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Tuesday, October 8, 2019

John Wick Hex Review – A Slow-Motion Ballet Of Blood

Publisher: Good Shepherd Entertainment
Developer: Mike Bithell Games
Release:
Rating: Mature
Reviewed on: Mac
Also on: PC

John Wick walks into the room. Like a clockwork automaton, his movements are precise. His eyes effortlessly scan for danger. The gun in his hand snaps forward like the head of a serpent, spitting bullets like venom. Even more than most action heroes, John Wick exudes stone-cold confidence, and Bithell Games’ strategy adaptation perfectly captures that style. I’ve rarely felt like such a capable assassin than while playing John Wick Hex. Even after a few repetitive encounters and an aggressive enemy A.I. tried to cut my ego back down to size, they couldn’t diminish the overall high I felt playing Hex.

The John Wick franchise is all about speed and nonstop action, so Hex’s choice to distill battles down to one-second chunks seems a bit odd. Fortunately, it works. In Hex, you navigate John Wick through a series of seedy underbellies as he takes down a seemingly endless stream of mob thugs. Each time a new enemy enters Wick’s field of view, the action stops and you have the opportunity to issue a new command. John Wick isn’t a turned-based strategy game, but it offers some of that slow-paced, contemplative action. Yet magically, these slow-mo firefights feel as tense and hyperkinetic as a real-time shooter.

Most of my time with Hex was spent calculating the length of time it took for John Wick to complete each order. Firing a pistol takes a full 1.5 seconds, while shoving a nearby enemy takes 1.3 seconds, and parrying an attack takes only .5 seconds. Those time difference might sound relatively insignificant, but the difference between life and death is measured in nanoseconds. Some weapons also take longer to fire than others; lining up a shot with a shotgun consumes more time than the standard pistol, but it does significantly more damage. Fortunately, Hex does a fantastic job laying out the timeline for upcoming attacks, and I always knew what my foes were planning and how much time I had to retaliate. Wick is almost always faster than his enemies, but when three goons burst through a door, managing enemy timelines becomes an exciting juggling act.

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I regularly felt outmanned and outgunned, but overcoming the odds feels amazing. In the span of only a few seconds I could parry one attack, then – while one foe was stunned – initiate a grappling takedown of another enemy, which would place me behind cover and allow Wick to narrowly avoiding incoming gunfire. Finding a few seconds to squeeze off your own attack is often harrowing, but stepping over a room full of fallen foes is incredibly satisfying.

Some of Wick’s best attacks and defensive moves cost focus. For example, the dodge roll makes Wick incredibly hard to hit and allows him to quickly traverse the length of a room. Every time I ran out of focus mid-battle, I felt handicapped; much like reloading, finding time to replenish Wick’s focus is tricky, but this adds a welcome wrinkle to the strategy.

Wick begins the game as a highly capable assassin, which means he doesn’t have much room to grow. The tactics and strategies I used at the end of the game were the same ones I learned during the opening levels. Before each mission, you have the opportunity to purchase upgrades that improve your hit percentages or lower the focus cost for some moves, but these are temporary buffs and I often found it more useful to spend my coins on extra bandages and weapons instead.

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Most of the challenge in the later levels comes from throwing more thugs your way or introducing more resilient enemies. When I did get overwhelmed, I was forced to start each level over from the beginning. Fortunately, these levels are relatively short, but I was frustrated to have to play through a level’s early encounters repeatedly when I kept getting hung up near the end.

The narrative doesn’t bring anything new to the table. Hex is set in a period before the films, when John Wick still works for The High Table and recounts a mission where he must hunt down and kill the lieutenants of a villain named Hex. This plot largely serves only to introduce a number of marks for John Wick to hunt down, and doesn’t contribute much to the franchise’s wider lore.

Despite those frustrations, I continually returned to John Wick Hex because the core mechanics are incredibly tight. Thanks to Hex’s clever time management systems I always felt one step ahead of my enemies and capable of constructing the kinds of sophisticated close-quarters gunfights that make the films so exciting. John Wick Hex might hit the same note over and over again, but it’s one incredible note.

Score: 8

Summary: A few repetitive encounters and aggressive A.I. don't diminish the overall highs Hex offers.

Concept: Slow down John Wick’s hyper-violent gunfights to create a series of tense strategic encounters

Graphics: This dark, comic book aesthetic fits the tone of the universe. Sadly, a few jerky animations don’t do this hitman justice

Sound: Actors Ian McShane and Lance Reddick reprise their characters from the films, which adds some authenticity to the experience. John Wick is played as a silent hero, so no Keanu Reeves

Playability: Hex expertly breaks down John Wick-style fights into a series of puzzle-like encounters, but your combat options don’t expand much over the course of the game

Entertainment: At its best, John Wick Hex makes you feel like a trained assassin, but those moments are interrupted by strings of repetitive action

Replay: Moderate

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Ghost Recon Breakpoint Review – The Soul Of A Drone

Publisher: Ubisoft
Developer: Ubisoft Paris
Release:
Rating: Mature
Reviewed on: Xbox One
Also on: PlayStation 4, PC

Ghost Recon Breakpoint is a conflicted mess of an open-world experience. It is unreliable in almost everything it offers, from tactical firefights and enemy intelligence to open-world exploration and mission flow. Developer Ubisoft Paris also didn’t solve the issue of repetition that plagued Ghost Recon Wildlands – it’s even worse this time around. Flashes of brilliance are scattered amid the turmoil, but no matter how much you try to latch onto them, the game finds another way to pull you down and upend your progress.

When Breakpoint works as intended, it delivers thrilling four-player cooperative strategy. This includes satisfying stealth, fun drone surveillance, heavy firearms that kick like mules, plenty of useful loot, and maybe even a gripping story sequence that makes you look forward to the next mission. When things don’t go as planned (which is more often the case) Breakpoint is broken. Bosses come back to life, teammates respawn over a mile away, your character is inexplicably unable to aim over a barrier, and enemies stop dead in their tracks right in front of you. In some of my play sessions, a mission would go off without a hitch. In others, my squad couldn’t do anything without some kind of glitch (like one of us falling through the world geometry) throwing a kink in our strategies.

The game’s set up is quite good: You and a small group of Ghosts have been deployed to Auroa to handle a terrorist threat that just happens to have a connection to your past. Cole Walker, a former Ghost who you ran with back in the day, wants to weaponize the island’s innovative drone technology. You need to stop him. From Far Cry to Assassin’s Creed, Ubisoft often struggles to deliver interesting villains, but not with Walker. He is immediately imposing, and brought to life exceptionally well by actor Jon Bernthal. Walker holds your interest, but the story doesn’t deliver much to grasp onto other than him, and ends up hitting the same dull note repeatedly. The side stories, of which there are many, also don’t have much of a pulse, even with some moments offering player choice. Breakpoint’s story is better than Wildlands’, but that isn’t saying much. The scenes with Walker are usually captivating in disturbing ways, but that’s about all the narrative successfully delivers.

Ubisoft’s decision to create a fictional place is a success that pays dividends from start to finish. Auroa is an island where the brightest minds in technology congregate to improve the world. Aurora’s scenic mountains, valleys, swamps, and tundra, feature pockets of sci-fi like industrialization. Many buildings look like artistic sculptures, and the people who work here live like royalty in homes with open views of the stunning landscapes. Helicopter rides give players a chance to fully appreciate this beautifully realized world, which is filled with side missions, random points of interest that hold loot and collectibles, and some areas are even used for fun 4v4 PvP Ghost War battles.

The belief that you are a part of a thriving world is more defined than in Wildlands thanks in part to the introduction of a social hub called Erewhon, a small village tucked inside of a mountain cavern. Erewhon, as interesting as it is for the fiction, is sadly used as a mission destination too often, forcing players to fast travel excessively. Why can’t we just call the mission giver on the phone to get a 10-second update before having to head out again?

Outside of this unwanted pitstop, mission setups are usually interesting, giving players numerous interaction points, including some that require a little detective work, like tracking down a document or interrogating a high-ranking official to learn where a dangerous target is. As varied as the mission setup and objectives are, the act of completing these tasks is repetitive, and you are rarely challenged in different ways. Ubisoft’s other open-world shooter, The Division 2, did a fantastic job with mission flow, taking players to through long and well-conceived areas. Breakpoint is the exact opposite, pushing players to either aggressively or stealthily reach a point of interest and then move on to the next. As empowering as it is to enter a location however you want, the lack of structure makes every mission feel routine. With few enemy types to confront over the course of the entire game, most assaults usually end up feeling the same, too. Being able to spawn a helicopter from any bonfire means you don’t really ever need to use any of the other vehicles to explore the world. The best path to success is doing the same things over and over again.

That said, stealth in Breakpoint is handled admirably. The auto-stick cover system creates damning problems for shooting over obstacles, but it works fairly well for sneaking, and the enemy observation meter fills slowly enough to allow for quick course correction should you get stuck on the wrong side of a wall. If the enemies are alerted to your position, they attack with everything they have and can kill you and your squad quickly. However, they don't stand a chance if you hunker down in a protected spot. They are too aggressive, and will funnel to you one by one until their entire division is wiped out, making most missions fairly easy if you can find such a location. Most areas are filled with rooms you can use to exploit the A.I. Guns feel great and are varied, but what you use them against rarely puts up a good fight.

Enemies drop plenty of loot, and Ubisoft does a nice job of making most of it meaningful. As you progress, you slowly advance in rank (with 150 being the ultimate goal to topple the final mission, which you can access from the beginning). The loot is awesome in how bountiful and varied it is, but none of it makes much sense. Yes, a +7 gun is better than a +2 gun, but you also find a low green-ranked baseball cap offers more protection than a rare gold-ranked helmet. The rags-to-riches path of making your character look cooler as the game goes on isn’t here, and instead seems to be completely random as to what the most powerful items in the game are. My final form consisted of a stocking cap and plastic surgeon gloves.

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The most telling moment in Breakpoint came during the final mission. My team successfully took down the final boss, and then hacked a computer to end a crisis. My character nodded approvingly and smiled awkwardly, and then, just when it seemed like the credits would roll, my squad reappeared in the world, and the boss was back. This time around, he was invincible, and ended up wiping us out with ease. When we respawned, the mission had reset to its first step. It was an unfortunate bug that wiped out a good hour of work.

This final moment with Breakpoint sums up the game perfectly. There was a sense of victory, and then it all fell apart and became a maddening mess. I had some fun playing with friends, but constantly found myself wondering how this follow-up could go so wrong.

Score: 6

Summary: Ubisoft's newest open-world experience struggles to deliver reliable combat and interesting things to do.

Concept: A sloppy open-world experience that offers plenty to do, but hardly any of it is executed in clever or stable ways

Graphics: Auroa is the best part of the game – an island filled with beautiful forests, mountains, and cleverly designed near-future settlements

Sound: The noisy pop of the guns is satisfying, but isn’t enough to compensate for the awful dialogue

Playability: The guns feel great and allow players to line up shots from great distances. Enemy A.I. is hilariously bad and can be exploited for easy victories. Your character can’t walk on most inclines without falling, which is odd

Entertainment: Playing with friends can be fun, especially when stealth is working. But whether the game “works” is the key question at all times

Replay: Moderate

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Grid Review – The Retread Reboot

Publisher: Codemasters
Developer: Codemasters
Release:
Rating: Everyone
Reviewed on: PlayStation 4
Also on: Xbox One, PC

Rebooting a franchise involves taking something with a beloved history, updating its technology, and imbuing it with the spirit of the times. Grid, however, doesn’t fully live up to this objective. It simply does not contain enough beyond Codemasters’ solid racing gameplay to jumpstart the brand in this day and age. The Grid reboot brings the franchise back, but without pushing past its previous incarnations, it feels like it’s just going around in circles. 

Grid offers a plethora of races across six types, spanning GT, stock, tuner, and other types of cars. You’re free to move among them (as long as you can afford the requisite car), but Grid’s career mode is missing structures, like being in charge of a full racing operation that may actually get you emotionally invested in creating your legacy. Only two race types exist: regular race and time attack, and there aren’t any larger sponsorship incentives that serve as motivating carrots. You don’t upgrade your cars’ parts or performance, and the teammates you hire don’t give you a boost on the track or have any personality or anything else to tie them to you in a meaningful way. In short, Grid is a game of numbers. It’s a game with a lot of races, but it doesn’t give you enough reason to care. It hits the bare minimum of what a racing title should be, but it doesn’t try to break out of the mold like the original Grid once tried to.

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At least Codemasters confidently executes on the racing itself. Grid’s gameplay is between an arcade and sim-racing title, a fun space that encourages experimentation with the normal, generous range of difficulty and handling options Codemasters is known for. Because of the relatively open structure of Grid’s available races, it doesn’t take long to race some powerful cars, and it similarly won’t take long to become comfortable braking hard, throwing the steering wheel into a corner, and holding on for dear life, playing with the throttle to find that sweet spot between skidding and sliding. Even when you go back to cars with stiffer suspensions, there’s still joy and skill in finding the limits.

While you’re in the throes of racing concentration you may spare a moment for the nemesis and teammate systems, but not much more. Nemeses duly give you a bump if they reach your rear quarter panel (their anger resets after each race), but the role teammates play is less obvious. They have different levels of aggression, skill, and loyalty, but most races are only three laps; this doesn’t give you time to wait around for a key moment for them to block a specific racer for your benefit, or help you out at all. Your teammates are just other cars to pass on the track, and they don’t have any personality off of it, which doesn’t leave them with much of a purpose.

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You may be paying their wages for nothing, but at least it’s not hard to earn enough gold to buy the cars needed to race across the various silos. Your earnings are also shared between single-player and multiplayer, which is nice. In multiplayer, I like how cars ghost at certain times to prevent huge pileups, like when a player is using the rewind function. But like the career, multiplayer lacks race types. You also can’t form teams, nor can you see which public lobby you are joining, or set up which assists racers can use in private matches.

The Grid series offers a fun, gorgeous racing experience, and I can see value in bringing it back. But this incarnation of the game performs the bare minimum of the reboot mandate when it should be doing so much more. We race to be in first place, but unfortunately, Grid seems content to be in the middle of the pack.

Score: 7

Summary: This reboot from Codemasters lacks the ambition that a good racer needs to get to the front.

Concept: Drop into a world with over a hundred races and six different disciplines

Graphics: Codemasters does a great job making races look gorgeous and feel alive

Sound: You can hear the track announcers before and during races, which adds atmosphere. However, your crew chief who talks in your ear piece is a hilarious, dead-pan dolt

Playability: I highly recommend taking the assists off and spending a little time getting used to the cars. Once you get over the learning curve, you’ll get comfortable and become a better racer

Entertainment: Codemasters’ skill in the genre makes Grid a competent entry, but nothing more

Replay: Moderately High

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