Friday, 21 August 2015

BATTLEFIELD hardline review

The felons and thieves of Battlefield: Hardline are like weak-willed vampires. A quick reveal of a police badge and a yell of "Freeze!" is akin to holding up a holy cross in their faces. They surrender despite being armed with semi-automatic rifles, and protected by bulletproof vests. They surrender despite outnumbering you three to one. On the other hand, if you're slow on the draw with your badge, these offenders become as lethal as any Battlefield opponent you've previously faced. There's no middle ground between their willingness to capitulate and their cold-blooded ruthlessness--and it's hilarious. Looking for more consistently challenging opponents? That's what Hardline's multiplayer is for, with maps and modes that capture Battlefield's distinct combined-arms warfare, despite the shift away from traditional combat-ready zones toward civilian locales.
The episodic structure of Hardline's campaign is hardly unusual. Chapters are framed with recaps and coming-soon montages, reminiscent of games like Alan Wake andSplit/Second, which, incidentally, were released the same day in 2010. To appreciate Hardline's contemporary style, you simply reach the end of any episode, where you're greeted by an image that is apparently inspired by Netflix's streaming service: the next-episode countdown timer. The only feature that's lacking is a 13-episode season; this campaign only has 10, plus a prologue.

A proper criminal takes what isn't his.

Hardline's story is intended to be appreciated as a TV action drama, though its safe, middle-of-the-road appeal makes it more suited for the USA Network than for Netflix Original Programming. This risk-averse narrative is underscored by its protagonist, Nick Mendoza, your standard issue, incorruptible, straight-and-narrow cop. Just because this medium runs the risk of anti-hero burnout doesn't excuse Nick from being "the boring one" in an ensemble cast with more interesting characters. In defense of Hardline's writers, at least Nick's story isn't the generic drug supply chain investigation that the initial chapters lead you to believe.
It would be a mistake to approach Hardline's campaign in the same way as the straightforward single-player modes of Battlefield 3 and Battlefield 4. Hardline's world is a complicated one, where its dangers and hostility encourage tactful stealth while your all-powerful badge presents tempting opportunities to be more out in the open. Staying hidden means you get to work against some of the most oblivious criminals you'll face in a first-person shooter. For every guard who moves back and forth in a patrol path, you have one who stands in one spot forever, making the latter a laughably easy target. All that you need to survive is a basic level of competence in studying their field-of-vision cones on the minimap.

Excuse me, officer, but could you please watch where your hand roams?

Unless you are a Solid Snake savant, you will be spotted from time to time, and the ensuing shootouts are typical of Battlefield campaigns. Enemies move with enough unpredictability to keep you on your toes, but not so erratically as to frustrate you. More importantly, the levels are wide enough that you're subconsciously encouraged to try different routes should you keep dying in any given section. Enemies react to your last known position, so flanking opportunities abound and the results can be thrilling if you manage to outsmart the AI.
Half of the outposts you infiltrate are wired with alarm systems, the kind that call forth reinforcements if you manage to get spotted. If you're not into prolonged shootouts, it's in your best interest to disable these alarms, so not only does Hardline present a dumbed-down version of Metal Gear Solid's radar-based stealth, but it can also be appropriately described as Far Cry 4 with training wheels. It teaches the basics of surveying an area, marking alarm components, and spotting patrolling enemies. Despite the ease, there's an inherent pleasure in clearing an area undetected, just as getting spotted may cause you to kick yourself out of self-imposed frustration.


Who needs sneaking when you can sprint toward enemies in broad daylight and yell "Freeze!" well before they notice you?
Along with the vision cone, a Splinter Cell-inspired detection ring thickens when you remain in a felon's field of vision, with the potential of going full alert. This would add palpable tension if not for the fact that these enemies suffer from a combination of poor eyesight and abysmal reactive abilities. Who needs sneaking when you can sprint toward enemies in broad daylight and yell "Freeze!" well before they notice you? While it's laughably unrealistic, the negative impact isn't too distracting, at least not during the initial playthrough. That's partly because arrests yield the most points toward the campaign's character progression system. Perhaps this reward is a statement by developer Visceral Games that it's more worthwhile to arrest someone than it is to kill him, but even so, the steps it takes to cuff someone without being detected aren't significantly more challenging than surviving a shootout. The only issue with this points system is that it diminishes the value of replaying the campaign. By arresting roughly two out of every three perps, you can easily reach the level cap of 15 long before the final chapter, thereby removing that particular incentive to play through the story again. Retrieving evidence, on the other hand, has multiplayer repercussions, so you may still wish to make a return trip.
For as much as Electronic Arts has flaunted Hardline as "The Fastest Battlefield Ever," the need for speed is not satisfied during the campaign's driving sequences. Whether it's a daring escape or an equally heated pursuit, these chases are largely forgettable despite the spectacle of ramp jumps and dodging rockets fired from vans. The helicopter takedown during the first driving sequence of Battlefield 4 was more stimulating. Ironically, the only pleasing moments behind the wheel are the few periods when you don't have to make a getaway, when the characters in the car are naturally making small talk--trivial but nonetheless engaging chit-chat that you wouldn't hear in the dramatic war scenarios of Battlefield 3 or 4.
By arresting roughly two out of every three perps, you can easily reach the level cap of 15 long before the final chapter.
Speed is instead found in two of Hardline's multiplayer modes, Hotwire and Blood Money. Battlefield vehicles finally get to be more than just death dealers and efficient transports, though Hardline doesn't fully break free from the chains of tradition, including both Conquest and Team Deathmatch in its rotation of modes.
In Hotwire, vehicles function as mobile capture points to the players who manage to get behind the wheel. You can't exploit the system by hiding your stolen car in a garage; points are only awarded when you're traveling at speed. This kind of vehicular keep-away is reminiscent of the standout multiplayer events ofDriver: San Francisco and Watch Dogs. When you're flooring it, these maps can feel small. Unless you're adept at keeping one eye on the road and another on the minimap, you will inevitably break past the maps' boundaries in the first few rounds, often dying before you have the chance to correct your mistake. Once you're used to a given map's general layout, the conservative approach is to drive laps around the map's outer lanes. While this might keep your top speed high, it can make you a predictable target, especially against a rocket-propelled grenade.


Blood Money effectively captures the time urgency depicted in countless robbery films.
Vehicles have been synonymous with Battlefield since its inception, so placing the series in the context of the modern-day heist makes a lot of sense, especially given the ubiquity of getaway vans. An escape vehicle is essential in Blood Money, a mode in which both the cops and robbers are looting an evidence vault of cash at the center of the map. The importance of a getaway vehicle near the vault can't be understated, since a packed van of proper villains with bags of loot can turn the tide in the brief time span of a single cash delivery. It effectively captures the time urgency depicted in countless robbery films. Team members can be meaningful contributors by ignoring the cash and instead focusing on being efficient wheelmen (though anyone with money can also drive the van). If you find yourself yelling, “Get in the van! We gotta go!”, simply embrace the fact that you've become a crime movie cliche. Stakes are higher particularly in maps with helicopters, where deliveries are even quicker provided the competition doesn't have a rocket with your name on it.
This emphasis on teamwork highlights one of the core values of Battlefield, a series that popularized rewarding players for contributions beyond mere kill counts and other individual achievements. Wheelmen who stay close to players making cash deposits are awarded proximity bonuses. It's rare to get this much gratification from being a mere shuttle driver going back and forth between two points. In Hotwire, a packed van can last a long time if you have enough teammates firing back at pursuers and at least one buddy constantly repairing the van while inside of it.

The tension mounts.

What makes Blood Money more than just a race to collect the most money from a neutral vault is the option to raid the opposition's vault as well. This can be a headache for teams that don't know how to multitask and divvy up responsibilities. Imagine hauling a big score to your home base only find yourself at the receiving end of a shotgun blast. As your new sworn enemy collects the cash from your vault (and your corpse) and heads for the getaway van, you're anxiously counting the seconds before respawning. Any reasonable thief wouldn't blame you for taking this personally. A thirst for vengeance plus a set of wheels equals a beeline to the opponent's base for the opportunity of justified retribution.
The influence of e-sports is felt in Hardline's two five-versus-five modes, Crosshair and Rescue. Both offer multiple conditions for victory, which leads to multiple team-driven strategies. You cannot respawn in these two modes, so eliminating the entire team in order to win is certainly an option. Rescue is a well-designed retrieval mode in which the law enforcement side has to save one hostage at the other end of the map. Visceral Games wisely provided two hostages to choose from per round, a design choice that helps spread out the hostage takers, thereby balancing sides in an otherwise lopsided mode. Equally unpredictable is Crosshair, in which the police are tasked with escorting an informant to a rendezvous point. Given that the cops do not have to stick together and the VIP is well armed (with a potent golden gun, no less), Crosshair often turns into an engaging guessing game for those hunting the snitch.


For every guard who moves back and forth in a patrol path, you have one who stands in one spot forever.
These opportunities to outthink enemies strike at the core of these Battlefield modes unique to Hardline and go hand-in-hand with countless opportunities for risk assessment. Camping at the VIP's escape point might be a sneaky tactic in Crosshair, but how does that help when your team in the field is now one man short and respawns aren't allowed? One of the smartest things you can do in Blood Money is driving a mobile spawn point to an inconspicuous spot close to the vault. Novice teams will wonder why your side manages to dominate the match despite the kills piling up equally on both sides. Furthermore, the more teammates you have collecting cash evidence, the faster you're able to amass Benjamins individually. Greed sets in, and you wonder if you can stick around and grab one more handful before stiff opposition arrives to kill you all. Do you have a personal cut-off of five handfuls, or do you max out at ten? Temptation weighs heavily on you in Blood Money.
The simplicity of the campaign's stealth gameplay and the enemies' readiness to submit at the sound of "Freeze!" is comical, though the silliness was not likely Visceral's intention. Even in Battlefield: Hardline, multiplayer competition remains the series' heart and soul. It wasn't that long ago that the ability to eject from a fighter plane and seamlessly continue the battle on foot was one of the most awe-inspiring things you can do in an online shooter. That's why many gravitated to the Battlefield series in the first place, and Hardline isn't short of similar transitional vehicular moments. You can spawn in a chopper, do your part as a gunner to take out valued targets on that ground, and then jump out with a parachute so you can capture a marked car. This isn't Iwo Jima or an Arabian oil field--but it's still pure Battlefield.

Wednesday, 19 August 2015

Resident evil review

As I creep though the familiar-yet-eerie corridors of Resident Evil, I can't help but feel terrified of Crimson Heads. Even 12 years after I first encountered them, it's genuinely frightening every time they spring back to life to try to tear a hole in my esophagus, but they're also a great example of why Resident Evil still holds up. While inconsistent art and persistent clipping problems give away that this is an update of a 1996 survival-horror game, the scares, puzzles, and atmosphere of the creepy corridors of Spencer Mansion are as potent as ever.
Ever since the tweaks made in the 2002 GameCube remake, Resident Evil has been a tense game of resource management. The makeover to the many rooms, puzzles, and monsters give it an edge that significantly surpasses the original game. Every zombie you spend precious ammunition to kill becomes a ticking time bomb that’ll turn into something much more deadly if you don’t dispose of them properly with fire or headshots.
That persistent danger is what makes the frequent backtracking through this labyrinth of locked doors something more interesting than typical busywork. As Resident Evil uses adventure game-style design to send you

Resident Evil

Q1 2015
Turn out the lights. Lock the doors....Live the nightmare in Resident Evil. The award-winning survival horror series has been remastered for this HD release! A secluded mountain community, plagued by a storm of vicious attacks, is completely overrun by something strange...
→ MUCH MORE
 looking for keys and objects that have to be examined closely to solve puzzles, then brought back to the right location, you can feel the stakes rising as the chances of getting mauled or caught without the right resources increase.

Resident Evil is a gauntlet of twisted monsters and hard decisions. Make the wrong choice or take too long on some objectives, and sometimes you’ll pay for it with the death of a comrade or missing out on precious resources. It’s punishing at times, and managing the different inventories of two playable characters forces you to be smart and frugal with regard to what you carry with you. The constant pressure makes it a difficult game to play by design, but one that still manages to be fair.
This HD remastered edition of Resident Evil looks pretty good on the new-gen consoles, thanks to 1080p resolution and some nicely touched up backgrounds and textures, with the PC version offering the highest settings and a nifty option to switch between 60 and 30 frames per second. The biggest improvement across all versions is the ability to scale the experience the way you want to play it. You could choose between 4:3 or 16:9 aspect ratios, and you can swap the original “tank-style” controls for a more modern setup that moves your character in the direction you push the stick.
As an old fan I prefer the original controls, but the new controls help make Resident Evil accessible without sacrificing the tense nature of combat. You still have to stand your ground in order to shoot zombies and deal with the pressure of enemies getting closer. Since most face-offs happen in tight spaces, it’s not super easy to pull a juke move on multiple zombies, even with the new controls. Purists can have it the way the designers originally intended. Newbies can jump in and not completely break the game.
Dimly lit rooms with ambient effects like lightning or floating dust particles are some of the best to look at in this update. However, some backdrops look garish under a lot of light, and there are some noticeably blurry textures and pixelated art. I’m also disappointed that the major clipping problems still haven’t been fixed. Maybe in the next remake, Capcom?

Pillars of enternity Pc game review

Clone or homage? That Pillars of Eternity hews close to the Baldur's Gate/Icewind Dale formula can't be disputed. Its status within the ranks of its predecessors, however, is less obvious, given how slavishly devoted it is to a time when isometric role-playing games dominated players' imaginations. For all its complexities, Pillars of Eternity walks a narrow path already trod by the genre's greats, including the insurmountable Planescape: Torment and Baldur's Gate II, which rightfully remain atop the computer RPG hierarchy.
As much as I can see how blatantly it pokes my nostalgia buttons, I still lost myself in Pillars, which sets itself apart--just enough to tip itself into the "homage" bucket rather than the "clone" one--with its original fantasy universe, as well as with combat details that reduce frustration and keep the tempo moving. It claws at Planescape and Baldur's Gate from beneath their perches, and while it never threatens to replace them, Pillars rises to greatness of its own accord. In those first few hours, however, it relies on nostalgia and familiarity to gain your interest. This isn't a Dungeons & Dragons game, but the influence is clear from the moment of character creation, during which you choose a race, a class, and a backstory for your leading man or lady. Old favorites like Elves and Dwarfs are joined by original races like the Godlike, whose elemental head adornments preclude the wearing of hats and helmets; Familiar professions like barbarian and wizard are supported by the cipher, who builds up magical focus by landing attacks with a standard weapon.

It is a dungeon, and it must be crawled.

The world you step into is equally comfortable, using narrative and artistic variations to remind you that this is not, in fact, a place you have visited before. You and your fellow party members--up to six of you journeying at any given time--may equip pistols or arequebuses in addition to swords, rapiers, crossbows, and the like. The soundtrack reliably recalls composer Michael Hoenig's Baldur's Gate music, but the uberdramatic Carmina Burana-esque chants, and the wild woodwind arpeggios you hear during battle, help to differentiate it. You lead your party from an isometric view, navigating forests and meadows populated by wolves, ogres, and bandits, but you also contend with dark spirits and eerie ancient machines that belong only to Pillars.
The gods, too, are different in this universe, taking such names as Woedica, Berath, and Magran, and they hold great sway over their followers, who live and die by faith. Pillars of Eternity tells a cautionary tale of the gods' influence over their worshipers, planting its thematic seeds when your own character becomes a watcher--that is, an individual who can see and interact with disembodied souls. Watchers may also peer into others' pasts, a skill that reveals some of the game's finest tales, which are trapped within specially marked citizens on your map. These tales are optional and self-contained, gleaned by reaching into bystanders' souls and reliving their memories, but they greatly benefit from developer Obsidian's flowery language. There is the tale of the berry-picker who foils a would-be assassin, who "grabs the figure's wrist and falls onto his back, planting a leg in the center of the figure's chest." A story of a small boy hoping to be a wizard's apprentice describes the wizards pyrotechnics thusly: "The mage finishes his show soon after, a giant silver dragon descending through the crowd and a thousand stars exploding into nothingness." Short, vibrant stories like these paint color into the basic shapes the main plot draws.

Recruiting adventurers from a tavern lets you re-experience the fun of character creation.

The games that spawned Pillars of Eternity were wordy, but Obsidian takes narrative density to new heights, dumping heaps of lore onto the table and overwhelming its personal stories with long histories of war replete with fictional words like "Fonestu" and "ferconyg." The writing is lovely: "How canst I, so lowly and worn, speak words of proper adulation?" cries the author of a prayer so aching in its beauty that you might be convinced it is a Biblical psalm. But it's easy to lose focus when you're drowning in embellishment, particularly when the occasional voiceover highlights the script's need for editing. In Pillars of Eternity, characters speak not like people speak, but how writers write: in lengthy sentences that require the merely adequate voice cast to pause for breath multiple times. Voiceover may also begin before you can take in the descriptive stage directions included in dialogue panels--and for that matter, may not accurately reflect the stage directions themselves. (The writing might refer to an emotional state that the voice acting does not convey, for instance.)
Ultimately, Pillars of Eternity does not benefit from its inconsistent acting, nor do its characters inspire the same kinds of emotional connections that Dragon Age: Origins does. Nevertheless, I was intrigued by many of their stories, and the Grieving Mother's most of all. This cipher's history was as mysterious to her as it was to me, and as I unveiled her past, I was more and more moved by her devotion to the well-being of infants and their mothers. The game's plot heavily involves the birth of children without souls, empty vessels known as hollowborn. Grieving Mother gives the primary quest a personal touch it desperately needs, just as a personable fighter called Eder provides down-home charm in the midst of rising social distrust.


The world you step into is comfortable, using narrative and artistic variations to remind you that this is not, in fact, a place you have visited before.
A number of complicated game systems weave their way in and out of this god-filled world. You align yourself with the game's various factions when navigating choice-filled quests, for instance, irritating bloodthirsty druids when you don't take kindly to their sacrificial ways, or supporting a type of soul magic called animancy in spite of the sanitarium's questionable research methods. Pillars of Eternity can't always keep up with its own systems: I ended the game with several quests showing active even when I'd reached failure states, and in two cases, when the quest line inexplicably failed to update when I'd completed assignments, as if the game could not account for the variables I introduced. Yet there's joy in watching the world pulse as a result of your gravity, as if you are directing the social tides. Pillars wraps with a narrated epilogue that nicely condenses the results of your journey. Your decisions, it turns out, have ramifications beyond the game (and, Pillars implies, on a potential sequel).
It is in battle that Pillars of Eternity most excels. When you lead your party into combat, the game pauses (in default settings, anyway), and you pause-and-unpause your way through various tactical decisions, attacking your foes and commanding magic in Baldur's Gate fashion. In time, the chants you hear when battle begins becomes an emotional call to arms, catalyzing your brain into action, and marshaling your fingers into gear. You click from one party member portrait to the next, assigning targets to your paladin, blessing your companions with your priest, and calling for your druid to shoot a bee swarm from her fingers. You've done this before, but Pillars' pleasant interface keeps your attention on the tactics and minimizes the clicks.



Pillars of Eternity is overstuffed with lore, but it still has some lovely tales to tell.

It's the endurance system that makes Pillars stand apart from its peers. While you must manage each combatant's health, that's a long-term affair; endurance is the more pressing concern once battle is underway. Taking damage reduces the character's endurance levels, and should he run out, he is out of commission until the battle is over. He is not dead, however, presuming he still has health remaining, though the game is over should your entire party run dry. Odd difficulty spikes could turn the old RPGs into laborious cycles of saving and reloading; Pillars of Eternity's endurance layer keeps you moving forward, sending you back to town only when someone needs sleep, or when you run out of camping supplies that allow you to rest along the way. That doesn't mean that Pillars can't be challenging, or that its tactically deficient. In fact, as the game progresses, you earn more ways of delivering raw damage instead of endurance damage, granting you more methods of weakening, disabling, and ultimately downing your most troublesome foes.
You find some of those foes in the ruins beneath Caed Nua, your personal stronghold, which you earn several hours into your adventure. When you're first granted access, the estate is is a ramshackle one, and your keep is notable mainly for its state of disarray. As time passes, however, you may construct more and more improvements, until the library's spiderwebs are dusted away and merchants stand at the ready to sell you their wares. Caed Nua is also a portal to various hands-off activities in which you assign an unused party member to a pending mission, and she returns with a bagful of copper and maybe a few gems or knicknacks. Once you build a barracks, you can even recruit hirelings who defend your keep from hostile wanderers, which is simple enough with the click of a button.
The deep dungeon beneath it notwithstanding, the stronghold doesn't add much in the way of meaningful gameplay; it's presence is primarily cosmetic and atmospheric, and its purpose is to reflect your increasing influence. It is a digital snowglobe, meant to be noticed and appreciated, rather than a vital system. As far as audiovisual details go, however, it's a fine one, and Pillars of Eternity occasionally impresses in that regard. One of my favorite touches is such a small one, but it reveals a certain level of care that I greatly appreciate. You earn various cosmetic pets over time, and at one point, I switched out the miniature wurm I preferred to a happy yellow lab. Eder called out to it as we ventured across Brackenbury, and my heart was warmed, knowing that attention was given to this small but elegant touch.

No matter where you look, you find evil.

Appreciation can turn to distraction when the details don't align, however. This may mean the dialogue misgendering you in a specific conversation, or a missing description when you click on a particular environmental identification icon, even when your party is standing right next to it. Other idiosyncrasies are annoying but easily overlooked, such as the lack of a buyback tab at merchants, which means you have to scroll through all the junk you've unloaded with the seller when browsing his goods. Larger bugs still can crop up, too, however. The biggest one to detract from my playthrough, which caused double-clicking inventory items to remove passive effects, has since been fixed. Labeling problems that cause one-use scrolls to look unavailable even when your lore attribute is well beyond the requirement, however, have not.
It's easy to lose sight of those issues when you're lost in a fantasy and captured by a game's rhythms, however, and Pillars of Eternity effortlessly ensnares you, both by reminding you of the places you've been, and by showing you things you didn't expect. It is not changing the future, but it is repackaging the past in a way that deserves praise while falling into a few old traps--and creating a few of its own--along the way. You can easily dodge these traps, however, and emerge victorious in a world where the gods show you both scorn and favor, and it's up to you to hew your own path.

Monday, 17 August 2015

Victor vran reviews

Victor Vran won’t light any new fires. Well, in a way, fires will occur, but they’re more of a demonic nature. What I mean is that the game doesn’t quite reach the heights of its roleplaying peers. It isn’t completely without its own small surprises, though, such as offering an enjoyable way to craft a custom character, as well as enticing combat and eye-catching visuals. Even though the loot-charged game has plenty of issues, the makings of something good are underneath its foibles.
You are strapped into the worn, blood-caked boots of the eponymous Victor Vran, demon hunter by trade. At the beckoning of his friend and fellow hunter, Victor travels to Zagoravia, a gloomy city fallen into darkness. Demons prowl the streets; skeletons burst out of the ground to attack with slashing blades; gigantic spiders descend from cave ceilings on sinewy threads to lash out with dripping fangs; and powerful vampires rip out your very life essence. But these are garden variety beasts, not enough to surprise veteran action RPG fans. The story isn’t anything special: a dark fantasy theme bolstered by archetypal enemies ready to be slaughtered by the hundreds. Indeed, in Victor’s boots you’ll find yourself traveling along the same well-trodden path of games like Diablo IIIand The Incredible Adventures of Van Helsing. But in its defense, Victor Vran does introduce some elements that, while not exactly breaking the mold, help it stand out at least somewhat from the pack.
For example, there are no traditional classes to speak of in Victor Vran. And, as this is Victor’s story, there are also no options to pick different characters of varying styles, backgrounds, or gender. Instead, the character you create is a meld of outfits, weapons, demon powers, and destiny cards, all of which coalesce into a Victor of your own personal design. Every weapon type, from sword to shotgun or scythe, comes matched with two slowly recharging special abilities. For instance, the shotgun offers a spread or precision shot, while the war hammer sends you flying into the air only to come crashing down in a thunderous shock wave. Two weapons can be equipped at once, increasing the abilities at your disposal. You can also equip up to two demon powers, which offer offensive or defensive skills, such as casting an aura that increases physical damage or calling down a pillar of scorching flame. Using these abilities takes overdrive, which gets recharged by use of special outfits, each granting an armor rating and a new look. Destiny cards are a special element of the customization. You can equip a handful of these cards at a time, each one granting an attribute such as gaining health with every strike, increasing critical attack damage, or creating an icy explosion.
Swapping around all these elements on the fly is fast and easy, allowing you to exchange equipment and abilities to match each situation. External factors often play a role in what “class” you choose to run. If I was playing solo, I built a character with high defense, equipping cards that gave me the ability to absorb health, and an increased overdrive recharge rate. But if I was in a party, I would equip the sanguine aura, which healed myself and nearby allies while keeping up my defense. Equip a hammer with this build, and just like that, I had a makeshift paladin. Or I could go in the reverse direction, upping my movement speed and long-range attack damage, and equipping a shotgun to create an agile gunslinger.
Though enjoyable, the customization does come with a caveat. The lack of disparate classes discourages replayability, which causes the game to hit its plateau at around 15 hours. You can keep trudging ever onwards, of course, searching for even better loot or completing many of the in-stage challenges that offer a deluge of rewards. There is also the unlockable Bottomless Pit arena, which sets you against endless waves of powerful enemies for a chance at rare loot. But I found these distractions to be merely that: distractions that were not compelling enough to pique interest for very long.

Keep a sharp eye out for rare and powerful Legendary weapons; you'll need them.
Let’s see how these vampires like the lightning gun.

The exciting, fast-paced combat is easily the game’s best feature. Battles crackle with energy as you fight mobs of enemies. Demonic powers clash, creating a lightshow of glowing neon colors as ice, electricity, and fire dance across the field. Combat is hard-hitting and immensely satisfying, and watching as a large group of creaking skeletons explode into chunks of bone from a shotgun blast or well-placed bomb never gets old. The battle--and really, the game as a whole--are even better when bringing in up to three allies who add their own particular abilities, creating a maelstrom of intense energy. The difficulty rises naturally as you progress, although you can activate up to five hexes that increase the challenge and reward you in additional experience points and items.
Unfortunately, the enjoyment combat brings doesn’t completely escape unscathed. Victor Vran’s hectic battles can get confusing, especially since many of your foes wield the same demonic powers as you and your allies. Due to this, it often becomes difficult to differentiate between the powers of friends and enemies until you get smacked by a damaging blast that chips your life away. Also, when the combat gets loud and heavy, it’s not unusual to notice lag spikes, causing allies and enemies alike to zip around on the screen for a second or two before settling down. The boss fights are generally forgettable. At one point in the story, you will fight and defeat a large spider boss, only to fight another spider boss not long after--this second one made even more boring due to its predictable attack and movement pattern. Worst of all, however, is the weight of tedium that increases the longer you play. The severe lack of enemy variety hurts longevity. There are only so many enemy variants, and most of the time stronger opponents are merely palette swaps of the same enemy type.
The option to roll and jump in Victor Vran does make the combat more nimble and faster-paced than that of its RPG cousins. Rolling allows you to quickly dodge oncoming attacks and move around a skirmish quickly. Jumping is a great addition, allowing you to hop onto higher platforms and rain hellfire onto enemies below. It also allows you to experience brief instances of platform jumping when the path ahead of you has gaps to cross. You can even wall-jump, which grants you access to even higher ledges or hidden areas with secret treasure to pilfer. The jumping isn’t perfect, however, as you’re unable to go from a higher platform to a lower one without having to jump down, which feels awkward.
Also, there are areas with walls you can wall-jump over (though this doesn’t make sense in buildings or shafts where a ceiling would prevent such a maneuver). That is, if the game’s controls even allow you to make the jump. By default, Victor Vran employs a control scheme that features movement with directional keys, as opposed to the mouse. It’s a strange choice for this type of game, and I couldn’t get comfortable with the limited scope of movement. You can choose the mouse-only control scheme, used by most games of this genre, but it’s absolutely horrid. Movement is broken, causing you to fight to get to where you want to go. Trying to jump using the mouse is nearly impossible, as you must click as close to the edge as possible before hitting the appropriate key. Most of the time, Victor will leap straight up in the air while sometimes performing a little twirl, before landing and making you try again.

Spiders, why did it have to be spiders?

Typically in games of this type, holding down the left mouse button causes your character will move in that direction. But here, if you move your mouse past a nearby wall or ledge, Victor will immediately start following a path directly to where your mouse is pointed, instead of moving in that direction. Confused regarding your intent, he stutters in a circle--a move that becomes more aggravating the longer you play. You can’t even pass behind a pillar or under a stone archway without the pathfinding getting befuddled and causing you to briefly pause in place. On top of this, Victor also frequently gets stuck on walls and objects. The directional key movement is better, but I found using the controller to be the best solution, as it removes any major problems associated with the other two options. The auto-aim also could use some tweaking of its threat detection, as more than once you’ll find yourself blasting apart boxes or couches instead of a demon just off to the side.
Killing heaps of Victor Vran monsters is only half the fun; the rest is stuffing your pockets with as much loot as possible. You travel throughout Zagoravia, greedily scooping up dropped goods, including weapons, gold, destiny cards, outfits, and dyes, which add a splash of color to your look. Items are picked up simply by walking over them. And with your enormous personal inventory and the pace of the game constantly pushing you onward, you will rarely stop for long as you move onto the next set of enemies in hungry anticipation of even more spoils. Most items you stash away are junk, but they’re never completely useless. Castle Zagore, the game’s central hub where you stage your fight against the supernatural, includes shops to sell old loot or buy something new, as well as a storage chest to store excess items. Then, when you reach level 16, you gain access to the transmutation machine. With it, you can combine unwanted items for the chance to create something better or to improve the stats of gear you want to keep. When it comes to loot, those are your only options, as you can’t trade with your fellow players. So if your friend happens to pick up a weapon or destiny card you need--well, that’s tough luck. You have to find or purchase your own gear.
Victor Vran’s steampunk-inspired world is very detailed, featuring destructible objects that break or shatter across the ground as combat heats up. Leaves fall gently from trees, crystal formations glow with a soft light in caves, and green mists float gently over desecrated cemetery grounds. The city streets are lined with houses, as well as shops with goods you can see through windows, and tall buildings. Most tall structures and obstacles crumble out of view when the camera draws close, allowing you to peer through. However, sometimes those objects don’t melt away, obstructing the screen. You can swing the camera around for a better view, but needing to reposition it at every other fight becomes irritating fast. Being attacked while fidgeting with the camera is another annoying reality you’ll sometimes have to face.

Choose your next quest and find that loot!

Character development is close to nil, but the vocal work is actually not bad at all. Victor himself is voiced by the gravelly, monotone Doug Cockle, instantly recognizable as the man behind Geralt of The Witcher fame. The most standout character, however, is almost impossible to ignore. Throughout the story, you hear the voice of a mysterious man who calls himself, well, “the voice,” who on occasion talks to you telepathically. His helpfulness, however, is debatable. He chimes in from time to time, either to play a quick prank on Victor or insult his hat--though some of his dialogue can be clunky at times, and his sense of humor is a tad aged. I mean, how much longer must we endure that damn “arrow to the knee” joke?
This odd narrator does add some humor to Victor Vran, but it’s not like the game is completely devoid of playfulness. It slips in plenty of references ranging from Skyrim to The Ghostbusters. On occasion, you’ll also run into a horde of dancing skeletons that send out a damaging aura that forces you to dance along. It is funny, though I would have found it more amusing if the choreography wasn't based on the "Gangnam Style" dance. Oh, and let’s not forget about the legendary hand mortar that fires exploding chickens. Because that’s a thing you can actually get.
There are problems with just about every aspect of Victor Vran. The issues range from small to large, from the glitches to frequent crashes and audio cutouts. Still, there’s a lot to enjoy about it. Not only is it aesthetically pleasing, but the entertaining combat, above all else, is what would get me to return and burn away more hours hunting the creatures of the night. The lack of content and variety is a concern, though this may be alleviated with the planned free DLC.