‘Rez Infinite’ Review: A Sight and Sound Excursion Into VR Cyberspace

‘Rez Infinite’ Review: A Sight and Sound Excursion Into VR Cyberspace

Remember Rez? Originally a Dreamcast game way back when, it’s bumped around–mostly on Sony platforms–over the years. A kind of hypnotic, surreal rails shooter-meets-rhythm game, Rez has always been a kind of cult classic. As one of the premiere launch titles for the PS VR, however, it’s about to make a proper resurgence with Rez Infinite.

If you’re new to the world of Rez, it is, as mentioned, an on-rails shooter. This means you don’t really control your character, but instead you control what the strange figure before you shoots at. Rez Infinite does expand the range of motion a little over past games, but the heart of the gameplay remains largely the same as it was 15 years ago.

There are a lot of reasons both aesthetically and technically why Rez Infiniteis a perfect fit for Sony’s new VR tech and why rail shooters in general are. Much of the problems with the majority of VR experiences comes with too much movement–fast turns in particular, especially with first person shooters.

In Rez Infinite, the speed of the game isn’t really controlled by the player, so the movement you’re exposed to is largely pre-defined. There’s no sudden turning in opposing directions as with a first-person shooter you’re fully in control of. The result is a liquid smooth, fully immersive experience. Rez Infinite feels more open than previous games though–it’s a rail shooter that gives you the illusion of freedom.

A big part of that is simply the feeling of being inside the game via the PS VR headset, which is something the regular version can’t hope to match. You can play Rez Infinite without the headset–as in, just on your TV–and it’s still great, but ends up paling in comparison to the full-on HMD-based headtrip.

At its core, Rez is all about the chill. It can get a bit hectic, but mostly it’s a kind of sight and sound excursion into cyberspace (which is basically the plot.) Everything about the presentation, from the smooth trance soundtrack to the beautifully neon wire-frame graphics, is perfect for the groove the game creates. More importantly, it’s not overly-taxing on the PS4 itself, enabling a 120 FPS (reprojected from 60) HD experience within a fully 360 degree 3D world.

Rez Infinite can be played with either the standard controller or the Move controllers. I liked the Move controller’s motion sensing, but there’s no particular negative to playing with the gamepad.

The game uses both the controller and head tracking to aim. So, the controller was good for rapid movements across the screen while your head is great for fine aiming. Character movements are smooth and airy, making the action feel far more natural than some of the other games we’ve played on the PS VR.

Rez manages to hit all the right marks for a launch title. It’s visually impressive without really going overboard. The gorgeous cyberspace landscapes, heavily bent on geometric shapes and lines with tons of shiny particles, seems a natural fit for VR.

The movement of your onscreen character is limited and the framerate is rock solid. The gameplay is simple enough to use the game as a demo for curious non-gamers, but has enough challenge for fans of the series.

Final Score: 8/10 – Great

Rez considers the limitations some other other launch titles have tried to skirt over and provides a VR experience that just works. It’s a simple game that relies on its minimalist style to provide a thoroughly beautiful world to just fly inside of. If there’s a downside here, it’s that past the gorgeous presentation, it’s still just a straightforward targeting game. That’s not an issue for me though, because the trip is well worth it.

Rez Infinite releases on October 13th for PlayStation VR for $29.99. Check out these official review guidelines to find out more about our process. 


Jason D’Aprile is a freelance writer with work appearing in prominent publications such as Gamespot, Playboy, and many others.

‘RIGS’ Review: The Creators of ‘Killzone’ Deliver On Their Competitive VR Shooter Promise

‘RIGS’ Review: The Creators of ‘Killzone’ Deliver On Their Competitive VR Shooter Promise

You’d think a studio like Sony’s Guerrilla would have things boiled down to a relatively simple science at this point. The developer as a whole is most well-known for the long-running series of Killzone games — which span multiple platforms and story arcs — but the Guerilla Cambridge team specifically has a much more varied and eclectic track record. Naturally, asking them to take on the challenge of building a VR-exclusive competitive multiplayer shooter to be available on day 1 with the new platform was no small task.

The ‘Review Guide’ for Rigs, a document that briefs reviewers like myself on the mechanics and content of a game, opens with a page-long introduction about the mission behind the project. After two full years of development (and scrapping/reworking several ideas) leading up to the launch of Sony’s flagship virtual reality headset, the wait is finally over. If you’re a fan of intense, fast-paced competitive multiplayer shooters, this is the game you’ve been waiting for.

From the moment you start Rigs, it immediately feels like one of the most polished and completed games available on PS VR. The introductory cutscene has you whipping your head around, marveling at the action and flashes on screen. Then before you even reach any of the game’s core menus, you’re taken through a lengthy tutorial sequence with full voice acting.

Everything in Rigs from top to bottom is stylized as if you are playing a game based on a futuristic combat sport. For example, your Chief walks you through all of the different control mechanics, such as using the analog sticks on your Dualshock 4 controller and turning your head inside the headset. After shooting targets you’re taken out into a training arena to put your skills to the test. Luckily, the team at Guerrilla are aware of some players’ sensitivity to movement in VR, so they’ve added a handful of very particular comfort options.

For starters, the filed of vision (FOV) on the outskirts of your eyesight will close in as you turn and look swiftly — similar to the mechanic from Eagle Flight by Ubisoft. Additionally, you can decouple your Rig’s horizontal movement from your head, causing your aiming reticle and your movement trajectory to function based on your headset and your control sticks, respectively. Finally, there is even a flat menu-based replacement for re-spawning, as opposed to literally getting ejected into the air out of your cockpit.

Actual gameplay in Rigs is fast and satisfying. The type of Rig you’re using will influence your speed, damage, and abilities, but they all boost and run around arenas no matter what. Rather than simply differentiating your loadouts with weapons and abilities, you can also alternate between three core power modes at any time: turbo, repair, and impact. Switching to turbo mode boosts my speed, while repair mode slowly heals my Rig, and impact mode increases my damage potential. Racking up kills and picking up glowing yellow orbs fills your Overdrive meter and when that’s active all three of your modes are turned on simultaneously.

Once you get your bearings, you’ll be pleased to find a litany of things to do. In the past when we got hands-on time with the game, it seemed like a relatively shallow experience. Every demo we saw at public events took place on the same Dubai map and included only one game mode: Powerslam. As it turns out, there are four classes of Rigs, each of which are customizable with different weapons and abilities, as well as four distinct maps, and a total of three different game modes.

The classes of Rigs are Sentinels, Hunters, Mirages, and Tempests. Sentinels are built for defense and can emit a powerful shockwave slam, whereas Hunters are quick and agile on the ground. Mirages can double jump, affording vertical flexibility, whereas Sentinels can leap and hover in the air. Taking each of those four core classes — and augmenting them with one of the special ability modes — opens up the door for dozens of Rig combinations and team builds.

In addition to the aforementioned Powerslam, there are also Endzone and Team Takedown game modes. For all intents and purposes, Powerslam appears to be the core game mode. Think of it as a combination of robotic warfare and basketball. Essentially, you must enter Overdrive — by earning kills and finding orbs — and then ‘dunking’ your Rig itself through the center ring of the map. The team with the most points by the end wins.

Endzone on the other hand is like a mixture of American football and soccer, as there is a literal ball that you and your team must get through the goal of the other team. You can pass it back and forth and kill enemies carrying the ball. In practice, it feels similar to one-flag capture the flag from other traditional shooting games. Finally, Team Takedown is essentially Team Deathmatch.

Beyond the core game modes there is more than enough to keep you busy in Rigs. When you’re not playing online against other actual humans, you can play in the Offline career mode, which sticks you on a team and tasks you with rising up the ranks and earning fans and credits through competition. There is plenty of incentive to play both online and offline as the content you unlock and earn is cross-compatible between the two modes.

From the Headquarters menu, you can choose your Sponsorship challenges, which function much like bounties or challenge missions in other games, and will ask you to ‘Earn 5 Takedowns in a Match’ or something similar.

Completing the bounty earns you a reward, such as a new uniform, helmet, or podium celebration. You can also spend your currency to unlock different classes and types of Rigs. Everything feeds into this system of progression, unlocking, and customizing and the team at Guerrilla Cambridge have done an excellent job of striking that difficult balance.

Even though the singleplayer content is serviceable and gets the job done when you either don’t have friends online or don’t feel like playing with other people, the real star of the experience is clearly the competitive multiplayer. This is, far and away, designed from the ground up to be played against other actual people. Just like in any shooter, that’s where the game really shines. The simple obstacle-based or time-limit-restrictive Trial missions don’t add much.

To that end, it would have been nice to see options for more team-based customization, or the creation of custom teams and leagues within the game. Since this is intended to be a fictional future sport, it would have seemingly been a no-brainer to let people create more of their own branding and recruit friends onto their online ranked squads. Perhaps that’s something that can be added in a future update. A cooperative game mode would have been a welcomed addition as well.

Rigs is a game built to last for the PS VR ecosystem. More maps, game modes, Rigs, and customization options would go a long way towards extending the game’s life span, whether it be through timed exclusive events, free content additions, or paid downloadable content.

Final Score: 8/10 – Great

Guerrilla Cambridge has crafted a superb first-person shooter exclusively for PlayStation VR that utilizes the unique aspects of virtual reality to deliver an exciting gameplay experience you won’t find anywhere else. If Battlezone was too slow and cooperative for your tastes, then this is the launch day game for you. Rigs is a must-play for competitive shooter fans splurging on Sony’s VR headset this holiday season.

Rigs: Mechanized Combat League releases for PlayStation VR on October 13th for $49.99.

Read our Game Review Guidelines for more information on how we arrived at this score.

‘Thumper’ Review: Rhythm Violence is Gaming Nirvana in VR

‘Thumper’ Review: Rhythm Violence is Gaming Nirvana in VR

In the year of 2016, it’s pretty rare that a game can release and claim to have invented a brand new genre. We’ve all played platformers, action adventure games, RPGs, shooters, puzzle games, and everything in between. However, one of the newest genres that emerged a few generations ago would be the rhythm game, created as a byproduct of the advent of high-quality music in video games. Now this week, Thumper, from Drool, takes the formula created in experiences like Audio Surf or Amplitude, and injects a hefty dose of adrenaline-fueled, pulse-pounding violence.

By all accounts, it feels like an entirely new type of game genre dubbed ‘rhythm violence’ and I’m in love.

Before reading further, do yourself a favor and watch the trailer above. It’s hard to put into words what it feels like to play Thumper, especially in VR, but watching that video first will help provide at least a baseline frame of reference. At its core, Thumper is dead simple. You are progressing along a seemingly endless track and must press buttons that loosely coincide with the beat and thump of the music to surpass obstacles.

Throughout it all, you control a metallic beetle creature/vehicle/thing that morphs and adapts to the environment based on your prompts. See a bright, blue pad approaching? Press X to launch into the air. See sharp crystals protruding from the track? Launch into the air holding up on the analog stick to flutter over them. See a pulsing wall coming up next? Slam your vehicle beetle thing in the opposite direction to slide around the curve.

On first glance, it can look like a bizarre, singleplayer racing game, except instead of racing against other opponents, you’re racing against the slow-moving dread of pulsating defeat. It’s an infectious process as the beat of the music mingles with the sharp tones of your crystalline beetle, banking and zipping across the track.

Every level is split into a multitude of sublevels, each of which contains a graded checkpoint. This ensures that failure is never too frustrating as you’ll only ever have to replay a handful of seconds before finally making progress again.

Due to this forgiving progression system, I’d be remiss to really describe Thumper as a ‘difficult’ game since trial and error is just part of its inherent DNA. You will not complete the entire game from start to finish without failure and that’s part of the madness.

Once you do find that sweet spot and — pardon the pun — get into a rhythm, it’s downright invigorating. The blur of the track and the smear of a cacophony of colors in your peripheral vision pumps the addictive stimuli into your eyeballs. The heavy thud of the bass and surrounding music pushes you forward. The boss at the end of each zone emerges in horrendous detail, whirling and gyrating to the stream of music, forcing you to nail every button press in order to silence the beast.

Levels feel like equal part nightmare fuel and gaming nirvana. Since Thumper can be played entirely inside of or outside of VR, you’d assume it doesn’t really make a difference which you pick, but I’d argue that not to be the case. The intensity will surely be too much to handle for some people, but if you can stomach it, Thumper in VR leaps above and beyond its 2D counterpart.

Rather than ending at the edges of your TV screen, the environments surround you in full 360-degrees. The 3D spatial audio reverberates throughout your body and the thump of your actions creates an even more hypnotic rhythm. Looking ahead, you can get a better view of what’s coming and the timing feels more natural once obstacles reach you.

It could be first impression bias, but after playing the VR version, I found it difficult to then go and play outside of VR. It just didn’t feel as visceral and exciting.

Final Score: 9/10 – Amazing

Thumper is a one-of-a-kind gaming experience. It is at first immediately familiar as an entry in the now classic rhythm game genre, but enhances virtually every aspect of the experience through brightly pulsing visuals, intense music, and nothing short of violent, visceral rhythm-based gameplay. While you can play Thumper entirely outside of VR, the experience truly shines and envelops you the most once you place a VR headset on your face. This one is not to be missed.

Thumper is now available for PlayStation 4 and PC for $19.99. PS VR support is included on the PS4 version and the headset itself releases to the public on October 13th. This review was conducted on the PS4 edition of the game, both inside and outside of VR.

Read our Game Review Guidelines for more information on how we arrived at this score.

‘Tumble VR’ Review: Fun With Blocks and Physics

‘Tumble VR’ Review: Fun With Blocks and Physics

I have three shapes in front of me: a small blue pyramid, a slightly larger S-shaped brown piece, and an even larger yellow cheese-wedge-like item. A floating metallic sphere called the “Test Supervisor Drone” snarkily states, “This puzzle is extremely simple. It is only intended to make sure that you understand what puzzles are.” I have to stack these odd shapes in a way that reaches a height of 51 cm. And so the permutations of configurations of these objects start running through my head.

The game is called Tumble VR, from Supermassive Games, the developers best known for their horror title Until Dawn and its VR cousin, Until Dawn: Rush of Blood. It is focused on the physics of objects, stacking them ever higher. But the game does not make things that simple. Every object, besides having a shape and size, which influences how you grab and place them on the platform, is also made of a specific material that has a corresponding weight and friction to its surface. Stone is heavy and rough. Rubber is light and rough. Wood has a medium weight, but a smooth surface. And then there is glass, foam, plastic, etc.

The goal of stacking is to go as high as possible. But then you get other levels that change the goal, such as the aforementioned puzzle level where you have to get to a certain height with only 3 objects. Then there are destruction levels where you blow a stack, by placing mines and then setting them off, trying to send the blocks flying as far as possible. There are limbo levels with moving bars of different orientations and shapes where the goal is getting a certain of number of objects on the platform without them being knocked off from the limbo rod.

There are even puzzles in Tumble VR where you move objects that affect a laser, seeking a way to get the laser to go to a certain place. Then more esoteric goals come: build a bridge between two platforms, build a stack on a platform with a slanted bottom, destroy a stack in a way where the top piece flies over a wall. You get the point.

And these levels aren’t just about reaching the goal. There is usually goals. Plural. You get a bronze medal for getting a stack to say 40cm and then silver for 70cm and then gold for 100cm. And the objectives don’t stop after that. After you finish the level once, it will unlock additional objectives for more medals: get a Time medal for completing the puzzle quickly, or a Target medal for somehow putting a shape in a specific space above the platform. There are even hidden blocks with hidden medals.

So you are using your Dualshock 4 or Move controllers to carefully arrange items of all kinds. And you are earning all these medals. These medals unlock new zones with even more levels (with even more objectives and medals and more zones to unlock). There are 50+ levels with hundreds of objectives. It is a great variety of gameplay from such a simple concept. And if you get sick of one kind of level, skip it and just do another kind. After all, you may have accumulated enough medals in Zone 3 to unlock Zone 4 without playing Level 19.

Since you can play with either the Dual Shock controller or the Move, both methods are valid and both methods use the camera to track motion. With the Move, you have a virtual Move that you point at an item, highlighting it. You simply pull the trigger to grab an item. You twist the object in your hand to get it just right, moving around the platform to place it where you want.

With the Dualshock, you see a virtual controller and a beam of light coming out of it. You point that light and grab objects. You can then use the Right Analog to rotate and flip the item, and the Left Analog to rotate or change the height of the platform. Both methods show the material and the weight of the object on the virtual controller. I personally enjoyed playing with the Dual Shock more, because rotating the object in 90-degree increments felt like I had more precise control over it.

Beyond moving objects around in all of these levels of the single player campaign, there is a Versus mode in Tumble VR too. The player in the VR headset has to stack items, getting to a certain height by a certain time limit, say two minutes. The opponent looks at the television and controls a drone with a Dualshock. They can grab different machines and use them to influence the stack that is being built. Position a fan to blow off lighter items like foam, aim a catapult to pummel a wood block, or a blaster to shoot objects and destroy them.

As you beat certain levels in the single player campaign, you unlock additional levels in the versus mode. This game type provides even more value to an already sizeable puzzle game that will have you twisting and reaching. It’s almost like having two separate but similar games in one package.

Final Score: 8/10 – Great

Some players may not find the physics-based gameplay to be their cup of tea, but if you give it a chance you may be surprised to find that one kind of objective scratches an itch you didn’t know you had. That is the virtue of a game with so much variety in implementing a simple concept. There is an unexpected kind of play waiting with each level. Which one will be the level that stumps you? And which will be a joy to finish and to replay for more medals? Only one way to find out: jump in, smirk at another rye comment from the drone, and start stacking.

Tumble VR releases on October 13th exclusively for the PlayStation VR at a price point of $9.99.

Read our Game Review Guidelines for more information on how we arrived at this score.

‘SUPERHYPERCUBE’ Review – Finding Elegance In Simplicity

‘SUPERHYPERCUBE’ Review – Finding Elegance In Simplicity

Gaming has a long tradition of titles involving blocks. On the Atari 2600, you broke blocks in Breakout. On the Nintendo Entertainment System, you punched them or jumped on them in Super Mario Bros. But most memorably, on the Game Boy, you rotated and arranged them in Tetris. And in 2016, we have what we’d like to declare as one of the next great block games in SUPERHYPERCUBE.

Developed by Kokoromi, a Montreal-based indie developer, and published by Polytron (of Fez fame,) the gameplay of SUPERHYPERCUBE is quite simple. You are floating through a space with a single cube. You come to a wall with a hole in the shape of that block. When you pass through the hole, additional cubes are added to the block, making the shape different. Can you turn and rotate the block into the proper configuration in the handful of seconds you have before you come to the next wall? If you don’t, the first time, you will just smash through the hole, pieces falling off your block. The second time this happens, game over. By the way, every 10 walls is a boss wall to finish out a stage.

These walls will rotate 90 or 180 degrees every now and then. Later stages, the boss walls will flip upside down or do other things that you might not expect.

A game like this becomes all about the points, with you accumulating bonuses if you rotate your block only a few times before it gets to the hole, or if you press the boost button and get your block to the hole in the wall quickly. As your block gets larger and larger, you score more and more points for each wall you pass through. When you hit 1000 points, you gain a heart, an additional time your block can smash through a hole in the wrong orientation and survive it. A second heart comes at 10,000 points.

Beyond extra hearts, you have powers to aid you, if you can survive long enough. As you pass through each wall, you have a little meter that fills up. After 10 walls, you gain the one-time use of a Focus, where you can slow down time, giving you additional seconds to get your block in the right orientation for the coming wall.

If you don’t use that Focus, not only will you get bonus points when you pass through a boss wall, but you will also start filling a second meter for Smash, which just instantly destroys the coming wall. If use Smash, both meters are emptied. If you use a Focus while both are full, only the Smash meter empties and you will have another Focus ready to go.

SUPERHYPERCUBE‘s graphics are simple, but luminous. You have line art that are thick, glowing lines, almost like the neon signs in bar windows. There is a glow about everything, light blooming effects, and a good sense of speed as you fly through space. The interface is made of orange light, the backgrounds of many hues, creating a psychedelic feel. With each stage of ten walls the background shifts, the thumping music changes, and the experience feels that much more frenetic.

The game’s use of virtual reality is a mixed bag. The sense of speed soaring through the three-dimensional space and the visceral feel of the 3D blocks and the wall rushing toward you all add to the kinetic feel of the game no doubt. But you only ever fly forward and you never need to look to your sides or behind you. More successful however is the use of the head-based positional tracking to change your position.

This is on display when your block is in the near center of your view and the coming hole in the wall is in the distant center, and so you have to lean to the side to actually see the hole. And after you look at the exact shape you need to pass through, you then glance at your block from that diagonal angle, granting you the chance to even swing to the other side to see the other diagonal angle, all in the precious few moments you have. It keeps you on your toes.

Playing this first-person puzzle block game is a simple one, but thrilling. And the drive to see the next stage, to score higher, to control ever larger blocks keeps you coming back. It’s a level of addiction-to-simplicity ratio that approaches the perfection of Tetris when at its best. And a game with fun and approachable gameplay is the kind that leaves a mark, or at the very least, helps cement to console players that virtual reality can bring new experiences to your home.

Yet SUPERHYPERCUBE is not a perfect game. It is fun to get farther, to look at Leaderboards to see how you compare to your friends playing the game or the rest of the world’s players dashing toward walls. But…that’s pretty much it. You do the same thing, over and over, in an attempt to get better and that frankly may not be enough for some people. But I can quickly see this evolving into the type of game I’d play once or twice a day or even just once a week to get a quick fix. There aren’t any modes beyond the basic game. There is no multiplayer component.

Nut maybe, just maybe, a game this elegant and simple can stand without these things. Your mileage may vary.

Final Score: 7.5/10 – Good

As the sum of all its parts, SUPERHYPERCUBE is a game that many will find fun and addictive. It’s simplicity may be it’s greatest asset or its largest weakness, and such approachability is what makes a game become a mainstay. You may find yourself flying, dying, and pressing X to try again. After all, that next wall could be your doom, or the benchmark of the furthest you have ever gone, your block and your score growing ever larger. And with games only lasting five minutes or so, you have time for one more try at wall 30, right?

SUPERHYPERCUBE releases on October 13th exclusively for the PlayStation VR at a price point of $29.99.

Read our Game Review Guidelines for more information on how we arrived at this score.

‘Wayward Sky’ Review: A Charming Adventure That Doesn’t Quite Soar

‘Wayward Sky’ Review: A Charming Adventure That Doesn’t Quite Soar

You are soaring through the air, a co-pilot to your father in the family biplane. A huge laser beam streaks through the sky, damaging a wing. You are forced to land at the source of the beam, a huge metallic fortress floating in the air. Leaving the damaged craft, a red robot four times your size flies in and kidnaps your father. You are left to explore this prison of machines and robots, helping whomever you can while searching for your lost parent. This is how Wayward Sky, an upcoming PS VR adventure game, begins.

Developed by a small developer out of Washington named Uber Entertainment, the game is labeled as “A Look And Click VR Adventure” in its opening moments. It is an apt description, but what it really amounts to is a third-person platformer with puzzles and occasional first-person interactions.

Wayward Sky has a cartoony appearance, with colorful robots and clean environments. The camera is usually third-person, positioned above you, and somewhat distant from the game’s protagonist, Bess. You move her through a miniature world, exploring sections of this floating fortress, from a perspective similar to Lucky’s Tale for Oculus Rift.

There are moments of gameplay and during the story where it shifts to Bess’s point of view in first-person, where you actually feel the size of the robots menacing you and the enormity of the fortress around you. Those rare moments are where Wayward Sky feels like a game truly capitalizing on the potential of VR.

To control Bess, using the Move motion controller, you point to a spot and pull the trigger to have her go there. If you point to a machine, the machine will be highlighted with a white outline and Bess won’t just walk over there, but also interact with it. Visually in the game, you see your pair of Move controllers as something like steam-punk flashlights, though only one can be used to control Bess. There are puzzles to solve in these environments, moving platforms and activating ziplines, usually amounting to figuring out how to get to one place or another.

When you interact with machines, such as turning something on or dealing with an obstacle, that’s when the game switches to the aforementioned first-person perspective. Your gizmo Moves are now replaced with Bess’s leather gloves. In these situations, you have both of your hands, but it is hardly necessary; the puzzles in these moments are simple.

You can also play the game with PlayStation’s standard Dual Shock 4 as well, with the Camera picking up it’s light and using it as a less-accurate motion controller, which is likely why Uber made the game really only needing one hand.

In a larger sense, the flow of the game is moving Bess from one “room” to another, working with the machines there to either defeat an obstacle or find a way forward. In this way, you explore one section of the fortress at a time, making your way through five such levels. There are some collectibles to find throughout, which adds an extra layer of play as you traverse these environments. While you can look around for immersion, or hunt for the vaguely hidden secrets, the core gameplay is focused on what is right in front of you, amounting to not-quite 180 degrees of play space.

There is more to the story of Wayward Sky than Bess’ search for her father as well. There are flashbacks to life on the farm before the eventful flight that kicks off the game, where you learn details about their relationship and their past. In the fortress, you are facing the villain Thaddeus, the son of the inventor who built this fortress called Icarus. There are a few unique robots with names and personalities that either help or oppose you, different than the mindless robots that are obstacles in the levels. There are short sequences between levels akin to a machine puppet show revealing the history of Icarus and how Thaddeus became a villain. The dialogue is simple and charming, but the storytelling methods with the flashbacks and puppet shows are more developed.

There is a charm to the game, exploring this cartoon world, hearing Bess’s comments when she succeeds, and listening to the robots’ cute voices. The steampunk-esque machine-filled pulp adventure aesthetic is enjoyable, and the puzzles work. It is a title that is approachable, something for kids or for parents to play along with them — seemingly built with PS VR being a lot of people’s first foray into VR in mind.

There are moments that make you smile, whether it is a fun line of dialogue, when you beat certain puzzles, or from the machine-aesthetic, whether it is the inventive puppet show or even a steampunk arcade game present as an added distraction.

But, despite all of that charm, it feels like the game isn’t fully formed. There is no real combat or challenge in the game. The puzzles never get difficult and they feel repetitive.  And except for a few first-person interactions, the game doesn’t really use virtual reality well: there aren’t any 360 degree puzzles, the camera blinks from room to room, so you don’t have to look around much, except for hidden collectibles. And with only five levels, you will be done in about three hours — a bit longer perhaps if you really take your time or replay levels to get collectibles you missed.

Final Score: 6/10 – Decent

Wayward Sky feels like a competent, but unfulfilling launch title. Fun at times, charming throughout, but leaving you wanting more. If the game had a more eventful story with deeper dialogue, actual fighting with the robots, more variety in the puzzles, and some real challenges, it would be a more satisfying journey. However, a younger or less experienced gamer that is new to VR may enjoy the adventure never the less.

Wayward Sky releases on or near October 13th exclusively for the PlayStation VR at a price point of $19.99.

Read our Game Review Guidelines for more information on how we arrived at this score.

‘PlayStation VR Worlds’ Review: Just Another Demo Disc

‘PlayStation VR Worlds’ Review: Just Another Demo Disc

PlayStation VR Worlds is, for those not in the know, a confusing package of content. When you buy a PlayStation VR headset, you already get a multi-game demo disc packed full of short glimpses for some of the PS VR’s biggest and best games. It’s appropriately named the Demo Disc. That’s literally what the box says.

Naturally, people might be a bit confused when they hear about PlayStation VR Worlds, a collection of five short experiences intended as introductory moments into the possibilities of VR. That sounds an awful lot like a demo disc, right? Well, it kind of is, except there aren’t full versions of these games waiting on the other end of a price tag and this disc isn’t free. Instead, you pay for a small collection of unrealized or unfinished games and experiences with a mixed bag of results.

Since each of the five games is a standalone experience, let’s look at them individually.

The London Heist

This is likely the one you’ve heard of or seen before. Originally, people assumed it would become a full game, but as it turns out, it was rolled into the PS VR Worlds package instead. It’s an enjoyable romp through London and lasts about a half hour from start to finish. You’re in what appears to be a gang or mob of some kind and are planning to steal a very special diamond. What ensues consists of couple fire fights, some light interactive moments, and a grueling interrogation scene.

The gunplay itself is fun and the voice work is top-notch, but I was ultimately left wishing for more. It feels like an abbreviated version of a larger story with a lot of potential, but in its current state I’d hardly recommend ever playing it more than once. It’s certainly the only one that actually consists of a narrative.

Ocean Descent

This was originally known as Into the Deep and changed its name following the inclusion in this package. You’ll go down underwater in a cage, get harassed by a big ol’ shark, and probably get a bit nervous from time to time. Since you can hear and see the shark coming from roughly a mile away, it’s not as terrifying as some of the reactions you might have seen online would leave you to believe.

It’s visually stunning and makes me want a fully-featured VR scuba diving game really, really badly. There’s also a more passive viewing mode as well.

Dangerball

This is, surprisingly, my personal favorite of the bunch. While it’s basically just Pong, but with your face, the excitement comes from the fact that each of your opponent’s has a different paddle with different abilities. Some can blast back multiple balls, others can slam them at super fast speeds. By banging your head forward you can send the ball flying with force, or by sliding your head to the side, you can enact a special curve ball.

Panels of the room come flying off the walls as the ball makes contact, making it a visual splendor to watch. Gameplay is fast, fun, and satisfying. I just really wish there was multiplayer.

Scavengers Odyssey

This one feels a bit like a scrapped game idea that never got a whole lot of traction internally. Sony didn’t bother talking about this entry in PS VR Worlds very much, frankly because many the other three I mentioned are more enjoyable. This plays out like a mixture of a mech-combat and space shooter game, with you exploring space and structures in a unique ship.

There are more thrills to be found in the free EVE: Valkyrie demo on your demo disc than in this one.

VR Luge

Last and least is VR Luge. You’ll tilt your head from side-to-side to steer your street luge as breakneck speeds as you dodge and swerve between cars. The sense of speed is great, but the limited courses, lack of real challenge (hitting cars doesn’t do much other than give you a slight time penalty) and disappointingly shallow gameplay keep this one from breaking away from the pack.

I can see why this didn’t evolve into a bigger game, but it would have been nice to see it at least polished up a bit more.

Final Score: 5/10 – Mediocre

PlayStation VR Worlds feels like a poor attempt at creating a bundle game collection that could stand toe-to-toe with fully-developed games on retail shelves. The PS VR itself comes with a demo disc that’s frankly better than this collection, but if you’re getting the bigger bundle that includes Worlds already, or really want to check out The London Heist, Dangerball, or Ocean Descent, then it’s worth a quick run through. Three of the five games are pretty solid, but it’s hard to recommend as anything other than a nifty bundle purchase.

PlayStation VR Worlds will be available for PlayStation VR on October 13th, at the price of $39.99.

Read our Game Review Guidelines for more information on how we arrived at this score.

PlayStation VR Review: The Future of Console Gaming Has Arrived

PlayStation VR Review: The Future of Console Gaming Has Arrived

Did you know that the PlayStation was born from a botched business deal with Nintendo? Sony and Nintendo were all set to release a collaborative game system known as the SNES-CD back in the 90s as an add-on device for the Super Nintendo. The deal went south, we were eventually treated to Zelda-based nightmare fuel via Nintendo’s replacement deal with Philips instead, and Sony eventually went on to create the PlayStation as a result. The best-selling console of this generation, the PlayStation 4, which has moved well over 40 million units since release in 2013, was all made possible by the Big N’s change of heart over 20 years ago. Funny how that works out, isn’t it?

Sony helped usher in the era of disc-based console games on the PS1, added DVD-playback support to the PS2, built the PS3 using the now-dominant Blu-ray disc format, and is once again at the forefront of technology with their rapid adoption and ferocious endorsement of virtual reality. Next week, the PlayStation VR headset (formerly known as Project Morpheus) will release to the world on October 13th and tens — perhaps even hundreds — of thousands of gamers will have their hands on a device with the power to transport them to fantastical worlds never before possible, all from the comfort of their tried and true PlayStation 4 game consoles. No beefy, expensive PC required.

Timeline of PlayStation hardware since 1995.

That may seem a bit long-winded, but that was intentional. The “Reviewers Guide” for the PlayStation VR headset Upload received from Sony a week ago includes a timeline (shown above) of the console manufacturer’s history, including blips for not only the PS1-PS4, but the PlayStation Eye Camera, the Move wands, and more. It’s been a long time coming and now Sony is finally putting all of its wacky peripherals to use in one immersive experience.

The PS VR headset is admittedly weaker in power than its higher-end competitors, the Oculus Rift and HTC Vive, but its also more affordable and is squarely focused on the established marketplace of PlayStation 4 console gamers. A defined market with ease of access shouldn’t go understated.

Now that we all know of what’s inside the box, it’s time to see how it all shakes out once it’s actually on our faces.

The standard, core PS VR unit box.

Table of Contents

Setup

Ergonomics and Design

Display and Optics

Sound

PlayStation Camera Tracking and Controllers

The Games

Other Features and Topics

Greatness Awaits

Here’s what’s inside. Click here for our full unboxing.

Setup

The PlayStation VR is relatively easy to setup. For the sake of simplicity, I’ll assume you already own a working PlayStation 4 that you use on a semi-regular basis if you’re reading this review. If you don’t and you’re woefully unaware of how home video game consoles work, let me break that down for you: you plug it into the wall, then into your TV. Probably into your modem or router directly as well. That’s pretty much it.

Back of the PS VR Processor Unit.

Once your PlayStation 4 is up and running, it gets a tiny bit more complex. Inside the PS VR packaging you’ll find a little breakout box, called the Processor Unit, that looks like a miniature PlayStation 4. One end of this unit you’ll plug it into your TV — essentially moving the HDMI cord from the back of your PS4, to the back of this device. Then you’ll also hook the device to your PS4 using another HDMI cord.

From there, you just plug the unit into the wall for power, then plug the headset into the other side to complete the connection. All of the cords are labeled clearly and it’s a simple system. The most complicated part is just making sure your cable management is good, since all of the added wires can lead to a lot of clutter. I set my breakout box directly on top of my PS4, but you’re free to place it somewhere else if you’d prefer.

Size comparison between a standard PS4 (right) and the PS VR Processor Unit (left.)

It doesn’t stop there, though, as you’ll also need a PlayStation Camera for the headset to function at all and the core unit packaging does not include one. A different, more expensive bundle does, or you can purchase one separately. If you don’t have one already, it just plugs into your PS4 system directly and sits on top of your TV. It’s relatively hassle-free overall. The box includes detailed instructions for setup if you get confused and there are already videos online.

Following that assortment of wires and cables, you can finish the setup process with a bit of software bootup. Click through the prompts on your screen and you’ll eventually start the calibration process. This is where things can get a little tricky, as Sony actually recommends sitting approximately 5-feet away from the camera with up to 5-feet of space behind you. This is partly to ensure you don’t hurt yourself by moving around blindly, but also partly due to the necessities of the camera to make sure it doesn’t get confused trying to keep up with your movement.

After all that, you’re good to go. The PlayStation 4 will handle updates, so downloading and installing new firmware isn’t necessary.

Front-facing view of the PlayStation VR headset.

Ergonomics and Design

When compared to the Oculus Rift and the HTC Vive, the PlayStation VR looks similar at first glance. There is a large hunk of material on the front that obscures the face of the user almost entirely, delivering a design that’s reminiscent of science fiction literature and films from years’ past. Sony continued that lineage — especially considering its original Project Morpheus moniker — and even made sure to include some fancy LED lights right on the headset itself.

However, the biggest difference between this and other headsets on the market is that it’s based on a headband design, rather than a strap that clamps the unit to your face. In the case of the Rift and the Vive, you’ll use a combination of velcro straps to tighten and loosen the headset to your face, with a cushion covering you that can often be difficult to get just right. As someone that wears glasses, it’s often uncomfortable and frustrating to use those headsets for more than a few minutes. I’ve discovered ways to make them feel comfy, but it’s not always easy.

In the case of the PS VR, you simply place the ring of the headband on top of your head, slide the back part downward so it sits on your cranium at an angle, with the forehead pad gently resting atop your face. The material feels similar to a reptile’s skin, but it’s much softer and glossier. It also doesn’t soak up sweat as easily. Press the button on the back to loosen and tighten, twist the nob to fine-tune, and then press the button underneath the headset to slide the actual lenses closer or farther away from your eyeballs. That’s it.

That all adds up to one of the most comfortable and easy to use VR headsets created to date. The simple sliding of the lenses makes it beyond easy to peak out from the VR world to check your phone, inspect your surroundings, or just let your face breathe a bit. Much easier than having to unstrap or rip off the other headsets on the market.

A quick look at the insides of the PlayStation VR headset.

In terms of comfort, long sessions were never an issue for me as long as I put the headset on correctly. Since the headset weighs about 12.9oz, if you don’t slide the back part down and keep it adjusted on your face, the pieces at the back where the two halves connect can press against your temples and become uncomfortable.

But that wasn’t an issue if I, as I said, put it on correctly. It never bothered my neck, despite the fact that it’s incredibly top heavy like other headsets.

I did notice that the lenses tended to fog up more frequently than the Rift or Vive, which is likely due to the fact that when not in use, the headset got cold while unplugged from my game console. It didn’t sustain a constant warm connection. But since it comes with a microfiber cloth and the sliding lens design makes it so easy to reach up and wipe the lenses, it didn’t really bother me much. After about 5 minutes of use, fogging stopped being an issue.

A close look at the lenses of the PlayStation VR headset.

Display and Optics

The PlayStation VR uses a single 5.7” 1920 x 1080 resolution full-color OLED RGB display split between two eyes to deliver stereoscopic 3D content. The display refreshes at a rate of either 90Hz or 120Hz, depending on the application itself, with a latency of less than 18 milliseconds.

That’s the nitty gritty details, but what you really want to know is what it’s like to actually use. In my experience, the visual fidelity was great. Obviously, you can tell a difference between the clarity of the PS VR when compared side-by-side with the HTC Vive or Oculus Rift, but the difference is, overall, not very dramatic. Objectively, the PS VR is a lesser experience, but subjectively, it didn’t equate to a noticeable impact on my entertainment.

That being said, there are areas that present a downgrade in terms of overall resolution and FOV. The Oculus Rift and HTC Vive both feature a 2160 x 1200 display with a 110 degree field of view (FOV,) whereas the PlayStation VR is only 1920 x 1080 with a 100-degree FOV. To put that more plainly, the Rift and Vive both have more pixels in their screens and a wider area for viewing content. That means sharper images and less black space on the outskirts of the viewing area. Clearer imagery and larger vision add up to increased immersion.

After spending time in the PS VR, the decreased FOV and lower resolution stopped bothering me, but coming from the higher-powered headsets initially, it was apparent enough to point out.

The HTC Vive (left) and Oculus Rift (right.)

Depending on the application, resolution become a bit of an issue. When playing DriveClub VR on the provided demo disc for example, I had a lot of trouble reading the gauges on my car’s dashboard. Even if I leaned in to get a closer look, the numbers were fuzzy and it was difficult to decipher. The same goes for street signs I passed during a car chase scene in The London Heist on PlayStation VR Worlds. None of these things were really necessary for my enjoyment of the game’s in question, but the lack of fidelity was relatively obvious.

At the end of the day, when I wasn’t examining aspects of games to see how their clarity holds up and I instead decided to focus on playing the games and having a good time, my eyes glossed over the inefficiencies.

Side view of the PlayStation VR headset.

Sound

While the concept of virtual reality may seem like a primarily visual experience, the truth is that sound is just as important in delivering an immersive piece of content. Through the usage of audio cues in games, developers can get you to turn in certain directions, or video producers can make you feel even more immersed in a space than ever before. The sound of the wind at your back, howling beasts in a distant direction, and more are powerful tools at the disposal of content creators.

The power of 3D spatial audio is impressive and while it seems similar to just surround sound generally, when paired with an immersive 360-degree digital world that reacts to your head’s movement, it feels like you’ve truly been transported somewhere else.

And as an added bonus, the headphone jack on the PlayStation VR’s inline button unit is quick and easy to use. Just plug any headphones you have — whether they be the pre-packaged earbuds, or a comfy set you have lying around — and the 3D audio is baked in. The Processor Unit and headset itself transmit the 3D audio signal, so all you need to do is plug some headphones in. The inline unit also lets you power on and off the headset, as well as adjust the audio at the press of a few buttons. That is, as long as they’re wired. Wireless audio signals don’t carry 3D audio well.

Finally, yes — the PS VR does have a built-in microphone. The sound clarity is great when playing multiplayer games and it delivers a crystal-clear sound to your headphones of choice.

The lights on the headset and controllers are how the PlayStation Camera keeps track of everything’s location.

PlayStation Camera Tracking and Controllers

The bright lights might seem distracting at first, but rest assured you won’t even notice they’re there when you’re inside the headset. The PlayStation Camera, while having a normal lens, can’t accurately track your movement based on its vision alone. Instead, it tracks the LED lights found on the front and back of your headset, as well as the ones on the top of the Dualshock 4 controller and the PlayStation Move wands.

The camera sits at the top of your television and should be pointed directly at the center of your playspace, squarely on the headset itself. That orientation helps the camera establish your location in relation to the rest of the environment.

Ultimately, it gets the job done for the most part, but is a far cry from the Vive’s lighthouse base stations, or even the Rift’s tracking cameras. Simply put, the PlayStation Camera is dated and likely wasn’t created necessarily with VR in mind. After an hour or two of play, I noticed my orientation started to ‘drift’ to one side, causing me to slowly shift my seating position. After removing my headset, I noticed I was facing at an approximate 25-degree or so angle to the left of where the camera actually was located. It’s like the entire VR experience was slowly shifting over-time.

The PlayStation Camera.

Additionally, it had trouble keeping up if I turned around while standing or in a swivel chair. Some games, such as Job Simulator or even Batman: Arkham VR, encourage standing, so I wasn’t exactly pushing the device outside its limits. If I had my back turned to the camera, it tracked my headset fine, but would occasionally lose track of the controllers while obstructed. This happened if my hands were out in front of me and not to my sides — it seemed like my body was shielding the camera’s signal. I’ll be curious to see how — or if — Sony can address that at all.

To be clear: these bumps in the road weren’t frequent and they didn’t actively disrupt my ability to play games. The Vive and Rift have tracking hiccups all the time, so this is far from an isolated issue.

Placing those unfortunate concerns aside, everything worked well when it needed to. When I was sitting upright, in the middle of my room, in normal conditions holding a controller in my hand for gameplay, the PS VR experience was at its best. The more sophisticated I tried to get — using motion controllers, moving around, turning, etc. — the less accurate the tracking became over time.

An interrogation scene from The London Heist in PlayStation VR Worlds.

The Games

As they always say, software sells hardware. The PS VR headset, as impressive and nifty as it is, is frankly quite useless without software to use. Luckily, we’ve been promised approximately 50 titles to be released with PS VR support before the end of the year and we’ve been counting down to the release of the headset, highlighting a different game each day, for almost two full months in our article series.

The analysis in this section of this review will be light, as you can read the specific game reviews for more detailed thoughts, but this will provide an overview of the general landscape. We also haven’t had the ability to go hands-on with every launch title, but we do have an opinion piece about the headset from the POV of a hardcore console gamer’s perspective you should check out.

Cover of the PlayStation VR demo disc.

The Demo Disc

The demo disc is a forgotten art in today’s game industry, but Sony didn’t follow that trend. Instead, for US consumers, they’ve packed in over two dozen short demos to give you a varied and robust taste of what the headset has to offer. Headsets in other territories come with fewer demos. On this demo disc, you can take flight in the cockpit of a space fighter in EVE: Valkyrie, get behind the wheel of some of the world’s fastest cars with DriveClub VR, fire away at enemies in your tank with Battlezone, and even experience the torturous Kitchen demo from Capcom.

While it’s not saying much, it wouldn’t be an understatement to rank this as perhaps one of the best demo discs ever created. There is a tremendous amount of variety and enough content to keep you busy for literally hours on end just to see everything the disc has to offer. If you fall in love with something on the disc, going to the full game’s store page for a quick purchase and download is just a single button away. This should be the starting point for all new PS VR owners.

The Playroom VR will also be a free download for anyone to grab off of the PlayStation Store, but it wasn’t playable yet as of the time of this review.

Promotional image for PlayStation VR Worlds.

PlayStation VR Worlds

If you get the launch bundle that includes the headset, camera, Move controllers, and PlayStation VR Worlds, you’re in for a treat here as well. This bundle game contains five short experiences that are each a step above being ‘demos’ but not quite worthy of being released as fully independent titles. The London Heist is an excellent action-packed adventure that features heavy violence, first-person shooting, and a gripping interrogation scene. Dangerball is just like playing Pong, except your face is the paddle. VR Luge is one of the most intense racing games I’ve played in VR yet, rocketing you down busy streets as you dodge and weave between vehicles. Ocean Descent lets you get up close and person with a shark and, finally, Scavengers Odyssey is part mech-combat and part space shooter.

As stated, each of these games on their own wouldn’t warrant much, but as a package, it’s a deeper dive into what more complete games and experiences could look like. If the Demo Disc is your introductory course in what the PS VR can do, consider this your intermediate course before you graduate without training wheels.

What About the ‘Actual’ Games?

There are a lot of games coming to PS VR this year — remember, we said around 50 — and we frankly haven’t had time to play them all yet. In fact, many of them haven’t even been provided to media yet for review. As of the time of this writing, we at UploadVR have only been provided review copies of Allumette, Batman: Arkham VR, PlayStation VR Worlds, Battlezone, Harmonix Music VR, Job Simulator, SUPERHYPERCUBE, Tumble VR, Until Dawn: Rush of Blood, Wayward Sky, and Thumper. Heavy hitters like RIGS, Robinson: The Journey, EVE: Valkyrie, DriveClub VR, and more haven’t been provided as of the time of this publication.

However, we’ve played the listed games quite a lot. In fact, if you’re reading this right now, then many of our reviews for those PS VR games are live and you can see them either at the hyperlinks above, or by visiting the site’s Reviews tab.

Suffice it to say that if you’re interested in getting a PS VR, then yes, we think that the launch lineup of games is strong enough to warrant the purchase. And if you already have the required PlayStation Camera and/or optional Move controllers with your PlayStation 4 now, then that decision should be even easier to make.

Other Features and Topics

The analysis doesn’t stop there. In addition to playing dedicated PlayStation VR games like the ones mentioned above, you can do a whole lot of other stuff inside Sony’s flagship headset as well. For example, Cinematic Mode lets you access anything else on your PS4 within a private cinema. This is great for watching movies on a large, virtual screen, or playing non-VR games inside the headset. The PS VR will also function perfectly fine while others in the room are using the TV for something else.

And whilst you’re inside VR, everyone else around you can still see what you’re seeing if they want, albeit on a downgraded, flat, 2D screen. This is nifty so that everyone else in the room doesn’t feel completely left out. Plus, some games such as The Playroom VR or Tumble VR, utilize this feature for local multiplayer.

You’ll also be able to share and stream content that you’re seeing inside the PS VR headset using your PS4’s built-in Share button functionality.

Greatness Awaits

The PlayStation VR headset is far from a perfect device. Tracking has its issues with the dated PlayStation Camera and Move controllers and the visual fidelity is lower than that of its primary competitors, but what it lacks in technical prowess it makes up for in accessibility, affordability, and a streamlined focus on quality content.

This may not be the most technologically advanced headset on the market, but for console gamers that want a taste of the power and potential of virtual reality, it’s hard not to recommend what Sony has created. I don’t think VR will completely replace traditional video games, but it’s a format that is finally matured enough to stick around.

With PlayStation VR, the future of console gaming has finally arrived.

‘Until Dawn: Rush of Blood’ Review – A Terrifying VR Nightmare

‘Until Dawn: Rush of Blood’ Review – A Terrifying VR Nightmare

Until Dawn, which released from Supermassive Games in 2015, is one of my favorite titles for the PlayStation 4 so far. It combines excellent acting and voice work, with a compelling setting, cheesy horror movie tropes, diverse characters, and an addicting ‘choose-your-own-adventure’ premise into a fun, guilty-pleasure package. I played the entire multi-hour long game in just two sittings, yelling and screaming my way to the very end with my wife by my side.

When I told her that the PlayStation VR headset was getting a scarier, more action-packed sequel to one of our favorite games, she was naturally excited. While Until Dawn: Rush of Blood may not initially seem like anything more than an easy plastering of a franchise name onto an otherwise unrelated game, it’s actually one of the smartest and most entertaining launch titles coming to Sony’s VR headset. She happily watched me squirm and yell inside my headset for another go-around.

When this Until Dawn VR spinoff was first debuted, I had severe doubts. The original game is all about slow-paced, immersive, world building and suspense surrounding a cast of lovably dumb characters. The power to choose who lives or dies by way of my own actions is thrilling — it’s the same concept that made Heavy Rain such a success. Now Supermassive had thrown away all of those elements that made Until Dawn so memorable and tacked on seemingly shallow gameplay into an on-rails shooter chocked full of jump scares.

Even though that description is mostly accurate, what we’re actually left with is an intense thrill ride that I didn’t quite see coming. The entire game is played from the first-person perspective, which is quickly becoming the go-to format for the most immersive VR experiences. You’re dual-wielding guns while riding in a rundown coaster through a creepy, dilapidated old carnival setting. The game does a great job of slowly introducing you to its mechanics through this format.

First, you’re gunning down targets and rubber duckies, then mannequins, and before long you’re barreling around corners at top speed. It’s an exhilarating feeling that really captures the sense of momentum. Throughout levels you can shoot boxes and items to build up your score multiplier and even unlock new weapons — like grenade launchers and shotguns — to mow down your enemies more effectively.

The whole game takes about 3 hours to complete, which felt like a decent length, although I wanted more. Target practice modes, or silly coaster tracks would have been nice additions. Fans of the original game will recognize many of the levels and will appreciate the callouts and references to past events. Suffice it to say that, as neither a prequel nor a sequel, Rush of Blood takes place entirely inside the mind of one of the first game’s protagonists. If you played it, then you should remember someone in particular that suffered from some violent mental instability.

The game’s handful of characters feed you bits and pieces of narrative between and during each mission, but it’s really just barely enough to keep you going. Levels consist of you dodging objects as your coaster speeds ahead and mowing down waves of enemies as they come rushing at you from all sides. These moments are where the power of VR is felt the most.

Sitting in a stationary coaster and shooting enemies could have been a decent game in and of itself, but when you add in the power of 3D spatial audio, that’s when things get interesting. On several occasions I’d whip my head around to look towards a baby crying, a girl screaming, or an enemy yelling at me. Those small cues were timed just right so that no matter how many times they happened, they would always find a way to deliver a scare.

When you’re looking straight ahead at a standard television in anticipation of something jumping out at you, it’s easy to turn away or avert your eyes. In VR, you can’t do that. If I look to the side, the enemies still surround me. If I close my eyes, I can still feel and hear the presence of my own terror. Traditional horror games use the environment and world against you, but in VR, developers can not only do that, but they can also turn your own mind against you as well.

After the first night I played the game, I woke up the next morning with vivid images still burned into my brain. I haven’t dreamed about or had nightmares from a video game in years. Playing horror games in VR is awakening a part of my fear that I didn’t know still existed. I really, really hate dolls and mannequins.

Until Dawn: Rush of Blood is, of course, not without its faults. The tracking issues of the PS VR and Move controllers are evident and in some areas there is a noticeable screen door effect with the headset’s resolution. By the end of the game, the gameplay feels both repetitive and often frustrating. Simply dying and repeating content feels like an outdated form of length-padding and rids entire sections of the game of their scare value. If I’m hung up on an annoying boss, the fifth time I try to beat him is no longer terrifying — it’s just pissing me off.

As a result, Until Dawn: Rush of Blood is a game that excels when it’s using the gruesomely detailed world and immersive visuals and audio to truly surround you and penetrate your mind. It had me spinning in circles to see what was coming next, on the edge of my seat in anticipation. Then, during rare moments, I’d hang my head in frustration because I wasn’t able to accurately blast a series of flying puss balls in time. A rude reminder that this is still, in fact, a video game, with boss fights, and annoying progression roadblocks.

Final Score: 7/10 – Good

Until Dawn: Rush of Blood delivers on the promise of pulse-pounding scares and has enough context to feel like an adequate follow-up to the excellent previous game. It may not resemble the franchise’s core values at first glance, but what you’ll find beneath the surface is a game that swaps the sophisticated character development of its predecessor for a sophisticated interpretation of horror genre tropes.

Until Dawn: Rush of Blood will be available for PlayStation VR on October 13th, at the price of $19.99.

Read our Game Review Guidelines for more information on how we arrived at this score.

‘Battlezone’ Review: The King of Tank Combat Returns in VR

‘Battlezone’ Review: The King of Tank Combat Returns in VR

You may not know this, but Battlezone, the upcoming tank combat game for PS VR, isn’t exactly a new property. In fact, the tank combat game it’s based on, also named Battlezone, originally came out in the 80s at arcades and on the Atari 2600. Now, Rebellion has revived the series with the new immersive medium of VR by way of an intense, tactical, and feature-rich romp across digital battlegrounds.

Battlezone on PlayStation VR is about as close to a system seller (headset seller?) as you’re going to see in the early days of virtual reality. In a market that’s flooded with tech demos and under-realized potential, Battlezone feels like a breath of fresh air.

Since it would have been a bit ridiculous to create a massive, sprawling campaign with hand-made content from start to finish, the team behind the game were smart about it. They crafted a campaign map that randomly populates the board-like interface with objectives, events, and missions. You move from one point to the next, completing whatever pops up along the way. In the hours I’ve spent with the game, I can honestly say that no two missions were ever quite the same.

Sometimes I was tasked with defeating several waves of randomly generated enemies on a randomly generated map, whereas other times I’d have to defend my base from the onslaught instead. Other times still it would be a mixture of defending and attacking in the same battle, or even escorting a convoy of other tanks to the end of the mission.

What makes Battlezone so enthralling though isn’t the diversity of its content, but the excitement of its gameplay. I could choose either a Light, Medium, or Heavy tank to roll into combat with, and they each had their own perks and disadvantages. The Light tank was, naturally, incredibly quick and agile, whereas the Heavy tank was slower with better defenses and more firepower.

Throughout the campaign, you earn credits that can be used to purchase upgrades, new weapons, and more. That brings an addicting progression element which adds an even more dynamic nature to the game’s already versatile offerings. Playing through missions alone is fun — the combat is balanced enough so that it isn’t too easy or too challenging — but Battlezone is the kind of game that shines best when you play with others.

You can open up the multiplayer lobby menu and find games looking for players, making it easier than you’d expect to find people to play with. Although, early days of VR mean it may be difficult to form a full party unless you’ve got friends also playing. Luckily, the PS VR’s built-in microphone should also make communication a breeze. That’s extra useful for the sometimes sudden difficulty spikes that make some of the missions feel cheap or unfairly difficult, compared to some of the others that can feel a bit too easy.

Gameplay consists of a mixture of boosting from side-to-side to dodge incoming fire from enemies, as well as lining up the perfect shot. With a wide variety of weapons — from machine guns, to rockets, to lock-on missiles, and more — there is a huge arsenal of munitions to deploy. Which is, once again, why rolling in a group is the best way to enjoy the game. Each squad member can specialize and focus on a particular type of playing style to balance out the group.

One of the most interesting elements of Battlezone’s combat is how the game handles healing. Rather than actively targeting and pressing a button to heal allies, all you have to do is be near one another. This further incentivizes the need to stick together as a team, while also providing an interesting role that a squad mate could decide to specialize in. The upgrade trees allow for great nuance in how you build out your tank, especially in combination with the variety of weapons and types of tanks to choose from.

That being said, the learning curve can be a bit steep for some people. The battles are fast and intense and getting used to using your head, as well as both analog sticks, in unison can feel cumbersome at first. Eventually, you’ll settle into a rhythm, and the movements will start to feel natural.

Final Score: 8/10 – Great

Battlezone is one of the brightest shining gems in the PlayStation VR launch lineup. There’s a ton of content here and a satisfying procedural campaign keeps things fresh and interesting. The platform is lacking multiplayer options — especially of the cooperative variety — and Battlezone offers super tight controls and immersive gameplay in a clean, attractive package that has easily become one of VR’s best titles.

Battlezone will be available on October 13th for PlayStation VR at a price of $59.99.

Read our Game Review Guidelines for more information on how we arrived at this score.