Editor's note: As of November 13 at 6 am PT, the Pokemon Go-compatible features in the Let's Go games are not yet available. We will update this review in progress when those features, which include transferring Pokemon from Go to Let's Go, are live and we've had a chance to test them.
Pokemon Let's Go Pikachu and Let's Go Eevee are gorgeous--albeit lean--reimaginings of one of the series' most beloved adventures. While some features fans have come to expect are missing--like abilities, breeding, and held items--Let's Go has an admirable amount of depth for a game aimed at a younger audience that has never played a Pokemon RPG. Both games may not have the same lasting appeal as previous entries, but revisiting Kanto and catching some of the series' most iconic creatures makes the journey worthwhile.
Pokemon Let's Go Pikachu and Let's Go Eevee take you back to Kanto, the home of Pokemon Red, Blue, and Yellow. Not much has changed structurally, but the previously 8-bit region has been realized in vibrant detail. Revisiting some of the series' most memorable locations like Viridian Forest and Saffron City on a big screen is an absolute joy. Areas that were once composed of lines and simple shapes are now colorful forests and detailed cities. Pokemon both big and small roam the wilds, giving personality to the region--you can watch a tiny Horsea speed through the waves or a massive Onix slink through a dark cave. The catchy original soundtrack has also been remastered, and it sounds better than ever.
Those familiar with the originals or their remakes, FireRed and LeafGreen, should have no trouble navigating the world. After you're introduced to your partner Pokemon (Pikachu or Eevee depending on the version you choose) you set out on an adventure to collect Gym badges, defeat the Elite Four, and put an end to Team Rocket. While there are a few surprises, the layout of the region and your progression through it is nearly identical to the originals. Fortunately, Let’s Go sheds some of Red, Blue, and Yellow's more archaic designs. For example, HMs--"hidden moves" that allowed you to get past certain obstacles--are replaced with "Secret Techniques" that fulfill the same purpose without taking up one of a Pokemon's move slots. As a result, you can focus on team composition and complementary move sets instead of figuring out how to divvy up HMs between your party Pokemon.
Let's Go also does a much better job at guiding you through the world and story. After you made your way through Rock Tunnel in the originals, you had little direction through Lavender, Celadon, Fuschia, and Saffron and could do certain Gym battles and events out of order. It was easy to miss key items and wind up fighting Pokemon much stronger than your own, which led to frustrating backtracking with little idea of what to do next. While you still can complete certain beats out of order, Let's Go ensures you don't miss anything crucial. For example, after you beat Erika in Celadon City, a character gives you a key item that will let you enter Saffron City. Previously, you had to buy a drink from an inconspicuous vending machine on the roof of the department store and give it to a city guard, and if you failed to do so, you wouldn't be able to fight the sixth Gym Leader.
One of Let's Go's most fundamental changes is how you catch Pokemon. Instead of the random encounters and wild Pokemon battles of previous mainline games, Let's Go adopts Pokemon Go's catching mechanics. Pokemon roam the wilds in real time, and you have to walk into one to initiate catching it. Then, rather than battling it to whittle down its health, you just have to throw a Poke Ball at it, and the timing and accuracy of your throw increases your chances of a successful catch.
The new catching mechanics are a welcome change to the formula that breaks up the pace of traditional trainer and Gym battles. Although catching wild Pokemon doesn’t require as much strategy as it did before, the act of catching is far more engaging. You don't need to worry about accidentally defeating and therefore failing to catch a rare or one-time Pokemon, and if there's a Pokemon you don't want to catch, you simply avoid it. The absence of random encounters also makes traversing caves a lot less tedious. Yes, that means you can even avoid Zubats.
Let's Go encourages you to catch Pokemon more so than any other mainline Pokemon game, and it's better for it. Sure, catching every single species has always been the overarching goal, but I've never felt more inclined to complete my Pokedex. Catching Pokemon is the most efficient way to level up; with each successful catch your entire team is awarded a generous dose of experience. This alleviates the need to spend significant amounts of time grinding and makes it easier to experiment with different party compositions.
Let's Go also introduces Catch Combos, which occur when you catch the same species of Pokemon multiple times in a row. As you build your combo, your chances of running into rare and powerful Pokemon increase. You can even find Pokemon you typically wouldn't find in the wild. Catching repeat Pokemon is both useful and satisfying--it's great knowing that luck is not the only factor involved when trying to catch a rare Pokemon, and it's very hard to stop when you're deep into a combo, knowing something good could spawn.
However, the new catching mechanics don't come without issues. The Joy-Con motion controls are inaccurate at best and unpredictable at worst. Over the course of my journey, I never found a reliable way to throw a Poke Ball to the right or left. In most cases, I would just wait for the wild Pokemon to return to the center of the screen before throwing a Poke Ball, and even then, the ball wouldn't always go where I wanted it to.
The Poke Ball Plus controller, an optional Poke Ball-shaped accessory, is a bit more precise, but because there are only two physical buttons on the controller, navigating menus and interacting with the world can be a pain. As novel as it is to see Kanto on a big screen, handheld mode is the best way to catch wild Pokemon. You can either use the Switch's gyroscope sensor or the left control stick to line up a throw. It's far more precise than the other methods, but you do have to consider the Pokemon’s size and distance.
Despite changes that make the Pokemon experience more accessible than ever, Let's Go is surprisingly deep. It does an excellent job at easing new players into some of the more complex mechanics without being bogged down by tutorials. Each Pokemon still has six base stats and one of 25 natures, and the game seamlessly presents all that information to you. For example, whenever you switch Pokemon during a battle, you are shown its stats. You can get through the entire game without paying attention to a Pokemon's stats, but it's helpful to see that information presented clearly and often. Early on, you even get the ability to "judge" a Pokemon, which lets you see its base stats (also called IVs). While this may not be super useful for beginners, it's presented in a way that's easy to understand and it gives veterans the opportunity to check for Pokemon with good stats early on.
Unfortunately, those invested in the competitive side won't have as much to sink their teeth into. The absence of abilities, held items, and breeding limits the potential for highly competitive play. You can farm for Pokemon with higher stats through the aforementioned catch combos, but even if you do manage to catch a Pokemon with the stats you want, you won't have much to do with it.
If you do decide to build a competitive team, the online features are limited. You can trade and battle, and that's about it. There are no ranked battles, the Global Trade System is nonexistent, and there is no Wonder Trading. The barebones trading features may be disappointing at first, but given the smaller roster of Pokemon, I never felt that I needed the GTS or Wonder Trade to complete the Pokedex. However, the inability to matchmake and battle with other trainers online is a bit of a letdown.
Despite changes that make the Pokemon experience more accessible than ever, Let's Go is surprisingly deep.
Without the competitive mechanics fans are accustomed to and the limited Pokedex, it can be difficult to come back to Let's Go after the credits roll. While there certainly are reasons to revisit Kanto once you have finished the game, like completing the Pokedex and grinding for Pokemon with perfect stats, the pull isn't quite as strong. There aren't many surprises and what's there isn't all that enticing. The last thing I need to try is the Pokemon Go connectivity, which isn't available as of this writing.
Despite these concessions, Pokemon Let's Go Pikachu and Let's Go Eevee are delightful reimaginings of the series' origins and a deep RPG in their own right. It makes a lot of smart improvements on the original Red, Blue and Yellow while holding on to what made them so special in the first place. Fans of the series might be let down by the lack of features they've come to expect, but Let's Go Pikachu and Let's Go Eevee take the Pokemon formula in some exciting new directions.
Timed to coincide with the 100th anniversary of the armistice treaty signed on November 11, 1918 that ended World War I, 11-11: Memories Retold follows the stories of two men swept up in terrible events (mostly) beyond their control over the course of two years on the Western Front. A collaboration between Aardman, the animation studio best known for the Wallace & Gromit TV series and films, and DigixArt, a fledgling French game development team, it's a visually striking adventure game that foregrounds its occasionally moving, occasionally ludicrous narrative atop a layer of light puzzling and collectible gathering.
The intertwining story sees you play as both Harry (voiced by Elijah Wood), a young photographer from Canada who finds himself in France shooting film--not foe--for propaganda purposes at the invitation of a British major, and Kurt (Sebastian Koch), an older German electrical engineer who enlists when he receives word that his son's unit has gone missing. Their tales are connected, of course, and at key moments in each chapter your control will switch from Harry to Kurt and back again, often multiple times. Later, there are even scenes in which you are free to switch between them, and a third character, whenever you wish.
Each man's journey plays out across a France (and bits of Germany and Canada) that is rendered like an oil-on-canvas painting, the thick individual brush strokes and contrasting colours an obvious nod to the Impressionist style that was still en vogue in the early 20th century. It feels like each scene is being painted in real-time as you walk around, as the brush strokes flicker in a manner suggesting an artist constantly reapplying paint on canvas. From the crackling ember reds of a battlefield to the dappled whites and yellows of an idyllic farmstead, the unique art direction succeeds in setting the emotional tone of each scene. The overall effect is quite startling and very often beautiful.
What you're actually doing inside each scene is rather more conventional. Harry and Kurt walk--and occasionally crouch or run--around a series of mostly small locations, talking to people and picking up dozens of collectibles. Helpfully, you always have a specific objective to accomplish; in Harry's case it's typically whatever task Major Barrett has ordered him to perform while Kurt's pursuit of his son's whereabouts is often derailed by the whims of his own superiors. Regardless, most objectives are easily completed by simply walking to the desired destination, interacting with a certain object or talking to the right person. Sometimes there's even a box to push out of the way or a couple of levers and dials to fiddle with, but absolutely none of it is in any way taxing.
This is for the best, perhaps. At least, it means the story takes center stage and you're not in any danger of getting stuck on a puzzle and finding yourself unable to see that story to its conclusion. More than that, though, it also works because the story 11-11 tells is genuinely good. Sure, it's a romanticised version of World War I that doesn't really confront the senseless brutality of trench warfare or the sheer scale of human loss and suffering that resulted--there's but one scene where you don a gas mask, for example, and when Harry is finally called upon to go "over the top" he's more focused on getting a few good pictures than whether he'll survive the mad dash into no man's land. But the story works because Harry and Kurt are convincing characters whose flaws and motivations remain all too real no matter what the war throws at them. The plot may contrive to see the lives of the two men intersect in unlikely fashion, but they themselves are utterly believable and empathetic until the very end.
Further, the story works because you are given choices to make at critical junctures. Each choice feels weighty and full of consequence. I didn't replay scenes to see how things could have played out differently--and perhaps the rippling effects are minimal--but I didn't want to. What matters is that the import of the decisions I made was felt in the moment I made them, and ultimately I was more than satisfied with how my version of the story ended.
Where the story undermines itself, however, is in its pacing. Or, to be more accurate, in how certain pieces of the story are locked behind collectibles, the search for which sees you get bogged down in scouring every area for hidden documents and items rather than keeping the plot ticking over. Not to mention that it's quite silly when Kurt's ordered to quickly fix a radio during an attack while you're thinking, “Hang on, let me just check if there's anything I've missed down the other end of this trench….” You can ignore the collectibles, but you'll also be missing out on story content.
When it comes together, whether in moments of high drama and urgent choices or in the quiet interludes that follow, 11-11 draws you deep into the lives of these men. When it misses the mark, whether through an implausible coincidence, a throwaway puzzle or tedious collectible, it can push you away and cause the surrounding narrative beats to fall flat. It's uneven, yes, but there's undoubtedly more good than bad, and there are poignant scenes, tense moments and breathtaking images that will resonate long after the end credits have rolled.
As part of the XO18 livestream presentation, Capcom showed off a new mode for Devil May Cry 5, as well as a few new Devil Breakers.
The new mode, known as The Void, allows players to practice combos at their leisure. Unlike other "waiting areas" in games like DmC: Devil May Cry and Bayonetta, this is a dedicated mode and lets you modify a number of parameters in order to cook up some seriously creative combos and share them online, similar to the training modes in fighting games. You can experiment with different moves, display the amount of damage different combos deal, and use whatever Devil Breakers you want, and give them infinite uses.
Speaking of Devil Breakers, we got a look at a few new ones, including a few deluxe ones. The Gerbera GP01 sacrifices the original's ability to repel projectiles, but increased mobility options, allowing you to instantly dash up or down, depending on your position. The Past Breaker, which is a metallic arm with a fork on its business end, allows you to cycle your other Devil Breakers. Sweet Surrender allows you to heal three bars of health if you can pull off its break gauge move. Finally, we got to see the previously-announced Mega Buster allows you to shoot energy bullets like the Blue Bomber, and also changes most of Nero's animations - his dodge, for example, turns into a Mega Man's iconic slide. Catch all of these new tools in action in the extended trailer below.
It's difficult to define which exact genre Cellar Door Games' Full Metal Furies belongs to. On a cursory glance, the co-op game appears to be no more than a well-structured brawler, and you'd be forgiven if you completed its 15-hour campaign thinking that's all it is. However, if you dig a little deeper into the optional hidden content, there's another five to seven hours of complex, multi-layered riddles to find. There's a fascinating meta narrative interwoven into Full Metal Furies' puzzles, and journeying to its end makes for a satisfying cooperative experience.
In Full Metal Furies, each player takes control of one of four adventurers. If played solo, the game puts you in control of two and you can switch between them at will. There's Triss, the leader whose penchant for sassily drinking tea often leads to hilarious spit-takes; Meg, the lazy, nearsighted sniper with a poor sense of direction; Erin, the brainy tinkerer who desperately wants to be cool; and Alex, the air-headed soldier who wholeheartedly believes bashing in the skulls of the arrogant men she and her friends run into should be both a first and last resort to solving all their problems.
Collectively known as the Furies, the four girls are on a quest to cross the monster-infested wasteland that humanity once called its home in order to find and destroy god-like entities known as the Titans. The sons and daughters of the mad tyrant Cronus, each of the four Titans desires a better world, and their conflicting ideologies as to how to bring about that dream have led to a war that threatens to destroy all life.
This seemingly straightforward battle between good and evil hides a surprising number of twists and turns. With every step forward, the Furies notice more signs that their efforts might be actually causing more problems than they're solving. But the team keeps pushing onwards, hoping that in the long run, their efforts will have a positive effect on the world. The narrative plays out in a series of sprite-based conversations, both during and in between combat missions. For the most part, these are tongue-in-cheek skits--some even throw in the occasional pun or reference to the fact that this is all a video game--but a few also focus on Triss' growth. Despite putting on airs, she struggles with the responsibilities of leadership and the morality of the Furies' quest. Unfortunately, her teammates don't receive the same treatment, and are fairly two-dimensional throughout the main campaign.
In combat, each of the four ladies handle and attack in their own way. For example, Meg can use a grappling hook to maneuver out of danger and snipe opponents from afar, while Triss can defend her teammates and herself with a near indestructible shield and also clear out enemies by screaming at the top of her lungs. Each of the girls fulfills a unique role seen in many other team-based brawlers--with Triss as the tank, Alex as the fighter, Meg as the archer/sniper, and Erin as the summoner.
Full Metal Furies supports couch co-op and online multiplayer. As of publishing this review, the Switch servers are fairly empty, but we did manage to test online play using two copies of the game and can confirm it works relatively smoothly. There were some brief stutters at the start of a few levels, but none of them negatively impacted gameplay. However, my game did completely crash at one point.
It's unfortunate the servers are so empty as playing with an incomplete team puts you at an immediate disadvantage. So unless you recruit some friends for couch co-op, you're in for a fairly tough time. Even Erin and Meg are crucial, as Triss and Alex rely on their teammates' supportive attacks to give them both time to recharge their special abilities. Button-mashing with the two melee fighters can be an effective strategy early on, but it will only get your team so far. Mid- and late-game enemies and bosses require a certain degree of tactical assessment, and chaining together each character's abilities is the ideal path to success. For example, when confronted with a mob of jumping werewolves that are too quick for the slower fighters, your team might rely on Triss' area-of-effect shout to stun a few, use Alex's dive bomb jump to launch the weakened wolves into the air, and then have Meg shoot their leader out of the sky. All the while, Erin's portable turret and her mid-range pistol can finish off the members of the pack not caught up in the combo.
Combat in Full Metal Furies is constantly evolving, with new enemy types appearing almost every third level. It keeps the game from descending into a grindfest of similar foes, while leaving room for you to experiment with new strategies on enemies you've encountered before. Sections of certain levels can get brutal, resulting in dozens of game over screens. But checkpoints are numerous, cutscenes you've seen are skippable, and it's typically very clear which careless mistake resulted in the failed mission. If anything, the game's combat seems content to really only punish those who play with less than four people, which presents an interesting way of making the game easier or more difficult for yourself at any point in the game. If things are still too hard with a full team of four, or you can't scrounge up a full team but don't want to make the game more difficult, there's an easier Story Mode too.
Despite being labeled as a brawler, only about half of Full Metal Furies is regulated to combat. The other half is a series of interlacing puzzles and riddles, and it's here where the co-op nature of Full Metal Furies truly shines.
None of the puzzles or riddles in Full Metal Furies are obvious to find, and the game doesn't teach you how to solve them either. It's completely dependent on the player to be curious enough to wonder if the symbol-covered stones hidden throughout about two dozen of the game's levels are more than meets the eye. Finding the stones themselves is a challenge, and once discovered, each stone's riddle is typically even tricker to figure out.
Eventually, the main campaign reveals that solving these riddles is necessary for gaining access to the game's final area and true ending. The riddles grow more meta as you discover additional stones, some even requiring you to do things outside of the main game, such as watching a YouTube video for a clue or adjusting the game's accessibility settings to perceive colors and sound in a new way. Teaming up with friends to overcome a challenging boss fight is fun, but the most satisfying moments in Full Metal Furies are when you have a eureka moment and are able to figure out the next piece of the overarching mystery. Several of the solutions to certain puzzles and riddles rely on a particular Furies' unique skill as well--some answers even require multiple Furies or the full roster of four--so every player gets to enjoy being a part of the process of figuring something out at some point. Completing this game is very much a team effort, and it successfully makes sure no single player feels left out or useless.
So yes, Full Metal Furies is primarily a brawler, and a good one that promotes teamwork instead of button-mashing. But it's also a very hard puzzle game, one that challenges you to perceive each level, as well as the game's mechanics and characters, in new ways. It's a shame most of the Furies are so two-dimensional throughout the main campaign--especially Meg, who's arguably the most lovable of the bunch--but the story is consistently witty with its humor and an absolute joy to watch unfold. And while coming up with strategies to handle new enemies and piecing together the clues for each puzzle is fairly difficult at times, it's a rewarding and deeply satisfying challenge.
With its original date, Battlefield V would have already been out by now, but EA and DICE decided to hold the game back a few weeks for polish. That means we're getting the launch trailer for the game now as we wait for DICE's newest foray into World War II. You can check out the launch trailer, in which the action comes fast and frantic, below.
The trailer is mostly made up of CG with bits of interspersed game footage and outlet accolades for the game. It does give you a decent idea for what you'll be doing in the new game, with seemingly a pretty heavy focus on the multiplayer aspects.
Without context, the premise of Tetris Effect won't stop you in your tracks. It's Tetris at heart, and its familiar playfield is presented against fantasy backdrops with songs and sound effects that react to your actions. What that basic description doesn't tell you is how powerful the combination of conducting tetrominos and music at the same time can be. Give Tetris Effect your complete, undivided attention, and you'll form a sympathetic bond to the notes and puzzle pieces alike and lose yourself in the flurry of color and energy that permeates every stage. It's a lofty promise, to be sure, but there's no other way to describe the impact Tetris Effect has once it finally clicks.
Though there are a handful of modes--no sign of multiplayer, sadly--with basic twists on the standard formula that are worth exploring at your leisure, the bulk of the Tetris Effect experience takes place in Journey Mode. It's an aptly named trip that will take you to recognizable locations like the moon, but more often to abstract settings that are best defined by a list of adjectives. These dreamscapes can be breezy, electric, stressful, haunting, heavenly, or crunchy, to name a few of the standout qualities. The music in each stage may not always be a predictable pairing, but just because you didn't see a particular harmony coming doesn't mean it can't work.
Over time, you will notice that the game not only hooks you with music, but that it gets you hooked on songs that may not traditionally fit within your musical preferences. Odds are you don't listen to chanting in foreign languages nor the complicated beats of the tabla on a daily basis, but Tetris Effect makes these uncommon sounds enticing. It's hard to say what these songs would feel like without first experiencing them during gameplay, but when you're enraptured in their rhythms whilst simultaneously flipping and reconfiguring puzzle pieces in a race against time, they become relentlessly catchy, sticking with you long after you stop playing.
Because Tetris Effect is so infectious, it's very difficult to put down once you fall into its rhythm. Tetris has proven itself to be a highly effective game, and one that has an ever-rising skill ceiling that allows it to draw in players who have decades of experience under their belts. Journey mode will ramp up, but in keeping with the sense of going on an adventure, it will also slump down, though rarely for long. The non-linear flow is an important part of the experience that charges you with anticipation and rewards you with relief, and is an unexpected benefit to the standard flow of a session of Tetris.
The shift in tone and pace is often determined by your progress within a stage. Most require you to clear 36 lines total (on normal difficulty), with milestones along the way that dictate the present rhythm. You do, however, have a tool at your disposal that is designed explicitly to pump the brakes and give you a chance to salvage a potentially disastrous situation or to build up a high scoring combo. The Zone ability can be triggered with a single button press at any time that you've got some charge in the relevant meter, which is fueled a quarter of the way every time you clear eight lines.
With Zone activated, pieces hover rather than fall, and you get to take your time--as allotted by the meter--placing them in your stack. Clear a line, and it will shift to the bottom of the stack, ready to be cleared automatically when Zone disengages. Because lines persist even when "cleared" while in Zone, you can make combos that go beyond the standard four-line Tetris clear if you're skilled enough. They won't count towards your line count for the level, but they will give you extra scoring opportunities that wouldn't otherwise be possible.
The new Zone mechanic adds an interesting layer of strategy for new and veteran players alike, but more than this new mechanic, it's the quasi-spiritual bond that forms between you and the game that defines Tetris Effect. Even though you don't need a PlayStation VR headset to get a taste, there's no question that Tetris Effect is best played in VR with headphones turned up loud.
With your vision and hearing cut off from the outside world, you fade into the game. You feel things that you'd never imagine a game of Tetris could make you feel. Don't be surprised if you catch yourself bursting with joy, or on the verge of tears, all because the confluence of gameplay and sensory stimulation works so well. There is no extra physical movement asked of you--the opposite of almost every other VR game in recent memory. Tetris Effect wants your mind, rather than your body, and even though we all dream of one day being completely immersed in a high-end VR game. In truth, Tetris Effect achieves the base goal--belief in your connection to the game.
Tetris Effect is a transformative game that will more than likely be overlooked by people who think it's "just Tetris." Well, it is and it isn't. Anyone who knows Tetris can pick up Tetris Effect and begin playing right away. The fundamentals remain the same; it is a time-tested formula that continues to work, after all. But Tetris is just the beginning of Tetris Effect. It provides the foundation for a complex emotional journey that defies expectations. Its a vector for meditation. It's a driving force that pushes you beyond your presumed limits. It is the definition of awesome, and if you have an open heart and an open mind, you owe it to yourself to take the plunge and see why it's anything but "just Tetris."
Many stories like to use religion as a narrative device, and the name would suggest, Sinner: Sacrifice for Redemption takes a crack at it too, offering a refreshingly pared-down experience of Gothic religious horror. But while the game's boss rush structure possesses some clever mechanical twists, its more superficial elements don’t quite have the same shine.
Enter Adam, the titular protagonist, not-so-subtly named after the world's first sinner. Instead of an apple from a tree, you've clearly been far naughtier than your namesake. Here, the afterlife has dealt you a rather unfortunate hand; defeat the manifestations of all seven mortal sins, and you just might get a happy ending. However, that's definitely a lot harder than it actually sounds, because the bosses are all about 20 feet tall, incredibly strong, and they hate your guts, and you have to give something up before you fight each one. This is the pivotal "sacrifice" part of the equation.
Sinner is about going from boss to boss and beating them into the ground before they can do the same to you. It clearly takes inspiration from the Dark Souls lineage of games, both conceptually and mechanically. Each adversary you face has succumbed to a cardinal sin, whether it's by lack of action or by a conscious choice to take a particularly unsavory behavior too far. As a result, the bosses are fascinatingly warped beyond human recognition--we're talking about headless noblewomen, hunchbacked sorcerers, and walking fortresses that are more metal than man.
Mechanically, Sinner features animation locking, that has you commit to your attacks, and tough-as-nails enemies. You're given a handful of javelins, health potions, and melee weapon options that you can swap between on the fly before the game throws you at the first boss. All your enemies have unique attack patterns that you'll have to memorize if you want to win, and some are more telegraphed than others, which leads to a good variety of challenges across the board. It's a strong, if familiar, set of systems, but Sinner's biggest feature lies in its sacrifice mechanic.
Inventively, the game puts you in the unique predicament of getting weaker as you progress. Your 'sacrifice' could be a portion of your HP, some of your weapon attack damage, or even resources. You lose that thing, and you get a little bit weaker each time you go toe-to-toe with a malevolent foe. It's an innovative spin and its focus on the core basics means Sinner feels like an evolution of the genre rather than a derivative work. Sinner also includes a new game plus mode, which adds some exciting spice in the form of more challenging boss gauntlets where you fight them in groups along with broader weapon customization options.
Each enemy is introduced by way of an epitaph and a scene which tells you how they ended up in that sorry state. The scenes are compelling on their own, and despite the sparse monologues which don’t give you a whole lot to go on other than your own imagination, the villainous Victorian-inspired visuals and the individually distinct boss arenas also provide just enough environmental storytelling to pique your curiosity. While you may still be slightly in the dark about what you've truly accomplished for your character in the atonement department when the credits roll, the road to redemption is still a scenic one.
However, Sinner: Sacrifice for Redemption suffers from some problems with repetition. After about the sixth hour, things start to blend together a little. Each boss has its own unique orchestral accompaniment, which are enjoyable in their own right, but they're all based on the same recipe of overdramatic string sections and choral vocals. Each boss also harnesses a theme or an element of its own, but the arenas don't necessarily hold up to scrutiny over long periods of time; the surrounding textures in the background suffer slightly from a lack of fine detail, and there's only so much crumbly ruined stonework that you can stomach.
It's also a little disappointing, though not completely surprising, to see the game run worse on Switch than on other platforms. There were instances of framerate lag turned deadly because of the pace of gameplay and also an instance of blinding light effects for a particular boss in a dimly-lit environment that were a hindrance. On the PlayStation 4 and PC versions, the framerate lag is almost undetectable.
Sinner: Sacrifice for Redemption is an ambitious game that brings something new to an increasingly popular style of action game. While it seems like it's missing a lick of paint to make sure that its aesthetics are as strong as its mechanics, it's still a smart step forward and a good example of how we can pay homage to the beloved works of others with originality.
Heralding the game's release date next week, Warner Bros. Interactive Entertainment and IO Interactive revealed the official gameplay launch trailer for Hitman 2. Right on the heels of the live-action trailer featuring Sean Bean, the video demonstrates a multitude of way to assassinate targets in the game.
The trailer shows agent 47 using a sniper rifle to snap the ropes securing a heavy beam, Spartan-kicking an armed man over a cliff, and throwing a deadly ninja star – and that's only in the first 30 seconds. Watch the rest of the trailer below to get some inspiration for your own playthrough.
Hitman 2 will feature all-new multiplayer modes; you can watch us play Ghost on this New Gameplay Today. Players will also be able to explore the Sniper Assassin co-op mode alongside six dynamic locations.
Don't forget to check out the fan-influenced Elusive Target mission called "Explosive Penmanship" where you can eliminate a target played by Sean Bean with an exploding pen. This mission goes live on November 20.
Hitman 2 is coming out on November 13 for PlayStation 4, Xbox One, and PC. To learn more, you can read our early impressions of the game here.
Hitman is a game about killing people. Well, killing specific people and trying not to kill other people unless you really have to. But it's also a game about exploring large, real-world-inspired spaces, learning about how they operate, finding multiple solutions to problems, and using that knowledge to improvise and manipulate the environment to hit the people you're hunting. The episodic nature of the Hitman refresh in 2016 saw IO Interactive release one level every month--a contentious move at the time, but one that helped accentuate the potential in each mission. Hitman 2 ditches the episodic model and adds a few new minor mechanics, but the loop of continuously replaying a single location, slowly uncovering the wealth of possibilities, and being able to effectively draw upon that knowledge in new challenges is where Hitman is strongest.
Hitman 2 takes you to six new locales, and each poses unique situations to overcome as you attempt to assassinate your targets. Mumbai is a standout with its densely populated streets and labyrinths of tenement buildings--a great environment that makes the most of a new Assassin's Creed-style crowd blending mechanic, allowing you to disappear into big groups of people. A mission in Miami, Florida takes place at an active raceway, a loud and vibrant stage that feels like a theme park with its swaths of attendees, distinct zones, and a concealed backstage underbelly.
These levels are overwhelming in the best way possible, and it's exciting to begin peeling away the layers of these large, intricate areas--exploring the spaces, discovering routes, finding tools and disguises, and figuring out the best places to utilize them. If you're familiar with Hitman, you know that each stage and its AI inhabitants run on routines like clockwork, making Hitman a game that rewards social stealth and patience. Eavesdropping, tailing, and passive observation are good first steps to success. Even the Whittleton Creek stage, a small, sparsely populated suburban block in Vermont, feels like a mindmap of interconnected causality when you begin to dig deeper. Having the curiosity to uncover how things operate within levels, stumbling upon minor plotlines and amusing flavor dialog along the way, is interesting in its own right.
Hitman does make an upfront effort to help focus your scope and give you some momentum toward your objectives, though thankfully your initiative is still necessary to solve some predicaments. Stumbling across a Mission Story (previously known as Opportunities) might lead you to a machine you can sabotage, for example, but you need to find the tool to do so and work out the best method of either distracting or dispatching the people around it.
Mission Stories are a great first step, but Hitman becomes its best when you start to internalize the stages and uncover the more obscure ways things can unfold in subsequent playthroughs, be it through pursuing alternative Mission Stories, Challenges that ask you to perform specific tasks, or your own improvisation. There are few fail states other than your own death, and there are so many approaches and tools at your disposal that the path to victory can be as creative and elegant or as bumbling and messy as it needs to be. Completing a stage typically takes a long time, and there will be plenty of moments when a guard catches you doing something you shouldn't be doing and calls for backup. Unhinged gunfights still feel as futile as ever, but when things get out of control there's almost always the opportunity to escape to a less hostile part of the level, swap your disguises, and come up with an alternative "make do" approach. In fact, Hitman is sometimes more exciting when your initial plans fail.
The only problem with being presented with such a staggering array of interactions is that the limitations of the sandbox will eventually reveal themselves if you push the wrong way. For example, while you can stash bodies in dumpsters and closets, I was disappointed to discover I couldn't stash them in one of many vacant portable toilets. While Agent 47 can leap tall fences and shimmy across daringly high ledges, he seemingly can't muster the courage to drop down from certain first-floor balconies. Guard AI behavior is stern but generous--if you're found trespassing in a restricted area they'll give you a chance to find the exit before reacting, but sometimes it's too generous. I was amused to see a target's personal bodyguard decide to go home for the day after his employer "accidentally" fell off a building, even though I was the only other person in the room.
Hitman 2 continues to embrace a trial-and-error playstyle in its campaign. The levels are long, but autosaves are generous and manual saving is encouraged, which gives you the freedom to experiment with different ways of approaching a problem. And the closer you get to bending the systems in just the right way--trying to narrowly squeeze past a guard's sightline from different directions, or using coins and cheeseburgers to divert someone's attention--the more thrilling it feels, no matter how goofy it actually looks. Hitman 2's interstitial cinematics are as grim and dramatic as a British espionage drama, and it's hard not to let yourself buy into the clinical overarching conspiracy. But in the field, the series' tongue-in-cheek absurdity happily remains with ridiculous costumes, unlikely weapons, and Agent 47's self-aware deadpan acting, which perfectly accompanies any bumbling improvisation. Both exist distinctly, don't really compliment or detract one another, but are still enjoyable in their own right.
Hitman 2 also boasts a few significant modes outside of its campaign, including Sniper Assassin, which adapts the design seen in the Hitman: Sniper smartphone game and tasks you with taking out a series of targets from a single vantage point using only a scoped rifle. It's a straightforward but enjoyable, low-stakes mode that allows for a surprising amount of creative freedom, and it can be played in two-player online co-op. But Hitman 2's most enticing bonus, at least if you own the previous Hitman, is the ability to download the original stages into Hitman 2, which gives you feature-complete versions of them with the addition of new mechanics like functional mirrors (which enemies can spot you in) and the briefcase (which lets you conceal and transport tools discreetly), among other things. These legacy stages are wonderful to revisit under a new light.
It should also be mentioned that one of the most compelling elements of the 2016 Hitman was the continuous, free live content updates that occurred after the game's launch. Escalation Missions, where you're given specific conditional challenges of increasing difficulty, and Elusive Targets, limited-time events where you have only one chance to take out unique assassination targets, added tense trials that tested both your knowledge of levels and improvisational skills. IO Interactive has announced that these familiar features will be making a return, along with free content updates to Sniper Assassin and Ghost Mode. We obviously can't judge the quality of this content at launch, but it's surely something to look forward to.
The addition of other minor mechanical changes--like concussive weapons, a picture-in-picture enemy activity alert, and visible security camera sightlines--help to improve Hitman 2 overall as a dense and accessible stealth assassination game. But the new locations are the real stars, impressive and inventive sandboxes ripe for picking apart with exciting experiments. Hitman is about experiencing the anticipation of seeing whether a plan will work when you try it for the first time. It's about feeling the tension of briskly walking away from a bad situation, hoping you can lose the suspicious guards. It's the satisfaction of knowing the machinations of a level so well that when a target moves into a particular place at a particular time, you have the perfect way to intervene. Hitman 2 is a familiar experience, but in the Hitman world, familiarity is an incredible strength.
The latest trailer for Pokémon Let's Go Pikachu and Eevee reveals the 3D models and concept art for characters that appeared in the original Pokémon Red, Blue (and Green), and Yellow. You can see a bunch of the gym leaders in both 2D and 3D forms like Lorelei, Bruno, Agatha, and Lance, the villain Giovanni (who might be Ash's mom?), as well as the Elite Four that you fight at the end of the game.
Pokémon Let's Go Pikachu and Eevee releases November 16.