It’s Black Friday tomorrow (Friday, November 25) and it’s a day where many people will brave their local shopping mall to celebrate this American tradition and hope for a bargain or two on a variety of goods.
I won’t be going anywhere near a shopping mall but if you are price aggregation website PriceSpy has predicted what it thinks will be the top video games searched for this Black Friday. Here they are:
Fifa 21 (PlayStation 4)
Nintendo Ring Fit Adventure (Nintendo Switch)
Marvel’s Spider-Man: Miles Morales (PS5/PS4)
Fifa 21 – Champions Edition (Xbox One)
Cyberpunk 2077 (PS4 and due December 10)
Liisa Matinvesi-Bassett, New Zealand country manager for PriceSpy, says “After a crazy year where new game purchases were put on hold due to Covid-19 restrictions and lockdowns, we’re expecting Black Friday to be big this year, as gamers will want to make up for lost time.
“In fact, according to a recent PriceSpy survey, 50 per cent of Kiwis intend to purchase something this Black Friday, spending on average $464.
“As well as games dropping in price on Black Friday, with two sparkly. new consoles released earlier this month, Black Friday may also offer a good time for gamers to pick up great deals on older consoles. But before shoppers splurge the cash, we strongly recommend they conduct important price research,” says Matinvesi-Bassett.
“On Black Friday last year, the shopping category of game consoles was third most-popular on PriceSpy and the most-popular product overall was the Nintendo Switch.
“But, shoppers need to remember – not everything is discounted on Black Friday, as even though the Nintendo Switch was most popular, our pricing data revealed the console increased in price (up 8 per cent).
“There are however some great deals to be found on Black Friday, but shoppers need to do their research. For example, the shopping category of games and consoles offered the biggest overall average discount on Black Friday, at -11 per cent across all items. Compared to other shopping categories, the discounts were less significant – mobile phones for instance, only offered an average discount of -2 per cent.”
To help gamers ensure they’re getting the best Black Friday deals, PriceSpy has some tips to prepare for Black Friday:
Step one – Be prepared and stay focussed Firstly, make a list of the items you are consciously looking to buy, similar to what you might do with a supermarket shop. You can do this quickly and easily using PriceSpy’s list feature, so that your ultimate wish-list is in the one place.
Step two – Conduct price research Once you’ve compiled your sale shopping list, we strongly suggest you carry out important historical price research. You can do this quickly and easily using a price comparison website, like PriceSpy. Not only will this save you time, but it will help alleviate some of the pressures people feel when sale shopping. Simply search for the product you want to buy and click on the historical pricing feature. The website will then bring up the cheapest price the product has been sold for by day, so you can get a clear perspective on how much a product ‘really’ costs. So, even if an item is being discounted by 20 per cent for example on Black Friday, shoppers can see if it is cheaper to buy at different times of the year.If the product appears to be cheapest on PriceSpy, then great, you may have found yourself a bargain – move on to step three! If the product appears to cost less at another time of the year, then this should be a red flag!
Step three – Compare prices across multiple shops Once you’re confident the price being offered by the retailer on the sale day is a good deal, the next step to take to ensure you are getting the cheapest price possible is to conduct a quick price comparison check against other retailers. Again, using the PriceSpy app or website can help shoppers do this research quickly and easily, rather than wasting hours trawl across multiple stores. Even though products have an RRP (recommended retail price), more often than not, comparing prices between retailers can change massively. Carrying out this research can potentially save you a couple of hundreds of dollars, if not more in some instances.
Lastly, Matinvesi-Bassett advises that the Black Friday price on your wish list game isn’t as big as what you expected it to be, wait three months after the game is first launched – as Pricespy’s historical pricing data suggests this is when prices start to reduce.
So are you going to hunt for a Black Friday bargain on Friday? I’m contemplating a second monitor for my PC but in the meantime, PriceSpy has teamed up with GamejunkieNZ to give away two of the top two most clicked on games in September.
To enter the giveaway, flick an email to firstname.lastname@example.org telling me what your favourite game has been in 2020 or your most anticipated game for the coming year.
The competition closes on Wednesday, December 2, and is open to New Zealand residents only [The winner will need to supply a New Zealand postal address].
We like to try and mix it up a bit around here from time to time so for our Assassin’s Creed Valhalla review, guest writer Dylan Burns and myself decided to chew the fat about it. Via Google Docs, of course, not in front of a roaring fire, with a glass or port or whisky, given there’s no Trans-Tasman bubble between Australia and New Zealand … yet. So grab a glass of ale, yell “skol” at the top of your lungs, and let’s go …
Dylan: I believe that Assassin’s Creed games have passed the point where they are designed to be completed in a week or a month or even a year. As a reviewer, the prospect of grinding out 70+ hours needed to get through Valhalla’s main story and to see almost everything – all in the space of a week or two – to then present to readers a comprehensive appraisal of all that falls within, feels, to me, disingenuous to the way these titles are designed. Instead, they are crafted as something to come back to between games, to get addicted for 10 or 20 hours all over again, before getting distracted for a month or two and then coming back – repeating across the stretch of years until the next AC title comes along and you slip right into that like a transferred child that has been lulled to sleep during a night drive home.
Gerard: Oh, I agree 100% that they’re huge games now, where you need to be prepared to put in the hours to get the pay off. A cursory dozen or so hours isn’t enough in a modern AC game these days: 12 hours is barely scratching the surface. It’s the type of game that will stretch a reviewer but – and I’m playing devil’s advocate here – I’m wondering whether the daunting task of multiple hours of exploration and game play might put the more casual player off, scared off by an open-world that seemingly stretches on forever with multiple branching storylines. I’m only a handful of hours into Valhalla and I’m quite liking what I’ve played so far: The Norse setting is definitely a highlight but, again playing devil’s advocate, I can potentially see open-world fatigue setting in for me at some point. It seems more structured than Odyssey, which I struggled with majorly, but I’m just concerned that the game is padded out with too much to do and that fatigue will come eventually.
Visually, the mountainous vistas are just stunning, especially if you’ve trekked to a high peak and there’s no denying the landscapes are stunning and I like how you can autopilot routine things like travelling to destinations by longboat, letting me just sit back and let the game handle all the busy work.
Dylan: I think that fatigue is lessened a bit by the design of things, with blue and white and gold dots all over the map. Each dot might be a little 5-minute side quest or a soldier carrying some loot or a treasure chest with armour or some new skill you can discover – so the random aspect of these is quite compelling and really helps to keep you addicted and flowing on to each point naturally. I felt that Odyssey was AC becoming a full-fledged RPG, with the levelling system and lots of loot. However, here, things seem to have taken a side-step, with levels eschewed for a Destiny-style Power system that relates to the number of skills you have unlocked (on the woefully designed skill tree, by the way) and how powerful your weapons and armour are. It’s a system that sees you less concerned with a specific number, although it still forces you to play in the kiddy pool for many hours, with some areas remaining in the red zone of over 100 or even 200 power recommended. How do you feel about the reduction in RPG systems, and in particular the lessened loot?
Gerard: I’m not sure I completely agree that the fatigue will be lessened due to the coloured dots all about the map: I felt the map could get quite busy at times with all the different icons (synchronization points, monasteries to raid, ports to visit). I liked the idea of the skill tree (designed like a star constellation) but I did find it quite hard to navigate and it wasn’t the most user friendly, was it? I can’t imagine how many hours you’d have to sink into the game to raid a level 200 location. I definitely agree that Odyssey was moving towards the series becoming more RPG-like and I feel Valhalla is still embracing that, especially given that obtaining resources from nearby monasteries is crucial in building up your settlement. I’m not sure I’m 100% sold on Valhalla’s story yet, though, and whether it will capture me for multiple hours but I definitely think it is the sort of game that you can pick up, complete a few quests, level up a bit, then move onto something else. I don’t think it’s really designed as a play from start to finish without interruption type game. Perhaps one of the biggest criticisms I have so far is the combat: It works most of the time but then other times seem quite janky. What are your thoughts?
Dylan: The combat is flat out strange. Like, I was told there is a stamina meter, but to be honest I’ve never looked at it since learning about it, and it doesn’t seem to impact my ability to completely kick arse wherever I go. In fact, the combat is so overpowered that stealth is almost completely broken/unnecessary in this game. There is absolutely no reason to stealth any section when you can run in and completely slaughter 30 enemies without fearing for your health bar or any other consequence. The only time difficulty enters into the equation is if you try and attack enemies in an area above your recommended level – but if you stick around the zones the game leads you through, you’ll cruise.
I can see that they tried to make the combat a bit more involved, though. Parrying is essential if you want to beat bosses, and there are impossible-to-block moves (indicated by red flashes from enemies) where you need to roll away. You can also wear down enemy stamina by using heavy attacks, which then opens them up to a devastating blow by pressing in R. But again, I am getting by just fine spamming the crap out of light attack and dodging around. This is combined with enemy AI that is absolutely woeful. You can take out half a camp and still have the other half completely oblivious to the ten-minute battle that just took place next to them.
I’ve had guards see me and not react while I mosey up to them and kill them with one blow. I’ve had them chase me for all of a few metres, before giving up and returning to patrol. They are perhaps the stupidest they’ve ever been in this series. Even the zealots are bereft of brains. I had one zealot attack me during a mission (this was a random encounter, he wasn’t scripted to be aggressive to me) and then when I lost him by hiding behind a rock, his aggressive state disappeared and he proceeded to converse with me as if he was just passing by – “Oh, isn’t it a nice day, Dane – see you later!” (I am paraphrasing here). The game is also really buggy. I’ve had lots of quests bug out on me, including a couple of freezes and crashes. It’s not at all stable and I can’t help but feel that perhaps that long tail of playing that we’ve talked about can only benefit the devs as they support and refine the experience with patches.
Gerard: I’ve assassinated a few enemies in enemy camps but just because that’s what I feel I should do from time to time: I am supposed to be an assassin, after all, although I’m not not sure the whole “stealth” game was really favoured with the vikings. You’re right about the enemy AI, too: I managed to clear one camp out without anyone being aware of what was going on around them. Oh, I think one of them got slightly intrigued but that was about it.
Something you haven’t touched upon is the “real world”/Animus segments and I completely forgot they were part of the series janked back into the real world environment and had to endure some really cringe dialogue. These segments just don’t feel like they belong anymore and, maybe it’s because I’m not a fan of the Animus sections at all, they just felt shoehorned in there and are perhaps indicative of the AC series becoming more bloated with content with each iteration.
I’ve had the odd “player stuck on the environment” bug and one bug that forced me to restart my Xbox Series X as the longboat I was in refused to dock, despite being near shore. Valhalla is fun at times but there’s no way I can actually see myself sinking anything like 70 hours into it. I just don’t have the time or the inclination to do that.
Dylan: Yeah, it’s easy to forget the future storyline completely, and being forced to play it out does feel like a chore. At least there are many hours in between these snippets, and they rarely last for too long before you can lose yourself once more into the animus.
Overall, though, I love how Valhalla looks, how it plays and how it feels historically accurate, at least in terms of design and the words they use when talking to each other. I’ve always enjoyed the way AC games increase my curiosity about the eras they are set in (I borrowed and read a huge book about the history of Egypt when I started playing Origins). I don’t know a lot about viking history, but it’s enough for this to feel comfortably realistic, nestled against an absolutely gorgeous rendition of the English countryside, not to mention a breathtaking section of Norway in the opening.
It’s perhaps not as compelling as Odyssey, with a less defined story that takes a long time to circle around to its eventual direction. In simplifying the systems, particularly the loot, it seems that Valhalla may have undercut a bit too much. However, I think this map is the most enticing and hauntingly beautiful of all the AC games so far, and I just can’t get enough of moving through it, finding beautiful moments and clicking in both sticks to take a photo. I can see myself coming back to this time and again until the next AC game.
All the images but one were captured by Dylan using the game’s photo mode. Thanks to Ubisoft for the code.
Cyberpunk 2077, the latest game from the minds of CD Projekt Red (the developer behind the Witcher series), has dropped some more media for the upcoming game, which comes out on December 10 – a mere 19 days away.
I’m especially looking forward to the game as my children pre-ordered the game for me way back in 2019 as a Father’s Day present so I’m keen to cash this one in.
Local PR have dropped two new trailers: The first which shows off five minutes of game play and the second, the latest Night City wire min-featurette which shows off Johnny Silverhand (played by Keanu Reeves) and the relationship he has with the game’s main charactyer, V.
Cyberpunk 2077 is releasing for PC, Xbox One and PlayStation 4 and then sometime next year there will be a patch that will utilise the power of the new Xbox Series X and PlayStation 5 consoles. Personally, I’ll be playing on PS5 then probably replay through it again when the upgrade hits.
The opening credits to Stories Untold, an interactive horror game from developer No Code (one of the team worked on Alien Isolation and No Code was behind the very excellent space thriller Observation), screams old school adventure games and Netflix’s Stranger Things.
Even the intro music has hints of Stranger Things (not surprisingly, the artist behind the game poster and logo was an artist on Stranger Things) and the opening adventure in the four-part series, The House Abandon, took me back to the days of my Sinclair ZX Spectrum, right down to recreating the classic Spectrum loading screen – with the modem squeals and the data lines slowly revealing a picture.
Set in the 1980s and made up of four short episodes – The aforementioned House Abandon, The Lab Conduct, The Station Process and The Last Session – all appear separate but it soon becomes clear the further you progress that they’re very much interconnected. Stories Untold is unsettling at times but not in your face jump scares.
The House Abandon opens innocently enough: “You pull up to the driveway of the family holiday home & park the car …” but the deeper you go, you soon realise that all is not what it seems in this once happy family home and something very wrong is going on here.
Played out in the style of an old school text adventure, the first episode has you using commands like look, use, read and open to perform actions: Open door, use gun, look at book, read note, flick switch. It’s incredibly atmospheric.
The Lab Conduct has you perform scientific experiments on a strange artifact known only as “23”, The Station Process takes place in an Arctic monitoring station and The Last Session reveals that all is not what it seems.
All four episodes do a fantastic job of creating unease and tension without relying on in-your-face scares. I played the game on Nintendo Switch – it’s also available on PlayStation 4 and Xbox One – and the only gripe I had was although you can zoom into the text field using ZL, I still had to squint a bit to read some of the text (something that is a common problem on the Nintendo Switch).
Bottom line is, fans of text adventures, shows like Stranger Things and No Code’s Observation will be in for a real treat with Stories Untold. It shows how good writing can create tension and atmosphere without the need for graphic horror.
Big thanks to Devolver Digital’s Australian PR team Doug & Jayden for the game code – and for suggesting I give it a crack.
Thanks to Xbox ANZ, I’ve had an Xbox Series X for the past couple of weeks to put it through its paces. Here are my thoughts, for what their worth, on Xbox’s vision for next-generation gaming.
In a handful of hours – less than six, if we’re counting – the Xbox Series X and it’s smaller sibling the Xbox Series S will launch in New Zealand and Australia.
Come the stroke of midnight on November 10, Australasian gamers will be able to get their hands on the new generation of gaming machines. Sony’s PlayStation 5 launches in New Zealand and Australia two days later on November 12. Without a doubt, it’s definitely an exciting time to be a console gamer.
Much has been made of the Xbox Series X’s design: Yes, it kind of looks like a fridge. Yes, it looks like the monolith from 2001: A Space Odyssey, but in all honesty, it’s no bulker than the original Xbox’s footprint, which was a hearty boy for sure, and it was actually more compact than I was expecting. It is hefty, though.
Unsurprisingly, given the consoles roots, it reminds me more of a PC than previous consoles thanks to its mini-tower design. I have it sitting vertically next to my Samsung Series 8 4K TV and it doesn’t look out of place, thanks to its minimalist design.
Out of the box, set up is incredibly simple using the Xbox smartphone app. The console updated itself (so you’ll need an active internet account for setup) as I was entering my existing Xbox account sign-in details. From booting up the console to the Xbox logo splash screen was around 14 seconds, with the boot screen often appearing about the same time I’d managed to select the right source on my TV. Using the consoles instant on feature, the boot up was less than 5 seconds.
There was a console update and there was also a firmware update for the controller. It was all remarkably stress-free and within a few minutes I was staring at a familiar-looking Xbox dashboard.
Without any games installed, the high-speed SSD had around 800Gb free and with five games installed, I still had 6725Gb of space to play with. For me, that’s plenty of space but you can expand the storage space when you need it using proprietary storage solutions which slots into the rear of the machine.
Powered up, the Series X actually ran quieter than I was expecting, too, especially given how much hardware is crammed into its tight form factor. It’s designed so that all the heat created by the console is drawn upwards, exiting via a massive 130mm exhaust fan at the top (which has a neat green effect that shifts as you move your perspective when you’re looking at it. It’s hard to describe). The engineering clearly works as when I put my hand over the massive air exhaust at the top, I felt the gentlest of breezes, even when the console was under load.
In a nod to Digital Foundry and it’s technical analysis, I used an infra-red temperature reader that I bought for one of my son’s science projects many moons ago to check the console temperature: At idle, the front was sitting at around 20deg Celsius while the grilled top above the exhaust fan sat at about 25.6deg. Under load – a solid session of Gears Tactics – the exhaust recorded a temperature of 45deg. It was warm but not hot.
The XSX comes with one controller and it looks like … well, an Xbox controller: That’s not a criticism it’s just an observation. It’s roughly the same size as an Xbox 360 controller (minus the battery compartment on the bottom, of course) but smaller than the original Xbox’s duke controller.
I always have liked the design of the Xbox controllers and the XBX’s feels familiar and comfortable to hold. It also has a nice textured back. The controller is an evolution of all the Xbox controllers before it: The triggers feel more refined as do the shoulder buttons. There’s also a dedicated screen capture button on the face, which is nice touch.
The only technical issues I encountered was after a few days the console decided it didn’t like the HDMI connection on my TV that I’d selected and turned itself off a few seconds after booting up. Changing to another HDMI port, which the TV automatically identified as an Xbox, seemed to sort the issue out.
It’s all about the software, baby
Microsoft kindly supplied a handful of game codes and while some of them weren’t optimised for the Xbox Series X yet, I tested out Ori & The Will of the Wisps, Gears of War 5, Yakuza: Like A Dragon, Gears Tactics, The Touryst, and Red Dead Redemption to test the backwards compatibility functionality. I would have loved to have tested out Assassin’s Creed Valhalla but the supplied game code, while pre-loading the game, wouldn’t unlock the game until until November 10, the consoles launch day which was kind of frustrating.
As time of writing, games that had been optimised for Xbox Series X were Gears of War 5, The Touryst, Gears Tactics, Forza Horizon 4 and Sea of Thieves. Games that would be optimised at or before launch included Watch Dogs Legions, Yakuza: Like A Dragon, Dirt 5, Destiny 2 and Tetris Effect Connected.
Gears of War 5 already looked great on Xbox One but it looks even better on Xbox Series X and performs a lot better, too. Colours are more vibrant, textures are much higher resolution, especially on a 4K TV. The frame rate is much more stable, too. Gears Tactics, too, plays extremely well and is a nice addition to the Xbox family. If you haven’t played it, I recommend it highly.
Ori looks gorgeous, too, even in its unoptimised state, as does The Touryst (allowing up to 120FPS, I understand), but Like A Dragon looks, well, like the Yakuza games did on PlayStation: Nice but not ground breaking.
It’s a shame, though, that Halo Infinite wasn’t ready for the console’s launch (Master Chief is still plastered across the back of the console’s box) as I feel the Xbox Series X really does need a strong console-selling first-party game at launch – and Halo would have been that game.
And how was the Backwards Compatibility mode? It’s good and while disappointingly, Batman Arkham City isn’t one of the compatible games, Red Dead Redemption is, requiring a 7.4Gb update, and it looks remarkably superior to the original 360 format that I played it on: Visuals are much, much sharper with higher resolution textures and much faster transitions between game play and cut scenes.
BC is a great option if you have a large Xbox 360 library and no longer have your Xbox 360 or Xbox One console but for me, I want a new console to bring me new games and new experiences: Not play old games but with better frame rates.
To me, hardware aside, the Xbox Series X is more a refinement of what came before, not an evolution: The dashboard is a refined version of that of the Xbox One (to this day, I believe the most impressive Xbox dashboard was from the original Xbox: That was truly innovative) and the controller is a refinement of previous controllers. Not bad things in themselves but I was expecting a little more innovation in those areas.
I feel Xbox have played it a little safe in terms of UI and controller design, here, but in terms of raw power, the XSX is a winner and I really look forward to seeing what the future holds – and what developers can do with the power under the hood.
I’ve also heard older hardware like the Xbox One series are starting to creak under more graphically intensive titles so it seems the timing is right for a new generation of more powerful console, but – and there’s always a but – I feel all this power is being squandered at the moment without some strong first-party games to really showcase what the hardware it is truly capable of. Those games will come, of course, with time.
For the time being, though, the Xbox Series X has laid robust foundations for the future. Now, Xbox needs to build on those foundations in the months and years to come.
Guest writer Dylan Burnsdelves into Ubisoft’s latest open world monster and finds while there’s some magic to be found in this dysotopian future London, it takes a bit of effort to track it down.
Would you be willing to die to liberate your city?
It’s a question that Watch Dogs: Legion first asks, then blurs over, as characters that rightly express concern for their personal safety when sought to join DedSec first hesitate, then quickly decide they’d rather go out blazing if they have to.
It’s eyebrow-raising to think that general citizens would be willing to stick their necks out against almost certain harm, yet Legion’s entire premise and gameplay loop rests on the assumption that every Londoner is a boiling kettle of hatred just waiting to be recruited.
Legion is a game about resistance via Ubisoft’s ideas of what resistance entails. You won’t be joining protests in the street or sharing whistle-blown information or joining social media waves against authoritarian brutality or, I don’t know, whatever else is realistically resistant-y these days. No, instead you’ll paste up sick wall posters and replace corporate propaganda with, erm, DedSec propaganda…
Then there’s the big thing that Watch Dogs: Legion does differently – the ability to recruit and play as any NPC. Arguably inspired by GTA V’s multiple protagonists, Legion takes this ball and runs with it, populating its futuristic virtual London with various classes of citizenry, all ready to be convinced to join DedSec for the price of a randomly generated favour.
Without exception, every citizen you recruit is dead keen, full of ocker slang and ostensibly trained in takedown combat and hacking protocols needed to be a full member of DedSec. Heck, if there are this many well-trained operatives just waiting around, it begs the question why none of them have formed their own vigilante groups or – indeed – how Albion succeeded in taking over the city in the first place. Credit does need to be given, though, for the variety and breadth of characters you can play as, men and women of all ages, nationalities and career types. They may not be particularly deep, personality wise, but effort has gone into making them appear diverse and representative of a thriving future metropolis.
If you can get past this dissonance, then the act of scanning potential recruits, adding them to the roster, and searching for even better operatives becomes rather fun, if wrought with inconsistencies.
Several times, I came across conflicting scans, such as a citizen that is “extremely fragile” with a special skill of being able to take more damage. Even if you choose not to recruit those suggested to you, such as a paramedic to reduce hospital times for all operative, then the main missions are structured to pull into the fold several recruits in order to show the player how each class of citizen can shine in the right circumstances.
For instance, a uniformed officer can just stroll into off-limits areas and will remain in disguise – Hitman style – if you walk slowly and don’t let guards get too close a look at you. Similarly, construction workers can enter work sites without drawing suspicion, while a drunk can take more damage or a hacker gains download speed bonus and may dominate drones easily. The specific skills you receive for each random citizen differ, but not to the point where any set of skills becomes too dominant that it will become your favourite.
All classes can get the job done, while some are more suited to specific missions than others. Which brings us to a large problem with Legion: it’s just not that difficult to cheat the system entirely. Firstly, the world is generally persistent. This means that whatever you accomplish with a character remains – such as collecting things in restricted areas or successfully hacking a system just nanoseconds before death. Upon respawn – which in this game requires jumping bodies to another recruit – the likelihood that you’ll retain the spoils of what your previous self did is very high.
This encourages you to rush into guarded areas, do what you need to and get out, if you can. This approach works almost every single time because enemy AI is incredibly, laughably, head-shakingly bad. If you are spotted, you can often fight them and no one else in the area will be any the wiser.
Even if you do stir a hornet nest, as long as you keep moving, keep disrupting enemies and taking them out, you’ll almost always run rings around them, leaving them to waddle around their tiny patrol routes calling the same three lines into their network – honestly, you’ll hear six people saying the same thing all at once, over and over again. Yes, you might die, but unless you’ve turned on Permadeath it’s never much of an inconvenience.
Legion’s themes are mature in nature. This is not something to be playing while the kids are around. There’s so much awkward swearing that my wife ended up hating me playing and asked me to put my headphones in. The dialogue is full of awkwardly written slang that I’ve never heard before … Which brings me to the voices themselves.
Given the random nature of your recruits, it seems that the phrases they utter come from a bank of recorded phrases, which use voice modulation to diversify delivery. This makes some characters sound like early prototypes for a mobile phone provider’s helpline.
The writing is just awful, although I am starting to wonder if it’s deliberately so. One mission saw me recruiting an Albion guard who was apparently a prize fighter on the side, who had a hit out on her because she decided not to lose a fight – that’s just one of the whacky (I’m sure someone at Ubisoft giggled as they thought it up) situations that makes you think: Really?
In other random weirdness, I experienced about an hour of open world gameplay where all of the police cars would light up and wail their sirens whenever I got near to them, but would not actually be looking for me – I had no heat level at all. Other times, I would finish everything in a red zone undetected, with no takedowns or other evidence, only to have every enemy suddenly start looking for me as soon as I left the area, shouting through my audio as I stood on the exterior in complete anonymity.
There are, however, some things I like. I like how the driving route guide ramps up on corners like an AR rollercoaster. I like how you feel all-powerful hacking through cameras and spider-bots, sometimes completing missions without ever setting foot inside restricted zones. I like that you can summon a cargo drone, jump on and fly yourself across the city, albeit slowly. I like that there is always some way to breach a target complex by looking for a back entrance or climbing up somewhere or sending a drone through to unlock a door for you. All these things are make Watch Dogs: Legion fun to play.
The world that’s been created is very impressive, a miniaturised version of London with a lens to the future. There are driverless cars and everything has a sleek, futuristic element. Every building is wired up with gadgets and scanners and cameras and network terminals. And it looks great, too, even if clearly designed with next-gen consoles in mind. Every surface is so detailed and textured that I could feel my Xbox One S straining with effort. It’s interesting, then, that some of the missions involve loading screens that have had no effort extended to hide them.
Need to travel down to a basement for a mission? You’ll just rock up to the lift, press a button and be greeted with a load screen. Same for entering DedSec HQ, which happens a lot as you return there for mission briefings – despite the world being perfectly set up for these to take place via the network. Such old-school design speaks of a focus on presentation over form, of dreaming of the future but not being in it, of expounding resistance without understanding what that might look like or what it might entail, of propagating locations and upgrades and liberation missions over truly pushing the series forward.
The themes deal with technology itself and how it can be misused by those in power. One arc follows the horrific story of a scientist experimenting with downloading her dying mother’s brain into her house’s AI system. It’s Black Mirror-esque and quite engaging to follow to the chapter’s conclusion.
It’s telling that the moment your character confronts the villain of each chapter, they require a written character to step in for them to actually confront the antagonist and hold a meaningful conversation. I kept expecting them to say, “And you are?”. This is because Legion has traded character depth for breadth, turning every recruitable character into a shallow pool of motivation, relegated to “Fuck the system” lines.
While my general review may lean negative, Watch Dogs: Legion is still a well put together open-world game. It ticks all the Ubi-points. There’s that familiar feeling of work-like progress that many players find enjoyable. Sometimes you might wonder why you are doing what you’re doing, but then you’ll have a cool hacking puzzle or find a funny Assassin’s Creed Easter Egg or take over a turret and shoot the shit out of a bunch of Albion guards and you’ll be right for another five hours.
The map is packed with skill points to hunt down and the act of recruiting is possibly endless. Watch Dogs: Legion is comfort gaming. A generous serving of camera-hopping, stealth takedowns, spider bot exploration and circuit puzzles. There’s nothing here that surpasses Watch Dogs 2, and in many ways the series treads water, exploring dark corners of technological misuse without pushing the series itself forward.
Recruiting NPCs is not the future, at least not yet. The lack of motivation and character depth creates dissonance at so many intersections that the whole thing feels like an experiment straining to maintain momentum.
Yet, I can’t deny the thrill of summoning a drone and wreaking havoc, or the satisfaction of downloading the key for a locked door from an unaware guard. There’s some magic to be unlocked, it just requires effort to find and turn the key.
Thanks to the publisher for providing a review code to Dylan.
Dylan Burns (@d_p_burns) is a games writer of many years experience. Ex-editor of both Hyper Magazine and Pixel Hunt, he is also a teacher, artist, father and trainee accountant. He does not understand most Simpsons memes.
Up until this month, I have to admit I’d never heard of the company Nanoleaf but my interest was piqued when the company’s New Zealand PR firm contacted me, offering some of the company’s funky light panels for review.
Some quick Googling told me that Nanoleaf was founded by Gimmy Chu, Tom Rodinger and Christian Yan in 2012, with the aim of “shaking up the lighting industry” and before too long some of the company’s hexagon, large triangle and small triangle panels landed at my door.
We initially decided to set up the Nanoleaf shapes in the hallway. I’m not sure why we picked there but it had a blank wall so I thought “Why not?”
Caveat: I will admit to being quite nervous about attaching them to our textured wallpaper, though. The quick start guide advises quite clearly against attaching them to textured or porous sufaces, like wallpaper, and given how incredibly sticky the adhesive on the mounting plates was, I can see why.
Anyway, after a couple of hours of committee deliberations, which involved laying out pattern formations on the floor [I really recommend this before fixing them to the wall] then affixing them to the wall [you have to apply pressure for 30 seconds to ensure they stick], the panels were up.
The panels join to each other using small clips that have a contact point at each end and you can connect any panel to another panel: The only limit is your imagination.
Each hexagon panel has several connection points so you can pretty much lay them out in any orientation you want. There’s a controller that snaps to one of the connection points which lets you control the functions if you don’t want to use the smartphone app.
You attach the 42Wpower supply to one of the connection points and then to a power socket. Each power supply will support upto 21 panels, each using 2W of power. There’s a cable hanging down so my suggestion is placing the panels somewhere where you can hide the wire with, say, a piece of furniture.
The panels went up and they looked great. It was time for bed.
The next day, though, I decided to move the panels from the hallway to my games room/study, mainly because I worried overnight that one of them would peel off, ripping the wallpaper with it. I noticed how sticky they were when I slowly peeled the mounting plate off the wall and I could see the wallpaper puling away from the wall slightly. Slow is the order of the day when removing the plates.
They’re now in a less public area of the house – the games room/study – should there be a mishap with the wallpaper, which, for my sake, I hope doesn’t happen.
Up and running, the panels look really neat and you can control them completely using the smartphone app. You can change colours, brightness and sequence patterns using the app or the controller and you can even make your own pattern then save it.
Pre-programmed light patterns include one based on the Aurora Borealis and another one the brilliant blues of the Mediterranean sea and Nanoleaf says they can display 16+ million colours and they also respond to touch and sound.
At one point, I had my games room bathed in a kaleidescope of light, different colours pulsating across the simplistic pattern, as the video below shows.
The Nanoleaf panels retail for between $120 and $350, depending on the kit you buy [available in New Zealand from Harvey Norman, Noel Leeming, JB Hifi, MightyApe and PB Tech] and they’re a pretty neat piece of kit if you want to funk up that game space or any other room that needs a bit of colour.
They’d also be just the ticket if you’re a streamer. Just remember what I said about the wallpaper, right?
A big thank you to Nanoleaf’s New Zealand PR team for providing the panels for review. Good on ‘ya, mates.
Re-posted courtesy of Koru-Cottage.com, which I originally wrote this review for.
With the release of Mafia Definitive Edition last month, 2K’s Mafia trilogy is now complete. When I reviewed Mafia 2 in August this year, I ended my review (based mainly on the lacklustre Mafia 2 remaster) by saying: “I can’t recommend this package right now, especially given it’s incomplete until Mafia is released in August.”
Well, now that I have finished Mafia Definitive Edition, my verdict is easy: It’s definitely worth your time. Especially with the love that has been lavished in updating the original Mafia for today’s modern gamer, a game that tells the rise [then fall] of Lost Heaven (New York) taxi driver Tommy Angelo through the ranks of a feared crime family during the 1930s.
The original Mafia was released on PC in 2002 – I still own the original but since deciding to forgo a disc drive in my PC I can no longer play it. It was a great game, despite having a few frustrating missions: the infamous race car one being the main culprit.
The graphical overhaul is the most obvious change to Mafia here and the game play/mission structure has stayed the same. Mafia comes from an age when games were linear, story-driven experiences and not open world. Mafia Definitive Edition sticks to tight mission structure of the original and is so well crafted that I didn’t find playing it a chore (apart from the occasional frustrating “lose the cop” missions which crop up from time to time where it seems every police officer in the city is chasing after you).
Mafia Definitive Edition has highlighted how tightly paced the narrative was in the original game. It doesn’t distract you with a multitude of side missions: It’s story driven and unapologetic about that. This remaster also has great voice acting and a likeable main character in Tommy Angelo, even if he is a gangster doing questionable moral things.
The city of Lost Heaven feels like it’s built on a living, breathing city, too. While it’s sparse compared to open-worlds of today, it has little touches that make it feel grounded: Pedestrians yelling abuse if you drive too close, cops that will pull you over and write you a ticket for an infringement. Cars and trucks will flash their headlights if you pass just a little too close to them, your car’s radio reception breaking up as you drive through a tunnel, tail lights reflect on wet roads. Top it off with a wonderful 1930s soundtrack and you’ve got a winner written all over it in my book.
Like the previous two games included in this collection – Mafia 2 and 3 – I played Mafia Definitive Edition on PC and it frankly looks gorgeous, with highly detailed car and character models, and a much more detailed Lost Heaven than the original, especially at night when it’s undeniably beautiful as you drive around the city with neon signs reflecting off the rain-soaked streets and car tail lights glowing in the dim light.
I’m no technical genius but it seems developers Hanger 13 are using some form of software based ray tracing here that looks so good that several times I just stopped mid-drive to just soak in the surroundings. 2K recommends a Core i7-3770 or AMD FX-8350, 8Gb RAM, and an nVidia GeForce GTX 780 or AMD Radeon R9 290X. My i5 8400, 16Gb PNY XLR8 RAM and RX580 GPU handled things just fine, pushing out frame rates between 55 to 60 using the game’s high graphical settings (averaging around 56FPS).
Cut scenes, too, seemed locked at around 60FPS but I did notice drops into the mid-40s when driving through open countryside. It was certainly pushing the RX580 to its limit, that’s for sure, with temperatures sitting around the 70deg mark and it wasn’t uncommon for it to be sitting at 100% utilisation. An update seemed to lift frame rates to the high 60s – even 70s – at some points.
You’ve probably guessed by now that I loved Mafia Definitive Edition, but it’s buggy at times. One character model was missing entirely from a cutscene while the dialogue continued and the “lose the cops” missions are frustrating as hell. In the game’s favour, the infamous car race seemed more forgiving this time than when I played it on the original. Sure, the other drivers are still aggressive but I managed to win it on my second attempt.
A new patch also lets you minimise HUD elements, which is particularly welcome when using free ride mode. Also, the game has a great free ride mode that’s unlocked after you’ve completed a particular mission meaning you can explore the city of Lost Heaven in any vehicle you’ve unlocked: It’s a good way to visit parts of the city that you don’t during some of the story drive missions.
Mafia Definitive Edition is a remaster that has been lavished with love by developer Hanger 13. Now, all I need is someone to remaster EA’s The Godfather or Scarface on the PlayStation 2 and I’ll be happy as Larry.
Smart lighting industry leaderNanoleaf has announced the launch of Shapes Triangles and Mini Triangles, the latest addition to the company’s Shapes line.
The newest innovation from Nanoleaf features shape interoperability with Nanoleaf’s exclusive Connect+ technology, allowing users to connect different lighting shapes together, along with Hexagons, for the first time ever.
“Nanoleaf’s vision for the Shapes Line is to give users the complete design freedom to create their most personal lighting experience yet. Smart lighting is about pushing the boundaries of possibility and that is exactly what we wanted to offer with our Shapes Line,” says Gimmy Chu, CEO and co-founder of Nanoleaf.
Users will now have the modular freedom to create something simple by connecting multiples of one shape, or mix and match different shapes in new ways to create unique lighting mosaics.
The Shapes line also has an improved snap-on mounting system for easier installation and redesign options. With Nanoleaf’s exclusive LayoutDetect Technology and over 16 million colours to choose from, users can paint their homes with organic colourways inspired by beautiful scenes of nature like the Aurora Borealis and brilliant blues of the Mediterranean sea.
Shapes Triangles and Mini Triangles have all of Nanoleaf’s classic features, including Screen Mirror, Rhythm Music Sync and touch-enabled experiences that allow you to transform your space with one single touch. The panels are wifi-controlled with the Nanoleaf App, manually with the physical controller and are also compatible with Google Assistant, Amazon Alexa, Apple HomeKit and Samsung SmartThings.
True to the company’s commitment to make ease of use a top priority, the latest addition to the Shapes line will also include an update to Nanoleaf’s signature app. A new colour picker will help take the RGB experience to the next level and the new redesign will be much more intuitive, enabling users to perform any action without barriers.
Nanoleaf Shapes Line Triangles and Mini Triangles will be available to pre-order from today at Harvey Norman, Noel Leeming, JB Hifi, MightyApe and PB Tech. Kits will range from RRP $119.99 – $349.99.
Look out for a review of Nanoleaf’s Shapes on the site very soon.
Those of you that have combed through the vast amount of user-generated content in PlayStation’s Dreams may have come across Pick Up Quick!, a game launched by Sustainable Coastlines and designed to tackle the problem of litter on New Zealand beaches and encourage players to combat the issue in real life.
Tokahaki Point on Kapiti Island and Tāhunanui Beach in Nelson were recreated in Dreams by North Canterbury school administrator Stacey Bartlett  and is one of first partnerships of its kind with British-based Dreams creator Media Molecule.
The aim of Pick Up Quick! is to hunt and collect as much discarded rubbish as you can within a 45 second time limit then the game compares what you collected with data gathered from real-life rubbish collection from the beaches. By mid-September, it had been played more than 3000 times in more than 50 countries, including the United States, Spain, Scotland, Canada and Singapore.
Studio director at Media Molecule Siobhan Reddy says what Stacey had achieved with Dreams was incredible. “She’s a talented creator. We’ve seen some pretty wonderful creations within Dreams and this is right up there. The community aspect of gameplay that encourages education and understanding is really impressive.”
“We’ve featured it [Pick Up Quick!] on the global Dreams homepage; it shows what’s possible so we’re hoping it encourages people to get creative as well as think about their environmental impact – wherever they are.”
Thanks to PlayStation NZ, I got the chance to talk to Stacey about making the game and to Camden Howitt, co-founder of Sustainable Coastlines and the Litter Intelligence programme.
Stacey, how did you become involved in the project? Had you had any experience with Dreams – or any modeling software or game creation tools – before starting this project?
I was approached by PlayStation New Zealand to create Pick Up Quick!, as they were looking for a New Zealand Dreams creator and Media Molecule recommended me based on my previous Dreams work. I have always enjoyed creating things, although I didn’t have much game development experience until Dreams was released. I was able to partake in the Dreams beta and early access, and I learned a lot about creating games in that time.
How did the design process for the game work? Did you brainstorm about what you wanted, or did it develop fairly naturally?
I was given a brief for the game, and from there I created a design document, as well as some rough concept sketches for how I wanted the game to look. I relied on my plan a lot – I find it easier to write things down first and work from there rather than make things up as I go.
I played the Tahunanui Beach level and I recognised the distinctive seawall straight away. How easy was it to craft the real-world beaches into the game – and how long did it take until you were happy with it?
Tahunanui Beach was fun to create, as I was able to use Google Maps extensively as a reference to cover all the different angles. The challenge came in the nit-picky things – for example the waves. I spent a lot of time tweaking the animation to get it just right! I can’t say for sure how long they took me to create as it’s a bit of a blur now, but it was a fair few hours.
How cool was it to have input from Dreams creator Media Molecule and for them to feature it on their Dreams homepage?
Very cool! I admire Media Molecule a lot, and to see them featuring something I made is quite surreal!
Camden, tell me about how this collaboration first came about? How did Media Molecule become involved?
We worked with PlayStation’s help to get the game off the ground. After approaching Stacey, our incredible creator who was super on board with the concept, PlayStation assisted in the coordination of Media Molecule who helped Stacey along the way with any design questions she had. It’s been such an exciting project for everyone, to have international support for our cause from the likes of Media Molecule was fantastic.
What’s the main aim with Pick Up Quick: What do you hope it will achieve? And are you confident that people will become more litter-aware on our beaches after playing the game or that young players will help their parents become more aware of litter on beaches? We want to help young people to look at the issue in their area, and solve it. Us New Zealanders love our beaches but we’re a bit disconnected in some ways from the fact that we are polluting them. The aim here is to inform young players around what the issues are on our beaches. Despite our “clean and green” image, we’ve got a lot of work to do.
Pick Up Quick! is available through Dreams on the PlayStation 4.