Tag Archives: PlayStation

On… Mass Effect Andromeda

Let’s get this out of the way from the start: the facial animations haven’t bothered me in the slightest. Okay, okay, character models seemed more detailed in the likes of The Witcher 3 but, a ‘dead eyes’ problem aside, Mass Effect Andromeda is perfectly serviceable in this regard. It could be better, yes, but it’s nowhere near as bad as some people might make you think.

So, anyway, with that out of the way, let’s talk Andromeda. As a huge fan of the previous games in the series I was awaiting this with breath so baited I could have used it to catch perch. Am I disappointed, like many people seem to be? No. Yes. No. Maybe. Look, it’s complicated. Maybe the best way to look at Andromeda is to consider not what it is, but what it isn’t.

Just give me a car and a a desert, and I’ll give you a lot of ‘wheeeee’s and some tyre-tracks.

Andromeda isn’t Mass Effect 4. Well, I mean, it is, obviously, but it also isn’t. The fictional universe is very much Mass Effect but the story doesn’t follow on from the ending of ME3. Rather, this follows a separate story of a group of humans, turians, salarians, asari and krogan who have decided that the Milky Way is a bit too cramped for them, and thus decided to bugger off to the nearby-in-galactic-terms-but-not-exactly-next-door Andromeda galaxy. After six hundred years of cryogenic sleep, the hardy (and some not-so-hardy) pioneers awake to find that their long-range scans seem to have been about as accurate as a ten-day weather forecast, and crash headlong into a weird wibbly-wobbly space thingy that someone had inconveniently parked in their way.

This is much more a game about exploration and discovery, and as a result perhaps lacks the focus of the original trilogy with it’s more obvious threat and narrative drive. This, I think, is likely to turn a few people off but, for more, I found it a refreshing change of pace from the original titles.

Andromeda also isn’t an open-world game. This is no Skyrim or The Witcher 3 with vast open areas to explore and do as you wish. The game very much takes its cues from Bioware’s last major release, Dragon Age Inquisition, with its multitude of large-ish open areas with multiple quests. Some of the quests are interesting and provide a decent back-story, but, it must be said, a few too many of them revert to the MMORPG form of ‘go here, press a button, go there, press the button again, repeat eight times until the quest progress bar is full’. Compared to the likes of The Witcher 3 or even, to a lesser extent, Fallout 4 the side-quests can be pretty weak.

The game suffers a little bit from a lack of places to explore. Whether it’s just because I haven’t reached the appropriate point in the game yet (though given that I’m 20-odd hours into it that seems unlikely), but whilst there is a big number of worlds that can be visited in the not-quite-as-good-as-the-Normandy-but-still-pretty-cool-Tempest, the majority of these cannot be explored on foot. This wouldn’t necessarily be a problem were it not for the fact that the whole emphasis of the game is on exploration and finding a new home, yet you find yourself restricted by a set of rules hidden behind the scenes. Why is it I can land on this frozen planet but not this other one? The answer, probably, is just because a map exists for one and not the other. I realise it would have been incredibly difficult to implement, but just from the perspective of the game as a whole, procedural-generation of planets allowing them to be explorable, even if there wasn’t a whole lot that could be done there, would have improved the game massively.

See that mountain in the distance? You can’t go there.

Finally, Andromeda also isn’t a fully-tested game. Even in the patch version 1.05 that landed (at time of writing) yesterday, there are still issues. Most annoying for me, playing on PS4 Pro, are the occasionally-strobing menu backgrounds and the almost-five-minute waiting times when loading a save that took place whilst in the Nomad all-terrain-vehicle. I’ve not yet encountered anything that fundamentally breaks the game, nor had any crashes, but I can’t help feeling that another two weeks in the oven would have benefited the title.

Still, even after all that, Mass Effect Andromeda is a very good game. The combat is the best it’s ever been, even if the more ‘open’ nature of the game means that there are fewer set-piece combat moments where everything has been tuned to work together. Ryder is a likeable protagonist, with a more fleshed-out background than Shepard had in the original trilogy. I’ve not played enough of the game yet to fully comment on the storyline, but of what I have played I’ve found it decent enough and, as mentioned earlier, a good thematic change from the previous games.

TL;DR: If you liked Mass Effects 1-3 you will like this. You might not love it, and it certainly isn’t as good as it’s predecessors, but I’m enjoying it immensely.

On… Final Fantasy XV

The last time I had a new, main-entry Final Fantasy game was when my daughter was born. Almost seven years later, FFXV has come along following a development process that sounds so painful that it makes me gladder than ever that I’m not in the games industry.

At this point I haven’t completed FFXV yet but, at some 40-odd hours in, I feel sufficiently armed to provide a bit of an assessment of it. And, just to give some context to the whole thing (and because the last time I wrote something about a Final Fantasy game I almost got lynched), let’s be clear that I’ve got a pretty good history with the series: I’ve played almost every main entry from FFIII to XV, can tell my chocobos from my moogles, and own enough related merchandise that I could probably be considered a ‘fan-boy’. That said, I hated FFXIII when it came out and, though my opinions have changed somewhat since then, I do feel that at some point the series has lost its way. There was a sense of magic and fun about an entry like FFIX that somehow seems to have been lost.

I was hopeful going into FFXV that it might mark a return to form. After 40 hours, do I think it does? Well…

First things first: the game has obviously been a labour of love for the development team, who have poured their hearts and souls into this; that much is obvious. What’s also unfortunately obvious is that, despite the game’s lengthy incubation period, it probably just needed a few months or another year more in the oven. Some things are blatantly unfinished: the story is a jumble of plot-holes, with pivotal events happening off-screen and mentioned only in passing. Major characters get little or no character development, committing actions that seemingly have no motivation behind them. The open-world is large but mostly barren, and strewn with invisible walls that make navigating it an inconsistently frustrating experience. Sub-quests are plentiful, but rarely become much more involved than the standard formula of ‘go-here-do-this-come-back’. In that sense they’re very similar to those of Xenoblade Chronicles, though at least that title had the good grace to remove the necessity to return back to the quest giver for a reward.

For all this, though, FFXV is an experience that should not be missed if you have any kind of interest in the series. There are some wonderful facets to it: the combat system is frenetic and fun (if slightly shallower than it initially seems); the world is amazingly detailed; and there are just so many little touches throughout the title that it will bury its way into your heart.

Crucially, it’s the central relationship between the four main characters that defines the game. You play as Prince Noctis, and you begin with a retinue of three other characters: Ignis; Prompto; and Gladiolus. Unlike previous FF titles, this remains pretty much the extent of your party for the entire game. Whilst at first this seems a bit disappointing, the camaraderie you build up with the others means that you legitimately care for them.

Well, except for Gladiolus. He’s just an arse.

In many ways FFXV is frustrating, because it’s obvious it could have been so much more. There are so many weird decisions made during its development that sometimes you just sit back and wonder what they were thinking about. Who, for instance, thought it was a good idea to have the majority of travel in the game take place during unskippable car journeys that take literal minutes of real-time? Who decided there shouldn’t be an option to ‘wait’ and rush through the day-night cycle when so many quests and monster hunts are only possible at certain times? Who decided those bloody frog-catching quests were a good idea?

FFXV is a work of artistic genius, and, like all such things, has idiosyncrasies that are mitigated by the brilliance elsewhere. It could have been a better game, but as it stands it is a great experience.

On… Uncharted 4

Warning: Spoilers for Uncharted 4: A Thief’s End contained below.

Blimey, this is a lovely game. Lovely to play, lovely to look at, lovely to hear. Just lovely. At times its loveliness is so pronounced that it makes you want to reach out and stroke your TV screen. Don’t do that, though, as you’ll get fingerprints all over it and immediately feel embarrassed.

Uncharted 4 is one of those games that, if you dissemble it to its constituent parts, doesn’t seem to add up to very much, yet somehow the finished product is spectacular. On paper it should be rather like The Order 1886: a linear, story-based romp interspersed with shooty bits. And, yes, it is that (plus some jumpy bits and car-drivey bits), but whereas The Order felt dead and leaden, this feels full of life. Maybe it’s the stunning graphics. The vistas of Scotland and Madagascar in particular are the most astonishing I’ve seen since The Witcher 3. Maybe it’s the characters. If wise-cracking Nathan Drake urked you before then, well, he won’t endear himself to you this time. But if, like me, you enjoyed the breezy, almost effortless charm of the main cast then you’ll certainly get your fair share of entertainment here. Maybe it’s the gunplay. True, it’s not best-in-class but is easy to pick up and, most importantly, fun. Most of the weapons have a satisfying heft to them, and there’s enough variety so that you feel you’re constantly finding new items throughout the length of the game.

Most likely, it’s everything together that makes this game what it is.

Nathan Drake doing what he does best: standing perilously close to the edge of a cliff.
Nathan Drake doing what he does best: standing perilously close to the edge of a cliff.

What’s most pleasing is that, considering this is the fourth game in the series (well, fifth if you count Vita prequel Golden Abyss), this is actually the one that differs most from the pre-set formula. There’s an increased focus on stealth which, wonderfully, never descends to the level of insta-death fails (I’m looking at you again, The Order). The pacing also seems better, with more sensible gaps between the all-out shooting sections. And whilst you never feel that you’re free to explore the world, there are multiple sections where you have more scope for moving off the beaten path. I found particularly impressive the way that the game signposts and funnels you down particular routes without ever really making you feel as if you being forced to go in a specific direction. There are no mini-maps, waypoints or HUD routes here, yet you never feel lost.

Special mention should be made of the game’s story, and if you’re really worried about spoilers you should step away now. Superficially, Uncharted 4 centres around a hunt for the lost treasure of long-dead if not long-Johned pirate Captain Avery. In actuality, the story is more concerned with the question of obsession and the notion of what we do after the adventure of youth is over. The game ends with the idea that, as life moves on, you shouldn’t give up on your dreams entirely, but perhaps you do need to adjust them and consider them in light of what else you’ve gained. The introduction of Nathan Drake’s brother Sam, whilst admittedly feeling slightly shoe-horned into the series’ continuity, provides an interesting juxtaposition. Despite Sam being the elder brother, his time spent languishing in a Spanish jail means that he essentially plays the role of Nathan in the early games: driven to find the treasure more than anything else.

It’s unusual for game series to end in a ‘planned’ way: normally they go on either forever or until the sales figures drop too much. Uncharted 4 is very much a ‘goodbye’ to the series or, at the very least, to the series as we know it. There could be more Uncharteds after this, but I think it’s fair to say – some DLC aside – Nathan Drake’s treasure-hunting days are over. That’s nothing to be sad about, though. The series definitely ends on a high and, as the game tells you, you can’t keep doing the same thing forever.

Remember that bit in Ocarina of Time when you could see Death Mountain and actually go to Death Mountain? This isn't like that.
Remember that bit in Ocarina of Time when you could see Death Mountain and actually go to Death Mountain? This isn’t like that.

Of course, an Uncharted game wouldn’t be an Uncharted game without some amazing set-pieces. Whilst there’s nothing here that quite matches the train sequence in Uncharted 2,  you’d have to be a cynical cove indeed not to be caught up in the thrills presented by the Madagascan car chase or the escape from the Scottish church. It helps that everything is presented in such a stunning way, with very few performance problems (I think I noticed maybe three or four slight frame drops throughout my time with the game). Naughty Dog have a reputation for squeezing wonders out of PlayStation hardware, and they haven’t disappointed here.

If any criticism can be levelled at U4 it’s that it is still a linear adventure at heart. This didn’t concern me – I’ve spent too much time in aimless open worlds – but if you’re coming to the game expecting something akin to an RPG then you’re not going to be happy. There are the normal Uncharted hidden treasures to uncover, though they don’t do an awful lot aside from unlock some special game modes and other ‘goodies’ in the option menu. The Vita title Golden Abyss had some interesting codex entries fleshing out the treasures, and I was a bit disappointed to find those missing here. I’m also not sure how much replay value there is here, particularly if you don’t touch the multiplayer (which I didn’t).

All of this is criticism for the sake of it, though. Uncharted 4 is one of the best games I’ve played this generation.

On… Assassin’s Creed Syndicate: Jack the Ripper DLC

WARNING: Spoilers for Assassin’s Creed Syndicate and the Jack the Ripper DLC below!

Ever wanted to play as a deranged serial killer who enjoys disembowelling and mutilating prostitutes? If you answered ‘yes’ then, firstly, it may be worth talking to a therapist and, secondly, the Jack the Ripper DLC for Assassin’s Creed Syndicate might just be the expansion you’ve been waiting for.

Yes, you too can play as a crazed serial killer!
Yes, you too can play as a crazed serial killer!

Taking place around twenty years after the events of the main game, Jack the Ripper sees the series’ best assassin since Ezio, Evie Frye, investigating the disappearance of her brother which is intertwined with the killing spree of the infamous Victorian serial killer. This being an Assassin’s Creed game, obviously this is all mingled in with the story of the Brotherhood of Assassins. Thankfully it doesn’t transpire that Jack is a Templar, but rather an Assassin who has gone a bit fruitloop. As ever, some liberties with the historical setting are taken, and in this ‘reality’ Jack has pretty much taken over the entirety of London’s underworld. He also wears a sack over his head for the whole campaign. It’s never made clear why. It’s not even a very nice sack.

The story takes place in the boroughs of Whitechapel and the City of London, with the rest of the environment from the main campaign blocked off. There are a couple of new settings, a snow-draped mansion and some prison hulks, the latter of which is a very interesting and well-designed locale. In terms of gameplay, there are around seven or so main missions plus a number of ‘associate activities’. Some of them, such as the Cargo Hijack, are pretty much identical to those in the base game, but others – such as Slow Carriage Escapes and the Ripper Letters – offer a bit of a spin on the standard themes. Unfortunately a few too many of them are reliant on the utterly awful ‘kidnapping’ mechanic that Syndicate introduced, making them frustrating and less than fun.

Crap like this still happens.
Crap like this still happens.

To be honest, there’s not an awful lot here that you can’t get from the main game. There is a new ‘fear’ mechanic whereby certain new weapons and QTE-based ‘brutal takedowns’ allow you to scare some enemies, which is useful for large-scale crowd control. It’s not great, though, and I couldn’t help feeling that it would have been better if they had implemented more items or moves that you could use at a distance. You never feel in control in the same way as you do, say, in the predator encounters in the Batman Arkham games. All too often an attempt to use a fear mechanic devolves into a simple scrap with enemies that are by now so underpowered compared to your character that they don’t put up much of a challenge even in large numbers. It also all feels a little… bolted on.

Towards the end-game of AC: Syndicate I felt that I was consistently battling against or exploiting the mechanics of the game, and Jack the Ripper just carries on that. The AI remains laughably dumb at times: you can murder a guard, the body of whom is stumbled upon by their colleagues who go into ‘alert mode’ for a bit. But then, when it’s over, they just go back to their pre-defined patterns, leaving their former friend’s corpse to rot on the floor. Whilst I appreciate that some of this is done for game-play purposes, having played Metal Gear Solid V with its much more ’emergent’ AI, this all seems a bit of a retrograde step.

Also, please, Ubisoft, please: whatever you do next for Assassin’s Creed, make sure you get rid of the ridiculous ‘you must be anonymous to continue’ stipulation that applies to so many of the mission objectives. Just because a guard spotted me five minutes ago does it really mean that I can’t now open this particular door merely because a cut-scene lies behind it?

Gameplay issues aside, what really urked me about Jack the Ripper is its subject matter and the way it deals with it. There are a couple of instances where the game mentions the brutality of the crimes committed, but for the most part we get the sensationalistic claptrap that typifies the lower-grade approaches to this segment of history. What makes it worse is that there are three portions of the DLC where you play as the Ripper. I’m sure this seemed like a good idea to the people who were writing the feature bullet-points, but let’s be clear about this: you play as a psychopath who – by the game’s own admission – gets his kicks by brutalising women in the most inhumane of manners. This wouldn’t matter quite so much if the Ripper playable segments dealt with this in a meaningful way, but the truth is that they’re just the same as the normal game except that mission objectives are displayed in a ‘crazy’ font with a weird screen-effect to accompany team. Honestly, it’s all a little distasteful and adds next to nothing to the game.

In its favour, the DLC is sizable and worth the money if you’re not too burnt out by the main Syndicate campaign. For me, though, it was just too much of the same, with the extra bits not really being substantial or well-implemented enough to make it worth the while.

On… Arkham Knight: A Matter of Family and the Problem With DLC

Potential spoilers for Batman: Arkham Knight – A Matter of Family DLC follow…

I finally got around to playing the A Matter of Family DLC for Arkham Knight yesterday. For those who don’t know, it’s a story-driven add-on for the main game that centres for the first time in the series around Batgirl, specifically the Barbara Gordon version of the character. Set at some point prior to the events of the original Arkham Asylum game, it revolves around Batgirl – assisted mostly ably by Time Drake’s Robin – attempting to rescue her father from the clutches of the Joker.

Barbara Gordon as Batgirl, looking suitably Bat-ish and girl-ish.
Barbara Gordon as Batgirl, looking suitably Bat-ish and girl-ish.

When it came out a few months after the release of the main game, AMoF came in for a fair bit of criticism. In some respects it’s easy to see why: it’s short and, for an add-on that’s meant to be story-focused, doesn’t really have much of one. There’s no real explanation given as to why Joker has kidnapped Commissioner Gordon. There are some mutterings about him trying to provide a ‘Valentine’s Day present’ for Batman by killing Batgirl and Robin, but that would seem to suggest that Joker at least knows who Batgirl is, and I didn’t think that he did. And aside from the fact that it makes for an interesting environment, it’s not clear why Joker felt the best place to keep Gordon is in an abandoned theme park.

Playing as Batgirl was quite interesting, though in truth she’s very similar in style of attack to Batman, albeit slightly more vulnerable and with fewer gadgets. There’s supposed to be more of a focus on hacking, which makes sense given that Barbara eventually goes on to become Oracle. Unfortunately again this seems a little undercooked, as apart from a neat bit involving a fibreglass octopus and a giant skull, all you really do is exchange some passwords and move a couple of cranes.

The DLC is short: I completed my full story playthrough in a little over two hours, and doubtless someone who is less incompetent with a controller than I could do a lot better. I wasn’t that bothered by the length, though. The DLC only costs around £5, which does seem worth it to me. I think the problem a lot of people have with DLC is that they compare it in price to the full game, where invariably it pales. If you’ve paid £40 for a game that’s provided 30 hours of entertainment, another £5 for an additional two hours seems a little mean. Still, you’d pay double that for a DVD film that lasted only 90 minutes. It’s all relative, I guess.

My real issue with AMoF was just that it didn’t do enough to differentiate it from the main game. As already noted, Batgirl plays very similarly to Batman, and the missions involve the same mix of random bad guys to beat up and predator encounters. They’re as fun as they ever are in the Arkham games, but you’ve done it all as Batman before. There are a couple of neat tricks you can pull with hacking devices to ‘frighten’ criminals and make them more vulnerable, and these are good but since they’re used so sparingly in the short campaign they don’t register a lot. It’s a real shame, as it’s obvious a lot of work has gone into the DLC. The theme park setting is neat and very well realised, fitting nicely into the Arkham style (though given how grotesque some of the exhibitions were I doubt Disneyland was ever worried about the competition). Equally, Batgirl’s animation and design are wonderful, really making me hopeful that we might get to see more of her sometime. It’s also neat seeing Harley Quinn in a costume that’s much more reminiscent of her original look in Batman: The Animated Series than the rather hypersexualised outfits she’s had in Arkham Knight and City.

The Joker and Harley Quinn in her 'Animated Series' costume.
The Joker and Harley Quinn in her ‘Animated Series’ costume.

Speaking of which, the final fight between Batgirl and Robin against Harley and the Joker is a lot of fun too. It’s over rather quickly, and won’t be much of a challenge to anybody who has beaten the main game, but it’s emphasis on the ‘tag-team-combat’ that Knight introduced and only used in a handful of occasions makes it great fun.

So… would I recommend this as a purchase? Yes, but only if you’re happy to accept the short length and still consider it worth your money. I don’t regret buying it – I did have fun playing it. However, it could have been so much more.

Arrrr-ssassin’s Creed 4: Black Flag

So, the other day I completed my first game on the swanky new PS4: Assassin’s Creed IV: Black Flag. I’ve been a fan of the series since ACII, enjoying the historical settings and sneaky-sneakster style gameplay that I find on the right side of accessible and fun, if a little overly simplistic at times. The sheer wealth of things there are to do in the open world settings is typically staggering, though I must admit I can never quite bring myself to muster up the enthusiasm to collect all 2 billion feathers/Animus fragments/amoebae/whatever they happen to be.

There be gold conveniently stored in handy treasure chests in them thar Mayan ruins.
There be gold conveniently stored in handy treasure chests in them thar Mayan ruins.

The previous game in the series, Assassin’s Creed III (I realise this sounds obvious, but the naming conventions are not the most straightforward of things to follow) was a glossy title, full of promise but unfortunately saddled with a number of bugs and poor mission design that made less than it should have been. I did enjoy ACIII, contrary to the opinions of many who thought it was incredibly poor, but it definitely wasn’t the masterpiece I’d hoped for. It wasn’t really helped by the choice of lead character; Connor Kenway (to give him his Westernised name; I’m not even going to attempt to find the special characters I’d need to properly spell out his real Native American name) was a lead lacking in charisma, who frequently made cut-scene decisions that made me want to scream at the television in frustration.

As most people who’ve played it will know, though, the one thing that ACIII really did right was that it gave you a big ship to sail, and some cannons to shoot at things. The naval combat sections of ACIII were easily one of the best bits of the game, so it kind of makes sense that Ubisoft chose to base a lot of the sequel around it. Black Flag focusses an awful lot on naval exploration and combat, with much of the world being made up of that wet watery stuff you see everywhere. This has a few repercussions: firstly, you spend a lot of time at the helm of your ship gazing at beautiful horizons; secondly, you have an awful lot of fun blasting away at enemy ships and forts; and thirdly, the traditional ground-based sections of series are minimalised a little. This latter point does mean that the on-foot sections, whilst taking up a large chunk of the game, are not as memorable as they could be. A few things stick in the mind, like a survivalist chapter centred around some Mayan ruins, but in general the colonies of Havana and Jamaica (and some other areas) won’t bury themselves into your psyche quite as much as Rome, Florence or the Frontier did.

Edward JKenway and Quartermaster 'I'm Going to Star In My Own DLC One Day' Adewale.
Edward JKenway and Quartermaster ‘I’m Going to Star In My Own DLC One Day’ Adewale.

Story-wise, ACIV can be a little lacking at times, though it’s an improvement on the latter part of its immediate predecessor, which felt like a slog through a history textbook at times. Edward Kenway isn’t a traditional assassin, coming into the ‘profession’ through a slightly less-than-conventional means. The character’s arc is a little slow to get going, and does fizzle out a bit at the end. It’s neat enough, though, and there are moments of genuine pathos. The near-future-set framing storing that takes place in Abstergo Entertainment suffers greatly from the lack of a defined central character like Desmond, and Ubisoft, Shaun and Rebecca really need more screen-time in the next game.

As with most of the recent AC games, you’re overwhelmed a little by the sheer number of things to do at times, but most of it is optional and generally quite fun. Apart from bits of the diving. That was just annoying.

So, ACIV, then. Possibly the best instalment in the franchise since Brotherhood, the game is great to play though I wonder whether bits of it will still in the mind as long as some of its predecessors.

Persona 4 – The long road to victory

Last week I finally managed to complete Persona 4 Golden after almost 90 hours of playtime. Not consecutive playtime, I hasten to add; I think that would’ve resulted in me ending up with my face splattered to the Vita’s wondrous HD screen, slumped in a foul pile of my own faecal matter. It’s probably taken around two months of ‘real-time’ to make my way through the storyline. As such, this must rank up there with some of the very few games I’ve wasted this much of my life on (other notable examples include Final Fantasy VIISkyrim and Frontier: Elite II). Whether or not this has been an effective use of my time on Earth is a debate for another day, but nevertheless it was a thoroughly enjoyable not-quite-four-days.

But, you know, it really shouldn’t have been. I’d never played a Persona game before, but have invested enough hours in JRPGs to know what I should be expecting, and that’s pretty much exactly what I got. Except… Except… Well, it’s a bit hard to describe, but the game has a certain something about it that draws you in. I’m just not sure what it is. If you judged the individual components of the game on their own merits, there’s nothing particularly staggering that stands out. The story is interesting enough, even if dogged by typical JRPG twists and turns that generally you can see coming about a hundred miles away. I mean, really, did anyone think that Nanako wouldn’t get kidnapped, and didn’t guess almost straightaway that Adachi was the murderer? Ah, maybe I’ve watched too many episodes of Columbo.

Gameplay-wise, the world is pretty small with not really all that much to do. The dungeons aren’t procedurally generated, but may as well be for all the interesting features they have; bar a few exceptions, each floor in a dungeon has little in the way of objectives bar getting to the next one, and it’s hard to tell the difference between one and the next. The combat is pretty basic, too. The Persona system itself is interesting and quite deep, but the tactics you have to employ in the battles themselves are simplistic. Hey, it’s an ice-based monster! Best use fire, then.

And yet… there’s something about the way it all clicks together. Maybe it’s the characters, maybe it’s the fact that you get involved so much in their lives over the course of the game’s virtual year. Maybe it’s the charm of the presentation, the gusto with which everything hits you in the face. Whatever it is, the game is immensely fun to play. So, go on, play it. And, do yourself a favour, play the Vita version rather than the PS2 original, as it’s the perfect type of game to play on the move.

Persona 4: It's nuts, in a good way.
Persona 4: It’s nuts, in a good way.