Review: Moss: Book II

When you think about it some of the biggest videogame franchises have been built around a singular character, Mario, Sonic, Master Chief. Say these names and most players will instantly know them and reminisce about spending far too much time in these digital worlds. Yet virtual reality (VR) doesn’t have quite the same heritage when it comes to standout characters, mainly because you are the character. There is a small selection that bucks this trend, top of the list being Quill from Polyarc’s Moss series. And now the second instalment has arrived, Moss: Book II, taking the tiny mouse on another adventure that retains all the charm of the original.

Moss Book II

Moss was an instant hit back in 2018 so the sequel doesn’t play with that formula too much, rather doing what all good sequels should; refine and expand. You still play as The Reader, a looming ghostly figure in the Moss universe who becomes a pivotal part of the story, controlling not only the heroine Quill but also far more than ever before. It’s this connection with the world of Moss that Polyarc has truly grown, because as the interactivity in VR games has increased Moss: Book II has followed suit.

But how do you increase interactivity in a videogame-like Moss: Book II when your only input method is a DualShock 4 controller? By bringing the environment to life, taking those gorgeous environments the series is known for and adding an even greater selection of elements to touch. Most of which are important to the gameplay and figuring out the vast variety of puzzles Moss: Book II has throughout the campaign.

Controlling that blue orb just like the first instalment, the new interactions range from growing vines walls for Quill to climb to pulling out vines to create new walkways. The method is simple yet it encourages you to begin leaning into the environments which need to be closely inspected for secrets. Moss: Book II has even more up its sleeve where new mechanics are concerned, as Quill now has a trio of weaponry to unlock. Beginning with the original green blade, Chakrams help you deal ranged damage whilst the previously revealed hammer is slow, heavy but sure does pack a punch.

Moss Book II

With these selectable via a new inventory system on the touchpad, Moss: Book II’s combat is as playful and enjoyable as ever. Quill can unleash a wave of combo attacks with a few quick button presses whilst being light on her feet for evasive manoeuvres. Even when surrounded by several enemies Quill has plenty of skills up her sleeve, she is a very dextrous mouse after all. Each of the weapons has a unique charge ability, that can be used in battle or for those environmental puzzles. The blade activates a blue dash to cross chasms or hit a row of opponents whilst the Chakrams can be charged into one giant weapon, great for smashing distant objects. The hammer has the most useful ability, creating a giant ghostly version that you can bring crashing down on switches and groups of enemies.

The only real downside to the new weapon selection is being able to switch between them quickly. This is most notable mid-battle, as it becomes quite finicky hitting the touchpad and then selecting whichever weapon you want whilst ensuring Quill doesn’t get hurt. Being able to stick each weapon on the D-pad would’ve been so much simpler – albeit less involved.

Moss: Book II is equal parts action and puzzle-solving, every new area is one giant conundrum to explore and navigate with Polyarc squeezing a generous amount of variety into them. Much like the original, puzzles are environmental, generally tasking you with finding the right path without falling off the ledge and into a seemingly bottomless pit. Yet none of them is too taxing that you’d need a great deal of help as they rarely extend beyond the viewable landscape in front of you. This does aid the flow of Moss: Book II’s narrative yet lacks the satisfaction of completing a brain teaser.

Moss Book II

Moss: Book II’s real hook is in its ability to create an emotional bond with Quill, this little plucky mouse. The overall animation is excellent with Quill’s being exceptional. From the way she dodges an attack to the scuttling of her hind legs when she’s trying to climb a high ledge, Quill is alive more than any other VR character. She’ll also put a hand up for a random high-five or you can scratch her head – which she loves – providing delightful little moments in between all the action.

In addition to the animation, all the levels are magnificent to look at, from huge sprawling vistas teasing castles in the background to tightly cramped underground environments, Moss: Book II is a visual feast. These are mainly 180-degree dioramas that encourage you to lean in and inspect them. You have to, in fact. There are scrolls to find and Relic Dust to collect, which you won’t spot by sitting back on the sofa all the time. Plus, it makes playing the game super comfortable as the camera remains static the entire time.

Alas, this does mean PlayStation VR tracking issues can come into play. Getting a closer inspection can make the environment a bit jittery and there were times when Quill was quite far away to comfortably lean in and activate an ability. Then there was always having to remember to keep the controller’s front light facing towards the camera. If not the blue orb that you control can drift and there was the odd occasion where Quill would miss her landing mark because of this.

Moss: Book II builds upon its forebear in so many ways making a hugely worthwhile sequel. Taking around 5-6 hours to complete without collecting everything Moss: Book II isn’t a huge VR game yet it’s a satisfying experience. Whilst not particularly difficult, stepping into Moss and teaming up with Quill is a delight once again, with polished gameplay, more interactivity and visuals you can’t help but soak in. The main problem really is that Moss: Book II ends a bit too soon, as you won’t want it to be over.

Review: Wanderer

It’s been proven in many a movie and videogame that messing with time travel can lead to all sorts of convoluted narratives and weird plotlines. They can also offer some of the most novel ways to explore both history and what could have been if certain events hadn’t transpired. Wanderer most definitely drops you in the deep end of a time travel adventure that features iconic moments, people and places that aren’t quite as they should be, and it’s up to you to unravel the mess and find out how it happened in the first place. Welcome to the most gripping VR game of 2022…so far.

Wanderer

A combined effort between New Zealand-based studios M-Theory and OddBoy, Wanderer sets you on a journey that’s as puzzling as you’d expect – it is one giant brain taxing puzzle title after all! You step into the shoes of Asher Neumann who locates his grandfather’s apartment which contains a few odd trinkets, a remote control car, a lot of cockroaches, several power tools and as chance would have it a talking, flying watch. Samuel is his name and not only is he essential to unravelling this mess he also provides some welcome company along the way.

Neumann’s grandfather was involved in some murky shit but without spoiling too much of the storyline he’s given you mostly everything you need to right quite a few temporal wrongs. Right away Wanderer immerses you in the narrative of skewed timelines and tragic events that shouldn’t have happened. It’s truly engrossing and like a good book, keeps you enthralled throughout; even when the frustration kicks in trying to solve a particular puzzle.

The developers have done an exceptional job of immersing you in Wanderer. There’s lots and lots to interact with, whether it’s for fun or a crucial next step. The apartment has items like a knockoff Super Soaker and NERF gun, you can smash plates and bottles with a satisfying crack, and if you like hunting through drawers and cupboards there are plenty of those as well.

Wanderer

One disappointment that appeared right at the very start was a jump mechanic to get yourself through a window or down a ledge. It required standing in an exact spot and holding the A button-down, hardly the most involved of VR abilities. Whilst it detracts from that sense of immersion, it only appeared at the beginning of the videogame, almost like M-Theory and OddBoy decided they didn’t want it in the rest of Wanderer. All the better for it really.

As mentioned, Wanderer takes you to various times and places, inhabiting people of that time like you’re Dr. Sam Beckett from Quantum Leap. Become an astronaut during the 1969 moon landing, meet Nikola Tesla, step into WWII and more, all of which are linked in some way. Wanderer is a puzzle adventure through and through with only a few light action elements, and the puzzles really do shine; they get that grey matter working too.

Puzzle titles can fall foul of repetition, using the same base design over and over again. Wanderer’s puzzles feel continually fresh with each encounter, even when a couple are reused here and there. What it does test is your memory. Once you’ve unlocked a few timelines and collected a bunch of items, managing it all is a mission unto itself. You’ll probably find that because the apartment operates as a makeshift base, hoarding starts to become a problem as all the ancient relics and odd objects begin to collect.    

Wanderer

Helping with this process is your friendly watch, Samuel. Attached to your wrist – left or right-handed, you choose – Samuel provides a basic inventory with a maximum of five slots available. You’ll need to unlock most of these by keeping an eye out for glowing blue shards hidden amongst the environment – keep opening those drawers! – before utilising a contraption in the apartment to expand each one. It’s this same machine that gives you a chance to customise your watch by locating specific objects. It’s a tiny side feature but a fun little one when you want to take a break.

And there will be moments where you’ll need to. Wanderer packs a lot in, with stunning visuals, voice acting and some complicated puzzles. Samuel can be called upon to give you hints but there were times when he just kept repeating the same thing over and over. Not sure if it was a bug, in any case, it wasn’t helpful. Other inconsistencies also played a part in making Wanderer a less than perfect experience.

Object interaction felt haphazard at points, having to readjust grip to correctly hold an item when it snaps into your hand awkwardly. Certain objects just didn’t sit well, trying to use the bow perfectly demonstrated why the weapon can be so difficult in VR. The classic problem of invisible walls also made an appearance (or not in this case). Leaning over a table or large item pushes you away, making the remote grab ability essential. Nothing really game-breaking although an issue with the Enigma machine puzzle forced a chapter restart that meant having to replay a chunk of the game as there’s no manual saving.

Wanderer is an ambitious project and for the most part, M-Theory and OddBoy have succeeded. The single-player adventure will keep you busy for 10+ hours and you’ll want to see it through to the end. Pushing the settings to max on PC will give you a glorious game to look at, and the audio is rock solid. Yes, there are one or two unwieldy issues along the way yet they didn’t hamper the overall entertainment Wanderer provides. If you’re looking for a puzzle game to really get stuck into then definitely take a look at Wanderer.

Review: Windlands 2

Windlands 2

Psytec Games brought its swinging franchise sequel Windlands 2 to PC VR headsets in 2018 and it was a great videogame. While intense, that ability to swing through highly stylised worlds and fight dangerous bosses was a welcome one, highlighting that advanced motion in VR could be achieved without making most players suffer. But that was three years ago and the world of virtual reality (VR) gaming has advanced, so can Windlands 2 still keep up, and more importantly can PlayStation VR?

Windlands 2 - Screenshot

Windlands 2 is all about freedom of movement, being able to navigate its environments mostly in the air with some ground-based accessibility so you’re not always having to look for the next hook point. You’ve got a grappling hook in each hand so there’s no need to worry about right or left-handed mechanics, and the same goes for its newest inclusion, the bow.

Gameplay is all about being light on your feet and very aware of your surroundings. When you get a feel for it and find that flow Windlands 2 has a beautiful energy to it, evoking a real buzz when you swing through chunks of the environment perfectly. Miss a grappling point and you’ll quickly realise how far away the ground can get – and that there isn’t loads of it.   

This isn’t a relaxing, non-violent experience like the original though, that bow is there for a reason. Titans are the main enemy in the game, mechanical beasts that effectively work as mini-bosses most of the time, with some segments dropping in the occasional weaker opponents to keep you busy. That also means there’s a storyline this time, where you’re trying to save a peaceful society from this evil menace.  

Windlands 2

The problem with the PlayStation VR version of Windlands 2 isn’t about the quality of the port, as it looks just like the PC VR edition. No, the issue comes down to mechanics, or more accurately, the lack of fluidity during the fights. Soaring through the calm environments is easy – so long as you don’t miss a hook – making it one of the best parts of Windlands 2. Most of the main battles are in 360 areas where you can navigate around the boss shooting the red highlighted targets on its body. On PlayStation VR this becomes frustrating and a test of patience because you don’t have complete freedom to twist and turn.

Now, this is a limitation of the hardware rather than the videogame being broken, it’s worth pointing out. Trying to take down the first boss/machine is a good example of this, it’s not too hard but swinging around behind the enemy you want to instantly twist around to shoot, which you can’t because of the tracking. In fact, jumping onto the PC version to test this theory proved correct, dispatching the same opponent in under half the time purely thanks to that extra flexibility.

And it’s such a core part of the whole Windlands 2 experience that you’ll almost dread the next encounter. No amount of fiddling with the snap turn or smooth turn settings solves what is essentially an instinctive reaction, being able to gracefully glide through the air to fire off a well-placed arrow into the heart of the beast.  

Actually, on the subject of “well-placed” arrows, PlayStation Move doesn’t make this a simple process. If you’ve owned the controllers long enough you know they can be a bit erratic at times and that’s certainly the case here. And it is all to do with speed. Grappling through the trees you tend to keep your hands steady, planning a route whilst carefully aiming at the next piece of green foliage. This was fine and never really presented a problem. As soon as it’s time to unleash a volley of arrows, that’s where the trouble starts and would quite often lead to death while fighting with the reticule.

Windlands 2 - Screenshot

Co-op mode confirmed this further as a colleague swore trying to shoot the very last target on a boss. This doesn’t mean Windlands 2 is unplayable but what was clear was the realisation that because of these issues, Windlands 2 is much more enjoyable played with friends.

On your own, the environments can be a bit devoid of life, lonely even, yet with at least one other player – it’ll support up to 4 players at once – there’s an added vibrancy to the experience. Fun little things like competing to get to the next marker or spotting an illuminated quest item for them to grab, the team dynamic helps make Windlands 2 shine. Also, those fights are so much more straightforward and strategic rather than a grind. Swinging in for different angles of attack and if one of you does encounter an aiming issue the others can back you up, much more satisfying. The only problem with multiplayer was the lack of identification, with no map or markers you don’t know where your mates are. Saying “over here” or “I’m by this rock” doesn’t help when the vegetation is dense or you’re nowhere near each other. Voice communication is spot on yet each player’s name appears off to the side with a speech symbol appearing when they talk, not exactly useful if you don’t know where they are.       

It’s great to finally see Windlands 2 on PlayStation VR and remember what made this VR experience so enjoyable in the first place. Alas, with a heavy sigh this just doesn’t match its PC brethren when comparing the entire package. What this release really does is demonstrate PlayStation VR’s ageing technology and how it was good for some but not all VR videogames. However, Psytec Games has confirmed it’ll patch PlayStation VR 2 support into Windlands 2 when available, which could really help to unshackle the gameplay. At the moment, Windlands 2 only really soars half the time.    

Review: Song in the Smoke

Song in the Smoke

Cold, wet and with a suspicious-looking mushroom you’ve only just picked off a fallen tree your only source of nourishment, your survival isn’t looking good unless you can make it back to your campfire and get it lit before the sunlight fades. Even then, your safety isn’t guaranteed because if that flame goes out whilst you sleep or you’ve chosen a really poor location for your campfire, making it through the night becomes a nightmarish journey that’s as scary as any horror videogame. Welcome to Song in the Smoke, one of the toughest VR adventure’s out there.

Song in the Smoke

The very first virtual reality (VR) title from Japanese developer 17-BIT wastes no time in offering you some hard truths, this is a videogame about patience and determination. In this beautiful primordial world, everything is trying to survive and you become both hunter and hunted as the landscape unfolds, with evermore expansive and twisting environments just begging to be explored.

Song in the Smoke gives a short sharp introduction to the continual process of trying not to die, showing you how to make a knife, use a pestle and mortar to crush certain plants and most importantly of all, making fire. It can’t be overstated enough how vital the campfire is to make it through each and every day. This is where you can find warmth, sleep, cook food and make other useful kit like a drying rack to put animal skins on. Oh, and one other thing, this isn’t an experience for those that don’t like hurting animals, there’s a lot of killing as their skins are vital for survival.

So Song in the Smoke is all about that hunter-gather lifestyle, surviving from day to day. But, interwoven with this is a far more mysterious narrative that helps drive the gameplay forward and out of the safety of your cave. There’s a really weird bird creature you encounter along the way, it’s weird because it has three crow heads and a human face on its chest. Nevers says anything, just occasionally squawks. Each biome has glowing purple rocks to locate. Find them all and you’ll then be instructed to hunt a special spirit animal. Kill it and a portal to the next area unlocks, giving you access to new resources and new creatures.

Song in the Smoke

There’s no rush to anything in Song in the Smoke, you can spend as many in-game days as you like foraging, hunting and collecting those stones. In the latter stages, it’s almost too easy to spend hours exploring all the nooks and crannies of the environment as there are hidden secrets like health bar increases or skull pots with random goodies inside. But doing leads to a lot of repetition, especially where the campfire is concerned, constantly looking for wood and making sure you’ve got enough to last the night.

Most of the experience is based around fairly realistic physics and interactive gameplay. You have to bash small rocks to make arrowheads or use your knife to slice up some kindling. It’s all very physical, hence why you have a stamina bar and have to sleep eventually. This means you need that fire to burn all night so you’re safe, building it up with kindling, then small sticks, medium sticks and large sticks. These all burn differently, with a big indicator circling the fire so you know what burns when and how long you’ve got – like the train scene from Back to the Future: Part 3. If the fire burns out too early and you’re out of wood then welcome to darkness…and the dangers that lurk within it.

Only three campfires can be made per level so a great deal of thought needs to go into where you hunker down. On the top of some cliffs is good, stops the animals getting to you but then if it rains that’s your fire destroyed. This simple idea is even tougher when you first enter an area as the map on your chest is blank until you uncover some of the environment. This seemed to be where you become most vulnerable, with numerous deaths occurring from wild animals (panthers, wild boars, lions) whilst trying to get a feel for the landscape. What makes it more frustrating is the complete lack of checkpoints.

Song in the Smoke

Going through to a new area or locating all three stones you might think that an autosave might be dropped in. Oh no, all saving is manual at the campfire so you have to remember to save, save and save some more. Suddenly realising you’re close to death and you haven’t saved for an hour isn’t great. And there are numerous ways to meet your end, not just being lunch for a stealthy predator. Cold, bleeding out, hunger, fatigue, they’ll all have an effect on depleting your health. Keeping an eye on your inventory is critical so you’ve got food and other resources, adding another layer to Song in the Smoke long list of things to keep you busy.         

Whilst there is plenty to do, see and interact with, providing an amazingly rich VR experience that you can get lost in, there are a couple of mechanics that don’t make sense; breaking the finally crafted immersion. These are made instantly apparent in the tutorial and are two of the key features in Song in the Smoke, eating and climbing. With so much work on the intricate crafting mechanics, why is it that when anything is eaten a big scroll wheel appears to show you’re chewing? Instantly breaking that sense of immersion, made worse by the fact that you have to regularly eat, constantly popping up in your face. Definitely not a fan of that.

And when it comes to climbing the only option you have is teleporting, with a little green indicator having to momentarily charge up before you can jump/climb up or down a ledge. Song in the Smoke has plenty of physicality to it but no climbing? Plenty of VR titles utilise physically grabbing ledges as a means of grounding you in their worlds, to bypass a mechanic like that just seems odd. It means even if your settings are on full immersion (smooth locomotion and turning) you still have to teleport. Likewise, all the usual comfort settings are there so most players should find a happy medium.

Even with all that said, Song in the Smoke is thoroughly engrossing to play. The level design is magnificent and becomes a real challenge the deeper in you get. Every day feels fresh and new, a mixture of joy when a new area is discovered and dread when a menacing growl suddenly appears from behind you. It’s a huge experience that you can get lost in, spending hour upon hour taking it all in. Song in the Smoke looked like it was something special and it is, one of the best VR games of 2021.   

Review: I Expect You To Die 2: The Spy and the Liar

I Expect You To Die 2

The original I Expect You To Die was one of those must play virtual reality (VR) titles, showcasing in 2016 a delightful combination of wit and diabolical puzzles that any VR-newbie would feel comfortable playing. Fast forward five years and the immersive gaming landscape has certainly changed but Schell Games’ concept of an approachable escape room experience has remained true. And so it’s time to save the world again from the evil Dr. Zor in I Expect You To Die 2: The Spy and the Liar.

I Expect You To Die 2

As VR videogames have inevitably expanded in scope and freedom the adjustment curve for new players has increased in turn, whether that’s building up those “VR legs” to run around environments or adding a great selection of controls. Whilst there are new features, at its heart Schell Games’ latest doesn’t really care about any of that, keeping the general gameplay simplicity the series is known for, whilst providing some ingenious puzzles that wouldn’t be out of place in a Bond or Bourne movie.

Because that’s essentially what you’re in. There’s an unseen villain, his seemingly unstoppable evil organisation intent on world domination, a collection of stooges and, of course, you. The suave, sophisticated agent tasked with bringing the operation to its knees. This all means I Expect You To Die 2: The Spy and the Liar has just the right level of pageantry, humour and theatrics to pull off this cheeky caper without descending into Austin Powers territory.

You don’t need to have played the original even though this is a direct sequel – although it can’t hurt – as a little catch up is there to fill in the blanks. Even so, I Expect You To Die 2: The Spy and the Liar can still be appreciated in its own right as there’s plenty of sleuthing to be had.

I Expect You To Die 2

There are only six levels which don’t sound like a great deal but each is its own little microcosm of hidden items and interconnecting challenges, each more intricate than the last. And just like before there’s absolutely no locomotion, you remain seated in the same location throughout, the only twist to this being the last level inside an elevator. So with no movement to worry about I Expect You To Die 2 has a telekinesis mechanic to pick up distant objects that can either save the day or kill you.

And die you will, most likely fairly often in fact. I Expect You To Die 2 isn’t all trial and error but there is an element of that, where pulling a drawer will unleash death or that tasty looking sandwich on the food cart seems to house a very dangerous resident; you’ll not get out alive, to begin with. The levels aren’t timed per se, so you can carefully mooch around to avoid a messy end. Yet, it’s not at all bothersome. It is actually quite fun finding all the various traps and machinations hiding just under the surface. What will likely frustrate is the complete lack of hints, there really is no hand-holding here and therefore getting stuck can crop up. Clues do surface if you can find them, just don’t expect them to drop on your lap.

Much like games such as Vacation Simulator, I Expect You To Die 2 weaves far more into the experience than you’d have initially thought. Sure you can solely focus on the challenge at hand and blast through the whole game in a couple of hours or less. But you’d miss chunks of well-placed humour and other little activities. Both of these play important roles within I Expect You To Die 2, the former adding charm and life to the experience whilst the latter much-needed depth.

I Expect You To Die 2

Completing a level is only the start of the challenge as you then be presented with a list of smaller – sometimes much more difficult – tasks to complete, like trying to speed run the level, finding particular objects or solving a puzzle in a particular way. Sure, it’s regurgitating the same levels over and over again but a least the whole thing isn’t over in a couple of hours.

And let’s not forget about the whole theatrics of I Expect You To Die 2. As expected from Schell Games production quality is top-notch, with Wil Wheaton superbly stepping into the role of world-famous actor and celebrity John Juniper. The same must be said about the epic introduction sung by Puddles Pity Party, it really does set the whole experience up, putting most other VR videogame intros to shame.

I Expect You To Die 2: The Spy and the Liar hasn’t come to reinvent the wheel and it didn’t need to, what was required was achieved; an entertaining puzzler that you can’t put down. An extra couple of levels would’ve been nice with the possibility of a handy nudge in the right direction yet they’re only minor quibbles. If you’re looking for a VR puzzler that really pushes the technology then this isn’t it, I Expect You To Die 2 is all about playing to the masses and that’s no bad thing either.

Review: Fracked

Fracked

Summer 2021 was looking really good for big virtual reality (VR) titles until a couple of projects had to be delayed by their developers. Thankfully, nDreams’ PlayStation VR exclusive Fracked has suffered no such problems, ready to offer players the kind of wall to wall action that Hollywood loves to throw out during its seasonal blockbuster fest. The problem with blockbuster titles is that quite often they’re style over substance, so is Fracked the same or does it have brains as well as brawn?

Fracked

Just like a Bond movie Fracked wastes no time in dropping you into the action, almost immediately skiing down a mountainside being chased by an avalanche caused by fracking. Steering is all head-based, carving through the snow and in between trees as you look for safety. It’s a fantastic intro albeit an intense one, making a quick trip to the comfort options essential for anyone who’s not got their VR legs.

These skiing sections crop up a number of times in Fracked, with the latter sequences throwing in enemies on snowmobiles and guard towers to blow up with your handy SMG. They’re immensely entertaining as your try to avoid splatting against a rock whilst shooting bad guys – you can’t get much more action hero than that!   

Essentially Fracked continues that no-holds-barred gameplay throughout, but with the added bonus that the majority of the levels offer plenty of choice and verticality when it comes to the epic shootouts. Most of the areas tend to be a sequence of arenas interlinked with climbing and other traversable terrains, providing that all-important feeling of interaction with the environment. This physical element is seen all over Fracked, most importantly in the shootouts.

Fracked

These set pieces see Fracked continually provide plenty of cover, explosive barrels and the most ziplines a VR videogame has ever had. Cover has always been crucial in any FPS, where you generally duck behind it by either pressing a button or (in VR’s case) kneeling down. Fracked offers a different option, grabbing the cover so you can quickly hide behind it and then peer over or around it to locate the next enemy. It’s another great example from nDreams of marrying VR gameplay with intuitive mechanics. Being able to do that became so natural that you’ll wonder why it’s not seen more often.

Yet Fracked doesn’t want you to stay in one place, movement is key and the levels do encourage this factor, perfect for a nice flanking manoeuvre. PlayStation Move isn’t exactly the best controller when it comes to running around a battlefield but Fracked provides a decent system which can be found in other PlayStation VR titles like Arashi: Castle of Sin. The same goes for its reloading, providing a basic manual reloading mechanic where glowing cartridge appears, you push it in and cock gun. Quick and effective without being overly tedious.

However, it’s the range of weaponry that starts to let Fracked down. You’re given all this space and choice when attacking the enemy yet your only two guns are a pistol and SMG. That’s literally all you carry, nothing else. Not even any ammo, which is picked up by walking over green boxes, harking back to very traditional videogame tropes. Other guns do appear including a revolver, grenade launcher and very short-range shotgun but these are “special” weapons that are single use only. Once their ammo is depleted they fade away. Really annoying if you’re in the middle of a firefight and your gun starts to dissolve leaving you a sitting duck.  

Fracked

The enemies do take advantage of this as they’re not the usual run and gun AI opponents. They do seek cover and will reposition to gain an advantage, which makes for some great shootouts. As mentioned, you have to use the space as there are explosive grunts who’ll charge and detonate, whilst the big tank that lays mines can only be killed by destroying the pack on their back.  

So you’re continually having to blast your way through and rework strategies on the fly. On the one hand that’s what you want in an action-oriented videogame yet the gameplay does get a little shallow. There are no real puzzles to speak of, you’re continually pointed towards the next checkpoint when having to complete a task and because of this continual speed, Fracked is over before it has really begun, clocking in at around 3 hours. There are coins hidden throughout which seem like an afterthought, simply serving as a Trophy award.

nDreams is well versed in making highly polished VR titles and Fracked is no different. The art style is gorgeous, adding a comic book blend to the action playing out. And there are some wonderful ideas and mechanics employed. Unfortunately, they’re not given the time and breadth to be expanded upon, and that’s certainly the case when it comes to the narrative. Fracked is exuberant and exciting to play, it just burns too bright and fast.

Review: Arashi: Castles of Sin

Arashi: Castles of Sin

When it comes to action videogames virtual reality (VR) developers have got you covered, there are loads of them. The same can’t be said for more stealth-oriented titles. A couple spring to mind like Espire 1: VR Operative or Phantom: Covert Ops but what if you want to go a little more old-school, hiding in the shadows like a ninja assassin? For that you’ll want Arashi: Castles of Sin by Endeavor One, mixing thrilling storytelling and gameplay into one.  

Arashi: Castles of Sin

Arashi: Castles of Sin takes you back to feudal Japan, setting the scene where you play a deadly assassin for the House of Arashi. In a wave of violence six bandits known as the Six Oni of Iga have swept across the region killing everyone in their path. So you’re tasked with wiping out these threats, heading to their castles and dethroning these dangerous warlords.

And so starts an adventure in the shadows, utilising era-specific weapons to slice your way through armies or not, Arashi: Castles of Sin is a sneaky videogame after all. Levels are set out as one giant castle to infiltrate, get to the centre and slay the boss. Fairly linear, A to B-style approach with the flexibility to choose your own path – to an extent.

To begin with, you’re given a katana and grappling hook to aid those rooftop excursions with the tools soon stacking up with the addition of a box, shuriken, gas bombs, mines and more. Whilst supplies aren’t bountiful there’s usually enough scattered around each level that you can liberally mix and match, it all depends on how you want to tackle each area as plenty of those items are found next to guards.

Arashi: Castles of Sin

Endeavor One has sought to give you as many options as possible when it comes to tackling each of the castle grounds. Obviously, the stealth approach is the best tactic as you can leap across roofs or hide in the long grass to fire a deadly arrow or a well-placed shuriken. Those little pointy stars of death are deadly and have an auto-aim so as long as you throw in the general direction they should hit first time.

However, Arashi: Castles of Sin doesn’t feel that versatile, to begin with, you need to give it time to develop. The first couple of levels don’t have anywhere near the same scope as the later ones do, offering only a basic selection of choices. Once you’re halfway through the gameplay really opens up, where you can select your loadout before each mission and then really get stuck into exploring the verticality of the levels.

You’re not alone either. While you might have thought a shadowy assassin would’ve worked solo you’ve got a companion in the form of a wolf called Haru. It’s clear Endeavor One put a lot of work into your furry buddy, adding charm and warmth into what is mostly a cold, expert killing experience. In the hub temple, Haru will come up for attention and play ball with you, whilst out in the field Haru can cause distractions or be made to attack guards. Unfortunately, there is a downside to Haru. The wolf bounces around the fortified encampments as if was natural for this animal to just be wandering through, with none of the guards batting an eyelid. So that ultimate sense of stealth is washed over because you’re running along in the shadows or up on a roof and there’s your pet wolf laughing at these heavily defended fortresses.

This leads into another area where Arashi: Castles of Sin falters. The enemies aren’t as sharp as those katana’s they’re holding. Two can be stood right next to each other, you’ll kill one and the other won’t flinch as their mate lets out a dying scream. Yet one 200 meters away on a rock will spot you very quickly. They have a specific vision cone so outside of that you’re good. Quickly walking up behind them won’t alert them, only activating run will do that, and for the most part, running isn’t really needed.

What was pleasantly surprising was the good implementation of PlayStation Move. It’s a controller that doesn’t always bode well for smooth locomotion titles, turning and general walking can be finicky. Yet the “Virtual Controller” system generally feels fairly fluid, whether that’s sneaking across a courtyard or climbing a set of vines. So it must be said Arashi: Castles of Sin should be considered an intense experience, even with all the comfort controls supplied.

Also on the plus side, it’s nice just being inside Arashi: Castles of Sin. There’s lots of attention to detail inside your home temple and the enemy castles, being able to plunge an area into darkness with a tap of your sword on a nearby fire. And the story delivery looks beautiful, with hand-painted scenes between levels enriching the videogame as a whole. It would’ve been nice if there was English dubbing as subtitles always distract, but that’s a minor annoyance.

Arashi: Castles of Sin

Far more infuriating is the swordplay. There are VR titles that expertly showcase sword fighting in VR, Arashi: Castles of Sin isn’t one of them. The system is very basic so you never feel like your properly duelling, simply boiling down to block, parry to put the opponent off, then hit. You can’t get a hit in any other way. What’s worse is this is how each boss encounter plays out – albeit with a slight attack variance – making them very repetitive.

Arashi: Castles of Sin has some solid ideas and mechanics going for it, from the wealth of tools available to the ability to pick and choose how you attack each castle. Yet the issues do hamstring the experience and stop it from being the great VR ninja game it could have been. You’ll get a good 5+ hours out of Arashi: Castles of Sin, and whilst you can retackle levels however you wish, there’s no incentive to go full stealth or completely on the offensive. Scampering across rooftops flinging shuriken is still fun though.  

Review: Winds & Leaves

Winds & Leaves

As a videogame fan, there are moments where all-out action just feels a bit too much. Maybe you’re having a lazy Sunday afternoon or simply want to unwind after a long day? It’s in these moments where a slower, more peaceful type of experience comes into play. Where beautiful sunsets and methodical gameplay come into their own, you can’t get much more chill than Trebuchet’s latest offering Winds & Leaves, exclusively for PlayStation VR. However, can a VR experience that mainly involves planting trees be entertaining? 

Winds & Leaves

The Canadian studios’ previous title was Prison Boss VR making Winds & Leaves a polar opposite, offering beautiful wide-open vistas which go on for miles and a rich tapestry of colours. Freedom is most certainly on offer here, allowing you to adventure out into a desolate, mysterious land and bring it back to life.

Because you are The Gardener, a being deeply linked to nature who can see the bonds between plants and cultivate them using some powerful magical forces. Much in the same way that Paper Beast left you to ponder and imagine your own story, Winds & Leaves does something very similar. There’s no direct narrative to speak of or real explanation of who you are, you’re on a once verdant planet that is now barren the only clues being rock paintings and unusual tree-like structures which have to be reanimated.

This natural link also means you can’t simply wander around as you wish, you generally need to stay near to greenery, setting up the core mechanic of Winds & Leaves, planting trees, planting a lot of trees in fact. Each tree you plant will create a lush green area which can then be expanded upon however you choose, going in one straight direction towards a point of interest or growing a lush forest. That’s one of the best parts about Winds & Leaves, looking back and seeing a once dry, harsh landscape transformed by all these trees you’ve planted.

Winds & Leaves

You’re well kitted out with an extendable digging tool, a mysterious weather vane, seed pouch, an energy-containing tree stump and stilts. Yes, that’s right, locomotion in Winds & Leaves is entirely on stilts and works surprisingly well. The videogame is only compatible with PlayStation Move, having to hold the Move button down then waggling the controllers up and down to walk. It sounds a little unusual but isn’t too much different to the locomotion systems employed in titles like Sprint Vector, you’re just on stilts. They also give you the option to lower or raise yourself, great for picking seeds off the ground or moving faster respectively.   

It’s not all plain sailing though. The same system for walking is used for climbing trees. So if you’re too close to one then it’s easy to find yourself going up rather than forward. And it soon became clear that picking the seeds off the trees – a vital part of the whole growing process – was far easier than trying to pick them up off the ground, which was finicky and erratic at times.

As for the whole gardening process, that all depends on how much you like continually digging holes. While that energy containing tree stump allows you to walk a short distance away from the life-giving forests, go too far and the roots will pull you back, so you need to get planting. The challenge in Winds & Leaves is careful management of your seed pouch which only holds a measly six varieties of plants, each one having three attributes making them ideal for certain soil conditions. Because of this, there’s a fair bit of seed experimentation and manipulation, planting two or three together to make a new plant, helping you venture further forward.

Winds & Leaves

And this is where that mysterious weather vane tool comes in handy. Time does move in Winds & Leaves just very slowly so the vane greatly speeds this up, making the trees grow nice and rapidly. It’s one of the best effects during the whole experience, watching days flick by in seconds, cloud formations come and go, sunset and rises…you get the idea. While it was always easier to play during daylight, at night there’s an eerie magical quality as you can see the glowing, pulsating connections between the trees.

The end goal is to completely bring life back to this barren place by venturing into four areas and spinning up the giant windmills you find there, all of which point to a central garden that acts as a sort of hub. Once you’ve unlocked certain tree species these can then be found in the garden should you require a particular seed your pouch doesn’t contain. There’s no fast travel so heading back requires leg work until you unlock the glide ability. Essentially a quick dash, it does allow you to traverse the tops of the trees which is always fun.

So you’d imagine Winds & Leaves offers an idyllic world that’s all about being one with nature? Not initially, as VRFocus’ pre-launch review copy continually crashed, occurring six times in the space of an hour at one point. Thankfully, a day one patch does look to have solved that issue. But there are others, like the sheer amount of pop up, especially in the trees. Played on a standard PlayStation 4, once you’ve got a full-on forest going – the whole point of the game – it did start to struggle with all the foliage.

Winds & Leaves

Winds & Leaves has some nice ideas and for those looking for a nice tranquil VR experience with some light puzzles, it perfectly suits. The problem is Winds & Leaves can be a bit too quiet. Lush green grass and colour forests are all well and good but they’re still devoid of life, no animals suddenly return. So you end up walking through your lovely forest world alone, it all feels a bit soulless. Winds & Leaves was enjoyable for the 7-8 hours it lasts yet there was no desire to return.

Review: Sniper Elite VR

Sniper Elite VR

When it comes to a lot of virtual reality (VR) shooters the tendency is to go big or go home, making you feel like you’re Rambo running around a jungle with a massive 50 calibre machinegun on your hip – and that’s even with realistic physics. That can be plenty of fun, yet if you’re looking for something a bit more intense where you’ve had to dive for cover because you’ve missed a shot, alerting the enemy and are now fumbling a reload on your bolt action rifle, then Sniper Elite VR is where it’s at.

Sniper Elite VR

Rebellion’s Sniper Elite series is well known for its action-focused gameplay with a dabble of realism thanks to its WWII setting. And Sniper Elite VR is no different, this time dropping you into Sicily as an Italian resistance fighter trying to free his home from the scourge of the Nazi’s. So the entire single-player campaign is one long tale being reminisced by this unnamed sniper as if he were reading a story to his grandchild.

Of course, this means you’re going to be doing a fair amount of sniping, taking your time to line up shots and whittle down the enemy forces whilst trying to remain a ghost. Developed by Just Add Water, it’s easy to tell the studio has put significant effort into the sniping mechanics, from the ballistic physics to the manual reloading the sniper rifles are certainly the star of the show. They all have the same blot action to them which can be finicky at first but you do get into a rhythm after a while. Even so, this does mandate a particular tempo to the gameplay because you’re not running in guns blazing, picking your spot and carefully selecting each target, really immersing into the experience.

All the other weapons felt very much secondary, whether that’s the SMG’s, the shotguns or pistols. They all maintain those realistic reload mechanics and when particular levels get a bit enclosed and narrow can come in use, but even then the temptation to use the rifle remains. Unfortunately, whilst there are a number of sniper rifles to play with they all feel virtually the same. The only one which stood out was a silenced version available later on, taking all the challenge out of being as sneaky as possible.  

Sniper Elite VR

Immersion is key to all VR titles, especially if you’re WWII with realistic weapons and physics. Sniper Elite VR, however, toys with this aspect in such a way that at times you can become truly engrossed then jolted back to reality mostly by the settings you select. There are a wealth of options available and it can take a little while to settle on a nice balance, setting up Sniper Elite VR to be as realistic as possible or a complete arcade-style experience.

For instance, right out the box, the HUD settings can get real annoying, completely distracting you from the gameplay. During missions you’ll get objective markers pop up, a noise indicator to muffle your gunshots or the save location. They are useful if you really need them but having white icons constantly appearing does feel quite antiquated. Thankfully they can all be switched off. Another feature you can increase or decrease is the iconic X-Ray Kill-Cam the series is known for. Utterly brutal and visceral in the standard flat game, the VR version ups that by a factor of ten, as you can lean in and briefly look around during the few seconds it runs. When you’re nestled in a tower picking off enemies it can get a bit much on the higher settings, constantly pulling you in and out. It is completely comfortable though.

There were some other aspects that didn’t always sit right for VR. The manual save points were great yet they’d always swap to a separate saving screen which became quite disjointing. And the body holster became way too busy once fully loaded with two weapons over each shoulder, two on the chest and then an assortment of grenades and other explosives, occasionally grabbing the wrong one during a firefight as they are fairly close. With all the physical gameplay built into the guns and holster system, the environment itself didn’t provide much in the way of interaction. Apart from ammo to pick up and explosive boxes, all the bunkers, offices and bases had lots of items to set the scene without having that all-important presence.

Sniper Elite VR

Sniper Elite takes place across 18 missions which offer the usual selection of protection and infiltration style objectives. Most of the maps tend to be of a decent size with some of the larger ones allowing you to be a bit more creative. For the most part, their linear structure means that most have key positions to move between so don’t have complete flexibility when it comes to hunkering down. There’s also some notable repetition and padding to the gameplay structure, as earlier levels are used later on, just from a different perspective. You also need to unlock later missions by collecting enough stars, forcing you to replay previous levels rather than being able to run through the entire campaign in one shot.  

Another nod to its arcade-focused gameplay, each level can award you three stars. These are gained by completing mission-specific parameters or simply scoring enough points. So you’re not just killing and then moving on, as you’ll gain bonuses for headshots, distance, remaining unseen and killstreaks. In addition to the stars, there are also numerous collectables hidden within each stage, increasing that replay factor for those that like to uncover everything.

A quick note when it comes to the PlayStation VR version. While most of the review was on PC, testing the PlayStation VR edition of Sniper Elite VR did bring up some interesting variances. These were all due to the controller input. Suffice it to say the DualShock 4 controller was less than adequate, just don’t even bother as it ruins the experience. PlayStation Move is supported so you can manually reload. However, movement is via the face buttons which aren’t great for stealthy wandering through Nazi fortifications. If you’re picking up Sniper Elite VR for PlayStation VR you need the Aim controller. On the downside it automates the reload process making rapid killing very easy, whilst the upside is a far more dependable control method.

Sniper Elite VR

So was Sniper Elite VR worth the anticipation and wait? Most definitely. It’s not without issues trying to find that balance between being a fun experience for all whilst giving VR veterans a videogame they can really get stuck into. When you do get into it though, Sniper Elite VR becomes a thoroughly engrossing VR shooter as you read the environment, study enemy movements and take that vital long-range shot. Doing that continually over the 7+ hour campaign seems very repetitive but lining up that perfect shot never is.

Review: Marvel’s Iron Man VR

Iron Man VR

Whether you love or hate the films there’s no denying that fact that the Marvel Cinematic Universe (MCU) has become a cultural phenomenon, packing cinemas across the globe with fans eager to see superheroes saving the day. Central to all of this has been Iron Man, a fan favourite because rather than having some sort of magical power it was engineered armour, giving that air of feasibility to the character. Everyone would love an Iron Man suit and now they can (sort of), thanks to Marvel’s Iron Man VR, the closest you’ll ever get to properly donning the red and gold suit.

Iron Man VR

There have been other videogames which try to emulate that sense of freedom and power Iron Man evokes in the films yet without being inside the suit and firing a blast from one of your hands it’s just not the same; that’s where Marvel’s Iron Man VR is different. Developer Camouflaj has created an experience where you can now soar through the skies or twist and turn through ravines as the armoured superhero, shooting down enemies without breaking a sweat.

Marvel’s Iron Man VR strongest parts are its narrative and gameplay mechanics. The story is original yet still nods towards the overall Iron Man universe, where he’s now a force for good rather than a weapons manufacturer. In this experience Tony Stark’s past comes back to haunt him, having to deal with two super villains who have teamed up, Ghost and Living Laser. They wish to topple Stark’s empire and are using repurposed old Stark tech to do so. Battles take place around the planet, from Stark’s Malibu home to Shanghai, China, making for one action-packed adventure.

Just like the films Marvel’s Iron Man VR is mostly wall-to-wall action, there’s no real brain teasing here. So it’s all about mastering those flight controls in conjunction with an assortment of weapons, finding a preferred loadout and going in guns blazing. Flying is actually fairly easy with the PlayStation Move controllers, holding them by your side to move forward and then angling your hands depending on the direction you wish to fly. Things do get a little more complicated during battles when you’re trying to dodge incoming projectiles whilst shooting enemies so there are boost and hover options to help when required.

Iron Man VR

The main worry with the system was whether the PlayStation Move could handle all this action in a 360-degree warzone without tracking problems. Camouflaj has done a great job in this area so you don’t have to stay rigidly forward facing the camera, you can twist and shoot then fly away with ease even when almost looking completely in the opposite direction. Strangely, it wasn’t the action sequences that caused tracking issues, these occurred in the main hub area (Tony’s home) when trying to through a basketball or interacting with certain areas.

The core game is a linear story-based tale where you can quite happily go through the main campaign in around eight hours or so. Yet there are plenty of little extras to play with extending those hours further whilst ensuring the gameplay doesn’t become repetitive. You can explore Tony’s home to find little Easter eggs, unlocking a few trophies along the way, or take on some of the extra flight and shooting challenges his AI’s set for you. In the centre of it all is the customisation area, where you can mix and match two loadouts with various weapons and augments to tailor the suit to your needs.

These are unlocked by earning a maximum of five stars across each of the levels, using variables likes checkpoints used or time. All the modifications cost the same, so there are none which are more highly coveted than others. They add a nice spice the battles which could’ve become stagnant otherwise as most are about shooting everything that flies. Of course you do get to battle those nasty super villains who provide the greatest challenge.

Iron Man VR

For those concerned about comfort in this fast and frantic videogame don’t worry. The flight mechanics the studio has built shouldn’t cause too much of an issue, plus you can play seated if required. The only problem with that is you don’t quite get the full versatility of standing and moving around, plus don’t sit on a sofa, use a chair. Purely because putting hands by your side to fly doesn’t work nearly as well.

Really, the main quibble VRFocus has with Marvel’s Iron Man VR is the loading times. Played on a PlayStation 4 not only are they frequent between each and every area, they just seem to last for ages – certainly noticeable when stood up. Stark does occasionally air his thoughts in some of these moments but most of the time it’s either a black screen or an information screen watching a percentage increase with story snippets and gameplay tips. Because of the regularity and time taken that sense of immersion and presence you get from the battles does diminish.

Marvel’s Iron Man VR does feel like its stretching the boundaries of what PlayStation VR and the Move controllers can do. Yes, the load times are very annoying yet the experience as a whole is still super satisfying. There might have been a few delays along the way but Camouflaj has made sure it was worth the wait. While there are plenty of hours of content to enjoy what’s most important is that exhilarating feeling of being Iron Man. Marvel’s Iron Man VR does that, making for a rewarding superhero experience