Game News

Best Gaming Keyboard In 2024

Choosing a gaming keyboard can be more complicated than you might think. Some models are designed to be durable, robust landmarks on your desk, whereas others are streamlined to take up as little space as possible. Then there are specs to consider like switches, input latency, and wired vs wireless connections, not to mention all the extra features that keyboards tend to come with like multimedia keys and RGB lighting. There is a lot to consider.

To help make the process easier, we’ve put together a list of our favorite gaming keyboards in 2024. While our top pick, the SteelSeries Apex Pro, can handle just about any scenario, you’ll find plenty of other options in various categories like the best TKL, wireless, and budget options, just to name a few.

Since this is a keyboard-focused list, we also took some time to focus on one of the most important factors when choosing a keyboard: the switches. Scroll down below the list for details on the differences between various keyboard switches.

Looking to complete your gaming keyboard and mouse combo, or just want more gaming peripherals to shop for? Check out our picks for the best PC gaming headset and best gaming mouse. And if you also want to ditch the mouse and keyboard sometimes, take a look at our list of the best PC controllers. Finally, if you have a Steam Deck, make sure to check out our roundups of the We also have a list of the best Steam Deck games and best Steam Deck accessories.

Editor’s Note: Article updated on April 25, 2024


Keyboard switches, explained

Different types of switches will appeal to different and whether you’re going with a Cherry MX switch like Cherry MX Red or Cherry MX Blue, there are plenty of keyboards worth your time. It can get confusing quickly, especially if you can’t test these keyboards yourself and truly tell the difference with your own fingers. Thankfully, it’s easy to understand exactly what you’ll be getting if you understand the terminology.

First off, linear versus tactile switches keys. Linear means there is no physical feedback mechanism to indicate when a keystroke is registered. It’s smooth, relatively quiet, and preferred for rapidly tapping on keys. Tactile means there is a bump or click to indicate you’ve hit the actuation point; it’s louder, but some prefer having physical feedback for keystrokes. It really comes down to preference. Actuation point is the distance at which a keystroke is registered; a shorter distance means you don’t have to press the key down as far, but can lead to errant inputs. Actuation force is, well, the force needed to press the key down. Of course, there are all the quality-of-life considerations to think about, too, like multimedia keys, whether you want a programmable key row and such.

While Cherry has been the long-time dominant manufacturer of mechanical switches, some gaming peripheral brands have started making their own proprietary mechanical switches for their keyboards, namely Razer and Logitech. For a brief overview of the most common mx switches, see below:

  • Cherry MX Red Switches: Linear
  • Cherry MX Blue Switches: Tactile and Clicky
  • Cherry MX Brown Switches: Tactile with a Bump
  • Cherry MX Speed Switches: Linear with a very short actuation point
  • Romer-G Linear Switches: Linear
  • Romer-G Tactile Switches: Tactile with a Bump
  • Razer Yellow Switches: Linear
  • Razer Orange Switches: Tactile with a Bump
  • Razer Green Switches: Tactile and Clicky
  • Steelseries OmniPoint Adjustable Switches: Linear with adjustable actuation point

Save Big On Eiyuden Chronicle: Hundred Heroes On Launch Day

Eiyuden Chronicle: Hundred Heroes launched today, April 23, on consoles and PC. If you’re interested in picking up a copy on PC, you can save 20% on Steam keys at Fanatical. This special launch deal drops the price of the standard edition to $39.49 and the Digital Deluxe edition to $63.19. If you’re an Xbox or PC Game Pass subscriber, you already have access to the game. Xbox Game Pass Ultimate subscribers can play the RPG on Xbox and PC. Nintendo Switch players can save 10% on digital copies for a limited time, too.

Developed by Rabbit and Bear Studios, Eiyuden Chronicle: Hundred Heroes is a spiritual successor to the Suikoden series. Announced back in 2020, the project became one of the highest-grossing Kickstarter campaigns ever. Fast forward roughly four years and longtime fans of the cult-classic Suikoden series can finally play it.

Console players on PS5 and Xbox can pick up the standard or Digital Deluxe edition for $50 or $80, respectively. If you’re partial to physical editions, only PS5 and Nintendo Switch versions are being printed outside of Japan. The physical edition for PlayStation 5 is available now, whereas the Nintendo Switch version is up for preorder ahead of its May 21 launch.

Early reception has been largely positive for most platforms, with the PC version currently holding a MetaScore of 79 on GameSpot sister site Metacritic. The PS5 version is sitting at a 76, while the Xbox Series X|S and Nintendo Switch versions only have a handful of recorded reviews at this time. The Xbox Series X version holds a respectable average of 72, but the Nintendo Switch port, based on initial reviews–it holds a 57 MetaScore–has some performance issues that will hopefully be ironed out with post-launch patches. There aren’t any reviews for the PS4 and Xbox One versions, so it’s unclear if performance issues from the Switch version also impact the last-gen Xbox and PlayStation.

With all that said, let’s take a look at where you can pick up the console version of Eiyuden Chronicle: Hundred Heroes below.

Eiyuden Chronicle: Hundred Heroes is developed by Rabbit & Bear Studios, which was founded by several members of the original Suikoden development team who wanted to continue the legacy of the beloved RPG series. As such, many of Eiyuden Chronicle’s gameplay and story elements will be familiar to Suikoden fans, such as the large cast of 100 party members to recruit, strategic turn-based battle system, and high fantasy setting rife with political conflict. It also features modernized touches like voice acting and a stylized presentation that mixes 2D sprites and high-quality 3D environments similar to Square Enix’s HD-2D style seen in games like Octopath Traveler and Live A Live.

Sadly, Yoshitaka Murayama, the creator of both Eiyuden Chronicle and Suikoden, passed away on February 6 at the age of 54.

Disclosure: GameSpot and Fanatical are both owned by Fandom.

Fortnite Festival Season 3 Adds Guitar Controllers, Billie Eilish, And One Of The Greatest Bands Ever

Another season of Fortnite Festival has brought us a new Festival Pass and a new Icon skin with Billie Eilish, but the biggest bit of news at the start of Season 3 may be that Fortnite Festival now supports guitar controllers.

With Eilish as this season’s headliner, the Festival pass has undergone some significant changes to structure it more like the event passes, like the current Avatar Elements pass. That means in this season (and presumably those in the future), buying the premium Festival Pass for 1800 V-Bucks will instantly unlock a skin for the related artist–in this case the Green Roots Billie skin–and you can earn an additional, exclusive style at the end of the pass.

That bonus style is another change to the way the Festival Pass works. Epic has placed a disclaimer on these passes, reserving the right to sell the cosmetics from the pass in the item shop in the future, but here we have an exception: the Ultraviolet style of the Green Roots Billie skin will only ever be obtainable from the Season 3 Festival Pass.

You can progress through the Season 3 Festival Pass by completing Festival quests as you play. You can grab a free track of rewards, which includes four jam tracks and culminates in the quite gnarly Lavatronik Bass. For those who upgrade to the premium track, you’ll unlock the new Billie Eilish-themed keytar and mic stand, four new jam tracks, and a variety of other cosmetics.

The Ultraviolet style for the Green Roots Billie skin is exclusive to the Season 3 Festival Pass.

Gallery

The new jam tracks on the premium track of the Festival pass are:

  • Oxytocin by Billie Eilish
  • Friday I’m In Love by The Cure (This is the one referenced in the title, by the way)
  • Youngblood by 5 Seconds of Summer
  • Maps by Maroon 5

Unlike the previous Festival headliners, Eilish only has one skin right now, the one that’s available with the Festival pass, though Epic promises that Eilish will get a new Item Shop skin later in the season to coincide with her upcoming album release. For now, though, Eilish will have three new jam tracks available in the shop–“Happier Than Ever,” “Therefore I am” and “all the good girls go to hell”–as well as two emotes, dubbed “bad guy” and “you should see me in a crown.” And yes, the lack of capital letters is intentional–it’s a Gen Z thing, just go with it.

Developing story: Guitar controllers are cool again.

As mentioned above, the addition of support for guitar controllers is another huge story for the new season. As of the start of Season 3, Festival officially supports three guitar controllers: the Rock Band 4 Fender Stratocaster, the Rock Band 4 Fender Jaguar, and the brand-new PDP Riffmaster R controller.

Guitar controllers will have their own separate guitar and bass charts for each song, as well as their own leaderboards–if you’re stuck on a regular gamepad, you won’t be competing against guitar folks for high scores. Epic promises more news about instrument controllers in the relative near future–support for plastic drums may be on the horizon.

Alone In The Dark Gets Its First Big Discount For PS5 And Xbox Series X

Where some people see a bad game, others see flawed gold. That might be the case for you with Alone in the Dark, a remake of a classic survival-horror game that hasn’t received good reviews. Even with the star power of Jodie Comer and David Harbour, reviews have been less than kind to this reboot, but if you want to check it out for yourself, at least you can get a pretty big discount for it right now. Normally $60, Alone in the Dark is on sale for $40 currently.

Alone in the Dark

Buy Alone in the Dark for PS5

Buy Alone in the Dark for Xbox Series X

At Amazon, Walmart, and Best Buy, the PS5 version has been marked down to $40, a nice $20 savings in total. The Xbox Series X edition is also available for $40, but only at Best Buy.

Alone in the Dark does have some compelling components, as its reality-bending story, abundant lore, and reverence for its source material make for a fun turn-of-the-century horror game.

Where the game falters is with its uneven selection of puzzles, as these range from deviously challenging to annoyingly obtuse. The combat is passable and the cast delivers an effective performance to help sell the game’s story, so if you’re in it for the story and lore, you may have a good time.

“This isn’t Alone in the Dark’s first revival attempt, and it’s probably not its last, but it isn’t the one that will put the series’ name in the same breath as the all-time greats it originally helped inspire,” Mark Delaney wrote in GameSpot’s Alone in the Dark review.

For more game deals, GameStop is currently running a buy two, get one free sale on preowned games, TopSpin 2K25 preorders are discounted before launch, and the Armored Core 6: Fires of Rubicon is still on sale for $30, but time is running out.

Game Reviews

Eiyuden Chronicle: Hundred Heroes Review – One In A Hundred

In the years since the explosion of game crowdfunding, a stigma has emerged surrounding these titles. Yes, there have been plenty of games that enjoyed great success after their crowdfunding campaigns, but more people remember the high-profile flops: games with big names and ambitious promises attached that, for a variety of reasons, betrayed the high hopes fans held for them. Many of these were revivals–spiritual or otherwise–of beloved series from ages past. Now we have Eiyuden Chronicle: Hundred Heroes, a crowdfunded game designed to carry the torch of the much-beloved Suikoden series from the PS1 and PS2–and, with such a high pedigree attached, there’s understandable trepidation: Will this be a glorious return to form, or another disappointment? Fortunately, for us (and all of the backers), it turned out wonderfully.

Gallery

Eiyuden Chronicle begins when a young man named Nowa joins the Eltisweiss Watch, a small militia unit under the command of Countess Perielle of the League of Nations. On a joint mission with a military team from the Galdean Empire, the Watch discovers a powerful, ancient artifact, the Primal Lens, earning everyone involved instant renown. However, it’s not long before squabbling between the Empire and League over the device, along with internal power struggles in the Empire, erupts into an invasion of Eltisweiss and a full-blown war. As the scope of the conflict expands, so does the story: Nowa rebuilds a resistance army in an abandoned castle, Imperial military prodigy Seign struggles with his feelings of obligation, friendship, and loyalty, and a young warrior woman named Marisa finds her clan caught in the middle.

The story doesn’t shy away from its similarities to games in the Suikoden series. In several ways, it outright embraces them: a story that branches into multiple viewpoints, loyalties among friends being tested during war, internal political intrigue, powerful magic runes being a crucial plot device, and, most obviously, the conceit of building a huge band of warriors to take on an even bigger enemy. The story was helmed by Suikoden creator and writer Yoshitaka Murayama (who sadly passed away shortly before the game’s release), and it brims with the warmth, wit, and plot twists that made the early Suikoden titles so engaging and memorable.

Throughout the game, you’ll be on the lookout for more characters to bolster the ranks of the Watch and, eventually, help build a base for the Resistance army. Some characters are easy to find and recruit, but others will require some searching or additional effort: You may have to go back to a town or dungeon from much earlier in the game, locate a rare item, play a minigame, or fend off a vicious foe to get someone to join the crew. Searching for heroes is a lot of fun (and much easier once you get the fast-travel ability), and the reward of seeing your base grow and improve with the efforts of your new comrades is immensely satisfying.

But the characters themselves are often their own reward. Despite having such a large cast, Eiyuden Chronicle manages to give each character their own unique voice and personality. They don’t just fall into the background once their recruitment arc is over, either; they’ll comment on current story events while they’re in your party, chatter as you explore towns, and interact with other characters at the base and elsewhere on your travels. Sometimes they’ll show up to add extra flair when you least expect it, like when they get dragged into judging a cooking competition.

Aside from giving you a good amount of freedom to search for friends when you feel like it, Eiyuden Chronicle’s story progression is similar to the typical JRPG: mostly linear with major setpieces and battles to highlight key story points. You’ll go through the usual dungeons, deserts, tundras, forests, and mines, sometimes needing to solve puzzles to progress. While most of the puzzles are pretty simple, they can sometimes be more obnoxious than intended due to random enemy encounters interrupting things at the worst possible times. Still, the dungeon design is solid and exploration is generally rewarding.

Despite having such a large cast, Eiyuden Chronicle manages to give each character their own unique voice and personality

Combat is also heavily based on the Suikoden games: turn-based, with up to six active party members at a time, plus a seventh support member who can grant passive benefits like stat boosts or money gain. Characters can have both skills based on SP (which regenerates over time) and MP (which needs items to restore), and each be changed based on the runes that character has equipped. Placement is key: Some attacks and skills won’t reach far beyond the front row, while some less-armored characters work better in the back–and there are also skills that target entire rows. One distinct combat element carried over from Suikoden is multi-character team attacks that require two or more characters with some sort of connection to be in the party together, who can then perform a tandem specialty attack.

Not every character in your army is available to fight, but you’re still given a very wide selection of party members to pick from to fight the way you prefer. You’re probably not going to use every single character you recruit in combat, and that’s fine–seeing who you click with and building them up generally works well. And if you do need to bring a character you’ve been neglecting up to snuff, a graduated XP system works to get them to parity with your high-level warriors quickly. A bit of auto-battling and they should be set.

Boss battles are where things get interesting. Many boss fights in the game come with some sort of interactable gimmick that changes the way you approach the battle. These can be objects to hide behind to avoid damage, background objects that cause damage to either you or the opponent based on who gets to it first, or even a treasure lying just beyond a row of foes. Sometimes these gimmicks are really fun and clever, like a boss who gets knocked off-balance when one of the lackeys hoisting them on their backs is felled, leaving it defenseless. Sometimes it’s miserable, like needing to guess which side of the arena the enemy will appear on to hit a book and deal extra damage, missing entirely if you guess wrong. When the gimmicks are good, they make for very fun fights, but when they’re not, you’ll be longing for more straightforward combat. And sometimes the boss is simply a big difficulty spike in general, leaving you in a very bad situation if you come in ill-prepared.

Gallery

By far the worst combat experience, however, are the large-scale army battles. These play out like a turn-based strategy game, with your party members commanding armies and moving around a grid, but lack any of the fun and excitement you’ll find in a dedicated strategy-RPG. You spend most of the time just watching things happen, feeling like you have very little control over the proceedings as the armies you moved around, slowly engage the enemy. You’re left hoping they’ll do more damage than the opposition so you can go back to the fun parts of the game instead.

Overall, Eiyuden Chronicle hits the retro-RPG sweet spot nicely. It’s focused on delivering that warm, comforting feeling of a classic JRPG, and even all of the side distractions–the card minigame, the weird Pokemon/Beyblade hybrid top minigame, the raising/racing sim, even commodities trading–don’t distract too much from the game’s prime mission. Add some gorgeously painted and animated spritework and a stellar soundtrack into the mix, and you’ve got a delightful experience that sometimes falters, though not enough to make you put it down. Eiyuden Chronicle: Hundred Heroes might not be revolutionary, but it successfully delivered on its core promise–and that’s really all it needed to do.

Ereban: Shadow Legacy Review – Way Of Shadow

In what feels like a spiritual successor to 2016’s Aragami, Ereban: Shadow Legacy transforms you into a deadly shadow that can become one with the darkness–the ultimate stealth operative. The game doesn’t quite deliver the necessary challenge to make for a successful stealth game, however, as the first trick you learn will get you through the entire game without a hitch. It does far better on the platforming front, and though its cast of characters could have used some fleshing out, the futuristic sci-fi world they inhabit is cultivated with colorful sights and intriguing snippets of lore.

As its name implies, Shadow Legacy’s main gimmick is its use of shadows. You play as Ayana, the last of the titular Ereban, a people who possess the innate ability to become one with and manipulate shadows. Using her shadow merge ability, Ayana can sink into shadows to creep past enemies, slink up walls, and dispose of bodies, encouraging you to stick to the shadows where your toolbelt is at its strongest. Alongside these shadow abilities, Ayana has an assortment of advanced gadgets–some are always useful like a recon pulse that marks enemies and items through walls, while others are more situational like mines that stun targets–which work regardless of the lighting situation.

Light is Ayana’s enemy–you don’t want to stay in it for too long.

I initially thought that this would present plenty of opportunities and strategies to sneak past enemies, most of whom will take out Ayana in a single hit. There’s a healthy variety of foes who want to take her down–standard enemies don’t pose much threat beyond the flashlight they carry to take away your darkness, but the more adept snipers can spot you from afar and the stealthy droids who can go invisible can ruin your day if you’re not taking time to look for the telltale shimmer. And then there are the human enemies who present a moral quandary rather than a gameplay one–while the mechanical droid-like enemies that dominate each level can be killed with impunity, murdering the living and breathing human workers will negatively impact Ayana’s morality and others’ perception of her (which I’ll touch on a bit more later).

Unfortunately, Ayana’s natural ability to merge into the shadows and traverse unseen is very powerful–so powerful, in fact, that you don’t really need to rely on anything else. The enemies aren’t very smart either, so they’re easy to avoid even if you solely rely on shadow merge. This means that it’s actually quite easy to go through the entire game without being seen or resorting to lethally cutting down humans, making for a stealth game that doesn’t quite give you enough opposition to challenge you to think critically when it comes to circumnavigating a threat. There aren’t any difficulty settings to make the enemies smarter or more plentiful either–though you can adjust how many environmental guides show up in each level (purple lamps or purple paint that point you in the general direction you have to go, for example).

It’s pretty easy to get past guards when you can move along walls.

Shadow Legacy teases you with a tantalizing view of what it could be in its third chapter, briefly breaking free from its otherwise linear stealth levels to give you a playground in which you can tackle an assortment of missions in any order within an open area. Within this open space, you have more of a choice in how you approach each assignment instead of being funneled through a more linear challenge. Mistakes have a more drastic impact because you’re not moving from one area to the next–it’s all one big connected location, where your actions can snowball into unintended effects. Ayana’s assortment of abilities and gadgets also have way more utility in this level. The binoculars used for scouting and mapping enemy movements are way more valuable in a giant open space than in an enclosed laboratory or city street, for instance. The game never opts for this format again, however, and in doing so it leaves me wishing for what might have been.

To the game’s credit, the back half of Shadow Legacy has some creative set pieces from a platforming standpoint, with one section in particular that I adored for how well it challenged and encouraged me to utilize all I had learned up to that point in one fast-paced gauntlet. Shadow merge can be used to eject out of shadows to make otherwise impossible jumps or interact with the environment to solve simple riddles–skills that apply to challenges that steadily get more complex as the game goes on. Even if Shadow Legacy falls short of being a great stealth game, it’s a good platformer. The environmental elements create an assortment of shadows–some oddly shaped, others that move, and still more that can be altered–and figuring out how to reach an out-of-the-way platform is sometimes a puzzle within itself, made trickier and more rewarding to solve given the stamina meter tied to Ayana’s shadow merge. Not only do you have to figure out which shadows to move or follow or jump between, but you also usually have to do it in a timely manner.

Character development feels rushed in Shadow Legacy, especially when it comes to the supporting cast.

In service of these platforming challenges, Shadow Legacy features a colorful diversity of locales, ranging from an outpost in the desert to an autonomous factory. My favorite is an urban street that hints at the human life that once populated it, now devoid of any movement save for the autonomous drones that patrol the streets and promise that this is for the best. Sporadic graffiti and text logs hint at the growing loss of autonomy among the human citizens leading up to the corporate takeover that promised everyone a better life. It’s such an eerie level, framed against the setting sun that’s causing the street to slowly be encroached by shadow. It feels fitting that Ayana uses those same shadows to sneak her way past the guards searching for her, paralleling how the oppressive regime’s efforts can’t stop the resistance–they squeezed so much life out of this one city block that now there’s no living soul to report Ayana to the authorities, just dumb, easily-fooled machines.

Guiding Ayana through these challenges is a story that never quite gets room to breathe. Initially trapped by an AI-controlled entity hellbent on using her powers for some unknown purpose, Ayana finds herself quickly working with the resistance seeking to free themselves from corporate tyranny. Ayana is hesitant to work with them, having heard they’re nothing more than terrorists but agrees to use her unique skillset to help on the condition that the group gives her everything they know about the Ereban people. There are some interesting, albeit familiar, narrative themes here, but Shadow Legacy rushes through them–Ayana buys into the resistance’s cause remarkably quickly, for example, despite being given no catalyst to do so.

This is my favorite area in the game. It’s so beautiful and yet so eerie.

In the game’s third chapter, Ayana is warned to spare humans so as to help alleviate the accusations that the members of the resistance are terrorists. This is the game’s morality system, shifting the coloring of Ayana’s design toward shining white or sinister purple depending on how bloodthirsty you play her. As far as I can tell, the ramifications of this only impact one small moment in the final level of the game–it’s not much of a narrative payoff.

At certain points in the story, Ayana can upgrade her shadow powers and you have a choice of whether to unlock new branches on one of two skill trees. One branch leans toward non-lethal abilities, like cushioning your footsteps, while the other opts for skills that make you a better killer, like making it easier to hide bodies so your deeds aren’t discovered. This creates some fun replayability as it’s impossible to fully unlock both branches in a single playthrough, but, again, shadow merge is just too strong. The new powers are cool, but I never had to use them, as shadow merge makes it fairly easy to sneak through a level without being spotted. Granted, I opted for a nonlethal run. It’s possible that if I had aimed for a playthrough where I killed everything that moved, I’d have needed to rely on more of the powers that hide bodies or kill multiple enemies at a time in order to not alert guards that something was wrong.

Ereban: Shadow Legacy sits in a weird place for me. As a stealth game, it rarely challenged me, reducing protagonist Ayana into a one-trick pony that could sneak past any target with the same shadow merge skill every time. But as a platformer, Shadow Legacy incorporates some entertaining puzzles that grow increasingly complex and rewarding to overcome. I never quite managed to connect to Ayana’s journey against the autonomous overlords planning to doom an entire civilization, but I had a lot of fun slinking up walls and exploding out of the darkness, striving to time my jumps with the movement of a windmill and the rotating shadow it was casting. Those nail-biting moments are the ones that stuck with me, not the dozenth time I slunk past an unsuspecting droid.

Another Crab’s Treasure Review – Shellden Ring

To stand out as a Souls-like these days, a game needs to either reach similar heights as the genre’s namesake when it comes to gameplay, or have a compelling new spin on the genre. While Another Crab’s Treasure gets close on the combat front, its excellent 3D platforming are what help distinguish it. Combining those gameplay elements with a genuine, if perhaps slow to start, story about a crab named Kril, who starts as a loner just wanting to get his shell back and go home, but instead finds a greater understanding of the vast ocean, makes for a fun take on the genre.

The game kicks off with Kril’s shell being repossessed as a tax by a wealthy monarch, but this setup is mainly used as an excuse to send him on a treasure hunt across the ocean. Kril’s story during Another Crab’s Treasure is a particularly strong aspect of the game. While initially framed as a tale about Kril breaking out of his routine and finding renewed purpose, it eventually tackles the ocean’s ongoing pollution problems, taking the narrative to a place that is bleak yet also genuine. Where Kril finds himself by the end isn’t one of those overdone happy endings, but instead a far more complicated place that feels true to some of the game’s more dour themes.

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Now Playing: Another Crab’s Treasure – Announcement Trailer

The game is broken up into large levels, filled with both enemies and platforming challenges, that you need to explore to find an objective, such as a piece of a treasure map, or reach a far-off structure. The levels are well-designed, with combat and platforming flowing together seamlessly. There are a few places where the brutality of Another Crab’s Treasure does overdo it–such as during platforming sections overlooked by ranged enemies–which results in unwelcome difficulty spikes. Trying to navigate these areas while not getting blown up by ranged attacks that take away a third of your health goes from difficult to frustrating, but this only happens in a handful of instances.

Another Crab’s Treasure provides very little guidance in these open levels. There is no objective marker, nor a place where you can see what your current objective is at a glance. The only direction comes from cutscenes in which characters explain your next goal, or by speaking to characters in the level, which is fine most of the time. However, there were a few instances where something as simple as seeing the current objective would have saved a headache.

In the factory area, for example, you can find a puzzle that leads to the next section of the map, and while you can interact with it if you find it early, you can’t actually solve it. But, because I couldn’t check my current objective, it wasn’t clear that I needed to head elsewhere. Another puzzle has you use a magnet for platforming. Naturally, a metal shell is required to do this, but you also have to hold the block button for it to activate, which a nearby NPC takes joy in not telling you, a reflection of the aloof characterization of characters found throughout Another Crab’s Treasure, although it loses some charm here due to the frustration of unclear mechanics. These small hiccups take away from level design that is otherwise strong overall and typically guides you without the need for objective markers.

The platforming, however, sings thanks to a simplistic approach. You have a limited toolset that enables you to grapple between points, hover jump over perilous falls, and climb nets, all of which are introduced early in the adventure. The platforming challenges instead come from the addition of increasingly tricky obstacles and length of the platforming sections, with the demands building alongside your own platforming skill. There is also some nice leeway when it comes to platforming, as falling only takes a chunk of health instead of instantly killing you, providing just enough of a safety net that you aren’t forced to take it slow and can instead let the movement really build momentum. There were a few instances of objects in the environment catching or stopping my movement in a way that felt unintentional, but it wasn’t a prevalent issue.

Where Kril finds himself by the end isn’t one of those overdone happy endings, but instead a far more complicated place that feels true to some of the game’s more dour themes

The combat should feel familiar for anyone who has played one of these hard 3D action games. It has mechanical mainstays, such as dodges, blocks, and parries, but where Another Crab’s Treasure distinguishes itself is through the use of shells. Since Kril has lost his shell, he can use miscellaneous objects found throughout the ocean as a replacement, so he’s able to equip anything from soda cans to sushi rolls and even party poppers. Each shell has its own defense value and other various stats, like increased physical or skill damage, along with a special move that you can use in combat. These special moves can be a projectile attack, like the fizz from a soda can, or a status effect like an electrically charged can, which deals damage when you get hit. Crucially, these shells break frequently, forcing you to adapt based on which shells are available nearby.

Each shell has an armor meter of various sizes, which is reduced each time you block or take damage. Unless you unlock and execute the parry, your shell will always take damage during combat and break. This extra layer adds some depth to the combat, forcing you to always be on the lookout for a fresh shell when exploring levels. Even if you really like a shell, it’s only temporarily available to you, forcing you to adapt and keeping you from becoming complacent. Not being able to lock myself into a specific build let me experience far more of the options at my disposal, which kept combat fresh over the dozen hours it took to beat Another Crab’s Treasure. While you can insure a shell later in the game to guarantee you will respawn with it, this option comes late enough–and is expensive enough–that it doesn’t disrupt the dynamic or become a crutch yet also feels like a welcome option when it arrives.

Another Crab’s Treasure falls short during fights against tougher enemies and bosses. While mistakes can be incredibly costly in games like this, here they are more often than not fatal. Missing a block can easily get you stuck in an enemy’s attack string, and with tougher enemies, you can almost never take more than two hits without dying. This resulted in losing many, many fights because of one mistake. Losing because you didn’t execute a single block or parry can be extremely frustrating, especially the third or fourth time it happens against the same boss. The vast majority of my deaths came with most of my heals unused, because I lost all of my health without the opportunity to remedy the error. While generally the challenge in the game comes from there only being a little room for error, there are plenty of fights that feel like there is no room for error in a way that is unfair and frustrating.

Gallery

Another Crab’s Treasure also has multiple instances of unnecessary friction when it comes to quality-of-life features. New skills can only be learned by fast traveling to a specific place, instead of just at any checkpoint, putting multiple loading screens between unlocking a new skill and getting back to the action. There is trash to collect throughout the game that can be sold for additional microplastics (the equivalent of XP), but instead of being able to quickly use these items, you are once again required to fast travel to a specific location to cash them in. The skills vendor and junk vendor are also in different areas, so doing both at once takes even longer.

While not everything in Another Crab’s Treasure is as smooth as it should be, and some unforgiving enemies take away from the joy of the intense combat, the game is a solid take on the Souls-like genre nevertheless. It brings in fresh ideas with the shell system and a focus on platforming–traditionally an afterthought in the genre. And while Kril’s journey takes an act or two to find its footing, the places it goes make the ocean worth exploring.

Sand Land Review – Tanks A Lot

The main character in this open-world action-RPG adaptation of the late Akira Toriyama’s Sand Land is arguably its egg-shaped tank. Developer ICLA has crafted a game with a heavy emphasis on vehicular combat and traversal, which is a fitting design choice considering Toriyama’s love and passion for anything with a motor. You only have to glance at the number of vehicles featured in the Dragon Ball series to appreciate the legendary artist’s vehicular love affair. As iconic and instantly recognizable as Toriyama’s character designs are, his unique vehicle designs are just as evocative and essential to his signature world-building. Whether it’s a car, scooter, hovercraft, or airship, Toriyama’s anomalous designs are a delight, and Sand Land’s bulbous tank is one of his best, mixing his characteristics with historical influences to create a memorable piece of machinery. ICLA’s Sand Land might lack substance beneath its oozing style, but sitting behind the cockpit of some of Toriyama’s intricately designed vehicles is a near-constant treat, even if it falters elsewhere.

The first half of the game’s story is a faithful retelling of the original 14-chapter one-shot manga released in 2000. Set in the titular wasteland, Sand Land centers on a desert world suffering from an extreme water shortage, where sci-fi, fantasy, action, and comedy intertwine. You play as the rambunctious pink-skinned demon prince, Beelzebub, a video game-obsessed fiend who’s as good as gold despite his protestations otherwise. Alongside the stern-faced Sheriff Rao and your wise old pal, Thief, you embark on a quest to uncover a rumored water source that will hopefully restore Sand Land to life. The second half of the game’s narrative covers the brand-new events featured in the recently released anime adaptation. While the first six episodes of the show rehash the familiar ground of the manga, the last seven episodes function as a sequel to the original story, with Toriyama conceptualizing a fresh tale that sees Beelzebub, Rao, and Thief embroiled in a lopsided war after venturing into the neighboring Forest Land.

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Now Playing: SAND LAND – Official Story Trailer

Sand Land might not be as popular as Toriyama’s other works, such as Dragon Ball and Dr. Slump, but despite its niche nature, its recent resurgence isn’t without merit. The characters and world-building found in Sand Land are its greatest strength, and these elements are seamlessly translated into the game. The relationship between Beelzebub, Rao, and Thief is just as charming as it was on the page, while the game’s open world gives their conversations and banter space to breathe as you travel between locations. These moments excel when pulling lines straight from the manga, but pockets of incidental dialogue have a habit of repeating over and over again, which quickly becomes grating to the point where I wish I could’ve muted it completely.

Fortunately, the story itself is well told, meshing a whimsical child-like wonder with more profound explorations of prejudice, trauma, corporate greed, and the ecologism that exists in a world ravaged by humans. One of Sand Land’s main themes is a self-reflective notion not to judge a book by its cover, and Rao’s backstory focuses on the horrors of war and genocide and how they can still impact people decades after the fact. The entire core cast of characters is also well-layered, informed by their past lives while learning and growing as they unearth more information about the world and each other. The plethora of optional side quests tend to be verbose, even when their contents aren’t particularly interesting or original. Some of these tales do at least expand on Toriyama’s world-building, though, showing how regular people live and survive in the harshness of Sand Land’s vast desert landscape.

Aside from its narrative, another area where the game captures one of the manga’s core aspects is its focus on imaginative vehicles. You have access to various two- and four-wheeled machines that can be swapped on the fly as you traverse Sand Land’s open world. The iconic tank is the star of the show, sputtering fumes from its exhaust pipes as its undulating treadwheels glide over the sand; it’s surprisingly nimble despite its bulky frame, lending combat a sense of fluidity as you dodge incoming fire and pepper enemy tanks with your own booming cannon. You also have access to a secondary weapon–typically something automatic like a Gatling gun–that can be used to dispatch foot soldiers and some of the smaller beasts you’ll encounter. This creates a satisfying flow to combat as you swap between weapons while one is reloading and outmaneuver your enemies using the tank’s speed boost and inherent agility.

Customization is a significant part of the experience, allowing you to swap out either of the tank’s weapons with new and upgraded parts. There isn’t much variety in how these weapons handle, however–one cannon might fire slightly faster than another or inflict burning damage, but they still feel very much the same. Crafting new parts is also overly cumbersome, as the game doesn’t let you compare what you’re building with what you currently have equipped. Enemies scale to your level, too, so there isn’t a tangible sense of progression, even as you install new parts with higher damage output. This is disappointing and takes away from the customization’s potential. Even so, Sand Land’s tank-based action is still fun, with rewarding shooting, despite a lack of evolution. Additional cooldown-based abilities–of which you can equip one–add another element to combat. These can be focused on defense, granting you extra armor or an interception system that shoots down incoming missiles, or they can be more offensive abilities like an explosive laser or an outrigger that locks the tank in place, allowing you to rapidly fire the main cannon while stationary.

Additional vehicles include a motorbike, hovercar, dirt buggy, and jump-bot, among others. Each has its own set of weapons for use in a pinch, but these vehicles are primarily focused on traversal. The motorbike, for instance, is the fastest way to get around Sand Land’s open world, to the point where it can cross quicksand without sinking. The jump-bot, meanwhile, is a lumbering two-legged machine that lets you leap great heights to navigate the game’s various platforming sections. You might try the motorbike’s shotgun or the car’s guided-missile system in combat, but considering you can just swap to the tank at any time, the other vehicles feel superfluous once bullets start flying. The Battle Armor you unlock towards the end of the game is the only exception, mainly because it lets you uppercut enemy tanks into the air.

When you’re not piloting one of these vehicles, Sand Land takes a notable dip in quality. Being a demon prince, Beelzebub is no slouch when fighting hand-to-hand. There’s a typical mix of light and heavy attacks, plus a dodge, and you can unlock both passive and active abilities for Rao and Thief, including a personal tank Rao will pilot to help you out. Not that you’ll need much assistance. Sand Land’s melee combat is simplistic, with a string of light attacks all that’s required to defeat most enemies. Sometimes you’ll need to dodge incoming attacks–telegraphed by your opponent glowing red–and Beelzebub has a few unlockable abilities for dealing extra damage to more formidable enemies. Fighting multiple threats at once is its greatest challenge, only because there’s no way to swap between targets when locked on, resulting in an awkward back and forth. It doesn’t take long for this ponderous dance to grow stale, with the only saving grace being that melee combat isn’t too frequent.

The same can be said for Sand Land’s rudimentary stealth sections. Trial and error is the name of the game here, with an instant fail state present whenever you’re spotted. Fortunately, these clandestine moments are straightforward enough to navigate without attracting prying eyes. The main issue is that your crouched movement is slow and monotonous, offering a change of pace that wasn’t desired. Stealth also tends to occur in samey military bases, which is also an issue elsewhere. You’re forced to traverse the innards of near-identical crashed ships multiple times throughout the game, which only adds to the inane repetition of its stealth and melee combat.

The abundance of side quests are similarly bland, often tasking you with killing a certain number of enemies to either save someone or acquire crafting materials. Sometimes, you might have to search ancient ruins for a specific item or win one of the desert races, but you’re mostly just repeating the same tasks for different reasons. Most of these quests revolve around the town of Spino and your efforts to make it somewhere people would want to live. You’ll complete quests for the likes of traders and farmers that lead to them joining the town and gradually growing it throughout the game. The quests themselves might be dull, but watching the town’s progress is rewarding, especially when it comes with the convenience of putting everything you need in a single hub. It’s just a shame the process behind the town’s resurgence isn’t more engaging.

Gallery

The story behind Sand Land’s creation is funny but also sad in a way. Toriyama initially made Sand Land for his own personal enjoyment, devising a short story about an old man and his tank. However, the tank proved more challenging to draw than expected, and since Toriyama stubbornly insisted on drawing everything himself, he came to regret the idea. He persevered anyway, eventually releasing the manga for public consumption, and his pain was certainly our gain. Toriyama’s love of vehicles shines through in Sand Land and is where its most enjoyable moments reside. It’s disappointing that it flounders in other areas, particularly when it comes to stealth and melee combat, but ICLA has still managed to capture the heart and spirit of the original manga through its story, characters, and vehicular combat and traversal. Sand Land is bittersweet in many ways, but it’ss a testament to Toriyama’s talents as both an artist and storyteller that, despite its numerous flaws, it’s still worth playing.

Stellar Blade Review – Nier As It Can Get

What we let inspire us and what we pay homage to says a lot about the creations we make. Stellar Blade’s influences come from the last two generations of character action games and it wields them proudly, channeling not just ideas but themes, designs, and even stylistic flourishes from games like Bayonetta and Nier Automata. It is only through understanding where Stellar Blade comes from that one can begin to discern what it improves upon and where it falls short of the giants that developer Shift Up’s title wishes to stand on the shoulders of.

Stellar Blade puts you in control of Eve, a human arriving at a far-flung future Earth riddled with monsters known as Naytibas. EVE possesses superhuman powers, having been raised on a space colony and trained specifically to free what few survivors remain on the planet from the oppression of this omnipresent and existential threat. Along the way, the story takes a few twists and turns but largely stays in the realm of pulp science-fiction that is sometimes undermined by its own need to one-up itself. Characters change motives in service of plot twists at the drop of a hat and then resume their previous mindset without acknowledgement or comment. There are times that I wished the writing showed a bit more self-restraint rather than feel like the first season of a TV show throwing a hail-mary for a second.

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Now Playing: Stellar Blade – Beta Skills Gameplay Trailer | PS5 Games

The weight of the inconsistent quality of the writing tilts heavier towards Stellar Blade’s disadvantage, as occasional head-scratching side quests are followed up by decidedly compelling ones, though not as often as it should. Just when you feel fatigued with following waypoints, the game serves a side quest with unique content and boss fights or a narrative beyond looking for someone who it turned out already died. The main story grazes the surface of subject matter like transhumanism and moral relativity, but it does little with them. Stilted and stiff voice acting also does little to help you take the story seriously and often brings you out of it. Historically, the quality of a character action game’s story has scarcely mattered to the overall package, but those expecting something above the genre average should readjust expectations.

Where Stellar Blade does shine is in its moment-to-moment gameplay. The act of doing things, be they running full speed down the slope of a desert dune or fighting a cockroach monster that leaps out at EVE from behind a box, is genuinely quite fun. EVE is generally given a mission that involves her, a fair amount of dynamic set pieces, and a large number of monsters, and that formula is successful more often than not. There are a handful of missteps among these moments–jumping sections, occasional puzzles that task EVE with playing an arcade-like pipe-connecting game, a keypad variation on Simon Says, or a long Sonic-like tunnel surfing segment–that either do not synchronize with the game’s inherent floatiness or feel like diversions that never end, but it understands its own strengths most of the time.

Gameplay is bolstered by an interesting and exciting combat system that leans heavily on parries and dodges as its core foundation. Far from a combofest, Stellar Blade puts meat on the bones by feeding all your actions in battle into ultra-powerful special moves. Surviving through an enemy onslaught by deflecting attacks or dodging out of the way does more than keep your life bar intact, as it cranks up the dial of the moves you use to respond when you’re finally given that frame of opportunity. Defeat at the hands of an enemy can rarely be attributed to a surprise attack or a pattern that defies reaction time, but rather a lesson in understanding how it moves and how to employ your myriad options in response. Most of EVE’s deaths in combat suggests an invitation to come back armed with knowledge you did not possess the last time you crossed that threshold.

The larger issue, and what keeps Stellar Blade from surpassing its well-known muses, is that Shift Up’s title does not demonstrate a particularly learned display of pacing. This is not to say that Stellar Blade is too short; for the genre, it sits on the higher end of hour-counts. The problem is that individual sections of the game are entirely too long. Nearly every door you need to go through is locked or unpowered, leading to a detour to find the key or press the switch that opens the door you hoped to go through ages ago, making it a rarified occasion when you do simply walk through the path you expected. Things that should feel like set pieces you are meant to tear through start to feel overlong in their execution when tasked with fighting 30 enemies before you can get to the anti-air turret you’re meant to destroy while being fully aware that it is one of nine that need to be sought out before the level can end. Sections like this needed a hammer, not a scalpel.

In that sense, it is often like Stellar Blade wants to have its pacing both ways. On one hand, the game is constantly pushing you in a direction that feels like progression from a top-down perspective. On the other hand, a fair proportion of the game’s enemies feel like genuine threats that can destroy EVE in one strong combo and, by contrast, they take a fair number of special moves and attacks to finally rout. But by putting so many of them between you and the objective, those little moment-to-moment instances of fun begin to feel unwieldy and slightly tedious when stacked on top of each other. When the only real punishment for death is retreading the same combat-filled path once again, at some point that feels punitive enough.

The game’s structure sometimes allows for you to make your own pacing by completing missions largely centered in the game’s open fields. While large, these areas mostly funnel you down existing paths regardless of whether or not you can imagine a more creative trail. Most frustratingly, there are only two of these zones and both are themed after deserts–one subtropical, one semi-arid–meaning a prime opportunity for variety is wasted. A minimap desperately needed to be included for these more open areas rather than a separate and ill-used map screen. Moreover, the cutoff for side quests is surprisingly early into the game and explicitly warned to you, meaning you have to pack a lot of these missions in when they would feel better spread out over a longer period of time.

A mitigating factor for that occasional tiresomeness is the game’s soundtrack, which consists of banger after banger. Cruising through the desert doing sub-missions for hours feels almost zen-like when accompanied by the soft interjections of a vocalist’s crooning. Boss fights run the gamut from heavy metal to pop, all making appropriate aural partners to the sound of steel clashing against steel.

Similarly, Stellar Blade can often impress graphically, between giant set pieces that dazzle to rather stunning character models. The NPCs were clearly prioritized in different categories, with some looking like living plastic dolls and others reusing bits and pieces of other less-prominent characters, but the main cast generally impresses in both fidelity and animation.

While Stellar Blade’s non-linear areas offer little in the way of environmental variety, the main story stretches itself a little bit further. The game as a whole, barring a last-minute jaunt into a visually exciting new frontier, tends to take place in the ruined buildings and the tunnels beneath them. The post-apocalyptic setting allowed Shift Up to create any combination of elements and ambiance they wanted, so it is disappointing to delve into samey tunnels so often. A globetrotting adventure in the middle of a sci-fi world should inspire awe, but Stellar Blade only manages this with its environments in rare instances.

While exploring, you will also find mountains of loot from both treasure chests and enemy drops, but it never gets overwhelming. The vast majority of collectable items are resources given to various shopkeeps, with the occasional equipment drop hoping to fit your playstyle. Each equippable spine or gear can slightly alter the way EVE plays, but nothing makes such a dramatic difference that stats are completely unignorable. If you wish not to bother with them and only care about bigger numbers, Stellar Blade is happy to oblige.

Gallery

As for the game’s controversial sexiness, I found it to largely be nothing notable as either a pro or a con. The only time it became anything more than window dressing for me was a twinge of annoyance when quests or exploration yielded naught but another dress that gives no stat benefits. I would have preferred something that makes me stronger rather than yet another skintight suit, as if I did not already possess an inventory full of them. That EVE has breasts was immaterial to the rest of the game beyond her character model and only really novel in its opening hours.

Stellar Blade has a dreamlike quality in a way, which shouldn’t be misinterpreted as saying everything about it is fantastic. Rather, it is like one of those half-remembered dreams that sticks in the back of your mind the entire day. You recall vague details–a collapsing train yard, a ruined opera house, an Asian garden–and forget the blips in between. I came away from Stellar Blade having enjoyed the game quite a bit despite its foibles on the back of its incredibly strong systems. That its biggest weakness is that its tribulations can go on too long is perhaps praise from another perspective not my own.

There is a nagging question, though, that sticks in the back of my mind: Does this game rise to the heights its inspirers achieved? The conclusion I came to is no, but that it attempts so without falling on its face is remarkable enough. That it manages to be a great game in that pursuit is a true testament to the power of being galvanized by those that came before.

Tales of Kenzera: Zau Review – Bladedancing

Grief is a messy, convoluted emotion to navigate. There’s rarely a straightforward path to get through it; oftentimes it can feel like you’re walking in circles around what you’re looking for, or banging your head against the same mental roadblock again and again. In many ways, the experience of playing through a metroidvania mimics the feeling of working through grief–the genre is built on a similar path of progression, where the necessary tools to move forward are earned step-by-step, and a protagonist’s evolving moveset makes it easier to overcome its challenges and navigate a seemingly inescapable world. Tales of Kenzera: Zau leans into that parallel, creating a powerful and moving message within the context of a stellar action-adventure game.

Tales of Kenzera sees you play as Zau, the fictional hero of a story that a father wrote for his son just prior to the father’s death. Zau, similarly, is working through the grief of a lost father. Unable to get past the pain, he calls upon the god of death, Kalunga, and offers him a deal: If Zau successfully brings the three great spirits that have resisted Kalunga to the land of the dead, then Kalunga will bring Zau’s father back to life. The god agrees and the duo set out, Zau relying on the shaman masks and training he inherited from his father to overcome the dangers of nearby lands. As a metroidvania, the game features moments where Zau must backtrack and use newly unlocked abilities (freezing water, for example, or a grappling hook used to swing over large pits), which Kalunga helps Zau master to navigate the distinct biomes of the map.

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Now Playing: Tales of Kenzera: ZAU GameSpot Video Review

Inspired by Bantu mythology, Tales of Kenzera’s map is a beautiful maze that pulls from African culture to characterize and flavor the interconnected areas. The myths of the Bantu color the undertones to the story, equating Zau’s battle against larger-than-life monsters with a spiritual journey–you don’t question how or why Zau’s efforts to beat up a mother helps convince her to come to terms with leaving her daughter behind. Within Tales of Kenzera’s lore, these actions make sense, reframing the physical space of the world into something more akin to a mental palace. That reframing contributes to the explosive battles, too, with the sound design and orchestral score of the soundtrack transforming each fight into a frenetic dance of emotion and spiritual energy where flame-infused shockwaves are stand-ins for violent outbursts and well-timed dodges equate to a carefully considered counterargument.

Each locale feels distinct from the others, both in color scheme and challenges. The sickly green swamps and massive trees of the forest to the west test Zau’s acrobatic abilities, for instance, while the volcanic heat and dry oranges and reds of the desert to the north features plenty of endurance-focused challenges that force Zau to withstand large groups of enemies or solve multi-step environmental puzzles. The structure of these areas interweave with the story, enriching the narrative in rewarding ways. The aforementioned desert sees Zau come to understand that grief isn’t something that can be simply overcome–it continues to wash over you in waves, much like the waves of enemies he has to contend with. And sometimes grief can waylay you by showing up in a recognizable but slightly different form, much in the same way the numerous environmental puzzles in the desert region are larger, more convoluted versions of what Zau had to solve in previous areas. We as the player overcome these obstacles alongside Zau working through his pain–he grows as we do, strengthening our connection to his journey.

Tales of Kenzera is pretty easy at the start but it does not stay that way.

The mentor/mentee relationship between Kalunga and Zau is front and center throughout, with Kalunga regularly appearing to Zau to provide insight and guidance to the lands’ history and culture, as well as to help Zau process his bubbling emotions. Actors Abubakar Salim and Tristan D. Lalla lend incredible gravitas to their respective performances–Salim seamlessly dips back and forth between hot-headed arrogance and barely contained sorrow in voicing the grieving Zau, while Lalla lends a power and authority to Kalunga’s fatherly tone. The two characters’ growth over the course of the game is surprisingly wholesome despite the dour plotline, making it easy to invest into Zau’s development as a shaman.

The other characters in Tales of Kenzera aren’t as fleshed out, only appearing a handful of times and always being relegated to narrative devices that tell Zau what macguffin he has to chase after next. The voice acting for these characters is still superb, but the supporting cast–both the humans and the great spirits–is let down by its minimal presence in the story.

The framing device for Zau’s story–that this is a story left behind for a grieving boy in the real world–also feels disruptive. Near the end of Zau’s adventure, you’re abruptly yanked back into the real-world to be reminded of this framing device, which felt incredibly jarring. Zau’s story of working through loss was working as a healing experience for me and the game felt the need to stop to explain its own premise, as if it were directly telling me that media can help people overcome grief. And, yes, I know. I was experiencing that sensation. The game broke its own illusion to specifically remind me that it was an illusion, and that lessened the impact of the final moments of Zau’s journey. It didn’t ruin the ending, but it certainly disrupted the narrative flow leading into Tales of Kenzera’s conclusion.

Zau has two different move sets and can change between them on the fly.

Tales of Kenzera’s combat mechanics, however, are fantastic all the way through. Zau can instantly swap between wearing the mask of the sun and the mask of the moon, each granting him different mechanics. The sun mask focuses on melee while the moon mask prioritizes long-range attacks, but the cadence of each bleeds into the other, rewarding you for chaining together the movements of both masks with devastating pirouettes. One of my favorite combos is slamming down into a foe with the summoned spears of the sun mask, switching to the moon mask to blast them away, dashing toward them, and switching back to the sun to hit them with a four-hit melee combo that launches them skyward, giving me a chance to switch back to the moon and juggle them in the air with ranged attacks.

Zau is powerful, but his enemies are numerous, transforming combat into a puzzle where situational awareness trumps power. As such, the game encourages you to dance between targets, overcoming overwhelming odds by being nimble. The movements of both Zau and enemies are sharp and the game makes good use of color–blue and orange for Zau and green and purple for enemies–to keep the fast-paced fights readable. Rarely does it feel like a loss is due to poor luck–the visual clutter of particle effects can become a problem if you’re ever standing still long enough for enemies to surround you, but that feels more like a consequence of a mistake on the player’s part rather than a detriment of the game itself.

You don’t get many upgrades to Zau’s combat throughout the adventure. There is a skill tree, but unlocks are geared toward improving existing mechanics–charging the projectiles of the moon mask to unleash a more substantial attack, for instance, or increasing the sun mask’s combo chain from three to four strikes. Instead, most of the combat’s evolution is based on the enemies that Zau has to fight. You initially only face warriors armed with simple melee attacks or slow-moving projectiles, but you quickly have to take on enemies who shield themselves or fast ball-like foes who willingly explode to take you down with them. And none of them compare to the dastardly fireflies who sap your health to heal other enemies.

The desert area is my favorite part of the game.

Tales of Kenzera’s easy opening belies its surprising challenge, especially its tough latter half. There is a difficulty slider that allows you to adjust how much Zau can endure before dying and how much damage he has to deal in order for an enemy to perish, so there is some control in how tough combat is (you can adjust the slider at any time as well, so you won’t be punished for accidentally picking a setting too tough or easy at the start). Instant-kill hazards are not affected by difficulty, so there’s no way to make traversal challenges easier, but the game is generous with the checkpoints (save for a few exceptions, which we’ll get into in a bit), preventing any seemingly insurmountable walls from becoming frustratingly so.

Zau’s efforts to pull the great spirits into the realm of the dead culminate in boss battles, and the combat is at its best during these. Most of them see Zau clash with monstrously large beings who are grieving in their own right. Their emotional state informs not only how they fight but what Zau must do in order to get through to them and defeat them. A great spirit overcome with rage angrily lashes out at everything around him, for example, creating huge walls that push out at Zau and threaten to force him off the ledge of the arena unless you use his recently acquired ability to blast through obstacles. This also causes the spirit’s own attack to explode and briefly stun him–his anger literally blowing up in his face makes it harder for him to fight you.

The drama and tension of these encounters are amplified by powerful musical scores. I had to step away from Tales of Kenzera and compose myself after battling the great spirit who is overcome with fear, as the escalating rhythm of the score and tension of the string instruments playing through the boss fight made an already stressful fight a more unnerving experience than I expected. The true strength of these fights is how they are emotionally resonant as well as mechanically satisfying–they’re the moments when the game is firing on all cylinders, using combat and traversal mechanics, enemy and sound design, and music to emulate one of the more pivotal steps in one boy’s struggle with grief. They’re all powerful spectacles that I’m still marveling over.

Tales of Kenzera has incredible boss battles.

On the other hand, Tales of Kenzera has a few chase sequences that veer toward irritating. These cinematic platforming sections are a common inclusion in the metroidvania genre, a staple that goes back to the original Metroid and Samus’ scramble to escape Zebes after killing Mother Brain. In most cases, however, these sequences either afford you a chance to recover from your mistakes (like Metroid) or incorporate numerous autosave checkpoints throughout the section (like Ori and the Will of the Wisps or Hollow Knight). Tales of Kenzera does neither, meaning a mistake usually results in a death that sends you back to the beginning of the sequence, forcing you to redo it over and over. There’s a particularly tough sequence near the end of the game where Zau is being chased by something that will kill him instantly, which requires hopping between narrow platforms and over lava that will also kill him instantly to escape. Maybe I’m just getting old, but it took me nearly a dozen attempts to get through that part of the game and by try number seven, I was really frustrated that I had to start over each time.

Thematically, you could say that these sequences emulate working through the fear and anger parts of grief, as both sections deal with the great spirits that embody those emotions, as well as the idea that false starts are an inevitable part of the healing process. And in the same way that there are no save points in working through fear or anger, there are no checkpoints to these platforming sections. That comparison loses value when the rest of the game is hypervigilant about autosaving your progress, however. It’s in these moments that there is a conflict between the fun you expect from a metroidvania and the potential desire to convey an emotional state. Tales of Kenzera cleverly blends the two through most of its elements (especially its world and boss design), but falters when it comes to these traversal challenges–the sheer frustration of these platforming do-overs results more in a lack of fun than it summons a sensation of anger or fear. Thankfully, these moments are few and far between, meaning they’re only a small irritating blip to what’s otherwise a fun game.

Tales of Kenzera: Zau’s strength lies in its powerful narrative, digging into how one navigates the sadness, rage, and terror that accompanies the worst moments of grief. Its tale has its hiccups, but Zau’s adventure of coming to terms with loss resonates through the beating heart of the thumping musical score, standout vocal performances, and dance-like battles that feel straight out of Bantu myth. Loss is a universal human emotion, making Zau’s attempts to grapple with grief uncomfortably relatable. But there’s catharsis to be earned in working through that discomfort alongside Zau, and a touching story to enjoy along the way.

Anime News

Texas Chain Saw Massacre And Halloween Board Games Are Up For Preorder At Amazon

Nothing is better than a night of horror movies and board games, especially if both of those hobbies have been combined into an unholy union of dice rolls and familiar franchises. If that sounds like a good time to you, you can keep an eye out for two board games based on classic horror IPs soon: Halloween and The Texas Chain Saw Massacre. Both of these board games are available to preorder at Amazon and will release on May 8. However, it is worth noting that these games initially released last year, just not at major retailers.

Halloween (1978): Board Game

Halloween: The Board Game

First up, there’s Halloween: The Board Game. Developed by industry veteran Emerson Matsuuchi and featuring art by Nathan Milliner, this is the first time the original 1978 Halloween movie has been made into its own board game. Like its source material, this game will see Michael Myers hunt down several people, but the plot twist here is that one player will take control of the nigh-unstoppable killer as they prey on their friends.

Everyone else will be looking for a way to escape from Michael, but the task will be made more difficult because Myers can only be seen when he is being looked at on the board. This game is designed for two to four players and each session is expected to last for around an hour.


The Texas Chain Saw Massacre: Board Game

The Texas Chain Saw Massacre Board Game

Next up is The Texas Chain Saw Massacre Board Game. This board game was created by Scott Rogers, who also designed Alien: Fate of Nostromo and worked as a video game developer on franchises such as God of War and Pac-Man. Two to five players must work together if they want to survive a run-in with Leatherface and his family. All players win or lose as a group in this co-op game where you must pull tokens from a gruesome bag of tricks. This isn’t the first Texas Chain Saw Massacre game, as there’s also another adaptation with a more strategic bent. The Texas Chain Saw Massacre Slaughterhouse includes custom sculpted figures, dice, and 140 cards featuring highly detailed art.


For another board game based on an iconic horror franchise, check out this budget-friendly Scream game from Funko Games. Starring the voice of Ghostface himself–through a free downloadable mobile app required to play the game–this portable session of thrills and chills will see you use your wits to outsmart the infamous slasher. This is for players aged 13 and up, and sessions are expected to last around 20 minutes.

For something more traditional, you can also check out Monopoly: House of the Dragon. Hasbro’s new licensed game puts a Westeros spin on its classic board game, and this newly launched $35 edition brings the prequel to the hit TV series to your tabletop.

Daisy Ridley Says “Nothing Can Prepare You” For How Star Wars Changes Your Life

Nearly nine years ago, Daisy Ridley made her first appearance as Rey in Star Wars: The Force Awakens before reprising her role in the two sequels that followed. More recently, Ridley signed on to return as Rey in another sequel that will begin a new era for the Jedi. That film will inevitably feature new cast members who will undergo the same life-changing events that Ridley went through she joined the franchise. During a recent interview with Empire, Ridley reflected on how being cast as Rey changed the trajectory of her life.

“There was a lot of love and protection,” said Ridley. “I can’t really remember that well — it was ten years ago. There was a lot of support given, but nothing can really prepare you for what you’re going to go through on an individual level.”

“I think when everything actually happened, I stayed at home and sort of was like, ‘Okay!’ There’s a craziness, and then everything goes away again, which is great,” added Ridley. “For all the people going, ‘Your life is going to change,’ it did in some ways, and then you just go to your mum’s house and you’re like, ‘Okay, this is nice.’ Having such a solid foundation was the absolute best thing for me. Obviously, on a professional scale, things changed, and [in terms of ] anonymity, things change, but only actually really briefly. There were a lot of changes, but also many things stayed the same.”

In a previous excerpt from this interview, Ridley stated that it was an easy decision to return to her role as Rey. She also offered a brief update on where things stand.

“I know the story beats [for Rey’s arc], but other than that, I’m not sure what it’s going to be. But I’m reading a script next month. I’m curious about it all.”

Lucasfilm hasn’t officially set a date for Ridley’s next Star Wars film.

Destiny 2 Finally Undoes “Gunsetting” With The Final Shape’s New Power System

Bungie is making major changes to Destiny 2‘s Power levels, the measure of your character’s strength that dictates how difficult content is, in its upcoming expansion, The Final Shape. The biggest change is a new system called Fireteam Power, which brings everyone in your party up to five levels below whoever’s Power is highest, which should allow anyone to join friends and play just about any content they want. That has an interesting knock-on effect, though: It undoes a move Bungie made four years ago, when it “sunsetted” a bunch of guns by putting an upper limit on their Power stats.

The impact of Fireteam Power

The changes to the Power system are outlined in Bungie’s latest This Week in Destiny blog post, which goes into detail about how the entire system is getting overhauled in The Final Shape. First and foremost, the Fireteam Power system will allow you to play just about any content with your friends, so long as someone in your group has a Power level that’s high enough to play that content. The person in a group with the highest Power level becomes the Power Leader, and everyone else gets their Power brought up to five levels under the leader’s level, if their Power isn’t already the same or higher. So if your Power level is 1950 and you’re playing with someone at 2000 Power, when you go into an activity, your Power level will jump up to 1995 for that activity.

As Bungie demonstrates in this image, your Adjusted Power is attuned to the Power Leader in your Fireteam, regardless of the Power score you get from your gear.

The idea here is to let you play whatever content you want with your friends, even if you’re new to the game or haven’t been playing Destiny 2 for years. Fireteam Power won’t change the rewards you get–you’ll still receive weapons and armor that are near your actual Power level, not the adjusted Fireteam Power level. And if you want to play tougher content without some high-level person to boost you, you’ll still need to climb the Power ranks as normal by earning rewards from different activities and increasing the Power levels of your gear. But the change removes any limitations that might keep low-level players from joining up with their high-level friends.

Bungie also acknowledges in the post that since Fireteam Power raises your Power level regardless of the Power on your actual weapons and armor, it would allow players to get around the fact that some older weapons have upper limits on their Power. Bungie put those limits on guns that were released before the Beyond Light expansion in a move players dubbed “gunsetting.” It meant those guns were effectively too weak to use in most future content and rendered them obsolete. That made a lot of people upset, however, since many of the deprecated weapons were fan-favorites that were extremely hard to earn, like The Mountaintop and Luna’s Howl.

Undoing gunsetting

So four years later, Bungie is undoing gunsetting altogether by removing the Power limits on legacy weapons. That means if you still have old versions of weapons like Luna’s Howl or any of the Black Armory weapons, you’ll be able to use them again in The Final Shape.

The Mountaintop in its Brave Arsenal iteration.

However, since it’s been so long, Bungie acknowledges that most players who’ve been around long enough to have those old Legacy guns have probably deleted them by now. Several–Luna’s Howl, The Mountaintop, The Recluse, Blast Furnace, and Hammerhead among them–are already back in the game (or soon will be) in new versions as part of the Brave Arsenal, a slate of reworked legacy weapons Bungie released with the Into the Light content drop launched a few weeks ago. “Most or all” of the other deprecated legacy weapons are also coming back to the game, Bungie says.

“We understand that many old Power limited items have been dismantled by this point, and we regret that we have no recovery mechanism for these,” Bungie wrote. “Going forward, we intend to reintroduce sources for most or all of these, updated to modern Destiny sandbox standards with added properties such as Origin Traits and build-crafting perks (as we have started to do with the BRAVE arsenal in Destiny 2: Into the Light).”

More welcome Power changes

Other changes to Power in The Final Shape are geared toward making it easier to understand what sort of difficulty you’re facing in any given activity. First, Bungie is lowering the Power level caps for all activities so that, generally, it’ll take less grinding to reach the upper Power bands that let you take on the toughest activities. You’ll only need to climb 40 Power levels through The Final Shape, which should be doable by playing through its story campaign, to hit the Powerful level cap at 1940. From there, it’s another 50 levels to the Pinnacle cap at 1990, and 10 more to the hard Power cap for gear at 2000. You’ll climb from there as normal using Artifact power, which is done by playing the game and earning experience points, but will reset with each of Destiny 2’s three “episodes” releasing in the year after The Final Shape.

It’ll also be easier to level up multiple characters going forward. Leveling has always been annoying for anyone who wants to play more than one character in Destiny 2, often requiring convoluted schemes of passing high-level equipment back and forth between each one. Bungie has streamlined that process over the years, but in The Final Shape, you’ll have an Account Power level that takes your best gear into account automatically. That means that after leveling up one character, if you jump to another low-level character, you’ll instantly get drops in line with the higher character’s level–drastically cutting down on the Power grind.

Bungie also shared an image showing how the user interface will change to show you the difficulty of an activity.

Finally, Bungie is changing the interface for activities to make it clearer what Power levels they require and how difficult they’ll be. Activities are now grouped into two sets: Power Disabled, in which the experience is the same regardless of how high or low your Power level is, and Power Enabled, where the strength of your gear determines the difficulty of the activity. However, Power Enabled activities will still have a cap so you can’t drastically outlevel the content to make it super easy.

The Final Shape is also doing away with the old names for activity difficulties, like “Legendary,” in favor of a more straightforward convention. Power Disabled activities include things like the regular Crucible and Gambit activities. Enabled activities are grouped into new difficulty tiers:

  • Standard (Power Cap: 1945): Vanguard Ops, Seasonal activities, Exotic missions, raids, and dungeons
  • Advanced (previously Hero, Power Cap: 1995): Nightfalls
  • Expert (previously Legend, Power Cap: 2005): Nightfalls, Lost Sectors, Seasonal activities, Exotic missions
  • Master (Power Cap: 2010): Nightfalls, Lost Sectors, raids, and dungeons
  • Grandmaster (Power Cap: 2020): Nightfalls

All those changes sound like they’ll go a long way to making it a little easier to level up your character quickly, jump into content with friends, and understand how difficult what you’re about to face will be when you get there. However, there’s no real salve for having deleted all your favorite pre-Beyond Light guns, except maybe that Bungie says it’ll bring them back eventually. We’ll have to wait and see exactly what forms those take.

FCC Reinstates Net Neutrality

Earlier today, the Federal Communications Commission (FCC) voted to reinstate net neutrality. Taking place during an April Open Meeting, commissioner Anna M. Gomez voted in favor of restoring federal oversight of broadband internet access service under Title II of the Communications Act. According to a press release, the aim is to ensure the resource is open, safe, and secure for all moving forward.

“Broadband access to the Internet is a critical conduit that is essential for modern life,” said Gomez in the press release. “Protecting this critical infrastructure that is essential to the safety, economy, health, education, and well-being of this country is good public policy. The value is so great that we cannot wait for the flood to arrive before we start to build the levee.”

In essence, the idea of net neutrality is that internet service providers (ISPs) should not be allowed to discriminate by offering paid prioritization for different internet traffic sources, discriminating different types of content by blocking or throttling traffic, and so on. This was first established by the FCC in 2015, and then reversed during the Trump administration in 2017.

In another press release, FCC chairwoman Jessica Rosenworcel notes five use cases of protections that net neutrality promises to ensure. These include preventing ISPs from blocking traffic, slowing down content or creating pay-to-play internet fast lanes, providing oversight of broadband outages, and authority to direct foreign-owned companies deemed to be national security threats to discontinue any domestic or international broadband services.

In terms of speech, the FCC noted that it “has no authority to, and no interesting in, policing online speech,” and that the open internet protections will prevent ISPs from doing so. As for “Big Tech,” FCC deemed it as an important but unrelated policy challenge. “Net neutrality is important so that the small and medium-sized companies that are trying to compete with more established companies have a level playing field, and net neutrality would ensure that ‘Big Tech’ can’t just cut a deal with a broadband provider to favor its products over upstart competitors,” the press release read.

Fallout 4 Speak Of The Devil: How To Get X-02 Power Armor

One of the several new side quests to take on in Fallout 4 with the next-gen update is called “Speak of the Devil.” This quest has you following after a man’s journey to find a mysterious character called The Devil, who supposedly swoops in to help those in need after a specific radio station is turned on. It so happens that The Devil is wearing a set of rare Power Armor, called X-02, and plenty of people are after it.

To ensure you get to the X-02 Power Armor first in Fallout 4, follow our guide below to complete the Speak of the Devil quest. For more on the new quests in Fallout 4, use our Echoes of the Past quest walkthrough.

Starting Speak of the Devil in Fallout 4

If you have a leveled-up character in Fallout 4, the Speak of the Devil quest should automatically be added to your quest log after downloading the next-gen update. However, if you’re on a new save, then you have to wait until reaching a certain point in the story before you can begin Speak of the Devil or any of the other new quests.

Connie’s note

Speak of the Devil begins at Wattz Electronics store, which is located in the middle of the map. Here, you can enter the front door and walk across the broken floor over to a small table with a radio on it. Pick up Connie’s Note and play the Black Devil Vol 1. holotape that’s lying on top of it. The holotape describes some of the backstory of The Devil, and how they save innocent people when someone tunes in to a specific radio station. Reading these items starts the Speak of the Devil quest.

Following Connie’s journey

After reading the holotape and Connie’s note, a new quest marker appears on your map that leads to Relay Tower 0MC-810. Be careful when approaching this location, as there are raiders and a Deathclaw waiting for you. Once the enemies have been dealt with, head into the red-gated area of the tower and read Richie’s Note on the dead body in front of the terminal, and pick up the AM 810 holotape. Then, you need to access the terminal and extend the satellites.

Fallout 4 satellites during the Speak of the Devil quest

Once the satellites are fully extended, head back into the terminal and insert the AM 810 holotape. With it inserted, tune the radio to play “Stars and Stripes Forever.” This makes a new radio signal appear and a new quest marker on your map, leading to the BADTFL Regional Offices. This is located right near Wattz Electronics, so fast travel back there and head over to the quest marker.

Inside BADTFL, battle through the raiders until you reach the back interrogation room, where you find Connie’s body sitting on a table. Loot Connie’s body and read the note she left on the table, which reads “Check the Wall.” You can also loot the FM 52.7 holotape on the table. This holotape is encrypted, so you’ll need to find the password to it or hack in. This is done by playing the holotape on your Pip-Boy and then looking at the available options.

Interrogation room

If you have a Hacker +3 stat, you can break in with no problem. However, if you don’t, you need to guess the password from the generated list or find it. Connie’s clue of “Check the Wall” does offer the password, but I can just tell you the right password too:

  • [e_di@bl0*p7z+rk4CkzEsx@iene

This password is near the top of the list and when you click on it, you’ll gain access to the holotape’s data. After unlocking the holotape, a new quest marker appears on your map at the Relay Tower OSC-527. Here, access the terminal, load the FM 52.7 holotape, and then transfer the “America the Beautiful” file onto the terminal. You’ll hear the famous song play and get your final quest marker at the Boston Police Rationing Site.

Getting the X-02 Power Armor

At the Boston Police Rationing Site, you need to break into the building and go through the underground tunnel. The front door to the building is barred shut, but you can throw a grenade at the door to unlock it. You can also get on the roof with a Power Armor jump, but the explosive route is easier.

X-02 Power Armor is within your reach now.

Go through the tunnel entrance and then keep heading forward until you see a radio in front of a locked door with a set of Power Armor behind it. Activate the radio to unlock the door, and you’ll have access to the X-02 Power Armor. You can also read the terminal behind the Power Armor to learn about the true intentions of The Devil character.

It’s here where you can make a choice: Short-circuit the radio transmission, effectively killing The Devil’s character, or restore the Enclave Radio, making a new radio station available. If you end the transmission, you can unlock a nearby wall safe with some loot. Activating the radio station will lock that safe for good.

What decision will you make?

Regardless of your choice, after getting into the X-02 Power Armor, a Sgt. Hodges and other enemies show up. Kill them to complete the Speak of the Devil quest in Fallout 4.

Fallout 4 Tesla Cannon And Best Of Three Quest Guide

One of the new weapons that arrived with the next-generation update in Fallout 4 is the Tesla Cannon, a powerful Fusion Cell gun that shocks any enemy unfortunate enough to get in its way. The primary way to get the Tesla Cannon is by completing the quest called “Best of Three,” which is part of the next-generation update. However, there’s an additional and much easier way to get the Tesla Cannon as well.

You can see both ways of acquiring the weapon in the guide below.

Getting the Tesla Cannon in Fallout 4

The Tesla Cannon is a highly sought-after weapon on which the Enclave faction has its sights. This is made evident in the quest Echoes of the Past, which is also part of the new update. In that quest, you can read a terminal entry that details the Enclave’s current efforts to find the Tesla Cannon. We have a full walkthrough of the Echoes of the Past quest, which you might want to start sooner rather than later.

If you’re on a leveled-up character in Fallout 4, both the Best of Three and Echoes of the Past quests should automatically be added to your quest log. However, new characters must wait until a certain point in the story to start the quests. Both quests offer a way to get the Tesla Cannon, and you can see how to get the weapon in either quest below.

Completing Best of Three

First up, we have the dedicated quest that concludes with you acquiring the Tesla Cannon. Best of Three begins by tuning to the Vault-Tec Distress Signal in the Radio section of your Pip-Boy. Once you’ve listened to it, you’ll see a new quest marker that’s near the Glowing Sea appear on your map.

Starting the Best of Three quest

After reaching the quest marker’s destination, you’ll find a dead Gunner slumped up against a tree. Loot the Gunner’s body to pick up the Gunner Holotape, which you can play to learn more about what happened to them. To quickly sum it up, the Gunner was part of a team that learned how to infiltrate an encrypted part of the Pip-Boys, giving them the locations of different vaults in the area. This particular Gunner was a prankster who picked on another man named Caroni when they were stationed at Vault 95.

Once you’re done reading the holotape, you learn of new coordinates from another distress signal further into the Glowing Sea. These new coordinates come from another dead Gunner who’s lying dead on the ground floor of a church. The church is overrun with ghouls, but after defeating them, you can make your way over to the dead Gunner. When you hover over the body, you’ll see a new option appear next to “Take” and “Transfer,” which is “Download Pip-Boy Data.” Press the button next to that option to read what’s on the Gunner’s Pip-Boy.

Looting a dead Gunner

Read what’s on the Pip-Boy, and then go to the next quest marker on your map. You’ll be taken to Relay Tower 0DB-621, where you can download more data off the body of a dead Gunner.

Reading the only accessible entry on the Pip-Boy reveals the Gunners were trying to acquire a pre-war weapon called the Tesla Cannon. Eventually, they could find it, but a war broke out over who would get to wield it. This soon led to many of the Gunners being killed by the creatures of the Glowing Sea. However, a few men survived, one of whom was Caroni.

The holotape also lets you access a new radio station called the “Gunner Signal Remnant.” Tune into the station and move in the direction the signal takes you by following the beeps and percentages in the top-left corner. You’re trying to reach 100% on the signal. To make things easier, you want to head west, where you’ll run into a Deathclaw and find the remnants of a plane crash. Inside the plane is another dead body, which is where the signal leads. You learn Caroni killed his squad using the Tesla Cannon, and now you need to finish the job.

Defeating Caroni in the Glowing Sea

After reading the data, Caroni appears out of nowhere, wielding the Tesla Cannon. Defeat him and loot the Tesla Cannon off his body. This completes the Best of Three quest in Fallout 4.

Going through Echoes of the Past

If you want to obtain the Tesla Cannon more simply, follow the questline in Echoes of the Past. Eventually, you’ll enter the Glowing Sea and find an office building the Enclave has set up as a base. When you arrive, a soldier wearing Power Armor on the roof starts shooting at you with a Tesla Cannon.

All you have to do is defeat this soldier and loot the Tesla Cannon wherever it falls. In my case, the Tesla Cannon fell to the ground before me, so I didn’t have to move much, but you might have to go to the roof to get the weapon.

Picking up the Tesla Cannon

This is a much easier way to get the Tesla Cannon, but you miss out on the Best of Three quest if you only take this route. Either way, you now have a Tesla Cannon to use in Fallout 4.

Capcom Is Delisting Three Of Its Most Underrated Games–And It’s Unclear Why

Capcom is delisting some of its most underrated games soon, namely ones from the Dark Void series.

According to Steam, the games Dark Void, Dark Void Zero, and Flock will be removed from the storefront on May 8. The reasoning behind the delisting is currently unclear, as well as if the removal will also extend to PSN Store and Xbox Live Marketplace.

Dark Void was released in 2010 for PC, PS3, and Xbox 360. The story is set before World War II and follows a cargo pilot named William Augustus Grey. As he is traveling through the Bermuda Triangle, he gets transported to another world called the Void. He joins a group called the Survivors as they battle an alien race called the Watchers, all the while trying to find a way back home.

Dark Void Zero was released in 2010 as well for PC, DSIWare, and iOS. It’s a parody game of Dark Void that started as a joke inside Capcom, but was eventually made into a real title. Flock is a puzzle game that was released in 2009 for PC, PS3 and Xbox Live Arcade.

Capcom also delisted Age of Booty, a pirate strategy game, last month from the Xbox Live Marketplace, as well as several older Devil May Cry games on Steam back in February.

Eiyuden Chronicle: Hundred Heroes Review – One In A Hundred

In the years since the explosion of game crowdfunding, a stigma has emerged surrounding these titles. Yes, there have been plenty of games that enjoyed great success after their crowdfunding campaigns, but more people remember the high-profile flops: games with big names and ambitious promises attached that, for a variety of reasons, betrayed the high hopes fans held for them. Many of these were revivals–spiritual or otherwise–of beloved series from ages past. Now we have Eiyuden Chronicle: Hundred Heroes, a crowdfunded game designed to carry the torch of the much-beloved Suikoden series from the PS1 and PS2–and, with such a high pedigree attached, there’s understandable trepidation: Will this be a glorious return to form, or another disappointment? Fortunately, for us (and all of the backers), it turned out wonderfully.

Gallery

Eiyuden Chronicle begins when a young man named Nowa joins the Eltisweiss Watch, a small militia unit under the command of Countess Perielle of the League of Nations. On a joint mission with a military team from the Galdean Empire, the Watch discovers a powerful, ancient artifact, the Primal Lens, earning everyone involved instant renown. However, it’s not long before squabbling between the Empire and League over the device, along with internal power struggles in the Empire, erupts into an invasion of Eltisweiss and a full-blown war. As the scope of the conflict expands, so does the story: Nowa rebuilds a resistance army in an abandoned castle, Imperial military prodigy Seign struggles with his feelings of obligation, friendship, and loyalty, and a young warrior woman named Marisa finds her clan caught in the middle.

The story doesn’t shy away from its similarities to games in the Suikoden series. In several ways, it outright embraces them: a story that branches into multiple viewpoints, loyalties among friends being tested during war, internal political intrigue, powerful magic runes being a crucial plot device, and, most obviously, the conceit of building a huge band of warriors to take on an even bigger enemy. The story was helmed by Suikoden creator and writer Yoshitaka Murayama (who sadly passed away shortly before the game’s release), and it brims with the warmth, wit, and plot twists that made the early Suikoden titles so engaging and memorable.

Throughout the game, you’ll be on the lookout for more characters to bolster the ranks of the Watch and, eventually, help build a base for the Resistance army. Some characters are easy to find and recruit, but others will require some searching or additional effort: You may have to go back to a town or dungeon from much earlier in the game, locate a rare item, play a minigame, or fend off a vicious foe to get someone to join the crew. Searching for heroes is a lot of fun (and much easier once you get the fast-travel ability), and the reward of seeing your base grow and improve with the efforts of your new comrades is immensely satisfying.

But the characters themselves are often their own reward. Despite having such a large cast, Eiyuden Chronicle manages to give each character their own unique voice and personality. They don’t just fall into the background once their recruitment arc is over, either; they’ll comment on current story events while they’re in your party, chatter as you explore towns, and interact with other characters at the base and elsewhere on your travels. Sometimes they’ll show up to add extra flair when you least expect it, like when they get dragged into judging a cooking competition.

Aside from giving you a good amount of freedom to search for friends when you feel like it, Eiyuden Chronicle’s story progression is similar to the typical JRPG: mostly linear with major setpieces and battles to highlight key story points. You’ll go through the usual dungeons, deserts, tundras, forests, and mines, sometimes needing to solve puzzles to progress. While most of the puzzles are pretty simple, they can sometimes be more obnoxious than intended due to random enemy encounters interrupting things at the worst possible times. Still, the dungeon design is solid and exploration is generally rewarding.

Despite having such a large cast, Eiyuden Chronicle manages to give each character their own unique voice and personality

Combat is also heavily based on the Suikoden games: turn-based, with up to six active party members at a time, plus a seventh support member who can grant passive benefits like stat boosts or money gain. Characters can have both skills based on SP (which regenerates over time) and MP (which needs items to restore), and each be changed based on the runes that character has equipped. Placement is key: Some attacks and skills won’t reach far beyond the front row, while some less-armored characters work better in the back–and there are also skills that target entire rows. One distinct combat element carried over from Suikoden is multi-character team attacks that require two or more characters with some sort of connection to be in the party together, who can then perform a tandem specialty attack.

Not every character in your army is available to fight, but you’re still given a very wide selection of party members to pick from to fight the way you prefer. You’re probably not going to use every single character you recruit in combat, and that’s fine–seeing who you click with and building them up generally works well. And if you do need to bring a character you’ve been neglecting up to snuff, a graduated XP system works to get them to parity with your high-level warriors quickly. A bit of auto-battling and they should be set.

Boss battles are where things get interesting. Many boss fights in the game come with some sort of interactable gimmick that changes the way you approach the battle. These can be objects to hide behind to avoid damage, background objects that cause damage to either you or the opponent based on who gets to it first, or even a treasure lying just beyond a row of foes. Sometimes these gimmicks are really fun and clever, like a boss who gets knocked off-balance when one of the lackeys hoisting them on their backs is felled, leaving it defenseless. Sometimes it’s miserable, like needing to guess which side of the arena the enemy will appear on to hit a book and deal extra damage, missing entirely if you guess wrong. When the gimmicks are good, they make for very fun fights, but when they’re not, you’ll be longing for more straightforward combat. And sometimes the boss is simply a big difficulty spike in general, leaving you in a very bad situation if you come in ill-prepared.

Gallery

By far the worst combat experience, however, are the large-scale army battles. These play out like a turn-based strategy game, with your party members commanding armies and moving around a grid, but lack any of the fun and excitement you’ll find in a dedicated strategy-RPG. You spend most of the time just watching things happen, feeling like you have very little control over the proceedings as the armies you moved around, slowly engage the enemy. You’re left hoping they’ll do more damage than the opposition so you can go back to the fun parts of the game instead.

Overall, Eiyuden Chronicle hits the retro-RPG sweet spot nicely. It’s focused on delivering that warm, comforting feeling of a classic JRPG, and even all of the side distractions–the card minigame, the weird Pokemon/Beyblade hybrid top minigame, the raising/racing sim, even commodities trading–don’t distract too much from the game’s prime mission. Add some gorgeously painted and animated spritework and a stellar soundtrack into the mix, and you’ve got a delightful experience that sometimes falters, though not enough to make you put it down. Eiyuden Chronicle: Hundred Heroes might not be revolutionary, but it successfully delivered on its core promise–and that’s really all it needed to do.

Manor Lords’ Price On PC And Xbox Hasn’t Been Revealed, And Here’s Why

Manor Lords, a highly anticipated medieval strategy game, releases on April 26, but developer Hooded Horse still has not announced the game’s price point. Why is that? Tim Bender, the CEO of publisher Hooded Horse, provided an answer in a post on Reddit recently (via Kotaku).

Bender said Manor Lords, like other Steam games before it, will have regional price points as part of the game’s worldwide distribution. Because of this, Hooded Horse shied away from revealing the game’s price prior to launch.

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Now Playing: Manor Lords – Release Date Announcement Trailer

“Sharing the US price alone will lead to misunderstandings. People will be concluding the game is unaffordable in their region when at launch they will have pricing that will work for them,” Bender said. “And whatever disclaimers we’d attach would probably be dropped when it is repeated elsewhere causing a bunch of people to lose hope and feel the game won’t be affordable in their country.”

Bender also mentioned that keeping the price point a mystery for now could help alleviate issues with “gray market/scam stores” that attempt to sell preorder keys.

“They don’t have any keys, and they aren’t going to be getting any from us. But they are attempting to capitalize on the hype, and, despite our stance that we are NOT doing preorders because we don’t want to take your money until after release, they are claiming to take preorders for key sales,” Bender said. “They have no idea what the price will be, so they are taking their wild guesses and probably figuring they can get a key through some questionable means later (or just leave the customer not getting what they paid for if not perhaps).”

Bender said Hooded Horse is looking out for players and trying to help them avoid getting scammed.

But what will Manor Lords actually be priced at? Bender said no one needs to worry about a steep price. “As a publisher, Hooded Horse has never done AAA pricing on a game. We have no current plans to do so, no matter how popular a game is,” Bender said. “We’re not trying to squeeze every last dollar out of people, we won’t be putting up five editions with a spreadsheet needed to understand them or locking up content into Day 1 DLC or any of that crap. There’s going to be a fair price there at launch with a fair discount.”

The discount Bender is referring to pertains to how Manor Lords will launch in Early Access, and customers can expect the price to be about 10%-25% lower over the first couple weeks.

All will be revealed on April 26 when Manor Lords releases on Steam, Xbox One, and Xbox Series X|S. On console, the game will launch in Game Preview, which is similar to Early Access. Game Pass subscribers can play the game at no extra cost when it launches.

Level 5’s New Mech RPG Combat Game Could Scratch Your Gundam Itch

Developer Level 5 has just dropped its new mech RPG game, Megaton Musashi W: Wired. It’s available for PC, PlayStation 4, PlayStation 5, and Nintendo Switch.

The game was first released in Japan for consoles in November 2021 and has now made its way internationally. It was originally scheduled for a 2023 release but was pushed back, and preorders began earlier this month on April 11.

The story follows a young man named Yamato Ichidaiji in the year 2118. Alien forces called the Draktor have wiped out almost all of humanity and it’s up to him and his fellow pilots in giant robots, called Rogues, to reclaim Earth.

Megaton Musashi W: Wired is one of several projects that Level 5 currently has in development. Inazuma Eleven: Victory, Fantasy Life i: The Girl Who Steals Time, and Decapolice are all slated to be released this year. Only Fantasy Life i currently has a set release date, which is set for October.

Level 5’s Vision 2024: To the World’s Children games showcase was supposed to air this month, but it was postponed to sometime in the summer. The company did not reveal any reasons for delay.