NHL finally joins FIFA and NFL in the Frostbite Engine, EA’s most used and adaptable development engine and there’s some neat additions to the graphical suite; but mostly in somewhat minor details. The most noticeable improvement is the clothing with better detail in the textures. Faces still look rather on the uncanny valley side, but that’s often what you’re going to get when trying to mimic realism. Still, it was only a matter of time before NHL left Ignite behind, and the time has come. Animations look great too, a significant step from the NHL series’ days with the Ignite engine. Unfortunately, visual improvement doesn’t have much of an impact on the offering of gameplay modes.

"The most noticeable improvement is the clothing with better detail in the textures. Faces still look rather on the uncanny valley side, but that’s often what you’re going to get when trying to mimic realism."

Be a Pro returns with mixed results. The prospect of creating your own player is appealing and the idea of guiding them through a season sounds like a great idea from a gameplay perspective. Focusing on one player and their role can help the game feel less overwhelming and there is a steady progression curve for your character throughout the mode. Various skill trees have slight impact on performance though despite the noticeable jump in stat numbers. For someone who is new to this mode, this is leaps and bounds better than the training modes. Where Be A Pro faulters though, is in the story that’s told through overwhelming commentary and bland interview style conversations. The mode is still a nice-to-have, but desperately needs an expansion to its feature set.

The voice performances are very well done. They have a very clear tone and carry conversations well on and off the rink. The problem is that there is so much of it that at times it becomes headache inducing. Thankfully these longer sections can mostly be skipped in Be a Pro, but this sacrifices a lot of the immersion of the mode. The frequency of dialogue is way too high and this extends to the response-choice conversation interactions with the coach, managers, teammates and more. These are essential in the mode as specific responses give metrics to improve performance but the options are very bland and they don’t flow naturally because they are segmented interactions. These are often seen in between outcomes which takes away from the best part of Be A Pro.

Some of the most fun I’ve had in a quick session outside of Be A Pro is Ones Now, where three players each compete against one another on a fraction of the rink to score. Bouts are quick and the gameplay is simple to understand. The overall flow makes this mode the best to warm up with and learn an isolated form of hockey. One minor issue with this mode though is that goals are relatively small which can mean that the outcomes are decided rather quickly. The reason for this is largely due to the fact there isn’t an easy way to misdirect the goalie since passing is not an option. So, win or lose, this is at least a good way to practice shooting at the goal with a bit of opposition getting in the way. Often enough though, these devolved into a glorified version of Follow the Leader or “follow the player with the puck.”

"Some of the most fun I’ve had in a quick session outside of Be A Pro is Ones Now, where three players each compete against one another on a fraction of the rink to score."

I really like the quick brisk pace of NHL’s arcade style modes and that briskness does carry over to the normal matches too, whether or not it’s for the best. Your mileage may vary and it’s up for debate but the gameplay speed of NHL 22 makes the team play enjoyable. Speedy passing and rushing to the goalie feel great even if this more arcade style isn’t like real life. It all depends on how true to form you want sports games to be and personally, this continued approach is fine by me for the sake of enjoyment.

Like its predecessors and EA Sports contemporaries, NHL 22’s online offering is Ultimate Team aside from World of Chel which leans back on this with lenient modes like Ones Now for those looking for a somewhat less competitive and more social Online experience. Hockey Ultimate Team is very similar to FIFA and NFL’s variants, with opening packs with players to mix and match for a roster. There is still no understating that this is gambling and can be done with real money. Attaching paid and loot box style microtransactions to a yearly released full priced title will forever leave a bad taste and one can only hope that EA moves away from this strategy.

My biggest issue with this isn’t just the fact that HUT packs are randomized items that can be paid for, but that players have specific stats and X Factor abilities tied to them. So now aside from just better stats, they have unique abilities too. On paper, these Superstar X Factor abilities can seem very strong. Even still, most don’t seem to either activate much, or have enough of a large impact in the thick of it. The wording for them oversells their value. While this is all well and good offline where you can play with favorites in their respective teams; not being able to take advantage of the offline practice with them online is very disheartening.

If NHL 22’s modes sound very similar if not the same as last year’s selection, it’s because they are. To the developer’s defense, there’s only so many ideas that can stretch in a sports title that strives for a level of realism. This brings to question the value proposition for NHL 22 over last year’s release. If there was one fundamental area that would help engagement, it would be how it approaches its practice and training despite the Be A Pro mode offering a steady learning experience.

"If NHL 22’s modes sound very similar if not the same as last year’s selection, it’s because they are."

From a relatively fresh perspective to the series trying to learn the ins and outs, having several different control types is very welcome. Out of the gate, this gives some sense of immediate approachability but not quite beyond that. The training and practice mode are largely lacking. In practice, there is Free Skate, Team Practice, and Goalie Practice. Free Skate is understandably the most vanilla; just you and the goalie. Team and Goalie Practice offers some customizability. The scenarios or team placements can be chosen with three options to choose from, as well as the number of players on either side. On a surface level this is fine, but curated challenges would be really neat to see.

The lack of curated or tailored challenges for Offense, Defense, and Goalies is a missed opportunity. In theory, this could allow for the gameplay designers to display and encourage specific strategies to get newcomers familiar with controls and mechanics. Even if Hockey revolves around retrieving and keeping possession of the puck up until scoring goals; I can’t help but feel like there’s an opportunity to create different scenarios with teammate placement.  They meet halfway with control options but some extra guidance can go a long way to stick with it.

The AI and guesswork the game makes on which player you control needs quite a bit of tuning. When controlling a team in normal matches, I often found it really difficult to be the player I wanted to control when I lost possession of the puck. It’s frustrating because this makes defense significantly harder and strategies like rushing much easier since the best way to guarantee a control switch to who you want is to have them retrieve the puck or receive it with a successful pass.

"The AI and guesswork the game makes on which player you control needs quite a bit of tuning. When controlling a team in normal matches, I often found it really difficult to be the player I wanted to control when I lost possession of the puck."

At the end of the day, NHL 22 is underwhelming. For every one thing that is done well, there are one or two more things that could have been done better. The visual uplift is nice and the migration to Frostbite went over smoothly but unfortunately this cannot save the waft of returning modes that makes for a dry feeling. Superstar X Factors are a neat idea but aren’t impactful enough to make much of a noticeable difference. With the typical suite of online mode drawbacks tied to randomness, the clean ice rink isn’t worth the stale retread.

This game was reviewed on the PlayStation 5.

In our review of Crysis Remastered on PC last year, we noted that it is derived from the Xbox 360 and PlayStation 3 console releases and this may hold true for Crysis 2 and Crysis 3 Remastered as well. Many if not all of the criticisms in that review remain true, with missing content such as multiplayer and Crysis Warhead. Having Warhead in this package would have been nice to flesh out the narrative just a little more since it takes place during the intermediate events of the first game, but its absence makes some sense since this is a collection of the trilogy to its core. The lack of multiplayer hurts a bit more though, as it could have been something extra to sink teeth into aside from the story. From the outset, this may give the impression of this trilogy being all but inferior to the PC releases. There is no denying that it is unfortunate that content is missing, making the originals on PC the only way to play anything beyond the vanilla campaigns. Still, the package offers three well put together campaigns that perform solidly and often have good map design. What content is available paints a great picture for Crysis on consoles.

Even if the narrative of the Crysis trilogy isn’t too deep and will be quite familiar for existing owners, it sure does provide a great backdrop for all the carnage. The series seems to know how to offer spectacle either through the cutscenes, or through your own making. The overarching story isn’t anything new or ground breaking by today’s standards but it does offer a classic science fiction B-movie feel. The influences to series like Predator are clear. You begin as Nomad, a key figure who can utilize a nanosuit built from alien technology. With this at their disposal, he turns the fight over to the creatures and other-worldly powers. One of the best things about this suit from a gameplay standpoint is that you have all of the powers and abilities for it out the gate. Learning to use it all effectively in different levels is where it really gets interesting.

"Bundling the original Crysis and its two sequels, the Crysis Remastered Trilogy aims to complete the goal of modernizing all three games on more modern PCs and consoles. The results are overall very positive, as these games deserved a revival."

One of the greatest things that the Crysis trilogy offers is that levels often feel like an open sandbox. Sure, you have objectives and non-mandatory side objectives available on the map but how you get to them is completely up to you. Even during the opening mission of the first game, instead of opting the “on foot” approach like many would do, I grabbed a van and plowed through the environment instead. Aside from vehicles to navigate, the nanosuit itself has three modes and a glorified sprint ability, all of which use energy. An armor mode slows you down but makes you impervious to damage, and there’s a cloaking mode as well that opens up stealth kills. However, if you are already spotted, the cloaking mode does not trick the AI. This gives the enemy AI an automatic leg up regardless of difficulty. Both the armor and cloaking modes can be easily toggled off with a press of R1/L1 and juggling the one energy meter between these and speed (sprint) mode is a unique challenge in itself. Later, a more limited power state becomes available too, increasing melee and jump abilities as well as reducing weapon recoil and sway.

Talking about controls, one thing that’s worth mentioning is that vehicle controls cannot be changed in the settings for Crysis 2 and Crysis 3 Remastered. The first game has one preset named “Lefty” for vehicles as well as an option to swap the triggers and bumpers. I found them to be cumbersome at first and they took some time getting used to. To that end, each game does include controller presets for the traditional FPS gameplay, but full button remapping would have been nice.

I played the PS4 version of the collection on the PlayStation 5, so all my impressions on visuals and performance is made through the lens of a console that is known to boost frame rates of last gen titles and results are usually glowing. The Crysis Remastered Trilogy offers all three games as separate downloads. This approach allows for an “only download what you want” mentality which I appreciate. Storage is at a premium, so this is a very positive trait for me. Speaking about graphical options, I found them to be inconsistent per title. They vary from game to game, with the first getting the most add-ons. Previously, Crysis Remastered had an unlocked frame rate to take advantage of, but now there’s a bit more. A Ray Tracing mode is available, but only in Crysis Remastered thanks to an update to the game in April 2021. Perhaps there will be planned updates for the other titles to give them a similar boost but as it stands right now, this is not the case.

Performance across the board is flawless running on PlayStation 5, and this is no surprise. 60 frames a second is the target and it hits it without fail. Dynamic resolution scaling is in effect to help reach the stable framerate. In my experience even with motion blur turned off, the dynamic resolution wasn’t bothersome. If a bit of cinematic blur is the preference, the shutter speed is customizable and well balanced. Scaled resolution has become the norm on consoles and at this point if accepting that means a higher frame rate output, I’ll take it every time. Unfortunately, this collection suffers from checkpoint stuttering carried over from Crysis Remastered. Talking about checkpoints, I’m thankful that they are very frequent so when death occurs, you are thrown straight back into the action.

"Multiplayer is sorely missed and could have given this collection some longevity for those who want to play more outside of the campaigns."

The Crysis Remastered Trilogy offers a worthwhile experience. With performance that’s smooth as butter, it’s relatively easy to look past the dynamic resolution scaling. The B-movie plotline isn’t very original, and the absent Warhead story content could have added some extra flavor. Multiplayer is sorely missed and could have given this collection some longevity for those who want to play more outside of the campaigns. In the end, however, this collection offers great single player fun with its excellent level design to compliment the intriguing gameplay.

The PlayStation 4 version of this game was reviewed on the PlayStation 5 via backward compatibility.

Subdivision Infinity DX emphasizes on its short bursts of gameplay, and that’s due to the length of its stages. Each one is quick and snappy with two phases most of the time. This lends a pick-up-and-play nature for those looking for a quick fix which can be the game’s best quality. The adventure doesn’t overstay its welcome; bear in mind the simple story is told entirely through floating dialogue icons and static portraits. The setup is something you’ve seen many times before and is not unique in the least. You play a generic man who answers a distress signal which eventually leads to a surface level adventure with a robot companion to liberate five zones.

"Subdivision Infinity DX emphasizes on its short bursts of gameplay, and that’s due to the length of its stages. Each one is quick and snappy with two phases most of the time. This lends a pick-up-and-play nature for those looking for a quick fix, which can be the game’s best quality."

Each ship has enough that is relatively unique to them to set them apart from one another but it is nothing too drastic. Differentiating factors are the typical health and shield along with shield recharge time, speed and other metrics. The variety of weapons is modest. Thankfully, getting them isn’t nearly as much of a hassle as the spacecraft, only costing coins to unlock and some semi-common materials to upgrade. While ship and weapon customization are fine, the process of getting materials leans very heavily on randomness which results in a lot of grinding. Mission rewards are randomized with each stage being relatively short and repeatable. There are no checkpoints to speak of, but this is somewhat alleviated by the time it takes to clear a stage. Another problem is, if you have trouble getting past certain levels and think that you need a better ship, you’re out of luck as material grinding rears its ugly head.

Talking about progression, there are ore deposits that have a couple restrictions surrounding them. For one, you can only mine these in exploration missions or free play so-to-speak. To their credit, this is some of the best parts of the gameplay, allowing for some chill exploration without the urgency of completing objective in stages. However, this means that to get the necessary minerals, you need to halt your mission progress. Secondly, mining equipment is required and takes up a slot in a ship’s customization. It’s frustrating then that the starter ship can’t equip these tools, and in a balanced playthrough, you cannot even get a ship that can equip them until the middle of the second area. This is primarily a hurdle in the opening portion but the choice to have a ships’ availability unlock early and not being to craft it is a classic case of unbalanced progression out the gate.

The controls are very mixed and easily the weakest aspect of the title, since it impacts every part of combat and exploration. To start, Subdivision Infinity DX does not use an analog stick for thrusting, instead opting to have thrust and reverse thrust mapped to L2 and L1 inputs respectively. In addition, there is no dodge maneuver and the face buttons do nothing. Tilting the left stick allows for strafing and the right stick handles pitching up and down. In fact, there is no control customizability whatsoever. Granted, full button remapping might be too much of an ask, but only having one control scheme is very inconsiderate for accessibility. Simple things like swapping the sticks and the triggers aren’t available, so what you see is what you get. Fans of space flight sims each play the games differently, so a bit of customizability would have been a nice addition. Even if this scheme can be committed to muscle memory, it still felt a bit off compared to other titles in the genre.

"The controls are very mixed and easily the weakest aspect of the title, since it impacts every part of combat and exploration."

Something I found very disappointing is that Subdivision Infinity DX has zero DualSense support other than traditional rumble. With all the weapons on offer, tuning the adaptive triggers to their fire rate would have been a really cool addition to say, “this is something that can only be done on PS5, let’s take advantage of this opportunity.” The approach taken is nothing ventured, nothing gained; meaning that this version is a straight port with little to no improvements over previous release. Adding Adaptive Trigger support in this game may not have been easy, but this is still a missed opportunity and could have helped bring a better level of immersion. All told, the control scheme makes navigating each area just okay to handle, but dogfights end up feeling sluggish. The auto aim is very generous but dodging projectiles is difficult since the enemy AI will always lead ahead of where you’re going. Trying to not get blasted can be disorienting. It just feels like enemies circle around you on a constant basis which really isn’t engaging. There is an easy difficulty option which I recommend as it makes fights end quicker, and the damage taken is somewhat reasonable unless you get swarmed too much. However, enemy aggression is unchanged

Aside from fighting smaller ships and destroying bases, there are also boss battles, the first of which is a form of jousting. This boss has one primary goal in mind, and that’s to ram into your ship for an instant kill. The immediate instinct is to get away as fast as possible and turn around, but these ships have so much shield and health to the point where it’s best to rotate to lock onto the boss as much as possible and only move when absolutely necessary. This way, you can do enough consistent damage to remove the shields. Since the strafing is very slow, this boss fight is bound to be frustrating and makes these particular missions a pain to play. I am all for difficult boss fights but an unbalance one is nothing but a deal breaker.

The artwork is pretty standard for the average spaceship simulator. The skyboxes are the standout and are the main visual aspect that sets each of the five areas apart. This combined with the populated space of asteroids and stations are almost wallpaper worthy. When it comes to playing though, the terrain and enemy models are overused to a ludicrous degree which takes away from what little variety there could have been. The same can be said about the sound design and music which can get very repetitive. They are very inconsistent and the music will often drown them out. Camera motion blur is in full swing in addition to object motion blur, causing some pretty intense disorientation. In addition, explosions not only drop the framerate but also cause the screen to shake, rendering the camera shake toggle in the options menu useless.

"Subdivision Infinity DX on PS5 is a straight up port of a spaceship simulator that could have used some major adjustments and additions."

Subdivision Infinity DX on PS5 is a straight up port of a spaceship simulator that could have used some major adjustments and additions. Not having DualSense features on a dedicated PlayStation 5 version seems like a missed opportunity and could have gone a long way to make this version of the game unique. Instead, this spaceship affair has only a couple noteworthy qualities. Even though the ship customization gets the job done and the skyboxes are nice to look at, there are a host of issues with accessibility and difficulty that could make this dogfighting experience unwelcoming for newcomers to the genre.

This game was reviewed on the PlayStation 5.

Right out the gate, Aragami 2 knows what it wants to be in terms of its gameplay to enhance the positives of what the genre is known for.  A stealth game lives or dies by the quality of the gameplay systems and thankfully, this is done right. Something I always find very important in stealth games is the UI, and what the player is allowed to see. Enemy awareness markers are always visible when they suspect you and are either above their heads or on the end of the screen when off camera. Holding the left trigger activates a limited sight that allows you to see through walls and mark enemies as well as get a general idea of where the objective of the mission is. Another important element of the interface is linked to one of the first traversal tools to learn that is the bread and butter of movement. Teleporting by pressing the right trigger allows you to teleport from ledge to ledge, but only if you’re close enough to that ledge or platform. The circle is small, but will turn blue which allows a jump. From there, enemies can be killed or knocked out from ledges as well, adding just a bit more depth to how to interact with the environment.

"Aragami 2 knows what it wants to be in terms of its gameplay to enhance the positives of what the genre is known for."

Traversal is vastly improved from the first Aragami. Teleportation and dashing are done with ease, and hanging from ledges or fences is a very simple but welcome addition. All of this comes together to make this stealth game a breeze to control, albeit within the limitations of a stamina bar. There is never enough stamina to repeatedly teleport over and over but the regeneration is very fair so you’re never out for too long.

The overall art aesthetic is very clean. The palette is very muted and appealing to the eye.  Even though the artwork has a very smooth look, there is a good balance in texture detail to where it doesn’t seem bland like Lince Works’ previous venture. Your own Aragami avatar can be customized with cosmetic armor that provides a needed splash to create a unique flair. One of my favorite aspects of Aragami’s visual language is how the game shows if you are detectible or not. Crouching in a shadow, on a high ledge or in the stereotypical tall grass, you are undetectable. This is indicated by the character model turning black with white outlines. It’s a nice visual cue in case shadows aren’t clear; especially in nighttime settings like what’s commonly seen in Aragami. The PC version runs very well and has a good amount of graphical customizability. Lighting and shadows can be tweaked as well as resolution scaling and a reasonable amount of anti-aliasing customization.

Early on when starting to learn the game, one of the most aggravating ways I got surrounded was when whispering to lure enemies. The range is so large to where I often lure two or more enemies at once which prompted me to leave the scene. Singling out enemies is very difficult in most stealth titles and having a button to lure enemies is a great basic tool. It just feels like it’s use is very discouraged here. This issue aside, there is an ability that is able to be learned very early into the game that allows enemy search patterns to be seen. Even still, in a game that stations multiple enemies with their own overlapping patrol paths and sight lines, I just wish dividing enemies was easier.

"The overall art aesthetic is very clean. The palette is very muted and appealing to the eye.  Even though the artwork has a very smooth look, there is a good balance in texture detail to where it doesn’t seem bland like Lince Works’ previous venture."

Unfortunately, the melee combat falls short. This is really hard to nail due to the fact that giving the player more tools for combat means that fighting becomes more comfortable and encouraged. This is something really hard to work around but the sequel is still an improvement over the first title since the tutorials make it clear that combat should not be a focus; but only as a last resort. The health bar isn’t very high and doesn’t refill automatically to enforce this statement. In the previous game, one hit meant death so here there is a chance to escape and come back, or narrowly achieve victory. Attacking and dodging is fluid and the camera does well to track the target being locked on to, but I had trouble adjusting to the timing for blocking and especially parrying.

Aragami 2 like its predecessor isn’t really meant to be played for the story, especially since the missions are “go here and collect the thing or kill the target” as you’d expect. As a newly introduced member of the Aragami. Taking place one hundred years after the first game, the goal is to protect a village and fight alongside the remaining members of the clan. So while the light narrative and motivations end up being a cut above set dressing, multiplayer, or at least the prospect of multiplayer is. Each mission is selectable from a board, and each mission requires all players to ready up before departure akin to other mission based multiplayer titles. We were not able to test this for review, so server stability or ease of use cannot be commented on. There is no server selection from what can be seen, but you may join or create public and private lobbies. For now, whether or not the netcode is worthwhile is up in the air.

Something to note is while the map size in missions compliments a co-op mentality nicely this time around, I never felt like I absolutely needed someone else with me to complete objectives, but the help would’ve been nice since the level layouts incentivize cooperative play. Having more players makes the missions more manageable since the maps are designed with multiple pathways to an objective, but the design of each sometimes felt too daunting of a task for one person. However, after some trial and error in the earlier hours, it’s easy to understand how to navigate each mission with enough patience.

"The PC version runs very well and has a good amount of graphical customizability."

At the end of a mission, XP and Gold are rewarded. Performance is graded with metrics like time, and how the hostiles were or were not dealt with, and collectibles gathered. Replaying missions is optional and it’s good to go back in to find secrets, equipment blueprints and grab some extra coin, but rewards for finishing a level more than once are drastically reduced. One other benefit to multiplayer is that since there is gold scattered around, it takes less time to sweep the area with multiple players. Gold and skill points gained from leveling up are spent in a village hub. There, you can acquire passive and active skills and equipment like Kunai. Blueprints are also available to collect, allowing for more equipment.

Aragami 2 has some satisfying stealth challenges available to take on solo or with other players. The visuals are a major step above the original. Enemy placement and AI make it hard to separate them, but the suite of visual cues help to better understand how many foes there are, and what their path is to plan a route. Movement is very brisk and with a skill tree that has a lot of variety, there’s no denying there is a feeling of gratification clearing a mission where you escape by the skin of your teeth.

This game was reviewed on PC.

F.I.S.T. tells a story about a rabbit named Rayton who when an old friend gets arrested and taken to prison and he goes to rescue him, punching a multitude of robots led by the Legions of Iron Dogs along the way. Right out the gate, the title takes the anthropomorphic route in terms of its character design but it works surprisingly well. It never seemed too overdone and felt very natural or appealing to the setting. The story expands at a good pace and was very enjoyable throughout due in part to Ray himself. I was able to sample both the English and Chinese voicework and both casts do a fine job of selling the world of F.I.S.T., even if their character traits are familiar affairs. Still, having an English voice option for F.I.S.T. is surprising to me, since there are a lot of voiced NPC conversations and this is an independent game developed by a Chinese studio. Localization feats for a smaller game like this deserve recognition.

"Aside from some visual blemishes and initially restricted flow and structure, F.I.S.T. accomplishes its goal accompanied by the cool factor of playing as a rabbit bashing robots with a giant arm."

The art style of F.I.S.T. is very inspired for the approach it goes for. “Dieselpunk ” as it’s referred to is realized in the environmental design and the background detail is very sharp on the PlayStation 5. The nighttime scenery in the outdoor areas like the starting city shift very well with the camera adding a great deal of depth. The main city hub in particular looks great along with its China inspired scenery. F.I.S.T.’s world is very grimy and industrial, and the soundtrack composed by Caisong Bo compliments this nicely. The OST blends jazz and piano tunes for the main city hub with quieter sounds to set the moon while exploring the various zones. Sometimes a great score sets out to compliment the gameplay, instead of overtake it; and that is the case here.

F.I.S.T. runs at a smooth 60 fps at a native 4K on the PlayStation 5, and keeps the framerate with dynamic resolution scaling on the PS4 Pro. This is great because the two versions are very comparable in this respect. 1080p at 30 frames a second on the base PS4 console still can work modestly well but when the platforming gets hairy, 60 fps might seem vital. A Performance Mode on PS4 to knock the resolution down to achieve a higher framerate would be useful.

One trapping F.I.S.T.: Forged in Shadow Torch falls into in its visual presentation is the use of motion blur and camera shake. The game uses both camera and per-object motion blur, taking away a significant amount of sharpness from the picture in both gameplay and cutscenes. Being a game made in Unreal Engine, this is likely a limitation of the software as opposed to an artistic choice; at least in regards to camera blur. The options menu offers no customization for the visuals other than the camera angle of finishers, so it comes down to personal preference. I usually almost always turn off camera blur but in a 2D side scroller such as F.I.S.T., it’s less of an issue than in a 3D game. Every time Ray attacks, the camera shakes a little or a lot and unfortunately this cannot be turned off either. While most of the cutscenes in the game are with static models with limited animation, the dynamic cutscenes are when the animators really flexes their muscles. Characters have great choreography in these sequences, and they really highlight what motion blur can add to the table when animating characters.

"The interconnected map is incredibly large."

The combat starts off pretty stale and clunky. Weapons have light and heavy attacks that can be chained together, but there isn’t much room for experimentation. The skill tree for each weapon is built around adding combos instead of boots to attack or health. Players are specifically shown what they can and cannot do. It’s only when later abilities and combo extenders are gained where things really get going. However, most of the later skills for each weapon do require Data Disks, which can be obtained from boss fights, exploration or purchased for a hefty sum. SP moves are stronger attacks that use a resource bar refilled by attacking foes. I think that these are best used as strong combo enders and can make combat more manageable. Some of the boss fights can be very taxing, and this is because of how enemy staggering is handled. When Ray staggers or does not stagger a foe is very inconsistent and can lead to taking unnecessary hits or deaths when committing to combos. To that end, SP abilities do not grant invincibility either but have a better chance to stagger. There are two more weapons obtained in the story, but Ray’s first tool in his arsenal is the most fun and versatile to use; but the second weapon he obtains, a drill, does allow him to glide and traverse underwater which is a great boost to moving around the world.

The interconnected map is incredibly large. Each named zone such as the Sewers, Tower, or otherwise are color coded on the map to help differentiate them from the world view. Tracking later objectives or previous unclaimed secrets can be a pain but mission goals are easily seen with a small text box or a red exclamation icon on screen. One other minor note about viewing the map is that you can’t cycle through or pin specific icons for collectibles and goals. What this comes down to is a map that does the job at letting you know what’s around you and where you can go, but heavy backtracking might require a little more time to relearn where certain doors or barriers were that hide secrets.

Traversal offers a steadier form of progression and in a game like this, it is always welcome and this part of the game delivers on the fun factor the most. F.I.S.T. knows when it’s the right time to introduce a new movement option after you get accustomed to a previous ability. Rayton will find transformers throughout the world, giving him movement upgrades. Like with combat, traversing the world can be stiff but it becomes fast and fluid past the early parts of the game. One small but extremely appreciated aspect of the platforming challenge that really helps its pace is that hugging walls does give you an extra dash. This gives the player fluid movement through the levels which are largely boxed rooms and hallways filled with enemies and traps.

"F.I.S.T.: Forged in Shadow Torch is worth keeping an eye on."

It’s when F.I.S.T. combines combat with intense platforming challenges that starts to bring a level of frustration. Depending on the combination of enemies and room hazards, moving forward may take several tries. Early on, there’s a skill that makes executions give EP back. EP is a resource used for gadgets and one of them is a flask that heals Rayton. I recommend getting this ability in the skill tree as soon as possible as it can help keep you going through tougher areas as long as enemies are able to be executed along the way. Some foes do have weapons that can stun or stick you in place, and certain hazards like poisonous fluid in the sewers make this a really lethal and vexing combination.

F.I.S.T.: Forged in Shadow Torch is worth keeping an eye on. It brings some unique flavor to the platformer genre with its story and world building but lacks some map functionality. After some time gaining the exploration and combat tools available, platforming is very responsive and fluid to play even though combat doesn’t reach the same heights. Ever still, punching robots with a large metal fist is very satisfying to do.

This game was reviewed on the PlayStation 5.

Quake looks clean and crisp on Sony’s last-gen consoles, both at 1080p 60 frames per second on the base machine, and 4K 60 frames on the Pro model. With the bump in resolution, textures and models were also updated to compliment the sharper image. The Options menu offers customizable graphics options like turning various enhancements on or off. Just being able to turn off motion blur from the outset was a very good thing for me and if you’d rather have the game look even closer to what it was like before, features like Antialiasing and Ambient Occlusion can be toggled off as well.

"Quake holds up today, and this updated release might kindle a flame of possibility for a new title in the series. What it comes down to is how authentic it still is underneath the graphical uplift."

Lighting is better too as it is more drawn out and smoother than before. But it is still distinctly Quake, and that is what will matter most to series fans. As someone with fresh eyes, I appreciate the approach taken with this relaunch. There was a lot of care and consideration put into what changed and how by id Software and Nightdive Studios that will ultimately please fans. Bethesda and Co. state that there will be an update coming for free with the PlayStation 5 version enabling 4K at 120 hertz for capable displays. However, this release is not just about the visual uplift, but it’s content rich too.

Aside from the original’s two map packs and Dimension of the Past that was released for the title’s 20th anniversary, this version for the 25th anniversary adds Dimension of the Machine; a new set of maps designed by MachineGames. This expansion looks the part, but goes beyond what came before in terms of visuals. Aside from a free Quake 64 add-on, consoles will also receive free curated mods in the future, giving the game surprising longevity on console. I’m glad that Bethesda is continuing to allow mods from PC versions of games to appear in console versions.

Quake brings pristine level layouts to the table and it’s safe to say that they stand the test of time. This applies to the new maps as well but as a newcomer, I was challenged from the outset with the labyrinthian style maps. Later stages can be hard pills to swallow but the idea of just “one more try” kept me going. Each map has any number of enemies to slay, secrets and easter eggs to find and layered completion objectives asking for very lateral thinking. Replayability is a strength of this collection, as every level is selectable from the start which allows for quick hop in, hop out gameplay. Encouraging mastery is something that the game excels at and is one of the game’s greatest strengths. Thankfully, the quality of the map design is complimented by smooth and fast traversal.

"Quake brings pristine level layouts to the table and it’s safe to say that they stand the test of time."

Quake demands a level of speed and map knowledge is important as levels are twisting labyrinths that command memorization. It is amazing how well maps are designed despite those levels do not usually go beyond boxed rooms and hallways. On the surface, this does not seem very intricate but it is the verticality above and below the ground floor that gives the layouts their variety. There are areas hidden away following an underwater room or a hole in the wall above a platform that reveals a weapon or armor upgrade. It is a very simple yet effective way to make navigation challenging, yet rewarding.

Throughout each maze, you will encounter a variety of creatures looking to stand in your way. The AI itself for enemies is great on its own for all difficulties too. Foes have several ways to hunt players down, where each battle can seem like elaborate dance as you dodge and weave through projectiles, lunging attacks and more. Once I got used to the movement speed while fighting against varied groups, that is when the game really clicked with me, giving off a rush of excitement. Better yet, the arsenal of weapons to pick up also keeps gameplay thrilling. Understand that enemy, weapon, and pick-up placement do not change when a map resets. When deaths occur, and they will, each attempt is another chance to push further, creating an addictive gameplay loop.

The implementation of sound design gives mixed results. It is upped in sample quality but the stereo is very inconsistent when using headphones. This makes spatial awareness a bit difficult sometimes, and that is vital to a title like this. It may be a side effect of the PlayStation 5’s audio engine being applied to this PS4 title via backwards compatibility, so take that with a grain of salt. Taste varies of course and everyone will use different headphones and other devices, so it might work better for you. In my experience however, this game’s sound design was lacking. This aspect of the game seemed like a product of its time compared to other elements.

"In my experience, the sound design was lacking. This aspect of the game seemed like a product of its time compared to other elements."

Quake on consoles and PC has excellent cross platform play implementation for multiplayer. Any platform can play with any other which can’t be more of a positive. Thankfully, a Bethesda account isn’t required to play any of the single player offerings. Flexibility in who you can play with is a very welcome sight, especially on the PlayStation platforms. One feature that this version lacks at launch is mouse and keyboard support. The menus for the feature exist but it is not implemented quite yet. Hopefully this is enabled in the near future, since turning on cross play can be seen as giving console users an inherent disadvantage. In the Options menu, there is full mutton mapping and stick aiming options and inverted look to help those who prefer controllers find what works for them. Gyro-motion aiming is also available for this port.

There are many multiplayer maps, and the pacing of matches is brisk which really adds to its fun factor. Maps are tight as weapons and pickups have set collection points in abundance which makes memorization even more important than before. Even though time to kill is high from my experience, knowing exactly where to go for extra ammo, health or armor is very valuable. Map awareness matters just as much, if not more than skilled shooting in my opinion.

Deathmatch is the only mode on offer which is a welcome albeit plain and simple approach to multiplayer. Not adding modes from sequels might just sour the authenticity of this release. This knows what it wants and needs to be. Nothing earned or gained by winning or losing, so that kept me wanting to play more and more. Players may either join a lobby that’s already established, create one, or queue up to be randomly matched with others.

"Quake’s 2021 enhanced port brings a fresh coat of paint, and new content. Multiplayer keeps things simple and the lighting from weapons is bothersome, but matches are quick and the maps are well designed across the board."

While maps are plentiful, varied, and crossplay is certainly a plus, it is hard on the eyes in tense fights. In this mode regardless of how clear the updated effect is, most firearms emit a yellow light effect in time to that gun’s rate of fire. The light is wide enough to where it becomes a distraction when trying to finish off opponents. This is something solo modes thankfully do not see.

Quake’s 2021 enhanced port brings a fresh coat of paint, and new content. Multiplayer keeps things simple and the lighting from weapons is bothersome, but matches are quick and the maps are well designed across the board. There are some aspects of the audio that don’t quite hit the mark. This release brings longevity to the table, opening the door for community created content to come to consoles. Made by an excellent ensemble of developers including id Software, Nightdive Studios, MachineGames and Bethesda, this is still the definitive way to play one of the classic FPS titles that paved the way for modern franchises. Hopefully this leads to more in the franchise.

The PS4 version of the game was reviewed on the PlayStation 5 via backwards compatibility.