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Publisher: EA SportsDeveloper: EA VancouverRelease: September 27, 2019Rating: EveryoneReviewed on: PlayStation 4Also on: Xbox One, PCIt’s hard to know what FIFA is anymore. Like EA Sports’ Madden or 2K’s NBA 2K, FIFA has been absorbed into the larger sports culture. It’s been adopted by the athletes themselves, and is a symbol for video games in general. FIFA may be everywhere, but where does that leave FIFA 20? The game is not any worse off than it was a year ago, but it also feels anchorless. It has noticeable little improvements in every corner, but it lacks a strong core. FIFA 20 feels like a team without a captain.
Volta, the new small-side football mode (sometimes with sideline walls), is not strong enough to carry the torch for FIFA 20. The optional story (which you may as well call Volta: Hold Square to Skip) isn’t compelling, and the mode’s relatively confined spaces only accentuate some of the weak points in FIFA’s gameplay. Loose ball pickups, ball physics, and poor teammate A.I. can all go wrong; when they do, Volta’s small playing spaces mean the loss of possession can lead to a swift goal against. Similarly, I don’t get fancy with the ball much (apart from passing it off the walls, which is fun) due to the risk involved of coughing it up. In fact, you don’t even get bonus points after a match for stylish play, which makes me even more reluctant.
Click here to watch embedded mediaWhen the gameplay is on a normal-sized pitch, which allows wingers to run free and more team strategies to develop, FIFA 20 feels more at home. Smart passing opens up attacking opportunities. Playing defense, while not as overpowering as last year (in fact, calling over a teammate for help doesn’t do much), feels rewarding. I like to take control, cordon off an opponent’s attack, and clog up passing lanes. One of my favorite things to execute – given the time, skill, and teammate movement – is to pump the ball into the wide channels for the wingers. This puts immediate pressure on the opposing fullbacks, and is something that the A.I., to its credit, does right back at you.
FIFA 20’s gameplay produces satisfying moments, like addressing the ball with small touches to maneuver the ball and keep possession, but it’s hampered by foibles like inconsistent/sometimes-floaty ball physics, bad keeper rebounds, and players comically falling down or feeling like they’re on ice. The latter happens even though the actual jostling command is well executed.
As usual, these kinds of eccentricities are magnified in Ultimate Team mode, when chemistry and other variables are involved. While this mode is the financial powerhouse of the series and EA as a company, Ultimate Team in FIFA 20 isn’t a destination mode. The new season format doles out linear rewards for your activities, but the rewards (coins, cosmetics, the occasional pack, and more) are often shrug-worthy. Unexciting things like balls and team badges are placed on steep ascending tiers that bake more grind into the mode.
Click image thumbnails to view larger version
Ultimate Team’s multiplayer may be hyper-focused on getting the right players, but even the mode’s bad pack odds are preferable to the fact that Volta only gives out cosmetic items (at launch, anyway). Sadly, it’s more exhilarating to try and survive in Ultimate Team’s piranha tank for player cards than it is to play Volta for throwaway cosmetics. Unfortunately, this is where this series is at: Asking fans to put up with less-than-ideal aspects for morsels of fun.
Other modes like Career (player or manager) and Pro Clubs are also stingy, including a few new elements that may solve long-standing problems or address fans’ requests (like being able to practice in Pro Clubs) but which simply cannot disguise that these modes haven’t been fundamentally improved. For instance, the new manager interviews/conversations during career mode are a thin way to address player morale, which is a system that behaves erratically. Some players demand more playing time when they’ve already been in the starting lineup for months. The career-mode A.I. also falters in managing its rosters correctly, keeping the transfer market stocked, and fielding the right lineup alongside you in the player-centric version of career mode.
FIFA may be more popular than ever, but FIFA 20 is a standard bearer with no clear focus. The gameplay comes up just short of carrying the title, and while Ultimate Team is engaging in its own way, it’s the same grind it’s always been. The next-generation of home consoles is approaching, and I can’t tell if EA has run out of ideas or is running out the clock.
Score: 7.5
Summary: Developer EA Vancouver has made changes across the game, but what does it all add up to?
Concept: Add a new small-side mode called Volta, along with other changes throughout the game
Graphics: Player faces look pretty good, but their facial expressions are limited to the stoic end of the emotion spectrum
Sound: The soundtrack is well-suited to the Volta locations around the world
Playability: It’s worth learning the variety of dribbling options due to their usefulness in different situations
Entertainment: FIFA 20’s finer gameplay moments are overshadowed by the series’ overall malaise
Replay: Moderately High
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Publisher: ActivisionDeveloper: Infinity WardRelease: October 25, 2019Platform: PlayStation 4, Xbox One, PC
Infinity Ward has released the first real look at the Call of Duty: Modern Warfare campaign during today's PlayStation State of Play.
The trailer begins with Captain Price speaking with a CIA agent about how chemical weapons have slipped into hands of terrorists in a 20-year civil war. Price acknowledges that they will need help and flies to a location in the Middle East to recruit the assistance of Commander Farah Karim, a leader of the Urzik militia, a freedom fighter group attempting to regain control of the dangerous chemical weapons that are ravaging her people and destroying her country.
While the trailer contained the normal amount of bombastic Call of Duty action scenes, it also contained the gritty warfare Infinity Ward has been highlighting for the last few months such as suicide bombers, brutal physical violence, and a stand off with a civilian who attempts to arm a bomb.
And while the trailer was almost exclusively about the campaign, viewers also got their first look at the Spec-Ops survival mode that will be coming to PlayStation 4 owners before anyone else.
Call of Duty: Modern Warfare releases October 25 on PC, Xbox One and PS4. If you want to know more about the game, be sure to check out how crossplay will work or the Game Informer staff answering any lingering questions about the game.
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Click here to watch embedded mediaPublisher: Sony Interactive EntertainmentDeveloper: Naughty DogRelease: February 21, 2020Rating: Rating PendingPlatform: PlayStation 4
Sony saved some of the best for last at its State of Play livestream, with a new look at the highly anticipated Last of Us Part II. It was only three minutes long, but the clip did a nice job of further cementing the title's grim tone. It ended with a release date, too.
The Last of Us Part II is coming to PlayStation 4 on February 21, 2020. As for what exactly is on the way, the clip leaves plenty to the imagination. It does, however, provide some interesting details. We see a bit more of Dina and Ellie's relationship, which is interrupted by a brutal attack as the pair are on an expedition. In the aftermath, Ellie vows to take revenge against the gang behind the violation.
It ends with Joel catching up with Ellie and telling her he couldn't let her handle it alone. It's still speculation at this point, but it hints that perhaps Ellie will be the playable character the bulk of the time, with Joel taking on an A.I. support role – essentially swapping their positions from the original game.
We'll know more for sure over the next couple of days. Come back then for our impressions on The Last of Us Part II.
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Publisher: Square EnixDeveloper: Square EnixRelease: March 3, 2020Platform: PlayStation 4
Final Fantasy VII Remake was undoubtedly one of the most talked-about titles from the Tokyo Game Show, due in no small part to a cool trailer and live stage presentation that revealed all sorts of new details. Part of that demo included a battle with Abzu, which showcased elements like limit breaks and summons. Today, Square Enix released footage of that sequence, which you can watch right here:
Click here to watch embedded mediaSquare Enix also revealed the box art for Final Fantasy VII Remake (pictured below). It's a throwback to the Final Fantasy VII's classic cover from when the game released on the original PlayStation.
Lastly, you can feast your eyes upon a new batch of gorgeous screenshots, which show off combat, environments, and more.
Click image thumbnails to view larger version
For more on Final Fantasy VII Remake, watch us play through the full E3 demo. The game (which is the first installment of a multi-part retelling of Final Fantasy VII) releases on March 3, 2020 for PlayStation 4.
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Publisher: KonamiDeveloper: KonamiRelease: September 24, 2019Platform: PlayStation 4, Xbox One, Switch
Contra: Rogue Corps is a throwback to an earlier era. No, I’m not talking about the time of the NES, when Contra first burst onto the scene. I’m not talking about the time periods in which the series saw sequels on the Genesis and SNES, either. Rogue Corps is reminiscent of the early part of last-gen – more specifically, the early part of the Xbox 360’s lifespan, which saw a deluge of poorly executed garbage games. I haven’t played through the entirety of Rogue Corps, but I’ve played enough to say that it’s not worth your attention. I’m moving on, and I highly recommend you do the same.
Rogue Corps is a twin-stick shooter, which is a genre I usually adore. Almost immediately after getting my hands on the game, I could tell something was off. Rogue Corps controls horribly, with multiple dead zones when you try to aim your shots with the right stick. Even after turning off the aim assists, I had a hard time precisely lining up targets. When you’re constantly being swarmed by drones (or trying to pick off enemies at a distance) it’s frustrating to see your shots harmlessly whizzing past. Considering that every shot contributes to an overheat gauge, every shot counts.
Rogue Corp positions itself as a cheesy, bombastic fragfest; one of the four playable heroes is a machine-gun-toting panda, so you can immediately tell it doesn’t take itself too seriously. That sense of freewheeling fun is completely absent from the actual gameplay, though its attempts at creating setpiece moments are laughable. In one moment, you’re chased by a giant ball. It moves so slowly that the only real tension was between weaving through parked cars and trying to figure out a better use of my time. As it turned out, the correct answer was “virtually anything at all.”
There’s a kernel of a good idea with weapon upgrades, but it desperately needs to be retuned. Enemies drop weapon parts, which you retrieve at the end of a level. There, you can research new tech or improve the weapons you have equipped by essentially disenchanting the unwanted parts. I didn’t notice any measurable improvements from those upgrades, since stat bonuses are measured to the hundredth decimal place. Getting new weapons can be a boon, but you’re subject to the luck of the draw. Hopefully an enemy drops an interesting component, because buying one in the in-game store is often prohibitively expensive. One interesting laser would have required me to replay a stage several dozen times to get enough gold. Nope! I did find a gauss gun that fired bouncing orbs – perfect for clearing out the myriad kill rooms that make up the bulk of the uninspired levels. That newfound sense of power didn’t salvage the plain fact that I was still using it in levels that were awkwardly structured, uninspired, and flat-out ugly.
I appreciate the allure of so-called “so bad it’s good” gaming. This ain’t it, though. EDF has an unbelievably corny setup and amateurish production values, but it’s a perfectly functional shooter. Deadly Premonition is similarly cheesy, but it has heart and personality. Rogue Corps isn’t fun, interesting, or engaging. It’s an embarrassing mess that should be avoided. If you and your buddies want to just play something dumb to laugh at, there are many other, better options out there. Options that don’t require that you con them into picking up multiple copies of the game, too.
You see, you can play local co-op in Rogue Corps, but you and your friends are cordoned off to a side mode. There, you can’t progress the campaign. Instead, they’re similar to the rifts in Diablo III, randomized strings of rooms and bosses designed to be replayed. Considering how grindy the game can be, it’s not a bad idea. The thing is, however, only the host gets to keep the accumulated loot and XP. Lame. I tried to play online, and there weren’t any lobbies that I could join. Considering that it launched today, that’s not exactly a great sign.
I’ve spent about nine hours playing this game, and have no idea how many more stages are left until the end. I do know that levels are recycled only a few levels into the campaign, even to the point of putting the collectibles in identical locations. I don’t see a future in which the back half of Contra: Rogue Corps makes up for the abysmal first half. It would be irresponsible to assign a numerical score to something I didn’t complete, but all you need to know is that it’s irredeemably bad. Move along, folks.
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Publisher: BungieDeveloper: BungieRelease: October 1, 2019Platform: PlayStation 4, Xbox One, PC
Bungie is preparing to roll out Shadowkeep, the big expansion for Destiny 2 that is aiming to reinvent some major aspects of the gameplay experience. The trailer that released today aims to get your heart thumping with some sizzle scenes of the game in action, including narrative sequences on the moon, glimpses of a new Dungeon, the new Garden of Salvation raid, and even some PvP throwdowns.
Check out the full trailer below, and get your Guardian ready for the action on October 1, when the expansion launches (now with cross-save) on PlayStation 4, Xbox One, and PC.
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Developer: Shifting TidesRelease: September 20, 2019Rating: EveryoneReviewed on: PlayStation 4Also on: Xbox One, PC
In elementary school, I remember filling out worksheets full of boring arithmetic problems. I know “practice makes perfect” and all, but once you understand the core concept of addition, solving 1+2 is functionally the same as solving 3+4. The components may vary slightly, but you don’t approach one problem any differently than another. The Sojourn faces an incarnation of the same problem; this first-person puzzle game gradually introduces new ideas, but reinforces each one to exhaustion through repetition, without the escalation that makes you feel like your understanding is evolving.
The Sojourn’s central gimmick involves traveling between a light world and a dark world (and swapping places with statues) to reach the end of each challenge. You start with just one way into the dark world, but that expands – along with what you can accomplish when you’re there. Magic harps, duplicating chambers, and energy beams all come into play, complicating your journey from point A to B. The most satisfying solutions come from piecing together a series of steps; you enter the dark world, activate a harp to play a song that forms a bridge, then swap places with a statue to reach and cross the bridge before your time in the dark world expires.
Click here to watch embedded mediaIn isolation, these mechanics are consistent and well-executed, with a handful of devious scenarios that left me feeling particularly triumphant upon completion. However, the issues with The Sojourn don’t surface in its individual challenges; the boredom collects through the aggregated experience of churning through so many similar puzzles. Instead of feeling like a curated journey with deliberate layering in difficulty and complexity, many challenges play like remixes of previous ones. The layouts and solutions are technically different, but movement from one to the next often feels lateral, with many of the same components and ideas simply reassembled in a new configuration. Unless a puzzle is introducing a brand new mechanic (which is rare), you aren’t pushed to look at situations in new or interesting ways, which makes a large portion of the puzzles feel like busywork rather than a showcase for clever ideas.
While more boundary-pushing scenarios can be found in optional puzzles, the problem is more one of flow than difficulty. Yes, you can engage with the harder puzzles if you want to, but you still have to plow through the mostly linear sequence of mandatory obstacles to progress. That sense of repetition is where The Sojourn lost me.
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The story and setting don’t add much depth to the process. The narrative moves forward through sequences of sculptures that appear periodically, but the tale is so high-level that it fails to establish any real mystery or investment. And while the art is stylish and pretty, don’t expect to stumble upon significant details in the environment; the world, gorgeous as it may be, feels like a purely utilitarian funnel from one challenge to the next. You enter a cool columned chamber, solve some puzzles, and then take an elevator up to … a practically identical columned chamber … and then another. The same thing happens in a well and in a dark cavern, with you moving along almost-copied-and-pasted paths that just lead to different puzzles.
A good puzzle game needs more than a cool mechanic and a few satisfying solutions. Those are important elements, but they should build on each other, teaching you to use and combine your available tools in exciting and surprising ways. The Sojourn has moments where it accomplishes this, but the space between them is dull, leaving you stranded in a sterile world with a predictable rhythm.
Score: 6.5
Summary: The Sojourn accomplishes some cool moments, but the space between them is dull, leaving you stranded in a sterile world with a predictable rhythm.
Concept: Bend reality as you jump between light and darkness to solve a series of puzzles
Graphics: Though the environments aren’t incredibly detailed, stylish art creates a beautiful (but inert) world
Sound: Contemplative music and appropriate sound effects do their job, but don’t steal the spotlight
Playability: The mechanics and rules of each challenge are solid, so you never have control-related issues when executing a plan
Entertainment: A few puzzles are exhilarating to decipher, but too many others beat the concepts into the ground through repetition without offering enough to keep the solutions fresh
Replay: Moderately Low
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Publisher: House HouseDeveloper: House HouseRelease: September 20, 2019Reviewed on: SwitchAlso on: PC, Mac
Making mischief can be fun, but imagine doing it as one of nature’s biggest pests: a goose. Untitled Goose Game is a simple-but-amusing experience about being a goose and harassing unsuspecting humans. While there’s something charming and delightful about that, the game shows all its cards upfront and never reaches outside the initial thrill of the premise. Untitled Goose Game is a lighthearted jaunt that I’m glad I took, but it left me without much of a lasting impression as the credits rolled.
Whether they’re lazily meandering across the road in front of your car, chasing unsuspecting children, or leaving their “presents” on sidewalks, geese can be real jerks. This is why assuming the role of one and doling out the inconveniences is so satisfying. Your goal is to advance through different areas of a town by completing objectives, which nudge you toward your evil deeds. Maybe you need to steal items for your goose picnic, or chase a terrified boy into a phone booth. You accomplish this with only what nature gave you: your beak to honk and pick up items, and your wings to get attention.
Untitled Goose Game combines light stealth and puzzle elements. As a goose, you need to watch people’s routines and routes, looking for things like tables and decks to hide under. You can also pick up items and place them wherever as a way to distract humans, which is essential; if you get caught, they chase you out of the area and take back whatever item you’ve stolen. Every place becomes its own puzzle, forcing you to think like a goose to complete some of the tasks, such as pretending to be a statue, or honking right as someone is about to do something to startle them for hilarious results. Some of your actions are just plain devious and depend on careful timing, like pulling a chair out from under someone right before they’re about to sit down. All of this is plenty of fun, especially as you watch the reactions and consequences of your actions, like causing two neighbors to argue or seeing a lady who was shooing you break her broom.
Click image thumbnails to view larger version
You quickly fall into your routine of raising hell, and watching townspeople chase you as you waddle away for dear life is a sight to behold. Some puzzles take additional effort and can’t even be completed until you gain access to a new area and go back later. Once the credits roll, you also get new, more complex objectives in the same areas for replayability; some hijinks even have timed conditions for added pressure. That being said, Untitled Goose Game is a condensed experience, and the first run only takes a few hours. I don’t have a problem with short games, but even at that length, your tasks get repetitive by the end. There are only so many times you can steal items, move things from one side of the area to the other, and run from townsfolk. Also, for all this frenzy, nothing really stands out as over-the-top silly or extremely memorable. The gags are fairly standard and safe, and only a couple post-game objectives are intricate enough to require serious thought, which is disappointing.
Untitled Goose Game is a great concept, and ends in the same charming way it started. Pranking people is fun, and doing it as a goose just adds to the thrill. Most people will play it for the silly premise, complete it in a few hours, and go on their merry way without touching it again. If you just want to mess with people as a goose, here’s your chance – but the shallowness and repetition hold it back from being a truly engaging game.
Score: 7.5
Summary: Untitled Goose Game is a simple-but-amusing experience about being a goose and harassing unsuspecting humans.
Concept: Be a goose out on the town, making mischief and toying with humans
Graphics: Outside of a few hiccups like clipping issues, the simplistic and colorful art style is pleasing and fits the tone well
Sound: Tense classical music plays if a human catches you in the act, appropriately adding to the frenzy of chase scenes
Playability: Easy to pick up and play, though sometimes it can be hard to pick up items when they’re close to one another
Entertainment: Untitled Goose Game leans into its lighthearted, silly elements, providing plenty of chuckles and capturing the joy of figuring out how to mess with people
Replay: Moderate
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Publisher: Annapurna InteractiveDeveloper: SimogoRelease: September 19, 2019Rating: Rating PendingReviewed on: SwitchAlso on: PlayStation 4
A broken-hearted girl is transported into the sky, where she takes on the role of a masked biker. In this dreamlike world, she races along neon streets and other surreal landscapes, picking up collectables and navigating shifting paths, all the while accompanied by an electronic soundtrack. This is Sayonara Wild Hearts, a beautiful trifle that seems to end just as it’s gaining momentum.
Sayonara Wild Hearts is mesmerizing to look at, but unfortunately it falters as a game. The first few stages get you acclimated to weaving your character left and right on the tracks, picking up heart shapes and other collectibles to earn higher scores. And really, that’s just about all there is. The perspective shifts in some impressive ways, with a camera that pulls back until your rider is a tiny speck or rotates woozily in tunnel sections where you ride freely on the walls and ceilings. Camera trickery aside, you’re doing the same basic thing throughout the short experience. A few moments break from that format, such as a VR-inspired game-within-a-game that plays a bit more like an arcade shooter, but these deviations are unfortunately all too brief.
Click here to watch embedded mediaYou’re hurtling along at a breakneck pace much of the time, but instead of feeling exhilarated, I was reminded of those moments in the early 3D Sonic games where you’re being propelled along on a ride that’s barely interactive. Sure, it looks neat, but if you’re not going out of your way to pick up the objects that flash by, you aren’t missing out on anything beyond medal rankings upon stage completion. Most of the time these things flash by so quickly that acquiring them is more reliant on memorization and repetition than reflexes.
Music is an integral part of Sayonara Wild Hearts, though the action and soundtrack aren’t tightly syncopated most of the time. Instead, the two elements support each other thematically, much like a music video. There were moments where I picked up collectibles that chimed in time with the music or hit a speed boost that whooshed along with the beat – as well as some timing-based cues against a handful of bosses – but you don’t need to have a strong internal metronome to succeed.
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The story is mostly alluded to in pantomime, and I’m still not confident that I fully get what it’s trying to say. Is the girl coming to terms with past relationships? Is she becoming more attuned to the various facets of her personality? Is it something entirely different? I’m certain that the last section was intended to be a triumphant coalescence of everything that had come before, but without having any real emotional attachment to what was going on, it falls flat.
I quite enjoyed looking at Sayonara Wild Hearts, even though interacting with it left me cold. In fact, I probably would have liked it just as much if it were just a short film. As it stands, it’s an impressively stylish title with a disappointing amount of substance.
Score: 7
Summary: I quite enjoyed looking at Sayonara Wild Hearts, even though interacting with it left me cold.
Concept: Take a broken-hearted heroine on a dazzling, musical journey at 200 miles per hour
Graphics: The visuals are simple and striking, even as they zoom past you at blinding speeds
Sound: Every stage is accompanied by a melodic electronica and pop soundtrack. The tunes may not be everyone’s preferred jam, but they’re undeniably catchy
Playability: You don’t often have much time to react to obstacles or collectibles, and success depends equally on memorization and pure reflexes
Entertainment: Sayonara Wild Hearts crackles with style, but is an ultimately inconsequential ride
Replay: Moderately low
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