating gun-turrets were silent too; I wondered if Cal would have to battle them on the way out!

One of the gun-turrets near the entrance to the interrogation room.

After entering the interrogation room, Cal was confronted by Trilla. He made an admirable attempt to get through to her, offering her a chance at redemption and a return to the light, but she attacked him and a duel began. This was the hardest battle in the game, no question. Trilla was 10x stronger than she had been in the earlier fight on Bogano, and landing even a single hit on her required jumping, dodging, parrying, and split-second timing.

The duel in the interrogation room.

Trilla was a difficult opponent, and Cal needed to use most of his stim-packs to survive the fight. The duel also included a couple of quick-time events, which involved mashing the X or B buttons to survive as Cal and Trilla locked blades.

Trilla during the duel.

Eventually, however, Cal was able to grind down her health bar, defeating Trilla and ending the duel. As the fight ended, Cere arrived. She spoke to Trilla, telling her that the fight was over and to try to let go of her pain and anger. For a moment, it seemed as though she’d got through to her former apprentice, and Trilla listened, expressing her regret for holding onto her hate for Cere for so long. Before the two could fully reconcile, however, Trilla was paralysed. Out of the smoke behind her, a familiar mechanical breathing could be heard…

Cere reaches out to the defeated Trilla.

I couldn’t believe it at first! Surely we weren’t going to see Darth Vader himself! In a way, it makes a lot of sense that he’d make an appearance. Not only for the story, but because it’s a Star Wars game and players love to face off against one of the biggest villains in the franchise. But I wasn’t expecting it at all, so it was a genuine surprise. The mechanical breathing grew louder, and then Darth Vader himself emerged from the smoke. “This can’t be good,” remarked Cal.

Darth Vader emerges.

Unlike Palpatine’s return in The Rise of Skywalker, Darth Vader’s appearance here worked very well. It was a genuine surprise – a shock, really – and in the context of the story facing off against a bigger, badder foe makes sense. I can understand why some people may feel that Vader’s arrival at this point in the story seems like a deus ex machina, and perhaps if the game was detached from the Star Wars brand, the sudden arrival of a new supervillain at the last moment could be seen that way. However, this is Star Wars, and given the game is taking place during the years before the original film, when Darth Vader was the Empire’s second-in-command, it doesn’t feel that way to me. Darth Vader, and original trilogy characters in general, can definitely be overused in Star Wars; I would suggest that Vader’s scenes in Rogue One didn’t really add anything to that film’s story, for example. But here it really did succeed, and not just because of a sense of nostalgia. Vader is a terrifying opponent, especially for someone like Cal who barely scraped through the fight against Trilla!

Darth Vader’s helmet.

One point I want to mention just before we go on: there was something ever so slightly “off” about Vader’s appearance. The best way I can explain it is that he looked to have the wrong proportions, being slightly broader and – for want of a better word – chunkier, than how he appears in the films. His helmet, too, seemed slightly different, perhaps squashed or just a fraction different in its scale. None of these factors really bothered me in the moment, nor dragged me out of the story, but I thought it worthwhile to mention. I daresay any such minor issues were a result of the game being, well, a game.

Darth Vader in the interrogation room.

The first thing Vader did upon arriving in the interrogation chamber was kill Trilla, whose last words to Cal and Cere were “avenge us!” I’d like to think that, had she survived, Trilla was on the cusp of redemption and a return to the light. Her conversation with Cere seemed to be moving in that direction, and it will be a tragedy for both Cal and Cere that they never got to find out, nor to save Trilla from Vader’s blade. Cere shouted at Cal to run, before making a leaping attack on Vader. Using the Force, he casually threw her aside and she toppled over the edge of one of the platforms – seemingly to her death.

Cere makes a desperate attempt to attack Darth Vader.

The next part of the game was initially confusing to me, as Vader grabbed Cal with the Force. Though I was in control of Cal, I couldn’t see any way to attack Vader (Cal couldn’t ignite his weapon, nor move) and after being held in the Sith Lord’s grip for a few seconds, Cal was dead. I was initially worried that I’d respawn before the duel with Trilla and have to do the whole thing all over again; luckily this wasn’t the case. On the second go around I figured it out – Cal used the Force to throw a large barrel or tank at Vader, and in the momentary lapse in the Sith Lord’s concentration, made a run for it.

Darth Vader chokes Cal. Trilla’s body can be seen behind them.

Darth Vader was an unstoppable killing machine – Cal had nothing in his arsenal that could even come close to matching the Sith Lord’s power and abilities. All he could do was run – sprinting back along the bridge toward the turbolift as Vader literally tore the bridge itself apart with the Force. This sequence was the most tense in the whole game, as Cal had mere seconds to run and jump across each gap and over each obstacle, lest Vader would catch him and it would all be over.

Cal attempts to flee while Darth Vader gives chase.

Vader gave chase – but at a slow pace, and Cal was able to leap across the wrecked bridge, making it to the turbolift. After bashing the controls to make the lift move, it seemed as though Vader had caught up to him, but despite the Sith’s lightsaber cutting through the doors, the turbolift moved and Cal made it to an upper level of the facility. With the holocron safely in his possession he signalled the Mantis – informing Greez of Cere’s death and requesting extraction. Running down a hallway led to a locked door, which Vader came crashing through!

Surprise! It’s Darth Vader again!

I loved this next part. As Vader and Cal briefly crossed blades, little BD-1 hopped up onto the Sith Lord’s shoulder. Using the skill he’d acquired earlier in the game he tried to slice (hack) into Darth Vader’s mechanical suit! For a second it seemed as if this might’ve worked, but then Vader grabbed the droid. It seemed like the end of BD-1…

Vader grabs BD-1.

Cal, who had been knocked off his feet, tried to use the Force to retrieve his lightsaber. Vader demanded that Cal give him the holocron; Cal of course refused. Using the Force, Vader held Cal’s lightsaber out of reach, but then activated it and stabbed Cal through the abdomen. The wound didn’t go all the way through, and while wounded, Cal wasn’t dead yet. Things looked grim, however. BD-1 beeped at Cal to get up, but it seemed like Vader had the pair thoroughly beaten.

Cal is stabbed with his own lightsaber.

But that just goes to show that in Star Wars – and in these kinds of stories in general – you shouldn’t trust that a character is dead unless you see their corpse! Cere came roaring back out of nowhere, attacking Vader! Though still outmatched by the Sith Lord, her intervention saved Cal and BD-1. Vader told Cere that her strength with the dark side would have made her an excellent inquisitor. The pair duelled for a moment, before Vader disarmed Cere.

Cere uses the Force to slow and block Darth Vader’s attacks after being disarmed.

Cere was able to use the Force to paralyse Vader, using a move that looked like he was being crushed. Cal intervened before she could go too far, and by breaking a window in the underwater facility, the trio were able to escape. Vader, whose mechanical suit is – I assume – vulnerable to water, was left holding the torrent back with the Force, unable to pursue.

Leaving Darth Vader to hold back a flood of water, Cal drags Cere to safety.

Cal gave Cere his breather (the small device that allows for breathing underwater) and attempted to swim to the surface. A combination of his wound and exhaustion meant he was struggling, however. At the last moment, Merrin intervened, diving into the water. The screen went dark…

Merrin arrives in the nick of time.

Cal awoke aboard the Mantis to see Greez looking over him. Cere was fine, he was told, and so was BD-1 (thank goodness!) After struggling to his feet, Cal joined the others in the Mantis’ main cabin. Cal and Merrin shared a hug and a touching moment – a budding romance, perhaps? Then he sat down with Cere to look at the holocron.

Merrin and Cal share a moment.

Cere told Greez that her contract with him was up; Greez said he was planning on sticking around. This was another sweet moment, as the curmudgeon had fully softened after all of his adventures with Cere and Cal. The crew gathered around the holocron, and Cal opened it to access the list inside. Cere reiterated her mission statement from the beginning of the game: they should use this to rebuild the Jedi. She did note, however, that doing so would forever change the lives of the children as the Empire would hunt for them.

The holocron opens…

Cal had other plans. Evidently swayed by what Merrin had said about the children having no choice, and that Cal may have been the one putting them in danger, as well as the visions he had on Bogano of their capture and torture, he suggested that the fates of the children “be trusted to the Force”. Implied in that is that if their destiny is to be Jedi, they would be found and be able to train. If not, they should be left alone. With a silent Cere seeming to give her blessing with a look, Cal destroyed the holocron, preventing the Empire from ever finding the children.

Greez, Cere, and Cal stand over the broken pieces of the holocron.

This was the end of the game. Cal asked the crew where they should go next, and then the credits rolled. I have to say that I liked this ending, and the idea of trusting the will of the Force and not forcing the children into a life on the run. However, I think it will be controversial with some fans. The objective Cal and especially Cere had was to use the list to find Force-sensitive children and raise them to be a new generation of Jedi. Even at the last moment, this was Cere’s hope. Cal had one mandatory conversation with Merrin in which she sowed a seed of doubt, and one further optional conversation. He also had the vision in the vault. Those two things changed his mind, and while it was more than enough motivation from my point of view, and I regard keeping the list out of the Empire’s hands as a solid victory, it wasn’t the original mission which had been at the heart of the game for most of its runtime, and for that reason I expect some fans may not have enjoyed the ending.

The final scene before the credits started to roll.

So that was it. Jedi: Fallen Order. As with many games, it took me a little while to get around to playing it – it was released in November last year – but I’m glad that I finally did. After a very disappointing experience with The Rise of Skywalker, it was nice to genuinely enjoy a journey in the Star Wars universe again. And this is also the first Star Wars project since Rogue One that I went into unspoiled. I got to enjoy the story as it unfolded, allowing the surprising moments to be genuine surprises, and that was a good feeling too.

Cal’s journey has been amazing, and it seems as though the ending of the game has been careful to leave the door open for a potential sequel. Rumours abound that it may even be scheduled for a 2022 release – but we’ll wait and see on that! All in all, Jedi: Fallen Order took me just shy of 20 hours to complete – and having looked online that seems about average. I enjoyed myself for most of that time – though there were a couple of frustrating sections and some unnecessary fluff. As I mentioned at the beginning, I’ll be doing a retrospective/review of the game at some point soon, before my memories fade too much, so I hope you’ll come back to see that. For now, all that’s left to say for those of you who’ve been following this playthrough is thank you! I hope you enjoyed this format of a written playthrough illustrated with screenshots; I certainly feel like I learned a lot since I made my first entry in this series, and I’m keen to try again with another game. I already have several possibilities in mind!

So until next time… May The Force Be With You!

Star Wars Jedi: Fallen Order is out now on PC, Xbox One, and PlayStation 4. Star Wars Jedi: Fallen Order is the copyright of Respawn Entertainment and Electronic Arts. The Star Wars franchise is the copyright of Lucasfilm and Disney. This article contains the thoughts and opinions of one person only and is not intended to cause any offence.

A low price might be Xbox’s last hope

A couple of days ago, Microsoft showed off another collection of games coming to the Xbox Series X. The console will launch later this year – barring any last-minute delays – and will be facing very stiff competition from Sony’s PlayStation 5. In fact, Xbox seems like it’s repeating some of the same crucial mistakes which left it lagging far behind PlayStation’s sales numbers this generation – and the only way to salvage that, at least in the short term, may be to massively undercut Sony’s new console and sell the Xbox Series X at a very low price.

It wasn’t all doom and gloom from Microsoft’s second attempt at showing off gameplay – I like the look of Avowed, the upcoming game from Obsidian, for example – but generally the reaction to what they showed was muted and underwhelmed. The most stinging criticism was reserved for Halo Infinite, particularly in the graphics department. As I’ve said on a number of occasions, games already look pretty good on current-gen consoles in 2020. And if “better graphics” is basically all a new console has to offer, then those graphics need to be outstanding in order to win people over. Microsoft has shot itself in the foot in that regard by making every Xbox Series X title – including Halo Infinite – also available on Xbox One, at least for the first year or so of the new console’s life. What this means in practice is that any new title is constrained by the system requirements of the original Xbox One – hardware which is now seven years out of date.

Halo Infinite has been criticised for the way it looks.

Many commentators have said that Halo Infinite looks like a current-gen title. But it is a current-gen title – it’s literally going to be released on the Xbox One, which is a current-gen machine. Everything in Halo Infinite from the ground up has had to be built with that limitation in mind. Even being “enhanced” for the Xbox Series X, Halo Infinite could only go so far. And as I said, when graphics already look decent on current-gen consoles, it’s already a difficult task to show off how much better a game could look on a newer device. That’s without deliberately limiting that game by making it compatible with machines that are now seven years old.

The Halo series has been Xbox’s “killer app” since the first days of the original machine in 2001, but its star quality has been in decline since Bungie left the series a decade ago. The generally average-looking graphics that the newest entry in the series offers, combined with its simultaneous release not only on Xbox One but also on PC, will leave many gamers scratching their heads. Why exactly should I buy an Xbox Series X this winter?

The Xbox Series X.

I literally cannot see a reason. Games are what sell consoles – good, pretty, exclusive games. Many of the titles that will be available will be good; Avowed, as mentioned, looks like it has great potential, and I’m also looking forward to Grounded. While some of these games will be designed to take advantage of the Series X’s features to look shinier and prettier, line them up side-by-side with the Xbox One versions – which will look good, as games on that system already do – and if folks struggle to tell the difference, how does Microsoft intend to convince them to spend several hundred pounds (or dollars) on a new system? When none of the games are exclusive and can be played on the older system, if I’m a gamer who already has an Xbox One, what’s the point in upgrading?

In that sense, Microsoft is now having to compete not only with Sony, but the Xbox Series X is competing against the Xbox One – and there’s a clear winner in that regard. Exclusive games can shift millions of systems – I’ve known many people over the years who’ve picked up a console because one game in particular enticed them, and I’ve even been in that position myself. Launching a console with zero exclusive games, and with all of its games also available on the previous generation console seems absolutely bonkers – and I have no doubt Microsoft will see a lacklustre launch for its new system.

The current-gen Xbox One may prove to be the Xbox Series X’s main competitor.

The only possible saving grace at this stage is to massively undercut the PlayStation 5 – if the Xbox Series X can be £100-150 cheaper, suddenly it seems a little more enticing. £100 could score two new launch titles, or almost a year of GamePass, the subscription service which is one of Xbox’s few genuinely appealing offerings. Price can play a role in console launches, and it’s no coincidence that the consoles which had the strongest launches in the last two console generations – the Xbox 360 and the PlayStation 4 – were both the less expensive option compared with their competitors.

I primarily play on PC. In fact one of my projects over the next few months is to make some upgrades to my gaming setup so I can enjoy things like ray-tracing and perhaps even higher frame rates. So I wasn’t going to be a day-one console buyer this generation regardless of how the new lineup looks. But if I were, I can’t see any reason to buy an Xbox Series X at launch. The only thing that might be able to sway me is price, because if I could make such a significant saving that I could get a year’s subscription to GamePass, and thus access a large library of titles from day one, that’s not a bad offering.

Another scene from the Halo Infinite trailer.

Maybe Xbox will surprise me, and it will turn out that this policy of having no exclusive titles will be a masterstroke, bringing more people into the Xbox brand. I’m just having a hard time seeing how it’s supposed to appeal to a gamer looking for a new console – and as someone who owned all three Xbox consoles in the past I want to see them do well. In fact it’s arguably a necessity – if Xbox fails, there’ll be far less competition in the home console market. Monopolies rarely end well for consumers, so it’s in everyone’s best interest to see at least two companies making a go of it.

At the end of the day, I’m simply not convinced that Xbox has the best approach. PlayStation’s offering for the imminent console generation just seems far more appealing, and unless Xbox can find a way to offer their new machine at a much lower price, I’d expect a clear majority of people who plan to get a next-generation console this year will opt for a PlayStation 5. I know I would. And I’ve always been an Xbox guy.

The Xbox Series X and PlayStation 5 are scheduled to launch in time for Christmas 2020. All properties mentioned above are the copyright of their parent companies, studios, developers, publishers, etc. This article contains the thoughts and opinions of one person only and is not intended to cause any offence.

Let’s Play Jedi: Fallen Order – Part 11

Spoiler Warning: There will be spoilers ahead for Star Wars Jedi: Fallen Order as well as for other iterations of the Star Wars franchise.

Welcome to the next part of my playthrough of Jedi: Fallen Order. I had a couple of other things I wanted to write about over the last couple of days, including Star Trek’s Comic-Con @Home event, so I apologise to those of you who were waiting for this! After the last play session had some interesting story elements, but was let down by frustrating gameplay and a long section that felt like it was simply there to pad the game’s runtime, I was hoping for something different and exciting – and I definitely found it! After Cal broke his lightsaber in the tomb on Dathomir following a confrontation with a dark vision of his old Master, Cere took him to a strange snowbound planet – the first truly new location since our first visit to Kashyyyk way back in Part 6 of this playthrough. Cere handed Cal her own lightsaber, and he was ready to set off into the snow in search of something to repair or replace his broken weapon…

Cal prepares to head out into the blizzard.

Speaking with Cere aboard the Mantis revealed that this planet was called Ilum – a name I vaguely recognised from the Star Wars galaxy. After looking into it, it turns out that Ilum was the planet that the First Order would ultimately convert into Starkiller Base in The Force Awakens, though in this era (remember that Jedi: Fallen Order is taking place about fifteen years before the original trilogy) there was no sign of the famous laser! Ilum was a wintry environment, similar in some respects to Zeffo but with much more snow and ice. After being initially excited at the prospect of visiting a wholly new planet for the first time in ages, the terrain was actually quite samey. If you’ve ever been in a strong blizzard you’ll know it can sometimes make the environment seem like it’s monochrome – and Ilum definitely had that feel to it as Cal set out from the Mantis.

The monochrome environment of Ilum.

Ilum has a Jedi Temple, and getting there through the blizzard was Cal’s objective. It felt like the task he was to complete was a little vague at first – yes he had to fix his lightsaber, but how? And what did he expect to find on Ilum to help him with that task? A few extra lines of dialogue would have fixed this – and it’s not the first time I’ve said that during my playthrough. With the new climbing ability that he’d acquired on Dathomir, Cal was able to scale ice walls, and climbed to the top of a large frozen area. In this section was a Force echo of a former Jedi Master. It turned out that the Jedi came to Ilum as part of some kind of trial or ritual, as well as to gather kyber crystals – the mysterious objects that power lightsabers, and which would later be co-opted to power the Death Star’s weaponry.

Near the entrance to the Jedi Temple.

Inside the entrance to the Jedi Temple – which was little more than an icy cavern, really – was a puzzle to complete. The archway leading further inside had iced over, and there were three doors that had to be opened letting in “magnified light” which had to be refracted through a large crystal in order to melt the ice and gain access. This puzzle wasn’t too hard, but it took me a moment to realise that the doors – which had to be opened by pulling a chain – didn’t need to be permanently opened; Cal simply needed to hold the chain long enough to melt the ice.

Using the giant crystal to melt the ice.

I don’t think the giant crystal in this area was supposed to be a kyber crystal (which I always want to spell Khyber, with an H, like the mountain pass and region of Pakistan) if it was, Cal could’ve just broken a piece off and been on his merry way! Cere made a big deal of giving Cal her lightsaber, so I expected to be traversing this region armed. However, Cere’s lightsaber doesn’t work – another thing that a line or two of dialogue should have explained – so Cal remained unarmed despite carrying two weapons. The in-game databank said that Cere sold parts of the weapon to pay for Greez’s gambling debts, and I guess that could also explain how she’s been able to keep him on the payroll for what seems to be a long time, which was a question raised earlier in the game for me.

Cere gave Cal her lightsaber last time… but could’ve mentioned that it doesn’t work! (Or maybe it’s Cal’s turn to sing during karaoke night on the Mantis)

Melting the ice wall let Cal explore further into the Temple, and as I said this was really just a cave with a few statues in it. It seems like the Jedi offered up some pretty tough challenges – this cave was meant to be traversed by apprentices and children, but it seems like a difficult task for them! There were a lot of sheer drops, and several places where it took a moment to figure out what was the right path. Just inside the entrance to the Temple was a meditation spot, and I’d been saving up Cal’s skill points – spending three meant that BD-1’s stim-packs now totally refill Cal’s health no matter how low it gets, which seems like it will be a very useful upgrade! The ice cave on Zeffo – which is actually fairly similar to this section in appearance – contained a number of monsters to fight, and with no lightsaber I was wondering what this cavern would throw at Cal and how to avoid it. So far, though, there had been no enemies at all – just silence. Cal came upon a section of water to swim through to access the next part of the cavern.

Swimming in the icy water on Ilum.

This was quite cleverly done – there were several hydrothermal vents which obviously explained how there could be areas of liquid water in an otherwise-frozen environment. But Cal must’ve got very cold swimming through this water! The next area of the cavern contained a shocking and ominous revelation – probe droids were present on Ilum! Luckily BD-1 had acquired the skill to hack into them some time ago, and Cal was also able to use Force pull and Force push on them to defeat them – but how had the Empire found him here? A radio call to Cere and Greez led to the two of them worrying that the Mantis was being tracked.

A probe droid in the cavern on Ilum.

There were a number of statues in the cavern, and these were kind of creepy – hooded and faceless figures in Jedi robes. They reminded me of the statues seen on Jedha in Rogue One, which similarly had a ghostly vibe. Perhaps this is because – as Cal says at one point – knowing that the Jedi are gone makes it feel like being surrounded by ghosts. Any hooded figure with a shrouded face plays on deep-rooted cultural and historical fears of figures like the Grim Reaper, or even the Ghost of Christmas Yet to Come from Dickens’ A Christmas Carol, and I think that’s part of why they felt so haunting and eerie in this section of the game. Credit to the developers for achieving that sensation – it made progressing through the caverns very tense indeed, something that married well with Cal being essentially unarmed and defenceless.

Ghostly statues in the cavern.

After heading deeper into the cavern and defeating another couple of probe droids, Cal spotted a glittering object. While making his way through a narrow crevice, the ice below him gave out and he fell into another pool of water. Clearly freezing cold (and suffering from hypothermia) he had a vision of his younger self leading him out of the water in what was a very strange, ethereal moment in the game.

Cal has a vision of his younger self.

Inspired by the vision, Cal forced himself to climb out of the icy water and collapsed – but the kyber crystal was close. He stumbled his way toward a large crystal formation and plucked the tip from one of the pointy shards – this was the glimmer that he’d seen that led him to this part of the cave. As he held the small piece of crystal in his hand it broke in two. Cal broke down, believing he’d failed and that his quest was over. And at this point perhaps someone knew more about Star Wars’ wider lore or expanded universe (the stuff not included in the films) might’ve known what was happening or why Cal became so dejected… but I didn’t.

Cal approaches the kyber crystal.

There was a line earlier in the level about how the “crystal chooses the Jedi” and not vice versa (kind of like wands in the Harry Potter series, I guess). So perhaps Cal was upset that the crystal that chose him was broken. But he’s sat in a cavern literally surrounded by giant crystals, and with a small amount of effort could have broken off another piece using the Force or even just with his bare hands. So I don’t really understand this moment, and just taking what we know from the game without interjecting with lore from other Star Wars properties, it didn’t make sense and didn’t feel sufficiently explained.

Cal looks at the crystal seconds before it shatters.

Are the other crystals in the cavern not also kyber crystals? What happens if a Jedi chooses his own crystal instead of using one which chose him? Cal has been using Master Tapal’s lightsaber (containing Tapal’s crystal, presumably) very effectively for the entire game up till now, so it doesn’t seem like it’s the case that crystals are somehow bound to one Jedi. If a Jedi is chosen by a crystal but then loses or breaks that crystal, can they come back and get another one? And since Cal is literally still in the cavern surrounded by other crystals, can’t he just take another one – or wait for another one to choose him? I feel like this moment, which was the most emotional in the story so far, needed more explaining. Luckily, what came next washed a lot of that disappointment away and cranked up the emotion.

The broken kyber crystal.

As Cal sat feeling sorry for himself at the foot of the crystal formation, Master Cordova’s voice could be heard. BD-1 had made it to the cavern and Cal was very pleased to be reunited with him – having told BD-1 not to follow him as he fell into the icy water a moment ago. BD-1 played a recording from Master Cordova in which he discusses failure. Master Cordova sensed “the doom of the Jedi Order” – perhaps this was the moment of Order 66. He locked BD-1’s memories with an encryption that could only be broken if the droid made a trusted connection with someone new; BD-1 has chosen Cal, and told him (in beeps and trills, of course) that he believes in him.

BD-1 plays Master Cordova’s final recording.

Inspired by this, Cal gets up. It isn’t over yet! Somehow – and again I’m not sure how – he pressed and squished the two shards of the crystal back together, forming a single, working crystal. This next part was fun – I had eight different colour options for the fixed crystal. I chose pink (or magenta as the game calls it) and after a short cut-scene, Cal had his weapon back.

Choosing the kyber crystal’s colour.

This can be customised later at a workbench, but I see no reason to change from pink. Orange had been fun up till now, though! Cal used parts from Cere’s lightsaber and Master Tapal’s to form the new weapon. In addition to being double-bladed, it can now also be pulled apart and duel-wielded, giving Cal a new kind of attack – one that looks pretty darn cool too. I took this opportunity to further customise the weapon before leaving the cavern, including giving it a shiny red colour for the hilt.

The red hilt.

In addition to blue and green, which are available in the base game, and orange, which I had from buying the deluxe edition, the colours now available for Cal’s weapon are: purple, pink/magenta, yellow, a pale blue or teal, and a darker cobalt colour. The weapon can be symmetrical, looking the same at both ends, or each end can be different. I haven’t unlocked anywhere near all of the options yet, and there must be hundreds of possibilities for how the finished saber can look.

The colour options for the blade.

After tinkering with the saber for a while, I was satisfied and ready to get back to the ship. But of course it wasn’t going to be a simple case of backtracking! The probe droids we’d seen earlier weren’t the only Imperials on Ilum – the Empire had a whole base here with legions of troopers. When the probe droids spotted Cal they presumably scrambled their forces, and on the way out, Cal ran head-first into an Imperial mining facility! There were a number of troopers to defeat here, and more kept dropping in by ship. Cal put his new weapon through its paces, and eventually prevailed!

Cal battles Stormtroopers near an Imperial mining facility.

In this area, the Empire seemed to be digging a long, deep trench. Given that Ilum would later become Starkiller Base, I wonder if this trench is meant to be the beginnings of that. In The Force Awakens, Starkiller Base had a huge trench that cleaved the planet in two, and this was where the super-laser was mounted. I think these two things are connected, and if so it was a great little reference to the sequel trilogy. Beyond the landing pad was a doorway that BD-1 was able to hack. Inside was a whole squad K2SO-type security droids – the ones I’ve had trouble with on other levels.

The room full of droids.

Thankfully they didn’t all attack at once, and after a long fight Cal was able to take them out. Off to one side, in some yellow storage containers, BD-1 and Cal found huge numbers of kyber crystals – the Empire is mining them. He reported his findings to Cere back on the Mantis, and she and Greez got the ship ready for takeoff. The only accessible door in this room led back into the cavern, and from here Cal was mostly backtracking to get back to the ship – though the cavern was now packed with troopers.

A group of Scout troopers in the cavern.

Cal had to battle his way through the cavern, which contained probe droids, K2SO droids, Purge troopers, and a variety of regular troopers too. It was a hard fight, not so much because of any one individual opponent – this wasn’t a boss battle, after all – but because of the numbers Cal was up against. On the radio, Cere checked in to tell Cal that the Empire was bringing in reinforcements, including by Star Destroyer from neighbouring systems. Though this part of the level wasn’t timed (at least it didn’t seem to be) it was still a very tense sequence as Cal raced back to the ship!

Defeating a trooper while racing back to the Mantis.

After surviving the cavern, Cal was back at the archway where we’d melted the ice earlier. There was a meditation spot here which I used before progressing – though Cal had no more skill points to use. Unless more options open up on the skill tree, by the way, I think I’ve chosen all of the ones that seem useful to me. Perhaps that’s just because we’re entering the latter part of the game. Before exiting the temple and getting back to the surface of Ilum, there was a Snowtrooper! These guys were seen in The Empire Strikes Back and it makes perfect sense that they’d be here on another snowbound planet. It was a great little bit of nostalgia.

A Snowtrooper.

Back on the surface, the blizzard had almost fully cleared. It looked like a straight shot back to the Mantis, but from behind a rocky outcrop came not one but two AT-STs. They attacked Cal in tandem, and it was difficult to separate them long enough to attack one without getting blown up or blasted by the second! Eventually I brought the first one down, and from there the second one was less of a challenge.

One down, one to go!

Cal sprinted back to the Mantis – Imperial reinforcements were inbound and if he didn’t get back before the Star Destroyers arrived it might’ve been impossible to leave the planet! All that tension and buildup… was kind of spoilt by Greez and Cere just standing there on the Mantis when Cal arrived. I even had to walk over to the holotable (Cal can’t run on the Mantis) and manually choose a destination. After Cere had been so jumpy, rushing Cal to race back to the ship before they’re all blown to smithereens by the Empire, this was just anticlimactic and completely snapped me out of what had been one of the most exciting parts of the story so far.

Cal sprints back to the ship.

The gang even had time for a chat as Cal boarded the ship. He told them about BD-1’s memory wipe, and expressed his thanks for believing in him. It was a sweet moment – or it would have been had the timing been different. I expected a cut-scene like the escape from Dathomir, with the Mantis pulling away as Stormtroopers chased Cal, escaping the system in the nick of time to avoid the Star Destroyers… but none of that transpired. If Cere hadn’t been on the radio telling Cal to run because of how imminently doomed they all were it would’ve been fine – but the rapid switch in tone from “run, Cal, run!” to “we’ve got loads of time to stand and chat” was incredibly jarring.

There doesn’t exactly seem to be a great deal of urgency to take off and flee the system…

The obvious destination was Dathomir. I saw no point in any more backtracking, and I wanted to resolve the situation there to continue the story. With the course laid in the Mantis took off and arrived at Dathomir moments later. After a short bit of banter with the crew, which included the revelation that they’re on the bounty hunter guild’s most wanted list, Cal headed out. With the climbing gloves, he could climb up the ramp I noticed last time and use that as a shortcut to get back to the bridge leading to the dark tomb. There were a few zombified Night Sisters to battle en route, but nothing Cal and his new weapon couldn’t handle.

Oh look, it’s that meditation spot again.

At the entrance to the temple was another bounty hunter ambush. A hunter and a droid were both present and again this was an annoying fight. Eventually, however, Cal was able to get the better of both of them (apparently Force pushing over a cliff still works if you use it on a guy with a jetpack…) and enter the tomb. There were no enemies to fight inside, and Cal used the meditation spot before re-entering the dark vision he had of Master Tapal.

The dark vision.

Master Tapal began by taunting Cal again, and then the duel was on. Once again I was expecting a difficult boss battle, yet once again I was wrong. Though I had control of Cal during this sequence, he had no health bar and nor did Master Tapal. After a brief duel it became obvious that the only way out of the vision was to take it peacefully – not fighting back or trying to strike at Tapal.

Cal and Master Tapal during their brief duel.

By choosing the peaceful path – which is, of course, the Jedi way – the vision of Tapal relented and ended the fight. Cal told his former Master that he would honour his teachings and remember his sacrifice, letting go of his guilt. The vision of Tapal then disappeared, and the pathway to the next part of the tomb finally opened.

Cal brings the duel to an end.

Having completed the vision-quest, Cal was able to access the rest of the tomb. He had beaten the darkness in the tomb – and within himself. I’m never sure with things like this whether what transpired was taking place in Cal’s head, whether it was something more real, something based in the Force, etc. At the end of the day it doesn’t really matter, it’s just something to ponder. I tend to assume for a vision like this that it’s in his head, perhaps amplified by the Force, but not something tangible.

Master Tapal walks away, ending the vision.

Beyond the doorway were several Night Brothers. They weren’t particularly difficult to dispatch, and it was nice to try the duel-wielding move on them. Seeing Cal pull his double-bladed weapon apart and use both pieces independently is very cool. It’s certainly not something I’ve seen in Star Wars before. The Night Brothers in this area had a marking painted on their chests – the same one we saw as a scar on Taron Malicos. Interestingly, when I went back to look at screenshots of the previous visits to Dathomir, the Night Brothers all had that same symbol – though many were faded. The paint on those in the tomb was much fresher.

A Night Brother with the painted symbol.

After entering this area, the Night Sister appeared. Her name is Merrin. Instead of just attacking this time, she spoke to Cal, which gave him a chance to reason with her. Malicos lied to her, he said, and the Jedi weren’t conquerors who would have wanted to wipe out her people.

Cal and Merrin talk.

The two realise they have something in common – Cal may be the last Jedi, and Merrin may be the last Night Sister. Malicos had promised her revenge in exchange for sharing the secrets of the tomb, but instead he became corrupted by the dark side. The two formed an alliance (albeit one of convenience) to take down Malicos. Cal didn’t have far to go for this confrontation. Down a wide hallway, Malicos was waiting. He stood on a circular platform which had a sheer drop into red mist on all sides – it reminded me so much of the Bowser fights in Super Mario 64… and that’s the third thing in Jedi: Fallen Order which seems to draw on that game, after the slides and the underwater chests! I never expected to get even one thing in a game like this to remind me of Super Mario 64, let alone three.

Can you say “obvious boss fight arena”?

After crossing over to the arena, Malicos seemed happy to see Cal return. He tried once again to convince Cal to join him, and talked at length about how reviving the Jedi Order would be a waste of time – the Order failed, he said, stifled by tradition and its own past successes. As with Luke in The Last Jedi who said similarly critical things of the Jedi Order in its last days before the rise of the Empire, Malicos isn’t exactly wrong. The whole story of the rise of the Sith in the prequels is on the back of Jedi hubris, believing themselves to be better than they were. Regardless of how I may feel about the Jedi, Cal rejected everything Malicos has to say. And it’s clear, of course, that Malicos’ idea of a replacement for the Jedi would put him firmly in control. He had been wholly corrupted by the dark side after years on Dathomir. A duel began.

Malicos with his weapons drawn.

I said way back in Part 4 of this series, when Cal first met “the wanderer” – aka Malicos – that I was sure they’d end up fighting. It’s nice to be right sometimes! This was a difficult fight – up there with the duel against Trilla on Zeffo. Malicos had a number of Force powers at his disposal, but more than that it was very hard to land a blow on him. He kept his guard up, and hitting him required split-second timing. He was also immune to things like Force push – which of course makes sense.

Malicos attacks Cal with the Force.

Merrin showed up during the duel, and at a couple of scripted moments used her magic to attack Malicos. When Cal had finally ground his health down, Merrin stepped in and used her magic one final time, entombing Malicos in the ground in a cut-scene that reminded me of a horror film called Drag Me To Hell.

Merrin sends Malicos to his grave.

With the battle over, Merrin and Cal had another chance to talk. Interestingly, Merrin is unaware of the Empire – or any galactic affairs beyond what was happening on Dathomir. Cal explained that he’s searching for the Zeffo Astrium, an object which will help him access a list of Force-sensitive children. He told Merrin he wants to save them from the Empire, a cause she can get behind. The Astrium wasn’t far away, and after jumping over a couple more platforms, Cal finally found it.

Cal holds the Zeffo Astrium.

Merrin returned as Cal found what he was looking for. She was very happy for him, as the Astrium may be able to save the children and revive the Jedi Order. But she is still alone; nothing can revive her people the way the Astrium and the holocron might for the Jedi. Cal and Merrin connected over their shared experiences as the last of their kind. Cal also referenced what Prauf said to him at the beginning of the game – in the aftermath of the Master Tapal vision he’s also taking on board what Prauf told him too. To my surprise, Merrin said she would join Cal on his mission. I don’t think she will be a constant companion as Cal goes on quests – Jedi: Fallen Order isn’t that kind of game – but she will perhaps hang out on the Mantis, be available to talk to, and participate in cut-scenes.

Cal shows Merrin the Zeffo Astrium.

Merrin told Cal she’ll meet him back at the ship, leaving Cal once again to backtrack through the level. Fortunately this tomb was small compared to the two on Zeffo, but there were no shortcuts to get back outside. A couple of large monsters had spawned in the tomb, and Merrin sat to one side as Cal took them on alone. In these moments, Jedi: Fallen Order feels like a typical game and not an interactive Star Wars experience, and it can make suspending my disbelief more difficult. However, taking on the monsters wasn’t a huge challenge this time.

Merrin in the tomb.

I like that we can see Merrin’s face now that she’s taken down her hood. It humanises her – despite the ash-grey skin – and we can see her more emotive and expressive. I still think she reminds me of Visas Marr from Knights of the Old Republic II, though! Merrin apparently didn’t tell her zombified Night Sisters that she and Cal are allies now, as several attacked him on his way back to the ship. However, these fights weren’t particularly challenging. Back aboard the Mantis, Cal introduced Merrin to the crew. They were standoffish at first, and they don’t trust her – but they do trust Cal, so Merrin was welcomed aboard. The next destination is Bogano – back to the vault. But I chose to save my game at this point and save Bogano for next time. Exploring two planets is enough for one session!

Merrin sits at the table on board the Mantis with the rest of the crew looking on.

So this was another long one! Repairing the lightsaber was great, and despite Ilum being kind of bland, it was nice to finally get to see a different planet after hopping between the same three worlds for a long while. The emotional moment with BD-1 in the cavern was incredibly sweet, and I’m even more in love with the cute little droid than I already was. In fact the story of this entire section was great – the only part I didn’t like was the kyber crystal breaking and the lack of explanation for why that was an issue.

I feel certain the trip to Bogano won’t go smoothly – but join me next time to find out!

Star Wars Jedi: Fallen Order is out now on PC, Xbox One, and PlayStation 4. Star Wars Jedi: Fallen Order is the copyright of Respawn Entertainment and Electronic Arts. The Star Wars franchise is the copyright of Lucasfilm and Disney. This article contains the thoughts and opinions of one person only and is not intended to cause any offence.

Metacritic to delay user reviews

The blogosphere and YouTube have been ablaze the last 24 hours or so, following news from review website Metacritic that some titles will have user reviews blocked for a short period of time (about a day-and-a-half) after they’re released. At present this seems to apply only to video games, but I suppose it’s possible it will be rolled out elsewhere on the site. The decision has attracted a lot of criticism and some support, and I wanted to take a moment to think about the pros and cons, as well as consider some of the wider issues involved.

Metacritic describes itself as a “review aggregator”. It provides each each title with two scores – one is an average of reviews from professional critics writing for a variety of publications, and the other is from Metacritic’s own users who can write and publish reviews directly on the website. The Metascore – i.e. reviews written by professionals – is unaffected by this change. It is only the user score which has this 36-hour delay.

We should begin by considering why Metacritic has decided to make this change. In short, it seems to be designed to prevent review-bombing: the practice where users will deliberately leave overwhelmingly negative reviews as a form of protest. A number of titles across different kinds of media have been subject to this, not only on Metacritic but on sites like Rotten Tomatoes as well. The official explanation is that Metacritic wants players to have actually played a game before leaving a review, which on the surface doesn’t seem like an unfair request. But is it?

Metacritic has stopped users writing reviews immediately after a game is released.

To answer that question we need to step back and think about some pretty big issues. The first one I want to tackle is the concept of censorship. Specifically, does this change mean Metacritic is trying to “censor” reviews? And if it does mean that, does Metacritic have the right to do so? These questions seem easy enough – no it isn’t censorship, and Metacritic is a private website so they can publish or not publish whatever they want within the bounds of the law. Concepts like “freedom of speech” don’t exist in this context. As someone who runs a (much smaller) website myself, I can say to you – as my reader – that you have no right to write anything here, and if you submit something to me and ask me to publish it I have the right to refuse. Am I censoring your opinion if I do so? Of course not. Finally, Metacritic has not prohibited users from writing reviews at all – this is a delay between a game’s release and the opening of the review-writing section. Reviews can still be written and published as normal after the 36 hours have elapsed.

So that seems simple – it’s not censorship. But the truth is less black-and-white. We’re in a grey area when it comes to publicly-accessible web forums, and Metacritic has made a name for itself in part because it allows users to write reviews and provide their own feedback on the latest releases. The fact that sometimes those reviews have been used in a way the site’s designers may not have originally intended isn’t a problem – it’s part of what got the site to where it is. While on a technical level this isn’t censorship and it certainly doesn’t violate any laws, many people will be looking at it as a petty, small-minded, and unfair reaction, and it has the potential to damage Metacritic’s standing in the long term.

What makes Metacritic so valuable to many people is that it collates and averages out review scores. It’s like the RealClearPolitics average of opinion polls in the political sphere; one poll may be an outlier, but aggregate dozens together and you get a closer picture of what’s happening. Metacritic does the same with reviews. Reading a single review from one publication or one user may not provide a fully-rounded look at a title. Reviews vary, with different reviewers holding differing opinions on a title’s merits and faults. Metacritic presents itself as a wholly neutral space where its readers can see that rounded picture they’re often looking for. Anything that detracts from that sense of objectivity damages the site, and any opening for people to accuse it of bias and censorship undermines its entire existence, which is built on being a neutral space.

Metacritic is valued in the entertainment world for the same reason as RealClearPolitics is valued in the political realm.

Populism is a concept in politics that has gained traction in recent years. It pits the “people” against the “elite”, and generally speaking, anyone – be they an individual or an organisation – that can successfully claim to speak for the people against the elite can be quite successful. In contrast, being accused of being elitist can be catastrophic if the accusation sticks. By seeming to prioritise the opinions of professional critics over those of amateur reviewers, Metacritic opens itself not only to accusations of bias and censorship, but also of elitism. At a politically-charged moment, where people-power is manifest in myriad forms, the one thing nobody wants to be seen as is elitist. By preventing users from writing reviews during the most crucial hours of a game’s life, Metacritic is as the very least being a gatekeeper.

Reviews from professionals, many will argue, are no less problematic than those from amateurs and Metacritic’s own users. Accusations of paid reviews abound, and while I don’t think it’s ever been successfully proven that a professional critic was flat-out bribed to write a positive review, there are certainly perks for writing positively – and there can be drawbacks for writing negatively. Several critics have spoken out about how they were pressured into writing positive reviews by threats of revoked access to future titles. Being denied a pre-release review copy of a game can be a huge problem for professionals – without access they can’t write or publish their reviews until after a game has released, at which point interest rapidly falls away. A title like, for example, Assassin’s Creed Odyssey can easily take over fifty hours to complete, meaning a post-release review could be published at the very earliest three days after the game launched – assuming the reviewer did nothing else but play and write. Even in those three days, interest drops, clicks on a website drop, and of course advertising revenue drops as a result. In short, being denied access to pre-release review copies can be very costly – and games companies know this, and are known to use it to their advantage.

There are other perks games companies can use too, such as paying for critics to attend big “events” promoting a game, where they’ll be wined and dined as well as shown off a working copy of part of the game in its best possible light. I wrote recently about such an event that I attended while working for a large games company. I’ve seen for myself the lengths some were willing to go to to market their latest titles. These events don’t come cheap, and often the objective is to provide critics with a positive impression of the company – so that when a review copy of the latest game comes around, opinions will soften. Thus we can see a “carrot-and-stick” approach: all-expenses-paid trips, freebies, and other expensive experiences offer a positive incentive to keep a company happy, while on the other hand the looming threat of revoked access (and no more freebies) actively threatens a critic’s livelihood and the profits of whatever organisation or publication they may represent. Some organisations become big enough that they may feel the latter doesn’t apply to them – but most aren’t in that category.

YouTuber Boogie2988 spoke about how some games companies use access in a video on this very topic.

So when it comes to gatekeeping and elitism, Metacritic has certainly opened itself up to a whirlwind of criticism – some of which may be easier to justify than the rest. But now let’s consider a different side of the argument.

What is review-bombing? Is it justified? If so, is it justified in all cases, and is it justified even from people who haven’t played the game?

At its simplest, a review bomb is a large number of usually negative reviews (though there can be positive review bombs too) targeting a specific title. Many review bombs are started for a specific reason, and those reasons may not always be related to what’s happening in the game. Some titles are review-bombed for reasons to do with their publisher or parent company, for example. In the case of Star Wars Battlefront II, it was the game’s lootboxes and microtransactions. Review bombs are a way for people to express their dissatisfaction with a title, and as we’ve recently discussed, people’s experiences are subjective. But review bombs can draw attention to an issue with a title, and it’s up to everyone to decide for themselves whether or not that issue is a problem.

Review bombs can be used to target titles which have all sorts of perceived issues – and sometimes those issues can be story-based or even related to the politics or tone of a title. Some of the criticism of The Last of Us Part II, for example, was anti-LGBT, as that game has several LGBT characters. Other games have been criticised for political themes, and of course many titles are criticised for story failures. The film Star Wars Episode VIII: The Last Jedi was review-bombed for its storytelling decisions, for example.

This leads to the next point – what is “valid” criticism? And who gets to be the arbiter of what does and does not constitute valid criticism?

Metacritic’s homepage.

If a user’s only criticism when they write a review is that a game was “too political” or that it “forced an LGBT agenda” on players, is that okay? We’re back to questions of freedom of speech – which doesn’t apply in a legal sense, of course – as well as what Metacritic is and how it’s perceived. If Metacritic wants to remain a neutral space where everyone can express their opinions on entertainment titles – no matter what those opinions may be – then it has to accept not only review bombing, but also single-issue reviews, irrelevant/off-topic reviews, and everything else shy of legally-defined hate speech. Failing to do so will result in accusations of bias and censorship, which is exactly what we’re seeing in light of this decision. On a personal level I don’t agree with criticising a title for having an LGBT character, nor with many other reasons people have chosen to criticise titles over the years. But I’m just one person with one opinion, and in a way the whole point of the internet in general – and Metacritic specifically – has been to provide people with all kinds of opinions a space to express themselves.

Some critics have suggested that in some cases, users participating in review bombs haven’t even played the game in question, and are simply piling on. They say that this undermines the site’s user score and makes it problematic. To that my answer is: “so?” Metacritic invited users to review the latest titles. There have never been qualifications or criteria imposed on those reviews – and that means sometimes people will review something they don’t know a lot about. That’s people for ya… this is the internet, after all. The problem is that there’s no real way to prevent that – either people are free to write a review or they aren’t. And when Metacritic has for years shown itself off as a public space where anyone can submit a review, revoking that right, even for a short time, undermines the entire concept.

On a much bigger scale, Facebook and Twitter have taken a lot of flak over the last few years for their stances on “fake news”. Both sites claim to be spaces where people can gather together to discuss anything and everything, and both have become important for politicians too, many of whom now campaign using social media (especially during the coronavirus pandemic). But both sites have had issues as a result, with politicians of all stripes calling them out for “fake news” and “censorship” depending on whether a decision went in their favour or against them. And it comes down to a deceptively simple question – with huge websites like this that have a lot of power to shape opinion, who gets to be the judge of what opinions are allowed and prohibited? Metacritic, and the entertainment-based issues we’re dealing with along with it, may not be as life-changing as some of the political decisions taken by Twitter and Facebook, but it’s all in the same wheelhouse. Perhaps we’ve just traded one group of censors for another.

Who gets to be the judge of who can and cannot write a review or share an opinion?

Metacritic has to decide what it wants to be. Is it a public forum where anyone can review the latest titles? Is it an aggregator of critical opinion – and if so, is that exclusively professionals’ opinions? Or is Metacritic itself going to step into the discussion and decide who can review a title, and perhaps even what their review can and cannot say? This isn’t the site’s first rodeo. In the past they’ve been accused of deleting negative reviews during review-bombing campaigns, and that alone means that they’re not wholly neutral. By opting to further restrict user reviews, particularly in a game’s most important hours on sale and during which many purchase decisions are made, Metacritic is inflating the value of professional opinions and removing what has been for many people an important factor in researching a game and deciding whether or not to make a purchase. Time will tell if the decision is met with a sigh and a shrug, or whether it will have lasting consequences for the website.

I don’t think it’s fair to accuse Metacritic of “censoring” opinion. Because this decision applies to positive as well as negative reviews, that case is impossible to make. But what it will do is make professionals’ voices louder, as in the absence of amateur opinions theirs will be the only ones available. To me, that seems anti-consumer. While it’s true that some reviews can be off-topic, with players taking out their frustrations on a game for reasons I may not agree with, review bombs are a legitimate form of protest, and one of the few ways people can band together to express their opinions. Occasionally they may even prompt a response from game publishers and developers, as we saw in the case of Battlefront II in 2018. Review-bombing wasn’t the only tactic used by irate gamers, but it was a factor. If we’d only been left with critic reviews at that time, we wouldn’t have known the extent of the game’s microtransaction and lootbox issues – in that sense, the torrent of negative reviews saved many people from buying a game they would not have enjoyed, and contributed to a wider backlash that ultimately forced Electronic Arts to scale back the in-game monetisation. The scale of that backlash may even lead to legislative reform to tackle in-game gambling – an issue I covered recently.

Metacritic has built a reputation as a neutral space that collates opinion rather than steps in to provide its own. Many people find that valuable – far more so than the opinions of a lone reviewer or one publication. It isn’t wholly unique, as there are other websites which aim to do something similar, but as one of the largest such sites on the web, many people rely on Metacritic for an unvarnished opinion of the latest titles. Taking steps away from that may seem justified, but in the long run will only undermine the site’s unique selling point. If too many people become dissatisfied and decamp to another site that offers what Metacritic used to, the site will disappear like MySpace did as Facebook rose to prominence. In fact, Metacritic would do well to learn from failed websites like MySpace – the lesson is that in the digital world, things can happen quickly. A fall can be just as fast as a rise, and when you’re dependent on crowds, you better keep the crowd satisfied, because there’s a whole web full of up-and-comers and smaller sites who will poach your users if you don’t treat them properly.

An example of a game whose Metascore and user score are slightly different.

From the moment Metacritic opened itself to amateur reviews, review bombs and other practices its owners may disapprove of were inevitable. They lost the opportunity to be an active participant and an arbiter of content when they positioned themselves as a neutral space offering as close to objectivity as it’s possible to get. It’s too late to change now; Metacritic can no longer insert itself into the discussion without losing the very thing that draws people to it in the first place. Sacrificing its unique selling point may solve the problem of review bombs – but it risks everything the site has tried to build in the process.

People have the right to an opinion, and to express that opinion somewhere for others to see. Metacritic doesn’t have to be that space; it’s a private company and it can do what it wants with its own slice of the worldwide web. But having appeared for a long time to be that public forum, and having made a name for itself and attracted millions of users on that basis, it will be impossible for the site to step away from that role without drowning in criticism. It’s absolutely true that not all reviews are equal or equally relevant, but it has to be up to readers to decide for themselves what they think. If a game has glowing critic reviews and negative user reviews, instead of just looking at the number out of ten, taking a few minutes to read some of those reviews on both sides of the debate will be at the very least informative. And that’s where we stand – reading reviews is just as important as writing them. By taking one group of reviews away – even for a short time – Metacritic is saying to its readers that it doesn’t trust them to form their own opinions. It feels they’re too stupid or too lazy to properly understand what’s being said. It ranks professionals’ opinions higher than everyone else’s, and will push them on its readers as much as possible. I don’t think either of those things are wise.

While the move to delay reviews may seem minor, in some ways it really isn’t. Not only does it block amateur reviewers who want to make their voices heard, it does a disservice to Metacritic’s audience – the readers who rely on the site being independent and neutral. It’s also elitist at a time when the public’s tolerance for elitism is at an all-time low. And finally, it undermines what Metacritic says it wants to be and how it positions itself as a somewhat unique offering on the web.

Is it censorship to limit reviews? No. Does that mean it’s a good idea? Definitely not.

All titles mentioned above are the copyright of their respective companies, developers, publishers, etc. This article contains the thoughts and opinions of one person only and is not intended to cause any offence.

Let’s Play Jedi: Fallen Order – Part 10

Spoiler Warning: There will be spoilers ahead for Star Wars Jedi: Fallen Order and for other iterations of the Star Wars franchise.

This section was a long one, even by my standards, so I hope you’ve got a drink at the ready as we could be here for a little while! Last time we left Cal and the gang on Kashyyyk, having determined that the next destination was Dathomir. Cal had defeated the Ninth Sister, befriended a shyyyo bird I named Buckbeak, and after listening to another recording of Master Cordova, had made it back to the Mantis. Upon loading into the game, Cal was standing outside the ship and got a couple of lines of dialogue from Cere and Greez, mostly just discussing the situation on Kashyyyk. At the galaxy map I was all ready to set course for Dathomir when Greez suggested we backtrack to Zeffo – he thought there might be some loot worth getting in the wreckage of the crashed ship. Despite wanting to get on with the story, the return to Bogano last time proved very fruitful so I decided to go along with it.

The view from the cockpit of the Mantis as Cal leaves Kashyyyk behind.

The flight to Zeffo was uneventful, and after landing at the usual spot, Cal spoke to Cere and Greez again. It turned out that Cere had once been a Jedi seeker – using her skills to locate Force-sensitives for the Jedi Order. Teaching Trilla what she knew led to the latter becoming a particularly successful Jedi-hunter. Cal headed in what I hoped was the direction of the Venator’s wreckage. At one point I got turned around in the ice caves, and it took a little while to find my way out. Another duo of bounty hunters beset Cal near the entrance to the first tomb, and this was another tough fight.

Taking on a bounty droid on Zeffo.

I didn’t go back into the tomb; I’m not even sure if the tombs were still accessible, but even if they were there’s no point. Eventually Cal made it to the wreckage of the Venator-class ship, and to be fair there was a lot we hadn’t explored here. Last time Cal basically looked over about 10% of the ship en route to the Imperial excavation site, and after escaping Trilla and the tomb was captured by the bounty hunters, precluding a return to the crashed ship. This time, I ignored the route that led to the dig site and proceeded deeper into the wrecked ship. The ship is sitting in a large body of water, and now able to dive below the surface, Cal found a hidden chest. An ice slide then led further into the ship, seemingly through one of its engines. The ship still had some power – during the slide Cal had to avoid some dangerous-looking electrical columns and vents.

Sliding into the Venator wreck.

Inside the wreck, Cal spoke briefly to BD-1 about his earlier life. As a Jedi padawan he lived aboard a Venator-class ship with Master Tapal; demolishing them as a scrapyard worker on Bracca was hard for him. There were several Force echoes amongst the wreckage, telling the story of a Jedi Master and her apprentice who were attacked and killed during Order 66. Cal eventually found their remains.

Exploring the wreckage.

Also in the wreck were a number of troopers, including a Purge trooper. Once again, I have no idea how the troopers got to be in the parts of the level where they were. For Cal to get there took a lot of climbing, swimming, swinging, and using Force powers, so it kind of makes no sense that Stormtroopers would be able to be in these hidden areas in my opinion. There was another bounty hunter to fight in the wreck too, and I’m increasingly convinced that the bounty hunter attacks are not scripted and their locations are random. As usual I found the bounty hunter fight difficult, but was eventually able to prevail.

Cal defeats the bounty hunter.

The reward for half an hour’s worth of exploration was meagre – a few customisation options, which were mostly lightsaber parts, and a single new stim for BD-1. Additional stim-packs are useful, there’s no denying that. But Zeffo is a large level and the Venator wreck took time to navigate; I was hoping for something more, I suppose. After collecting the stim-pack upgrade there was also the matter of making a safe return to the Mantis which was all the way on the other side of the level.

BD-1 receives another stim-pack. He can now carry six.

While exiting the Venator wreck I spotted a smaller area off to the side of the main crash site that I also explored. Inside was a holo-recording of a Clone Trooper commander, and another bounty hunter to fight. These guys definitely have it out for Cal! This section was thankfully smaller and took less time to explore, but also contained nothing of value. A couple of Force echoes added to the story of the Jedi Master and padawan, but that was it. I headed back to the Mantis via the ice caves as I remembered that there was a cable-car in there.

The recording of the Clone Trooper.

Aside from one annoying puzzle which involved moving a box, wall-running, and jumping to cross a gap, the Venator wreck was an easy enough level. And it was a nice change of scenery from Jedi: Fallen Order’s previous levels, as well as being somewhat reminiscent of Rey’s exploration of the wrecked Star Destroyer on Jakku in The Force Awakens. After backtracking through the ice caves and fending off a few more Stormtroopers, Cal made it back to the Mantis. Cere piped up, suggesting another diversion back to Bogano, but as I’m fairly confident I got everything worth having last time I decided to ignore her and go to Dathomir this time. I was itching to continue the story – even if I wasn’t excited at the prospect of battling those Night Brothers again!

The Mantis lands on Dathomir.

After landing, Cal spoke to Greez and Cere. Greez was frightened of Dathomir and insisted on staying aboard the ship, but Cere was standing just outside. Greez told Cal to go easy on Cere following the revelation about Trilla, and in this conversation dropped a nice little easter egg about a “castle on Takodana” that makes great cocktails – a reference to Maz Kanata from the sequel trilogy. Outside the ship I spotted a rock formation that I hadn’t seen last time – it looked like it could be a shortcut into the level but there was no way to climb it. Before heading off to get back to the crumbling bridge that thwarted Cal’s first attempt to explore Dathomir, Cere wanted to chat. She basically warned Cal to be careful, and in an optional conversation they spoke about Cal healing his connection to the Force. Despite their differences, Cere appears in this moment to care for Cal and act as his mentor.

Cere and Cal speak outside the Mantis.

The path through Dathomir to the bridge was familiar to me after having spent time here earlier in the game. After that debacle, I was half-hoping that the double-bladed lightsaber upgrade Cal acquired on that trip would prove itself useful at some point. Unfortunately it didn’t; aside from a single special move that Cal could learn (throwing the double-bladed weapon around him in a wide circle) it seems to make no difference, and Cal could have stuck with using the single-bladed variant. That first visit to Dathomir was thus a complete waste of time, and detracts from what has otherwise been a decent story. The wanderer Cal met last time is still standing on the bridge in the same spot, and it’s as if no time has passed at all. As I said previously, I’m happy with a linear game that requires me to take a specific path. Jedi: Fallen Order is clearly this kind of game. But with that being the case, the game should not have presented itself as one with optional routes – pretending to offer player choice where none exists is clearly an attempt to mimic more open titles (like the older Knights of the Old Republic games as well as modern open-world ones) but without the substance to back it up. Instead of Dathomir feeling like an intimidating place to visit at this point in the game, it ended up feeling like yet another backtrack, and the first part of the level’s layout was very familiar as I’d spent a lot of time scouting it out looking for a way across the bridge.

Remember this meditation spot?

I had unlocked a couple of shortcuts on my first visit to Dathomir, and it only took a few minutes to get back to the bridge. The wanderer was still there, but as we’d exhausted the conversation options last time, he had nothing left to say to Cal. Double-jumping across the gap that halted his progress last time led to Cal being confronted by three Night Brother archers, and after taking them out a cut-scene triggered which saw another Night Brother attack a wooden platform on the bridge, sending it and Cal crashing down. This next sliding section has to be the worst in the game so far, and seems to have a major glitch or bug. A short slide after the cut-scene ends with Cal needing to double-jump across a gap to continue sliding, but for some reason this jump proved impossible. No matter how many times I tried, aiming Cal was impossible. He’d end up leaping off to one side, and the rare time he didn’t the double-jump wasn’t enough to clear the gap. At one point Cal even got stuck on a branch above the slide, unable to move or progress further.

Unable to clear the gap despite double-jumping.
Stuck in the scenery above the slide.

This slide was way harder than it needed to be. And the double-jump feature is to blame – for some reason, what was happening was that Cal would jump up from the slide and immediately double-jump, despite the fact that I was only pressing the button once. This meant he lacked the momentum to clear the gap in the slide, and pressing the button a second time did nothing as the game believed he had already double-jumped. I tried switching over to the keyboard and mouse input, but the same issue occurred. I quit the game and re-loaded my save file, but the issue persisted. I was eventually able to clear the gap and continue down the slide, but it took over thirty attempts. Luckily, as I’d seen while stuck in the scenery, there was a meditation spot near the bottom of the slide. After checkpointing, I was tempted to take a break after all the fuss with that stupid slide, but I decided to press on as I was curious to see more of the story and we hadn’t actually done anything of consequence on Dathomir yet. Around the next corner and through a gap in the wall, the Night Sister who confronted Cal last time was back.

The Night Sister.

The Night Sister reminds me of Visas Marr from Knights of the Old Republic II, something about the hooded robes and mysterious Force abilities, I think. But that’s incidental. She is furious at Cal, as she believes it was the Jedi who attacked her people (as I think we covered last time, I think this was something included in the Clone Wars television series, but I haven’t seen it). She said she wants to exact revenge for the attack, and used her Force-magic to raise a number of zombified Night Sisters to attack Cal.

A Night Sister zombie.

These Night Sister zombies weren’t hard to defeat one-on-one, but as is often the case with zombies in video games – and in the wider genre of zombie fiction – en masse they were much harder opponents. The Night Sister is able to raise several at a time, and over the next section of the level Cal would be beset by multiple groups of these non-sentient enemies. Despite the fact that the game’s databank describes them as “mummified”, they absolutely behave like typical fast-moving zombies, so that’s what I’m calling them.

A closer look at a zombie.

This section of the game, as Cal tackled the lower levels of Dathomir, felt once again like the game was being padded out. Nothing in this area contributed to the story; there were no major puzzles and only one boss fight. Cal’s journey across the game has had several of these moments – detours which neither added to his personal story nor the overall story of the game. The entire objective of this section – which probably took a good hour to complete – was to get back to the section of the bridge where Cal fell and thus access the tomb. While it was at least a new, unexplored area and one that didn’t involve a lot of backtracking, it wasn’t particularly interesting, and the enemy types thrown at Cal were the same two Night Brothers – the melee and archer variants – and the zombified Night Sisters.

The lower levels of Dathomir.

I mentioned a boss fight, and this was a big one. Earlier, Cal had spotted a large creature flying around, and after progressing as far as possible through the lower levels, eventually ended up facing a room that was very clearly a “boss fight arena”. It even had a meditation spot directly preceding it! On the far wall was a dead Night Brother and what looked like a section Cal would be able to climb. While investigating, the winged monster Cal had spotted earlier arrived – this must be its nest. The fight was difficult as the monster had a number of moves at its disposal, including unblockable attacks and a screech that could temporarily stop Cal from moving. It could also fly quickly from one side of the arena to the other, and its size meant its attacks had a broad range, making them hard to dodge.

The large monster during the boss battle.

The creature – which I thought resembled a giant owl – was hard to take down. Eventually, when its health bar was around three-quarters depleted, it fled the area and Cal thought he’d won. He’s clearly not a gamer, because if he was he’d know that the monster was sure to be back! The Night Brother that Cal had begun to examine before being interrupted turned out to have special gloves that made it easier to climb walls – but only walls with a certain pattern, of course. Cal was thus able to climb out of the arena and on to the next part of the level. I found these gloves worked very well, but at several points there were glitches where Cal was able to use them to climb invisible walls. One time this led to getting stuck in the scenery and I had to again quit the game and re-load my save.

Climbing on thin air.

The monster did eventually come back, and in a scripted sequence grabbed Cal and took off flying through the air. This section saw Cal and the monster fight in the air, with Cal having to jump onto its back several times – these moments required split-second timing and perfect accuracy, neither of which are my speciality, so this section took multiple tries! Eventually the monster and Cal crashed back to the ground, and the monster was finally dead. As an aside, I often find myself feeling sorry for creatures like this in games – it was just minding its own business when Cal showed up, after all. It’s for this reason that I was never interested in games like Monster Hunter World – I just don’t want to harass and kill monsters for no reason!

Cal diving toward the winged monster.

With the boss defeated, this section didn’t have much more to offer. Cal had to make his way back up to the surface, and some Night Brothers stood in the way, as did a long, winding, and complicated route. There were a couple of Force echoes which seemed to imply that the wanderer had crash-landed here in a ship and was taken prisoner by the Night Brothers. There were also a couple of customisation options in chests.

A Night Brother.

At one point Cal entered what was described as the Night Brothers’ village. This section contained another slide – thankfully an easier one than the one that led here from the surface – and a number of enemies to battle. Presumably being a Night Brother is more fun than it first appears if the way around their village is by slide. Cal was finally making his way up, back toward the surface, when he had a very ominous conversation with Cere on the radio. Apparently Greez, who has locked himself aboard the Mantis, insisted he’s seen something or someone snooping around the ship. This wasn’t an optional conversation; it triggered automatically as Cal made his way through the level. I was sure that this would lead to consequences later! In a chest in this area I unlocked another paint job for the Mantis. Despite enjoying its yellow design, I chose to apply this mostly-black variant just for a change of pace.

The Mantis in its new colour scheme.

The climb up from the Night Brother village overlooked the Mantis, as you can see from the screenshot above. But this was still a long way from where Cal needed to be, and I was beginning to get frustrated with this incredibly long detour. Fortunately, however, Cal did eventually make it back around the level, unlocking a shortcut back down to the lower level (as if I’m going back there on purpose) in the process.

Cal during the climb back to the bridge.

Back at the bridge, the wanderer was gone and the three Night Brother archers had respawned. Defeating them was not particularly difficult, but one of them fired an unblockable shot that, because of where I was standing in that moment, knocked Cal off the bridge and back onto the glitchy slide. Well there was no way I was going through all that again, and after failing to jump back up to the bridge, I re-loaded the game for the third time in this session. Luckily there was a checkpoint in the area just before the bridge – but I’d loaded in here three times now, and the same three Night Brothers appeared each time as the game always loads the same enemies in the same areas. I wondered to myself how many darn times I’d have to complete this one fight! This time I made it across the bridge without falling and to my surprise there were no enemies in the area. It was a straight shot from here to the entrance to the tomb.

Finally made it to the tomb entrance.

There were two paths available, one which led directly to the tomb and one off to the side. Off to the side was only a chest, and after picking up another customisation piece I headed into the tomb. To my surprise, there was nothing in here. In a large room, Cal walked to the back where there was a wall or door that contained carvings – these looked like the Zeffo script we’d seen elsewhere. But as Cal “interacted” with the wall, nothing seemed to happen.

Cal and BD-1 examine the Zeffo tomb.

An audio log from Master Cordova provided a little more information – the Night Sisters allowed him to access the tomb, which he described as hidden and secluded, but he felt it was a dark place. Checking the holomap confirmed that this door was blocked, and with nothing else to see inside the room I turned to leave. There was a meditation spot right by the blocked doorway – strangely I hadn’t seen it on the way in. I decided to make use of it before heading outside to see what I’d missed, though Cal didn’t have any points to use. However, exiting the meditation spot didn’t bring me back to the tomb – it was another flashback of Cal in his youth!

This is what I saw immediately after exiting the meditation menu.

I absolutely love the way this was done. Jedi: Fallen Order has used one of its most basic features – the checkpoint-save – to pull a complete surprise on players. As Cal knelt down to meditate I had no inkling of what was about to transpire! When I got over the initial shock, however, it seemed obvious that in a place of darkness, Cal was going to see a very dark vision – could this be the day of Order 66? Unlike previous flashbacks, where Cal was in a bland grey training room, he first appeared in a cabin aboard a ship, and curiously I could see what looked like a Jedi holocron (just like the one we’re chasing) on one of the beds.

Is this object in Cal’s cabin a holocron?

Where previous flashbacks had been fairly short, designed to show Cal a new skill (or rather, to re-learn an old one), this section was long. It also contained the first difficult puzzle since arriving on Dathomir – in the training room Cal had to use all of his skills from wall-running to double-jumping to get from the ground to Master Tapal’s location in a room high above. And my goodness was this just the dumbest puzzle! It wasn’t bad per se, it was just not at all obvious where to go at one point. Cal had to jump from a floating platform and hang onto part of the wall of the room, but the wall was grey and the hand-hold was also grey, meaning it wasn’t obvious where to jump or what to aim for when Cal reached that point. The jumps between platforms and especially at the wall-running section were also right on the limit of Cal’s abilities, meaning each jump had to be timed perfectly to avoid Cal falling to the floor and having to repeat the whole obstacle course. On the plus side, I got a taste of what it must be like to be a Jedi padawan… suffice to say I would’ve failed padawan school.

The training room.

After eventually completing this obstacle course, Cal arrived in the upper room where Master Tapal was waiting. Here it was revealed that they’ve been on or in orbit of Bracca for some time – presumably why Cal went there during or after Order 66. Bracca had been secured – presumably from forces loyal to General Grievous and the separatists – and the ship was getting ready to move to another destination. However, the Clone Trooper in the room received new orders, and we heard the familiar line from Revenge of the Sith: “Execute Order 66”.

The Clone Trooper and Master Tapal.

Despite being momentarily overwhelmed by sensing the deaths of many Jedi through the Force, Master Tapal was able to defeat the lone trooper. He encouraged a frightened Cal to make his way to the escape pods, promising to rendezvous there after taking care of business. The next section of the game saw Cal make that journey, and he had to fight Clones who had been his friend moments earlier.

Cal with Master Tapal.

The Clones were no harder to defeat than Stormtroopers; despite being young in this sequence, Cal was armed with a lightsaber (blue this time) and just as capable of standing up against the troopers as he has been in the rest of the game. Making it through the ship was thus not an issue from a gameplay point of view – in fact I expected Cal’s youth, and the lack of BD-1 to carry stims – to make it harder than it was.

A Clone Trooper firing at Cal.

A particularly cool sequence saw Master Tapal take out a whole squadron of Clones in a corridor below Cal, who was using the ship’s Jefferies tubes to avoid detection en route to the escape pods. Escaping the ship, while it posed no real challenge from a gameplay perspective, was one of the most tense and exciting in the game so far. It really felt as though Cal had mere moments to get away from the ship and the violent Clones, and his own shock at was happening came through in the animation and voice performance perfectly. At one point Cal had to climb through a turbolift shaft and lost his lightsaber – this explains why he uses Master Tapal’s saber instead of his own.

Cal loses his lightsaber.

Upon reaching the escape pods, we saw Cal witness his Master’s death. A squadron of troopers blasted away at Master Tapal, and though Cal was able to open the escape pod and help him inside, it was too late and he died in Cal’s arms. His last words to Cal were to wait for a signal from the Jedi Council – despite everything that transpired, Master Tapal still had hope that some Jedi would survive and be able to help Cal. The escape pod launched, and Master Tapal had his revenge as the ship exploded – this is perhaps why we see an exploding Venator-class ship on the game’s title screen.

Master Tapal’s final moments.

The escape pod was presumably bound for Bracca, or else ended up there shortly after, as we know the ship was in that system. How Cal came to hide out, where he landed, and other questions are unanswered, but perhaps we’ll learn more later in the game. However, none of that really matters – this moment is the heart of Cal’s backstory. Order 66 led to the death of his Master, and he feels a great sense of guilt. Not only survivor’s guilt, but that he couldn’t do anything to save him, that he wasn’t quick enough or skilled enough. As the flashback ended, a new vision began. In a dark, shadowy arena, Master Tapal confronted a fully-grown Cal, saying that it was his fault he died, and that he was weak and a traitor. Cal duelled the vision of Tapal, and unfortunately this serious moment was somewhat spoilt by a silly visual glitch – Master Tapal’s head seemed to twist unnaturally.

The glitch affecting Master Tapal.

The duel between them was short; I expected a boss battle but it was really just a couple of blows. As Cal struck his Master with his lightsaber a cut-scene triggered. Cal plunged his blade into Tapal, who says that his blood is on Cal’s hands, as it always had been. This is a representation of Cal’s feelings of guilt, amplified by the dark side of the Force – or at least that’s how I interpreted this vision.

Killing Master Tapal in a dark vision.

Snapping out of the vision, Cal realised in the real world that he’d been holding his lightsaber tightly – and crushed the crystal inside in his hands. The weapon was now broken; regular button-pressing wouldn’t activate it. With no way into the tomb, and now unarmed and unable to defend himself, a dejected Cal left the tomb. The wanderer was waiting outside, and revealed himself to be a former Jedi. Just as I was wondering how I’d be able to fight him with no weapon, the Night Sister appeared.

The wanderer revealed.

The wanderer – whose real name is Taron Malicos – seemed to be armed with two lightsabers. Either that or he has a very ornate belt buckle! I wondered if Cal would be able to steal one or might even be given one, but it turns out that years on Dathomir have turned Malicos to the dark side. He even controls at least one faction of Night Brothers. He attempted to recruit Cal into whatever cult he has going on, which angered the Night Sister as she believed all Jedi need to die as punishment for the attack on her coven. After a brief conversation, the Night Sister raised another group of undead, and the race was on for Cal to make it back to the Mantis!

The Night Sister uses her magic.

I didn’t see what happened to Malicos in all the confusion. He may have escaped – and it seems like, from a story point of view at least, Cal will still have to deal with him somehow. My immediate concern, however, was that Cal was unarmed and now being pursued by the largest group of zombies seen so far. These zombies can jump, meaning crossing the bridge provided no safety. More zombies appeared as Cal raced back through the level, barking at Greez and Cere to prepare the Mantis for takeoff. The ramp I spotted before was a shortcut – and I was able to utilise it to return to the Mantis with the zombies in hot pursuit!

The escape from Dathomir.

Cal made it back to the ship in one piece, and though a number of zombies tried to climb aboard, Greez was able to take off and flee the planet. Cere and Cal sat down for a heartfelt conversation, as Cal revealed his broken lightsaber to her. Cal was sure he could have saved Master Tapal – all the guilt he’s felt for years came spilling out. Cere responded by telling Cal that she cut herself off from the Force because in order to escape the Empire she gave in to the dark side. The pull of the dark side is something every Jedi will have to deal with, she says. Learning about the holocron snapped her out of her rage and anger at the Empire and at herself – providing her with hope that there could be a brighter future.

A dejected and defeated Cal aboard the Mantis.

What will happen next is unclear. The Mantis flew to a snowy location that I initially thought may be Zeffo, but now I’m sure is not, and after landing Cere told Cal it was time to build himself a new lightsaber. She offered him her own, and he took it. This planet may be some kind of Jedi training ground – Cere was a former Jedi seeker, after all. After landing on the snowbound planet, I checkpointed my progress and stepped away from the game.

The Mantis lands on the snowy world.

So this was a very long session, with some quite frustrating points but a great story. Jedi: Fallen Order has taken Cal – and me along with him – on a rollercoaster ride so far. Conquering his fears and guilt seem to be the key to entering the tomb – but first Cal will need to rebuild his broken weapon. Hopefully the Zeffo Astrium will be worthwhile when he finally gets it. I’m assuming that won’t be our final visit to Dathomir. Not only does Cal need to access the tomb, but both the Night Sister and Malicos need to be confronted to conclude that section of the story satisfactorily.

Join me next time and we’ll see what happens next – and where we are!

Star Wars Jedi: Fallen Order is out now on PC, Xbox One, and PlayStation 4. Star Wars Jedi: Fallen Order is the copyright of Respawn Entertainment and Electronic Arts. The Star Wars franchise is the copyright of Lucasfilm and Disney. This article contains the thoughts and opinions of one person only and is not intended to cause any offence.

Let’s Play Jedi: Fallen Order – Part 9

Spoiler Warning: There will be spoilers ahead for Star Wars Jedi: Fallen Order and for other iterations of the Star Wars franchise. There is also a spoiler for Game of Thrones Season 8.

Welcome back to Jedi: Fallen Order. After avoiding the Second Sister’s forces on Zeffo, and escaping imprisonment by a gang of gambling-obsessed bounty hunters, Cal and the gang got a lead on the location of Wookie chieftain Tarfful. I was all set to head back to Kashyyyk when Cere suggested a return to Bogano in search of hidden caches of supplies. At the end of the last part of this playthrough, we had just landed on Bogano, so that’s where we’ll pick up now.

Cal and the Stinger Mantis at the landing zone. The spire in the background is the vault we’re trying to access.

I haven’t exactly been wild about Jedi: Fallen Order’s style of sending me back-and-forth between the same levels. Returning to a previously-visited level is fine for completionists who have to unlock every last item, but generally speaking I’m here for the story. However, the chance to acquire some new loot was enticing enough to convince me to backtrack, and I’m very glad I did. After landing, Cal spoke with both Greez and Cere – these were basically continuations of the chats he had with them last time. Cere expressed her regret at not telling Cal about Trilla and her past with the Empire sooner. Greez had a line that I found interesting: Cere is the one “paying the bills” for their expedition; he’s literally just a hired pilot, though they have become friends. This raised a question for me that may be wholly irrelevant, but I can’t help wonder where Cere got the funds for all this star-hopping. Though the economy of the Star Wars galaxy has always been suitably ambiguous, Cere must be reasonably wealthy to be able to afford to keep hiring Greez and the Mantis. Yet as an ex-Jedi and fugitive from the Empire, where did she get her money?

Cal and Greez chat near the Mantis.

At the landing site there was a ramp that led down into a small chamber. Inside was a little fox-like creature; Cal rescued it and it will now have a home aboard the Mantis. Also in this area was another sphere-and-socket puzzle, which upon completion opened up an area containing a chest. We’d found one of these chests during our first visit to Zeffo, and inside was an upgrade for BD-1, allowing him to carry one more stim (health pack). This alone made the trip worthwhile, and after thinking I wasn’t going to spend much time here in my rush to get to Kashyyyk, I was suitably buoyed by gaining an extra stim to revisit more of Bogano in the hopes of finding more loot!

BD-1 acquires an extra stim-pack.

Outside of this area were a few more of the fox-creatures, but the hostile enemies that we encountered on Bogano the first time all seemed to have vanished. I used the holomap to try to scout out unexplored areas and places where previously-blocked paths were now accessible. In what had presumably been Master Cordova’s camp – where Cal met BD-1 for the first time – was a surprise, though! A large droid was waiting for Cal, and seemed to speak with a human voice as if being controlled remotely. After defeating it, it turned out to be affiliated with the bounty hunter collective that Cal escaped last time. This felt like a bad sign: was Cal being hunted by two groups now?

The bounty droid.

After collecting a couple of lightsaber components, Cal faced off against another large monster. We fought one of these after exiting the vault on Bogano the first time, and more recently in the bounty hunter’s arena. It was a tough fight, but Cal received a great reward – another new poncho. This one is my favourite: it’s pink! Unless he later finds one covered in sequins or rhinestones I doubt I’ll be changing outfits for the rest of the game. Cal looks like a pretty princess.

Cal’s pretty new outfit.

There were a couple of other things to see on Bogano; at one point Cal and Cere spoke on the radio about her time as Master Cordova’s apprentice. They enjoyed playing holo-chess together, which was a cute little story adding to Cere’s background. There was one final unexplored area left, and to my great surprise when I got there I found another chest with a stim upgrade. This means BD-1 can now carry five stims as opposed to the two he was equipped with at the start of the game. This obviously helps a lot, as a couple of times Cal has run out of stims during particularly difficult sections. After retrieving this second stim I was content that I’d picked up as many of the supplies as I was going to find, so back at the Mantis I set course for Kashyyyk.

Cal and the gang on the bridge of the Stinger Mantis.

I wasn’t sure what to expect on Kashyyyk. Mari – the resistance fighter Cal befriended last time – had said the Empire’s counter-attack led to them taking back control of the facility we attacked last time. It always felt like the resistance was fighting that kind of engagement; expecting them to keep control of an Imperial facility didn’t seem feasible. However, their situation appears grim. With Saw Gerrera having retreated away from Kashyyyk, it wasn’t clear who would still be there, or even where the Mantis would be able to land. As it turned out, the Mantis was able to land at the same Imperial landing pad as last time – though given the Empire is now in full control of this area, I’m not exactly sure how or why that was possible other than “because it’s a game”. As I said before about Zeffo, given that we’re going to be taking a different route this time and exploring a different area away from the Imperial base, I’d have preferred to see the Mantis pick a new landing zone. Splitting Kashyyyk and Zeffo into two wholly separate levels for the two visits Cal had to make to each would have gone some way to making these sections feel less repetitive and less like backtracking.

The fox-creature Cal found on Bogano now lives aboard the Mantis!

There were no enemies to fight at the landing pad, and though both Cere and Greez were stood outside the ship, neither had anything to say. Presumably we’d used up their dialogue on the jaunt to Bogano. There was evidence of a battle on the landing pad, as Cal sensed a Force echo from a discarded resistance fighter’s helmet. Trilla had been here in search of Cal, and had killed the resistance fighter while looking for him. Cal felt very guilty at unleashing the Jedi-hunters on these resistance fighters; while they would have had a hard time holding out against the Empire, they were no match for Trilla and her Purge troopers.

The dead resistance soldier’s helmet.

Also at the landing pad were Mirienna and Choyyssyk – Mirienna was the woman from Zeffo who Cal met; her husband had been killed by the Empire. Choyyssk was a Wookie who Cal freed from the prison; he was the one who set up the meeting with Tarfful, the chieftain we’re here to meet. Tarfful wasn’t here, though, he was at a rendezvous point in Kashyyyk’s Shadowlands. After a brief chat in which Mirienna revealed she too is leaving the planet, Cal wished them well and headed out. I was excited at the prospect of heading into the Shadowlands. I mentioned this area on our last visit to Kashyyyk as I’d played through it in Knights of the Old Republic. Compared to that game, the presentation of Kashyyyk in Jedi: Fallen Order was quite different; less like a massive forest with kilometres-tall trees and more like a dense jungle. However, all that was about to change!

Cal with Mirienna and Choyyssyk at the landing zone.

A cable-car took Cal to the Imperial facility’s rooftop, where last time we’d defeated the AT-ST and listened to Saw Gerrera’s speech. From here, the only way forward was to take an elevator into the facility and find a way out into the forest from there. I had a bad feeling about the elevator – last time Cal rode one the doors opened to reveal Trilla! And this time was almost as bad: Cal arrived in the Imperial facility only be confronted by two bounty hunters. This was one of the hardest fights so far in Jedi: Fallen Order for me. Both bounty hunters had a variety of weapons and stun-gadgets at their disposal, including flashbang grenades which turned the screen white, blinding Cal temporarily. However, after focusing on one opponent at a time (and using a couple of stim-packs) Cal was able to defeat one of them, before a well-timed use of Force push sent the second falling to his death. Thank goodness for enemies who choose to fight on ledges and platforms!

The two bounty hunters.

I can’t tell if the bounty hunters are always in this location, or whether their appearances are somewhat random. However, one thing is clear – having encountered the droid on Bogano and now these two, the bounty hunter guild is hunting Cal. Surprisingly this wasn’t mentioned at all; I wondered whether Cal might’ve told Greez what had happened, but he never did. After this fight there were several Stormtroopers and a Purge trooper to defeat, before BD-1 was able to take down a forcefield allowing Cal to exit the base and head into the forest.

The way out of the Imperial base.

After exiting the base, Kashyyyk finally started to take on a similar feel to how I remembered it from Knights of the Old Republic in the early 2000s. At points, Jedi: Fallen Order’s Kashyyyk Shadowlands felt like a visually-improved version of the level from the older game, and I absolutely adored the nostalgia trip of exploring this dangerous forest floor. Gone were most of the jungle elements that Cal saw on the route to the Imperial base last time, replaced with a dense forest. I have no doubt Kashyyyk’s wroshyr trees are based on California’s giant redwoods, and while I’ve never seen those for myself I’ve seen photos and at least one documentary! A short distance from the base were several Stormtroopers armed with rocket launchers in a treehouse-platform, and credit to the game’s designers here because the platform looked just like the ones seen in Revenge of the Sith. Yoda was in such a treehouse when Order 66 occurred.

The treehouse.

From here a zipline led deeper into the forest, and there were a variety of animal and plant(!) enemies to battle. Tarfful sure picked an out-of-the-way location for a meeting! But that makes sense as he wouldn’t have wanted to get any closer to the Imperial base than necessary. There was a Force echo in this area which showed Saw and Mari arguing – believing Kashyyyk lost, Saw has withdrawn as we already knew. But Mari insisted on staying behind to help the Wookies in their resistance to the Empire. I’m still hopeful Saw will reappear in the game, as Cal’s story with him doesn’t feel complete. This section contained several giant venus fly trap-like plants, which are more than big enough to eat Cal! Luckily there’s a couple of seconds between stepping on one and it snapping shut, which is enough time in most cases to jump off before having a problem.

A jaw plant.

After battling a few more troopers, Cal was able to advance deeper into the forest. Another Force echo saw Cal learn about the resistance’s retreat from the Imperial base; at one point they were overrun and a number of soldiers were killed. After climbing through a cave, Cal dropped down into a body of water called Origin Lake, and was getting closer to Tarfful – whose rendezvous location was marked on the holomap.

Cal learns the fate of many of the resistance soldiers.

There was another Purge trooper to battle in this area as well as the standard troopers and monsters, and Cal had some swimming to do to get out of the lake. Climbing up eventually led to a couple of vines, and after swinging across like a fabulously pink Tarzan, Cal made it to the meeting with Tarfful. For some reason Choyyssyk was there too, having apparently raced there from the landing pad. Having a companion during this section of the game could have been interesting, and it could have been fun for Choyyssyk and Cal to journey through Kashyyyk together. The meeting itself was a complete let-down, as Tarfful basically says that he once told Master Cordova to climb a large tree – the Origin Tree. And that was it. No big reveal or useful information, and the conversation with Tarfful and Mari was over in a couple of minutes. At least there was a reason for Cal to head to his next objective, though; you’ll recall my complaining several times at the game dumping objectives and map markers on Cal with no explanation given!

Tarfful and Mari at the rendezvous.

I was really expecting something more substantial from Tarfful, especially after all the buildup to meeting him. Even if he’d still given Cal the same basic information and quest, the conversation at the meeting could have been so much more than it was. It wasn’t even a cut-scene, as Cal stood there stoically while Mari translated Tarfful’s Wookie growls. Mari gave Cal a breather – the device used by Qui-Gon and Obi-Wan in The Phantom Menace – to allow him to breathe underwater, as the way in to the Origin Tree will require a lot of swimming. As an aside, Electronic Arts, who published Jedi: Fallen Order, have an online store/game launcher called Origin. Is it just a coincidence that the Origin Tree and Origin Lake share its name? Probably. An optional extra chat with Mari revealed that before taking up arms against the Empire she was a cartographer, making maps of backwater planets. Little moments like this go a long way to humanising characters and making them feel like real people. While I expect we’ve seen the last of Mari, this moment was sweet and it showed how the rise of the Empire affected people across the galaxy.

Getting the breather from Mari.

After the anticlimactic rendezvous, Cal set off in search of the tree. Equipped with the breather, he can now dive underwater and seemingly spend as long under the surface as he likes. Swimming is something many games struggle to get right, and unfortunately some of the same issues that have plagued other titles are present in Jedi: Fallen Order. I’ve already spoken several times about the game’s relatively clunky controls, and in a three-dimensional underwater environment, Cal controls like a drunk hippopotamus. It was very difficult to get him to navigate even the widest of caves and openings, and the fact that Kashyyyk’s murky water doesn’t allow for great visibility when swimming made these sections of the game frustrating to play at points. However, there were several chests underwater which contained various lightsaber parts, which was nice. And for the second time while playing Jedi: Fallen Order I got a Super Mario 64 flashback – opening the chests while underwater felt so much like it does in that game to me!

An underwater chest. Note the limited visibility.

Surprisingly – and thankfully, given how tricky it was – the swimming sections contained no underwater monsters or aggressive piranha-like fish to fight off or escape from, and after uncovering a couple of chests, Cal made his way to the next area of the level, which was presumably the base of the Origin Tree (though nothing appeared in-game to confirm this). There were Stormtroopers in the area as well as plenty of monsters; the large spiders being perhaps the most difficult to fight as they could immobilise Cal with their webs (think what happened to Frodo in Lord of the Rings!)

Caught in a spider’s web.

The ascent was slow-going in places, and I debated taking a break. But there were no meditation spots in the vicinity, and I wasn’t keen to have to start all over again from the bottom. By the way, how many games in recent years have this kind of old-school “checkpoint” system instead of letting players save their progress on the fly? Though I’ve never played the Dark Souls series, I think this is something those games brought back as a way to increase the difficulty, and it’s something Jedi: Fallen Order mimics. It definitely has the desired effect, and while the ability to freely save would be nice, I can’t criticise the game for sticking to this model. Cal did eventually make it to the point the holomap was sending him to.

Approaching the objective marker.

This turned into an ambush, however, as the Ninth Sister – another Inquisitor who we briefly saw on Bracca – appeared in her ship! I thought she was going to jump down and duel with Cal, but she remained aboard and started blasting at him, triggering a long sliding sequence as he escaped. This was particularly annoying, as the sliding sections have difficult controls and require perfectly-timed button presses and perfect aiming to complete jumps and avoid Cal falling to his death. This was even worse than the ice slide on Zeffo and took many attempts to get right. At one point Cal was propelled through the air by several well-placed bouncy plant-things (I know that’s a horrible description, sorry) in a sequence that reminded me of the barrel-cannons from the Donkey Kong Country games. The Ninth Sister’s ship was eventually taken down by one of Kashyyyk’s huge animals, though it seemed clear that wouldn’t be the end of her.

Sliding to escape the Ninth Sister.

Luckily there was a meditation spot shortly after the sliding section, which I took advantage of. I opted to improve Cal’s Force push ability; it will now affect groups of enemies, provided they’re standing close enough to one another. This has the potential to be very useful, as I’ve found Force push to be one of my most frequently-used powers during combat. As Cal had slid back down to the forest floor, it seemed as though he’d have to climb back up the Origin Tree to find whatever he was looking for up there, but it wasn’t long after he began the climb that he had a flashback to his time training under Master Tapal. This time Cal was able to learn the “Jedi flip” that he needed to get across that bridge on Dathomir, and after the flashback was over, Cal states that he’s finally re-learned the skills Master Tapal had taught him; he’s “back to where he was” before Order 66 and the rise of the Empire brought his Jedi training – and the whole Jedi Order – to an abrupt end. As previously mentioned, the Jedi flip is basically a double jump, allowing Cal to cross wider gaps and stay in the air longer.

Learning to double jump in a flashback.

Re-learning these skills means that Cal unlocks more upgrades when meditating, but of course having just used the only two skill points he had on the Force push upgrade, the next meditation spot was only used to checkpoint my progress climbing up the Origin Tree. A Force echo showed Cal that Master Cordova had been this way – so at least we were on the right track! There was also a Clone Wars/prequel era ship that had crashed partway up the tree, prompting Cal to talk about how the war on Kashyyyk never truly ended, and how the last few years have been rough for the planet and its people.

Cal on his way up the Origin Tree.

The creature that had taken out the Ninth Sister’s ship was back. I hadn’t really seen it clearly earlier, but it turned out to be a large bird with strangely translucent wings – a shyyyo bird. The fight against the ship had injured it, and Cal found it laying down partway up the tree feeling sorry for itself. Like something from an old fable, Cal was able to remove a piece of debris from its wing and heal it with a stim-pack, becoming fast friends with the creature in the process.

Healing the shyyyo bird.

The bird was grateful for Cal’s help, and flew away from the area where it had been resting. There was another chest in this area that unlocked a different colour scheme for the Mantis, but I like its yellow “space banana” hue so I didn’t apply the new one this time. The shyyyo bird was waiting for Cal, and in the most wholesome and adorable cut-scene it let him climb on its back and flew him higher up the Origin Tree. This scene was reminiscent of the final sequence in the film version of Harry Potter and the Prisoner of Azkaban, where Harry soars through the sky on Buckbeak the hippogriff!

Flying high on the shyyyo bird.

I was in love with the shyyyo bird – and very worried that it was going to be shot out of the sky like Rhaegal the dragon had been near the end of Game of Thrones’ final season! As you may remember I’m easily swayed by cute animals in films and games, and despite its gigantic size, the shyyyo bird definitely qualifies. After the cut-scene Cal dismounted, and the shyyyo bird left. This area was fairly small and contained the remains of Master Cordova’s camp, as well as a workbench. I took this opportunity to customise Cal’s lightsaber once again – you know I like to play with the various customisation options, and we’d unlocked half a dozen or more lightsaber options since the last time I was at a workbench.

The shyyyo bird coming in for landing.

Thanks to the shyyyo bird, Cal was exactly where he needed to be. Just beyond the area with the workbench, BD-1 played the next recording from Master Cordova. When he passed this way he was able to acquire a Zeffo Astrium – the macguffin Cal is chasing that he hopes is the key to accessing the vault on Bogano.

Master Cordova found a Zeffo Astrium here.

Unfortunately the Zeffo Astrium that was here is long gone – Master Cordova will have taken it with him, but who knows where it ended up. However, he gives Cal his next destination – Dathomir contains another Astrium, but this one is trapped in a tomb that Master Cordova described as being “dark”. Surely this means the dark side of the Force, though what exactly Cal will find when he heads back is unclear. Master Cordova had tried to find the Astrium on Dathomir without success; Cal must now accomplish what a seasoned Jedi Master could not. A tough task indeed.

Cal learns where he must go next.

Immediately beyond the area where the recording played was a meditation spot. Then the shyyyo bird returned to fly Cal back down the tree. However, after landing the Ninth Sister’s ship was back and shot the poor bird! It looked like the end for the shyyyo – which was pretty devastating – and then the Ninth Sister herself jumped down for a duel with Cal. And she’s a big lass.

The Ninth Sister. She’s chunky.

Apparently the Second Sister (Trilla) considers Cal to be “important”, though the Ninth Sister can’t figure out why. She’s content to just cut Cal down, and after a brief conversation in which Cal tells her she will no longer be able to terrorise Kashyyyk, the combatants draw their lightsabers – the Ninth Sister’s has a handguard like Trilla’s – and engage in a difficult duel. While the fight against the Ninth Sister was hard, I actually found the battle against the bounty hunters earlier to be trickier. The Ninth Sister has a few tricks up her sleeve, but nothing as bad as paralysing weapons or flashbangs.

Preparing to duel.

The fight went on for a little while, as Cal had to frequently dodge and parry the Ninth Sister’s powerful attacks. At several points the game would jump into a quick-time event, where mashing the X or B button was required to stop one of the Ninth Sister’s strikes. However, after persevering and striking at her whenever possible, Cal gained the upper hand and ground down her health bar.

One of the quick-time events.

Eventually Cal was able to damage the Ninth Sister’s helmet and – in true Star Wars style – eventually cut off the hand she used to hold her weapon. Despite this she tried to continue the fight, but a final strike from Cal sent her over the edge of the platform. Did she fall to her death? Unclear. Cal definitely believes that this was the end of her, but without seeing a dead body I’m not 100% convinced! Star Wars villains have a tendency to pop back up, and I wouldn’t be shocked if the Ninth Sister makes a return.

The Ninth Sister loses her hand.

Regardless, the Ninth Sister’s demise ended the duel, and Cal stood for a moment in shocked silence at having beaten a full-fledged Inquisitor. While wounded, the Ninth Sister told him something interesting – she used to be a Jedi! Like Cere, she was captured and tortured by the Empire, and while Cal still hasn’t fully forgiven Cere for not telling him everything about Trilla and the mission, he now has a better understanding of what she must’ve been through. Despite the way it was presented, I must admit I find this a little ominous; if the Ninth Sister and Trilla were both converted, and we know that Cere used the dark side too in that moment, is she really someone Cal can trust? The shyyyo bird – Buckbeak, as I’m calling it – survived the Ninth Sister’s attack and returned to fly Cal back down the tree.

Buckbeak is alive!

After disembarking and bidding farewell to Buckbeak, Cal headed back to the Imperial base, which wasn’t too far from where he’d been dropped off. The troopers had all respawned, but it wasn’t too hard to cut through them and make my way back into the base.

Force push sent this rocket trooper falling to his death.

I was worried that the bounty hunters would have respawned too, but aside from a lone Purge trooper, there were only regular Stormtroopers to worry about as Cal made his way back to the Mantis. En route Cal found the body of a Wookie near an empty tank, and a Force echo over his or her corpse led Cal to realise that the tanks of brown liquid were a toxic byproduct of the Empire’s refinery on Kashyyyk – this would have been great to know on our first visit to Kashyyyk as it would have explained why Cal instantly died if he touched the liquid. But never mind, at least now we know! It wasn’t too difficult to get back to the cable-car, and from there it was a short ride back to the Mantis.

Cal boards the Mantis.

Despite the fact that the Empire is in full control of this area, neither Greez nor Cere seem particularly bothered or on alert. The Mantis is sat on an Imperial landing pad – presumably illegally – and after what happened on Zeffo I have to assume that the Empire knows Cal is using the vessel. Could they be ignoring it on purpose to track it? That’s one possibility. Greez and Cere were sitting down to eat lunch, and Cal joined them to explain what had happened. Neither seemed especially impressed at his defeating the Ninth Sister, but he informed them of their new destination – Dathomir.

Lunchtime aboard the Mantis… despite being in hostile territory!

Cere apologised again for the business with Trilla, but Cal tells her – in a rather standoffish manner – that it’s okay. After his duel with the Ninth Sister he has a better understanding of what it must’ve been like, and was impressed that she didn’t end up joining the Inquisitors even if she sacrificed Trilla. Though there’s still tension between the two of them, they have at least arrived at an understanding, or at least that’s the way it seems for now. When the lunchtime conversation was over, I used the Mantis’ meditation spot to checkpoint my progress before taking a break.

Cal has a well-deserved drink back aboard the Mantis.

So this part of the game was pretty good. The Tarfful scene, which had a lot of buildup, was kind of a miss for me, but I absolutely adored soaring high above Kashyyyk on Buckbeak the shyyyo bird, and returning to a massively-upgraded version of the Shadowlands that I remembered from Knights of the Old Republic was a nostalgic treat. Cal accomplished his mission and seems to have possibly defeated the Ninth Sister to boot, which if true is great news. The Mantis has a new destination – albeit a planet we’ve already visited – so it’s next stop Dathomir! Come back next time when we’ll confront the darkness in search of a Zeffo Astrium.

Star Wars Jedi: Fallen Order is out now on PC, Xbox One, and PlayStation 4. Star Wars Jedi: Fallen Order is the copyright of Respawn Entertainment and Electronic Arts. The Star Wars franchise is the copyright of Lucasfilm and Disney. This article contains the thoughts and opinions of one person only and is not intended to cause any offence.

Let’s Play Jedi: Fallen Order – Part 8

Spoiler Warning: There are spoilers ahead for Star Wars Jedi: Fallen Order as well as for other iterations of the Star Wars franchise.

Welcome back to the next part of Jedi: Fallen Order. The previous section of the game was absolutely wild as Cal returned to Zeffo. Exploring an Imperial base, a crashed Republic ship from the Clone Wars/prequel era, and an excavation site culminated in a duel against the Second Sister – and a shocking revelation about her past with Cere! That moment might be my favourite in the story so far, providing a great twist and raising the stakes dramatically. When we left Cal he’d escaped the Second Sister – who had seemed to be on the cusp of defeating him – and made it to the second Zeffo tomb.

The entrance to the tomb.

Before we go inside, I just wanted to update you on one point from last time. I mentioned the game’s title screen depicts a damaged starship – having looked at it a little more closely I’m wondering whether it’s a Venator-class ship, like the crashed one on Zeffo. If so, it may be a representation of that very ship! Perhaps there’s more to the crashed ship than we know so far. On his approach to the tomb – which looks to be a whole building constructed inside a large cavern – Cal gets another “bad feeling”. His last one was building up to the fight against Trilla, so this can’t be anything good! At this point it felt like Cal’s real objective was to escape; exploring the tomb was incidental as he tried to make his way back to the Stinger Mantis. After all, if Trilla knew he was on Zeffo, she might know about Greez, Cere, and the ship too.

The tomb.

Cal made an attempt to radio the Mantis, but instead of Greez or Cere it was Trilla who replied! She explained that Cere is an expert at hacking comms, and she learned the skill from her. I liked this exchange, as not only did it set up Trilla taunting Cal during his exploration of the tomb, but it had a believable explanation as to why she could do so, as well as giving some background as to why Cere was able to hack Imperial communications so easily earlier in the game. This section of the game, similarly to the first tomb, will involve a lot of platforming and puzzles, and the way in was no exception, as Cal had to jump, run on walls, and swing on vines to make his way inside.

Swinging on a vine near the way in.

Squeezing through a narrow gap led Cal to a room where a couple of Stormtroopers had triggered a Tomb Guardian – the laser-wielding mechanical golems left behind by the Zeffo. The troopers were easy prey for the automaton, but here’s where I began to have an issue with the level’s layout and how it related to the story. Jedi: Fallen Order has a great story – one of the better Star Wars offerings in recent years – yet it’s too often undermined by sacrificing logic and consistency for the sake of giving the player more enemies to fight. This tomb, for example, has multiple areas that are blocked off behind walls that Cal needs to break with the Force, or small platforms that need to be accessed via complicated jumps and climbs, yet the whole place is crawling with Stormtroopers. How did they get there? In some areas, perhaps it makes sense that they came in via a dropship, as indeed we’ll see. But other areas are wholly inaccessible. This room could only be accessed by the narrow passage, yet it had two Stormtroopers inside, for example. Of course Jedi: Fallen Order is a game, and games need enemies to battle a lot of the time. But I’d rather see that done in a way that made a bit more sense.

Cal approaches the Tomb Guardian.

Beyond the Tomb Guardian was a large room. Similar to the previous tomb, this one had a divot in the floor – one of those huge metal spheres lay broken a few metres away. Great… another one of these puzzles! The previous tomb had been at least slightly annoying with its “put the sphere in the hole” puzzles, and I wasn’t exactly thrilled at the prospect of repeating that all over again. However, there was no intact sphere at ground level to interact with, so I kept exploring. At this point I encountered another visual bug, as Cal climbed on a pile of debris in the middle of the room and seemed to levitate in mid-air, his feet nowhere near what he should have been walking on.

Cal appears to levitate.

A room off to one side of this large circular chamber prompted an audio recording from Master Cordova – apparently the tomb has some areas that can be magnetised, which he says may be part of an ancient ritual. This was interesting, and of course will be important for puzzle-solving later. However, this room also contained something which had no explanation at all – an ongoing theme in Jedi: Fallen Order. A staircase is blocked by some vines or tree roots, and Cal’s lightsaber and Force powers have no effect on them. As a concept that’s fine – it means Cal will need to figure out a way to destroy or get around them. But… why was there no explanation at all of what these vines were? Even if something had popped up in the databank to read that would have been enough, yet there was nothing. An arbitrary video game barrier/puzzle piece dumped in Cal’s path with no explanation. There have been too many points where the game has not offered any explanation for what’s going on, these roots or vines are just the latest example. Cal is a Jedi armed with a lightsaber – weapons which can cut through almost anything. I feel these vines needed some kind of explanation – even a single line of dialogue – to explain why they’re lightsaber-proof.

Cal after defeating the vines.

The vines (as I’ll stick to calling them) can only be destroyed by fire, as it turns out. And luckily this tomb has a neverending supply of what are described as candles but which I’d probably say were closer in appearance to old-fashioned oil lamps. Activating a switch in this room caused three of these to shoot across the room – propelled by the magnets in the wall – and set the vines ablaze. The unlocked pathway led up a staircase to the upper level, and there was a meditation spot (but Cal didn’t have any skill points to use). A doorway led into a hallway that contained an inactive Tomb Guardian – I’m used to these things waking up when they spot Cal, so I’m not sure why this one didn’t; it just stood there silently. Another doorway led to the upper level of the main circular chamber, where a number of Stormtroopers were present. These were easily taken care of.

A Scout trooper commander falls to his death after Cal used Force push.

Trilla came back on the radio, telling Cal that her men found an “artefact” of interest in the tomb. They recovered it for her to study, but Cal tells her he doesn’t need it in a conversation that got uncomfortably close to Cal telling her the nature of his mission with BD-1! Trilla knows how to push his buttons, that’s for sure. A few moments later she was back on the radio, threatening Cal with sending more soldiers into the tomb. At this point it began to feel as though Cal was trapped – or walking into a trap. However, with the way behind him shut (and presumably under heavy guard) the only way to escape was to continue to go forward. After climbing up and defeating a couple of larger monsters, there seemed to be two routes – one across a bridge where a squad of troopers stood, and one that seemed to go into a smaller room. As someone who likes to explore as much of a level as possible (as well as grab more customisation items) I chose to explore the small room – but this led to a series of pathways that took me deeper into the level; I saw the bridge in the distance when I’d gone a fair way beyond it!

The bridge I accidentally bypassed.

The next area of the level was a large chamber. Switches activated another of the magnets that Master Cordova talked about; these platforms would have to be moved forward and back a few times to allow Cal to cross over to the next part of the level. Several troopers – including a Purge trooper – were present in this area. Shortly after Cal arrived, an Imperial dropship appeared. At first I thought it was going to be a boss to fight, like the AT-STs had been, but it only dropped off some troopers before departing.

The dropship in the large cavern.

One part of the magnet-platform puzzle was very annoying, as it required pressing a switch then immediately sprinting to grab hold of the platform before it moved. Split-second button presses aren’t exactly my area of expertise, but to make matters worse, both buttons that needed to be pressed on the controller were the thumbsticks! The right thumbstick is used as an “interact” button for things like switches, and the left thumbstick needs to be clicked before Cal will sprint. Needless to say, this puzzle took several attempts. The level’s lone flame trooper was present in this area, but easily defeated. Cal pressed on into the tomb, when Trilla came back on the radio. She said Cal was too late – she’d taken the important artefact to her ship and was leaving. At this point I was worried that the level had been secretly timed and I’d have to do it all over again! Luckily that wasn’t the case, and I have to assume that no matter how fast Cal might’ve raced through the tomb, this conversation would always play out the same way.

Climbing around this section of the tomb.

After a lot more platforming and a few more enemies, Cal made it to the room indicated on the holomap. A meditation spot was here, which I took advantage of as Cal had lost some health. There were a couple of options to choose from for levelling up, and I put Cal’s lone skill point into an upgrade to his Force regeneration – granting him faster recovery of Force points while in combat. Like a bad smell, Trilla was back again – this time claiming to have lured Cal to the central burial chamber to “dispose” of him. There were a number of troopers on a platform up ahead, but it didn’t seem like an impossibly hard fight. However, partway through the battle the dropship from earlier showed up and started blasting!

The dropship gave Imperial ground troops reinforcements before activating its weapons.

The battle transitioned from gameplay to a cut-scene perfectly smoothly once again. The dropship’s firing had caused the chains holding up this platform to break, sending Cal and the troopers falling into the pit below! Cal dropped his lightsaber and seemed to be reaching out with the Force to grab hold of it when he heard Master Jaro Tapal’s voice. In the flashback that followed, we saw a young Cal learning to use the Force to pull his training lightsaber toward him, with Master Tapal’s encouragement. Drawing on this memory, Cal re-learned Force pull, and was able to retrieve his lightsaber.

Master Tapal teaching Cal in a flashback.

Cal found himself hanging from the platform in the tomb, and using Force pull on one of the candles was able to destroy some of those indestructible vines to clear a path out of the burial chamber. Trilla immediately learned of Cal’s survival, and said she had a backup plan in case the trap failed to kill him. But as we’ll see on the way out, the backup plan basically consisted of sending a few more troopers into the tomb. The only way out was back the way I’d come, as was the case in the first tomb. Jedi: Fallen Order has a lot of backtracking and repeating areas, and while some of these sections bring in different opponents or new puzzles, sometimes it can feel repetitive, and as I mentioned last time, as if the game’s runtime is being artificially padded out.

The only way to damage these vines is with fire… for some reason.

Upon escaping the burial chamber and returning to the large main part of the cavern, Cal was confronted with a fairly large group of enemies. In typical video game fashion they stood in a line down a wide corridor, and while I don’t hate that as a concept – though it’s hardly original or particularly immersive – what was annoying is that at the back, behind a cadre of Stormtroopers and probe droids, was a Tomb Guardian just standing there. Elsewhere in the tomb, the Tomb Guardians had fought Stormtroopers, yet this one seemed to be allied with them waiting for Cal. It would have made way more sense to make the mini-boss at the head of this group a Purge trooper instead of a Tomb Guardian. The whole effect kind of ruined my suspension of disbelief for a moment, and made the whole thing feel very much like any old video game instead of the immersive Star Wars story I wanted to enjoy.

The Imperial force with a Tomb Guardian at the rear makes no sense… they should be fighting each other.

From a gameplay point of view this section was fine; the wide hallway had a couple of bottomless pits that Cal could send troopers tumbling into with his new Force pull ability, which was kind of fun. After defeating the various enemies, Cal was back in the main circular room, and in another random objective given to him with no explanation, was tasked with “raising the spire” of the tomb. Once again I’m left asking how Cal knew he needed to do that, where he got the information from, and all of the questions we’ve already covered when one of these seemingly-important parts of the story is unceremoniously plopped on Cal with no explanation. A line or two of dialogue – or even just an entry in the game’s databank – would have made this so much better. This puzzle was particularly annoying. Cal needed to move a chain – using Force pull – into a socket. That part should be simple, but for some reason when Cal was holding the chain, the camera became locked at a weird low angle, making it impossible to see where to go. I thought this was a bug unique to this area, but this chain-to-socket puzzle would be repeated later and the camera was locked then too.

This camera angle made the puzzle frustrating, and there was no need for it.

It took a little while to figure out what to do next. The objective was to move one of the candles in the wall over to a chain which has vines wrapped around it – this will cause the chain to break and the sphere in the ceiling to fall. The sphere can then be moved into the socket on the ground floor. But the tomb is wet and there are torrents of water gushing from the ceiling – the candles are extinguished if they touch it. I spent ages messing about in a side room getting a candle through a small gap only to find that route was a dead end that only led to a Force echo! Eventually I figured out the solution – there was a magnet switch on one side of the room, and the casings of the candles are metal, meaning they’re attracted to it. It was a simple case of activate magnet, Force push a candle into the magnetised area, retrieve it, and then send it into the vines with Force push. Once again, Jedi: Fallen Order’s clunky controls let me down, and it took several attempts to launch the candle into the right place on the chain, but eventually I managed and the sphere fell to the floor. After Force pulling it into the socket, a room opened up.

Using the magnet-wall to move the candle during the puzzle section.

Entering the room which had risen up from the floor led to BD-1 to display a recording from Master Cordova. He talks about something called a “Zeffo Astrium” which Cal describes a a key. This object will allow a Force user to “perceive the mysteries of the vault”… whatever that may mean! Whatever it does exactly, this Astrium seems like the key to gaining the holocron stored in the vault on Bogano – perhaps it will allow Cal to see something else in that large empty room. This small room was also the way out of the tomb – the spire that needed to be raised.

Master Cordova’s latest recording.

Once back outside, Trilla told Cal that she wanted him to raise the spire, claiming it was all part of her plan. I thought her plan had been to trap Cal in the tomb and kill him, but there we go. Unable to contact Cere and Greez on the radio, Cal urgently said he needed to head back to the Stinger Mantis. Presumably the artefact Trilla pilfered from the tomb is this Astrium, but that wasn’t confirmed at any point. This section led back into the Imperial base, and on the way BD-1 received another upgrade, this time allowing him to hack into probe droids. Not sure how useful this will be in combat, unless there’s a particularly large group of enemies, but it may have other uses. I also took this opportunity at the workbench to change Cal’s lightsaber from its orange colour to green for no other reason than I fancied a change.

BD-1 receiving the upgrade.

Aside from the Scomp Link and the ability to climb zip-lines, BD-1’s upgrades appear to be optional. This workbench was along the main route back to the Mantis, but I think it would be possible to walk past it without getting the upgrade at this point. Perhaps that means it won’t be essential to the story. Back inside the Imperial base, and most of the troopers had respawned. Cal was able to defeat them, though, and backtracking through this area was uneventful.

Cal stands over a defeated Stormtrooper showing off his green lightsaber.

I’m not sure if you remember from our last excursion to Zeffo, or from earlier this time as I kind of blitzed through it to get to the story, but the way to access this part of the level from the Stinger Mantis involved one of those Super Mario 64 ice slides. Climbing back up that was a no-go, but there was an alternate path by jumping on rocky outcrops that overlooked the ice slide. It was a hop, skip, and a jump back to one of the shortcuts that led to the village.

Climbing the platforms next to the ice slide.

After jumping across the final gap near the top of the ice slide, I spotted the doorway leading to the shortcut. There might be a few more troopers en route, but other than that it seemed as though Cal was home free… until he was beset by a new enemy, someone named Atticus Rex. This vaguely Boba Fett-like character had a jetpack and a variety of weapons at his disposal. Regardless, Cal was doing well hacking away at him and using Force powers to wear his health down.

Atticus Rex firing at Cal.

I liked this moment, as the appearance of a new enemy from nowhere was a surprise. Jedi: Fallen Order has handled surprises very well, and as this is my first playthrough, I was expecting an uneventful backtrack through the level to see what was happening on the Mantis. This fight came out of nowhere and I like that! Despite Cal seeming to have the upper hand, the fight ended in a scripted moment where Atticus Rex used a gadget to render Cal unconscious…

The “reawaken” screen displayed after the fight.

Having only died a handful of times so far in Jedi: Fallen Order (not to brag, I’m playing on easy mode after all) I couldn’t remember if the screen displayed on Cal’s death said “reawaken” or something similar. However, after seeing it for a moment, it was clear that a cut-scene was playing. Cal woke up in a prison cell, unarmed, and missing BD-1.

Cal awakens in the bounty hunter prison.

It turns out Atticus Rex was a bounty hunter, and because of Greez’s gambling, the bounty hunter guild came to know about Cal. Earlier in the game during one of the flights between worlds, Cere reprimanded Greez for his gambling, and this moment is a consequence of what Greez did. I like this as a story point, and as we’ll see later, it has the potential to bring Cal and Greez closer together. But as a gameplay section, this prison was a complete dud. Rescuing BD-1 was easy, he was in another nearby cell. After that, Cal ascended to an upper level on an elevator, where he found himself in an arena. The chief bounty hunter or head of the guild pitted Cal against a variety of the game’s monsters while a crowd of spectators looked on and – presumably – bet whether Cal would win or lose. Almost all of the monsters encountered so far were present in the arena, and after defeating several waves, Atticus Rex returned for round 2. Rex was relatively easy to defeat, but before Cal could do anything else – like break out of the arena and take on the other bounty hunters, the Stinger Mantis arrived and rescued him. The whole section took about five minutes to complete from waking up in the cell to defeating the final boss, and as a result it just felt like something completely tacked-on.

The chief bounty hunter addresses Cal and the spectators.

I know I’ve complained about Jedi: Fallen Order reusing levels and sending Cal back through areas multiple times. And I stand by those criticisms, as they often feel like unnecessary padding. However, this new section managed to feel like unnecessary padding too – unless Cal’s escape and killing of Rex leads to some as yet unknown consequence, this sub-plot with the bounty hunters just didn’t do much of anything. It was a minor interruption to the story – and actually if anything it got in the way of Cal learning what happened to the Mantis on Zeffo and how Greez and Cere were able to escape the Empire. Overall, I feel it was kind of a waste of time, and particularly a waste of development resources put into such a short and unnecessary section of the game. I’m also not sure why Atticus Rex was given a name – he never spoke, and aside from his presence in two short fights appears to be dead and no longer a part of the story. It’s possible he might make a comeback later, but it doesn’t seem like it right now.

Cal escapes aboard the Mantis.

The one good thing to come out of this is that Cal and Greez got some genuine development in their relationship. We saw last time Cal thank Greez for his safe piloting, and this time it’s Greez who speaks up, expressing his regret that his gambling addiction put Cal in danger. Seeing the characters develop is a key part of any story, and this section – while bland and uninspired – did at least have a positive effect on Cal and Greez’s relationship.

Cal and Greez’s heartfelt conversation.

Speaking of interpersonal relationships, once safely aboard the Mantis, Cal jumped on Cere, telling her what happened with Trilla and asking her if Trilla’s accusations are true. Before they could really get stuck into what happened between Trilla and Cere, they were interrupted by the resistance fighters from Kashyyyk. Tarfful, the chief Cal needed to meet, has been located, but Saw Gerrera left the planet following an Imperial counter-attack. I’d hoped to get more time with Saw, but it may be that the first time on Kashyyyk was his only appearance; we’ll have to wait and see. With Tarfful found and no further information to go on, Cal plans to head to Kashyyyk.

The call from Kashyyyk.

When opening the galaxy map, however, Cere piped up and suggested that Master Cordova may have hidden supplies on Bogano, and says it could be worth a trip back there to take a look. This was presented as an option rather than something mandatory; Cal could have chosen to go straight to Kashyyyk. However, the thought of more loot – and perhaps more customisation options – was enough to entice me and I opted to to to Bogano. The Mantis dropped out of hyperspace and landed back in the same place as last time. Before ending this section of the playthrough, I used the Mantis’ meditation spot to use the skill points Cal had acquired – this time spending two skill points to further increase his maximum health.

Back on Bogano to search for hidden supplies.

So that’s all for this time. The tomb was partly interesting, partly frustrating. I liked that Trilla was able to hack Cal’s radio and be present throughout the exploration of the tomb, as it elevated the tension during that section of the game. From a story perspective, we’ve learned that we need to acquire a certain artefact – the Astrium – which may or may not be in the hands of Trilla. Perhaps the excursion to Kashyyyk will reveal a path to finding another one. Either way, it seems as though this artefact may be essential to gaining the holocron in the vault.

Next time we’ll take a second look at Bogano to see if we can find anything of use, and probably head to Kashyyyk too. So swing by then for the next part of the adventure!

Star Wars Jedi: Fallen Order is out now on PC, Xbox One, and PlayStation 4. Star Wars Jedi: Fallen Order is the copyright of Respawn Entertainment and Electronic Arts. The Star Wars franchise is the copyright of Lucasfilm and Disney. This article contains the thoughts and opinions of one person only and is not intended to cause any offence.

Let’s Play Jedi: Fallen Order – Part 7

Spoiler Warning: There are spoilers ahead for Star Wars Jedi: Fallen Order and for other iterations of the Star Wars franchise.

Oh my goodness! This section of Jedi: Fallen Order was tense, dramatic, and incredibly exciting. I’m having a great time with the game so far, and aside from getting to drive an AT-AT last time – which is now one of my all-time favourite experiences in any Star Wars video game – this might be the best section of the game so far. From a story perspective it was a wild ride! Last time we defeated an Imperial force – including another AT-ST – on Kashyyyk and freed a number of Wookies from slavery. However, the tribal leader Cal and Cere wanted to meet was nowhere to be found – though one of his friends promised to get in touch when they located him – and after Cere picked up an Imperial transmission regarding Project Auger, Cal and the gang were about to return to Zeffo.

Cal and Saw Gererra’s resistance fighters were victorious last time.

I haven’t talked about this before (because I hadn’t really noticed) but the game’s title screen depicts a ship that seems to be destroyed or severely damaged. I can’t tell exactly, but this looks to be some kind of Star Destroyer or similar Imperial craft. It clearly isn’t the Stinger Mantis, but I’m not 100% sure what it is. While I doubt it’s some kind of massive spoiler, I’m sure the title screen is depicting an image related to the game’s story.

The title screen shows a damaged or destroyed ship.

Before setting off I took a moment to look around the Stinger Mantis. There are a couple of doors which don’t open, as well as a ladder that looks like it leads to a second deck below the main one, and I’m curious if we’ll ever get to explore those other rooms and areas. I know I bring up Knights of the Old Republic a lot in these playthrough posts, but in that game the player’s ship – the Ebon Hawk – was able to be fully explored.

Two sealed doors aboard the Mantis.

The galaxy map offered Dathomir and Bogano as destinations, but I can’t see any point going to either of those at the moment. While the option still technically exists, Jedi: Fallen Order feels like it’s corralling me down a specific path. I don’t mind games with a linear story, but it seems as though Jedi: Fallen Order is trying to give itself the appearance of allowing more freedom of choice than it really has – in addition to the travel options we’ve seen a couple of optional conversations and a couple of conversations where dialogue choices pop up, yet none of these things really feel like they make a difference. The journey from Kashyyyk back to Zeffo was smooth; with the Empire on Cal’s tail I keep expecting the Stinger Mantis to come under attack, yet nothing transpired. The ship landed in the same spot as before, though this time Greez and Cere were standing around outside on the landing pad.

In its yellow colour scheme, the Stinger Mantis kind of looks like a giant space banana.

The defeated AT-ST was still on the landing pad – though not in the same place as before, but that’s probably just how the game works – so I assumed no one else had been here since the Mantis’ last visit. It isn’t very clear how much time has passed in-game – Cal was rescued from Bracca, and aside from getting some rest on the Mantis while en route to Bogano that first time, he hasn’t taken a break. That would seem to suggest the action has mostly taken place over one day, unless Cal spends hours at a time meditating at the meditation spots. It doesn’t really matter, I suppose. During a conversation with Cere on the landing pad, another dialogue option popped up. As mentioned, these don’t really do much as there’s no in-game reputation system nor relationships with characters to build up.

The dialogue options.

Last time I said that the return to Zeffo could be disappointing if there was a lot of backtracking and retreading old ground, and when I saw the Mantis approach the same landing zone I thought that seemed like a bad sign. Unfortunately I was right – in order to get to the new Imperial excavation site, Cal has to follow the same paths as on his first visit. Having previously opened up a couple of shortcuts some of this wasn’t so bad, but with most of the enemies (troopers and monsters) appearing in identical spots to last time, it feels like this back-and-forth planet-hopping that Jedi: Fallen Order has us engaged in is, at least in part, a way to pad the game’s runtime. I don’t think it would have been too difficult to break up Zeffo into two or more smaller levels – most of the same assets could be reused, but in such a way as each visit would feel unique and different, with the Mantis landing at different locations each time.

Taking a previously-unlocked shortcut.

While battling troopers en route to Cal’s destination, I encountered two more glitches. The first one was fairly minor – as a trooper climbed up onto a ledge he seemed for a few seconds to be standing on thin air on the wrong side of the ledge:

The floating trooper.

The second one was worse, however. Cal was engaged in a fight when all of a sudden the trooper disappeared through the floor, before shooting up a couple of seconds later way above Cal’s head in a weird kind of “rubber-band” effect. As I mentioned previously, Jedi: Fallen Order is less polished than I expected; even if these issues couldn’t be fixed before release, there have been months in which to release a patch.

The flying trooper.

Being back in the abandoned village, Cal was able to use Force push on that drawbridge we saw last time – the one with the red “aura” that I thought could be interacted with. Deploying the bridge provided an alternate (and slightly less time-consuming) route through the level. After retreading more old ground, including an ice slide, Cal had arrived at the spot on the map that he’d been pointed towards – a large Zeffo monument. This was an area we passed by last time, but armed with his new Force push, Cal was able to get inside.

The way in to the monument.

At several points in Jedi: Fallen Order so far, I’ve felt that an extra line or two of dialogue explaining what was happening would have gone a long way to filling in some gaps. The story is great – but at several points now, Cal seems to be doing things for no reason other than “game says so”. Inside the monument, the objective was declared complete and the holomap updated with a new location to reach – yet none of this was even mentioned. Was there supposed to be some dialogue here that didn’t trigger because of another bug? Why is Cal suddenly supposed to make his way to a crash site? The crash site wasn’t on the map until now – did Cal even know it existed five minutes ago? It wouldn’t have even needed a cut-scene, literally a couple of lines of dialogue could have played during gameplay explaining what was going on. As it is, Cal found a workbench to upgrade BD-1 further – this had slightly more explanation, as Cal at least acknowledged he’d found a part he could install in BD-1. Obviously BD-1’s new upgrade will come in handy momentarily, which is why Cal was pushed to go to this location – yet with no acknowledgement or explanation it feels so arbitrary and not like a natural moment in the story.

BD-1’s repaired scomp link was almost immediately put to use.

I had expected that entering this area would have marked the beginning of taking a wholly new path through Zeffo, yet after climbing a short way up and defeating a handful of troopers, Cal was back outside. A zip-line took him back to the same area as before, but at least there was a meditation spot; Cal had a skill point to spend, and I chose to allocate it to increasing his maximum Force points – allowing for more uses of Force powers while in combat. With BD-1’s Scomp Link repaired, the way in to the Imperial base that was sealed on our last visit to Zeffo was accessible. It wasn’t too far from the meditation spot, so Cal and BD-1 hot-footed it there and were able to enter the base with ease.

Cal deflects a blaster bolt inside the Imperial base.

After taking out a small group of troopers in the area immediately inside, I stopped to look around. There was an elevator that didn’t work – presumably another shortcut to unlock for later – a room that BD-1 could open with his new skill, and a staircase leading outside to an area that looked like it could be climbed. The room contained a Force echo – something about a lost artefact from the Imperial excavation – and another meditation spot, which I took advantage of to checkpoint my progress. Jedi: Fallen Order has really captured the aesthetic of Star Wars’ original trilogy perfectly, and though it’s a minor detail, I loved the look of the computer screens in this part of the Imperial base. They just seem so “Star Wars”, with their clunky ’70s design and retro-future graphics.

The screens inside the Imperial base.

After leaving this area, the only way to go was to climb up on a series of ledges. Cal worked his way up to the landing pad where we saw the Project Auger ship take off the last time we were on Zeffo, and after making it to the top, one of the large ice monsters we defeated in the caves was on the platform battling a group of troopers. Rather than jump in the middle and battle two kinds of enemy I left them to it and climbed around the outside. At one point there was another visual glitch, as Cal’s body clipped through a hanging hose or cable. After climbing onto the landing platform, there was only one way to go and that was back into the base. Immediately inside the door was another group of troopers, including a couple of the more difficult variants, but they were soon taken care of.

Ice Monster vs. Scout trooper – with Cal as a spectator!

This part of the base contained a few other troopers, and there were a couple of platforming sections and sections where Cal needed to use both of his Force powers (push and slow) in order to make it through. None of it was particularly challenging or noteworthy, until we encountered another Purge trooper! These are the specialist anti-Jedi troopers that are new to me and haven’t appeared in any other Star Wars games or films, but they didn’t debut in Jedi: Fallen Order; apparently they made their first appearance in a comic book series. The Purge trooper was a difficult mini-boss, but a well-timed use of Force push sent him falling to his demise from the bridge where he fought Cal.

The Purge trooper is defeated.

The area beyond the Purge trooper was uneventful and a door led Cal back outside. A short ice slide (these keep bringing up happy memories of Super Mario 64!) led to another meditation spot, and then we arrived at the crashed ship that had been unceremoniously dumped onto the holomap earlier. It was a Venator-class ship – the kind used by the Republic in the prequel films. The sight of the crashed ship, and seeing how massive in scale it is, was comparable to seeing Rey in the Star Destroyer on Jakku in The Force Awakens, and whether intentional or not, I liked that little tie between two different parts of the franchise. These ships are massive, and exploring it will take some time. A couple of monsters near the ship were easily dispatched, and then there was a sweet moment between Cal and Greez as Cal spotted a smaller crashed vessel. He told Greez he appreciated his piloting and how he always got him safely to the surface, and it was a very wholesome conversation between the two of them. Greez has been a little standoffish at times, and seeing the characters get closer together over the course of the story is great. Hopefully this doesn’t mean something horrible is about to happen to Greez!

Cal speaks to Greez on the radio.

Other than the monsters, the main enemies Cal encountered at the crashed starship were probe droids. These floating robots debuted in The Empire Strikes Back, where one was used to find the Rebel base on Hoth, and we also saw one briefly at the beginning of the game. They made the same noise that they did in the films, and I appreciated that! I speculated early on that the probe droid may have been how the Imperial Jedi-hunters were able to find Cal so quickly after his one brief moment of Force use, and I think that seeing them here and having Cal comment about being “watched” may not 100% confirm that theory – but it certainly lends it more credibility.

A probe droid near the crashed starship.

The probe droids are particularly annoying enemies. They fire standard blaster bolts at Cal, which can be reflected back, but when they become damaged they go into a kind of self-destruct mode and chase after Cal in a kamikaze attack. These proved difficult to outrun and dodge, and several exploding probe droids wounded Cal in this section.

Fighting probe droids in the wreckage.

Inside the wreckage, Cal found a Force echo. This one felt very ominous, as it seemed to show a Clone trooper who was aboard the ship being killed by someone with a lightsaber. This could, of course, be something that happened during Order 66 or even earlier, particularly as a Clone trooper was mentioned, but it could also mean there’s a Sith or other Force-using opponent somewhere. Whether they’re still in the wreckage – which has presumably been here for years – is unknown. Cal made his way down a couple of zip-lines, and at the bottom BD-1 received another upgrade – this time allowing him to climb up zip-lines, opening up different areas and allowing for backtracking. This area contained two of the K2SO-type droids, which I find to be among Jedi: Fallen Order’s most difficult enemies. Taking on two at once was a challenge; Cal ended up needing to use a stim-pack.

The defeated droids.

Another Purge trooper was at the excavation site, and this fight was another tough one. These troopers are great at blocking and dodging, and often have unblockable attacks. These mean an instant button-press is required to dodge, and that can be difficult for me to get right! Occasionally, Jedi: Fallen Order shows what I guess I’d call a “finishing move” when Cal defeats an opponent. These stylised death-blows often involve acrobatic jumps or throws, killing an opponent in style – like something you might see in an old-school fighting game! I was finally able to capture one of these using the game’s photo mode, and I think it looks pretty darn cool!

Cal defeats the Purge trooper.

This next section involved a fair amount of platforming as Cal had to jump, climb, swim, and run along the cavern walls to get further and further into the dig site. There were no troopers along the way, which was very eerie! On the way here in the cable-car, Cal said to BD-1 that he had a bad feeling about what he was going to find here, and the music in this area was perfect. It was incredibly tense and ramped up the apprehension. After arriving at a meditation spot, I wasn’t sure where to go next. There was a zip-line, but Cal couldn’t reach it, and there was a locked door. Eventually I found an elevator, and after stepping inside it began to descend. When it reached its destination the doors hissed open only to reveal… the Second Sister!

The Second Sister on Zeffo.

I knew Cal had a bad feeling about this second leg of his journey on Zeffo, but the fact that it was the Second Sister herself – the game’s biggest villain – was a surprise! I was expecting some kind of tomb-related enemy or perhaps to learn who wielded the lightsaber aboard the crashed ship. The Second Sister knew Cal’s full name, but more importantly she knew about Master Cordova. Cal ignited his lightsaber.

Cal and the Second Sister about to duel.

The Second Sister had been unbeatable – by design – in Cal’s first encounter with her back on Bracca, and the reason I was so surprised to see her on Zeffo at this point in the story is that she’s the game’s main villain, or at least the most significant villain so far. Defeating and/or killing her only partway into the story didn’t feel right; this had to be setting up something else! This was the toughest boss fight in Jedi: Fallen Order so far, way worse than the Tomb Guardians, Purge troopers, or even the AT-STs. The Second Sister is a powerful Force user – I assume some kind of Sith apprentice too – and wields a red lightsaber. She can perform many unblockable attacks as well as use Force powers – including the ability to leap great distances and sprint at Cal.

No, that isn’t a bug. She can jump that high!

The duel was long, and every time Cal seemed to get the upper hand or reduce the Second Sister’s health, she’d come at him with a new attack or dodge the next one, making it hard to land more than a couple of blows on her at a time. Her health meter at the top of the screen was slowly ticking down with each strike, but by the time it was hovering around the halfway point, Cal had already used two of his three available stim-packs! I was getting nervous – this was difficult! When the Second Sister had lost a little over half of her health, she grabbed Cal using the Force in what looked like a Vader-style Force choke, before throwing him across the arena.

The Second Sister uses the Force against Cal.

The transition from the duel to this scripted moment was seamless; a perfect blend of gameplay and an inevitable moment, and it seemed for a second as though she was simply using a new Force power that would make the fight more difficult! However, as Cal crashed through the side of the arena, a cut-scene triggered. The Second Sister approached, lightsaber in hand, and it seemed as though Cal was doomed! But in an instant, BD-1 saved the day by activating a forcefield between the two combatants. This undoubtedly saved Cal’s life!

BD-1 puts up the forcefield.

With Cal safe behind the forcefield, the Second Sister opted to try to sway him and break his resolve through talking. And she had a lot to say. She’s looking for the list of names of Force-sensitive children that Master Cordova hid on Bogano. It didn’t seem possible she could know about it, until she revealed something truly shocking – she used to be Cere’s padawan! When Cere was captured by the Empire, she betrayed her padawan so she could escape, choosing to save herself instead of Trilla – the Second Sister’s real name. She removed her helmet revealing a young woman who couldn’t be much older than Cal.

Trilla – the Second Sister.

Star Wars has had some great unmasking moments over the years! Seeing Darth Vader as a scarred, broken man in Return of the Jedi was an amazing moment, and the reveal of Kylo Ren as a young man in The Force Awakens was pretty good too. I liked this moment with Trilla, as it fits a pattern that goes through other Star Wars titles. As I’ve said before, these moments make Jedi: Fallen Order really feel like I’m taking part in an actual Star Wars adventure.

Trilla talks to Cal through the forcefield.

Unable to get past the forcefield, Trilla had a warning for Cal – beware of Cere. Not only did she choose to save herself, betraying Trilla, but she used the dark side of the Force. Though Cal seemed dismissive at first, I’m sure these accusations will stick in his mind and we’ll eventually see him confront Cere with what he knows. I’m positive she knows who the Second Sister really is – but if she doesn’t that could be a shocking revelation for her. This scene, where Trilla accused Cere of being a dark side user, reminded me of the revelation in Knights of the Old Republic II that Kreia is similarly a dark sider. Both characters have taken on similar roles – mentor figures to the protagonist – and both seem to have a dark secret. Though Trilla may not be the most reliable bearer of information, the game wouldn’t bring up something this significant only for it to turn out to be a lie. Right?

Trilla and Cal end their conversation.

After escaping the situation, Cal was clearly very shaken. I was surprised that he didn’t immediately radio Cere and Greez – but perhaps he needs time to process what Trilla told him. Is it true about Cere? Was Trilla really her apprentice? She can’t be telling the whole unvarnished truth – there are two sides to every story, and I think we deserve to here Cere’s side. After all, if nothing else she did save Cal’s life on Bracca. Cal paused to thank BD-1 for saving his life with the forcefield, and this was a touching moment.

The path toward the tomb.

Escaping Trilla has led Cal to the entry to a new tomb, and there was a meditation spot nearby which I used to restore Cal to full health and replenish BD-1’s supply of stims. Though the forcefield stopped her temporarily, Trilla is still on Zeffo, and if her mission is to kill Cal I feel like we haven’t seen the last of her. There must be another way into the tomb, after all. After checkpointing my progress, I decided to step away and save the exploration of the tomb for next time.

The way in to the tomb.

Wow. What a wild ride it was this time! At first I was disappointed to be covering so much ground from earlier in the game – and I still feel this aspect of the game could have been handled better. But when the second mission to Zeffo got going it really got going! The crashed starship was a sight to behold, we’ve uncovered several mysterious story threads, upgraded BD-1, and then of course, the climax of this part of the story was the duel with the Second Sister.

Learning her identity was an amazing reveal, up there with Star Wars’ best. And if what she said is true, that Cere is a dark side user, then that sets up a potentially very interesting and exciting conflict later in the game. At the very least, Cere has some explaining to do! Something about the way Trilla presented herself, particularly the twinge of sympathy at learning what she’d been through – being betrayed by her Master and captured by the Empire – leads me to wonder if she has a path to redemption and a return to the light side. Whether it happens or not, the fact that the possibility seems to exist is enticing. And I absolutely love that the Second Sister wasn’t another standard evil-for-the-sake-of-it enemy. She has a story – a betrayal, a kidnapping, and a fall to darkness. All of this makes her infinitely more interesting than a lot of villains, and I hope we get to explore more of this fascinating character before the game is over.

Sorry that this part took a couple of days to write up! I hope you’ll stop by next time to see Cal investigate the second Zeffo tomb.

Star Wars Jedi: Fallen Order is out now on PC, Xbox One, and PlayStation 4. Star Wars Jedi: Fallen Order is the copyright of Respawn Entertainment and Electronic Arts. The Star Wars franchise is the copyright of Lucasfilm and Disney. This article contains the thoughts and opinions of one person only and is not intended to cause any offence.

Let’s Play Jedi: Fallen Order – Part 6

Spoiler Warning: There will be spoilers ahead for Star Wars Jedi: Fallen Order and for other iterations of the Star Wars franchise.

We’re making good progress in Jedi: Fallen Order after a couple of longer gaming sessions this week. Last time, we left Cal and the gang on Zeffo, about to depart and head to the Wookie homeworld Kashyyyk in search of a chieftain who was friends with Jedi Master Eno Cordova.

Cal in the cockpit of the Stinger Mantis before takeoff.

Before we battled the AT-ST last time, Cere had informed Cal on the radio that the Empire had identified him as the Jedi who escaped them on Bracca. I was half-expecting the departure from Zeffo to trigger some kind of attack on Cal, perhaps involving the Second Sister (the Imperial Jedi-hunter who attacked Cal and who seemed to get to Bracca impossibly fast at the beginning of the game). That’s why I ended the last part of the playthrough before leaving the planet! However, no such attack transpired, and the Stinger Mantis was able to depart Zeffo with no issues.

Kashyyyk had been added to the map.

The crew chatted a little en route to Kashyyyk, but nothing particularly important came up. It was nice to see the surface of Zeffo receding from the Mantis’ cockpit, as well as seeing the jump to hyperspace. Being free to move around during takeoff is one of my favourite things about these sequences. The hyperspace flight was very short – and I’m not sure if that’s just because it’s a game and people don’t want to sit through long flight sequences, or if hyperspace flights in general are short. However, in other Star Wars media – including most of the films – hyperspace wasn’t presented as allowing for near-instantaneous travel, so I assume it’s the former. The Mantis emerged from hyperspace and was immediately surrounded by Imperial Star Destroyers!

The Stinger Mantis with three Star Destroyers over Kashyyyk.

Cere calmly explained that the Mantis is “transmitting Imperial codes”, and they were able to enter Kashyyyk’s atmosphere with no trouble – though at least one Stormtrooper seemed to look at the ship as it flew in. As I guessed last time, the Empire is on Kashyyyk at least in part to capture and enslave Wookies – we saw this in Solo: A Star Wars Story and also in Knights of the Old Republic. However, there is resistance to this attack, and while the Mantis looked for a landing spot, a group of resistance fighters came under attack by AT-AT walkers. Cal believed he could sabotage one, as he worked with AT-ATs on Bracca, so with Greez bringing the ship in low, Cal jumped out to take on the AT-ATs.

Cal arrives on Kashyyyk.

After confirming both he and BD-1 survived the fall intact, Cal set out swimming after the AT-ATs which weren’t too far ahead. They were moving fairly slowly, so catching up to them wasn’t too difficult. One of the AT-ATs was covered in vines, meaning Cal was able to climb up the legs. For the first time, I really got a sense of the scale of an AT-AT. For the most part, we’ve seen these giant machines included in large-scale battle sequences, even in their debut in The Empire Strikes Back. This was the first time I can remember getting up close to an AT-AT on foot, and it really did feel massive and intimidating for Cal to take on by himself with no support. Credit to the way the AT-ATs were designed and included in Jedi: Fallen Order; this section really gave them a sense of scale that I hadn’t experienced before.

The AT-ATs are huge.

Climbing the vines was fun, and after making his way around the outside of the AT-AT, Cal got to the roof. A scripted sequence saw a ship swoop down and kill a Stormtrooper (it may have been the Mantis but it was so fast I didn’t see) and from there, Cal was able to make it inside via a hatch. After dispatching a handful of Stormtroopers, Cal and BD-1 made it to the AT-AT’s cabin (the “head” at the front) and in a moment of slapstick comedy, took out the two pilots by bashing their heads together!

Cal and BD-1 sneak up on the AT-AT pilots.

This next section is one of my favourites – not just in Jedi: Fallen Order but in any Star Wars game I’ve ever played. Cal took control of the AT-AT and got to pilot it, using it to attack Imperial forces. The first target was the other AT-AT targeting the resistance fighters, and after that came crashing down in a fireball, Cal turned his attention to ground troops and Imperial turrets. This was so much fun! I’m not sure if this is the first ever Star Wars game to let players pilot an AT-AT, but it’s the first time I can remember having the opportunity to do so. Not only that, but the camera stayed in the cockpit and didn’t switch to a less-personal view outside the vehicle. The AT-AT’s cockpit felt small and cramped, and despite being elevated high above the battlefield, it felt like a vulnerable position when the blaster bolts started firing!

AT-AT vs. AT-AT: Cal and BD-1 score a direct hit!

Marching the AT-AT from the lake through the wilds of Kashyyyk was amazing, and despite taking a number of hits, the vehicle held up. Group after group of Imperial troopers fell, and before long we saw a familiar face: Rogue One’s Saw Gerrera, the leader of a group of resistance fighters. I’m using the term “resistance fighters” as opposed to “Rebels”, by the way, because in-universe the Rebel Alliance was formed much closer to the events of A New Hope. While there was resistance to the Empire at this time, it was mostly smaller-scale, like Saw’s band of fighters that we’re about to meet.

Meeting Rogue One star Saw Gerrera.

Actor Forest Whitaker reprised his role from the film, which must have been a strain on Jedi: Fallen Order’s budget! His presence and performance were amazing, though. Regular readers will know I’m a big fan of Rogue One, and having this tie-in to one of the best Star Wars films was absolutely amazing to see. Saw’s band of rebels were attacking an Imperial facility and landing pad, and he asked Cal to lend a hand. This meant more blasting away at ground troops, and I even took the opportunity to destroy a couple of docked TIE Fighters – I was worried if I didn’t they’d take off and attack the AT-AT!

Blowing up a ship on the Imperial landing pad.

Eventually a large ship took off from the landing pad, and a boss fight commenced. The AT-AT had both regular blasters and some kind of heavier explosive-based cannon at its disposal, and after pounding away at the ship for a while, Cal was victorious. However, the ship crashed into the AT-AT, bringing it crashing down in front of the landing pad. After a cut-scene Cal was fine, and he and BD-1 escaped the wrecked vehicle. Cal said to BD-1 he was “never doing that again” – but I hope he’s wrong because that section of the game was outstanding!

Cal and BD-1 survived the crash.

After a dressing-down from Saw for wrecking the AT-AT – the resistance group could have found a use for such a vehicle – the Mantis landed at the Imperial facility with it now being under resistance control. Saw and Cere had a short chat, explaining who Cal was and what their objective was on Kashyyyk. Bad news – Tarfful, the Wookie chief Cal is looking for, is in hiding as the leader of another resistance band. But someone may know where he is – there are a group of imprisoned Wookies who Saw plans to rescue, and one of them knows Tarfful. With the Mantis here, I took this opportunity to go back aboard and use the meditation spot. Cal had several options this time while levelling-up, and I chose to make stims (the health packs BD-1 can dish out) more potent, meaning each stim will recover more health. I also had Cal change back into his blue-and-white outfit from earlier, as well as giving BD-1 a similar blue-and-white paint job that made him look like a cute R2-D2 wannabe. I do love customisation options!

One of the resistance fighters by the Stinger Mantis.

At the landing pad, Cal stopped to briefly talk to a woman who mentioned leaving Zeffo. This was the villager whose partner had been killed during the Imperial attack on the village – Cal sensed echoes of his life and death through the Force while exploring that world. He was able to give her the news of his death, which only stiffened her resolve to fight harder against the Empire. In an area beyond the landing pad, BD-1 received an upgrade at a workbench. Unlike on Dathomir, where Cal found a workbench and silently upgraded his lightsaber, a line of dialogue preceded this, giving it a little more explanation. BD-1 can now “overload” certain types of circuits, which can do things like turn machinery off and on as well as open doors and activate lifts. It will come in handy, as we’ll soon see!

BD-1 on the workbench.

After upgrading BD-1, Cal was immediately attacked by a giant spider-creature in Jedi: Fallen Order’s first jump-scare. And I have to confess, it did make me jump! The creature came out of nowhere, and it had an unblockable attack that required some serious button-mashing to escape from in a quick-time event. Cal was able to defeat it, however, and I then took advantage of the presence of a workbench to make some changes to Cal’s lightsaber. We’d picked up a few different lightsaber pieces on Dathomir and particularly on Zeffo, meaning many more customisation options were now available. I don’t think these have any impact on gameplay; they aren’t upgrades, just changes to modify the appearance of the weapon.

The modified lightsaber.

I kept the orange blade colour, because I think it looks fantastic, but I changed almost everything about the hilt, including giving it a new copper colour that I think looks pretty neat in close-up shots. During normal gameplay it’s pretty hard to see the hilt – Cal’s holding it and it takes up only a small part of the screen. Leaving this area and making my way along a clearly-defined path led Cal back to Saw, who is planning his attack on the Imperial facility. Saw is aware of Cal’s status as a Jedi, and the two split up, with Cal being entrusted his own mission to rescue the Wookies while Saw leads the main assault. A little bit of platforming and jumping through the wilds of Kashyyyk led Cal to the Imperial prison.

Saw and Cal discuss their plan.

Kaskyyyk, by the way, looks very different to how I expected. In Knights of the Old Republic the planet was densely forested and very dark – the wroshyr trees were several kilometres tall, with the Wookies living in treehouses in the upper branches. The forest floor was almost devoid of sunlight and was very dangerous. Here, the planet is presented more like a dense jungle – something akin to Vietnam or the Amazon rainforest rather than the tall-treed planet I remembered. While this isn’t a bad thing, I thought it worth mentioning.

The landscape of Kashyyyk.

Knights of the Old Republic was released in 2003, before Revenge of the Sith brought the mainline films to the Wookie homeworld for the first time – perhaps this explains the difference, as the version of Kashyyyk seen here is much closer to that seen in the final prequel film. After killing a few Stormtroopers, Cal made it inside the Imperial base. A black R2-D2-type droid was the first to spot him, but ran away as soon as he entered. A few more troopers were easy prey for the double-bladed lightsaber, and there was a meditation spot inside at which I was able to further upgrade Cal’s maximum health.

This droid looks like someone slapped black paint all over R2-D2!

In the next hallway was a new type of enemy never seen before: a Purge trooper. Presumably related to the Jedi purge, this trooper was a mini-boss and was quite hard to take down. He was armed with a melee weapon, and was very skilled at parrying and dodging Cal’s attacks. He seemed to know who to expect, and I think these Purge troopers may be related to the Inquisitors we know to be pursuing Cal. However, after defeating him no entry was added about Purge troopers to the game’s databank.

The defeated Purge trooper.

There was another new type of enemy here, too. Flame troopers – Stormtroopers armed with flamethrowers, whose weapons can’t be blocked or parried, were a pain to defeat, especially in groups!

A closer look at a Flame trooper.

This Imperial base was large, and there were several indoor and outdoor sections – packed with different troopers – to navigate en route to the prison. Most of these sections were fairly straightforward, but one was rather annoying, and as I’ve said at a couple of other points in Jedi: Fallen Order now, an extra line or two of dialogue would have gone a long way to fixing it. Close to the part of the base where the Wookies are held, Cal comes across a large pit filled with what looks like dirty water or sewage. There’s no indication that stepping in this liquid will be a problem, yet it’s instant death for Cal. A single line saying something like “better watch out for that toxic waste” would have solved this problem, and I don’t really know why no mention was made of this. To make matters worse, I encountered a glitch in this area. Cal has narrow pipes to walk across to get over the toxic liquid, but on one of these pipes, Cal couldn’t find his feet. And no, this isn’t a feature of the game – other pipes and narrow walkways saw Cal find his balance, but this one behaved like it was normal ground, meaning any movement in any direction led him to fall straight into the liquid. I was eventually able to jump across this section, but it was a pain and bugs like that should really have been patched by now – we’re well over six months past the game’s launch.

The glitched pipe. Note how Cal’s feel are clipping through the pipe, and how he isn’t facing the right direction.

Cal finally made it to the prison, but before he could free the trapped Wookies, a K2SO-type droid attacked him. This boss fight may have been the hardest so far, as the droid grabbed Cal and would bash him on the ground as well as attacking with its long arms. However, this was another great little reference to Rogue One, so it’s hard to be mad! I was able to prevail against the security droid – though it took at least one stim to survive the fight – and then Cal headed back to the prison console to release the captives.

Battling the security droid in the prison.

So far, Jedi: Fallen Order has looked absolutely fantastic. I’m running it on its highest settings on my PC – albeit on a mid-range graphics card in an older machine. But here on Kashyyyk, we got a pretty major fail as far as the game’s aesthetic is concerned – the Wookies. They look horrible! Hair has long been a challenge for game designers (Cal’s hair isn’t the best part of his appearance, for example) and Wookies are covered head-to-toe in hair, so perhaps that was always going to be difficult to get right. But the chosen effect simply doesn’t work on them; the Wookies end up looking like they’re covered in brown string or rope, and while I admire the effort to try to animate some kind of hair, it would have been better to use a flat texture because they ended up looking truly awful. It’s a shame, too, because we’re on the Wookie homeworld and they’re such an iconic race in Star Wars. But when I think back to how older games handled it – Knights of the Old Republic, for example – I really feel that Jedi: Fallen Order didn’t make the right call here. Maybe after trying to get it right but seeing the end result, someone should have stepped in and made the decision to try something else.

A closer look at the raggedy string-like texture used for the Wookies.

While sneaking around the prison, Cal came upon another Purge trooper chatting to a Stormtrooper. The Purge trooper was itching for a fight with Cal, but as the two of them were standing by a ledge, it was too tempting to use Force push to send them tumbling over – so that’s exactly what I did! The base has a couple of unexplored areas that are blocked off behind locked doors, but otherwise, we did what we came to do and Cal then had to make it to the roof to reunite with Saw. On the roof, however, a huge battle was raging. After taking down some troopers, an AT-ST was dropped in by ship, resulting in Cal’s second one-on-one with these smaller walkers! Unlike the last fight on Zeffo, this one was much harder. There was nowhere to pin the AT-ST this time (on Zeffo I pinned it against the Mantis and hacked at it until it died) so it took a lot of jumping and dodging and a couple of stims to survive the fight and bring it crashing down!

The AT-ST arrives… cue a boss fight!

Defeating the AT-ST led to a cut-scene in which Saw gave a rallying speech to the resistance fighters and freed Wookies. He offered Cal the opportunity to join his resistance group, saying they could use a Jedi to help in their fight against the Empire. However, Cal declined as he has the mission with Cere to complete – but I don’t think this will be the last we see of Saw! One of the freed Wookies does, as promised, know who Tarfful is, but doesn’t know where he is. I loved that Cal said he didn’t understand the Wookie language here – Han Solo was fluent, of course, but it always seemed like a tricky language for outsiders to learn! I thought we’d be heading off elsewhere on Kashyyyk to find him, but Cere has been on the radio to inform Cal that the Empire is doing something with Project Auger back on Zeffo – so our next destination is backwards to the planet we just left.

Cal and Saw part ways on the rooftop of the Imperial base.

There was a shortcut back to the Mantis from the Imperial base, so Cal headed back to see what Cere had to say. For the first time, Jedi: Fallen Order gave me two dialogue options when speaking with Cere – though there’s no reputation or karma system, and I don’t think it made any substantial difference on the story. Cal informs Cere and Greez that they rescued a Wookie who’s now with the resistance. This Wookie and his resistance friends will hopefully be able to track down Tarfful, but for now the gang is heading back to Zeffo.

Back at the Mantis.

While Kashyyyk definitely wasn’t a waste of time, I’m not sure how I feel about hopping back-and-forth between levels! We’ll clearly have to come back to Kashyyyk sooner or later – whether that’s immediately after Zeffo or later in the game. And we’ve already seen the Dathomir mission be a total bust, meaning we’ll have to go there for a second time at some point too. As long as the story remains engrossing and fun, perhaps it won’t matter. But backtracking in a game doesn’t always feel great, and a lot will depend on where we go on Zeffo. If we land at the same point and take the same route through the abandoned village and the caves, that might feel like Jedi: Fallen Order is trying to pad itself out. If we go somewhere new and different, or if we find a transformed area with more enemies to fight, perhaps it won’t seem so bad.

I ended the playthrough here, before departing Kashyyyk, and we’ll save the return to Zeffo for next time – I wonder what will happen with Project Auger?

Star Wars Jedi: Fallen Order is out now on PC, Xbox One, and PlayStation 4. Star Wars Jedi: Fallen Order is the copyright of Respawn Entertainment and Electronic Arts. The Star Wars franchise is the copyright of Lucasfilm and Disney. This article contains the thoughts and opinions of one person only and is not intended to cause any offence.

Let’s Play Jedi: Fallen Order – Part 5

Spoiler Warning: There are spoilers ahead for Star Wars Jedi: Fallen Order, and for other iterations of the Star Wars franchise.

Welcome back to the adventures of Cal Kestis in Star Wars Jedi: Fallen Order. Last time, after being unable to progress on the planet of Dathomir having been thwarted by a metre-wide gap in a bridge, Cal and the gang flew away and ended up on the Zeffo homeworld. After exploring the landing zone and a village the Empire forcibly evicted, we left Cal at a meditation spot near a dark and mysterious cave.

Cal at the entrance to the cave.

Before I started playing properly, I decided to have a bit of a look at Jedi: Fallen Order’s photo mode. By opening this mode the game pauses, and I have free movement of the camera to set up and take screenshots. This has potential advantages over just taking screenshots during regular gameplay, as many different aspects can be controlled – extra lighting, changing angles, changing what’s in or out of focus, etc. I’ve played games that had photo modes before – albeit not many – but this was my first real time messing around with the options and settings. While it may be useful at certain points in Cal’s adventure, I don’t see myself using it for every screenshot, as it’s rather fiddly to use. That’s no criticism of Jedi: Fallen Order, I think that’s just the nature of this kind of free-camera photo mode.

Testing out photo mode on this unfortunate Stormtrooper.

After my photo mode experiment, Cal headed into the cave to see what was inside. The darkness meant he had to once again use his lightsaber as a torch, and after finding a crate with another customisation option or lightsaber part (I forget which, we picked up several of each this time) Cal eventually managed to jump, climb, and tiptoe around the cave to find a switch that illuminated it. Exiting the cave – which was fairly small – led to a path overlooking the village we passed through last time. Here I felt there was some influence of the Himalayas on the design of Zeffo. The long flags, the mountaintops, and the ancient village seemed to give it a Tibetan or Bhutanese feel.

Overlooking the village.

A lone Scout trooper on the path – who ignored Cal while I spent ages lining up the perfect screenshot – was no match for the double-bladed lightsaber. After defeating the trooper, I encountered a glitch. A mountain goat-creature charged at Cal, but fell partway through the path before it could reach him. At first I thought this was something scripted – perhaps a patch of quicksand to be avoided – but it was actually not intentional. The mountain goat remained stuck, and Cal was easily able to kill it as it had a hard time fighting back.

The mountain goat-creature stuck in the terrain.

There have been a few bugs in Jedi: Fallen Order so far, and I’ve documented them as they’ve cropped up. The only really significant one was the camera getting stuck in that narrow hallway on Dathomir, the others – like this one – have really been quite minor. But minor issues can stack up in a game, and Jedi: Fallen Order is certainly not as polished as I might’ve expected it to be. Further along this mountain pathway, and after jumping across a couple of obstacles, Cal stumbled upon a group of oblivious Stormtroopers.

Cal was able to get very close to these troopers.

I suspect that if I cranked up the difficulty to one of the higher settings, Cal might’ve been spotted by the troopers sooner – it seems like that’s how the game should work anyway! The troopers put up a fight, but Cal got the better of them in the end and was able to progress further along the path. This section featured several rotating platforms that Cal had to use the Force on in order to jump on them, making this section of the game – and indeed Zeffo in general, as we’ll see later – much more akin to a 3D platformer than a standard action game. I mentioned in one of the earlier parts that the game is clearly inspired by titles like Tomb Raider, and I think this hits that point home.

One of many rotating platforms.

Beyond the platforms were more mountain pathways (without the Force, how can the Stormtroopers get from place to place? Hmm…) and after a short walk, Cal stopped to look at a statue carved into a nearby mountain. This is supposedly a representation of a Zeffo – though I would’ve said it looked at least somewhat similar to the Prothean character from Mass Effect 3, particularly in terms of the shape of the head. Cal noted that the statue must indicate that he’s going the right way – and in a game which has occasionally been unclear about which way to go, confirmation I was on the right track was nice.

The Zeffo statue.

After a little more jumping and climbing, Cal battled a handful of Stormtroopers and a couple of monsters before sliding down an icy path to the next part of the level. The sliding feature seemed really fun and innovative when we first saw it on Bracca, but it’ll be used several more times on Zeffo (as well as at least once on Bogano) and as fun as it was that first time, it isn’t my favourite element of the game. Variety is good, but as we’ll see more acutely later, some aspects of Jedi: Fallen Order’s controls can feel very clunky and ham-fisted – pushing a stick a fraction of a centimetre should send Cal a short distance or make a minor adjustment, but both Cal and the camera swing around wildly, making aiming during some of these sliding sections difficult. Several of the sliding sections end with a sheer drop, requiring a perfectly-angled jump to hit the next path or to grab a vine, and with the clunky, inaccurate controls it’s too easy to mess up and see Cal fall to his death multiple times in the same place.

One of the icy slides.

Beyond the ice slide, and past a few more hapless Stormtroopers, Cal witnesses an Imperial ship departing a facility. I liked the design here, it was reminiscent of the base used by Galen Erso in Rogue One. The Star Wars franchise has always been good at keeping a similar aesthetic across its titles, and this base could easily have been lifted from that film. Cal also passed a wall that had the same glowing red aura as the bridge we had to bypass in the last part of the playthrough – I was certain by this point that Cal was en route to a place where he could learn a new Force power!

An Imperial ship departs the base on Zeffo.

Over the radio, Cere tells Cal that the ship is carrying “artefacts” bound for the Imperial capital of Coruscant. There’s a very ominous line in this conversation about the Emperor potentially being involved, though whether we’ll actually see old Palpatine appear in person isn’t clear! The level so far has been a fairly linear path, sending Cal more or less in one direction – culminating in the scene where the ship departs. On this ledge is a doorway that presumably leads into the Imperial base, but it’s sealed and there’s no way in. After backtracking and getting a little lost, I ended up pulling up the in-game holomap to find where to go.

There’s no way in!

However, I have to confess that I don’t find the holomap particularly easy to use. It’s necessary, given Jedi: Fallen Order’s large levels, to find some way to represent areas at different elevations, but the holomap is clunky and awkward to use, and its all-blue appearance doesn’t make finding things any easier. I also found out later on that opening the holomap doesn’t pause the game, meaning Cal can be attacked while checking the map.

The in-game holomap.

Map issues aside, the next section of the level was quite fun. There was some more platforming to do, including balancing on a narrow ledge, and a variety of different Stormtroopers have now popped up. In addition to the standard blaster-wielding troopers, there are rocket troopers, who are unsurprisingly armed with bazookas, and heavy troopers, who carry a minigun with a small shield. The minigun blasts come at Cal very fast, but luckily only in short bursts. I found it was possible to deflect or block most of them most of the time. The rocket troopers were harder to avoid, however, as not only can their shots not be blocked or deflected, but they explode on impact, and even if they don’t hit Cal directly if they’re close enough they can still hurt him.

The two new trooper types.

After the platforming came another short ice slide, and beyond that was a dark hallway. Inside, Cal found a computer console and played a recorded message from a Stormtrooper. Something called “Project Auger” was mentioned – I’m sure this won’t be the last time we hear about this secret Imperial mission! The story of Jedi: Fallen Order has been great so far, and Project Auger fits in perfectly with what Star Wars fans expect from the Empire. Moments like this make it feel like I’m taking part in a real mission in that galaxy far, far away.

Listening to the Stormtrooper.

Whatever Project Auger is – for now we still have no idea – it’s bigger than just this one site on Zeffo. If I were to speculate I’d say it’s something connected with tracking down Force-sensitive people, since that’s Cere and Cal’s overarching quest right now. But the trooper mentioned looking for data and artefacts – not people – so perhaps what they’re looking for are ancient relics connected to the Force? Something like a holocron, perhaps? I’m sure we’ll come to know more later, but I like to guess! Theorising is all part of the fun! After listening to the trooper, Cal headed back outside to an area where large platforms were rapidly moving in and out of the moutainside. Cal needed to use the Force to slow the platforms down one by one in order to make it across, but this was a relatively straightforward puzzle.

Use the Force, Cal!

A meditation spot beyond the platforms made for a nice spot to rest and checkpoint my progress, but I wasn’t ready to stop playing. Cere jumps on the radio again to inform Cal his presence has been noticed by the Imperials – and to be fair he has cut down at least a couple of dozen by this point, so that’s to be expected. A dropship appeared in the area beyond the meditation spot, and a number of troopers jumped out. This fight was tricky, as there were a variety of troopers including two of the stronger Scout trooper commanders, but Cal was eventually able to prevail – and I’m kind of proud of taking on such a big fight without dying once!

The vanquished Scout trooper commanders.

Another icy slide after defeating the group of troopers led Cal to an underground area with a few monsters to defeat. Beyond that, we finally found what we came to Zeffo for: an ancient tomb. A storm swirling around the tomb hindered the Empire’s communications, but there were no troopers in sight, just a handful of monsters and a meditation spot. In fact, we wouldn’t see any more Imperials for a long time! The storm raged, swirling in circles around a single point. Cal was able to use his Force power to slow the storm and cross safely into its eye – an area containing a giant metallic ball.

Approaching the eye of the storm.

BD-1 scanned some more ancient Zeffo symbols, then Cal stepped on a switch – revealing that the whole platform, ball and all, was a large elevator. The descent into the tomb was slow, but there was plenty to see on the way down, as well as another recording from Master Cordova to listen to. I stand by what I said earlier, though. Despite what Cere said about BD-1 being an “encrypted” droid, I bet a black market hacker could get Cordova’s logs out without needing to visit all of these places to see the recordings! The large ball/sphere in the centre of the elevator platform had the same red aura that we’ve seen several times on Zeffo, indicating it may be possible to interact with it in future.

Ancient Zeffo symbols on the elevator.

The tomb was huge! I think it’s fair to treat the tomb and the surface of Zeffo as two different levels, despite them being connected. There was a whole new aesthetic for the tomb, different obstacles, and fewer enemies. Where the surface of Zeffo had some platforming elements and a lot of monsters and troopers to fight, the tomb is a maze of passageways with several puzzles and only a couple of mini-bosses. We could take a break here and split this into two parts, but as I played it all in one sitting I think I’m going to stick with writing up one play session at a time. So refill your drink if you need to, and let’s crack on!

Entering the tomb.

After the elevator touched down, there were two paths. One was a dead-end, but the other had a weird exploding plant thing, which Cal and BD-1 agreed looked disgusting, and a narrow passageway to squeeze through. This led into the first hallway of the tomb. The lighting in this section deserves a lot of credit. We’ve seen pitch-black areas several times in Jedi: Fallen Order, and for short sections that can work well and provide mystery and a sense of danger. But as mentioned, the tomb we’ve entered is so large that despite it seeming logical to make it fully dark, I feel that would have made it far too difficult – some of the puzzles were tricky enough as it is! Instead of total darkness, Jedi: Fallen Order has turned the brightness down a little, giving everything a slightly washed-out blue-grey hue that I think did a good job conveying that this is a dark area but without being too dark to be enjoyable to play through. Things like this can seem minor – who cares about lighting in a game compared to the story, right? But they go a long way to making a level fun to play, and for me, Jedi: Fallen Order did this perfectly.

Shortly after entering the tomb, with another of the weird plant-things.

After a short section of jumping between platforms, Cal ended up going down another icy slide into a large room. There was one of those large metallic spheres that we saw on the elevator, and several switches on the sides of the room. Activating a switch caused a jet of air to shoot out of the wall. If the ball was in the way of the jet, it would roll around the outside of the circular room. The objective was to get the sphere into a clearly-marked cavity in the centre of the room (think like a ball-and-socket and you’re on the right track). The only way to do this was to activate the right air jets in the right order, but there weren’t many and this wasn’t particularly difficult. Cal acquired the second of three “Force Essences” for his trouble – getting the third would give him more Force points, which would mean he’d be able to use more Force powers in combat.

Puzzle complete!

Leaving the circular room behind, Cal headed to a hallway which opened out into a large chamber. Opening another switch caused a jet of air to roll another sphere into a divot, which in turn caused platforms to rise from the floor. Climbing these led Cal into another hallway, and by this point I was getting excited! The holomap seemed to indicate that Cal was perhaps one or two rooms away from the objective, so I thought it would be a hop, skip, and a jump to the end of the level. But that didn’t quite turn out to be the case! Below the raised platforms I could see a statue that resembled the Zeffo carving we saw on the surface, only smaller. It felt like a trap, and I was right! As Cal got closer the golem sprung to life, shooting a laser from its chest and trying to stomp him! After dodging and wildly swinging the double-bladed lightsaber (which still looks awesome in its orange hue, by the way) Cal was victorious.

Cal vs. the tomb guardian.

We’ve been seeing objects with a red glow or aura since last time, and I was sure Cal would eventually be able to interact with them somehow. Finally, in this next area, Cal re-learned the necessary skill: the trusty old Force push that every Jedi should know! After coming upon a wall blocking his path, Cal drew upon an old memory to re-learn the skill.

About to learn the Force push ability.

This took the form of what appeared at first to be a Force echo, but after appearing to get hit by a rock while using his ability to sense what had happened, Cal ended up having a full-on flashback to his time training under Jedi Master Jaro Tapal. We’ve seen one prior glimpse of this training – and I still think more effort could have gone into the training room used for these flashbacks, as it’s awfully bland. The training session consists of Cal using the Force to push a ball into a target, under Master Tapal’s watchful eye.

Master Tapal training Cal in a flashback.

The flashback jogged Cal’s memory, and he’s now able to use the Force to push objects – even breaking weak walls or damaged doors in some places. And of course he can now push those spheres around too! Force pushing the wall caused it to break, finally opening up the chamber that the map has been pointing us toward this whole time. The chamber beyond contained a single tomb guardian (the golem things I mentioned earlier) who was difficult to defeat, but not impossible.

A closer look at a tomb guardian, courtesy of the game’s databank.

This chamber is the heart of the tomb, and it’s what Master Cordova wanted whoever came after him to find. BD-1 displays a recording of Cordova talking a little about the Zeffo and the tomb. However, from our point of view the key thing we needed to know was where to go next in this scavenger hunt/wild goose chase that Master Cordova has set up. He looked at the detail in one of the stone carvings and surmised it to be representing a wroshyr tree from the planet Kashyyyk – that’s right, Cal is headed to Chewbacca’s homeworld!

Master Cordova with the tree carving.

One thing that’s fantastic in any game is when optional cosmetic customisation options are reflected in cut-scenes. While a lot of games get this right – even going back to the early 2000s, where Knights of the Old Republic would show off the player character – some games to this day still have pre-recorded cut-scenes that show the player character sans any customisation. Jedi: Fallen Order shows Cal and BD-1 in whatever outfit and paint job is chosen for them, and the Stinger Mantis is equally represented in its takeoffs and landings, and I really appreciate the little extra effort it takes to make that happen.

Cal – in his appropriate attire – listens to Master Cordova’s recording.

You know those games where upon completing the mission or the level you’re taken to the next one straight away, maybe with a cut-scene in between? Or those other games where completing a long and complicated dungeon or level unlocks a shortcut back to the entrance to make it easy to get on with the story? Yeah… Jedi: Fallen Order is neither of those games. After listening to the recording in the tomb (and making sure the giant Zeffo sarcophagus wasn’t, in fact, another golem waiting to attack) Cal must make his way back to the Stinger Mantis from here.

I really thought this was going to wake up and be a boss to fight!

Puzzles in games can be great fun. And in a tomb like this, ancient puzzles that are well-designed can make getting to the objective a challenge to enjoy and take pride in overcoming. But the driving force in a game like Jedi: Fallen Order is its story, and having acquired a new destination for Cal and the gang, I was keen to get on with it and get back to the ship. I didn’t want to spend more time in a tomb that I’d already completed, and if I’d been designing this level I’d have moved all of the next puzzles to before the Cordova recording, and provided an immediate pathway out – I think that would have made it more enjoyable.

Moving these balls was hard work.

Perhaps this is just sour grapes on my part, though! After using a meditation spot outside of the room with the sarcophagus, it took me about twenty minutes to figure out how to get two more of the large metal spheres and move them into the right spots on the ground to open a pathway out – if you recall, the way in was down an icy slide, and Cal can’t climb up those.

One of the balls in flight.

This puzzle was annoying in part because, as mentioned, the story on Zeffo (for now, at least) has concluded, meaning the only objective was to get back to the ship and continue the plot. It was also frustrating, though, because of how Cal’s new Force push ability works. In order to get the spheres into the right place (after locating them) Cal had to use Force push as the spheres are too large to do anything else with. However, while Force push is great on things like walls or for pushing enemies, when it comes to fine control and aiming, Jedi: Fallen Order’s clunky controls became a problem for me. The spheres were very difficult to aim and manoeuvre, and while the game allows a little leeway in getting them into place there isn’t a lot of room for error. This whole section felt like trying to play a bad game of mini-golf or something, and I found the puzzle to be more annoying than fun overall. While searching for spheres I found the third Force Essence and increased Cal’s Force points, which was a bonus.

The sphere on the elevator.

After I did eventually get the balls placed correctly, it was a fairly smooth route backtracking through the upper levels of the tomb to get back to the elevator. After resetting the elevator and riding it back up, Cere jumps on the radio. She and Cal agree to go to Kashyyyk to speak to a Wookie chief who was a friend of Master Cordova. The elevator emerges back at the entry to the tomb, which is now crawling with Stormtroopers – has Cal led them there? And if he has, will they learn the secrets of the Zeffo too? It’s hard to see how the Empire can learn very much without BD-1 and the recordings from Master Cordova, but it’s possible that they’re looking for something else in the ruins, something connected to this Project Auger. It’s also possible that they’re hunting Cal!

The exit to the tomb with a squad of Stormtroopers!

After defeating the troopers, I was expecting to go back through the level and perhaps take advantage of one or two points where Cal could use his Force push ability to create shortcuts. There were also the shortcuts from the village to the hangar that we found last time. However, I’m not entirely sure whether I took a wrong turn or if this is the way the game sent me, because Cal ended up riding an Imperial cable-car thing into an ice cave where an excavation is taking place. There was another meditation spot here, and at one of these (I forget which) Cal was able to level up and learn a new skill.

The ice cave.

This ice cave featured a very annoying ice slide. Most of the others have been fairly straightforward, even the one where Stormtroopers were shooting at Cal! But this one had a jump, a U-turn, and then a second jump that required perfect aiming to hit an updraft and a perfectly-timed button press to avoid Cal falling to his death and having to replay the whole slide over again. It took several attempts to complete, and all the while I was reminded of the snowy mountain level in Super Mario 64. Only the ice slide there was more fun.

Welcome to Jedi: Fallen Order… apparently.

In addition to a couple of Stormtroopers, the ice cave had a large monster to fight; another mini-boss. Though each of its attacks did a fair amount of damage, Cal was able to defeat it, and even severed one of its limbs with his lightsaber in the process. I’d seen Cal’s lightsaber bisect monsters before but this was the first time I’d seen it specifically take off a limb. Though it may be fairly gruesome, I felt overall it added to the immersion, as we know lightsabers should be able to do that, and we’ve seen it in the Star Wars films. I understand why they chose not to let this happen to human opponents, though!

Don’t worry, he’s ‘armless!

While riding the next cable-car out of the ice cave, Cere tells Cal over the radio that the Empire has identified him as being the Jedi they encountered on Bracca. I felt sure this would mean the Second Sister – the Imperial Inquisitor who tried to kill Cal at the start of the game – would make an appearance, so I hot-footed it back to the Mantis. A shortcut opened up, finally allowing Cal to emerge from the caves near to the landing zone. However, there was a pretty big obstacle between Cal an the ship: an AT-ST walker!

The AT-ST.

The walker was attacking the Mantis, and I was reminded of the episode in The Mandalorian where the protagonist and his mercenary ally must similarly take on an AT-ST to defend a group of villagers. With the usual caveat that I’m playing the game on its easiest difficulty, I found the fight wasn’t as tricky as I expected. The AT-ST could shoot and also drop explosive charges, all of which had to be dodged as they cause major injuries to Cal. But I was able to basically pin the AT-ST against the Mantis, and after dodging the explosives, hammer away at it with the various attacks Cal has learned. Repeating this a few times brought the walker crashing down. I thought that was it, but its pilot then got up and started blasting at Cal! Luckily he was easier to defeat than his machine had been.

The vanquished AT-ST and pilot.

With the AT-ST being the final boss of the level, it didn’t seem as if we’d get to face off against the Inquisitor. Cal boarded the Mantis and a cut-scene triggered as he talked to Cere and Greez about what he’d discovered in the tomb. Going to Kashyyyk was what both Cal and Cere wanted, but Greez was nervous, telling them the area is crawling with Imperials who have been trying to suppress the Wookies. Though I think the film is set a little later in the timeline than this, we saw in Solo: A Star Wars Story that Wookies would be taken by the Empire for slave labour – I wonder if we’ll see some aspect of that when we get to Kashyyyk.

Explaining to the others what happened, and where to go next.

After the cut-scene, there was nothing left but to head to Kashyyyk. Cal’s Force push ability still won’t help him jump that small gap on Dathomir that he can’t get over, so Kashyyyk is the only destination we have right now. I retired to the Mantis’ rear cabin to use the meditation spot, and that’s where this section of the playthrough finally ended.

Cal hanging out on the Mantis.

This was a long session, so thanks for sticking with me all the way to the end. We basically completed two levels here – the surface of Zeffo and the tomb. However, I think we’ll be coming back this way in future, even if only to access that Imperial base and see what’s going on inside. The Zeffo are beginning to remind me somewhat of Knights of the Old Republic’s Rakatan Empire – both are ancient, supposedly-vanished races that were powerful millennia ago. Are we going to encounter some surviving Zeffo? I wonder.

I had a great time in this section of the playthrough, despite the frustrating puzzle section in the tomb. Jedi: Fallen Order has an engrossing story, and that goes a long way to covering up any minor imperfections in its gameplay, at least in my opinion. It’s always going to be more enjoyable for me to play a game with occasionally frustrating gameplay and a great story than vice-versa!

So that’s it, join Cal and I next time for our excursion to Kashyyyk. This is a world I visited in Knights of the Old Republic, so I have some idea of what to expect! I wonder if it’ll match my expectations?

Star Wars Jedi: Fallen Order is out now on PC, Xbox One, and PlayStation 4. Star Wars Jedi: Fallen Order is the copyright of Respawn Entertainment and Electronic Arts. The Star Wars franchise is the copyright of Lucasfilm and Disney. This article contains the thoughts and opinions of one person only and is not intended to cause any offence.

Let’s Play Jedi: Fallen Order – Part 4

Spoiler Warning: There will be spoilers ahead for Star Wars Jedi: Fallen Order, as well as for other iterations of the Star Wars franchise.

Welcome back to Jedi: Fallen Order! Last time, I came up against my first difficult fight in the game, and it took a couple of attempts to get past some of Dathomir’s Night Brothers. This session didn’t start particularly smoothly, as there was apparently a connection problem with Steam that took a while to resolve. Jedi: Fallen Order is a single-player title of course, but I’m never sure whether playing while Steam is in “offline mode” means things like screenshots are disabled. I waited until whatever problem Steam was having was fixed before playing.

The Steam error message. What a great way to start!

When Steam worked and we’d made it through the various loading screens and updates for Steam and Origin, Cal was back at the meditation spot where we left him on Dathomir. The Night Brothers in the area immediately beyond had respawned too, but were easily dispatched – I might finally be getting the hang of the game’s combat!

The Night Brothers by the save point respawned.

Past the locked door were a series of corridors and rooms – including the corridor where the camera got stuck last time. This go around Cal made it through alright, and having only used one stim-pack to regenerate his health too! In a rather out-of-place space-age crate amidst the rocks and ruins, BD-1 found a customisation option for the Stinger Mantis, giving it a shiny new metallic silver paint job. Though I liked its previous yellow colour, I decided to mix things up and try out the new one for now.

The Mantis’ new look.

Jedi: Fallen Order’s third-person camera has been okay, despite the issue last time. I generally like third-person cameras in games, and especially in an action/adventure title like this it works well. It would make exploring and some of the more complicated jumps more difficult if it were a first-person title – not to mention the combat. The camera can also be used to peek around doorways; spotting enemies before they have a chance to see Cal gives him an advantage. And there were plenty of enemies in these ruins!

Spotting an enemy in the room beyond using the camera.

The hallways eventually led to an open area, where a stone bridge is crumbling. The back side of the locked door from earlier was here, and unlocking it created a shortcut back to the meditation spot where this section of the playthrough began. Cal was able to jump across a gap in the bridge, where a mysterious “wanderer” greeted him. Dressed in old, dark robes, this character gave off a distinctly creepy vibe – I’m about 98% sure Cal will have to fight him sooner or later! He reminded me somewhat of Kreia, the mysterious Force-sensitive old lady who mentors the Jedi Exile in Knights of the Old Republic II. The wanderer talked in very vague terms about visiting Dathomir to study extinct cultures, but not much of what he said was helpful in the short term.

Cal listening to the wanderer.

However, one thing the wander explained was very interesting. He told Cal that others have tried to discover the secrets of the ruin – the one beyond the bridge that Cal is trying to reach – but that something inside it corrupted them. Could this be a hint at something connected with the dark side of the Force? It sounds intriguing… and dangerous! It’s also implied that there may only be one Night Sister, as the wanderer speaks of her in the singular. He then ends the conversation by telling Cal in no uncertain terms to “avoid the ruin”. Cal says he can’t do that… but actually he can, and has no choice in the matter for now.

Cal and the wanderer.

At this point Cal hit the wall… literally. The bridge on which the wanderer is standing is broken, and Cal cannot jump from one section to the next; every time he tried he fell. There was a path below the bridge heading back the way we’d come. After several failed jumps I headed in that direction to see if there was something there to help Cal progress, and found something incredibly exciting! At a random workbench tucked away to the side of the passage, Cal was able to upgrade his lightsaber to be double-bladed – like Darth Maul’s famous lightsaber from The Phantom Menace! Obviously I liked this; the upgrade may very well come in handy! But I didn’t like that Cal worked on the blade in silence, and I especially disliked that no explanation was given as to why he was able to perform the upgrade here.

Upgrading Cal’s lightsaber near the bridge.

A couple of lines of dialogue would have massively improved this moment – having Cal say something like “look BD-1, a new lightsaber macguffin, I bet I could upgrade mine to be double-bladed” would have been all that was necessary to explain what was happening. The databank did lodge an entry about the upgrade, but nothing to explain why it was able to be done, how it could be done here, or what Cal found to be able to make the upgrade. It felt like one of those situations where we were very close to having a great moment in the game, but one element was missing and the result was that it just kind of fizzled out.

The double-bladed lightsaber.

The lightsaber can be switched back to its single-bladed form at any time with a single button press, and I like having both options as it feels like it adds more variety to the game. Whether the lightsaber options are purely aesthetic or whether, as the game suggests, the different blades will be useful in different situations is unclear right now. After going through the tunnel beyond the lightsaber workbench and dispatching a handful of the poisonous spider-creatures, Cal ended up back at the meditation point where we began this playthrough. I debated saving, but doing so would allow all of the Night Brothers to respawn and I wasn’t keen to fight them all over again. However, there was nothing here that would help Cal across the gap in the bridge. Exploring the ruins further yielded nothing either, and I must’ve spent fifteen or twenty minutes trying various methods of crossing the gap or finding a way around, at which point I did choose to rest, though Cal had no skill points to use.

Back at the meditation spot.

Climbing on the wall by the wanderer didn’t work. There was a tiny hole at the bottom of the gap that I thought Cal could have squeezed through, but that did nothing. There were no vines on the wall to climb, and nothing else to hold on to. I mentioned last time that some elements of Jedi: Fallen Order feel less cinematic and very “video-gamey”, and this moment is absolutely one of them. The rough rock that’s supporting the next section of the bridge could be easily climbed – there are a number of potential footholds and handholds, and from its base the rock face can only be four or five metres high. A Jedi – even a trainee Jedi – should be easily able to climb this short, cragged rock face, yet Jedi: Fallen Order makes no such allowance. I eventually relented and headed to the internet in search of a strategy guide. I was careful to avoid spoilers for the rest of Dathomir, but it turns out that this is as far as Cal can go until he unlocks a “Jedi flip” ability much later in the game!

There’s simply no way across this gap until Cal learns a skill much later in the game.

This Jedi flip sounds like it’s basically a double-jump, and will allow Cal to cross the gap with ease. As cool as it was to come to Dathomir and get the double-bladed lightsaber, I’m disappointed with this outcome. Why would Jedi: Fallen Order give me a choice of destinations if one is basically blocked to Cal until he levels up? Despite the amount of time we’ve spent on Dathomir so far, we haven’t actually done anything of consequence yet; if I had to guess based on the size of the previous planet (Bogano) I would say Cal has maybe explored a third of what Dathomir has available, and aside from the monsters and the Night Brothers, all Cal has done is speak very briefly to one Night Sister and this wanderer.

Screenshot of the IGN wiki guide for Dathomir.

I’m playing Jedi: Fallen Order for the first time, and until this moment I hadn’t picked up a guide or searched online for any walkthrough as I wanted to experience what the game had to offer for myself. After completing Cal’s quest on Bogano, it felt as though I had a free choice of destination – two planets were available, one of which said it was the main quest and one – Dathomir – that felt like a side-quest. I’m just a little confused why the game would do this, and why it wasn’t made more obvious that we’d gone as far as possible into Dathomir. Cal makes an offhand remark that he “can’t jump that far” when failing the jump for the first time. But that’s it. There was nothing to say that I should go back to the ship or that this was all I could do on Dathomir for now – but it is, and after reading online that I’d done all I could I doubled back and returned to the Stinger Mantis. The enemies had all respawned, but sprinting and bashing the dodge button repeatedly meant the return journey was fast and Cal took no damage.

Back at the Mantis.

Back aboard the ship I went straight to the galaxy map and selected the Zeffo homeworld – confusingly also named Zeffo. The ship took off from Dathomir as smoothly as before, and within moments we were landing on a stormy planet.

Landing on Zeffo.

It wasn’t a perfect landing – despite what Greez tried to claim – and the storm appears to be interfering with communications aboard the Mantis. I always like this kind of setup, as having no way to communicate with the ship ramps up the tension. The storm on Zeffo provides a good excuse for why communication may be difficult. Cere promises to stay aboard and work on getting them working, leaving Cal to explore the landing zone.

Greez Dritus piloting the Stinger Mantis en route to Zeffo.

There were several things to explore in the immediate area. Near the ship was a large open hangar – it had one crate inside that contained a lightsaber part. Further away from the ship there were two routes, one that led up a hill and one into a larger hangar. Inside the hangar was a locked door and another crate – this one contained a new poncho for Cal, which I promptly equipped. He seemed to approve!

Cal’s new poncho.

With the door in the hangar locked, and nowhere else to explore in the immediate area around the Mantis, Cal headed up the hill and across a damaged bridge, where two animals were chewing on the dead body of a Stormtrooper. That’s right – the Empire made it to Zeffo first! If only we hadn’t wasted all that time going to Dathomir… just kidding, I know that isn’t how it works. After killing the creatures (they were no challenge, like the other monsters seen so far) Cere had managed to restore communications. Cal informed her of his discovery and the Empire’s presence.

Cal standing over the dead Stormtrooper.

Beyond the trooper’s body were two paths – I took one that went off to the right, into a pitch-black cave. Holding the block button means Cal uses his lightsaber as a flashlight, illuminating a small area around him. Aside from a Force echo, the only thing of note in the cave was a crate that contained a stim-pack upgrade: BD-1 can now carry three stims instead of two, giving Cal one more chance to heal in between meditation spots. I knew sooner or later we’d be able to upgrade this, and I’m so glad I came this way or I might’ve missed out! BD-1 did the most adorable little dance when being given the upgrade, and honestly he’s my favourite Star Wars droid right now. Sorry BB-8. You’re cute too, but you’re not as cute as BD-1. If anything happens to BD-1 I’m giving Jedi: Fallen Order 0/10 for traumatising me.

BD-1 receiving his first upgrade in the dark cave.

Exiting the cave meant doubling back to the fork in the road, and after a couple of jumps and ramps up, Cal was on top of the hangars near the Mantis. Going down placed him behind the locked door in the hangar bay; unlocking it provides a shortcut which may come in handy later. There were a couple of monsters along the way, but no Stormtroopers yet… I was sure they couldn’t be far away, though!

The hangar door – a shortcut to and from the Stinger Mantis.

Immediately beyond the door and we got our first group of Stormtroopers. All of them were using blasters, which meant it was relatively easy to hang back and deflect their shots back at them. The Stormtroopers talk during combat, both shouting aggressively at Cal and bantering with each other – but Jedi: Fallen Order doesn’t seem to have recorded many lines of combat dialogue for the Stormtroopers, and they very quickly begin to repeat themselves. Perhaps we should excuse that since they’re clones(!) but as with the lightsaber upgrade that had no explanation, a few extra lines would have been nice and would have avoided the sense of repetitiveness, especially as we got further into Zeffo and encountered more troopers.

Putting the double-bladed lightsaber to good use!

The path leads away from the hangar towards a village crawling with Stormtroopers. In addition to the regular troopers carrying blasters, there are also Scout troopers armed with melee weapons – we’d fought a couple on the train on Bracca back in Part 1 of the playthrough. In small numbers neither type of trooper is particularly bothersome, but a larger group, consisting of both ranged and melee opponents is harder to overcome. Regardless, Cal made it through several scraps in the village unscathed.

Battling Scout troopers in the village.

We got our first mini-boss on the far side of the village – a Scout trooper commander, designated by his orange shoulder pad. This guy uses a melee weapon like the regular Scout troopers, but is more skilled and harder to take down. Eventually Cal was able to prevail, however! There were several Force echoes in the village, which combined with the one we found in the dark cave to tell a story of a family forced from their homes by the Empire. An eviction notice was seen pinned to a doorway in the village, too. Are these people the Empire expelled Zeffo? Or are they another race that has settled the ruins of the Zeffo homeworld? I understood from what Master Eno Cordova said that the Zeffo are extinct, so I assume these people were settlers – but that remains unconfirmed right now! Hopefully we will learn what became of these people.

The Imperial eviction notice.

The Scout trooper commander was guarding a drawbridge. The bridge seemed to have a red glow or aura to it, similar to how some objects have a blue glow indicating Cal can use his Force powers to slow them down. However, this is presumably linked to another skill Cal doesn’t yet have, as there was no way to move the bridge. At several points during Cal’s time in the village I heard the distinctive whine of TIE Fighter engines, but unfortunately I didn’t look up in time to see them (and when I waited none flew overhead).

The bridge wouldn’t budge!

There was another route near the bridge which took Cal into what looked like one of the huts in the village. However, this building was cut into the rock behind, and contained a passageway that was another shortcut back to the abandoned hangar near the Mantis – perhaps this shortcut will come in handy as well! More importantly, though, the passageway contained a meditation spot, and I was able to get two new powers/lightsaber moves for Cal, as well as rest and make sure the game had checkpointed. I was tempted to call it a day, but we’d only just got to Zeffo and I wanted to see what was beyond the bridge, so after using the meditation spot and unlocking the shortcut I headed back outside.

Cal prepares to meditate on Zeffo.

The outfit Cal wears under his poncho has been the same since we left Bracca, and I didn’t think it was something that could be customised. But in a storage box here, BD-1 found Cal a different colour for his outfit – there are only five options, but it’s another nice little element of customisation. This one is a brown/khaki tone, and I equipped it to replace the blue/grey outfit he’s worn since the beginning of the game.

Cal’s new threads. Lookin’ good!

The troopers had all respawned due to using the meditation spot (a feature I can’t decide if I like or not) and despite taking Cal on a different path I still had to fight several of them. There was another way across the gap that the bridge should have allowed Cal to cross, by climbing and jumping across a couple of roofs, and on the other side a couple of troopers were no match for Cal’s lightsaber.

About to surprise two Stormtroopers!

This area was fairly small, and aside from a locked storage crate that BD-1 can’t access yet – he still needs repairing, apparently – there wasn’t much to see. I was able to get all the way around to see the bridge from the other side, though. If we have to come back this way later, hopefully Cal will be able to move the bridge somehow and use it to get back to the Stinger Mantis, as I don’t think jumping back the way he came is possible.

The other side of the drawbridge. I wonder what damaged it?

After heading up a ramp, Cal came upon another dark cave and another meditation spot. I decided to take this opportunity to have a break, and save exploring the cave for next time.

Cal uses his lightsaber to see into the mysterious cave.

So Dathomir was a bust! What a waste of time. As cool as it is to get the double-bladed lightsaber, it’s patently obvious that the upgraded weapon can’t be necessary to complete Zeffo, or the game would have made acquiring it mandatory instead of hiding it. I don’t really like that Dathomir was made available to visit but not possible to complete – that’s poor game design, in my opinion. At no point while playing should I need to pause the game and open a guide because the game hasn’t made clear where to go or what to do, yet on Dathomir when Cal couldn’t make that jump I was stumped. It wasn’t in any way clear that this was an absolute barrier to progress, and I wasted time on that world that I could have spent advancing the story on Zeffo further. Not to mention that when Cal finally makes it back to Dathomir later, we’ll have all the same monsters and enemies to fight.

That aside, I think I’m getting better at Jedi: Fallen Order. The battles this time went much more smoothly, and fights I might’ve lost when I first started playing were easily won. Story-wise, aside from the Dathomir dead end not even being acknowledged by any of the characters, I think Jedi: Fallen Order is doing a solid job. I’m curious to see what we’ll uncover on Zeffo and what the Imperials are doing here. It seems unlikely they’re here for the same reason as Cal – unless they saw Master Cordova’s message somehow.

Swing by next time and maybe we’ll find out!

Star Wars Jedi: Fallen Order is out now on PC, Xbox One, and PlayStation 4. Star Wars Jedi: Fallen Order is the copyright of Respawn Entertainment and Electronic Arts. The Star Wars franchise is the copyright of Lucasfilm and Disney. This article contains the thoughts and opinions of one person only and is not intended to cause any offence.

Let’s Play Jedi: Fallen Order – Part 3

Spoiler Warning: There will be spoilers ahead for Star Wars Jedi: Fallen Order and for other iterations of the Star Wars franchise.

Welcome back to Jedi: Fallen Order! If you missed the previous instalment of this playthrough, you can find it by clicking or tapping here. Last time, Cal and the gang left the planet of Bogano bound for the mysterious, dark world of Dathomir. I was hoping I’d made a good choice opting to head to that planet, but I ended up losing my first fight in Jedi: Fallen Order so far! Let’s go through how we got to that point.

Cal, with the Stinger Mantis in the background, shortly after landing on Dathomir.

After arriving on Dathomir, Cal was ready to disembark the Stinger Mantis and set out in search of the Zeffo – the race that Jedi Master Eno Cordova tasked him with learning more about. The route from the Mantis’ landing spot into the first area of the level was well-indicated, and I like the deserted, alien feel of Dathomir with its red-tinged stone and rock. Red often makes a good choice for an otherworldly terrain colour. After moving along the path a short way, a section of it collapsed and Cal had to jump and climb along some conveniently-placed vines to access the first area, which contained a patrolling monster. I really thought this was going to be a young Rancor monster (a larger one tried to kill Luke Skywalker during his mission to Jabba the Hutt’s palace in Return of the Jedi) as it looked very similar to the young Rancors seen in the Knights of the Old Republic games. As Cal is still quite low-level, I decided to sneak around at first, seeing what else the area had to offer.

Sneaking past the monster near the Dathomir landing point.

The patrolling monster was easy to avoid, and Cal climbed up to a higher elevation, where several smaller monsters were easily dispatched – though these spider-creatures dissolve in a pool of acid when killed, injuring Cal unless he leaps out of the way in time. Taking on one or two at a time is no real challenge, but here I began to see why a number of reviewers said Jedi: Fallen Order isn’t a walk in the park! One or two of these monsters pose no threat, but on Dathomir there’s a long way to go from the Stinger Mantis to the first save point – save points/meditation spots are where Cal can rest and heal – and each fight against one or two of them adds up, knocking a few points from Cal’s heath, then a few more, then a few more – leading to consequences we’ll see in a moment! BD-1 can heal Cal if asked, but this can only be done twice in between save points (though I suspect that can be upgraded down the line).

If Dathomir is deserted, who lit this fire?

After taking out several groups of these monsters, I came to a somewhat confusing point. A narrow gap in a doorway, window, or crack in the ruins of Dathomir clearly opened out into a room just beyond, and by moving the camera I could see something in that room to interact with. Yet despite Cal previously being able to climb through tight spots, there was no way in to this obvious room. I even tried smashing my way in with Cal’s lightsaber! There was nothing to interact with to allow Cal access to the room; he just ignored it and acted as thought nothing was there. Perhaps it’s possible to gain access via another route, or to come back here later when Cal has learned some new skill or other, but it was very odd.

The inaccessible room.

Beyond the inaccessible room was a bridge; BD-1 scanned an artefact which led to an ominous reference to the Night Brothers – remember last time I asked if there were Night Brothers to go with the Night Sisters? There are! An entry in the databank says that the Night Brothers were second-class citizens in a female-dominated society that once flourished on Dathomir. Count Dooku apparently was responsible for the destruction of the Night Sisters after they tried to assassinate him – something which might have been included in The Clone Wars animated series as I know Dooku was a character there. I haven’t watched The Clone Wars so I can’t be sure, though. After cutting a rope which provides a shortcut to and from the lower part of the level, Cal proceeded across the bridge.

Cal and BD-1 rushing across the bridge.

A cut-scene triggered after crossing the bridge, with cute little BD-1 scanning some markings on the rocks that Cal identified as being evidence of the Zeffo. However, before they’re able to do anything with the markings, a hooded figure materialises out of thin air. Waving her arms and using green “magic”, she summons two shirtless men. Cal tries to talk her down – though telling her he “can’t leave” Dathomir is not what I’d have said in that situation – but the woman disappears and her minions attack. This was Cal’s first encounter with a Night Sister – not so extinct after all!

A Night Sister emerges.

Weakened from battling a number of those spider-creatures en route, Cal didn’t do very well against these two assailants, the Night Brothers. Taking one down felt like a good accomplishment, but the second was able to kill Cal fairly quickly thereafter. I’m still getting used to Jedi: Fallen Order’s combat; evidently I need to work on blocking and parrying, as well as dodging attacks! Getting better at those key skills will help as we progress through the game. Cal respawned at the Stinger Mantis. Being already back at the ship, and with no other meditation spots on Dathomir that I’d seen so far, I took Cal aboard and used the one in the rear cabin. I had two unused skill points; one had been awarded for defeating the first Night Brother, though I’m not sure how long I’d been sitting on the second! I chose to increase Cal’s maximum Force points, which will allow him to use his Force abilities more often and/or for longer. The second point was invested in Cal’s blocking ability, which should reduce the damage he takes from attacks while blocking. A solid use of two points, if I do say so myself.

A Night Brother, as seen in the game’s databank.

Now I had to progress back through the level to get back to the fight, and using the meditation spot meant that Dathomir’s monsters and enemies had all respawned. Luckily Cal had unlocked that shortcut earlier, allowing several of the smaller spider-creatures to be bypassed. I also stopped to take on the monster I misidentified as a Rancor; it is in fact a different kind of creature unique to Dathomir according to its entry in Jedi: Fallen Order’s databank. It also wasn’t nearly as difficult to fight as it looked!

Defeating the monster near the beginning of Dathomir.

I wasn’t sure if I’d need to sit through the cut-scene again after crossing the bridge, but fortunately Jedi: Fallen Order is better-designed than games of the past had been! The two Night Brothers were both back to full health, but after jumping and dodging and a fair amount of hopeful lightsaber swinging they both went down, leaving Cal – to my surprise – still with a fairly full health meter. After swinging, Tarzan-style, across a couple of vines, we finally found Dathomir’s first meditation spot/save point. Cal had been awarded another skill point during the second fight against the Night Brothers, but there was only one option on the skill tree this time, some kind of dash-attack.

The meditation spot.

Immediately after the meditation spot Cal came under attack from another group of Night Brothers, including one who was using a ranged weapon – some kind of blaster in the form of a longbow. Having practiced on Stormtroopers during the escape from Bracca at the beginning of the game, it was relatively easy to bounce the shots back to the archer – though this was made more complicated by a second Night Brother attacking from close range. A second archer was similarly defeated, as was another Night Brother in the next hallway. Cal then came upon a locked door. As with the inaccessible room from earlier, there must be a way in; whether this is something we’ll find as we explore or whether it’s an area we’ll have to come back to later isn’t clear.

The locked door.

I’ve encountered a couple of graphical glitches since arriving on Dathomir. The first one came right at the beginning of the level, while Cal was climbing the vines near the Stinger Mantis. His hands, arms, and part of his head appeared to clip through the ledge he was supposed to be holding on to:

A minor graphical issue.

This wasn’t a big deal, and though I spotted it I wasn’t particularly put out by it. Evidently what’s happened is the game has designated the “edge” of the ledge incorrectly, slightly too far inside the actual texture of the rock. No biggie, and I might not have brought it up but for something that happened later. After defeating the Night Brothers and archers, Cal entered another narrow hallway and was attacked by another single Night Brother. But the camera swung wildly as Cal dodged an attack, and it was impossible to see what was going on:

The camera at this point made it hard to see where Cal and his opponent were.

I couldn’t get the camera unstuck and back into a normal position during the fight, nor could I find a way out of the hallway. I’m not blaming the camera movement for Cal’s defeat in this fight; I was already low on health and hadn’t used BD-1’s stim-pack to replenish it. But it definitely didn’t help, and while it’s the first time there’s been a problem like this I did want to bring it up because this is all part of the gameplay experience for me.

Even though we haven’t got very far into Dathomir or actually done very much, I had to get on with something else so I took a break – we’ll pick up from the save point next time and press on further into the ruins of Dathomir. Hopefully those last two points don’t feel too much like nitpicks; I just want to be as comprehensive as possible in a playthrough like this. I’m not an especially competent gamer these days, and it often takes me several tries to beat a difficult level or hard boss. As mentioned in Part 1 of this series, I am playing Jedi: Fallen Order on its easiest difficulty setting. I do this as my health is poor, meaning things like button-mashing and millisecond-perfect hits are things I’m just not capable of for the most part. The first fight against the two Night Brothers definitely caught me off-guard – the fact I was able to easily beat them on my second try is, I think, evidence of that! Hopefully the next phase of exploring Dathomir will go smoothly!

Star Wars Jedi: Fallen Order is out now on PC, Xbox One, and PlayStation 4. Star Wars Jedi: Fallen Order is the copyright of Respawn Entertainment and Electronic Arts. The Star Wars franchise is the copyright of Lucasfilm and Disney. This article contains the thoughts and opinions of one person only and is not intended to cause any offence.

Let’s Play Jedi: Fallen Order – Part 2

Spoiler Warning: There will be spoilers ahead for Jedi: Fallen Order and for other iterations of the Star Wars franchise.

Welcome back to my playthrough of Jedi: Fallen Order! If you missed the first part of this series you can find it by clicking or tapping here. Last time, we left Cal on the planet of Bogano. He’d just met the droid BD-1 and was making his way toward a mysterious vault.

Cal on Bogano.

I’m sure it’s just me, as I’m less used to modern video games with their broader, more open levels, but at points during Cal’s adventure on Bogano I found it hard to know where to go. The scenery is very pretty – but it’s also all rather samey, with white chalk or limestone cliffs and green vegetation. Although there are some identifying features on Bogano – such as an elevator platform – it wasn’t always clear where Cal had been and where Jedi: Fallen Order wanted me to take him next. The level consists of a number of similar pathways and open spaces at different heights; it was very easy (for me, at least) to overlook a pathway that was lower down that Cal had to jump down to.

The scenery of Bogano.

One thing is undeniable, though, and that is that Bogano is a beautiful setting. A lot of care and attention has gone into both locations Cal has visited so far, and even on my PC – which is no longer a cutting-edge machine (if it ever was!) – the environments look spectacular. Though I may have said something similar a decade ago, in 2020 we’re getting very close to photorealism in many aspects of games. I recently took a look at a tech demo that exemplified this. There were moments in earlier cut-scenes, particularly when looking at starships, characters in helmets, or aliens, that could have been scenes from a television show or film. And while my PC doesn’t have that fanciest of new, next-gen technologies – ray-tracing – the lighting on Bogano looked fantastic, as I think this next screenshot demonstrates.

The sun’s rays.

Last time, we left Cal before he’d made his way to the mysterious vault. I wasn’t sure if this quest would take a long time, and after loading my save file (a suitably quick process) there were still some things for Cal to do first. After exploring a cavern and killing a few monsters, we arrived at a dead end. With no obvious way out or any way to go back, the only thing at the end of the cavern was a glowing spot to interact with. Tapping on this led Cal to draw on a memory from his past, during his time as a Jedi padawan under Master Jaro Tapal – someone we learned last time died during Order 66.

Cal by the emblem of the Jedi Order during a flashback.

This flashback sequence shows Master Tapal teaching Cal how to use the Force to run along walls – something Cal remembers how to do and is able to use to escape the dead-end cavern. The wall-running ability opened up new pathways on Bogano, and Cal is able to further explore the cavern, using his ability to sense the past to note that a Jedi had once passed this way. I liked the use of the flashback as a concept, but the Jedi training room that Master Tapal and young Cal were in was incredibly generic; I’d have liked to see more decoration to make it appear even vaguely Jedi-esque. As it is, the grey tones didn’t really seem to fit with anything we’d really seen in the prequel era (when this scene was set). It was a very bland video game tutorial room that could have been from almost any other action-adventure title. It was nice to see Master Tapal again though, and I’m sure we’ll get more flashbacks to this character as the game progresses, not least because his death had a huge impact on Cal. He may have even died saving him – but we’ll have to wait and see if I’m right about that!

Cal’s Jedi Master is seen during the flashback.

Returning to the main section of Bogano, Cal is able to use his remembered wall-running technique to cross to a previously-inaccessible area and approach the mysterious vault that Cere had tasked him with exploring. BD-1 and Cal race each other to the vault, and to reemphasise what I said last time, the little droid is absolutely adorable. The entry to the vault had a couple of optional things for BD-1 to scan, adding entries to read from one of the in-game menus. Other than that, all that was here was the sealed door to the vault, which Cal is able to open with ease thanks to the Force.

While a curious BD-1 looks on, Cal opens the vault door.

The mysterious vault seemed like it would take longer and/or be more difficult to reach; I was expecting Cal not to be able to enter and to have to backtrack or go elsewhere to find a way in. But the door opened at the first opportunity, and Cal was able to squeeze through a narrow passageway into the vault. The vault is a large open room with a wet floor. There isn’t much to say about it, really, other than it looked sufficiently ancient as to be believable! In the middle of the room is a single circular object, and after Cal looks around for a moment, BD-1 rushes over and beeps at it excitedly. Walking over to BD-1 triggers a cut-scene. Jedi: Fallen Order has perhaps the smoothest transitions between gameplay and cut-scenes that I’ve seen, and it makes the whole experience much more cinematic; it feels like playing – and taking part in – a Star Wars film. BD-1 projects a hologram…

The cut-scene in the vault.

BD-1, incidentally, has been given a paint job thanks to having the game’s deluxe edition. I don’t recall why I paid extra for this version, it may have been because it was on sale. Normally I wouldn’t reward a company for cutting content from a game and selling it back, and while Jedi: Fallen Order has hardly gone overboard with its cosmetic extras, they should really be accessible in the base game or unlockable via gameplay as everything else is.

The deluxe edition of Jedi: Fallen Order allows BD-1 to get an optional coat of paint.

The hologram is stored withing BD-1 – not in the vault itself – and is a recording of another Jedi Master. Master Eno Cordova had explored Bogano years prior, and earlier Cere had explained that the planet isn’t present on any star charts; it’s a hidden world. Master Cordova had what he described as a “vision of doom” – presumably foreshadowing Order 66 and the rise of the Empire – and has chosen to hide something of value within the vault. While I like this setup, the fact that the holo-recordings are stored within BD-1 and not the vault itself raises a question immediately, one which admittedly may be explained further into the game. But if all the information Master Cordova has is stored in BD-1, who displays holo-recordings when Cal takes him to specific locations, would it not be possible to simply hack the droid and get the information out? Rather than darting about from planet to planet to get to the right spot for BD-1 to display all of the recordings, if I were Cal the first thing I’d do is shut down BD-1 and take him to a black market droid hacker!

Jedi Master Eno Cordova, whose plan seems like it could be undone with a visit to the Star Wars equivalent of PC World.

Master Cordova has acquired a list of force-sensitive children and squirreled it away in the vault. His plan, now taken up by Cere, is to use train these children as Jedi and use them to stand up to the Empire. Jedi: Fallen Order is set fourteen years before A New Hope, five years after Revenge of the Sith and Order 66. If Master Cordova put this phase of his plan into effect not too long before that, or if he updated the list, it stands to reason these children would still be out there and might be anywhere from ages 5-15 by now. While traditional Jedi teachings – according the prequel films – meant that a child of 9 was considered “too old” to train, Luke Skywalker and Rey both began their Jedi training as young adults and thus Cordova’s plan seems to have mertit.

Cal listens to Master Cordova.

The next part, however, is very “video-gamey”. Cordova insists that in order to gain access to the list of names – which may or may not be stored in BD-1, that wasn’t clear – is to “follow his path”. He tells Cal to go to the homeworld of a race called the Zeffo, who built the vault on Bogano. He’s to learn something there that will allow him to gain access to the vault. Nothing in games can ever be straightforward, eh? After Master Cordova sends Cal on his merry way, Cal chats to BD-1, saying that they have something in common as they’re both alone. It was a sweet moment. The only way forward from here is back out of the vault, and after sliding down the hill he climbed up to get in, Cal faces off against some kind of larger monster. This creature was able to perform unblockable attacks, meaning the fight took a lot of jumping and dodging. I couldn’t tell whether this monster was one of the ones recently seen in The Mandalorian or just vaguely similar.

Battling a large monster outside of the vault.

En route back to the ship – a route which, as mentioned, was easily-overlooked due to the level’s layout – BD-1 stops by a wall painting and another holo-recording from Master Cordova plays. He thinks the Zeffo may have visited the planet of Dathomir – a name that sounded vaguely familiar to me, not sure why – and suggests to Cal that he visit there, despite it being a “dark” place. I’m thrilled that Jedi: Fallen Order – like Knights of the Old Republic before it – gave me a choice of destinations. In a game that’s otherwise fairly linear, some elements of choice are great – as are the customisation options and the game’s skill tree for levelling-up Cal. Incidentally, I invested my first upgrade for Cal into extra health, as it’s something I feel almost always comes in handy in these kind of games!

The skill tree used for levelling-up.

After stopping to inspect the holo-recording, Cal must backtrack through earlier parts of the level to return to the ship – which I forgot to tell you last time is called the Stinger Mantis, or just the Mantis for short. I’m not sure where I’ve heard the name Dathomir, or whether it’s just because the -mir suffix has a Lord of the Rings sound to it, but it really does feel familiar. I wonder what Cal will find there?

The holo-recording which tells Cal about the planet Dathomir.

Upon returning to the Mantis, Cal tells Cere and Greez what he discovered in the vault and what BD-1 showed him on their return journey. He correctly susses out that BD-1 was the “someone” Cere wanted him to meet on Bogano (something which I had kind of already guessed!) They briefly discuss the situation – Cere knew Master Cordova, as she had once been his apprentice. She is also vaguely familiar with the planet of Dathomir, and says it was once home to a group referred to as the Night Sisters. The Imperial Jedi-hunter pursuing Cal is called the Second Sister, so I’m wondering if those two things are related. Were there Night Brothers, too? The information Master Cordova has stored in the vault is assumed to be in the form of a Jedi holocron – we just saw a Sith holocron in The Rise of Skywalker a few months ago, and apparently the Jedi use them too. Cere has one aboard the Mantis, and she shows it to Cal – it plays a short recording of Obi-Wan Kenobi, which was a nice little tie to the mainline films.

Cal inspects Cere’s Jedi holocron.

After spending a little time looking around the Mantis – its interior is fairly small – I headed to the map near the bridge. There were two planets available to visit, and as mentioned, it was a free choice as to which one to pick. The Zeffo homeworld was displaying an icon telling me that was Cal’s main objective, whereas Dathomir had no indicators of any kind. I chose to go to Dathomir; whether this was a good call or not isn’t clear yet! There were a couple of reasons why I made this decision, though.

BD-1 displays the map.

Firstly, I’m still not sure why but the name Dathomir is familiar. I’m curious to see if I find out why when Cal gets there! Secondly, if the game is pointing me to the Zeffo homeworld, that’s the main quest line, and if there are side-missions to explore I’d like to see those too. Jedi: Fallen Order is too much fun to skip missions! Finally, sometimes in games, quests or missions become unavailable after a certain point in the main story, and I would hate to miss out on Dathomir because I went to the Zeffo homeworld first. If the Zeffo homeworld is where Cal needs to go to advance the main story, it seems certain that area will still be available after the mission to Dathomir, but it may not be the case the other way around. I could look it up, but I don’t want to inadvertently spoil anything major for myself, as I’m playing Jedi: Fallen Order for the first time. After choosing to go to Dathomir, the Mantis takes off, and this whole sequence, transitioning from being on the surface of Bogano to being aboard the Mantis to heading into space was seamless!

Jumping to hyperspace en route to Dathomir.

I’m used to loading screens and cut-scenes breaking up a story, yet while the Mantis was taking off and headed to orbit, Cal was free to walk around the cabin and even head to the bridge to see the planet’s atmosphere give way to space. I think that might be the closest any Star Wars fan can get right now to being a passenger on board a vessel in a galaxy far, far away – except, perhaps, for the new ride at Walt Disney World’s Galaxy’s Edge, aka Star Wars land. The visual effect of the jump to hyperspace could have been lifted from any of the Star Wars films, and it was a really fun, slightly nostalgic moment to play through. Before the Mantis landed on Dathomir, Cal was still able to freely move around the ship. I took this opportunity to visit the rear cabin and upgrade his lightsaber again; I had acquired a couple of lightsaber components on Bogano.

Customising Cal’s lightsaber aboard the Mantis.

The journey to Dathomir was very short, taking only as much time as for a few lines of dialogue, and after taking a seat for landing on the Mantis’ bridge, a short cut-scene plays showing the ship approaching a red, Mars-looking planet. Immediately upon landing the area outside the ship is ready to be explored – there’s no transition between the Mantis and the two planets it’s visited so far, which makes the whole experience a touch more immersive. It was here I decided to leave Cal, and save the exploration of Dathomir for next time.

Cal, about to depart the Stinger Mantis for the mysterious – yet oddly familar – world of Dathomir.

I’m still having a great time with Jedi: Fallen Order. I’m about two hours in now according to Steam – though a few minutes of that was taken up with patching the game and connecting to Origin when I first installed it. Dathomir sounds dangerous and potentially interesting, and I’m also excited to learn more about Cere, Jedi Masters Jaro Tapal and Eno Cordova, and Cal himself. The Zeffo sound interesting too, and perhaps we’ll find out something about them here on Dathomir. But you’ll have to come back next time for that!

I’m experimenting with adding more screenshots this time, as this is supposed to be a playthrough. Hopefully this format is working; it may evolve further as I spend more time on these write-ups!

Star Wars Jedi: Fallen Order is out now on PC, Xbox One, and PlayStation 4. Star Wars Jedi: Fallen Order is the copyright of Respawn Entertainment and Electronic Arts. The Star Wars franchise is the copyright of Lucasfilm and Disney. This article contains the thoughts and opinions of one person only and is not intended to cause any offence.

Can we PLEASE stop calling things we don’t like “objectively” bad?

Quite possibly my biggest pet peeve when reading or listening to reviews and critical opinion is when a critic asserts that a film, video game, or television series that they personally dislike is “objectively bad”. This is something I’ve seen both amateurs and professionals do, and it absolutely needs to stop. It’s the single fastest way a commentator can invalidate their own argument and credentials, and it’s got to a point where it’s been proclaimed so often that any time I see or hear the phrase “objectively bad”, I stop reading or listening. Any critic making such a statement has lost my respect and lost the argument.

To briefly define the terms, “objective” refers to something definite and factual, whereas “subjective” refers to an opinion or personal taste. Specifically, the word “objective” – and its adverb “objectively” – should be used to describe only those things which are not influenced by one’s own opinion or personal taste.

The creative arts – including cinema, television, and gaming – are by their very nature subjective. Storytelling and narrative decision-making in particular are incredibly subjective, perhaps being second only to individual musical taste. Every single aspect of a film, television series, or game – from its narrative to its aesthetic to its editing – is 100% subjective, and anyone who tries to claim otherwise doesn’t understand the meaning of these terms. There are certainly established ways of doing things, but refusing to follow these routes is not only not “objectively bad”, it’s the only way there can ever be innovation. Even in a title which is universally panned, there is still a huge amount of subjectivity – this is why some poorly-received films go on to be cult classics, and why there’s a market for re-releases of B-movies like Return of the Killer Tomatoes.

George Clooney starred in this film early in his career. I’m not making that up.

Even on the more technical side of filmmaking, an aspect one person may find annoying – like incredibly fast-paced editing – is someone else’s idea of a stroke of brilliance. Setting aside those few video games that are released with so many glitches that they’re unplayable, the same is true there too. I remember reading a novel a few years ago called Cold Mountain – since made into a film – which had a really annoying writing style. There were no speech marks used to indicate dialogue, and the author appeared to be aware of precisely zero synonyms for the word “said”, using it over and over again for almost every line where a character spoke. I found these things to be incredibly dumb and gimmicky, yet when I spoke to a friend who’d recommended me the book, she thought it was masterful; a postmodern way to write.

While I’m sure people have been misusing “objectively” for years, where it came to prominence for me was in the discourse surrounding the 2017 film Star Wars Episode VIII: The Last Jedi. Many Star Wars fans disliked the film for a number of reasons, and while I personally enjoyed it, by and large I can understand the criticisms many folks had. Some decisions taken by Rian Johnson and others at Lucasfilm seem to have been almost designed to be controversial – and anything like that will always result in split opinions. But nothing in The Last Jedi was “objectively bad”, as many critics claimed. Whether someone liked or hated things like Luke Skywalker’s characterisation, the Admiral Holdo and Poe confrontation, the side-mission to Canto Bight, Snoke’s fate, or the hyperspace ramming manoeuvre, none of them can be said to be “objectively bad” storytelling decisions. Even if a significant part of the film’s audience felt some or all of those points failed, that’s still a subjective opinion on the part of those individuals. Picking on a single narrative element in a story – such as the way Luke’s character was handled – and deeming it “objectively bad” not only is incorrect, but it undermines one’s own argument and makes having a rational conversation on the topic impossible.

Even the most controversial parts of The Last Jedi were not “objectively bad”.

I don’t want to turn this essay into a critique or defence of The Last Jedi, because it’s hardly the only title in recent years that has seen “objective” bandied about and used incorrectly by critics. While I liked The Last Jedi overall, that isn’t the reason for my saying it can’t be called “objectively bad”. There are titles I personally didn’t like, even projects I felt completely failed, that I would make the same case for. Game of Thrones’ eighth season was not “objectively bad”. Nor was The Last of Us Part II, despite my saying recently that 3/10 seemed like a fair score for that game. Not even The Rise of Skywalker, which had myriad problems with its story as well as its pacing, could be described as being “objectively bad”. I greatly dislike or had serious issue with all three of these titles, but I could never say that about them because there simply is no such thing as an “objectively bad” narrative. They all have major issues and failings in my opinion – an opinion shared by many other people in some cases, but a subjective opinion nevertheless.

What a critic is trying to do by clumsily using the word “objective” is to shut down dissenting opinions. By asserting that their belief is “objective” and thus purely factual, they’re saying that no other opinions on the topic can exist, and that anyone who tries to make a counter-argument is automatically wrong with any points they make being invalid. This isn’t how criticism and discourse are meant to work. Setting aside the fact that the word is being used incorrectly, the implication is that the person making such an assertion is closed-minded. It’s a consequence in part of social media bubbles and YouTube channels feeding the same opinions to people repeatedly.

YouTube critics aren’t the only ones who make this mistake, but it’s something I hear frequently on that platform.

In the aftermath of The Last Jedi, this was taken to extremes by some of the film’s detractors. While some of these people would begin a discussion by saying something generic like “I respect your opinion”, often what would come next is plenty of evidence to the contrary. It wasn’t good enough for them that most folks they spoke to didn’t like the film, they wanted everyone to hate it just as passionately as they did, and any contrary opinion was taken as a personal attack. The reality is that there will always be a range of opinions on practically any film, game, or television series, and trying to convince oneself that everyone needs to share the same opinion will not lead anywhere positive.

The conversation around The Last Jedi became so aggressive, unpleasant, and toxic that I stopped engaging with the film’s critics. It was clear to me that most of them weren’t interested in a conversation nor in hearing any other opinion besides a differently-worded version of their own. Some of these folks seemed to be tying their whole identity to being anti-Disney or anti-Star Wars, and any difference of opinion was perceived as a challenge to their newfound sense of self. That appears to be at least part of the reason why we started to see the phrase “objectively bad” crop up more and more often in relation to that film.

Luke Skywalker’s characterisation in The Last Jedi may have been controversial and disappointing to some fans, but nothing about it was “objectively bad” – or “objectively” anything at all.

Calling something “objectively bad” – or indeed “objectively” anything else – has a finality to it. It seeks to shut down the debate and block off any chance of someone offering a different opinion. But it simply isn’t correct, and by taking even small steps to broaden one’s understanding of a work of fiction, it’s easily possible to see that there are a range of opinions. Some critical works may even cause a rethink, reframing the discussion or bringing up a point others have failed to mention. Even if these don’t cause anyone to change their mind, they are at the very least evidence that a title is not “objectively bad”.

In most of the titles mentioned above, there were choices made by the creators and storytellers that I wouldn’t have made. These choices made the stories less enjoyable – or completely unenjoyable – for many people. Whether we’re talking about cinema, television, or video games, stories can be poorly-written, and indeed the whole point of media criticism is to point that out. But even the most well-read academic or the most prolific storyteller is simply expressing their own opinion when they make such a point. If you’ve ever taken a creative writing class or subjected your fan-fiction to internet critique, you’ll know that. Criticism is an expression of one’s own thoughts and opinions on a subject. By the very nature of the medium, criticism is subjective, not objective.

I did not enjoy The Last of Us Part II, and criticised some of its storytelling choices. But I would never be so arrogant as to say my opinion is a fact and that the game is “objectively bad”.

Some people may be misusing a term that they don’t understand, in which case further education is needed. But unfortunately, many critics who are fully aware of the difference between subjective and objective use the wrong word on purpose. Occasionally it may be little more than hyperbole, but even then this kind of exaggeration does nothing to elevate the discussion around entertainment and media. Often it’s a cynical attempt to shut down debate; to attempt to discredit dissenting opinions by stating one’s own as cold, hard fact. I find this incredibly offputting, and the inclusion of the phrase “objectively bad” – unless clearly sarcastic or meant as a joke – is enough for me to click off and read or listen to something else.

There are some aspects of life which can be black-and-white, and where it makes sense to describe something in such clear-cut terms. But entertainment isn’t one of them, and never can be. Its very nature means that there will invariably be a range of opinions, and if we haven’t found any differing points of view, that in itself is a great argument to get out of whatever social media bubble we find ourselves in and seek them out. At the very least, let’s endeavour to stop calling films, games, and television shows we don’t like “objectively bad”. They aren’t – we just didn’t like them.

All properties mentioned above are the copyright of their respective studio, publisher, distributor, broadcaster, etc. This article contains the thoughts and opinions of one person only and is not intended to cause any offence.

Let’s Play Jedi: Fallen Order – Part 1

Spoiler Warning: There will be spoilers ahead for Star Wars Jedi: Fallen Order and for other Star Wars titles, including the films.

Star Wars Jedi: Fallen Order was released in November last year, the first single-player, story-focused Star Wars game on a major platform since 2010’s The Force Unleashed II. While 2018’s much-criticised Battlefront II actually had a creditable single-player campaign, that game was primarily a multiplayer title, so Jedi: Fallen Order is a rare gem in the current Star Wars lineup. Many Star Wars fans had been asking for a title like this for years, and criticism of Electronic Arts’ handling of the brand they’re licensing from Disney had been building in part due to the lack of single-player titles.

This article is going to be the first in a series charting my playthrough of Jedi: Fallen Order in close to real-time – by which I mean that I’ll write up each section of the game or each play session as I go, rather than offer a review of the whole game at the end. From my point of view, writing this way is a bit of an experiment; a blend between my usual reviews and YouTube-inspired gameplay videos. If it doesn’t work, I guess I won’t keep it up! But if this style proves popular with my readers – and enjoyable to write – perhaps I’ll look at writing up other games in a similar format. At this point I don’t know how many articles will be in this series, nor how long it will take me to complete Jedi: Fallen Order.

Jedi: Fallen Order protagonist Cal Kestis.

I had to postpone playing this game as my computer hadn’t been working right. PC, if you recall, is my main gaming platform these days. I picked up Jedi: Fallen Order on sale a few weeks ago, snapping up a 30% discount. But of course this year’s Steam Summer Sale offered a bigger 50% discount! Sigh.

The Steam version of Jedi: Fallen Order requires a connection to EA’s Origin system, which is a bit of a pain. The initial start-up of the game takes some time: connecting to Steam, updating Steam, updating Jedi: Fallen Order, connecting to Origin, updating Origin, patching Jedi: Fallen Order within Origin… does anyone else miss the days of jamming a cartridge into a SNES and the game just starting? I know I do! But me showing my age aside, when Jedi: Fallen Order booted up, I encountered a simple, easy-to-navigate menu with a few different video and audio settings. Interestingly, Jedi: Fallen Order strongly recommends the use of a control pad, not keyboard and mouse, even when playing on PC. That’s fine for me as a gamepad is my preferred way to play action-adventure titles, but I thought it worth noting. I also adjusted a few of the settings – making sure in-game subtitles were on, as well as increasing the size of in-game text and subtitles. I wasn’t sure at first if doing so would result in comically huge text, but I’m glad I chose to make the text bigger as it would have been harder to read otherwise.

Unlike many games which commence with a long opening cut-scene, Jedi: Fallen Order dropped me right into the story mere seconds after it began. A very short scene introduces protagonist Cal Kestis, who is living on the planet of Bracca. Bracca is a strangely atmospheric place, and Cal lives and works in a ship-breaking yard. Whether the entire planet is just used for this purpose (Star Wars loves its monothematic planets, after all) is unclear. Nevertheless, the rain-soaked planet covered in decaying, broken starships feels like the perfect place for someone to disappear to if they wanted to remain anonymous!

The ship-breaking yard on Bracca.

The first level of the game took Cal and I through the junkyard, learning the basics of the game’s running, jumping, and climbing mechanics, as well as showing off the setting. There were a few neat lines of dialogue between non-player characters as Cal darted about the junkyard, but mostly this part of the game’s opening act was combat-free and straightforward.

I don’t guarantee it’ll be combat-free at all difficulty levels though (but that’s probably something I should Google). I usually opt to play games on their easiest difficulty setting. As many of you know if you’re regular readers, my health is complicated. Some of my issues can make gaming at a high difficulty too hard for me, especially in games which need fast reflexes and quick reactions. I’m happy to play a turn-based game like Civilization VI at a higher difficulty level for the strategic challenge, but generally speaking I come to a story-focused game like Jedi: Fallen Order to – surprisingly enough – enjoy the story. Cranking up the difficulty would have made for a more frustrating and less enjoyable experience, and that’s the last thing I want. Some reviewers made note of the game’s difficulty upon release, with it even being compared to the Dark Souls series. I haven’t played those games – on purpose, because again that sounds like an impossibly frustrating experience for me! But I was a little put off by the perceived high difficulty – until learning that a “Story Mode” exists, which turns everything down and makes the game easier to play. That’s the mode I chose to play on, and everything in this write-up will be based on that.

Jedi: Fallen Order drew comparisons to the Dark Souls series upon release.

As Cal and his friend Prauf reach their destination, they encounter a rusted Jedi starfighter – it looked to be the design Obi-Wan or Anakin used during the prequel films. Prauf says very pointedly that he doesn’t believe all Jedi could be traitors, referring to Order 66 which saw the Jedi rounded up and killed. I liked the way the game took this short sequence to establish Prauf as someone at least slightly sympathetic to the Jedi before everything else happened – it made his later actions more understandable and sympathetic.

After an accident which sees Cal and Prauf fall – in a fairly neat sliding section which required Cal to slide from side-to-side and dodge obstacles – Prauf is left hanging on the edge of the broken ship. It seemed obvious that Cal would have to use the Force to save him, and I was right – Prauf falls and Cal uses the Force to slow him down, saving his life. Prauf immediately realises what’s happened, and after a short cut-scene in which Cal flies a small craft to safety – which could have made for a fun sequence to play through instead – the two are safely on the ground and headed home.

After a short conversation on the train, Cal falls asleep. When he wakes up, Prauf is missing. And I’m sure some people will say this was obvious as a dream sequence, but I sure as heck didn’t realise it! Cal walks along the train looking for Prauf, when he comes across a locked door. After a few attempts to enter, I turned Cal around to go back the way he’d come, only for the train to vanish – replaced with a Death Star-esque corridor! I was stunned; the transition from one environment to the next was absolutely seamless, and the whole effect was very surreal. I’m sure this worked better because they’re both small, narrow corridors. But even so it was fantastic to play through and a genuine surprise.

This moment was a perfectly-executed shock that made me jump!

After briefly exploring the corridor, and following an R2D2-type droid, Cal sees his former Jedi Master in the dream, and is alerted to the fact that all is not well. As he awakens, the train jolts to a halt. I loved this sequence, it was by far my favourite part of this introductory section of the game. The fact that it wasn’t obviously a dream made the Imperial/Death Star corridor appearing from nowhere a real shock, and seeing Cal’s Jedi Master was great – he’s a character I hope we get to know more about as the game goes on.

The editing and pacing of some recent Star Wars projects has been poor. And this next part of Jedi: Fallen Order unfortunately didn’t do a great job of conveying the passage of time. We saw Cal and Prauf escape the broken ship in the junkyard mere moments ago, and the scene on the train seems to be taking place immediately afterwards. At most, an hour or so has passed. Yet in that time the Empire has been alerted to Cal’s Force use (somehow) and not only dispatched Stormtroopers to intercept his train, but top-of-the-line Jedi hunters as well.

A Stormtrooper on Cal’s train.

In Star Wars, travel between planets hasn’t always been consistent. But in most cases it isn’t instantaneous, as the scenes on the Millennium Falcon in A New Hope conveyed perfectly. Is it the case that the Inquisitors/Sisters happened to be on Bracca already? Maybe – if that’s what happened perhaps it’ll be confirmed later and seal this minor plot hole. But as it is, taking the sequence on its own it seemed as though the Imperials got to Cal almost impossibly fast.

A group of junkyard workers from the train are lined up by the Sisters and Stormtroopers, and the Second Sister promises to execute them all if the Jedi they’re hunting doesn’t step forward. Prauf steps forward and beings to speak about the injustices the Empire has forced on the people of Bracca – only to be cut down in short order by the Second Sister. Prauf fills a role that vaguely reminded me of a character from Knights of the Old Republic called Trask Ulgo – a character who is similarly killed saving the protagonist during that game’s opening mission. While I’m sure this wasn’t intentional, having consistent threads running through the franchise is always a neat thing!

RIP Prauf.

Speculation time! I wonder if we’ll learn that the Empire is using some kind of scanner or sensor that’s able to detect Force powers. While the junkyard wasn’t deserted, it wasn’t exactly crowded either, and it seemed as though Prauf was the only one who knew about Cal’s one very brief moment of Force use. There certainly weren’t any obvious witnesses, so for me this definitely raises the question of how the Empire came to know about Cal – and how they were able to know so soon after what he did. At the very beginning of the game, an Imperial Probe Droid (the kind seen in The Empire Strikes Back) flitted across the screen. Could these droids be scanning for Force-users?

After Cal attempts to engage the Second Sister in a lightsaber duel, he ends up falling onto a moving train, and this marks Jedi: Fallen Order’s first proper gameplay sequence. Cal is armed with a lightsaber, and makes short work of the various Stormtroopers in his path. The game did a great job introducing me to the various combat moves at Cal’s disposal. There’s the standard attack, there’s blocking and parrying, and of course Cal can use his lightsaber to bounce blaster shots back at the Stormtroopers. All of these are intuitive and fun to perform, and within moments I was chopping and blasting my way through the train full of Stormtroopers.

Uncharted 2, anyone?

Some kind of ship attacks the train, but before Cal can be killed or injured another ship takes it down – the woman aboard offers to help, but Cal can’t jump to her ship from the moving train. Eventually, after an exciting and occasionally tense sequence, Cal is face-to-face with the Second Sister in another duel. This time I got to fight, and while the Second Sister is clearly invincible in this duel – as I assume she’s a key part of the plot later on – it was so much fun to block and dodge and swing Cal’s lightsaber at her!

The ship from earlier returns, and Cal is rescued by the woman and her pilot: the two are named Cere Junda and Greez Dritus. The Second Sister attempts to bring down their ship, but the two of them manage to shake her off and escape Bracca, jumping to hyperspace. Cal is suspicious of his rescuers, initially thinking they may be trying to cash in on an outstanding Imperial bounty for ex-Jedi.

The Second Sister on Bracca.

The journey from Bracca to Cal’s next destination takes some time – re-emphasising my point about pacing earlier – and he’s able to rest a little aboard the ship. I enjoyed the introduction to Cere, who describes herself as an ex-Jedi attempting to put the Jedi Order back together. How exactly one becomes an ex-Jedi, and whether she will be able to use the Force (it doesn’t seem so) or train Cal is unclear, but I like her character.

Cal is revealed to have a special Force sensitivity which means he can touch an item and sometimes is able to sense part of its history – in the example from the cut-scene, he touches an instrument and is able to play a tune on it. I’m sure this power will come in handy later in the game for uncovering some mystery or other, and establishing its existence at this early stage was great – it’ll avoid feeling like a deus ex machina later. And as a Force power that we haven’t seen before, I liked it. It’s suitably magical and mysterious in a way that fits with what we’d expect the Force to be able to do. It’s not overpowered, it’s not even something that could be weaponised, and is thus a neat feature of the game that – so far at least – seems to work well.

Cal and Cere talk after escaping Bracca.

The ship travels to the planet of Bogano, where Cere has been working on rebuilding the Jedi Order. There’s a mysterious vault which requires the Force to access, which is why she’s brought Cal along.

Cere leaves Cal to it when they reach Bogano, telling him to make his way to the vault. Apparently there’s someone else on Bogano who Cal needs to talk to; who this mysterious character is, as well as what’s in the vault isn’t clear at this stage. In a sequence reminiscent of a Tomb Raider game, Cal begins to explore the area surrounding the vault on Bogano.

This area is a fairly typical early-game stage, with some aggressive but easily-defeated monster opponents. This series of articles will probably reference Knights of the Old Republic more than once or twice, because those two games on the original Xbox were among my favourites! But here on Bogano, I got a distinct Dantooine vibe. That planet was playable in both Knights of the Old Republic games and was a similar sunlight, grassy world with monsters to fight.

Cal after arriving on Bogano.

During the exploration of the ruins/abandoned residence on Bogano, Cal encounters a droid. This cute little animal-esque droid is called BD-1, and will join Cal for the rest of the game. If you’re a regular, you’ll know I’m a sucker for cute critters, and BD-1 definitely falls into that category! His (or her) introduction, where Cal patches up a damaged foot, was absolutely adorable, and I’m already in love with BD-1.

Exploring Bogano will lead to several interesting discoveries, including a workbench where Cal can modify his lightsaber. Judging from the number of greyed-out options, there are plenty of customisation elements to uncover! Having got the special or deluxe version of Jedi: Fallen Order I had a couple of different options already, including a really cool orange tone for Cal’s lightsaber. In Knights of the Old Republic II, the orange coloured blade was really hard to get, so having it right off the bat here feels great, and I like that there are a range of aesthetic options. BD-1 also found Cal a different-coloured poncho to wear – and I love that the game refers to Cal’s outfit as a poncho in all the various menus and in-game text!

BD-1 and Cal meet.

After Tomb-Raidering my way across the first part of Bogano, killing a few monsters, changing up Cal’s lightsaber, and dressing him in a shiny new poncho, I was ready to take a break.

Jedi: Fallen Order has started incredibly strongly. The story that’s been set up is interesting and gripping, and I really want to find out what’s in the vault, as well as who the Second Sister is. Cere tantalisingly mentioned she knew Cal’s former Jedi Master, and I hope we’ll see some exploration of that relationship too.

Both Bracca and Bogano are interesting planets to have visited, and as far as I can tell, both are unique to Jedi: Fallen Order. In a franchise that can overplay the nostalgia card, changing things up and doing something different is always appreciated. While both settings felt unmistakably “Star Wars”, they are also different to anything seen in the main films, and I think that’s great.

Come back next time and we’ll explore some more of Bogano – maybe we’ll even get into that mysterious vault!

Star Wars Jedi: Fallen Order is out now on PC, Xbox One, and PlayStation 4. Star Wars Jedi: Fallen Order is the copyright of Respawn Entertainment and Electronic Arts. The Star Wars franchise is the copyright of Lucasfilm and Disney. This article contains the thoughts and opinions of one person only and is not intended to cause any offence.

Which of the two current-gen consoles has been better this time around?

With the Xbox Series X and PlayStation 5 set to launch in just a few months, I thought it would be interesting to look back on the current offerings from Microsoft and Sony and see which was better – subjectively speaking, of course. This has been the second console generation with what I called a “two-plus-one” set of home consoles: Xbox and PlayStation fishing in the same pond, and Nintendo doing its own thing off to one side. This began last generation, when Nintendo stopped competing directly with Xbox and PlayStation and began to reposition itself as a family-friendly, casual-gamer brand. As Nintendo’s consoles have been different, gimmicky, and have a focus on unusual and unique ways to play, I’m setting them aside and just looking a Xbox and PlayStation in this article.

Sorry, Wii U. We’re just looking at Xbox and Playstation this time!

Although exact sales numbers have been hard to come by, PlayStation has been by far the biggest seller this generation. The various PlayStation 4 versions – including the PlayStation 4 Pro – have easily outsold the Xbox One by two-to-one or more, and it isn’t unfair to say they’ve been absolutely dominant. The previous cycle – where the Xbox 360 faced down the PlayStation 3 – couldn’t have been more different. Xbox was dominant then, and it just goes to show how quickly things can change in a fast-moving industry, not to mention how a poor launch can scupper a console’s chances.

The Xbox One’s launch in 2013 could hardly have gone worse for Microsoft. The biggest problem was the always-online nature of the console, which was incredibly controversial and offputting for many gamers. It wasn’t simply a case of always needing to be connected to the internet – which for many people even today is difficult in many regions – but that basic things like lending a game to a friend was incredibly complicated. The initial suggestion was that the Xbox One would need to register every game a player used, and it was unclear at first if two people who each had a separate Xbox account on a single shared console would need two separate copies of the game in order to play. Microsoft talked about a system where players could nominate someone from their friend list to share the disc with, but this raised the spectre of Xbox gamers being unable to trade in old games. The whole thing was a horrible mess, and Sony made a funny video in response, pretending to show in detail how game-sharing would work on PlayStation 4: one person hands the disc to another, and that was the end of the video.

Sony was easily able to capitalise on the Xbox One’s poor decisions prior to launch.

As an aside, most of the big games companies have been looking for ways undermine game trade-ins for a long time. When a shop like Game in the UK or Gamestop in the US buys and then re-sells a title, none of that money goes back to games companies, and they have long felt that the practice cuts into their sales and profits. With physical game shops almost certainly on the way out as gaming moves to an all-digital future, they won’t have that problem any more. For people on low incomes, including younger people, being able to buy games more cheaply second-hand can be a lifeline, and even if most of us are okay with the switch to digital games, a lot of people are going to lose out. But we’ve drifted off-topic!

The Xbox One was initially bundled with the now-abandoned Kinect device, and those first Xbox One consoles required Kinect to be connected at all times. Not only did this have the effect of raising the price of the Xbox One – $499 in the US or £429 in the UK – but there were also pretty serious privacy concerns, especially from some parents’ groups. The Kinect had a front-facing camera, and some people were uncomfortable at the idea of an always-connected, always-online camera in their living room 24/7.

The price issue was huge, though. By tying itself to Kinect – and refusing to release a no-Kinect option – the Xbox One’s price was inflated. The PlayStation 4 was able to come in a hundred dollars cheaper and massively undercut Microsoft – in a similar way to what the Xbox 360 did to the PlayStation 3 in the previous generation. The PlayStation 4 was initially priced at $399 in the US and £349 in the UK; a pretty substantial saving.

Xbox One launched with a mandatory Kinect accessory (above) which made it much more expensive.

Microsoft did later backtrack on some of the internet requirements, but even at launch the Xbox One still required a one-time internet connection in order to complete its setup procedure. It was a climbdown from the always-online requirement, but Microsoft still managed to force internet connectivity in there somehow!

I’ve been lucky this generation to have played on both the Xbox One and the PlayStation 4. I even bought an Xbox One at launch – despite the issues mentioned above. However, I didn’t have a particularly good time with the machine. While I did have a few games- including at least one exclusive, Ryse: Son of Rome – the console ended up getting used more for watching DVDs and streaming. And I guess that sums up Xbox this generation in a way, as Microsoft aimed to make the console less of a gaming powerhouse and more of an all-in-one multimedia centre.

The lack of decent exclusives has harmed Xbox immeasurably this generation. A number of PlayStation 4 exclusives are regarded among the best games of the last few years: titles like God of War, Uncharted 4, Marvel’s Spider-Man, Horizon Zero Dawn, The Last Guardian, Bloodborne, and even remasters like The Last of Us, Shadow of the Colossus, and Uncharted 1-3. Xbox simply has very little in response to these outstanding games. The few Xbox exclusives that there have been this generation – and there haven’t been many memorable ones – were average at best. Titles like Sea of Thieves and even the venerable Halo series didn’t come close to accomplishing for the system what Sony’s lineup did for the PlayStation 4.

PlayStation 4 has outsold Xbox One massively.

Before this console generation kicked off in 2013, I’d only played a handful of games on any PlayStation system. Throughout the life of PlayStation as a brand, I’d always had a different console. When the first PlayStation debuted I had a Nintendo 64. When the PlayStation 2 was out in the early 2000s I had a Sega Dreamcast and then an original Xbox. And in the PlayStation 3 days I was an Xbox 360 and Wii owner. It was only when I really wanted to play The Last of Us in 2013 that I treated myself to a PlayStation 3 – the first console in the PlayStation family that I ever owned. I only played a handful of PlayStation 3 games, though, because the current generation of consoles launched a few months later.

Nowadays my primary gaming platform is PC, and that’s been the case for a while actually. Digital distribution via platforms like Steam and the Epic Games Store is just so convenient, and while it’s possible to buy console games as a download too, I like having a powerful, customisable machine that isn’t just useful for gaming. But a couple of years ago I picked up a PlayStation 4, hoping to play some of its tantalising lineup of exclusives. While in terms of the way the consoles work and the graphics put out the PlayStation 4 and Xbox One are almost inseparable, in terms of gaming experiences I enjoyed what PlayStation had to offer way more. I no longer own my Xbox One, having given it away several years ago.

Though I’m not a VR gamer, it’s worth adding that PlayStation tried very hard to make virtual reality mainstream this generation. The PlayStation 4’s VR kit is by far the most successful VR platform at the moment, and has helped take what was a niche idea much further than anyone thought possible.

Both in terms of my personal experience with these two consoles, as well as in terms of objective sales data, the PlayStation 4 has been by far the better and more successful offering this generation. And as I mentioned a few days ago, with Xbox looking set to repeat some key mistakes this time around, especially in terms of exclusive games, I don’t see that changing when the next generation of consoles launch either.

The Xbox brand is the copyright of Microsoft, and the PlayStation brand is the copyright of Sony. This article contains the thoughts and opinions of one person only and is not intended to cause any offence.

Why fan petitions don’t work

There are plenty of projects in recent years that I took issue with. When passions run high, it’s natural to want to find an outlet for whatever anger or frustration we might have about a film, game, or television series. Just in the last few weeks I’ve looked at three big titles that I felt didn’t work for one reason or another – Game of Thrones Season 8, The Rise of Skywalker, and The Last of Us Part II.

All of these titles, and many more besides, have something in common: fans have set up online petitions to erase, edit, or rewrite them to fit what they think should have happened. Some of these petitions can get tens or even hundreds of thousands of signatures on websites like change.org – but what’s the point? Even if a petition got a million signatures, does anyone seriously think that Disney and Lucasfilm are going to say “oh okay then, I guess we’d better remake The Rise of Skywalker”?

The Last of Us Part II is the latest in a long line of titles to receive a petition demanding changes or cancellation.

Fan petitions can be a legitimate way to protest a decision in an entertainment product that you don’t like, and in that sense they arguably serve a purpose. I can understand the desire to make one’s voice heard – my website, after all, serves a similar purpose for me. Did anyone at Lucasfilm or Disney read my tear-down of The Rise of Skywalker? Doubtful. Even if they did, would it make one iota of difference? Absolutely not. But that doesn’t stop me writing. I’ve always loved to write, and I run this website just for fun.

As long as we remember to treat fan petitions in the same way as we might treat a YouTube comment or scathing Twitter post – i.e. by not expecting anything to come of it – perhaps it’s a harmless phenomenon. I think it’s comparable in that respect to review-bombing (the practice of leaving large numbers of negative reviews on sites like Metacritic and Rotten Tomatoes). As fans and members of the audience, we want to make our voices heard, especially when we feel a title has been disappointing. And similarly to review-bombing, seeing that hundreds or thousands of people share your opinion can be a good feeling. The desire to complain is as old as humanity itself; one of the oldest extant examples of writing is a complaint about poor-quality copper from ancient Sumeria! So it shouldn’t be a surprise that people in 2020 are using the internet to make their voices heard and to take complaints directly to those behind the shows, games, or films that they feel didn’t succeed.

The issue can be that some people take petitions very seriously. They consider their opinion to be the only one that’s acceptable and valid, and will attack anyone who disagrees, often viciously and offensively. In the aftermath of 2017’s The Last Jedi this happened a lot – many of the film’s detractors insisted it was “objectively bad”, as if that were the only opinion and the end of the discussion. The Last Jedi was not objectively bad – they just didn’t like it. In their subjective opinion. Nor can The Rise of Skywalker or The Last of Us Part II be said to be “objectively” bad. Storytelling is always going to be subjective, and there will be a range of opinions from the overwhelmingly positive to the horribly negative depending on the individual.

Lucasfilm and Disney aren’t remaking The Last Jedi.

Some of this comes with age – as you get older, you meet more people and get to see firsthand a variety of opinions on every topic. Getting out of a bubble is important – if you only ever talk to like-minded people and never try to get an opposing viewpoint or broaden your understanding of a topic, you’ll never have a chance to grow. This doesn’t just apply to entertainment, but to everything else in life too. Social media platforms like Facebook, YouTube, Twitter, and the like can amplify these bubbles – creating groups and networks where only one side of an argument is discussed and where only one opinion is acceptable. Often, at least in the context of entertainment, this is a negative, critical opinion, but not always.

Companies care about their bottom line. In practically every franchise, hardcore fans are a tiny fraction of the overall audience, and as such, companies can flat-out say that they don’t care what you think. At the end of the day, if their product is making money and has been successful, the opinion of a tiny number of people who disliked it or who felt its narrative choices were wrong does not matter to them in the slightest. And often, what you’ll find is that controversy can be turned into a selling point. A fan petition gets more people to hear about the title in question, and some of them will go on to pick it up to see what all the fuss is about – resulting in more sales, not fewer.

William Shatner once told Star Trek fans to “get a life!” Luckily this was a joke, but it illustrates how entertainment companies can view their franchises’ biggest fans.

I don’t sign petitions on entertainment topics as a rule. I have, very occasionally, lent my name to petitions on other issues when I felt strongly about something, but never on an entertainment subject. Before I founded the website I would usually just keep my opinions to myself or perhaps discuss things with friends, but of course nowadays I have this outlet! However, I don’t want to say you shouldn’t sign a petition if you feel you want to and that it warrants your time and attention. Just don’t expect a response, and especially don’t expect your petition to accomplish its goal of having that episode or film you hate struck from canon.

There are some very specific cases where fan feedback in a more general sense has led to changes. The one that springs to mind is Mass Effect 3 in 2012. After releasing to huge controversy for its pick-a-colour ending, EA and Bioware released a free piece of downloadable content – the Extended Cut – which provided some more dialogue, expanded some cut-scenes, gave more explanation to some story points, and generally padded the ending a little. This wasn’t in response to a single petition – though there was a popular one at the time – but rather it was a response to broader feedback from reviewers and fans that was practically universal. The changes they made through the Extended Cut didn’t fundamentally change the game – or even really address the basic issues people were complaining about – but at least fans felt that their feedback had accomplished something.

The Extended Cut of Mass Effect 3 was initially offered as free DLC and is an example of feedback resulting in a response.

Overall, though, one success story does not count as proof of concept. Fan petitions are ignored by big companies, and often mocked online as people ask: “do those whiny fans really think their petition is going to make a difference?”

Partly the reason why is that a petition is just a collection of names – in online petitions, often patently fake names like “Deez Nuts” or “Anony Mouse”. It takes almost no effort to lend one’s name – fake or real – to such a petition; most participants must merely write two words and then click or tap off the petition. When I see critical comments on social media, while many of them can suffer from poor spelling and grammar and be silly, nitpicky, or even rude, at least the individual writing the comment has made a basic attempt to string more than two words together to make their point or express their dislike. In that sense, fan petitions rank even lower than social media comments or short posts on Twitter. If they take so little effort, it makes sense why they’re so easily dismissed, and why it takes an exceptional case of negative feedback – which may or may not include petitions – to convince any big company to make even minor concessions, such as in the case of Mass Effect 3.

I’m not in the business of telling people what to do. And if you want to create a petition or sign a petition calling on a company to change or cancel a film, series, game, or episode, that’s your call. Nor am I saying that petitions in general are a bad idea – in the sphere of politics and when dealing with other issues out there in the real world, a well-constructed petition on a specific issue can be effective. They just tend not to be when it comes to entertainment companies. At the end of the day, most people don’t take things like Star Wars or Star Trek as seriously as we do.

A photo I took at Star Trek: The Experience in the UK. Most viewers aren’t super-fans and don’t attend events or attractions like this.
Photo Credit: Trekking with Dennis

The desire to express how one feels about something is natural and a fundamental part of the human condition. But there are better ways to go about it than signing a fan petition that will invariably fail to accomplish anything. Letter-writing may be a lost art, but I think many people will find that actually writing out their thoughts and opinions will not only be cathartic but can also be an enjoyable experience. Whether they choose to write directly to the company in question or do what I do and publish reviews and criticism in a publicly-accessible forum is a personal choice – some folks on the more introverted side of the spectrum may find the former is preferable, for example. I’d recommend giving it a try, in any case. Not least because I love stumbling across new blogs and critics to read!

In the days of the internet and social media, it’s easier than ever for fans to critique their favourite franchises, and storytelling decisions in particular. It’s also easier than ever to get sucked into social media bubbles where everyone is expressing differently-worded forms of the same opinion, and to make the mistake of thinking that opinion is objective truth or the only valid position to take. From the point of view of companies, while some feedback can be valuable, and while they undoubtedly take notice of the rare cases of overwhelming backlash online, if at the end of the day their film, game, or series is popular and profitable, they don’t really care. And they care even less about fan petitions. Sorry.

All films, games, and television series mentioned above are the copyright of their respective studio, distributor, network, developer, publisher, broadcaster, and/or corporation. This article contains the thoughts and opinions of one person only and is not intended to cause any offence.

Video game prices set to rise

As I hinted at last time, video game prices may be going up when the next generation of home consoles launch later this year. Currently, brand-new video games cost $59.99 in the USA and £49.99-£54.99 in the UK, but this could rise significantly – potentially hitting $69.99 in the US, with a comparable rise in the UK to £59.99-£64.99. If prices go up in one market, it seems a sure thing they’ll rise elsewhere as well, so we mustn’t be fooled into thinking this is a US-only issue.

It’s felt for a while as though games companies were playing a long game of “chicken” when it comes to being the first to announce a price hike. No company wanted the criticism that would inevitably come with going first, but 2K Games could wait no longer and announced that the price for the Xbox Series X and PlayStation 5 versions of their basketball game NBA 2K21 would be $69.99 in the United States. Now that the proverbial dam has a crack, I expect the whole thing to come crashing down as other major publishers follow suit. While at time of writing only NBA 2K21 is priced this way, it really feels like an inevitability that many other next-gen titles will join it.

NBA 2K21 is the first game to announce a significant price hike for next-generation consoles. More will surely follow.

Video game prices have been static for years. Prices rose when the PlayStation 3 and Xbox 360 were launched, but since then there hasn’t been any change – at least not to the price of the basic version of games. In 2005-06, downloadable content and in-game microtransactions were rare – DLC primarily consisted of large-scale expansion packs, and microtransactions, where they existed at all, were mostly just in massively-multiplayer online games. The gaming landscape has changed significantly since, and many games today – even those that retail for the full-price of $59.99 or £54.99 – still have in-game marketplaces, in-game currencies, microtransactions, single-use items for purchase, lootboxes, and myriad other ways to vacuum up cash from players. Many of these systems debuted in mobile games and free-to-play titles, but they have become commonplace in full-priced games too. So while it’s true that the surface price for video games hasn’t changed in almost 15 years, in order to get a complete game it often costs far more than that initial offering.

Some games take this to extremes. I’ve written before about Civilization VI, a turn-based strategy game for PC that I greatly enjoy. The base game costs £49.99 when not on sale, but in order to buy the complete game including all of its DLC packs – some of which consist of only a single new faction and a small number of missions – costs a whopping £144.91 if you were to buy it on PC without any discounts. And that’s not even the worst example: Europa Universalis IV, another strategy title, would cost over £300 to purchase the full game plus all of its DLC. This issue isn’t unique to strategy games either: Assassin’s Creed Odyssey costs over £95 to buy its “Ultimate” edition, Shadow of the Tomb Raider costs over £80 for its “Definitive” edition, and the “Ultimate” edition of FIFA 21 can currently be pre-ordered for the limited-time special offer price of £89.99. So it’s definitely the case that the “basic” price of video games may have been static, but buying a complete game has cost well over $59.99 or £54.99 for years.

Strategy game Europa Universalis IV costs over £300 including all of its DLC packs.

If you looked at my article about this year’s Steam Summer Sale you’ll recall that I said sales like that make PC gaming much more affordable. And that is true – aside from Animal Crossing: New Horizons and The Last of Us Part II, I haven’t paid full-price for a video game in a long time. It’s only on rare occasions, where a title is an immediate must-buy for me, that I’m willing to consider paying full price. But on consoles in particular, where sales like those on PC are less frequent and less generous, many people are stuck paying full price or close to it for most games they purchase. A £10 increase on a £54.99 title represents a price hike of 18%; a $10 rise on a $59.99 title is similar at over 16%.

If it were a black-and-white choice between paying a higher price for a complete experience versus having to buy DLC and navigate various editions, I think many gamers would be okay with the price rise. It would streamline the buying process, it would mean any game purchased would be complete without needing to buy expensive add-ons down the line, and it would be generally seen as an improvement. But no one is seriously entertaining the possibility of that being the case. The basic price of games will rise, and if we’re incredibly lucky, the prices of DLC packs and special editions will just stay the same. Those things won’t disappear because prices go up. In fact, what seems more likely to happen is that some games will hike up the prices of DLC and in-game content as well.

Gaming looks set to become a more expensive hobby going into 2021.

I’m not unsympathetic to companies who put up their prices after keeping them the same for well over a decade. But video gaming as a hobby has been growing steadily for years, and with it, the profits of games companies have grown too. While the new console generation may seem like good cover for a price hike and even a good excuse, there’s no actual reason for it. Developing a game for the Xbox Series X and PlayStation 5 doesn’t cost substantially more than developing a game for the Xbox One and PlayStation 4, and when games already bring in money by the bucketload it’s hard to justify a price hike.

After the financial crash of 2007-08, it took a long time for the economy to recover. In the UK, it’s only in the last couple of years or so that austerity policies had begun to be relaxed. The coronavirus pandemic has had a massive impact on the economy all over the world, and some economists are suggesting the longer-term effects will make 2008 look like a walk in the park. Even if that’s an exaggeration, many people are not in a good financial situation at the moment, which makes it an even worse time for an arbitrary and unnecessary price rise.

However, all that being said, if the big companies of the games industry go ahead with plans to raise prices on next-generation titles, there really isn’t much we can do about it. Some have suggested boycotting games using that price, but very few online-organised gamer boycotts have ever accomplished anything. If 2K Games uses this pricing model for its other titles and other big companies follow suit, practically all new games released for the Xbox Series X and PlayStation 5 will be in that $69.99 and £64.99 price bracket. People who bought new consoles will have no choice but to buy games at that price if they want to have anything to play, and with sports games like NBA 2K21 in particular being exclusive licensed titles, it isn’t possible to shop around or go elsewhere. If you want a licensed basketball game with your favourite team and players on your new console, it’s NBA 2K21 or nothing. We need only take a cursory glance at history to see how any company that has a monopoly can get away with charging whatever it wants for that product.

The PlayStation 5 will see higher prices for games than the current-gen PlayStation 4.

As the games industry marches ever closer to an all-digital future, that extra £10 or $10 per title will all go straight back to the company. Physical game shops – like Game here in the UK or Gamestop in North America – have been on incredibly shaky ground for years; if the coronavirus pandemic and months of closure hasn’t killed them off they won’t last much longer. With no need to share the extra money their games bring in with shops – as well as needing to produce an ever-decreasing number of physical copies of games anyway – companies look set to enjoy a significant increase in profits on a per-unit basis. If games were profitable at $59.99 or £54.99, they’re now raking in potentially 16-18% more revenue – and that’s all pure profit.

It’s true that a significant amount of money earned by big games companies is re-invested in making new games, and we shouldn’t ignore that as it potentially means bigger budgets for some titles – hopefully leading to better and more polished experiences. But a lot of that money goes to shareholders and investors, as well as to highly-paid CEOs and managers. Raising prices for consumers at a time of international crisis to reward a tiny number of shareholders, investors, and corporate leaders is pretty unfair.

At the end of the day, across-the-board price hikes are going to happen. 2K may have gone first, but sooner or later others will follow. Maybe the backlash – though it seems fairly muted right now – will be offputting in 2020 given all the issues in the global economy, meaning some companies hold off. But even if they wait until 2021 or 2022, the days where games cost $59.99 or £54.99 are numbered.

All titles mentioned above are the copyright of their respective studio and/or publisher. This article contains the thoughts and opinions of one person only and is not intended to cause any offence.

Lootboxes, gambling, and regulating video games

This column touches on the sensitive topic of gambling addiction and may be uncomfortable for some readers.

A few days ago, the British House of Lords (the upper chamber of the UK Parliament; roughly equivalent to the US Senate) asked the British government to urgently intervene and regulate lootboxes. The House of Lords Gambling Committee, which is responsible for advising on gambling legislation in the UK, has recommended that lootboxes – in-game mechanics which dish out random rewards in exchange for money – be regulated under the Gambling Act.

I touched on this topic while writing a column on video game addiction a few weeks ago. Not every case where an individual has developed gaming disorder is related to lootboxes and randomised rewards, but the two are more closely tied together than many people realise. For example, I’ve heard anecdotally from some gamers who had been treated for gambling addiction in the past, for whom games had become an escape. The introduction of lootboxes made some games inaccessible to those people, as the lootboxes were triggering the same feelings that they used to get from gambling.

The UK House of Lords.

Some journalists and critics have long argued against lootboxes for this very reason. For several years, the issue didn’t receive much attention. But in the aftermath of the controversy surrounding Star Wars Battlefront II in 2018, lootboxes hit the mainstream media in a big way. Efforts to bring in regulation kicked off in jurisdictions from Hawaii to Belgium and beyond, and it’s around this time that the UK government began to investigate the practice, culminating in the House of Lords Gambling Committee making this recommendation.

I mentioned Belgium, and the small European nation is one of only a handful where lootboxes are strictly regulated. Several EA Sports titles – most prominently the FIFA series of football games – were impacted by this, and had to make changes in order to remain on sale in Belgium, cutting out their paid-for lootboxes. With no disrespect meant to Belgium, a small country with a small population doesn’t really effect a big company’s bottom line in a major way. While EA and others protested the decision, they were able to absorb and essentially ignore its impact, and continue to sell lootboxes in other juriscictions. What is needed is an international approach.

A bigger country like the UK will be far more noticeable, if indeed strict regulation of the practice is brought in. But even so, if it’s profitable to sell these in-game items elsewhere and games can be easily adapted to strip them out for the UK market, companies will almost certainly continue to sell lootboxes in other countries for as long as they can.

Belgium was one of the first countries in the world to take a hard line on lootboxes.
Photo Credit: fdecomite on Flickr via Wikimedia Commons

Much of the controversy and argument surrounding lootboxes is whether they should technically qualify as “gambling”. What is the definition of the word? Is the fact that we’re dealing with digital items relevant? If the items can’t be re-sold, do they have any “real-world value”? All of these questions and more are part of the discussion, and there are arguments on both sides. However, in a lot of cases, in-game items obtained via lootboxes can indeed be re-sold, either through a game’s own in-game marketplace or through third-party websites often termed the “grey market”. This does vary depending on the game, but it’s not right to say that the practice of re-selling in-game items doesn’t exist anywhere.

The basic way lootboxes operate is like this: players either purchase a lootbox directly, with their local currency via a credit or debit card, or they must first purchase some form of in-game currency which is pegged to their local currency at a set rate. The lootbox then randomly decides what item is contained within by a complicated algorithm. Some of the rarest and most valuable in-game items can have incredibly small chances to be obtained – in some cases far below 1%. Many items come in sets, with players who aim to complete a set having to purchase tens or even hundreds of lootboxes to unlock everything. Furthermore, many items are only available for a limited period of time, with the clear intention of driving lootbox sales before the time is up.

The legal loophole here, as mentioned above, is that because the items are deemed to have no “real-world value” – because they’re simply in-game items – the process of spending money to gain a random item isn’t “technically gambling”. What the House of Lords Gambling Committee is saying is that this loophole can be closed – today, in theory – without making any major changes to the law. They have essentially said that lootboxes can be regulated in the same manner as other “games of chance”, and because they look and feel like gambling, and trigger the same feelings in players, they should be treated as such.

Lootboxes should be categorised alongside other “games of chance”, according to the House of Lords Gambling Committee.

It’s worth pointing out that the work of the House of Lords Gambling Committee wasn’t focused solely on lootboxes and was in fact a broader report looking at the state of gambling in the UK as a whole. Another issue related to video games that was touched on was the issue of gambling in e-sports. This really does seem like a case where big games companies want to have their cake and eat it too. On the one hand they’ll argue to players and governments that nothing they do is even close to gambling. On the other hand they’ll get in bed with gambling websites and betting shops, bragging to them about how much money e-sports gambling can bring in. Surely they can’t have it both ways!

Because video gaming always has been a child-friendly hobby, with many games deliberately aimed at under-18s and/or being rated by the industry’s own ratings body as being suitable for children, this report focuses in part on children. Children having access to games with in-game lootboxes has been a problem in some way or other for years – every few weeks another case will hit the news where a child spent an insane sum of money on something like FIFA Ultimate Team or even Overwatch. Many of these games are designed to present lootboxes in a visually appealing way, often with any mention of money in small print or hidden behind the wall of in-game currencies, further detaching players from how much they’re spending. In a world where more and more transactions take place digitally, and where money is little more than numbers on a screen, it can be very easy to overspend, even for adults.

Some of the games industry’s defenders will say that it’s the responsibility of parents and caregivers to supervise children and ensure they don’t overspend or have issues with lootboxes. But this in itself is a tacit admission that such games and such in-game marketplaces are unsuitable for children. How can a game possibly be rated for ages 3+ or 7+ if a significant part of it is not suitable for children? Think about it like this – if a film received a U rating (suitable for all audiences) but contained a ten-minute graphic sex scene, I think most people would agree that even if the other hour-and-a-half of the film was 100% child-friendly, the fact that one significant part of it is not should mean the film as a whole is considered unsuitable and should receive an appropriate rating. In short, if your game requires constant parental supervision due to the potential for children to gamble with their parents’ credit cards, the game as a whole is not suitable for children.

Are games with lootboxes really suitable for ages 3+?

The games industry and their self-regulatory body PEGI disagrees. While they have recently relented and agreed to put warning labels on general microtransactions, the fundamental point that in-game gambling is not suitable for kids is something they haven’t been able to address. And this is part of a broader point – self-regulation in the games industry doesn’t work, as indeed it doesn’t work in any other industry. The reason laws exist regulating, for example, tobacco sales is because the tobacco industry proved unwilling and unable to self-regulate and work to keep cigarettes away from children. Video games are in a similar position, and when an industry is unregulated – as games essentially are – sooner or later governments have to step in.

After much debate, PEGI did eventually agree to warn gamers of microtransactions – not even lootboxes specifically – by affixing a warning label to titles that contain them. However, this was still too much for some games companies, who began to evade even this tiny step toward regulation. By releasing a game without lootboxes, then implementing them later via a patch or update, not only could games bypass the PEGI rules during their crucial first days and weeks on sale, but reviews – which typically mention in-game lootboxes and other microtransactions – would completely omit them. It was sneaky and duplicitous, and proof that some games companies are willing to go to comical lengths to avoid even the smallest amount of regulation and criticism.

PEGI’s “in-game purchases” warning label.

As more and more games are purchased digitally, warning labels on boxes are far less important anyway. Fewer people than ever even see the warnings, and while technically PEGI age ratings are legally enforceable – though they only have been in the UK since 2012 – in practice it’s very uncommon for anyone to be prosecuted for selling a game to someone under the PEGI-recommended age, at least here in the UK. And again, to reemphasise the point, as gaming as a whole moves ever-closer to an all-digital future, where games are bought from home via the internet, there’s no one to prosecute for selling a game to someone underage anyway.

Because of the failure of self-regulation, and the insistence of big games companies on pushing further and further toward in-game economies based on gambling, regulation has seemed an inevitability for some time. Star Wars Battlefront II may have been the proverbial straw that broke the camel’s back, but if that game hadn’t come along, sooner or later another title would’ve and we’d be in the same situation. Those of us who follow video gaming more closely have known for a long time that lootboxes are gambling. They behave like gambling, even the games they’re in treat them like gambling, and it was only a matter of time before governments did too.

While I for one welcome this tentative step to regulating lootboxes – if indeed the UK government goes ahead and implements the recommendation – what is really needed is comprehensive regulation of video games in general. An independent body – not PEGI, which is merely an arm of big games companies – needs to have the authority to regulate games properly. And if games companies attempt to get around restrictions – such as by cutting out lootboxes and implementing them post-release via an update – they need to be punished. This needs to be the first step toward proper regulation of games companies and the games industry, to ensure that when lootboxes are regulated out of existence they can’t simply start up an equally harmful practice.

2018’s Star Wars Battlefront II brought the issue of lootboxes to a head.

Lootboxes are more than a mere annoyance. People have seen their lives ruined, with debts incurred to the tune of thousands or even tens of thousands of pounds. Video game companies like to brag to investors about so-called “whales” – an industry term for the small percentage of players who spend a lot of money on in-game purchases. This derogatory, dehumanising term exposes what they really think of their players: not even human beings any more, we’re animals to be exploited. They won’t stop trying to wring every last penny out of their players until they are forced to – which is why I hope that this recommendation is implemented swiftly and in full, putting a stop to companies preying on vulnerable people.

To paraphrase something I said when discussing video game addiction, it isn’t enough to say “well I don’t have a problem with gambling, so it must be fine”. That is a blinkered and selfish way to look at the topic. For many people, including many children and parents, lootboxes are a real menace, and often the consequences are seen far too late when money has already been lost. If you personally don’t buy lootboxes – as I don’t myself – then that’s great. Good for you. But the practice is harmful to many gamers, and there can be no denying that the implementation of lootboxes makes many games worse. In order to make lootboxes appealing, in-game content which could be acquired through normal gameplay – as games of the past offered – has to be cut and hidden behind a paywall and randomised rewards. These are designed to look exciting and to give players a feeling comparable to playing a slot machine or a game in a casino. Winning may feel good – but it often costs a lot of money to buy enough lootboxes in order to “win”. The only real winners are the games companies themselves.

Lootboxes make games less enjoyable.

Because in many cases in-game items can be resold – if not within the game itself then almost certainly via the online “grey market” – the last technical defence of lootboxes falls away. There is something of “real-world value” contained within each lootbox; if there wasn’t, no one would be buying them. The practice is gambling, it’s just taken time for governments to catch up to the reality of the situation. That’s understandable in a way – technology moves fast, after all – but it’s a great argument for setting up proper, independent regulation of video games to ensure that this is the last time they’re able to get away with something like this.

With video games being more profitable than ever – and with prices for games set to rise next generation (check back for my thoughts on that in the coming days) – there’s no excuse for lootboxes. They aren’t necessary to help make games more cost-efficient. Gaming as a hobby continues to grow, and with that growth companies can sell more and more copies of games and bring in ever-increasing amounts of cash. Lootboxes are nothing more than exploitative in-game gambling, and it’s high time we got rid of them permanently.

It took a long time to get here. It’s a story of failed self-regulation, corporate greed, and attempts to suppress valid criticism. I truly hope that now a major investigation has taken place, regulation will follow.

The House of Lords Gambling Committee report referenced in this article may be found by following this link (warning: leads to an external site): House of Lords Gambling Committee. Header image courtesy of the user Tristan Surtel on Wikimedia Commons. This article contains the thoughts and opinions of one person only and is not intended to cause any offence.

First impressions of Star Trek: Bridge Crew… three years late

The official trailer for Star Trek: Bridge Crew.

The Star Trek franchise seems to have drawn the short straw when it comes to successful video game adaptations, especially when compared to Star Wars. I can think of several good Star Trek games – my personal favourite is the Doom-esque Star Trek: Generations adaptation, which even today is one of my all-time favourite games – but I think I’m almost the only person who bought a copy. Even websites specialising in so-called abandonware don’t seem to know about that one! Other decent Star Trek games – such as Deep Space Nine: The Fallen, the Elite Force titles, and the Armada games – all performed adequately, but none really made a huge impression or hooked in new fans.

The 2010s offered very little by way of new Star Trek games. There was, of course, Star Trek Online – but as someone who generally dislikes massively-multiplayer titles I didn’t have a particularly good time with it. I’m glad it was a success and I hope it brought in some new fans, but that style of game simply isn’t my cup of tea. The only other game I’d played in the last few years was the bug-riddled mess that was 2013’s Star Trek. I persevered as long as I could with that title, but a few hours in I got to a point where a glitch prevented me from advancing any further.

Star Trek: Voyager – Elite Force is one of the better Star Trek games.

The only other significant title released in the last few years was Star Trek: Bridge Crew – not to be confused with an earlier title, Star Trek: Bridge Commander. Released in 2017, Bridge Crew was a VR-only title, and as I don’t game in VR I never bothered to check in with it again. But apparently I should’ve, because a few months after it was released Bridge Crew got an update allowing for non-VR gameplay, something I only noticed when the title cropped up among my recommended titles during the ongoing Steam Summer Sale. Well I was dumbfounded! How could I have missed this? It was an immediate buy, as Bridge Crew must be one of only a handful of Star Trek games post-1990 that I haven’t played for myself!

I’m sure I’ve talked about this before, but aren’t modern games a chore to get running? After opening Steam and then selecting Bridge Crew, the game wanted to install a patch. Then it had to connect to Ubisoft’s Uplay service, which also required a separate patch, and just getting the game to open took several minutes. Not a problem unique to Bridge Crew by any means, but always bothersome!

Recognise this planet?

I think that the game’s opening sequence is different because I also bought The Next Generation DLC, but it was really quite cool to sit through a fairly accurate recreation of The Next Generation’s title sequence. The graphics, while not exactly cutting-edge elsewhere in Bridge Crew, did a great job bringing to life some of the planets and other space phenomena that should be familiar to any fan of The Next Generation, and I appreciated the effort that must’ve gone into it.

My first thought upon seeing that Bridge Crew had a non-VR mode – aside from “I must buy this game immediately” – was wondering how well it would port from VR to non-VR. As I’ve said on a number of occasions, my ability and desire to sit down and play games has waned a lot over the last decade or so, and I’ve heard bad things about some VR titles not playing at all well without a VR headset and controller.

The basic gameplay screen – as seen in the tutorial mission.

Bridge Crew is, as far I can tell, the first game I’ve played that started life in VR. I wasn’t sure what to expect, and the controls certainly take a little bit of getting used to. I played with an Xbox One control pad, as I do for most games, but I believe mouse and keyboard is an option on PC as well.

In order to better explain the control scheme, we need to talk about what Bridge Crew is and what it isn’t. Your character can occupy one of four bridge stations: the engineering station, the helm, the tactical station, and the captain’s chair. Regardless of which you choose, your character is static; they sit (or stand) at their console and don’t move from their position. This isn’t a criticism at all, it’s part of how the game was designed. Each of the control pad’s two analogue sticks move one of your character’s hands, and the triggers are used to select an option on the console or to perform an action. For example, at the engineering station it’s possible to allocate the ship’s power to different systems, at the helm to plot a course and engage engines, and at tactical to pick a target and fire weapons.

This control scheme obviously works better in VR, where a player might be holding two motion-sensitive controllers and could look and move more quickly to select the various options. There’s probably also a greater degree of fine control over certain options – like acceleration and deceleration when in the helmsman position. However, after a bit of practice and more than a few cock-ups I think I’m getting the hang of it.

Customising your character also serves as a basic introduction to the game’s controls.

The game is also designed to be played with friends. Each of the four roles can be occupied by another player, which should – in theory, at least – speed things up when engaging in the game’s various missions. It is possible to play without anyone else – as Billy-no-mates here can attest – but as with VR, the game has really been designed to work best when four players are working together in co-op.

There’s something undeniably cool for a Trekkie to sit in the captain’s chair of a starship – even it it’s just virtually. And I was surprised at the level of detail involved in using some of the game’s systems, all of which are lifted from Star Trek films and television shows. Courses must be plotted and laid in, then the ship manoeuvred by the helmsman to align with the course. Power must be distributed between systems like shields and engines by the engineer, and in battle, the tactical officer must choose targets and fire weapons. Performing each of these tasks – while fairly simplistic in line with the game’s control scheme – actually feels like working on a starship.

The helm aboard the USS Enterprise from The Original Series.

Perhaps it’s because many of the actions are mundane – like moving a dial or slider to adjust power or change the ship’s trajectory – that the feeling of “realism” exists in Bridge Crew. There are three starships that the game recreates: one based on the Kelvin-timeline films (which is the game’s main setting), as well as the USS Enterprise from The Original Series, and The Next Generation’s Enterprise-D. Gameplay is similar on each vessel, but the different aesthetics are great, and both Enterprises are faithfully recreated. The gameplay itself may get repetitive over time, but at the moment I’m still having lots of fun with it.

I have encountered one glitch – a visual bug where, for some reason, much of the bridge disappeared. This happened when the ship sustained heavy damage; I haven’t played far enough into the game and its various missions to know whether this will be a reoccurring problem or not, but I thought it worth mentioning here.

A graphical glitch I encountered while playing Star Trek: Bridge Crew.

I’m going to spend some more time with Bridge Crew over the upcoming days and weeks. I absolutely adore its faithful recreation of the bridge of the Enterprise-D from the DLC, and sitting in the captain’s chair on that bridge is a longstanding fantasy of mine! I’ve been lucky to sit in a recreation of The Original Series’ bridge twice – the first time in 1996, when Star Trek: The Exhibition came to the UK, and for a second time two decades later in 2016 at another event with the same title in Blackpool, also in the UK. Despite the same name, these two events were completely different. I’ve never been able to take Captain Picard’s seat on the bridge of the Enterprise-D, though, and with The Next Generation being my introduction to the franchise, and the series that first hooked me in, I’ve always wanted to have that experience. Bridge Crew got me as close to that as I’m likely to get any time soon, so for that alone I really appreciate what it has to offer.

Commanding the Enterprise-D from the captain’s chair has long been a fantasy of mine!

It’s a shame I missed Bridge Crew first time around. But it’s nice to have a new Star Trek game to get stuck into. I’m always hopeful that the franchise will produce a fun game, and while Bridge Crew has its limitations, and is really designed to be played in a specific way, it still seems like a lot of fun right now.

When I’ve spent some more time with the game I’ll check back in, but I wanted to say something about it while it’s still on sale – 50% off on the Steam version on PC – in case anyone else who missed out wanted a chance to pick it up.

Star Trek: Bridge Crew is available now on PC and PlayStation 4. Star Trek: Bridge Crew is the copyright of Red Storm Entertainment and Ubisoft. The Star Trek franchise is the copyright of ViacomCBS. This article contains the thoughts and opinions of one person only and is not intended to cause any offence.

Some great Mario Kart racetracks (that would be perfect for Mario Kart 9)

I was very fortunate in mid-2013 to attend a press event for the Wii U game Mario Kart 8. Well before the full game would launch in 2014 I got a brief opportunity to get my hands on the latest edition of Nintendo’s genre-defining kart racer, which scored me pretty significant bragging rights at the company I was working with at the time! The game blew me away with its improved visuals while retaining the exact same feel of playing a Mario Kart game that had been present in every iteration since Super Mario Kart on the SNES. Super Mario Kart, by the way, is one of two racing games I owned back in the SNES days – the other being Nigel Mansell’s World Championship Racing. I wonder if anyone besides me (and presumably Nigel Mansell) remembers that one!

So I’ve been a Mario Kart fan since the series debuted, and in that time I think I’ve played every iteration of the series. I didn’t own a GameCube in the early 2000s, but I played Mario Kart: Double Dash with friends when I was at university. I think that’s the only title in the series that I didn’t own at one point.

Box art for Mario Kart Wii.

Nintendo usually releases one Mario Kart game per console, and with Mario Kart 8 Deluxe on the Switch at the moment – where it’s been one of the console’s best-sellers since it launched – perhaps there won’t be a Mario Kart 9 any time soon. But Mario Kart 8 Deluxe is really just a port of the Wii U game; it isn’t a title unique to the Switch. That provides us a tentative glimmer of hope that Mario Kart 9 may still be coming sometime soon!

Recent Mario Kart games have recreated tracks from older entries, changing and upscaling them to fit the new game’s theme. With that in mind, here are some of my favourite racetracks from past games that would be amazing to see return whenever Mario Kart 9 comes around.

Number 1: Kalimari Desert (Mario Kart 64)

Mario Kart 64 might just be my favourite game in the series. It had an amazing set of tracks, including the definitive version of Rainbow Road. But we’ll come to that in a moment! Kalimari Desert is a western-themed track, and while its skewed oval shape is pretty basic, it features a train constantly going around on its own railroad – which can be used as a shortcut if you’re willing to take a chance!

I like the aesthetic of the American west. The desert, the mesas, the cacti; it’s all here in Kalimari Desert. The track has been recreated twice already: in Mario Kart 7 on the Nintendo 3DS, and again in Mario Kart Tour.

Number 2: Vanilla Lake 2 (Super Mario Kart)

The Mario Kart series has some great snow or ice themed tracks. The first tracks to have this kind of wintry theme were the two Vanilla Lake tracks in Super Mario Kart. Vanilla Lake 2 isn’t an easy track in its original incarnation, with lots of obstacles and no clear racing line. It’s easy to fall into the large central lake with its jagged and uneven edge, and because of its basic square shape, Vanilla Lake 2 can be deceptively simple to new players.

The track was recreated once, but hasn’t been used since Mario Kart: Super Circuit on the Game Boy Advance.

Number 3: Wuhu Island Loop/Wuhu Loop (Mario Kart 7)

Beginning in Mario Kart 7, a handful of tracks were longer than others, and instead of racing three laps, players race from a start line to a finish line. For the purposes of the game, tracks like Wuhu Island Loop are still split into three sections – the sections replacing laps. Mario Kart 7 is a game I had a ton of fun with, and Wuhu Island Loop is one of its better offerings.

When I worked in a large office in the early 2010s, several colleagues and I would sometimes get together and use the 3DS’ wireless networking function to play Mario Kart 7 during breaks and downtime. It really was a blast!

Number 4: DK’s Snowboard Cross/DK Summit (Mario Kart Wii)

Another snow-themed track here, but this one is based on a winter sports resort. Toward the end of the track is a really fun section based on a snowboard half-pipe, complete with snowboarding characters and patches of deep snow to avoid! It’s brilliantly done, and while it isn’t the easiest track it’s a ton of fun.

DK’s Snowboard Cross (a.k.a. DK Summit in North America; Nintendo seem to love arbitrarily changing names!) has only been seen in Mario Kart Wii, which I think makes it overdue for a return!

Number 5: Rainbow Road (Mario Kart 64)

As I mentioned above, Mario Kart 64 truly has the definitive version of Rainbow Road. Everything about the track is perfect: its complicated layout, the clever placement of obstacles, and the starry, atmospheric background featuring characters from the Mario series lit up as neon signs. The music that accompanies the track is phenomenal too, making the whole experience strangely nostalgic.

Rainbow Road has been recently recreated for Mario Kart 8, but for some reason Nintendo cut it short and players only get to enjoy one lap instead of three. The original Nintendo 64 version remains the best, and I’d love to see it return in its true form!

Number 6: Animal Crossing (Mario Kart 8 DLC/Mario Kart 8 Deluxe)

With Animal Crossing: New Horizons performing so well and becoming one of the Switch’s top-selling titles, I have no doubt that Nintendo will reference it in some way if there is to be a Mario Kart 9 this generation. However, the Animal Crossing track featured on Mario Kart 8 (originally as DLC on the Wii U) was based on Animal Crossing: New Leaf. It’s a very sweet track that really captures the essence of the sleepy Animal Crossing village perfectly.

Like the Animal Crossing village it’s based on, the track has four seasonal variations and looks different in each. It’s random which one will be chosen every time a player selects the course, which adds another small element of fun!

Number 7: Mushroom Bridge (Mario Kart: Double Dash)

Having not been a GameCube owner (I had an Xbox instead in those days) I’m less familiar with Mario Kart: Double Dash than other entries in the series. However, one track I loved to play with friends was Mushroom Bridge. Toad’s Turnpike on the Nintendo 64 introduced traffic as moving obstacles to race around, and Mushroom Bridge is in a similar vein.

Because the other vehicles on the track are moving, it can be difficult to predict where they’re going, adding an element of complexity to the race. And it’s great fun to sabotage an opponent, sending them careening into traffic!

Number 8: Toad Harbour (Mario Kart 8)

At the press event I mentioned at the beginning of the article, Toad Harbour was the track I got to play for myself. I believe there was one other track available, as well as one battle course – but I can’t remember what those were! Toad Harbour was a great choice to show off the Wii U’s greatly-improved graphics – the course is bright and sunlit, and there’s plenty of detail in its San Francisco-esque scenery.

If Mario Kart 9 opts to drop the anti-gravity racing that premiered in Mario Kart 8, Toad Harbour could be a great choice to adapt as its one anti-gravity section is optional.

Number 9: Bowser Castle 3 (Super Mario Kart)

Super Mario Kart had some very fun and interesting tracks, despite the limitations of the SNES. Bowser Castle 3 (which I always thought was called Bowser‘s Castle 3, with an -s) snakes around like a normal racetrack for the most part, but then there comes a point with the track splitting in two. The jumps lead to a number of smaller islands in the lava, and there are several possible routes across, adding an extra element to what was already a fun track.

The music for Super Mario Kart’s Bowser Castle tracks was also great! The track hasn’t been seen since Mario Kart: Super Circuit, so it’s a great candidate to bring back.

Number 10: Lakeside Park (Mario Kart: Super Circuit)

Lakeside Park is a pretty clever track. The first lap is normal, set in a jungle beside a lake. The intimidating-looking volcanoes seem like just a part of the background… until lap 2, when the sky goes dark and the volcanoes erupt! Chunks of lava then rain down the track, peppering it with additional obstacles.

Considering this was a Game Boy Advance title, there are some pretty clever things going on in Lakeside Park. The track would make a wonderful addition to Mario Kart 9.

Number 11: Peach Beach (Mario Kart: Double Dash)

When my friends and I used to play Peach Beach, we rather immaturely called it the “cock-and-balls” track… because c’mon, what else could that giant rock formation possibly look like? It’s even vaguely flesh-coloured. I’ve known many animators and developers having once worked in the games industry, and I guarantee that was done on purpose.

But we’re off-topic! Peach Beach is a fun track with some interesting obstacles and different terrains to get stuck into, and although it reappeared on the Wii I’d love to see it back again.

Number 12: Shroom Ridge (Mario Kart DS)

Another track featuring traffic, similar to Mushroom Bridge above, Shroom Ridge was one of my favourites from Mario Kart DS. Weaving in and out of oncoming traffic is difficult to master, so I think this track would be perfect for a more challenging grand prix.

It’s also one of the few Mario Kart DS tracks that hasn’t been seen since that game debuted in 2005, making it due for a comeback!

Number 13: Maple Treeway (Mario Kart Wii)

Maple Treeway is a beautifully atmospheric track with an autumnal setting. It has a fantastic musical accompaniment too, and a couple of more challenging parts. There’s nothing too tricky, however, and I just adore the setting, the music, and the whole layout of the track. It’s easily one of my favourites from Mario Kart Wii.

Mario Kart 7 brought back Maple Treeway on the 3DS, but I’d still like to see it return one more time – upscaled in full HD!

Number 14: DK’s Jungle Parkway (Mario Kart 64)

DK’s Jungle Parkway was a clever track when it debuted on the Nintendo 64 – straying off its fairly narrow track onto the grass verge would result in being hit with objects from the jungle background, further slowing you down! This feature meant it was a challenge to avoid oversteering and understeering to stay on the track – and meant it could be a lot of fun to push an opponent off!

DK’s Jungle Parkway reappeared on the Wii, but that version made a couple of changes (the objects no longer hit you when not on the track, and the big jump across the river forces you to go straight instead of taking a chance and cutting the corner) which I feel took away its uniqueness. I’d love to see it back with those features included!

Number 15: Daisy Circuit (Mario Kart Wii)

A nice, straightforward track that takes players through a town at sunrise (or sunset), Daisy Circuit is a sweet little track set to another great piece of music. There are no major obstacles to speak of, though there are two sections in the middle where a fountain and statue must be circumnavigated. It’s a nice, easy track that someone brand-new to Mario Kart could pick up and have fun with.

Daisy Circuit hasn’t been reused since it was first seen in Mario Kart Wii, which is a great reason to bring it back for Mario Kart 9!

Number 16: Shy Guy Bazaar (Mario Kart 7)

The Mario Kart series has a few recurring settings for its tracks, so it’s great when we get something genuinely different. Shy Guy Bazaar has a definite Arabian theme – almost like something from Aladdin – which is a great spin on the typical desert-themed tracks of other Mario Kart titles.

There are some unique obstacles, and the track has some narrow and wide sections, allowing for varied race strategies. It was one of my favourites from Mario Kart 7 – but I always felt it was underappreciated!

Number 17: Wild Woods (Mario Kart 8 DLC/Mario Kart 8 Deluxe)

Another track that was initially available as DLC on the Wii U, Wild Woods is a ton of fun. As I mentioned above, many Mario Kart tracks follow one of a limited number of themes; Wild Woods is something altogether different with its “deep, dark woods” setting – which is reminiscent of some old levels from the Donkey Kong Country series.

Tracks from Mario Kart 8 seem like they’d be well-suited to be brought into Mario Kart 9, and I’d love to see Wild Woods back.

Number 18: Mushroom Gorge (Mario Kart Wii)

Mushroom Gorge is a gorge-ous track. See what I did there? With both an outside section and a section in a cave, there was already a lot of fun to be had, but Mushroom Gorge also introduces giant mushrooms to bounce on – getting the speed and angle right for your bounce is incredibly important, lest you fall into a bottomless pit and have to be rescued!

The track did make a reappearance on the 3DS, but its fun and unique bouncy gameplay would be great to bring back for Mario Kart 9 too.

Number 19: Choco Mountain (Mario Kart 64)

Choco Mountain in Mario Kart 64, as well as the earlier Choco Island tracks in Super Mario Kart, always seemed to be ignored by players in favour of other tracks. I’m not sure if it’s because of the fairly bland all-brown colour scheme, but that’s one possibility. It’s a shame, because Choco Mountain in particular is a clever track with some difficult sections and unpredictable obstacles.

Choco Mountain was seen in Mario Kart DS as well, but I think it’s a candidate to get an HD makeover for Mario Kart 9!

Number 20: Sunshine Airport (Mario Kart 8)

One of the tracks used to market Mario Kart 8, Sunshine Airport has a lot to offer. Mario Kart 7 had introduced gliding, allowing players to soar through the air, and Sunshine Airport takes that theme and runs with it. The airport setting has some unique obstacles, and as somewhere completely different to race around, it’s lots of fun.

I particularly like the aircraft that sometimes pass you while racing, even though I’m always worried that they’re going to crash into me!

So that’s it. A handful of Mario Kart tracks from past entries in the series that I feel would be great to see given an overhaul and an update for Mario Kart 9. This article shouldn’t be interpreted as me having any “insider information” from Nintendo that a new game is in the works! Just to be clear: I have no idea if Mario Kart 9 is in development, or if it will be released on the Switch. It’s possible that Nintendo may not release another entry in this fantastic series until they launch their next console – whenever that could be! However, I think there is reason to be hopeful of a new Mario Kart title. As I mentioned, Mario Kart 8 Deluxe is just a port of the Wii U game, and aside from collating the main game and its two DLC packs, doesn’t really offer anything substantially new. Secondly, Nintendo has seemed more open to changing things up this generation, particularly where sequels to its most successful titles are concerned: The Legend of Zelda: Breath of the Wild is getting a direct sequel, for example.

As long as Dry Bones – the best character in the whole Mario Kart series – is playable in Mario Kart 9, I’ll be satisfied with whichever tracks Nintendo decides to bring back!

The Mario Kart series – including all games mentioned above, as well as all individual racetracks, characters, and other properties – is the copyright of Nintendo. Screenshots courtesy of the Super Mario Wiki. They are used under the principle of Fair Dealing. For further information, see my copyright policy. This article contains the thoughts and opinions of one person only and is not intended to cause any offence.