Author: Andrew Logue

  • Review: CONSCRIPT (Nintendo Switch)

    Review: CONSCRIPT (Nintendo Switch)

    CONSCRIPT is a gruelling reminder that war is hell and being too committed to old-school design is always a risk. Even as a fan of classic survival-horror, playing through CONSCRIPT on the default settings – the third of four difficulties, no checkpoint saves, no infinite saves – made me realise just how meticulously balanced the best games in the genre are, and how fine a line there is between challenge and frustration. That said, if you stick with it (or use the assists and abandon the unlikely prospect of an initial S-rank run), you’ll find CONSCRIPT a worthy and terrifying addition to the genre; one that combines elements of classic Resident Evil and Silent Hill with the more recent Signalis and Amnesia: The Bunker.

    You could be cynical and accuse CONSCRIPT of being too derivative, but it’s well-designed, polished, and almost shows reverence for games it draws inspiration from – rather than blatantly highlighting those connections to make up for the lack of a unique identity. With a lot of emphasis placed on the sombre tone, your actions when faced with a seemingly futile situation, and multiple endings, it’s a surprisingly low-key but relentless game that felt most similar to Silent Hill 2. A brooding atmosphere, gorgeously gruesome pixel art, unsettling ambience, and minimal spectacle all ensure the focus remains on a vulnerable protagonist trying to survive a hellish situation, while enduring trauma that forces them to question their own values, courage, and sanity.

    Over the course of six chapters – with brief interludes that reveal events leading up to his conscription – French soldier André finds himself part off one of the last major German offensives during the infamous Battle of Verdun; a 10-month period during which border forts, trench lines, and towns were changing hands almost daily, with staggering losses on both sides. His overarching goal is to find his injured brother Pierre, but video game logic dictates nothing can be straightforward, even less so in the survival-horror genre where every task is a succession of contrivances. Over the course of several days, he’ll witness the French frontline collapse; he’ll serve as a runner to gather reinforcements; he’ll retake a fort and storm no-man’s land to capture German lines; and explore a ruined town to try find a way into another besieged fort his brother was assigned to.

    Intentional or not, CONSCRIPT is a timely reminder of the innumerable lives destroyed through warmongering, with fallen Germans as likely to drop a family photo as they are ammunition. From a purely gameplay perspective, it’s mechanically familiar and rewarding. You explore room by room for key items and supplies, with little direct guidance, praying that you stumble upon a save room and item box to manage your limited inventory. You decide on whether to expend ammunition to clear safe routes, leg it or roll past enemies while hoping not to take too much damage, or engage in some rudimentary stealth that’ll test your patience and likely double your playtime. There’s a mysterious merchant that’ll trade cigarettes and upgrade your weapons with gun parts, and you can assist rare NPCs who reward you with consumables to boost health and stamina. Aside from the fluid twin-stick style controls and light progression elements, it all feels incredibly old-school and your first playthrough is going to be dominated by blind exploration and excessive backtracking. However, the longer you play, the easier it is to appreciate the depth of the mechanics and how they both reward and punish different playstyles.

    As an example, upgrading basic weapons and scavenging, crafting, or trading for ammunition will usually keep you ahead of the curve if you want to dispatch every German soldier you find; however, without patching damaged sections of barbed wire, more German troops can appear. More problematic is how fresh corpses results in rat swarms that can inflict a poison status that reduces your total health. For aggressive players, this makes it all but mandatory to burn bodies and toss grenades into rat nests in your most frequented areas. On the other hand, crude stealth, running like hell, and using rare opportunities to sit out battles make it easier to preserve supplies and avoid the rat threat, but it becomes a lot harder to complete several objectives and avoid taking damage – especially when dealing with firearm-wielding foes. Naturally, how you play, who you help, and how thoroughly you explore for clues and collectible items can dictate which of four endings you receive (with more hopeful and depressing variants available too).

    It all makes for a familiar but satisfying take on the genre – but CONSCRIPT has one notable flaw: questionable map layouts that makes backtracking frustrating, even if you’ve cleared a safe path through them. You traverse dozens of interconnected maps that encompass the ruined outskirts of St. Michel in the south, the frontline trenches and a fort near Souville, and the besieged Fort Vaux and adjacent town to the north. Each chapter tends to focus on thoroughly exploring one area – often above and below ground – and, initially, there’s a satisfying rhythm to finding key items and opening new routes back to rare safe rooms. However, from the third chapter onwards, you encounter more maps with winding routes between exits, large areas with few shortcuts, and no obvious reason why it should be that way other than to drag out the experience.

    Of course, this has always been a potential issue in classic survival-horror games, but CONSCRIPT features larger outdoor spaces that take far longer to traverse. It makes that contrived structure of key hunts and convoluted puzzles that much more obvious, illogical, and just annoying at times. As a consequence, even fans of the genre might find parts of CONSCRIPT tedious – but I would recommend you stick with it as it gets far more right than wrong. Also, despite the serious content matter and oppressively grim tone, it’s a rare treat to play a survival horror games devoid of zombies and secret laboratories.

    Pros:

    • Classic survival-horror gameplay
    • Evocative pixel-art visuals and moody ambience
    • An unusual setting for the genre
    • A relentlessly grim but topical reminder of war’s human cost

    Cons:

    • Map layouts can make puzzling and backtracking frustrating in some chapters

    Score: 8/10

    CONSCRIPT was reviewed on Nintendo Switch using a code provided to gameblur by the publisher. It is also available on PC, Xbox One/Series S|X, and PS4/5.

  • Editorial: Phantom Fury takes too long to get good in an age when no one has patience

    Editorial: Phantom Fury takes too long to get good in an age when no one has patience

    Phantom Fury requires several hours of patience before it starts to shine – and even then, you’ll have to endure a considerable degree of jank and inconsistent quality throughout. In an era where competition is fierce and patience non-existent, it received middling reviews and predominantly negative user scores. Perhaps more annoying for the fans of the genre, Phantom Fury was yet another retro-inspired shooter published under Gearbox, which must have suffered from a turbulent development cycle. It’s got plenty of B-movie charm, solid shooting, and some standout level design, but these moments are interspersed with clunky or dull sections, often designed to highlight derivative and undercooked mechanics that ultimately dilute the experience rather than enhance it.

    Phantom Fury serves as a sequel to 2019’s Ion Fury and a prequel to 2016’s Bombshell which first introduced bomb disposal expert Shelly Harrison. It features all the cliched villainy you’d expect, with power-hungry military men, unethical scientists, no shortage of betrayals, and plenty of cringeworthy one-liners. It dips briefly into Shelly’s past to flesh out her character, and it even features a cameo from John Blade – protagonist of 1998’s Sin – who gifts you his iconic magnum for the finale. That said, it’s not a game you should play for the plot as, at best, it provides a barely coherent excuse to push you from level to level and provide some justification for Shelly’s vendetta.

    Unlike Ion Fury – which used a modified version of the Build Engine that powered its inspiration, Duke Nukem – Phantom Fury emulates classic 3D shooters, such as Quake II, Half-life, and Sin, using an Unreal Engine 4 build that’ll look and feel familiar if you’ve played Graven. Rather than blisteringly fast movement, snappy shooting, coloured key hunts, and gory sprite-work, Phantom Fury is a more grounded 3D FPS, with greater verticality, more physics objects, more complex set-pieces, and chunkier gore – but also an identity crisis.

    The opening level provides a hint of what’s to come, as you’re forced to read emails for codes, manipulate devices using terminals, stack crates, sneak through vents, and enter “0451” on a keypad to progress – all while being bombarded with updates to your mission log. It’s not bad in and of itself, and I’d argue a game like Graven benefitted from exploration, puzzling, and secret-hunting that was more enjoyable than the combat ever was. My issue is that Phantom Fury could stand on its own two feet as a pure FPS. It offers a diverse and situational arsenal, and plenty of mid- to late-game encounters that’ll test your mobility, tactics, and aim.

    However, the first third seems unfocused, happy to funnel you between bland corridor firefights against a small and familiar roster of enemy archetypes, frequently interspersed with gimmicky and janky set-pieces. The early game also saddles you with just a basic pistol, a pitifully weak pump shotgun, and the iconic Loverboy revolver that is still powerful, but also less reliable at locking on to enemies for a double-tap. To rub salt in the wound, my settings would often reset when loading a save, the weapon-wheel could stop working until I paused and un-paused the game, and rare hard crashes had a nasty habit of happening right at the end of gruelling battles or boss fights.

    Yet despite those issues, by the time I entered the White Sands laboratory near the 3-hour mark, with nearly half the arsenal unlocked, Phantom Fury was starting to feel more like the iconic 3D shooters it wants to emulate. It pushed me to keep mobile, prioritise targets, constantly swap to the most effective tool for the job, and hoover up health and ammo pick-ups amidst the chaos.

    The degree of interactivity in the game world felt less like puzzle-based roadblocks, and more integral to the combat experience. Exploding barrels and steam vents sent enemies flying; the crates and walls I used for cover could crumble under fire; while in the background glass and props shattered, alarms went off showering the area in water or smoke, and soundtrack ramped up and down in sync with the action. Holding objects as shields or flinging them as weapons never felt reliable, but Shelly’s bionic arm allowed me to punch melee enemies into gibs or briefly block incoming fire as I got close with the triple-barrelled Motherflakker shotgun in hand.

    It was also around that point the level and encounter design began to feel a little more refined, consistent, and polished. Phantom Fury follows the traditional design of tight corridors leading into open arenas, but each level felt more interconnected and made better use of 3D space. You would emerge above or below areas you fought through earlier, open up smart shortcuts back after completing a sub-objective, while a greater variety of enemy archetypes would limit your ability to hunker down behind corners.

    Standout examples include the aforementioned “Buried Lab” that takes inspiration from Half-life’s “Blast Pit”, as you work your way around a central chamber reactivating a locked-down facility, dealing with rogue GDF forces and escaped mutants. After that came the “Train to Flagstaff” level, which sees you battling through claustrophobic carriages, before fighting your way back across the top of the train and fending off a helicopter. The “Grand Canyon Facility” is another interconnected laboratory level with some great vistas, while the “Los Alamos” levels begin with an outdoor rampage and giant mech battle, before completely shifting gear as you explore a creepy abandoned facility, juggling power distribution to access new areas and fending off mutants in the dark. The game culminates with running battles through the ruined streets of Chicago, a scrappy firefight up a skyscraper, and multi-phase rooftop boss battles.

    Unfortunately, Phantom Fury’s is also described as a “road movie adventure”, which means vehicle sections that range from mediocre to frustrating. Your first encounter with a GDF jeep makes the Warthog sections in 2001’s Halo look remarkable in comparison, with clunky handling, boring terrain, and a useless machine gun that takes an age just to kill a basic grunt. A section in a stolen jet is entirely on-the-rails, leaving you to simply aim and alternate between another useless machine gun and moderately more useful missiles. A submersible section is perhaps the worst, combining imprecise movement with inaccurate torpedoes and swimming mutants that’ll insta-kill you if they get close.

    None of these sections are particularly long in the grand scheme of things, but they’re sandwiched between the good levels, felt the most janky, and always served as a downer.

    As a consequence – and even after two major patches – it’s not easy to recommend Phantom Fury without highlighting the caveats. After a plodding opening hour or two, it gets into a groove – but it’s one that’s periodically interrupted by weak vehicle sections. What’s worse is that they never feel like a core part of the gameplay loop – just gimmicky additions that would have been better left as short cutscene transitions so the devs could double-down on polishing the on-foot sections. If you’ve got this far though, I’d say fans of the genre should grab it on a sale, just temper your expectations for an hour or two, and try focus on the 80% of the game that Phantom Fury gets mostly right.

    Phantom Fury was played on Xbox Series S|X using a code provided to gameblur by the publisher. It is also available on PC and PlayStation 5.

  • Retrospective: Ryse: Son of Rome (2013)

    Retrospective: Ryse: Son of Rome (2013)

    I only picked up an Xbox One three years into the last generation, and Ryse: Son of Rome didn’t even enter my mind when I was looking for what few exclusives I’d missed. I eventually added it to my library when it was heavily discounted and promptly ignored it for another 5 years according to my transaction history. Having finally played through the campaign mode in 2024, two thoughts stood out: one, the negative sentiment towards Xbox after the botched Xbox One launch must’ve been severe if both this game and IP were swiftly forgotten; and two, I really miss big-budget games that could be completed in a dozen or less hours, and had actual endings that let me walk away with a sense of completion.

    Which is not to imply Ryse: Son of Rome is some underappreciated masterpiece. By 2013 standards, it would have felt distinctly average aside from the technical highlights. By 2024 standards, I found some of its flaws now feel like positives – so long as you go in with your expectations in check. It functions as a compact version of the formulaic action-adventure that now dominates blockbuster games: a third-person perspective with lavish character models and animations; a strong focus on the presentation with lengthy cutscenes for storytelling; and a cinematic flair to the action, with tons of canned animations and the sensation the game is sometimes playing itself for fear you interrupt the transitions into cutscenes. The only thing it’s missing is an open-world structure – which I now consider that a good thing.

    What made it most enjoyable to me in 2024 was the pacing of its brief campaign; brevity that serves the gameplay loop well, as it probably wouldn’t hold up past the 8-hour mark, no matter how much audiovisual spectacle is thrown at you. You control Roman soldier Marius Titus, in an alternate history Rome, during the time of Emperor Nero (and yes, he has much the same physique as Demetrian Titus in Warhammer 40,000: Space Marine if that came to mind!). Political change is in the air and the vast expanse of the Empire is making it difficult to govern. After a chaotic prologue sets the stakes, Marius recounts his story to the emperor leading up to that point, beginning with a visit to his Senator father and family in Rome after completing his training. The reunion is interrupted when a barbarian war party raids the city; his mother and sister are on screen just long enough to die and provide motivation for another hyper-masculine, vengeance-driven campaign; and his father only lasts a little longer before telling him to save Rome in his dying breath.

    What follows is a visually diverse and often spectacular campaign that’ll see you invade Britannia in the Roman equivalent of the D-Day Landings, battle southern rebels and wild Northmen in the fog-swathed Highlands, evacuate a fortress city under siege, and finally return to a collapsing Rome after Marius realises a cowardly emperor and his psychopathic sons might be the real problem as “barbarian” hordes rise up as a result of Roman oppression. Naturally, you’ll meet and kill several historical figures from legend in the process. On the sidelines, there’s another battle being waged by Roman gods trying manipulate mankind through prophecy and direct intervention, with Marius taking up the mantle of Damocles to enact revenge. I found the storytelling still holds up thanks to the impressive visuals and sense of scale (well, for the time), the lengthy but well-directed cutscenes, and some excellent voice work throughout.

    Now I’ve got this far without discussing gameplay, as while tutorials make it sound complex, the mechanics are simple, satisfying, but increasingly repetitive by the end. Ryse: Son of Rome uses the classic attack, dodge, block, and counter rhythm that Batman: Arkham Asylum pioneered in 2009 – just with a sword-and-shield focus, less “gadgets”, and gory takedowns. You build up combos with basic strikes; you block or parry with your shield; dodge glowing attacks; kick or use charged attacks to break an enemy’s guard; use a focus ability to slow time for free hits, and trigger QTE-driven executions on a single or pair of targets. These executions never fail once started, but if you match the prompts, you get bonus points towards health and focus restoration, a temporary damage boost, or XP that goes into a perfunctory skill tree that boosts basic attributes and execution bonuses. It’s an intuitive enough system that looks and feels great when you hold off a surrounding horde and execute them all in gory fashion.

    The problem with Ryse: Son of Rome is that it barely evolves over what was a 7-ish hour campaign for me – possibly less if you just ignore the underwhelming collectibles. For the bulk of your playtime, you move down glorified corridors with beautiful and sometimes chaotic backdrops full of battling soldiers, frequently getting locked into combat arenas – sometimes literally – until you defeat all the enemies. If you’re lucky, there might be two paths you can take, or a dead-end with a collectible. To spice things up, you’ll sometimes fight alongside fellow soldiers, triggering sequences where you march in a shielded formation and fling spears at archers, defend a point by assigning shield-bearers and archers to cover paths, and even engage in turret sequences using implausibly rapid-fire crossbows. Each act also features a boss fight or two, but these are often simplistic one-vs-one battles that only ask you observe attack patterns in each phase, then trigger the right counter to chip away at their health bar. Even on higher difficulties, they’re underwhelming compared to common late-game battles that throw numerous enemy variants at you simultaneously.

    Now despite wrapping up on a negative note, most of my gameplay concerns only came to mind after I had finished the campaign and had time to mull over the experience. When you consider Sony released The Last of Us in the same year, pushing the technical limits of the PlayStation 3 and their storytelling ambitions, it’s easy to see why Ryse: Son of Rome failed to stand out. However, when you consider 2020’s The Last of Us: Part II now demands 25+ hours of trudging through misery interspersed with despair to see the end, I think there’s still good reason to return to older and shorter big-budget titles – even if they were considered unremarkable at the time. If you missed it at launch, Ryse: Son of Rome still offers a single satisfying playthough for those short on time but after a “AAA” experience.

    Ryse: Son of Rome was played on an Xbox Series S|X. It is also available on Xbox One and PC.

  • Editorial: Hammerwatch Anniversary Edition is perfect for those who love methodical dungeon delving

    Editorial: Hammerwatch Anniversary Edition is perfect for those who love methodical dungeon delving

    If someone told me they thought the Hammerwatch games were boring, I’d be hard-pressed to argue despite enjoying them so much. The developers Crackshell were inspired by the early Gauntlet games from the mid- to late-’80s (something made obvious the moment you discover a secret level) so Hammerwatch offers up a mix of systematic exploration, switch and key hunts, hundreds of secrets to find, deadly traps to avoid, and chaotic combat against hordes of monsters and damage-sponge bosses – all of which feels much more exciting if you bring a friend or three along for the ride.

    The game uses a top-down perspective with gorgeous pixel-art and sprite-work, coupled with a catchy “8-bit orchestral” soundtrack from composer-duo Two Feathers that has been stuck in my head for over a decade. On paper, it sounds solid but unlike so many modern games, progression and pacing are rigidly methodical and formulaic, which won’t appeal to everyone.

    If I had to pick one argument as to why I love the Hammerwatch IP, it would be that the games feel like the antithesis of modern ARPGs like Diablo III or IV, Path of Exile, and Grim Dawn. All excellent games in their own right, but all with a focus almost entirely on character and gear progression through repetition. Even if they offer epic stories and stylish cinematics, their game worlds are designed for infinite grinding and many use procedural generation. As such, the layout of a dungeon rarely matters, there are few locations that feel unique, and it’s rare you get to make lasting change to the environment despite all your time and effort.

    In contrast, every campaign in the recently remastered Hammerwatch Anniversary Edition makes learning the level layout essential to finding exits, secret hunting, upgrading your hero, and surviving hordes of monsters and deadly traps.

    None of which makes Hammerwatch novel in the traditional sense – just pleasingly anachronistic in contrast to modern games, as it rewards systematically tackling everything on offer and there’s actually a finite amount. You push forward room by room, revealing the dungeon layout and expanding a useful auto-map; you keep an eye out for switches and traps; and you plan how best to kite enemies that’ll shred your health bar in seconds if you end up surrounded. Scattered checkpoints function as save and respawn points; food and potions keep your health and mana topped up; gold is spent on trainers to unlock or improve hero skills; while dozens of secrets range from more gold and accessories to extra lives, and there are even hidden collectibles if you want the “true” ending to some campaigns.

    Unlike many other ARPGs in which repetition equates to progression, Hammerwatch doesn’t have respawning monsters and there’s no XP or loot gained from slaying them. Instead, thorough exploration, hoovering up every last piece of gold, and secret hunting is how you improve your hero. Collectible power-ups provide an incremental but permanent buff to your core attributes; weapon upgrades, higher-tier offensive skills, and a bigger mana bar all boost your damage output; while upgrades to your armour level, defensive skills, and health bar make you more resilient.

    The more you explore and the more enemies you clear out, the easier it is to backtrack through sprawling levels on the hunt for the secrets and gold you need to become more powerful. Finding every power-up and upgrading everything is not essential but also can’t grind endless trash mobs if you’re having difficulty with a boss encounter.

    Played from a top-down perspective, with twin-stick-style controls and only a handful of abilities to consider per class, Hammerwatch is simple to pick up and the on-screen action is typically easy to follow – useful in a game where mobility and a bit of strategy also count for a lot. However, with the prospect of limited lives, the risk of stumbling into insta-kill traps, and tough boss encounters that can feel like bullet-hell shooters, it remains a challenging game irrespective of your chosen difficulty – at least if you stick to the default settings.

    Hammerwatch Anniversary Edition offers a short but useful list of modifiers, independent of difficulty, that you can pick from before starting a campaign. For new players (or those with an inexperienced co-op companion) infinite lives or bonus life pick-ups let you to focus on exploration and secret hunting with reduced risk. For wizards and warriors alike, buffs to health and mana regeneration can keep them in the fight without the need to backtrack for consumables.

    At this point, it’s worth wrapping up by discussing why I’m highlighting the more recent (and pricier) Hammerwatch Anniversary Edition, instead of the original release I first played a decade ago. Part of the that is simply to support the developer and hope profits eventually go to a console port of Serious Sam’s Bogus Detour (the best Serious Sam game since the original pair), but I also thought it would be useful given the developer’s website and storefront listings are surprisingly low on detail and initially put me off picking it up until it was suitably discounted. First up, the remastering effort is excellent – just in sense it looks like you might remember it. Go back and take a look at the original however, and the improvements to the artwork, sprites, atmospheric effects, auto-map, and control scheme are obvious and much needed.

    From a gameplay perspective, you have updated introductions and conclusions for each campaign that tie into the larger narrative introduced in Hammerwatch II; you have access to all seven classes with new customisation options and some nice situational voice lines; and there’s a simple tiered accessory system that add a little more diversity to character builds – though you can only carry one at a time.

    Most significant for returning players is the substantial “Shaftlocke Tower” campaign, which remasters assets from the rogue-like Heroes of Hammerwatch, and turns them into a traditional campaign even longer than the length of the original, packed with an expanding hub, more intricate levels, tougher combat encounters, more bosses, and more secrets. The only downside is that, if like me, you first replay the original Castle Hammerwatch and brisk Temple of the Sun campaigns back-to-back, Shaftlocke Tower can push that formulaic structure to breaking point.

    Wrapping up, despite the higher price point and the reworked “more of the same” approach to the new campaign, I’d still recommend Hammerwatch Anniversary Edition to existing fans, those that wanted a traditional campaign from Heroes of Hammerwatch, and as the best starting point for new players, whether on PC or any of the consoles – even if it took a few patches to get to the “definitive” experience. It’s not for everyone and fans of modern ARPGs might find it too dull – but if you get a kick out of systematically clearing dungeons, room by room, floor by floor, and hunting for secrets, Hammerwatch Anniversary Edition offers a lot of quality content and an indie price point.

    Hammerwatch Anniversary Edition was played on Nintendo Switch. It is also available on PC, Xbox One/Series S|X, and PS4/5.

  • Review: Crow Country (Xbox Series)

    Review: Crow Country (Xbox Series)

    Crow Country is an accessible retro-inspired survival-horror game that does an impressive job capturing the look and feel of early 3D isometric games that came out on the PS1 or SEGA Saturn during the late-‘90s. The structure and gameplay feel like Resident Evil with a hint of Parasite Eve II, while the environments feel like a mix of Silent Hill and any number of chunky JRPGs from that period. It’s a distinctly cute but creepy vibe. Viewed as a love letter to those classic games, it’s brilliant, but being dependent on those associations is also a mixed blessing. It’s smartly made and polished – but without that nostalgic hook, I’m not sure it has a unique identity like Lone Survivor or Signalis had.

    That said, Crow Country hits all the right notes as the opening leaves the player feeling vulnerable, unsettled, and confused. Mara – special agent Mara Forest apparently – is a capable but unreadable protagonist who is clearly keeping secrets from the player and the supporting cast. Arriving at the abandoned Crow Country amusement park, 2-years after an incident shut it down, she’s quick to shoot her way in through a padlocked gate; shrug off horrific encounters; wield a myriad of weapons; and solve convoluted puzzles that leave the other survivors stumped. Her connection to the park is unclear, and neither is the reason behind her pursuit of the missing owner, Edward Crow. She’s evasive in dialogue and even her comments on environmental details give only the slightest inkling of her personality and past.

    It’s not just Mara though, as many of cast were former staff and clearly complicit in the unfolding events. As a result, simply unravelling the mystery was a strong motivator to keep playing. What was the nature of the incident that shut down the park and drew the attention of a photojournalist and lawyer? Why have Edward Crow’s daughter, former colleagues, and a detective all arrived on this specific evening? What does an American amusement park have to do with a Brazilian gold mine? What are these bizarre creatures that the former staff refer to as “guests”? And who is Mara really? It’s a solid setup with some predictable and some unexpected twists. The environment changes over the course of the night, hinting more and more as to the nature of the threat – though the ending sequence is a bit of an exposition dump that expects you to read a note, midway through the final encounter, if you want all the details.

    After the narrative, it was the mandatory puzzles and over a dozen hidden secrets that hooked me. The amusement park setting, and an increasingly paranoid Edward Crow provide narrative context for the Resident Evil-style structure. As with that game, Crow Country gets a lot of mileage out of a small but dense location, so you’ll often know exactly where you’re trying to go – though you’ll only get there several hours later after jumping through an inordinate number of hoops. Thankfully, Crow Country has some great interconnected puzzles, rather than just hiding keys and data discs behind boss fights. They are present, I guess, but you can run away from everything (outside of the final encounter) and still make progress.

    In authentically classic fashion, you’ll be scouring the environment for key items, clues, and notes – with a handy map that marks the location of unsolved puzzles or points-of-interest to guide you. There are keypads and locks that just require the right code or key; there are logic puzzles that require entering the right sequence of events or the correct values; and there are arcade mini-games and plenty of weird use-item-on-object puzzles befitting the setting. The rest of the cast also have a role to play beyond storytelling as they sometimes provide you with clues or assist in a puzzle – though even if you completely ignore the few you aren’t forced to talk to, the ending variations are negligible.

    Of course, this is a survival-horror game and Mara is packing heat, so shooting your way through the park is a viable strategy if you’re methodical, tactical, and cautious. Sadly, while I love classic resource management, the combat is my least favourite element and goes hand-in-hand with the camera issues. The close isometric viewpoint is appropriately claustrophobic, but you’ve got to combine stand-and-aim shooting mechanics that use the left thumbstick, with camera rotation on the right thumbstick to track enemies. The system allows for precision targeting of item crates, weak-points, and environmental hazards well enough, but it snaps the camera in the direction Mara is facing, which is a real pain in the arse when you’re trying to clear some distance before turning around to shoot again. An option for classic tank controls provides a more reliable option for Mara’s movement, but my brain struggled to coordinate orienting by d-pad while simultaneously rotating the camera.

    Thankfully, Crow Country is not a particularly hard game, even if more monsters, traps, and even fake pick-ups appear as the night progresses – almost Parasite Eve II-style. There’s an “Exploration Mode” that keeps enemies passive, but even the ranked “Survival Horror” mode features an abundance of resources, easy to avoid enemies, and very few high-damage or insta-kill encounters. There are all the basics you would expect from the genre – useful shortcuts and smartly distributed safe rooms with soothing music and sources of fire that serve as manual save points – but you can also get hints from a fortune teller machine, refill pistol bullets from Mara’s car, rummage through dustbins and vending machines for supplies when you’re running low, and several secrets include overpowered weapons and upgrades. Playtime and the number of saves you make don’t affect the ranking score, so you can be super cautious and use the rewards from lower ranks to make subsequent runs much easier if you’re chasing an S+ rank or speed-running the game.

    Looping back to the start, Crow Country does a phenomenal job of emulating late-’90s survival-horror games, nailing the look, sound, and claustrophobic terror that those early 3D environments excelled at. It’s got an intriguing narrative and fantastic puzzles to keep you engaged during a brisk 5–6-hour initial run, though the wonky gunplay and camera control are more likely to frustrate than generate tension. As Crow Country can feel like a greatest hits collection of classic IP, it’ll most likely resonate with retro-gaming fans or those who grew up playing early survival-horror games – but given it’s so accessible, it might also be a good choice for those wanting just a taste of how classic survival-horror games played.

    Pros:

    • It does an great job capturing the look and feel of early 3D isometric games from the PS1 and Saturn era
    • The unravelling plot is intriguing and well-paced
    • The puzzles and secrets are smartly designed
    • It gets a lot of mileage out of a small but dense environment

    Cons:

    • The gunplay and camera are more likely to frustrate than generate tension
    • It can feel more like a homage to the classics than its own thing

    Score: 8/10

    Crow Country was played on Xbox Series S|X using a code provided to gameblur by the publisher. It is also available on PC and PS5.

  • Editorial: Warhammer Age of Sigmar: Realms of Ruin is a great case study on what does and does not work with console RTS

    Editorial: Warhammer Age of Sigmar: Realms of Ruin is a great case study on what does and does not work with console RTS

    As someone who has always enjoyed playing real-time strategy ports on console – going all the way back to Command & Conquer and Red Alert on the PS1 – Warhammer Age of Sigmar: Realms of Ruin feels like a case study on what does and doesn’t work when you have to work around the limitations of a gamepad.

    During the cinematic-heavy campaign, there were times I was reminded of the methodical, scripted approach Blizzard pioneered with the StarCraft and WarCraft III – a design that works well enough on console when the player has more control over the pacing. The rest of the time – by which I mean a third of the campaign missions and every other mode: AI skirmishes, Conquest, or multiplayer – it often felt like trying to play a fast-paced, lane- and territory-control-focussed MOBA with a severe handicap.

    Starting with the positives, there’s a cinematic 18-mission campaign, with four difficulty settings and optional mission challenges, complemented by AI skirmish maps and a Conquest mode – think a succession of increasingly tough skirmish maps with modifiers. With beautiful environments, detailed character models, and intricate unit animation, Warhammer Age of Sigmar: Realms of Ruin’s in-engine cutscenes do an impressive job presenting another grim, violent, yet often amusing and absurd Warhammer story. It’s full of contrived scenarios, improbable attrition rates, one-note faction leaders making poor decisions, and – more so than any recent RTS I can think of – it shamelessly functions as a glorified tutorial for basic commands, faction abilities, and game modes.

    The Stormcast Eternals seek an artefact of power that may help them reclaim the Region of Ghur; the Ork Kruleboyz are in pursuit of the same prize to elevate the status of their Warboss; and a few flashback missions reveal how The Disciples of Tzeentch originally battled the undead Nighthaunt faction for possession of the artefact. It’s all stylishly presented and – if you can get to grips with the gamepad controls and gameplay basics – the campaign is decent fun and moves at a brisk pace, switching up factions, objective types, and introducing a few novel scenarios. There are times you’re just battling from point-A to point-B down branching corridors, claiming Arcane Conduits to build outposts and generate resources as you go, but there are a few missions that rely almost exclusively on heroes; one that functions as an unforgiving tower defence; one that features clunky stealth; several that have you battle over control points, and even gimmicky boss battles that add some twist to chipping away at a giant HP bar.

    The campaign also serves to highlight what the control scheme and game design gets right. Much like the underappreciated Halo Wars 1 and 2, Warhammer Age of Sigmar: Realms of Ruin focuses on streamlined base-building, managing only two resources, and smaller skirmishes influenced by unit composition, positioning, and the strategic use of abilities – more so than sheer numbers. You can upgrade you primary building to recruit new unit types and unlock three-tiers of unit and outpost upgrades – many of which are mutually exclusive abilities or passive buffs to specialise units. Each faction also has two defence-oriented structures – a tower that deals minor damage but buys you time to muster your army, and a healing bastion to support defensive groups.

    The controls are what you’d expect from a modern console RTS with one situationally useful addition – “DirectStep” control. The camera latches to your selected unit or group, it’s easier to aim and trigger abilities, and you assign movement or attack-move waypoints to individual units. It’s a smart option for managing small skirmishes but it decreases situational awareness, and I found myself falling back on the emulated reticule controls. In the introduction, I mentioned Warhammer Age of Sigmar: Realms of Ruin could feel like a MOBA, and that’s because it adheres to the rule-of-three design and forces you to multi-task. There are three unit types in the combat triangle (shields vs. bows, bows vs. swords, and swords vs, shields); often three objectives to clear out or three control points to hold; and there are typically three paths you need to defend around any Arcane Conduit. It should come as no surprise the d-pad is used to manage 3 control groups, pad with the last input used to quickly cycle through units within a group.

    On paper and in practice, the controls and streamlined gameplay loop work well enough in the campaign – even on tougher missions that feel like skirmish maps with the AI playing by a general ruleset, rather than custom scripting. The problem is how quickly they buckle when you’re under pressure. In addition to juggling multiple control groups spread across a map, you’ve got to cycle units to access their abilities, deal with barely coherent formations, and interrupt dubious automated decisions. The challenge feels greater still when you realise how quickly the balance of combat shifts when something goes wrong – allowing other players or the AI to push you into a losing spiral. In Warhammer Age of Sigmar: Realms of Ruin, the less of the map you control, the less you can upgrade or reinforce your troops, and the less multitasking your opponent requires to contain and destroy you.

    The most persistent issue is micro-managing your way around the combat-lock mechanic. Units engaged at melee range can’t disengage – unless they’re sent retreating back to your main structure before you can regain control. With no obvious formation behaviour and ranged units prone to outrunning melee units, you need to constantly assign individual attack orders based on type, then utilise abilities to further modify the flow of battle – usually by buffing your troops or inflicting an area-of-affect attack. You can alternate between move and attack-move commands, and you can define the firing-arc of ranged units, but to effectively micromanage just one army, you need to use all three available control groups. On top of that challenge, you’ve still got pathfinding issues and, despite several upgrades allowing you to focus on ranged damage, hybrid units are prone to engaging in melee once they get close – even if their target is combat-locked with another unit.

    As a result, Warhammer Age of Sigmar: Realms of Ruin sits in a weird middle ground, demonstrating both smart design decisions that make a lot of sense in a console RTS – but it also demands a degree of manic multitasking simply not suited to a gamepad. Most campaign missions are either scripted enough or offer maps defensible enough that you can push out cautiously and regroup if things go wrong. However, that’s simply not an option on AI skirmish or Conquest maps, where even the low-difficulty AI can simultaneously contest all control points, harass your outposts, and spam abilities in battle against your primary force. It had me wishing for a pause-and-command option even if it was antithetical to the developer’s intent. An inadvertent positive is that a few multiplayer matches against other human players felt more balanced, as my opponents stuck to managing a single but mobile army I could frantically counter with my own.

    Warhammer Age of Sigmar: Realms of Ruin was played on Xbox Series S|X using a code provided to gameblur by the publisher. It is also available on PC and PS5.

  • Retrospective: Tomb Raider I Remastered

    Retrospective: Tomb Raider I Remastered

    There are few games as deserving of preservation as the original Tomb Raider. Not because it’s some timeless masterpiece that holds up today, but as a reminder of where we’ve come from, and how far we’ve come. If you’re a fan of games set 3D environments and played from a third-person perspective – the vast majority of blockbuster titles – you could trace at least some part of their ancestry back to 1996’s Tomb Raider.

    Replaying it in 2024, in its freshly remastered form, has been unexpectedly compelling – albeit with a mix of highs and lows I expected. There was raw nostalgia for my 11-year-old self, sitting in front of a small CRT screen, playing it on a SEGA Saturn rented from the local video store – my first experience exploring a truly 3D world after growing up with a NES that was as old as I was, and infrequent visits to arcades to play on-the-rail light-gun games. It was a pivotal moment that ensured video games would became a lifelong hobby – with my very own PSOne and a copy of Tomb Raider II the following year cementing my love of the character and IP.

    If you only have experience with the Crystal Dynamics trilogies – 2006’s Legends or 2013’s soft reboot – Lara Croft in 1996 was a rare example of a female protagonist, at least outside of RPGs with character creation, and, rarer still, possessed a physicality typically reserved for male leads. She was an acrobatic heroine with calves, quads, and glutes so strong she could lunge-jump her own height and was strong enough to push and drag around 8 cubic-metre blocks of stone. The first Tomb Raider would pit her against an equally capable villainess and give her the chance to save the world at the expense of power and fame. I doubt representation was Core Designs’ original intent, but Lara nonetheless proved instrumental in drawing more female gamers into a hobby that all too often felt like young to middle-aged men developing games for young to middle-aged men.

    Of course, nostalgia can only take you so far and it was impossible to enjoy the remaster without looking at it through the lens of 28-years of gaming advances. Revolutionary for the time – and possessing an impressive sense of scale and verticality that early 3D FPS and dungeon crawlers lacked – Tomb Raider now offers a purity of design, so uncluttered by secondary mechanics it almost feels novel. The bulk of the experience is simply observing, planning, and traversing blocky 3D environments using Lara’s equally rigid, grid-based move-set. The goal? Rarely more complex than finding key items or switches within a level to open the exit to the next, before a crude in-game cutscene or flashier CG variant pushed the story forward.

    To spice things up, Lara will sometimes need to solve basic spatial puzzles that typically involve slowly pushing or pulling blocks; while other times she’ll need to draw her weapons to slay a shameful number of endangered species, a few that should’ve stayed extinct, tough mythical creatures, and a handful of human bosses that are an unfortunate reflection of cultural and racial stereotypes in the 1990s. Much like the platforming, combat is all about using Lara’s rigid move-set to avoid enemies that follow far less predictable patterns – often in tight spaces with perilous drops. Combat never feels more than functional, but many encounters can be rendered trivial if you horde powerful ammunition or find high-ground to exploit the limited AI pathfinding. Just don’t stop to ponder who left modern ammunition and health kits in ancient ruins supposedly unexplored in centuries.

    By far the greatest challenge comes from mastering the original controls, especially as the alternative controls offered in this remaster are a twitchy abomination not worth considering. It’s a rough transition from modern games – games that strive to make you not think about the complexity of traversal – however, once you’ve get to grips with Lara’s move-set, they feels perfectly suited to the blocky but carefully crafted environments. It’s a game that requires patience, with a strong focus on planning a sequence of moves and lining up jumps, rather than being reactive, and you’ll want to save regularly if you don’t enjoy hearing Lara’s scream followed by a sickening crunch. The obvious caveat to this design is how clumsy and frustrating simple tasks end up feeling – such as lining Lara up to interact with a switch or pick-up, and how long it can take to trek back to the start of a jumping sequence if you mess up.

    Moving on to the remastering effort itself – Tomb Raider I Remastered feels smartly touched up and respectful of the original vision, while the only major gripe I have is aforementioned and entirely optional alternate controls. Texture work, character models, and lighting have been overhauled – with the addition of more props where appropriate, and minor geometry changes to introduce new light sources like open ceilings. The world itself is still blocky, and the seams between textures are still obvious, but they feel suitably detailed for modern TVs, those representing water surfaces or lava are better animated, and some even have an impressive parallax effect to simulate depth.

    All character models retain their somewhat angular designs and jerky motion, but they look much more detailed and have been embellished with plenty of added detail – including updated faces and basic lip-syncing for in-game cutscenes. Pixelated 2D sprites for pick-ups and props have been replaced with 3D models, and you can enable an interaction icon to make them easier to find – along with switches and key holes. The new lighting model – especially in rare locations that use beautiful new sky-boxes – looks great, adds to the immersion, and even simulates taking on the colour of the environment. There are more atmospheric effects like dust and mist, while a few locations even have puddles with reflections!

    Talking of atmosphere, Tomb Raider I Remastered still relies primarily on ambient audio to capture that feeling of isolation you’d expect exploring long lost tombs – but it feels like they’ve added a few more music triggers and possibly repurposed a few tracks from the later games. In short, this remaster excels at presenting Tomb Raider as you might remember it. There are oddities, like how some areas feel too dark and the new 3D models for key items too small, but you can always swap back and forth between the remastered and classic visual mode – though you then have to deal with a stuttering 30fps cap that feels awful compared to the remasters 60fps achieved through frame interpolation.

    All of which brings me to who I’d recommend Tomb Raider I Remastered to. From a pure preservation angle and for those interested in the history of video games, it’s an essential remaster. For those just considering the entertainment potential – this is more for fans of the original, especially those without the patience to deal with DOSBOX settings on PC, or console players that once had to deal with a frustratingly restrictive save crystal mechanic. As a long-time fan, the first three acts in Peru, Greece, and Egypt remain the highlight – and levels like The Lost Valley, St. Francis’ Folly, Temple Midas, Obelisk of Khamoon, and Sanctuary of the Scion have not diminished with age. If anything, they finally have a degree of visual spectacle to complement their impressive scope.

    For everyone else still curious in Lara’s original outing, I’d rather suggest Crystal Dynamic’s excellent 2006 reboot, Tomb Raider: Anniversary, which can still serve as an excellent stand-alone experience.

    Tomb Raider I Remastered was reviewed on Nintendo Switch using a code provided to gameblur by the publisher. It is also available on PC, Xbox One/Series S|X, and PS4/5.

  • Retrospective: The Last Guardian (2016)

    Retrospective: The Last Guardian (2016)

    There are many games I enjoy that are objectively average or bad, and quite a few I dislike that consensus tells me are good. The Last Guardian sits somewhere in the middle as one of the rare games I desperately wanted to like more than I did.

    Coming from the now defunct Studio Japan and director Fumito Ueda – of Ico and Shadow of the Colossus fame – and having gone through a tortuous development cycle going back to the PlayStation 3 era, The Last Guardian is an unevenly paced journey, with incredible storytelling and audiovisual spectacle shackled to clunky and often frustrating gameplay.

    The Last Guardian follows the trials and tribulations of a young boy who awakens in a cave alongside a wounded chimera, “Trico”, with no idea where he is, how he got there, or what the tattoos that now cover his body mean. Just like Ueda’s prior games, it features a compelling mix of oppressive isolation, risky platforming, and wondrous discovery that only makes sense from the perspective of a child.

    The ancient ruins are sprawling but also vertical and continuous, ensuring you can often see where you need to be and look back from whence you came. Despite the scale, there’s plenty of fine detail as both environmental storytelling and character interactions carry the story, with limited narration – much of it for guidance if you get stuck – and only a handful of cutscenes that eventually reveal past events.

    It’s not the most original story of a child and beast bonding and saving one another from a shared threat, but it is beautifully told through the aforementioned cutscenes and evolving in-game interactions. The journey is full of literal ups and downs as the boy and Trico try to access a mysterious tower that dominates the ruins – a tower seemingly protected by other aggressive chimera and a source of much pain for Trico.

    After key moments in the story, their bond grows and the boy gains more direct control of Trico through a series of simple, exaggerated gestures. Simultaneously, Trico regrows its feathers and horns, becomes more assertive in pointing out the way forward, and acts without needing player input – but it also becomes more tender and protective of the boy.

    If nothing else, The Last Guardian is a game for pet lovers – so long as you can take the emotional highs and with the gut-punching lows. Trico feels like a mix of kitten and dog – clumsy, playful, and nimble, but also loyal, protective, and food-obsessed. Interactions are wonderfully animated, as Trico investigates and prods the environment, fixates on barrels of blue food, and nuzzles the boy playfully if you remain idle. On the other hand, it’s devastating to watch Trico limp around and whimper when injured, or become manic and uncontrollable when frightened or enraged.

    Feeding and calming Trico are in-game mechanics, and the boy can stroke it in several spots to elicit different reactions. Despite the increasingly weird and fantastical setting, these small and significant animation details make their evolving relationship feel real.

    Unfortunately, The Last Guardian rarely plays as well as it looks and sounds – especially during an opening half that features gameplay scenarios frustrating by design. For the first few hours, the boy can only call Trico towards a location; cling to Trico’s flank or leap from its back to reach high places; and very briefly use a shield to clear obstacles with tail-spawned lightning before it disappears until the final act.

    Given Trico’s often erratic movement in confined spaces and around jump points, far too much time is spent repeatedly shuffling the boy around and spamming the “call” button, then desperately clambering onto Trico’s back while praying it doesn’t start moving.

    Now, given Trico becomes more controllable and helpful over time – saving the boy from certain doom multiple times thanks to his indestructible shirt and wrists of steel – it’s much easier to forgive this design when The Last Guardian can be completed in a dozen hours.

    What doesn’t improve, however, are the loose and inconsistent controls, which make platforming and puzzle elements feel too unpredictable. A big part of the problem is how The Last Guardian frequently shifts between free- and semi-fixed camera control, which makes it difficult to predict which direction the boy will jump, and often sends Trico leaping back across a chasm you just struggled to clear. Mercifully, checkpoints were frequent enough to limit time lost.

    Unfortunately, there are other gameplay issues. The first is a common problem with all cinematic games – not doing what the developers expected. A prime example was a cave-in that had me clambering around trying to free Trico, when what I needed to do was abandon Trico and walk away down a corridor until I encountered hostile spectral armour, triggering a scripted sequence.

    Talking of spectral armour, Trico is quick to smash them apart but, when separated, they chase down the boy and attempt to carry him off. It’s a fate easily circumvented by mashing buttons, but while it initially added tension to puzzle sequences, these encounters soon become annoying. You either run loops to clear space or just accept endless button-mashing disruptions.

    To The Last Guardian’s credit, there is a cutscene around two-thirds of the way through the game that felt like a pay-off, followed soon after by the reappearance of the shield and the catharsis that comes from blasting them apart with lightning.

    Now returning to my point about wanting to like The Last Guardian more than I did, it is still a game I’d recommend everyone try despite my issues with it – and not least of all because it’s frequently discounted, still looks incredible, and has a 60fps update for the PS5 that make it feel smoother but does little to remedy the control issues.

    Aside from being an intensely cinematic, audiovisual spectacle the PlayStation brand has become renowned for, The Last Guardian is one of the few games that manages to capture the subtleties of human-animal bonds by smartly working into the narrative, animations, and gameplay mechanics. Animal companions have become ubiquitous in modern games, but most are little more than easily marketable gimmicks that function as cute accessories you can pet when you’re bored. Despite the potential for frustration, The Last Guardian‘s mythical Trico feels more real than any other animal companion in video games that came before it or since.

    The Last Guardian is available on PS4 and PS5.

  • Tech Review: Nacon Revolution X Limited Edition

    Tech Review: Nacon Revolution X Limited Edition

    The Nacon Revolution X (the Limited Edition Forest Camo variant seen below) is a “Pro Grade” controller for Xbox One and Series S|X consoles, and PC. As an official “Designed for Xbox” product, it offers a familiar layout, the basic functionality you’d expect, and then quite a bit more. With a price tag close to that of premium, third-party options from the likes of Razer and Thrustmaster, the Nacon Revolution X is a highly customisable and feature-rich choice – with a quality set of accessories, rear buttons, and easy-to-use software for tweaking – but it lacks the premium “feel” of its peers.

    Starting with the many positives, the Nacon Revolution X comes with a fantastic set of accessories. The sturdy carry case houses the controller snugly, along with a swappable weight and thumbstick kit, the braided cable, and a cleaning cloth. Aside from keeping all the components dust-free and together when stored, it’s useful if you’re planning to travel to an event or want to pack it alongside a gaming laptop.

    By default, I found the Nacon Revolution X too light for my tastes, but using the extra weights is as simple as sliding off the covers on the rear of each handgrip, inserting them, and clipping the covers back on. If you prefer convex thumbsticks, the default concave variants can be popped off and replaced quickly too.

    Unlike Nacon’s more budget-friendly gamepads, the Revolution X’s shape is much closer to that of original Microsoft hardware – albeit with some smart changes, like a more prominent groove below the triggers that guide your middle and ring fingers towards the additional back buttons. As a “Designed for Xbox” product, the basic thumbstick, button, bumper, and trigger designs are almost identical with similar spacing – aside from the Xbox button that’s been shifted downwards and the view and menu buttons slightly further apart.

    The face buttons and bumpers offer a familiar clicky feel, while the broad triggers offer a little more resistance but a similar range. Nacon thumbsticks remain a highlight – sturdy, responsive, and comfortable – with a raised rubber edge and texture that ensures your thumbs don’t slip. Only the 4-way d-pad is a little disappointing with a spongy feel and little feedback as you rotate through each position.

    The grips are lightly textured at the back and the detachable 3 m braided cord ensures you can store it easily with minimal twisting or tangling. On the top of the Revolution X you’ll find a recessed USB Type-C port for the cable; on the base a 3.5 mm port that supports Dolby Atmos if a headset is plugged in; and, on the rear, a button for cycling profiles and an “Advanced” toggle for enabling software programmable functions.

    Most significantly, you’ll find two prominent trigger-like buttons where your middle fingertips rest, and below them, two flatter buttons on the inside of the grip you can access with your fourth digit. They don’t have the same tactile feedback offered by paddles, but they are easier to use – albeit perhaps a little too easy depending on how tightly you grip. As someone who always finds it uncomfortable clicking down the thumbsticks while moving and aiming in action games, I bound the trigger-esque buttons to L3 and R3 respectively, then used the two smaller buttons for priority d-pad shortcuts.

    Talking of assigning inputs, the Revolution X uses the same simple and intuitive software you can find on Nacon’s budget models, just with an added layer of depth that allows more fine-tuning and completely custom presets. You get the expected full button-remapping; you can invert thumbsticks, adjust dead-zones, or tweak their response pattern curve inflection points precisely; you can adjust trigger activation ranges and dead-zones; control grip and trigger vibration intensity individually; and define the d-pad as a 4- or 8-way input depending on the game.

    The default presets all provide a demonstration panel to reflect the impact of each adjustment, but you can tweak parameters in the app and switch saved profiles on the fly – making it easy to test the results in-game where it counts most. More and more games offer similar functionality within their option menus, but it’s great to create a few genre-specific profiles and not have to do it on a per-game basis.

    The Revolution X has a single RGB ring around the right thumbstick, with quadrants you can individually customise by changing the colour and LED pattern. It provides some light visual customisation options, but it’s more useful for indicating which profile is active without going into the app.

    Also of interest is the Equaliser function when you’re using the headphone port, allowing you to enable a 3D audio effect (whether this is just Dolby Atmos or a discrete function is not clear); you can pick a preset for different genres that amplify certain frequencies; or adjust microphone gain and noise suppression if you’re in party chat. As I prefer system-level adjustments, I didn’t get much out of it, but it’s another nice-to-have option.

    Unfortunately, a smart form factor, extra inputs, and software programmable functions are only one part of the premium experience; the other is how the gamepad feels in action, in your hands. Despite decent build quality, the Revolution X feels incredibly plastic-ey. It’s hard, smooth, and slippery, to the point even the textured grips achieve little if your hands are dry.

    This might seem like a nitpick, but if you’re holding something for hours on end, properly textured and ideally rubberised grips are one of the major benefits of a premium gamepad – and it’s a feature several similarly priced pads offer. Nacon could benefit from releasing silicon grips or a protection kit for the Revolution X, as it’s something I’d consider an essential extra if the other features have convinced you to pick one up.

    The Nacon Revolution X also benefits from simple software use with unified features that work across last-gen Xbox One consoles, current-gen Xbox Series consoles, and PCs. It’s plug-and-play and, better still, the software app functions identically on all devices and syncs with your profile between them. Additionally, if you’re a fan of retro games, the wired Nacon Revolution X has far greater compatibility with older GOG and Steam PC games from the mid-2000s onwards, whereas they often bug out when using Bluetooth or a wireless adapter.

    So wrapping up, the Nacon Revolution X is an unexpectedly feature-rich controller given the price point. It’s highly customisable with swappable weights and thumbstick options; it has additional inputs, and easy-to-use software; and it comes with a fantastic accessory set and carry case. Unlike some of their cheaper gamepads, the form factor is great and smartly guides your fingers to the additional rear inputs. All that said, it lacks decent textured or rubberised grips to complete the package and give it that “premium feel”.

    Pros:

    • Decent build quality with a familiar layout and tactile feel similar to that of Microsoft gamepads
    • Well-situated rear inputs that are easy to use
    • Intuitive software allows you to tweak almost every part of the gamepad on a granular level
    • A fantastic accessory set is included
    • Quality braided cable that’ll survive handling and storage

    Cons:

    • It needs better textured or ideally rubberised grips for a more premium feel

    Score: 8/10

    A review sample of the Nacon Revolution X Limited Edition Camo was provided to gameblur by the manufacturer.

  • Tech Review: Nacon Colorlight Limited Edition

    Tech Review: Nacon Colorlight Limited Edition

    Providing a one-sentence review for the Nacon Colorlight Limited Edition is easy: It’s a transparent, “Designed for Xbox”, Pro Compact model, with six customisable colour zones, and many of the same pros and cons. As such, there’s plenty to like if you’re looking for a sturdy, easy-to-use, customisable wired gamepad – but its form factor and triggers can feel at odds with the benefits you get from the programmable software features.

    Despite the Pro Compact frame, the Colorlight is not much more compact than an original Xbox Series gamepad and weighs about as much one with the batteries removed. That said, it still feels robust in your hands, with thumbsticks, face buttons, and bumpers that all have a similar tactile feel. The grips are lightly textured and the braided cord, which is 3.5 m long and does not detach, ensures you can store it easily without twisting or tangling. What is notable, and presumably accounts for most of the size reduction, are the shorter hand grips. Your mileage may vary based on your hand size, but I found the Colorlight felt less secure during games that required rapid inputs (first-person shooters being a prime example).

    As a certified “Designed for Xbox” product, the Colorlight’s basic button and thumbstick configuration is identical to an original gamepad, and you get Dolby Atmos support if you have a headset plugged into the 3.5 mm jack on the base. The offset thumbsticks are a similar size and height, while the A/B/X/Y face buttons are slightly larger and, as a consequence, more cramped. Thankfully, they have the same “clicky” feel and a similar range of motion. The one design I don’t understand is why the menu, view, and share buttons were pushed towards the edge of the gamepad, instead of clustered around the central “Xbox” button.

    The thumbsticks are a highlight. They feel robust and have a raised rubber edge that ensures your thumbs don’t slip, even when applying only light pressure. In contrast, the d-pad feels a little spongy when depressed and rotated – lacking the “clicky” feedback of an official Xbox gamepad – but it functions as intended. So to do the bumpers, though they feel less prominent. Unfortunately, the somewhat squat triggers bring down the overall experience in any game genre that relies on them extensively – think first-person shooters or racing games. They feel more like the bumper-trigger hybrids on a Dualshock 4, rather than the well-defined curved triggers we’ve seen on every Xbox gamepad since the original “Duke”. They’re sturdy, they get the job done, but it always felt like my fingers were close to slipping off during hectic gaming sessions.

    With form factor out the way, the next element to discuss is the Colorlight’s programmable software and unique lighting options that you typically only see with premium-priced gamepads. Unsurprisingly, it uses the basic Pro Compact app – which is simple to use and offers excellent presets – just with extra settings to customise the RGB lighting. You get full button-remapping; you can invert the thumbsticks and tweak their dead-zones or response patterns; you can adjust the trigger activation ranges; and set the d-pad to a 4-way or 8-way input. You can mix and match to your liking, but each preset clearly demonstrates the impact of each adjustment and you can tweak it on the fly – making it easy to understand and test the results during gameplay.

    What is unique to the Colorlight is a tab dedicated to tweaking the colour and behaviour of the 6 LED lights. If you’re boring like me, you can just pick a single colour and brightness level, or you can tweak each LED individually to create a unique arrangement of colours with different behaviours. Six LEDs with a symmetrical split is not quite enough to create anything too elaborate, but it does allow you to create unique profiles for different users or, if you want two in the house for local coop, it’ll be easy to identify which controller belongs to whom. On the back of the gamepad, you’ll find one button to cycle a basic set of colour, while another toggle puts it into “advanced” mode to use the software interface.

    As a final point on the user experience, the Colorlight benefits from being simple to use with unified features. It works on last-gen Xbox One consoles, current-gen Xbox Series consoles, and PCs – just plug it in and you’re good to go. Better still, the customisation software app functions identically on all devices and syncs with your profile between them. Additionally, if you’re a fan of retro games, the wired Colorlight has far greater compatibility with older GOG and Steam PC games from the mid-2000s onwards, whereas they often bug out when using Bluetooth or a wireless adapter.

    Overall, the Nacon Colorlight Limited Edition is a decent budget gamepad, with some surprisingly premium features. It doesn’t offer back paddles, swappable thumbsticks, or weights, but the programmable software options and lighting customisation feel on par with more expensive gamepads. The build quality is great, the layout familiar, and the customisation options intuitive to use and easy to test mid-game. Unfortunately, the shorter hand grips and trigger design make it less ideal for shooters and racing games – both genres the software feels tailored for. It works well as a robust backup controller for a child, or maybe as a dedicated Xbox-style gamepad for PC but would like to see a revision with conventional triggers.

    Pros:

    • Robust build quality, familiar layout, and tactile feel to original Xbox gamepads
    • Intuitive and useful programmable buttons/triggers using the Pro Compact app
    • A wide range of lighting configurations to personalise your pad
    • Quality braided cable that’ll survive handling and storage

    Cons:

    • Short hand grips and Dualshock-esque triggers make it less ideal for shooters and racing games
    • Unintuitive menu, view, and share button placement

    Score: 7/10

    A review sample of the Nacon Colorlight Limited Edition was provided to gameblur by the manufacturer.