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I first played Order 1886 at PAX Prime in Seattle last year. It had been a game that I had been greatly anticipating up until that point but the demo was so poor that it made me question how refined the finished product would be. I usually purchase big, exclusive releases like this the day they come out, but based on the demo I played and the worryingly strict review embargo that was placed on the game I decided to hold fire. When I was offered the game by a friend some weeks later for the reduced price of £30 (the cheapest I could find anywhere else was a whopping £45 second hand) I took the plunge. Although the game has been solidly improved since that horribly patchy demo it is still not without its problems.
The Order is essentially a cover-based third person shooter, much like Gears of War, with the occasional stealth segment thrown in for good measure. Like Gears of War you can carry a small arm, a more beefy weapon (sniper rifle, shotgun, some imaginative but criminally underused scientific weapons), and either smoke or explosive grenades. Each item is assigned to a d-pad button and can be switched at the press of a button. In order to progress through the game, you need to make use of the liberally placed cover items that litter every environment by using the O button. From the safety of cover you must then peep cautiously around corners and take care of wave after wave of enemy before you can progress. Unlike Gears, The Order is wholly single player. As a staunch single-player only gamer, it comes as a breath of fresh air to me that some developers are still brave enough to spend the entirety of their time on the core game instead of allocating time to botching on an ill-conceived multi-player element. I make mention of this fact, however, as I am aware that this single-player only approach could be a massive turn off for players who value online play and might be the reason they decide not to purchase.
The events of the game take place, unsurprisingly, in the year 1886. You take control of Sir Galahad as he and his fellow Knights of the Round Table battle to keep order in an alternate-past London where citizens are threatened by both aggressive rebel uprising and marauding lycan half-breeds. Following a botched undercover mission to the rebel stronghold of Whitechapel a violent story of treachery and double-crossing unfolds. The plot makes use of actual settings and historical figures (Nikola Tesla makes an appearance and Edison is referenced) while taking liberties with other aspects of the age (zeppelins are in widespread use and some nifty gadgets that are well before their time are the brainchild of the aforementioned Tesla).
The above combined elements make for an intriguing setting and there is no denying that this dreary fantasy London is beautifully imagined. The city itself and the fantastically realised lead character design sets a new benchmark for video game graphics that will take some beating. From the very beginning of the game you are in awe of how much detail has been put into every facet of the title's aesthetics: from the fabric of Galahad's clothing, to the lighting effects that play off the marble floors you walk across; from the fabulously detailed cityscape off in the distance, to the fully furnished rooms of the windows you walk by, every effort has been made to make the game as realistic and immersive as possible.
For all the world looks amazing, however, you can't help but feel it to be an empty one. There is very little to interact with in each chapter and very few civilians wandering the streets making the city feel somewhat deserted. To make matters worse, the few interactive items you do encounter have either no relevance to the game or do little to drive the narrative onwards. Sure, there are a handful of newspapers that relate to recent goings on around the capital, but the majority of the other items are either shipping itineraries or patient lists that you can barely make out or needless nods to other games such as LittleBigPlanet.
As well as the astounding visuals, The Order is also very technically impressive. I didn't encounter any noticeable slow-down whilst playing and this takes into account the many moments in the game where there are large numbers of intricately developed enemies crowding the screen at once. I didn't encounter any of the multitude of other glitches that occur in similar titles such as characters passing through the environment or similar and the load times for a title with such detailed graphics are almost non-existent.
Most of my gripes with The Order relate to its most important aspect: gameplay. When I played the PAX demo in September last year, one of my biggest worries was to do with the patchy enemy AI. While improvements have obviously been implemented they were, unfortunately, not extensive enough. The movement and actions of enemies still defy belief; they are routinely either extremely gung-ho or adopt a crouched defensive position is plain sight, begging to be slaughtered. When you off one enemy, another will dart from a hidden position into the exact same spot as his fallen comrade, often meaning you can just leave your crosshairs where they are and down three or four enemies without adjusting your aim. Controls can be problematic too. Galahad has a huge, slow turning circle and breaking cover can be annoyingly finickety - both of these issues will cause you to take unnecessary damage on a frequent basis.
One of the most noticeable problems I found was to do with how lazily implemented battles with the lycans are. You face two different styles of lycan battle - ones with freedom of movement and ones that wholly utilise QTEs. The lycan battles where you have total control over Galahad are embarrassingly simple once you figure out what to do. Basically, you can stand in one spot and fire continuously until you see the prompt to roll away. As the enemy departs the scene you can fill him with lead from behind and repeat until the werewolf goes down. After the initial encounter in this style, once I had fathomed this method, I didn't take a single hit of damage from the similar lycans encounters that followed. The two 'boss' battles in the game are QTE lycan battles which are recycled almost identically. These encounters are just as predictable: make an attack, wait for right analog stick prompt, and repeat until the enemy is dead.
What these gameplay issues amount to, in essence, is an extremely easy game. Even on the hardest setting I found the difficulty level to be a breeze. With the exception of the shotgunner enemies - whose accuracy is nothing less than 100% every time - you'll not find much challenge in The Order 1886.
As you are probably aware, if you've been reading other reviews, The Order 1886 is quite a short game and very heavily reliant on cut-scenes and cinematics. While the length of the title isn't as brief as some outlets would have you imagine you could probably platinum it in 10 to 15 hours. I didn't have much of a problem with the length of the game having paid substantially less than the retail price and knowing I could move the game on to another friend upon completion to recoup my entire outlay, but I would have been much less happy with its length had I paid full price. One of the biggest indicators of the game's brevity comes from some of the descriptions attached to the trophies: kill 7, yes, 7, enemies with stealth; melee kill 15 enemies, etc. To exacerbate things, you'll find little reason to replay the game after finishing it outside of mopping up any missed trophies (took me about an hour) and ogling the sexy outside locales one final time. There are no unlocks that become available after completion and no new difficulty setting to test yourself against.
The story, although just about strong enough to support a game that is based so heavily on cinematics, is nothing new or special. We've seen misunderstood rebel uprisings a million times before and, if you've been gaming for long enough, you'll have come across werewolf driven plot-lines too. The introduction of a new threat late on and the anticlimactic ending might also leave you feeling short-changed as they point towards two things: everything has been set up for a sequel and you've essentially paid a premium for half a game. In addition to this, the inevitable 'twist' at the end of the game was telegraphed so far in advance that I foresaw it coming at around chapter three.
Readyatdawn should take note that the blatant reuse of areas and characters stand out far more obviously in such a splendid-looking title. Some of the areas you encounter can be quite repetitious; for example, you'll traverse a number of underground stations that all look very much alike and pass through boiler rooms that are identical to ones you passed through moments earlier. Additionally, one of the Whitechapel whores must have been busy pumping out identical ginger henchmen as you will glaringly encounter the exact same bristly face on numerous occasions during vitally important cinematics (I counted the same red-headed character model at least three times in different scenarios).
The game is first and foremost a graphical showcase of the PS4s hardware and capabilities - this is evidenced by the frequent prompts to scan the environment for such-and-such or the fact that every item you pick up has to be rotated and observed for a few seconds before it can be put down. In that regard it is a massive triumph, much in the same way Ryse was for the Xbox One. Both look outstanding while flattering to deceive where it matters most: in the gameplay. The Order is by no means a terrible game and, while the story and mechanics are nothing we haven't seen before, it is definitely worth playing to marvel at the stunning visuals alone. If you own a PS4 it is an exclusive worth picking up eventually; however, I'd be hard pushed to recommend such a short title for the current retail prices being offered (£45-50 at the time of writing) so it might be worth holding fire for a few weeks until it drops in cost or until you can pick up a second hand copy somewhere.
Overall, a pleasant enough gaming experience that could have and should have been so much more. Hopefully the sequel will carry on the stunning visuals while also adding more substantial and challenging game time to the package.
Alien Isolation by Creative Assembly is an obvious labour of love. Every effort has been made to ensure they stick faithfully to the source material and as a result they have crafted a tense, nerve-racking and atmospheric experience. From the 70s green-screen computer tech used in the original movie, to characters choked to death with rolled up magazines we have continuous references to Ridley Scott's breathtaking film.
We take control of Amanda Ripley, daughter of Sigourney Weaver's Ellen, as she heads to Sevastopol, a decrepit and dilapidated space port on the edge of space. On the station is the recently discovered flight recorder from the Nostromo, her mother's ship, which was destroyed at the end of the 1979 movie to stop the xenomorph from being acquired by the shady Weyland-Yutani corporation. Looking for closure, Ripley heads to Sevastopol with Nina Taylor and synthetic Christopher Samuels to collect the device.
The game immediately thrusts the player into a tense set piece. On arriving at the station the crew on board the Torrens notice that the structure seems to have taken massive damage. Unable to dock with Sevastopol, Ripley, Taylor and Samuels resolve to space walk there instead. Once out of the ship, their guidance cord is cut and the trio are lucky to make it to the station alive. Separated from her companions, Ripley must make her way through the ruined station avoiding not just the intimidating alien but also crazed androids and hostile human enemies. Thus begins a journey that bears striking resemblances to the original film and is by far one of the most tense I've ever experienced on a home console.
Alien Isolation starts of as pretty much a stealth game. As you make your way around Sevastopol you will begin to find parts that can be used to craft weapons and discover items that are famous to the franchise - the motion tracker and flamethrower eventually make appearances in game. Collecting these tools will eventually allow you to become a little braver - before acquiring that burst of flame being spotted by the alien means certain death. Additionally, Amanda, industrious as her mother, can forge scrap and gathered junk into items far deadlier than the sum of their parts - whether it is an EMP used to stun an android or a smoke bomb used to cover her tracks from human assailants. As an engineer she is also proficient with another Alien favourite, the blowtorch. She must combine all of her numerous skills to even stand a chance of finding her answers and making it off the crippled station in one piece.
We should make one thing clear from the start here - Alien Isolation is a very difficult game. If you like to have everything explained to you by tutorials you will find Alien's spartan instructions baffling. As far as I can remember I can recall only one semi-detailed tutorial pop up in the entire game when you first open a rewire point. Similarly, if you get frustrated by dying often or repeating the same section of a level over and over then you'll probably grow tired of Isolation rather quickly. Like Limbo this game is essentially a 'trial by death' title which requires you to die a lot in order to figure out how to efficiently progress through a stage to your next objective. However, whereas Limbo has scenarios that pan out exactly the same each time, Isolation's randomised enemy patterns make progressing in this title all that more harder. This can be frustrating, and you will come to areas that will have you pulling your hair out, but when you manage to make it to the next chapter mere seconds ahead of the charging xenomorph the overwhelming sense of relief and accomplishment are palpable.
I've seen a number of complaints about the graphics on the XboxOne and PS4 versions but for me, although not on par with the PC version, they were more than passable. The designers have done a sterling job of recreating a similar aesthetic to the Nostromo and any Alien fan will appreciate the low-tech grim corridors, white cushion-padded walls of the sleeping quarters and the over-the-top flashing lights of the huge central processing areas. We revisit some familiar areas and they have been reproduced wonderfully. I did spot a few graphical problems such as infrequent pop in, some low res textures (especially when viewing Sevastopol station from the outside) and some basic steam/dust/electrical effects but overall I though the graphics were fine.
Alien Isolation is, of course, not without its problems. If you play the game before installing a sizeable update you will have issues with jumpy animations and juttery cutscenes. Even with the update applied we have some occasional graphical glitches such as texture pop ins and unnatural character movements. There are a few last gen tropes as well. You'll be having a conversation with a few characters who never move their lips, choosing to throw their voice instead. Early on we will come across huge areas that are blocked off by an insurmountable row of suitcases which really shouldn't be happening in this day and age. When being chased by androids or humans we can often be cut off from safety by nothing more than a foot high rise in the flooring.
As already mentioned the difficulty and repetition might be too great for some - I played on the hardest setting and encountered many troublesome locations that I had to retry over and over but even on the easy setting the challenge level is still steep. Without the flamethrower or a molotov, being spotted by the alien is a guaranteed one hit death on any difficulty. The fact that you are more heavily tooled near the end of the game basically flips the difficulty curve making the game harder at the beginning and less so towards its conclusion. I also found that extreme stealth is just as likely to get you killed as being adventurous. After a great many deaths while crouch-walking through levels I eventually adapted to being more brazen in my approach which I actually found more beneficial. Objectives can be unclear at times and we get the usual stealth game problems such as characters ignoring your obviously noticeable position then later on spotting you inexplicably from a mile off.
You might also find problems with the excessively long load times in game. Often when you enter a new locale you will find a save phone nearby but this is not always the case and the auto-save function is patchy at best. The first thing you should do when moving between areas with load screens is find a save point. If you die before doing so you will have to sit through the load screen again as the previous area is reloaded, make your way to the travel point and sit through the reloading of that next area once again. This happened on more than one occasion with me and I must admit I found it infuriating. I had no problem with the number of save phones like many others (they are actually in great abundance, but if you don't pass close enough to one then it won't pop up on your map) but a guaranteed auto-save would have been beneficial when moving between areas that require long load times.
After all your hard work the ending has to be one of the shortest and weakest of any game ever! It's a good job the journey to get there is fully worth it!
For me, however, the biggest negative is the over reliance on the appearance of the alien. In the first few chapters spotting the horrible thing dropping out of a vent will have your heart in your mouth as you rush to hide in the nearest locker. However, you will find yourself being spotted and killed by the alien so often as you progress that eventually being brutalised by it loses a little of its shock value. Towards the end of the game I felt less fearful when I was in a room with the thing, and if spotted I would just press the option button and load my last save. The alien is still used to good effect overall, but if its appearance was even marginally less frequent I feel the game might have been all the more scary for it.
Overall, any Alien fan should take the plunge and buy this game immediately. This, along with the original Alien vs Predator PC game, is one of the best Alien video games ever made and is as close as you'll ever get to being stalked by the galaxy's ultimate killing machine or the atmosphere of the legendary first film. Any consumers caught in two minds should give it a pop - as long as you aren't weak of heart and scared of a punishing challenge you'll probably find something to enjoy within the game's claustrophobic halls! If you can overlook the highlighted problems and not blow a gasket during the many frustrating moments, Alien Isolation will likely turn out to be a very memorable experience. Never has shaking with anxiety and dripping with cold sweat been so enjoyable!
I'll never forget the day I bought the original Project Diva f for my Vita. A lone foreigner wandering into a Japanese movie rental place, picking up a vocaloid game and taking it sheepishly to the counter. One of the most embarrassing video game purchase moments of my lifetime - there's a certain stigma attached to these games in Japan, namely that they are only played by friendless nerds (or so my ex-girlfriend told me!). I guess I have to hold my hands up on that one...
Anyway, after getting it back to my apartment and taking a moment to overcome the shame of what I'd just purchased, I popped the game into my Vita and fired it up. My embarrassment was quickly forgotten as I became engulfed in the simple but addictive world of my first Hatsune Miku rhythm game. I spent hours on that version, despite it being in Japanese and my not being fluent in that tongue, and as soon as I heard of a sequel I grew excited and knew I'd have to have it. Luckily I was able to order this one from the safety of my own home - and in English too!
This game is a rhythm title. It involves you pressing the Vita's face buttons in time with the music. The appropriate button prompts can appear anywhere on the Vita screen and the timing prompts (which must be pressed when the two fully overlap) can float in from off-screen at unusual angles in order to increase difficulty. Further curve balls are thrown at the player including prompts that require the button to be held and released precisely and double button presses (for example, O and the right d-pad button). Also returning from the first Vita release are the much maligned touch-screen scratches only this time a few new additions have been included to expand this dubious design choice including double finger swipes and chained swipes. Luckily in this version you are offered the chance to use the analogue sticks as an alternative input method.
All the songs in-game are performed by a number of computer programmed singers called vocaloids. There are a total of six characters each with their own unique vocal effects. They sing to a variety of genres including rock and roll, ballads, J-Pop and electronic dance. For the most part, the quality of the songs is high, but there are one or two stinkers included. There are a number of really catchy songs that will implant themselves in your head and have you humming the tune long after you quit playing.
The mechanics of the game, just like the original, are extremely tight. making this one of the most polished rhythm titles out there. Buttons presses are registered instantly and I have encountered no evidence of lag affecting performance on the Vita. Sound quality is good from the Vita speakers and much better when a decent set of headphones are used (the game recommends you use earphones for the best possible experience). Graphically the game looks very good although you will be so focused on catching the button prompts that you will barely notice what is going on in the background! You do have the option of watching the videos in a theatre mode and they are produced to a very high standard, each with its own theme, set of characters and dance routines. You even have an AR option which allows you to watch Hatsune Miku perform in your very own front room/bedroom/kitchen!
Difficulty is balanced but much more intense than the first Vita version. Some rhythm games can be brutally punishing, but Project Diva f has a rather more forgiving learning curve. As usual with this type of game, practice makes perfect and with dedication and effort you should be banging out PERFECT stage ratings in no time - if your fingers can keep up with your brain that is!
As you play through the game you will begin to unlock a myriad of hidden items. Gaining high ranks will unlock new tracks that can be played as well as rewarding the player with Diva points which can be used to unlock new costumes for the characters, living pods that can be personalised for each character and specialised tags that can be applied to your online profile. There is a sizeable and challenging trophy list, too, that won't isolate less able players (some rhythm games require players to PERFECT all songs across all difficulties, but thankfully this is not so in this title). These two factors ensure that you will get a massive amount of play time from the game, something that should fall under your consideration if you are considering the RRP in your purchase decision. DLC already released in Japan will also make its way to these shores, adding more songs and outfits to the game should you buy them.
There is also an option for you to create your own patterns for any of the songs in the game and upload them for others to download and play online. This is a great feature, but the edit mode (which is available as a separate 900mb download from the Playstation Store) can be quite complex to navigate around and will take some getting used to. Luckily there is an in-depth guide on how to use it included in the digital manual of the game (this can be accessed on the screen that pops up when you tap the game icon bubble from the Vita home screen). This version also allows the user to import their own MP3 tracks which should allow for extreme creative types to knock out some amazing custom tracks to their favourite songs. Downloading these user made tracks should also add quite a bit of longevity to the game.
I'm really enjoying this game but there are one or two things I must talk about in a less positive light. One of the things that the developers have done to increase the difficulty of this title is to programme in much more complex button patterns and this can cause problems. The prompts that appear sometimes pop up rapidly and in unusual shapes making it difficult (without memorising a song) to figure out which prompt follows another. Another decision I'm not fond of is that occasionally the prompts will appear in the exact same spot, right on top of each other, which never fails to catch me out (it is difficult to decipher how many prompts are hidden beneath each other) and can feel a little cheap and frustrating.
My major gripe is with the touch-screen prompts. They can be very bothersome, forcing you to move your hand from the face buttons at inopportune times to enable you to reach a scratch prompt. Often the Vita touch-screen, which is usually pretty responsive, infuriatingly won't register your finger. This is especially frustrating when you are on your way to a perfect and you miss a beat through no fault of your own. While this was also a noticeable problem in the first game it is much more prominent now due to a heavier reliance on touch-screen interaction. The double swipe that has been added will catch you out at first as you forget to swipe with both fingers but eventually you'll get the hang of it. The chained swipes, however, are terribly annoying. Often they commit the rhythm game sin of changing speed in song. They will approach the prompt location and then speed up or slow down without notice, catching you off guard and completely destroying the rhythm/beat you've been keeping throughout the rest of the tune. Additionally, sometimes when you think you've reached the end of a chain the prompt will shoot back on itself to the previous prompt and you'll miss it, which again feels quite cheap and will anger you at times. I can understand why they were added, to enable bigger and more varied high scores, but their varying speed can be frustrating and they take a lot of memorisation to master. You can switch over to the analogue sticks but I found this didn't really improve things as some of my flicks went unregistered too. Perhaps, just like the game, more practice with this control method will pay dividends.
Despite the aforementioned quibbles this remains an absolutely fantastic title. The Vita is becoming a hotbed for music/rhythm titles and this, coupled with the original Vita Hatsune Miku, DJMAX Technika Tune and digital download Cytus Lambda, should be enough to convince any rhythm game aficionado to take the plunge and get the handheld console. Project Diva F 2nd will keep you busy for weeks and is definitely worth a purchase.
Theatrhythm is back with Curtain Call, a bigger and better version of its previous release in 2012. This time, instead of a measly 60+ songs and a handful of characters, we have a whopping 220+ songs and a plethora of your favourite Square Enix stars with future DLC promised if you are partial to paying for additional content.
The gameplay remains largely untouched from the previous version of the game with the player being required to tap, swipe or hold particular notes as they appear in time with music from the fabled Final Fantasy series. Songs are again separated into Field, Battle and Emotional categories which, although remaining very similar to one another in gameplay mechanics, change the way the notes approach the player. In Battle (in my opinion the most difficult category) we have four lanes of notes that rush towards the target zones, in Field we have only one line of notes and the mode is more reliant on hold based moves, and in Emotional we have the target zone moving around the screen instead on being fixed to one location. Anyone who found the first edition of the game too easy will be pleased to know that Curtain Call is much more difficult than its predecessor ; some of the Ultimate songs (which in the last version I found myself confident of beating) offer a stern challenge indeed.
While gampelay remains largely untouched, the presentation of the game has improved tenfold over the previous iteration. Songs are more easily accessible from the get go, displayed in scrollable lists that can be favourited allowing the player to access their most beloved tunes at the press of a button. Menu screens and graphics are more artistic than before and there are a large number of additional enemies and noticeable faces to go up against in game that were missing from the initial version. Playable character designs are as cute and recognisable as ever, only this time round there are far more to choose from and discover. Things also zip along a lot faster now; the EXP screen is much more user friendly and levelling calculations happen in one go instead of tediously counting down over a number of seconds. The same can be said of the rhythmia screen which is much more efficient this time round.
Upon firing up the game you will find all but one option on the menu screen blanked out. To begin with you must create a team of characters from a limited list – if you would like to add an additional 10 choice options to the list, then download and install the demo from the eShop before starting up your cart. When you choose your characters you will then unlock the tracks that correspond to their relevant Final Fantasy title; for example, choosing Cloud will unlock all songs from FFVII and choosing Tidus will unlock all FFX content. The game then tasks the player with clearing songs in order to unlock all the additional content associated with the game. Impatient players need not worry, as you'll unlock all available options within the first fifteen to twenty successfully completed songs. The reasoning behind this is essentially a cleverly disguised tutorial mode to help familiarise the player to the game before they rush head first into online battles which, let me warn you, can be rather punishing (especially if you run into any Japanese players!).
As the player plays through songs they earn EXP for levelling up characters. Levelling up is important; as character stats increase, the player earn benefits such as higher HP allowing for more missed notes, higher strength for defeating more enemies in Battle mode, and higher stamina for covering more distance in Field battles. Abilities are also unlocked, which allow characters, among other things, to hit additional damage in game or heal each other. Items can be equipped in a similar fashion, but once used they disappear from your inventory. Upon successful completion of a song, you also earn rhythmia, the total of which varies based upon the player completing a number of preset challenges during any song; for example, having an all male team, completing with all critical hits, playing on consecutive days, and so on. For every 250 rhythmia the player collects, a new unlock is achieved. These unlocks vary from hidden tracks to additional characters and new chime sound effects for your taps, swipes and holds.
One problem with the old version of the game was longevity. Unless the player purchased DLC content, the game quickly grew stale – you'd be required to grind the same songs over and over again in order to max out characters and, even if you are a huge fan of the Final Fantasy tracks available, things grew tiresome. The developers have addressed this situation by upping the song count by a staggering amount (all previous DLC from the old game is included and many of the bonus songs from the original now have three difficulties instead of just the one) and introducing a number of additional modes.
Quest Medley involves the players moving across a map and completing random tracks from the game. Upon completing all the songs successfully the player must face a boss battle. If the boss is beaten, then rewards can be earned including items for your inventory and crystal shards to unlock new characters. To make this mode even more difficult, all songs must be completed using only one health bar that doesn't regenerate between songs. If you are struggling, you will need to use your stocked items, but you are limited in how many of them you can use per medley. This adds some much needed challenge to the game and will help wring a good few extra few hours out of the game for the completionists among us. Completed maps can then be attached to your profile card and shared with other players you meet online (you can also earn theirs, too).
In addition to Quest Medleys, this time round we also get online battles. In this mode you can go online and face off against other players from around the world. I find this to be a fantastic addition, lengthening the time spent with the game a great deal. When playing other human players, you activate EX bursts for successfully hitting targets during songs. These bursts effect your opponent in a number of negative ways from spinning their arrowed swipe notes to speeding up targets to hiding them from view until the very last moment. One of the only negatives I can find in the game thus far is the discrepancies between burst effects. Some make hitting notes successfully almost impossible, while others (HP swap) can go barely noticed. Either way, playing online is easily the most challenging mode in the game and memorisation of songs is required in order to perform competently against real-life opponents. I class myself as a highly skilled rhythm player, yet I have come across opponents who have put me to shame. Even people put off by the tests awaiting them against almost savant-like human challengers are covered, however, by an AI versus mode in which you can take on the computer instead although the early difficulty levels are insultingly easy.
There is a multitude of content awaiting anyone who chooses to pick up the game. In the museum section you can check how many in game trophy conditions you have bested (the requirements of which vary from easy-as-pie to mind-bendingly difficult), see how many of the collector cards you have found thus far, listen to a number of the games songs in a jukebox section, and watch a number of movies related to each FF title. Unlocking all of these goodies will take you an absolute age; you can be sure your initial outlay will not be wasted. I have seen some online players who have racked up over 400 hours of game time already!
I rate this game highly indeed. Any fan of rhythm games or the music of Final Fantasy will not be disappointed with this purchase. A great number of improvements have been implemented from the last version of the game making the title much more enjoyable and far better value for money. Anyone who found the last version too easy will find a far greater challenge here and will have to dedicate a large amount of time to besting the game in Ultimate mode. Newcomers, however, are also catered for by the Basic and Expert score settings, which can ease a player into the game with far less stress and frustration. Indies 0 have done a fine job of ensuring all levels of skill are catered for here and have lovingly created a game that is better in almost every way from its predecessor.
Overall, if you are undecided, I would say give Curtain Call a go. You're getting so much content, challenge, and game time for your not considerable outlay of money here that I doubt you'll regret it.