Video Games News

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

April 17, 2024

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.

WoW’s New Expansion Destroys Everyone’s Favorite Floating City, And Maybe Kills A Major Character Too

April 17, 2024

World of Warcraft’s upcoming The War Within expansion is raising the stakes, as its opening moments sees one of the game’s most beloved cities destroyed and one of its most prominent characters presumably killed.

Spoilers below for the opening of The War Within!

You need a javascript enabled browser to watch videos.

Click To Unmute

Please use a html5 video capable browser to watch videos.

This video has an invalid file format.

Sorry, but you can’t access this content!

Please enter your date of birth to view this video

By clicking ‘enter’, you agree to GameSpot’s

Terms of Use and
Privacy Policy

Now Playing: World of Warcraft – The War Within Expansion Announcement Cinematic

As is made clear in a recent hands-on preview with an alpha version of The War Within, the floating city of Dalaran, home of the mages of the Kirin Tor, has taken a beating. Players wake up on the shores of the new Isle of Dorn zone, buried beneath the rubble of the fan-favorite city that served as a player hub for the game’s popular Wrath of the Lich King and Legion expansions. After battling through groups of the spider-like Nerubians and rescuing survivors scattered throughout Dalaran’s ruins, players meet up with Warcraft heroes Thrall and Jaina Proudmoore, who reflect on their losses.

What, exactly, transpired is a little unclear, as the actual scenario that leads players to the shores of the Isle of Dorn isn’t playable in the alpha–nor are any of the cutscenes depicting the battle for Dalaran or its aftermath. But using some context clues and the descriptive text that currently occupies the space where the game’s cutscenes would be, we get an idea of what went down.

The Nerubians, led by the villain Xal’atath, are presumably to blame for Dalaran’s destruction, though the exact sequence of events isn’t revealed. Last players saw, Dalaran was above the Broken Isles, and must have moved closer to the Isle of Dorn as part of an operation to stop Xal’atath. As Thrall and Jaina take a moment to mourn the loss of their joint strike force, they take an additional “moment for Khadgar.” The archmage isn’t seen anywhere in the alpha or mentioned further, and seems to be presumed dead by Thrall and Jaina.

A cutscene placeholder sees Thrall and Jaina mourning the loss of their task force, and their friend Khadgar.

Whether Khadgar is truly dead or simply missing-in-action for the time being remains to be seen, but his absence, and Dalaran’s destruction, do present a major shake-up for Blizzard’s MMO. Khadgar has long served as an important character and guardian of Azeroth, one who frequently guides and teams up with players to take on the game’s latest threat. The fact that both he and Dalaran appear to have been wiped out in the new expansion’s opening moments does help to establish just how big of a threat Xal’atath and the Nerubians pose.

Dalaran is just the latest Azerothian city to be laid to waste in recent years. The game’s Battle for Azeroth expansion in 2018 saw the Horde burn down the Night Elf capital of Darnassus, after which then-Horde Warchief Sylvanas preemptively destroyed the Forsaken capital of the Undercity with a deadly plague, rendering it uninhabitable, rather than let it fall into Alliance hands.

The War Within’s public alpha launches later this week. A special The War Within Collector’s edition–one that also celebrates WoW’s 20th anniversary–is currently available for preorder.

Game Reviews

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.

You need a javascript enabled browser to watch videos.

Click To Unmute

Please use a html5 video capable browser to watch videos.

This video has an invalid file format.

Sorry, but you can’t access this content!

Please enter your date of birth to view this video

By clicking ‘enter’, you agree to GameSpot’s

Terms of Use and
Privacy Policy

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.

April 22, 2024

Harold Halibut Review – Lost In Its Own Deep Sea

Harold Halibut puts you in the shoes of a lowly maintenance worker aboard a spaceship submerged underwater. To the residents aboard the ship, Harold is a rather charming, lovable, even dopey fellow who is endearing for his simplicity and his complacency in doing his job. Harold is tasked with removing graffiti, cleaning, and fixing machines, and when the work is done, his day ends, he goes to sleep, he wakes up–rinse, repeat. That’s the surface of Harold, but tucked out of sight from people’s view, is a character who is deceivingly introspective, often documenting his life through scribbled images in a notepad, or expressing himself through playful theatrics when he’s alone, like singing and performing operatically while mopping up a filter system. This is a side of the character only we, the player, get to see. As a character, Harold is complex, even if he doesn’t entirely understand how. He attempts to question and explore his curiosity and his own existence within the confines of a spaceship he was born and raised on, but he’s not always capable of understanding exactly what he’s looking for.

Harold Halibut

Harold Halibut, the game, is much like its titular character: It’s charming and lovable on the surface for its unique handmade aesthetic and charmingly simple gameplay. But just beneath that uncomplicated layer is a story that attempts to ask questions about introspection and self-worth, even if the game doesn’t always feel equipped to answer them or understand its strongest suits.

Harold Halibut does an incredible job in exploring its many themes and concepts by putting a magnifying glass on its setting. The FEDORA is a spaceship that was designed to leave Earth during the Cold War and set forth on a 200-year journey to seek a new planet to live on, but the new world it found was devoid of any landmass. With nowhere to go, the FEDORA crashes onto the planet, plunging its occupants into the watery depths, which they’ve learned to colonize. Meanwhile, Harold’s mentor and resident scientist, Mareaux, attempts to find a power source to launch the ship back into space to find a more suitable planet to live on.

In the meantime, as Harold, you interweave through the lives of the FEDORA’s inhabitants, the ship’s politics, and its inner workings. It’s a monotonous process that involves checking off Harold’s tasks on his PDA-like device, as you move through his day-to-day life in the quirky retro-future spaceship. But Harold’s life takes an abrupt turn after discovering a humanoid fish-like being has boarded the ship, creating a whole new perspective on the planet they’ve, in fact, been sharing all these years. It’s in this moment that Harold’s seemingly monotonous life is turned on its head, inspiring curiosity in what lies beyond the only world he’s ever known.

Harold Halibut

Harold Halibut is striking in its visuals because it’s entirely handmade. Characters, articles of clothing, pieces of furniture, teapots, mugs, floorboards, and everything else was handmade in our real world and digitally scanned into the 3D game. Its visuals instantly distinguish Harold Halibut as one of the most visually interesting games of the year. But while it’s easy to get swept up in the awe of its look, the strongest characteristic of the game is the world itself and the characters within it.

Harold Halibut is entirely focused on exploration, conversational choices, and the occasional challenge-free minigame. At its core, Harold Halibut is focused on the world and the characters that inhabit it, which, story aside, is where the game is at its best. While you may play as Harold, it’s the characters you interact with who give the game a sense of intimacy and, over time, a feeling of density that shows there’s actually a lot going on–these are the game’s biggest achievement.

Across my 18 hours, I met nearly two dozen characters, each with their own story to unpack, and I loved all of them. More than the discovery of an alien species, or the urgency to find a power source for the ship, my biggest motivation was to get to know each and every person aboard the FEDORA. Whether it was the comical musings of the sports store owner Slippie, or the by-the-book Major who enforces the ship’s laws, each character is multifaceted, with deep personalities to learn, explore, and oftentimes see challenged.

While most of the time spent with these characters is completely optional, the game’s most important and consequential moments, both hilarious and heart-wrenching, start and end with the citizens of FEDORA. The conversations can feel inconsequential in the grand scheme of the game’s plot, but are invaluable to making this handmade world feel alive and lived in.

With the abundance of characters also comes a desperate need to keep track of them. Early in my time with the game, before I had become well acquainted with the cast of characters, I was often confused with who was who and where they were located. The game’s lack of waypoints was to its benefit, however, as this kept me engaged in using the ship’s signs to navigate its many sectors, but also better learn and remember these characters, as I would with people in real life. However, those early stages also created unnecessary friction by causing me to bumble around and waste time. This could have been alleviated with the addition of an in-game glossary to remind me who is who that could have existed in Harold’s PDA.

Harold Halibut

Each character is as distinct in their looks as they are their views on life–even with the shared perspective of living in the confines of a small colony underwater. It’s their stories that gives the FEDORA believability and lends the game a prevailing heart and soul that overshadows all of the game’s other plotlines. But its achievement of creating a rich cast of characters also gives rise to struggles in properly exploring them under the weight of its other story ambitions.

Aside from the thoughts and feelings of its very broad cast of characters is an abundance of ideas and narratives driving the main plot. These range from unpacking a corporation’s ulterior motives, to a secret society lurking in the shadows, to the urgency to locate a power source for the FEDORA. And while they are no doubt necessary to tell an overarching story, they feel like ideas that are too big for the dollhouse-sized nature of Harold Halibut.

As Harold’s world aboard a spaceship begins to collide with the alien world he’s been living on, he makes friends with the planet’s inhabitants, which are known as the Flumuylum. The fish-like humanoids’ philosophies are a complete contrast to that of humans, though also pretty much what you’d imagine what it would be like if fish were humans: a species that simply floats along through life, existing and observing, giving little to no meaning to anything. This mentality crashes head-on with Harold’s everyday existence: a life that boils down to routinely taking orders and doing what other people expect of him, often in service of the ship’s corporation-based ethos and in adherence to arbitrary rules like having a curfew or paying for its water tube transportation system. The duality between Harold’s and the Flumuylum’s lives are juxtaposed for several hours in the game, until Harold is forced into a crash course in existentialism towards the latter half of the game, causing him to question whether or not he was ever in control of his own life. The scene was a tonal whiplash as the game made a hard turn to answer questions that it had only just begun to ask, and in doing so, felt more clunky than enlightening.

Harold’s abrupt journey of introspection is sandwiched on top of and between the stories and ideologies of other characters, as well as the game’s overarching plots and conspiracies. No one idea or theme felt like it had the breathing room it needed or deserved, which means they can feel more like fleeting concerns instead of food for thought. For example, one scene hints at themes of the industrialization, pollution, and consumption of animal products by the human race, only to never refer to it again, or even set up a satisfying throughline for its purpose in the first place.

In trying to weave its characters, story, and themes together, I found its focus to become muddled. With such an emphasis on all its characters, and by making them an integral part of the game’s core experience, Harold ends up being the only character that has a substantial narrative arc–he sees his world through the lens of a mere errand boy but has his world turned upside down, creating a perspective that gives his life more meaning by the end. But in spending the time to do this, the game, in turn, leaves many threads for the other characters I had grown attached to feeling unfulfilled. By the time the climatic end unfolds, I was less interested in the conspiracies behind the events that transpired and more focused on the growth of the characters.

Harold Halibut is at its strongest when intimately exploring its characters, their inner workings, and their relationships with one another. But in attempting to build towards a dramatic conclusion, many of the hours spent fostering relationships with the characters took a backseat to plotlines that were less interesting.

To quote one of the game’s own characters, Buddy the mailman, “each person aboard this ship is a world their own.” In a story about a man trapped on a ship, who is trying to understand himself better, their lives and perspectives should be the most important stories to tell for Harold’s journey. Harold Halibut’s world and the people that inhabit it were literally crafted by people that cared about him and his story. And while that story struggles under the weight of its ambitions, the human touches on every part of it are evident. Those are the heart and soul of the game, and they imprinted on me too.

April 16, 2024

Children Of The Sun Review – One Shot

It only takes a single bullet to burn down an empire. That’s the ethos behind Children of the Sun, an excellent supernatural puzzle-shooter from solo developer René Rother and publisher Devolver Digital. Like many of the games in Devolver’s vast library, Children of the Sun is wonderfully stylish, violent, and built on a unique gameplay hook; think Sniper Elite mixed with Superhot and you’re on the right track without quite telling the whole story.

You play as a protagonist known simply as The Girl, a one-woman wrecking crew waging a vengeful war against the eponymous cult that ruined her life. As one cultist after another is turned to mincemeat behind the vindictive crosshairs of your sniper rifle, you gradually make your way up the food chain until coming face-to-scope with your true target: The Leader. While embarking on this blood-soaked killing spree, hand-drawn flashbacks reveal tidbits about the atrocities committed by this mysterious cult and The Girl’s reasons for seeking revenge.

You need a javascript enabled browser to watch videos.

Click To Unmute

Please use a html5 video capable browser to watch videos.

This video has an invalid file format.

Sorry, but you can’t access this content!

Please enter your date of birth to view this video

By clicking ‘enter’, you agree to GameSpot’s

Terms of Use and
Privacy Policy

Now Playing: Children Of The Sun GameSpot Video Review

There’s no dialogue during these cutscenes; instead, the narrative is intentionally minimalist, bombarding you with unnerving memories that are both terse and chaotic. This scattershot approach makes it difficult to glean all of the available information–perhaps deliberately so–which means you might feel lost and slightly detached from the story at times. It’s all complemented by a discordant soundscape of ambient white noise that matches the game’s striking art style–composed of deep purples and vivid yellows–and gritty, surreal tone. The game’s arresting aesthetic paints a picture of a brutal world of saturated filth, where cultists defile seedy motels, gloomy forests, and derelict apartment buildings, spreading their deceitful disease like plague-infested rats.

For as evocative as Children of the Sun’s story, visuals, and music are, it’s the innovative gameplay where it truly shines. At the beginning of each level, you’re able to move The Girl either left or right on a predetermined path. Sometimes, you can navigate around a level in a full 360-degree circle, while other times, you may only be able to move a few yards before being impeded by a fallen tree or steep riverbank. From here, you can get a lay of the land, mark enemies, and determine the best position to fire from. Once you’ve aimed down the scope and pulled the trigger, the camera snaps to the crown of the bullet as it hurtles through the air. Blood spatter and disintegrated flesh usually follow, but the catch is that this is the only shot you’ll fire for the duration of the level.

The Girl’s backstory pulls from a classic fiction trope where a young girl discovers she has latent supernatural powers once she reaches puberty. Each time a bullet is propelled through a cultist’s skull, time slows down to a crawl, and The Girl’s psychic abilities let you take control of the round and re-aim, allowing a single bullet to cleave through an entire enemy compound in one fell swoop.

Initially, you can only move the bullet in a straight line from one enemy to the next, ping-ponging between them like a murderous pinball machine, and this makes your first shot the most crucial. From that initial point of impact, you need to chart a course through every other enemy until none are left alive. This is easier said than done, of course. While some enemies remain stationary, others are walking around, circling the entire map in a car, and sitting out of view of your initial vantage point. Considering all of this, you might have to finish a level by ensuring that the penultimate kill provides a clear sightline of the final cultist, who was hidden until now. There are wrong ways to do this, but there isn’t a definitive right way, so experimentation is incentivized and rewarded.

Children of the Sun is wonderfully stylish, violent, and built on a unique gameplay hook; think Sniper Elite mixed with Superhot and you’re on the right track without quite telling the whole story

As you progress through the story and more enemy types are introduced, you’re given additional powers to counteract the likes of shielded and armored cultists and the increasingly elaborate environments they’re inhabiting. The first of these powers lets you take direct control and gently curve bullets like James McAvoy in the 2008 film Wanted. This is useful for firing over walls and bending the shot so it lurches downwards and hits the cultist on the other side, or simply tweaking the bullet’s trajectory to guarantee it lands on-target.

Another ability reveals enemy weak points, which, when destroyed in a hail of slow-motion blood, grant you the power to redirect the bullet in mid-flight. Using this, you can fire past a shield-wielding enemy and then spin the bullet around to nail them in the back of the head, entirely negating their bullet-proof protection. Other times, you might use this technique to escape a building and re-enter it elsewhere or fire into the sky to provide a better view of the area and uncover a previously elusive enemy.

Armored cultists, meanwhile, provide an altogether different challenge. The only way to penetrate their thick armor is by using a power shot–achieved by holding down the trigger for the duration of the bullet’s flight. These shots necessitate a large enough distance between targets to build up the requisite velocity needed to blow through armor, so figuring out how to remove these enemies is a unique problem. Doing so is always a thrill, though, as you get the gratification of seeing the bullet reach supersonic speeds before blasting through the cultist’s now-useless defense.

Finding a solution to each level’s grisly puzzle is immensely satisfying, especially when trial and error is abundant. Your first few attempts might revolve around tentatively exploring to find where all of the cultists are located and then figuring out the best way to carve through each one. You can sometimes use the environment to your advantage, too, shooting vehicles’ fuel caps and gas canisters to eliminate multiple enemies in one vehement explosion. You could blow up a car just to attain a better angle or snipe a pigeon flying overhead to gain a bird’s eye view of the area. I wish there were more opportunities for environmental kills besides destroying vehicles and explosive barrels, but restricting how you can interact with the world around you adds to the challenge and sense of achievement when you emerge victorious.

Gallery

At around three hours in length, Children of the Sun is a relatively brief experience. Usually, this would be a blessing in disguise for a game that doesn’t diversify from its core conceit too often, yet I still found myself desperate for more. Fortunately, replayability is rife, as the game’s scoring system encourages you to go back and replay previous levels to achieve a better rating. Headshots are scored differently from leg wounds, just as you earn more points for better timing and efficiency, while leaderboards create a sense of competition. Completing a level also reveals an excellent snapshot of the flight path of your bullet, which the game makes easy to share on social media for some extra fulfillment.

Children of the Sun’s unconventional approach to sniping is consistently thrilling and wholly satisfying. It might be full of gruesome blood spatter and cracked skulls, but it’s also the thinking person’s shooter–more of a delightfully macabre puzzle game than anything else. It’s admittedly short, and the game’s longevity will largely depend on how hard you fall for its inventive and bloody puzzles. That shouldn’t be a problem when it’s so difficult not to. And even if it’s relatively one-note, Children of the Sun plays that note with such morbid aplomb that it’s easy to recommend.

April 9, 2024

Star Wars: Battlefront Classic Collection Review – Fire Away

I spent many a weekend afternoon playing the first two Battlefront games back in 2004 and 2005, my friends and I sinking hundreds of hours into our repeated efforts to conquer the galaxy, recreate battles from the Star Wars movies, and theorize why the video game version of General Grievous was so much stronger than his movie counterpart. Heck, my hope that we’d one day see a Clone Wars animated series that focused on exploring the clones’ individuality was born from Battlefront 2’s wonderfully narrated 501st Journal. Now that I think about it, much of my love for Star Wars can be traced back to the first two Battlefront games. But that doesn’t change that their dated mechanics and the unbalanced nature of their unrewarding tug-of-war matches don’t hold up two decades later. And Aspyr Media does not address these issues in Star Wars: Battlefront Classic Collection, a collected pack of the two games, leaving them feeling like relics of a bygone era that aren’t worth playing in this shape today.

Pandemic Studios’ Battlefront and Battlefront 2 (not to be confused with EA DICE’s 2015 Battlefront and 2017 Battlefront 2) are both shooters that focus on Star Wars’ Clone Wars and Galactic Civil War periods, seeing you step into the boots of ordinary soldiers who participate in the conflicts. Mechanically, both games play very similarly to one another, though Battlefront 2 adds to the first with space battles, playable heroes (who are notable characters from the Star Wars movies like Yoda and Darth Vader), and a more story-driven campaign that ties into Revenge of the Sith.

The 501st Journal is still great.

Each army features four standard soldier archetypes. You’ve got your assault rifle-wielding standard trooper, long-range sniper user, heavy-hitting rocket launcher demolitionist, and a support soldier who excels at short-range combat and fixing up vehicles. Beyond those four, each army has additional special units–the Republic Clone Army has the jetpack-equipped Jet Trooper, for example, while the CIS has the roly-poly Droideka. Because the main units all handle the same for the most part, you don’t have to learn entirely new mechanics for each class, while the more specialized troopers add a bit of distinct flair to each army. I like it–it makes it easy to pick up both games while also ensuring the gameplay doesn’t grow stale quickly.

The collection includes six maps that were added as post-launch content to both games (one for Battlefront and five for Battlefront 2) as well as two playable heroes in Battlefront 2 who were previously Xbox-only DLC (Kit Fisto and Asajj Ventress). Beyond that, there are some changes to the gameplay, such as to Hero Assault, a Battlefront 2 game mode that sees all the playable Star Wars heroes face off against the villains. In the original Battlefront 2, this mode could only be played on the game’s Tatooine map, but the Battlefront Collection makes the mode available on all ground-based maps. In addition, the collection adds cross-gen multiplayer support (but no cross-play, unfortunately) and increases the number of players per match to 32v32.

It’s those improvements that irk me, as they’re evidence that Aspyr Media did make efforts to change and improve aspects of the original games. And that’s good! Great, even. But this decision throws what wasn’t adjusted into stark contrast and highlights how outdated Battlefront and Battlefront 2’s gameplay is. It locks the Battlefront Collection into this weird space where it’s neither a good remaster nor a completely accurate preservation of the original games.

Both Battlefront and Battlefront 2 really show their age in Classic Collection.

But even without that observation, it’s clear that what was once great gameplay for a console shooter has lost its luster after 20 years. Battlefront 2 fares a tad better than the original game, given how it was able to make improvements to the first Battlefront’s mechanics back in 2005–soldiers can sprint, the details of characters are sharper so it’s easier to discern targets from further away, and maps are larger so firefights are more spread out. Plus, Battlefront 2 just has a more compelling campaign. Even if the story is no longer part of the Star Wars canon, witnessing the rise of the 501st Legion during the Clone Wars and subsequent transformation into Vader’s Fist during the Galactic Civil War is still a compelling viewpoint for the Clone Troopers’ view of the Star Wars movies, strengthened by the chilling narration of actor Temuera Morrison (Attack of the Clones’ Jango Fett, The Book of Boba Fett’s Boba Fett). His monologue of the troopers’ silence as they march into the Jedi Temple to execute Order 66 is still one of my favorite moments from any Star Wars story, and 20 years later, it hasn’t lost its impact.

Even if the story is still interesting to experience, however, the act of playing through it isn’t all that fun. Movements are sluggish and aiming isn’t precise, promoting the use of soldiers armed with automatic weapons over the others. The other classes are serviceable, but the gameplay clearly pushes you away from them, making every firefight feel increasingly the same. There’s no incentive to branch out and master the other classes–victory is achieved by whittling down the other team first, so killing as many people as fast as you can is ideal, and that’s just easier with an assault rifle or minigun than a sniper rifle or pistol.

Battles in the offline campaign and online multiplayer also suffer from imbalance–once one side takes the lead, they almost always win. It’s clear there’s meant to be some sort of tug-of-war element to each match, as each side fights over command posts, but it rarely plays out that way. Your side can only spawn from command posts your side has captured, so once one side has more command posts than the other, it’s easier for that side to pressure the losing side as the number of places where the losing side can spawn shrinks. This creates a slog where it becomes quite clear about halfway through a match which side is going to take the win, and you’re just left playing out the rest of the time to witness a conclusion that you saw coming. Heroes alleviate this a bit in Battlefront 2. If a player does well enough before being killed, they can spawn as their army’s hero for that map, and certain heroes can change the tide in an instant (especially the villains on the CIS and Empire, who are all around stronger than the good guys for the Republic and Rebellion). This would be a great counterbalance to the uneven nature of Battlefront 2 if heroes could be summoned more regularly but, as is, they’re just too tricky to unlock if you’re on the losing end of a battle. It’s hard to do well when the enemy is closing in around you. This issue is even worse in the original Battlefront, which doesn’t have playable heroes.

Why do the bag guys get all the cool powers in Battlefront 2?

The moment-to-moment gameplay of each match isn’t all that fun either. Firearms aren’t very precise, relying on a generous auto-aim feature that feels like it’s rewarding me for pointing my gun roughly in the right direction instead of actually landing a precise shot. When I was a kid, I was always just happy that my friends and I won, but now as I see the “victory” message splash across the screen, all I can wonder is how it happened. I can’t point to what in my performance led to my team winning as opposed to losing, leaving little opportunity to think back and improve. There’s an uncomfortable amount of luck associated with victory–more than I want in a shooter.

The space battles in Battlefront 2 don’t feel much better. It’s telling that the campaign still lets you skip them outright if you want, like an admission that they aren’t very fun (which is true). Though the concept of manning a starship and flying out to meet the enemy, whittling away at their capital ships or flying into their hangar to sabotage their systems from the inside is initially thrilling, it very quickly loses its appeal once you realize all matches play out pretty much the same. There’s next to no variety to Battlefront 2’s different space maps, so your strategy for one tends to work on all of them–you don’t have to adapt, leaving the gameplay feeling stagnant. Plus, the starships in Battlefront 2 don’t handle very well, making it frustratingly tricky to maneuver through dogfights.

The biggest detriment against the Battlefront Classic Collection is that we’ve had more Star Wars games since their release that all improved upon what Battlefront and Battlefront 2 did. EA DICE’s two Battlefront games have sharper shooting mechanics that better reward precision and huge battlefields that prevent one side from quickly surrounding and destroying the other. 2020’s Squadron’s aerial dogfights are huge improvements over Battlefront 2’s space battles, with more responsive controls and greater variety to the maps. Sure, Battlefront Collection brings these elements together, but not in a way that’s strong enough to make this a more compelling experience than what’s already out there.

Star Wars: Battlefront Classic Collection is ultimately just disappointing. It’s unclear whether it wants to be a remaster or a collection that preserves two major games from Star Wars’ history, but in both instances, it fails. This is neither an accurate representation of what Battlefront and Battlefront 2 were, nor does it make enough adjustments to bring two decades-old games into the modern era. The result is a collection that’s not really fun to play, and well worth skipping.

April 2, 2024

Open Roads Review – Quick Trip

I once read in a very profound article published in a very prestigious magazine (okay, it was a TikTok) that “daddy issues” make artists while “mommy issues” make writers. I can’t attest to the science–or lack thereof–behind this statement, but as a writer born into a long line of guarded women who wielded pens as weapons, I can absolutely relate.

As such, I have a particular fondness for mother-daughter stories and the catharsis they can offer. When I heard the team behind Gone Home would be tackling the subject in their upcoming game Open Roads, I braced for a beautiful cross-country journey that would inevitably hit too close to home. However, while Open Roads has moments of relatability that are powered by solid dialogue, charming characters, and nostalgia, I was ultimately left underwhelmed by the walk-and-click exploration game. With a runtime too short to truly pull players in and an abrupt ending that leaves things feeling hastily resolved, Open Roads feels more like a pit stop than an adventure.

That’s not to say the game’s premise isn’t interesting. Open Roads begins shortly after the death of the Devine family matriarch, Helen, and follows her daughter Opal and her granddaughter Tess as they cope with loss and what to do next. Throughout the entirety of the game, we play as Tess, a 16-year-old high school student who is every bit as strong-willed, cheeky, and hopeful as most 16-year-old girls are. On top of her grandmother’s death, Tess is also processing her parents’ recent separation and the loss of her home, as she and her mother lived with Helen but were not given the house upon her death.

While cleaning out her grandmother’s home, Tess and Opal stumble upon a suitcase buried within the attic walls and find what appears to be evidence of Helen’s secret life and a passionate love affair. With a week to go until the house is sold and an empty agenda, the pair set off on a series of short trips to get to the bottom of Helen’s mysterious life.

At each of the game’s handful of locations, you walk around as Tess and interact with objects from different time periods ranging primarily from the late ’60s to the early 2000s–the time the game is set in–that are sure to be familiar to many American millennials. Occasionally you’ll be able to pocket the items to use later, adding a slight puzzle element to what is otherwise a game driven by simple exploration, though these moments are few and far between. Certain items will also prompt you to call for your mom, who will chime in, add context, or mull over your findings with you. All this makes for straight-forward gameplay that can, unfortunately, start to feel a bit dull as the game goes on.

Outside of exploring the game’s dusty abodes and dimly lit motels, Tess spends most of her time riding shotgun in her mom’s late-’90s sedan. There, she’ll have the chance to cycle through mostly static-filled radio stations, chat with her mom, or use her trusty flip phone to text her father or best friend. Yet for a game titled Open Roads, your time spent on the road is extremely brief and only happens a handful of times, which ultimately takes away from the road-trip experience and doesn’t help to break up its repetitive gameplay.

This is a recurring issue, as the game in its entirety is too brief to effectively address everything it sets up or fully establish a deep sense of relatability and emotional connection. This is a shame considering the underlying plot is interesting and the game’s characters are very endearing. Though Kaitlyn Dever and Keri Russell might be known for their live-action careers, the pair bring a lot of personality to Tess and Opal respectively. Even Helen, who has no speaking parts and appears in the game only through grainy photographs, has a lot of personality. In fact, her vivaciousness is a frequent subject of discussion between Tess and Opal, who both exhibit her more free-spirited behavior, albeit in different ways. This is another aspect of the game I really enjoyed, as it’s all too often that mothers are written as protective, worrisome, uptight, and relatively flat–Open Roads avoids falling into that trap.

However, I also think Open Roads pivots a bit too far away from this mother-daughter tension. Sure, Tess and Opal do have their spats and Opal frequently expresses frustration towards some of her late mother’s actions, but for a pair going through grief, divorce, major life transitions, and betrayal, there’s a lack of drama that turns into a lack of evolution and catharsis. Between its overall brevity and hesitation to dig into messiness–humanness, even–Open Roads puts up a bit of a wall between the player and its story. As a result, I found I liked its characters, but I didn’t feel much towards them. While they were relatable enough, I didn’t find myself in them.

Sure, not all mother-daughter relationships are contentious or imitate Lady Bird, but in shying away from the emotional, you lose, well, emotions. For example, even with all the big plot points unraveling around them, the most impactful conversation in the game, to me, was the one Tess and Opal have after Tess accidentally leaves her phone at the hotel and demands they go back. As an adult, you’re able to see the situation rationally: It makes sense to finish up the drive and grab the phone on the way back–it’ll only be a night without it, after all. But Tess’s dialogue options are limited and a bit more intense than usual–she needs her phone. And despite being 30 years old, I still felt that desperation.

It’s clear that Open Roads wants to have meaningful conversations about generational trauma, the oft-dismissed complexity of mothers, and how humans have different ways of showing love, a fact that can lead to pain when misunderstood, and I wanted to have them too. Yet it doesn’t offer the time or vulnerability to dig into these interesting topics. And while some of its story beats are unique, or offer at least a slight variation on ones we’ve perhaps seen before, all of these stories end somewhat abruptly and without much fanfare or introspection.

Where the game does succeed in storytelling, however, is in its environments. Presumably thanks to the studio’s pedigree and history of working on exploration games like Gone Home and Tacoma, you can tell there is an understanding of how to make locations nostalgic without pandering, interesting but not overwhelming, and immersive but not disjointed. Though I’m slowly discovering that a lot of first-person exploration games make me a bit nauseous (definitely a “me” problem here, so I don’t fault Open Roads), I really enjoyed walking around the environments the studio created. There were so many objects and pieces of decor that reminded me of the ones I grew up with, and it was interesting to note how these objects–and the memories attached to them–moved me more deeply than a lot of the game’s conversations.

At every location, there were little reminders–be it newspaper clippings, a Blockbuster copy of Clueless, or a CorningWare-style casserole dish–of the time that had passed. Sure, this sense of place is aided by some of Tess and Opal’s conversations–I particularly loved the one in which Tess admits to her less-computer-inclined mother that her idea of a wild Friday night consists of pizza rolls and The Sims, because same–but a heavy amount of lifting is done by the artistry and detail put into creating these locations.

I also really enjoyed Open Roads’ character art, which feels inspired by the animated films ’90s kids grew up watching. The style stands out against the more realistic-looking environments and works well with the game’s voice acting, though the lack of proper lip-syncing did feel awkward at times. More awkward, however, was the game’s sound, which felt almost incomplete. I had expected to hear songs and sounds that would take me back to 2003, yet they were noticeably absent. While I wasn’t expecting to hear “Stacy’s Mom” or “Hey Ya!” pop on the radio, having multiple radios and TVs that you could interact with that did effectively nothing was a bit of a letdown.

It’s unfortunate that “letdown” and “underwhelmed” are words I’ve used multiple times when talking about Open Roads because there’s still so much about the game that works. The overall narrative touches on some meaningful topics, there’s a fair amount of intrigue, plenty of well-crafted dialogue, some interesting characters, and a lot of heart. Yet most things fall frustratingly short or are cut off far too early, making the whole experience slightly lackluster. Despite being a game about a mother-daughter road trip, the game doesn’t go too far and that relationship is left only slightly altered rather than meaningfully examined and changed.

March 28, 2024

Pepper Grinder Review – Short And Spicy

It only takes a glance to understand Pepper Grinder’s inventive gimmick. A small girl named Pepper–a pirate by trade–wields a drill named Grinder that’s roughly the size of her entire body. The gear allows her to grind through soft surfaces with ease, complete with the ability to launch out of the surface with a leap. That might have been enough to carry the game by itself, but what’s most surprising about Pepper Grinder is its sheer variety. Though it’s short, that brevity helps to make the campaign a no-filler thrill ride that continuously pushes the boundaries of its central mechanic.

It turns out Grinder is a pretty versatile tool, even regarding its most basic function. You can burrow through the ground, which immediately feels natural and smooth. At the same time, you can’t simply turn on a dime with an instant about-face like a typical platformer–you have to handle turns by curving an arc out of your drilling path. Additionally, when you pop out of the surface of the dirt, you won’t gain much distance unless you jump just before breaking through. Those little touches give the core mechanic a sense of finesse, imitating the feeling of a playful dolphin–or at least, a dolphin video game like the classic Ecco.

You need a javascript enabled browser to watch videos.

Click To Unmute

Please use a html5 video capable browser to watch videos.

This video has an invalid file format.

Sorry, but you can’t access this content!

Please enter your date of birth to view this video

By clicking ‘enter’, you agree to GameSpot’s

Terms of Use and
Privacy Policy

Now Playing: Pepper Grinder GameSpot Video Review

Once you get the hang of it, drilling through soil and leaping out of the surface in a perfect arc, only to catch another piece of soft ground in the distance and continue your digging, feels thrilling and acrobatic. The drillable surfaces are nicely differentiated from hard environmental pieces, so you quickly learn to read a level and see the path through it, evoking a feeling similar to performing a great run in Tony Hawk. Collectibles like gems are scattered strategically throughout the stages to both subtly guide your eye along the path, while also sometimes setting traps for your greed.

Aside from being a traversal tool, Grinder is also your primary and often only weapon. It’s not enough to simply run into most enemies with a spinning drill, though–they often have their own specific approach to defeat them, like beetles with a hard upper carapace who need to be stabbed from the underside by burrowing underground. The main enemies, a breed of vicious narwhal-like creatures with horns on their head, are just as capable of hurting you with a head-on collision as you are of hurting them. None of the regular enemies are terribly tough by themselves, but they introduce new ways of approaching stages and obstacles as you need to get around them or through them to continue on your path.

A platformer with a standout hook like this one probably could have coasted on it, but Pepper Grinder doesn’t rest on its laurels. Instead, it consistently introduces new elements to master. These either integrate with your balletic burrowing or provide a change of pace from it. Grabbing a key with your drill will make it turn a lock, and you can use the kinetic energy to power machines. You’ll also shoot from cannons, drill holes into the bottoms of ships to make them take on water, carve through skyscrapers to make them collapse as you traverse through, and even pilot a giant mech. What appears at first to be a simple tool gives way to constant delightful little surprises.

A series of boss battles ramp up the difficulty nicely, taking the skills you’ve learned and putting them to the test. The first is relatively straightforward, as you dodge projectiles by moving through the soil and wait for the opportune moment to attack from the underside, while the second severely limits the amount of soft ground available and challenges you to leap high into the air to do damage. They progress from there, including one tough encounter with another human-like character that has roughly your size and agility. All this leads to a final boss encounter that is one of the most tense and difficult retro platformer bosses I’ve seen in a long time, which felt satisfying to overcome.

And on top of all this, Pepper Grinder carries itself with a cute, pixel-punk personality. Pepper’s diminutive sprite artwork has a charm to it, like how she revs up her trusty drill threateningly when coming face-to-face with a boss, or how she raises her pirate flag to declare victory in an area. The enemies can sometimes be seen doing their own pirate duties before you crash their party. And though story sequences are few and far between, they were just enough to explain what was going on with mimed, dialogue-free action. A short story sequence just before the final boss even made me laugh out loud.

This gentle giant is one of the fantastical creatures in Pepper Grinder.

Gallery

At such a breakneck pace of new ideas, Pepper Grinder doesn’t last very long, which is to its credit. I finished the campaign in roughly four hours, which is a relatively short playtime. Every stage also has a time-trial option, and there are still collectibles and cosmetics to unlock like stickers and hairstyles. The most important collectibles are Skull Coins, a limited resource–five per stage–that can be used to unlock special bonus stages in each of the four worlds. These are used to further explore gameplay concepts that had been introduced in the main stages. The first one, for example, takes the cannon mechanic to its logical conclusion with an entire stage built around ping-ponging from cannon to cannon, which felt pleasanlty reminiscent of Donkey Kong Country’s famous barrel stages.

Perhaps because of its brevity, I enjoyed every minute, and I appreciate the rare instance of a game that doesn’t overstay its welcome. Rather than slog through filler stages to pad its length, Pepper Grinder is bursting with new ideas for exactly as long as it can sustain that momentum. There’s something admirable about approaching its length with that level of confidence. I would have loved to play even more, if it could have sustained that pace, but this felt like a conscious choice to let the best ideas shine.

Pepper Grinder is here for a good time, not for a long time. Every piece, from the core drilling mechanic itself to the various ways it manifests with cannons and mechs and more, feels meticulously engineered to teach you a new concept, wring the fun out of it, and then move on to the next. That sense of propulsion makes every moment fun and engaging. It’s a great little gem of a game which, like its heroine, may be small in size but makes every bit count.

March 28, 2024

Save Big On Eiyuden Chronicle: Hundred Heroes On Launch Day

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

$50-$60

$72-$80

The $80 Eiyuden Chronicle: Hundred Heroes Digital Deluxe edition comes with the base game on your platform of choice and the following bonus content:

Easy Journey Pack (contains six Healing items, two Revive item, and three Evacuation item)
Season Pass (includes three bonus DLC story chapters releasing after launch, plus three downloadable wallpapers and two Headquarters Paint options)
Digital Mini Artbook
Digital Soundtrack

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.

Xbox-Branded Meta Quest VR Headset Is On The Way

While Sony has released two PlayStation VR headsets, Microsoft has stayed out of the wearable tech market when it comes to gaming (though it has the business-focused HoloLens 2). But now, the Xbox brand will appear on an upcoming Meta Quest VR headset.

Spotted by The Verge, Meta revealed the collaboration with Xbox as part of the VR company’s “next step toward our vision for a more open computing platform for the metaverse.” The partnership seems pretty straightforward, with Meta saying it’s developing “a limited-edition Meta Quest, inspired by Xbox.”

This isn’t the first time the two companies have worked together. Last year, Xbox Cloud Gaming arrived on Meta Quest 3, letting you play games like Halo Infinite on the VR headset. On Instagram, Meta Platforms founder and CEO Mark Zuckerberg teased an Xbox edition of Meta Quest that came with an Xbox controller and Xbox Game Pass.

Meanwhile, other companies will apparently go further with their collaborations with Meta. For instance, ASUS is apparently “building an all-new performance gaming headset” with the Meta Horizon OS.

Meta Quest 3 launched last year and starts at $500 for the 128GB version of the headset. As for Microsoft, it does seem to be eyeing new hardware fronts in the future. Last month, Microsoft Gaming CEO Phil Spencer talked about how an Xbox handheld was an intriguing idea.

Nintendo Switch Update Out Now, Here’s What It Does

The latest Nintendo Switch firmware update has arrived, but don’t expect anything too substantial in terms of improvements or new features.

This newest update, which brings the system up to version 18.0.1, fixes an issue pertaining to wireless access points. Specifically, these wireless access points could sometimes fail to be recognized when setting up a new wireless network, but that should be fixed now.

You need a javascript enabled browser to watch videos.

Click To Unmute

Please use a html5 video capable browser to watch videos.

This video has an invalid file format.

Sorry, but you can’t access this content!

Please enter your date of birth to view this video

By clicking ‘enter’, you agree to GameSpot’s

Terms of Use and
Privacy Policy

Now Playing: Nintendo Switch Online – More Rare Games Trailer

Anyone who cannot update to version 18.0.1 because of this issue should temporarily change their settings of their network to use WPA2 (AES), which will allow them to connect and download the update. After that, you can go back and revert to the earlier settings.

The update also includes “general system stability improvements.”

Social media user OatmealDome usually digs through the files of new updates and discovers unannounced changes or updates to Nintendo’s list of banned words, but this update doesn’t appear to have any. A previous update banned the Japanese word for testicles.

You can see the full patch notes for the Switch firmware update below.

Nintendo fans are looking forward to what’s coming next, and that includes a heavily rumored Switch successor. It remains officially unannounced, but key details have emerged. For more, check out GameSpot’s rundown of everything we know about the Switch 2.

Ver. 18.0.1 (Released April 22, 2024)

Fixed an issue where some wireless access points cannot be found when setting up a new wireless network.
- If you’re unable to update to Version 18.0.1 because of the issue, temporarily change the security settings for your wireless network to use only “WPA2 (AES)” so you can connect wirelessly to download and install the system update.
- After updating to Version 18.0.1, restore your network’s security settings to its previous settings.
General system stability improvements to enhance the user’s experience.

Take-Two Wins NBA 2K Lawsuit Involving LeBron James’ Tattoos

Take-Two Interactive has won a case regarding its depiction of LeBron James’ tattoos in NBA 2K. While James himself was not involved in the case, his tattoo artist, Jimmy Hayden, was.

Hayden sued Take-Two by alleging that the use of James’ tattoos in NBA 2K violated his rights as he was not compensated despite being the one who inked them onto the basketball star. However, an Ohio federal jury rejected those allegations. Since Take-Two had an agreement to use James’ likeness in the game, the studio also had an implied license to also depict those tattoos onto his character.

As a result, the jury determined that Hayden’s rights were not violated. Take-Two’s attorney, Dale Cendali of law firm Kirkland & Ellis, praised the decision. He told Reuters that it was an important decision for the entertainment industry and “anyone who has ever gotten a tattoo and might have otherwise worried about their freedom to share their bodies with their tattoos.”

This isn’t the first time Take-Two was sued for this issue. In past cases, Take-Two both won and lost. In 2020, Take-Two settled another lawsuit involving the NBA 2K series from Solid Oak Sketches. In 2022, Take-Two lost a lawsuit related to WWE 2K and its depiction of pro wrestler Randy Orton’s tattoos. The federal jury in Illinois awarded the tattoo artist $3,750 in damages.

Halo Infinite Is Finally Making A Classic Weapon Useful Again

Halo Infinite will finally restore one of the franchise’s classic weapons to its former glory come its next free update, making it so the Plasma Pistol will once again disable vehicles with a fully-charged shot.

When Halo Infinite’s multiplayer launched in November 2021, players were dismayed to see that the Plasma Pistol’s EMP effect had been stripped away. Instead, developer 343 Industries gave the Plasma Pistol’s original functionality to the game’s new electricity-based weapons, the Disruptor and the Shock Rifle. That left the Plasma Pistol without much utility aside from its normal shield-depleting charge shot, much to the sadness of old-school Halo fans.

It may have taken two and a half years, but the Plasma Pistol will once again be useful come Halo Infinite’s Banished Honor update on April 30.

“I’ve been way too happy for the team to get this implemented,” Halo senior community manager John Junyszek said during the livestream reveal of the new update. “It’s been one of the most common points of feedback since launch around the plasma pistol. We wanted to make sure it was feeling more effective, more loved, and has plenty of utility.”

Aside from the return of the Plasma Pistol’s most potent ability, the Banished Honor update will introduce a new, free 20-tier Operation themed around the Banished, as well as two new Forge palettes for players to build custom maps with. Last but not least, it will introduce a new way to earn cosmetics, called the Exchange, where players can use credits earned from matches to purchase previously released customization items.

Halo Infinite moved away from full seasons at the end of its Flood-themed Season 5, and instead has pivoted to free Operations that last between 4-6 weeks. Those Operations have included new versions of previous events like The Yappening and Cyber Showdown, as well as the introduction new customizable armor cores, like the Mjolnir Mark IV armor worn by the Spartans in Halo Wars.

Embracer CEO Says He Deserves Criticism After Mass Layoffs And Game Cancellations

The video game industry has been beset with layoffs and canceled projects in 2024, and one company in particular, Embracer, has received a wave of criticism for laying off staff, closing studios, and cancelling games after a huge hiring spree and growth period years earlier.

Embracer CEO Lars Wingefors said in a new interview that, as the CEO, he deserves criticism. But he says there is a job to be done, and he’s plodding ahead to try to “always maximize shareholder value in any given situation.”

“It’s been painful,” he told GI.biz. “But I still believe in what we do, I believe in my teams and the vision we set out. I also believe the public markets, if we do it right, are a fantastic place to finance your business and tap into both investors and the debt market.

“But you need to execute well. If you do, it could be a fantastic platform to enable growth and to really have a competitive edge.”

In February this year, Embracer disclosed that it canceled 29 unannounced games and laid off nearly 1,400 people in the previous six months as part of its previously announced restructuring effort.

Embracer made these drastic cuts in part due to a major deal falling through at the 11th hour, which has subsequently been revealed to be a pact with Saudi Arabia’s Savvy Games. Embracer previously took $1 billion from Saudi Arabia and defended that decision when people criticized Saudi Arabia’s position on human rights.

Wingefors said that as the leader of Embracer, he needs to “take the blame” and “be humble” about mistakes made.

“I’m sure I deserve a lot of criticism, but I don’t think my team or companies deserve all the criticism. I could take a lot of that blame myself. But ultimately I need to believe in the mission we set out and that is still valid, and we are now enabling that by doing this [new] structure,” he said.

The new structure Wingefors is referring to is Embracer’s decision to split the company into three divisions in an effort to become more profitable.

Wingefors also touched on why Embracer bought so many studios and staffed up so substantially years ago. The COVID pandemic led to a surge in revenue and potential opportunities for companies, and Wingefors said “everyone” was behind his decision to ramp up so significantly at the time. However, the reality today is “different and it’s painful and we need to adapt to it,” he said.

Some of the most high-profile moves from Embracer included the reported cancellation of a Deus Ex game and the closures of Saints Row studio Volition and TimeSplitters developer Free Radical. Embracer has also cut jobs at subsidiaries like Crystal Dynamics and Beamdog, among others. The company sold Gearbox to Take-Two for $460 million.

The video game industry layoffs are not limited to Embracer and its studios, as Microsoft cut 1,900 positions from its gaming team and League of Legends developer Riot also cut hundreds of positions, representing just a small number of gaming cuts so far in 2024.

For more, check out GameSpot’s deep-dive feature on video game industry layoffs.

2K Launches New NFL Game Today, And It’s Probably Not What You Expect

2K Sports released a new NFL video game today as part of the company’s deal with the NFL that covers non-simulation games. The card battler mobile game NFL 2K Playmakers is out now on iOS and Android as a free game supported by microtransactions and developed by Cat Daddy Games.

NFL 2K Playmakers has players putting together NFL player cards with the aim of making the strongest roster overall, covering offense, defense, and special teams. The game’s two main modes are Red Zone Drive and Seasons. In Red Zone Drive, players have to leverage their football know-how to call plays strategically and hope their players execute. In Seasons mode, players build a team and take them through an entire NFL season, culminating in the Super Bowl if they can make it that far.

NFL 2K Playmakers has real player likenesses, as the game was produced in partnership with the NFL Players Association. Houston Texans QB C.J. Stroud is the cover athlete.

Starting with the upcoming 2024 NFL season, players can make predictions about real-life matchups to obtain points that they can use for a chance to grab in-game rewards. 2K said more details about this will be announced when the new NFL season begins later this year.

2K is also making an arcade-style NFL game, but it has been delayed indefinitely and there continues to be no word on when it might release. In 2023, Insider Gaming reported that development on the game had restarted at least twice since it started development.

2K’s NFL 2K series was once very popular, but the publisher ended the series in 2004. Under its new agreement with the NFL, 2K will make non-simulation NFL games. That’s an important distinction because EA Sports remains the exclusive developer of simulation-style NFL games with its Madden NFL series.

The new NFL games from 2K will have the names, numbers, images, and likenesses of more than 2,000 current NFL players.

With 2K getting back into NFL games, the publisher is extending its sports game catalogue. 2K already makes NBA, WWE, and PGA Tour games. The company is also getting back into the tennis game, and will launch TopSpin 2K25 on April 26.

Ryan Gosling Thinks The Angry Birds Movie Stopped A Nice Guys Sequel From Happening

Although Ryan Gosling didn’t come home with Oscar gold this year, the actor is on the promotional trail for The Fall Guy, opening in theaters this weekend. While there’s still no greenlight for a Barbie sequel–or if one will ever even happen–one sequel fans have been clamoring for has been for The Nice Guys, the 2016 black comedy starring him and Russell Crowe as private eyes in the late 1970s.

While speaking to ComicBook about The Fall Guy, Gosling argued that a sequel to The Nice Guys might not happen, especially after The Angry Birds Movie dominated the box office weekend.

“So much of a sequel, I think, is decided by the opening weekend of a movie, and we opened up against Angry Birds,” Gosling explained. “So Angry Birds just…just destroyed us. Angry Birds got a sequel.” The Nice Guys eventually earned just $62 million off of a $50 million budget. The Angry Birds Movie by comparison would go on to earn over $350 million.

Since the initial release, director Shane Black revealed that had plans to spin off the general concept into a television show, but that it didn’t translate well in that format.

“We tried it as a TV show,” Black shared with Slash Film back in 2022. “We caught the characters, but the plot was totally different. It was set in present day, and no one wanted to buy it. We had to look elsewhere. [It] wouldn’t have been any good [as a TV series]. Tonally, TV tends to homogenize…so if you’ve got something that’s a little odd or twisted, chances are the [network executives are] going to take it and just start…[sanding] off the edges.”

Hades 2 Is Already An Exciting Sequel With Confident Changes

Supergiant Games has never made a sequel. Instead, it’s a studio that has consistently iterated and innovated with each subsequent game, arguably culminating in the team’s greatest work to date: Hades. The engrossing roguelite dazzled with tight and engaging combat, an iconic visual presentation, and novel take on a persistent narrative that interweaves the progression of its story with its repeating gameplay loop. If Supergiant Games were ever going to commit to a sequel, Hades definitely provided the most fertile ground for further development, ensuring that its follow-up has a strong foundation established in a proven hit. Hades II’s technical test is a small slice of the game and a very quick look at how Supergiant plans to build on the success of the first game, but it’s already clear that it is anything but a safe improvement on what has come before.

Hades II stars Melinoe, sister of Hades protagonist Zagreus and the daughter of the titular god. Unlike the first game, in which Zagreus attempted to escape the underworld in search of his human mother, Melinoe is entangled in a war with the titan, Chronos, who is wreaking havoc on both Mount Olympus and the Underworld. With her family missing and her father’s throne usurped, Melinoe has taken refuge at the Crossroads, which has become a safe haven for simple shades displaced by Chronos’ rampage, as well as the few fighters left trying to mount a resistance.

You need a javascript enabled browser to watch videos.

Click To Unmute

Please use a html5 video capable browser to watch videos.

This video has an invalid file format.

Sorry, but you can’t access this content!

Please enter your date of birth to view this video

By clicking ‘enter’, you agree to GameSpot’s

Terms of Use and
Privacy Policy

Now Playing: Hades II – Reveal Trailer

Melinoe controls just like her agile brother, moving around each area with speed and grace, accentuated by a snappy dash that now has a new sprint ability associated with it if you hold the input down, giving you a subtle but important addition to your movement repertoire. You’ll notice a change when glancing over to your health bar, with Melinoe utilizing a new magic resource that becomes a key consideration in the throes combat. Magic is used for new Omega abilities, offensive variations of attacks that are all channeled by holding down one of the three attack buttons you have on offer. Each weapon features standard and special attacks, with the weapon type determining where they are either short or long-range.Melinoe introduces a third spell attack that she has regardless of which weapon you choose. It lets you ensnare enemies in place, while also being open to modification by boons awarded by gods from Olympus. This additional attack alone adds an interesting layer to the frenetic action, offering a persistent attack type that is primarily focused on crowd control that allows even early skirmishes to get delightfully chaotic without becoming overwhelming. Coupled with the variety and complexity that Omega attacks introduce, this gives Hades II a tangible sense of differentiation that both returning and new players will relish to pick apart one run at a time.

With this added variety to combat, the abilities that each of the gods of Olympus lend to you are expanded too. You’ll still get familiar augments such as imbuing your attacks with lightning from Zeus or accentuating them with knockback effects from Poseidon, but there are a bunch of fresh ones too. New gods have also been introduced, such as Apollo, god of light, Hestia, goddess of fire, and Hephaestus, god of the forge. Numerous characters from Hades have yet to be introduced or could potentially be omitted entirely, but some have been recontextualized to fit the new story, such as Artemis now occupying a role similar to that of Thanatos, challenging you to kill the most enemies in a room in exchange for a reward. The new elemental abilities are entertaining to experiment with, especially Hephaestus’ explosive additions to standard and special attacks or Hestia’s burning attribute on boons that deals satisfying damage over time to groups of foes. Balancing these new boons with the alterations to existing ones is a task Supergiant Games will likely be laser-focused on during the early access period, but it’s already satisfying to find effective synergies between boons you’re randomly handed throughout a run.

Now that you have another input for attack, as well as three new ones in the form of Omega abilities, these gifts from the gods can also become far more nuanced. One example of this comes from Demeter, who changes the Omega version of your binding spell so that it follows you while its channels, rather than sticking to the spot where you first cast it. This changes the dynamic of how it’s used from anticipating and trapping enemies for areas of effect damage to a targeted attack that you can precisely aim by moving directly towards a group of enemies. Other changes are subtler; your sprint can have an attack added to it, or your existing short and long-range strikes can be empowered, all at the expense of additional magic being used when these effects are triggered. An overreliance on these can detract from your ability to use Omega attacks as frequently, or rely on your magic meter being topped up to be effective in combat at all. This feeds into the persistent need to balance your run’s build around more variable elements than the original game ever demanded.

Hades II’s technical test is a small slice of the game and a very quick look at how Supergiant plans to build on the success of the first game, but it’s already clear that it is anything but a safe improvement on what has come before

This might have the potential to become too complex to make starting a new run an easy and welcoming decision, but so far in this technical test, everything feels well-balanced. Magic is completely replenished between rooms, meaning you can think about how to maximize your Omega abilities for each individual skirmish without worrying about having enough for the boss waiting at the end of an area. This alone changes some of the thinking around what abilities to take with you room-to-room, forcing you to decide between moves that fully exhaust your bar for quick maximum damage or balancing that with others that can help you replenish this resource for more consistent use of these moves during more drawn-out combat encounters. Larger special abilities, bestowed on you by Selene, goddess of the moon, are also tied directly to how much magic you’ve burnt in a room, only activating once you’ve accrued enough and resetting until you burn as much again. Without abilities that replenish magic, it’s sometimes impossible to even use these moves, but aligning yourself in that direction forces you to forgo other abilities that can influence every one of your attacks. The fact that Hades II is already presenting complex decisions like this and engaging builds this early in its development, with so much more content promised to come, is extremely encouraging for the final package. It’s clear that Supergiant Games understood every element of what made Hades tick and has carefully considered where it can get more mileage.

The Crossroads represents a significant portion of Hades II that feels the most familiar to its predecessor. This is your home between runs where you converse with other characters (Dora’s persistence to practice her haunting voice each time you die is a particular delight) and engage with a variety of upgrades that empower you when you next venture out on your mission. Some new mechanics act as analogues for systems from previous games, such as conjuring upgrades to the Crossroads via a giant, bubbling cauldron or unlocking new weapons using particular resources you find during each run. Character upgrades are slightly different this time, however, with a new Arcana system providing a bit more flexibility on how to set yourself up. You purchase arcana cards, which in turn unlock adjacent cards, with each one offering a specific upgrade. Some can increase your health pool, while others can bestow an extra life for you to use if a run comes to a premature end, for example. Each card has an associated cost, with Melinoe only able to equip a certain total (this number being upgradable over time, too). It’s an interesting change to the system that leans more towards thinking about specific builds to pair with your chosen weapon, and I’m curious to see how it’s further expanded as more content gets added.

Another tweak is the inclusion of tools alongside Melinoe’s weapons, each of which allows you to gather more of a certain resource during runs. The pickaxe allows you to extract more silver from ore veins you might come across, while a spade will let you dig into dirt mounds and claim any treasures below the surface. You can only take one tool out with you at a time, encouraging you to ponder what new item or upgrade you’re pursuing to maximize each one of your runs. With a variety of upgrade systems and ingredient lists to think about, Hades II allows you to pin what ingredients are required for upgrades you want to focus on and helps you identify tools you’ll need to gather these, preventing a wasted run after picking the wrong tool.

Gallery

Given how limited Hades II’s technical test is content-wise, it’s remarkable how much of its tweaked framework is exposed in just its opening moments. The iterative approach to combat, changing the way you tackle enemies as Melinoe ever so slightly while introducing new elements entirely, is a smart way to keep the action feeling familiar but fresh at the same time. Similarly, the small changes to character progression and base management at the Crossroads is smartly constructed to keep you focused on the resources and items you need during your next run, so you can make meaningful progress each time you return home.

There are lots of questions as to how the established base of Hades will enrich the new areas that Supergiant Games plans to add in the near future, and how well the freshly introduced mechanics hold up over much longer, and hopefully complex, runs. But if this is the foundation that Hades II is to build off over, it’s exciting to think where it’s eventually going to end up.tHade