Gamer Euphoria

Do We Really Need to Choose Sides? – An Open Plea to Fanboys/Girls

Sean Halliday — Mon, 17 Jun 2013 23:07:45 +0000

If there’s one thing that E3 shows us each year, it’s how competitive people get. I’m not talking about companies or industry figures, but the consumers themselves. There’s an odd feeling of tribal warfare that sprouts up after each and every E3. ”Sony won the battle, Microsoft will win the war!” has been something frequently shouted out across the internet in the aftermath of E3. But the last time I checked, this was not a war. I don’t recall anyone from either company commanding their consumers to attack the rival company’s fans. Remember that moment Jack Tretton mounted the PS4 and raised his longsword screaming ” DEATH TO HOUSE MICROSOFT! AMASS MY FELLOW SOS OF SONY”? No, me neither.

Don’t get me wrong, it’s good to see people discussing the events of E3, but some take it a bit too far. I’ve witnessed people fall out with long-term friends purely because one chose the PS4 over the Xbox One or the other way around and so forth. I’ve seen websites, mostly humble smaller sites, suddenly decide everything Microsoft and Nintendo has ever done is awful and that we should sell our souls to Sony. I get that people will always have somewhat of an allegiance to a company in some form or other, but some people take it a bit too much to heart; it’s a company, not a tribe. All these war analogies and war of words across forums…is it really necessary?

Everyone has their own reasons for investing in the systems and company they choose to place their hard-earned cash in, but does it give someone the right to freely insult another person purely because they prefer something different? No, of course not. As much as I disagree with Microsoft’s Xbox One policies and general attitude during E3, it does not mean I look down on their loyal customers. I don’t plan to buy an Xbox One for a number of reasons, but that doesn’t mean you shouldn’t buy one; it’s your money, your time, and so you do as you wish with it.

I’m not discouraging discussion but I am discouraging this odd tribal warfare buzz that seems to be ringing in a number of people’s ears. With each new console comes a new ‘console war’, and with each new ‘war’ comes a tidal wave of those who can shout the loudest. If everyone just took the time to be less sensationalist, less abrasive and more thoughtful and willing to listen, then maybe, just maybe, the modern day video game culture could become a little more mature.

The Last Of Us: Not Making a Big Deal Over Sexuality

Sean Halliday — Sun, 16 Jun 2013 21:52:24 +0000

The Last Of Us is currently sweeping up high praise from nearly every corner of the industry; critics love it, players adore it, and it’s proven to be a huge success. However, one part of the game that has gone somewhat unnoticed is how The Last Of Us dips its toes into something of a taboo topic, even in the modern day state of video games. That taboo topic is one of homosexuality. It’s so subtle and underplayed that the chances are most did not even notice it, and that commands respect to Naughty Dog and their writing team.

To put it into context, Naughty Dog have been accused of being slightly ‘dude bro’ with their approach to characters this generation. Nathan Drake is a good-looking chap that has sharp wit as well as a way with the ladies, but people took Nate’s character and used it as an accusation of Naughty Dog being rather shallow when it comes to characters. This is where The Last of Us steps in, showcasing that Naughty Dog can do serious and realistic characters in equal measure. Homosexuals are generally an under-represented group in video games. For example, when a character is shown as an ‘out’ homosexual, they tend to be used in a comedic way (see Grand Theft Auto), or play up to a stereotype in some way or another. In comparison, The Last of Us has bucked this trend and isn’t even making a big deal out of it, which is exactly what was needed.

Early in the story, Joel calls in a favor from an old associate in the shape of a man named Bill. As an isolated lone wolf figure, Bill lives his life as a scavenger who takes pride in placing traps around his town. He’s a stocky–some may say quite fat given the times he lives in–gentleman around the age of late 30s to mid 40s with a rough appearance. With long, unkempt hair and a dishevelled beard, not to mention a face full of dirt and scars, Bill looks like a seasoned survivor. He’s all too aware of the world and the harsh realities of the universe The Last of Us is set in. Joel describes him as something of a loner with odd ways, and Bill’s early interactions with both Joel and Ellie mirror that.

While Bill is not given much backstory, there are hints and nods towards his life and his losses. Bill talks about his partner (he stutters and rephrases this a few times) and the disagreement between them. It’s a mere nod at first–most wont even notice it–but towards the end of the chapter, it comes full circle. After encountering a large group of infected, Joel, Ellie and Bill rush into a nearby house in which they find the hanging body of Bill’s partner Frank, and true to his nature, Bill puts up a cold front to discovering the death of his partner. But his facial expressions show he’s clearly been affected by the death, and Bill explains some of Frank’s characteristics to Joel in a slightly heartfelt way, with a hint of bitterness in the background.

A suicide note by Frank can be found in the room in which his body was found. Taking this note to Bill causes him to give more thoughts on Frank, revealing that Bill is more affected about his partner’s death than first thought. Bill departs from the group at the end of the chapter while Joel and Ellie continue their journey alone. The proceeding cutscenes reveal that Ellie swiped some items from Bill’s shelter, including a comic, a music tape, and a magazine. The tape is used as a means to unveil the true connection between Bill and Frank, while the magazine is a publication full of muscle-bound men in their underwear, with said magazine being the equivalent of a ‘lad’s mag’. (For those unaware, a lad’s mag is a magazine full of pictures of topless female models.) Ellie comments on the photos, making an observation on the size of the men’s genitals.

The magazine, Bill’s use of the term ‘partner’, and his love/hate views on Frank–they all point towards Bill and Frank being a couple, lovers torn apart by the frustrations and tensions caused by the world they live in. Bill is not a stereotype; he’s everything but that. This is testament to how most people go through the game without even noticing his sexual orientation, and it’s a credit to Naughty Dog that they have created a character that manages to embody a rather taboo subject in video games while staying far away from stereotypes or desperately drawing attention to the subject. This is a positive sign that some writers and developers are starting to understand diversity and how to implement that into a cast of characters in a natural and believable manner. This is hopefully a sign of things to come, and hopefully a sign that the industry is starting to mature when it comes to these kind of things.

Minecraft Snapshot 13w24b Download Link

Chris — Sat, 15 Jun 2013 21:17:54 +0000

Well hello again,

It really has been ages.. I’m sorry about that.. I’m sure you missed me…. Was that a tumble-weed I just saw? *Rubs eyes*

Anyway, best get on.. Lots to get through..

I think the last snapshot I posted on was 13w11? Well haven’t we had lots since then. The launcher has even changed!

Lets get this out the way first.. because I know that is what you came for.

Minecraft Snapshot 13w24b

To get the snapshot, use the new launcher available in the link below. To return to 1.5.2, simply start the old launcher and play as normal.

Server files:

Cross-platform jar: https://s3.amazonaws.com/Minecraft.Download/versions/13w24b/minecraft_server.13w24b.jar
Windows EXE: https://s3.amazonaws.com/Minecraft.Download/versions/13w24b/minecraft_server.13w24b.exe

Video Reviews

Well anyway lets take a look at some horseplay.

How not to tame a horse:

A more in depth look at 13w23b (not much difference to 13w24a/b):

Thank you M1neTube for putting these videos together.

To get the snapshot, use the new launcher available in the link below. To return to 1.5.2, simply start the old launcher and play as normal.

Server files:

Cross-platform jar: https://s3.amazonaws.com/Minecraft.Download/versions/13w24b/minecraft_server.13w24b.jar
Windows EXE: https://s3.amazonaws.com/Minecraft.Download/versions/13w24b/minecraft_server.13w24b.exe

#DoneyKebab

View the Mirror post on the M1neTube website

Nintendo at E3 2013: Going Humble Rather Than Big

Sean Halliday — Fri, 14 Jun 2013 17:53:05 +0000

While the two modern day big guns slugged in out on the battlefields of E3, Nintendo went down a much smaller and humble route; there were no big stage shows, just a stream direct from Nintendo–nothing flash. This route felt relevant to what Nintendo had to show everyone, and it felt like a showcase of games for their fans rather than for the gamer masses. Sure, they showed off some of the third-party support–which must have been weakened by the closure of THQ–but for the most part, the limelight was on Nintendo’s franchises.

This E3 was always going to be about Microsoft Vs Sony. It’s undeniable. Two rival companies launching their new systems on the same day is rare, and when it happens the buzz is electric. Nintendo did themselves a favor by stepping down and doing their own thing in their own way. Where Sony and Microsoft were loud and proud, Nintendo were quiet and humble. Some will say Nintendo chickened out; others will say it was a good decision to stay away from the main stage.

Nintendo’s stream at E3 was a mixture of games that pleased the fanbase, but at the same time left some longing for more. It’s no secret that the Wii U is failing to convince the majority of people, and Nintendo addressed this by announcing a new Smash Bros title, along with Mario Kart 8 and a new Donkey Kong. While these games gained the attention of Nintendo fans from around the globe, they did little to draw the interest of non-Nintendo fans. (Yes, that’s right, not everyone is a Nintendo fan.) But perhaps they weren’t really aiming to grab the attention of everyone else. Perhaps they just wanted the attention of the Nintendo fans.

While it may be short-sighted in terms of Wii U sales, it is proof that Nintendo have not forgotten the system. Mario Kart 8 and Smash Bros made the impact I imagine Nintendo were seeking. Fans both young and old reacted to the reveals with a sense of giddiness that only Nintendo franchises seem to create. The new Super Mario World was an expected reveal because let’s face it, Mario is often rolled out at major events. But is that a bad thing? Not really. Mario games have always faired well and mostly provided top-notch entertainment. There was a sense of resentment from certain circles over yet another Mario title, but from a personal perspective, it would’ve been nice to see another Nintendo franchise on the Wii U other than Mario. Metroid, for example, is screaming for a Wii U début.

Nevertheless, away from Nintendo’s first-party games was Bayonetta 2 and the new IP from Platinum Games, The Wonderful 101. The latter seems like the obligatory ‘zaney’ title in the Wii U’s line up, and while it may not look totally original (let’s face it, it looks a lot like Pikmin), it does have a sense that it fits in well with the Nintendo ethos. On the other hand, Bayonetta 2, to this day, feels like such a great coup on Nintendo’s part to make it an exclusive. While it may not be an exclusive franchise, fans of Nintendo have seemingly taken in Bayonetta as their own. Unlike their competitors, Nintendo has avoided pointing out that Bayonetta 2 is an exclusive ’til they are blue in the face, and perhaps the way in which Nintendo has talked about Bayonetta 2 has helped this warmth from the fans towards the game.

Some left Nintendo’s stream feeling rather disappointed. Others–mostly people who have something of a love affair with Nintendo–left with a sense of optimism. Like it or not, Smash Bros is a killer app for many. It’s a franchise that is firmly in the hearts of many thanks to its simplicity and fun, and the reveal of Mega Man as a playable character is a testament to who this game is for: the old-school video game fan who wants fun over anything else. Those fans tend to be humble in how they approach most things in video games (bar the occasional rabid fan boy/girl), and Nintendo reflected this in how they approached E3; one for the fans, rather than the majority.

Did Nintendo do a good job of attracting the masses to the Wii U? Maybe not, but they did do a good job of enticing Nintendo fans looking for a reason to pick up a Wii U. While the rivals went to war, Nintendo looked after their own, and that’s alright in my book. The majority may see Nintendo at E3 being rather lacklustre but let’s face it, they intentionally weren’t going big this year, and for good reason.

Microsoft’s Don Mattrick’s Comments: A Result of Frustration or Ignorance?

Sean Halliday — Thu, 13 Jun 2013 16:36:59 +0000

Microsoft have had something of a turbulent time since their E3 outing. Even with a solid conference that showed some decent games, they have struggled to make a positive impression on the audience. Let’s face it: every company screws up every once in a while on the biggest stage in the industry, but Microsoft have taken E3 2013 as their opportunity to not just screw up, but almost stick two fingers up at their customers.

Don Mattrick, a Microsoft executive, recently said something that felt rather venomous and slightly ‘off’. His comments were a result of a question based around the requirement of an internet connection in order to play games on the Xbox One. His reply was the following:

“Fortunately, we have a product for people who aren’t able to get some form of connectivity,” he said. “It’s called Xbox 360.”

The way in which it was said felt rather condescending–almost immature. I have to wonder if this was the view of an individual or the view of a company. If the latter is true (which seems the most likely case), then this is truly a sign of how out of touch Microsoft has become with its customers. To take in the scope of the comment you have to look where it was made–on video to Geoff Keighley at E3, and not just in a random interview on a site or magazine. This was in full view of the gaming masses; it was possibly the most public way to broadcast the message to the consumer outside of during the actual conference.

Personally, I believe that comment was made as a result of frustration. It did not come off as the sort of well-thought-out comment you’d expect by someone in his position. The wounds Sony had inflicted on Microsoft were still fresh, and the PS4 buzz was still strong. There is no way that this would’ve gone unnoticed by Microsoft and Don Mattrick. What happened at this year’s E3 was the equivalent of a rival embarrassing their counterpart. Think Manchester City beating Manchester United 6-1, or Chuck Liddel KO’ing Tito Ortiz, or even Vince McMahon buying out WCW. Being taken to the sword by your rival is a frustrating experience in any walk of life, even more so at such a huge event like E3.

Don Mattrick’s words will be the comment that rings throughout the next generation. Even if it was said in frustration, it represents how out of touch, how off the mark, Microsoft has become. Is there time for redemption? Sure there is. Price cuts, changes in policy, attitude and quality content can sway public opinion. But for now, Microsoft simply has to suck up the unpopular opinion on their system and company, and comments such as Don’s will never help their cause.

Sony: The People’s Champion?

Sean Halliday — Tue, 11 Jun 2013 20:41:34 +0000

After years of people raging at the corporate suits–or ‘the man’, if you will–it seems everyone is now happy. How did this happiness happen? Simple: a company looked at the mistakes of their rivals while embracing the consumer. In doing so, Sony left a huge crater of happiness in the midst of E3 2013–as well as social media and the hearts and minds of the masses.

Those with keen eyes would have noticed Sony’s creeping improvement year after year: PSN Plus has become a stellar service; Sony have embraced the indie crowd; and the triple-A games have continued to flow. The results of their progression were clearly seen at E3 2013. Sony were prepared to stun, prepared to shock…but were they prepared for the reaction? Only they know.

The next generation of systems has been shrouded in mystery, prompting questions from the consumers. These questions were often drenched in worry–a genuine worry for the future of video games. Fortunately, Sony took the bull by the horns and answered all of the big questions, as well as taking a pop at their competitors. Answering questions in a no nonsense fashion is endearing to the consumer; it’s a simple fact. Sony became more than just a company selling their products–they became a company wanting you to buy their products for the right reasons.

After Microsoft’s solid conference, there was an air of doubt that Sony would struggle to make a impact greater than their rivals, and while Sony’s E3 showing wasn’t perfect, it did do a decent job of displaying a number of games (albeit a few we’ve already seen), as well as showcasing footage from Destiny, aka the next ‘big thing’. It was a well-rounded presentation that did not focus too long on one topic/game. Also, pound-for-pound the triple-A games shown by both Sony and Microsoft shaped up well against each other. It seems that those seeking the big budget experience will find plenty on both systems.

The most significant difference between the two conferences was Sony’s warmth towards the indie developers. Sony boasted a decent line-up of Indie developers, all providing games different from each other. With most big name developers repeating ideas and concepts, it’s left to the indie developers to create new IPs and ideas, and the open-armed welcome to indie games allows the Playstation 4–and presumably the Vita and PS3–to expand in terms of content and niche appeal. It’s a clever move on Sony’s part to bring the indie developers under their wing because not only does it benefit them, but it also benefits the industry on the whole.

The only section of Sony’s conference that caught some flak was the requirement of PSN Plus to play games online. When put into perspective, however, this is not a terrible thing. PSN Plus boasts insanely good value in it’s current state: downloads of free games; discounts; betas; themes; cloud storage; and even more games for those with a PSP/Vita. While some may not like the idea of paying monthly to play online, it’s hard to argue against PSN plus and the value it offers, and it’s a tiny sacrifice worth making in that regard.

All the elements previously mentioned have resulted in Sony becoming something akin to the people’s champion. While this may be slightly naive on the consumer’s part, it is hard not to get caught up in the buzz surrounding the Playstation 4, and I have my fingers crossed that Sony stay true to their word and press forward with this no nonsense approach to the industry and its consumers.

Four Things I Hate About E3

Sean Halliday — Mon, 10 Jun 2013 07:39:07 +0000

With E3 just around the corner, I decided to reflect on what I hate about the event. Sure, there’s normally plenty to enjoy, but I often find myself hating certain recurring elements. These are just things I personally dislike, both in terms of the video games and the ‘presenters’.

The internet Celebrity:

This one mainly covers the ‘Youtubers’ who have, at some point, suddenly become interested in video games. I have no problem with people getting into video games, just as long as they don’t pretend to like things they have no interest in; the likes of Phillip DeFranco, Tobuscus and Ijustine spring to mind. While DeFranco has (thankfully) taken somewhat of a step back from video coverage, Ijustine and Tobuscus have become more prominent.

Ubisoft’s last E3 presentation was fronted by the god-awful Toby Turner, whose juvenile presenting ‘style’ fell flat at every turn. His gimmick and ‘character’ did not carry over into the adult world very well, and my fingers are firmly crossed that he does not return this year. Ijustine, on the other hand, is a staple of Gametrailers coverage, and while she does a good enough job of presenting, her mindless head-nodding in interviews is cringeworthy. Things are not helped by her strange robotic tone of voice when talking about any game that isn’t one of the major releases, either.

OMFG GAME OF THE YEAR:

Every year, every bloody year, people scream ”OMFG GAME OF THE YEAR” at teaser trailers featuring no gameplay whatsoever. Sure, it’s to be expected, but surely people have become a little more informed over the years? A good teaser trailer does not mean a good game, yet at E3 all this seems to go out the window. I’d like to put this down to the buzz of E3, but the chances are it’s just a simple case of people being naïve.

Cheering During Conferences:

This has been a strange trend that has now turned into some kind of marketing trick. It started off as people’s genuine reactions to game announcements, then it devolved into cheering over gore, and then cheers over what companies wanted people to cheer about, with the most recent example of ”planted cheering” being at the Xbox One reveal. Cheering started off as a perfectly acceptable thing but has since grown into an utter pain in which people question how genuine the cheers are.

Peter Molyneux:

Peter was once a guy I enjoyed listening to; his opinions were both interesting and insightful. This time has passed, however, and now he’s often heard talking about random things seen at E3 that he loves one year and hates another. At last year’s E3, he expressed his dislike of gimmicks. (He’d clearly forgotten about his time trying to pimp Kinect to the masses.) Perhaps 2013 is the year in which Peter returns to the ways that earned him his fans, rather than his critics.

For the most part these are my only main gripes with E3. I enjoy the discussion it generates (as long as it’s controlled and not irrational), and it’s always interesting to see what developers are coming up with. Hopefully this year’s E3 will answer all the questions surrounding the next generation of consoles, as well as revealing some top new titles from all over the world.

Murdered: Soul Suspect Announced

Sean Halliday — Wed, 05 Jun 2013 02:51:40 +0000

Murdered: Soul Suspect has officially been revealed. The action/adventure title challenges players to solve the mystery of their own murder.

Protagonist Ronan O’Connor, a detective with a murky past, sees his life come to a premature end at the hands of a brutal killer. Ronan is trapped in limbo, his only way out is to bring his killer to justice from beyond the grave. Ronan will have a wealth of supernatural abilities at his disposal. The player will be able to inter active with the world of the living by reading peoples minds and influencing their thoughts and decisions.

Why Metro: Last Light is One of the Best Games I’ve Played this Generation

Sean Halliday — Wed, 29 May 2013 09:11:04 +0000

Earlier this year, Bioshock: Infinite dazzled the masses; its story was proclaimed as one of the best in the history of video games, its world was held in high esteem, as was the game overall, and critics and players alike looked past its faults and heaped on the praise. ‘Game of the year…no wait, of the generation!,’ some claimed. While I enjoyed the game, (although I do feel Infinite peaks in the first few hours, with the middle being rather average and the ending decent) I found myself being blown away by another title: Metro: Last Light. It left me in awe, and not just because it’s utterly beautiful, either.

Metro 2033 impressed me greatly with its depressing atmosphere and sense of hopelessness for humanity. I found a strange enjoyment in exploring the Metros and seeing how everyday life was a struggle. The game was by no means perfect, of course, but it was one of the most compelling games I have played this generation. However, if truth be told, I did not expect the follow up to be a greater game, so as such, Last Light surprised me–shocked, even–at how good it was.

Last Light features possibly the most realistic apocalyptic setting in modern video games, with some of the most subtle depressing moments I’ve ever experienced in a game. For example, if the player takes their time to soak in the sights, sounds and conversations of the Metro, they will be exposed to some truly heartbreaking tales, for it’s within the dialogue of the children (keep an eye out for an old man performing shadow puppets for the surrounding children) that the most depressing things can be heard. The adults of the game have adjusted to the harsh new world; the children, however, know nothing different. It gives Last Light‘s universe a sense of life rather than just a background for the story to take place in.

The story plays host to two elements of video games that are often hard to pull off effectively: betrayal and redemption. There’s one character within Last Light that becomes instantly likeable and endearing, whose personality shines throughout the time the player spends with them, their quick wit and maverick attitude being the character’s chief traits–and then they (using the word ‘they’ to try and avoid spoilers, be it a rather early game spoiler) betray you, and it’s genuinely disappointing. When I say ‘disappointing’, I’m not talking about the plot twist–it’s more a genuine sense this character has turned on you. It’s a rare case in which a betrayal actually has impact on the player rather than jus

Last Light‘s story has a major theme of redemption running throughout it, which comes into play heavily towards the end of the campaign, and that theme is played up extremely well. The game assumes players chose the ‘bad’ ending in the original Metro, thus putting a lot of blood on the player’s hands and making the redemption more heartfelt. There’s a genuine sense of guilt bestowed on the player, and it’s almost to the point where the player feels like they are, in fact, the villain. It’s because of this that, depending on the player’s actions, the ‘good’ ending delivers a true sense of redemption. It’s an ending that genuinely feels well-rounded and well thought out, with no more questions or ifs and buts–just a great ending that leaves the player feeling optimistic about the world of Metro.

Away from the previously mentioned elements, Last Light has a lot to admire: it’s one of the most beautiful games on the market; the game’s engine allows for some stunning imagery to be presented before the player; the Metros are a utter joy to behold (above the ground there are plenty of times I found myself in awe at my surroundings); the audio is utterly fantastic; and gameplay-wise, Last Light is smooth and enjoyable, allowing the overall experience to be constantly enjoyable.

Last Light never becomes repetitive or prolonged; it’s a well-paced experience that takes the player on a true journey. The set pieces are nothing short of epic, the horror sections of the game are truly nerve racking, the story is compelling, and it’s simply a great game. The only real negative I can think of is ‘Ranger mode’ being sold as DLC, which is a great shame. Nevertheless, Metro: Last Light is nothing short of amazing. I can honestly say this is one of the best games I’ve played this generation, and my only hope is that it gets the love it deserves. Though I fear that in the grand scheme of things, Last Light will be forgotten about in favour of Bioshock: Infinite, the people’s darling…and that’s a great shame.

Hands-On With Rising Storm

Sean Halliday — Mon, 27 May 2013 19:59:13 +0000

World War 2 first-person shooters…remember them? Oh how everyone complained about the sheer volume of them released on a regular basis back in the day, so much so that now, in 2013, it’s quite ironic that one of the most refreshing multiplayer experiences can be found in a World War 2 first-person shooter. Rising Storm, a standalone expansion for Red Orchestra 2, is a brutally brilliant experience that legitimises team work in the modern day first-person shooter multiplayer.

Rising Storm takes place across various battles in the Pacific Theater. Each map is based on a real-life battle, with the time period, weather and weapons available all being historically accurate. Each map sees Japanese and American forces battle for control over certain points in order to achieve victory, and given the game aims to be historically accurate, some of the maps are more favourable to one team than they are to the other. It’s a factor that adds an immense amount of challenge to the game, and it also breeds a requirement for team work.

While most shooters these days allow the player to sprint around the game like a headless chicken, Rising Storm is a far more strict affair; one bullet is normally enough to end a player’s life, and staying out of cover for more than the required time is suicide. Players instantly learn to respect the power of every and any weapon within the game, creating a tense atmosphere in every play session. Cautious movement and strategy is the only way to advance, and the only way to survive is team work–something that Rising Storm does brilliantly.

At the core of Rising Storm‘s unforgiving gameplay is a well-crafted class system. Players have the choice of playing a number of roles that all have their advantages on the battlefield: the squad leader role contains the Thompson SMG, along with grenades and the essential smoke grenade; snipers can scout the map and aid in pointing out enemies to teammates; the machine gunner gifts the player a deployable machine that can suppress enemies for long periods of time (when used right, it’s a game changer); and the two rifleman classes serve as the brunt of the team. Each class is essential to victory, as well as a blast to play. The way in which the classes mesh together allows players to truly become a cohesive unit, and it’s an exhilarating feeling to take an objective as a squad.

The enjoyment of Rising Storm is oddly its most horrifying elements. For example, players can be mortally wounded and begin to bleed out. Some wounds can be treated by bandages, whereas others will result in the player slowly bleeding out, all while their avatar screams in horror and desperation.. It’s a feature that adds a jarring sense of realism to the experience. Rising Storm is brutal and unforgiving, even away from its core gameplay.

Simply put, this is one of the best multiplayer experiences I have played in many years. The gameplay is unrelenting and brutal, and there’s a real sense that every step taken could be your last. Rising Storm is the perfect amalgamation of strategy, action and the horrors of war. In a world of fancy, fast-paced multiplayers, Rising Storm brings everything back to earth with a bump. For those afraid of the harsh side of the game, there is an ‘action mode’ that turns the game into every other shooter out there, but ‘realism mode’ is the best–and only–way this game should be played, because you’ll appreciate it a lot more if you do.