One of the constant presences on the 3DS eShop was that of the Picross e IP, the latest in a long running puzzle series. With close to ten releases on the 3DS eShop (including a few fun spin-offs) there were certainly plenty of entries for one console, though some releases were really more like DLC packs than fully-fledged sequels, often offering up a few hundred new puzzles and few other changes. The dream of the Picross e series has now been continued with Picross S on the Switch and, well, it’s exactly what you would expect it to be.
For those of you that are unaware, Picross has been around since the days of the Game Boy and plays something like a cross of Minesweeper and Sudoku. Puzzles are divided into grids, and each row and column has a series of numbers by it. These numbers dictate how many squares you need to fill in that row or column, and through cross-referencing multiple different sets of numbers you can figure out exactly which squares you need to fill. Squares that shouldn’t be filled can be marked with an x and squares that might or might not need to be filled can be marked with a little square to make a note of it. When all squares are filled it makes a pixel art image.
Though it might sound a bit complicated, the game includes tutorials that adequately explain how the logic of these puzzles works out. The difficulty curve is almost perfectly judged; you’ll start out doing simple 5×5 puzzles that are as basic as possible and eventually be handling 20×15 puzzles. And for those of you that still struggle, the game has included several hand-holding mechanics to ensure that literally anybody can play this. Here’s what it can do to help you out: a hint roulette at the beginning of puzzles can randomly reveal all the squares in one row and one column, the cursor can be set to glow red or blue depending on whether the row has any mistakes or not, the numbers besides rows and columns can glow blue to indicate that squares can be marked or filled in, the cursor can be set to autocorrect any wrongly filled in squares, and there’s a one-off “check mistakes” feature in the pause menu that will scan the whole puzzle and tell you if you marked anything wrong.
In case you haven’t gathered from all that, the game barely stops short of just outright doing the puzzle for you while you watch, but the nice part is that you can choose to turn off some or all of those features if you wish, allowing for a gameplay experience that adequately caters to players of all skill levels. This modular difficulty approach is especially a welcome feature when you consider the newly included multiplayer mode. By splitting the Joy-Con, a second player can hop on with a differently coloured cursor and help out with solving the puzzle. Although it is cooperative in nature, there’s also an air of competition to it as the game keeps track of how many squares each player has filled. Though it’s fairly basic in its implementation, the multiplayer does help add some longevity to the experience; it’s not hard to teach a new player the basic of Picross, and the scaling difficulty settings allow you to provide as much cushion as is needed.
In terms of content, 300 puzzles are included; half of them are normal Picross, and half are “Mega Picross”. These latter puzzles are harder, but only in the sense that it introduces some number sets that can span two rows or columns instead of just one. Those three hundred puzzles will certainly keep you busy for a while, but bear in mind that all the Mega Picross puzzles are merely re-purposed normal Picross puzzles. Sure, the numbers are different this time around, but the end result is still the same, and that comes as a bit of a disappointment if you’re expecting something new.
The doubling up of puzzles in this way is indicative of a much broader sense of a slight emptiness that permeates the experience; it’s not that this is a boring or empty game, but it feels a little half-baked. Micross — which spans several different, smaller puzzles — is nowhere to be found here, and after seeing the introduction of a mission system and progression elements in Pokémon Picross, the straightforward, no-frills approach to Picross S leaves something to be desired. It’s the removal of elements which have been previously featured that’s irksome; though they aren’t essential elements and the game is just fine without them, it seems bizarre and a bit disappointing that the newest entry in this series is taking steps back rather than forward.
From a presentation perspective, the minimalist approach is maintained. Chilled, jazzy music plays in the background and the designs of menus are defined by a colourful, frosty aesthetic. It’s pleasing to the eyes and ears, and it’s quite relaxing, which is befitting of a game of this pace. And though the concept works well on either the TV or small screen, it feels most natural to be playing the game in portable mode; Picross S is the kind of game that you play every now and then for a little bit, not something you sit down on the couch to binge for hours. Still, it’s nice to have the option to play it on the TV, and this certainly is the way to go if you wish to get more use out of the multiplayer mode.
Conclusion
Picross S is the epitome of a one-trick pony, it knows exactly the kind of experience it’s going to deliver and it does just that. Those of you that loved the Picross e games will find plenty to love here, as this is essentially just another 300 (well, 150) puzzles, now with local multiplayer support. Still, it all comes off as being a bit bland, while the absence of Micross and mission systems seen elsewhere makes Picross S feel like a lazy sequel. We give this a recommendation to fans of puzzle games, or anybody looking for a slower paced game for their Switch. Just don’t go into this one expecting a comprehensive, ultimate entry in the series.
Capcom’s Super Ghouls’n Ghosts will always be a polarising title. A masterpiece of game design with impressive usage of the Super Nintendo’s graphical and sound capabilities produced one of the system’s finest exclusive games, but also one that challenges players with not one but two complete (rather hard) playthroughs to see the game’s true ending. As such it remains a game for the most dedicated gamers out there.
Mari Yamaguchi’s soundtrack for the game remains quite impressive, with the whole game using a symphonic soundtrack that has been remixed and remade by fans in different genres for decades now. Now thanks to Conn and Kurrono Kei we have a patch and soundpack that places Arthur’s Super outing among the club of games that have MSU1 audio enhancements. You can now run around in your pants to your favourite Super Ghouls ‘n Ghosts covers and remixes, such as those you can hear in the following gameplay video.
If you’re feeling a bit nostalgic about Arthur’s quest it is a good time to remind one and all that the game just so happens to be one of the twenty one games that are part of the SNES Classic Mini and Super Famicom Classic Mini games list. We assure you it will be the game that will get the most use of the rewind feature of the system.
Did you partake on Arthur’s quest against evil back in the day, or maybe even on the almighty GBA? Tell us all in your briefs on the comments section below.
FIFA 18has been out for over a week, and it’s been interesting to watch the reaction to its release. On the one hand it’s earned plenty of praise for what it achieves as a portable entry in the franchise, while on the flipside it’s tempting to look at modes and features that are missing in comparison to other current-gen versions.
One line EA has continually pushed is that it’s a ‘custom’ version for Nintendo’s hardware, but how true is that? Digital Foundry has done its analysis in terms of the visuals, framerate and gameplay, and we see a mix of legacy and new techniques at work from the developers.
Check it out below.
In some respects it’s what would be expected; taking foundations that will well on the hardware and working from there. When it comes to FIFA on Switch, ultimately, there’ll always be fervent opinions at opposite ends of the spectrum.
Have you been playing FIFA on Switch? Let us know what you think of it in the comments.
Stardew Valley is a universally acclaimed farming simulator that was initially released on PC in February 2016, before eventually arriving on other consoles later that year. The last few months have seen little other than pure hype and excitement from Switch players, however, as they finally get to see this Harvest Moon-inspired fan-favourite for themselves (or double-dip to enjoy the experience all over again for a second time). Despite having a good amount of time with the game, it is clear that we are still yet to scratch the surface of what Stardew Valley has to offer its players, and we’ve already had a bit of a rollercoaster ride with the title.
The game might well be a farming simulator on the surface (you inherit a farm, start restoring it, plant crops, collect materials to build with etc.), but there is actually so much more to it than initially meets the eye. In a recent soapbox video we referred to the game as a “life sim”, and that is a perfect description; your activities go far beyond just farming thanks to a great sense of community that finds itself sitting at the heart of the adventure. In fact, there doesn’t appear to be any end to the amount of things available to see and do.
For starters, by wandering over to the main town you’ll start to interact with a host of non-playable characters in what turns out to be a rather tight-knit community. Each character you meet has their own personality, their own relationships with other characters, their own interests, and so on. You can offer to help out various town members in what are essentially side quests, you can build up your own relationship with individual people by giving them presents and visiting them often and, eventually, you might even grow so close to someone that you’ll end up getting married should you fancy it. You don’t move to Stardew Valley to work – you move there to live.
As we previously mentioned it is clear that, in the grand scheme of things, we haven’t seen anywhere near all of the things on offer here. One example of this is the fact that it took us 15 in-game days just to realise that there was a huge mine to explore just north of the town – fully exploring and excavating within it will likely take a scarily large amount of time to manage. Strolling around the valley will give you a quick insight into the currently unknown too; often we’d see areas that we can’t access yet or doors that remain locked, and an in-game calendar shows events that will be occurring in the town in the coming days.
It doesn’t end here, either – on top of the farming, side quests, and everything else mentioned so far you can try to earn as much money as you can, build various animal coops to look after livestock, have a pet, go fishing and try to collect every fish available, complete an entire museum collection, build up your combat level in the RPG-like Adventurer’s Guild, and more – it just goes on and on.
There is a point to all of this, though. After two in-game years you will be assessed on your achievements, receiving a score based on numerous factors. Pleasingly, your game doesn’t end there, however; you are free to continuing living this life away from the real world as much as you like, ever expanding on what eventually starts to feel like a second home. The portable nature of the Switch makes this version easily one of, if not the, strongest of them all – the structure of the game sees you play through ‘days’ at a time with a clear break in between each one, making it perfect for just having that quick escape. Luckily, the oddly addictive nature of watching your farm grow and grow will make you want to do just that.
There is one technical flaw at launch that needs to be mentioned, however. At the end of each in-game day it saves, and at present it takes a surprising amount of time – perhaps up to 20 seconds. It’s a tad frustrating when it first happens, but the days are long enough that we’ve generally looked past it; the rest of the game – pleasingly – is snappy enough.
Beyond that relatively minor complaint, playing Stardew Valley has been an enlightening experience. For complete transparency it is important to state that, for this writer, games of this genre and style aren’t often particularly appealing. Indeed, after the first couple of hours a mixture of boredom from the repetitive nature of farming, and confusion from not really understanding why nothing seemed to be happening, prevented initial enjoyment.
Somewhere down the line, though, everything just ‘clicked’. This isn’t a game designed to throw everything it has at you from the off, and it isn’t one to hold your hand either; everything in Stardew Valley wants to be discovered, but only if you put in the time and effort to find it. To experience this game fully you must be prepared to spend a huge number of hours living in its world – the more you put in, the more you’ll get out, and it can be so rewarding if you do.
Conclusion
Stardew Valley offers its players a chance to live a second life – one where you can forget the troubles of the real world and get excited over finding a particularly rare carrot. It is a truly magical experience; games can often be enjoyable but they don’t all manage to be as captivating as this. This is the sort of game that ideally requires a significant amount of time to be invested; the enjoyment doesn’t necessarily come from the day-to-day actions you perform, but rather from the general growth of pride, satisfaction, and sense of security as the days go by. Fans of games such as Harvest Moon and Animal Crossing will be right at home here and, for those who aren’t, there is a decent chance this game might just surprise you. For the asking price the risk couldn’t be more worth it.
Not long ago Kid Tripp arrived on the 3DS eShop, an auto-running platformer that offers snappy but challenging stages. Some balked at its mobile origins but that was to do it a discredit; in our view it’s a well-constructed and fun game.
Four Horses produced that version and is now working on a Switch port, so we caught up with director and programmer Michael Waites to learn more about the process of jumping a generation in hardware, and why this was always a ‘console’ game despite its smart device origins.
How has the development process been on Switch?
So far, it is all going well. I’ve taken a little break from it to help out another publisher with a conversion of a Unity project but I expect to be back onto it shortly. Some of the work on the other project crosses over with Kid Tripp anyway, such as handling all the controller configurations that are possible and other aspects, which have inspired ideas to make Kid Tripp even greater on the Switch, so it is all good!
When did it start?
I started the conversion to Switch in the week of the launch of the 3DS version. Getting the game running with identical content to the Nintendo 3DS version was fairly rapid as all it involved was getting my in-house engine up and running on the Switch. All that remains is to get the Switch-specific functionality added.
What attracted you to develop for Switch?
I’m a huge fan of Nintendo, both the games they make and the hardware they release, so as soon as I heard about the Switch I wanted to own one for game playing. I love the design of the console and wanted to get set up as a developer as soon as possible as I have a few ideas for games that make some use of the unique hardware. Getting Kid Tripp onto the platform seemed to be a good springboard to getting hold of the development hardware, getting familiar with it and then going on to develop the ideas I have into full games.
What was your exposure and interest to the rumours of the ‘NX’?
Sadly no different to any other Nintendo fan. As a developer, I had no early access to the hardware or any information about it. It wasn’t until what seemed like an age after the launch of the hardware in March that I got access to the Switch developer site. In some ways, I’m happy with that because I did enjoy all the hype as a consumer.
It must be exciting to launch on Nintendo platforms that have huge popularity at the moment, one well established and the other in its infancy?
It really is. I never thought I’d be self-publishing a game on Nintendo hardware within a year of its launch, but that is going to happen. Plus, the 3DS has had a special place in my heart since its launch. Hopefully I’ll be able to develop and publish on its eventual successor, too!
The game is certainly charming visually, yet has elements and a degree of difficulty associated with classic platformers. How was this aesthetic/ gameplay balance approached (to appeal to different ages and skill types)?
I wasn’t involved in the design of the original game, so I don’t have too much information on that front. I do know that Mike Burns, the original creator, spent many hours with friends and family balancing and tweaking the levels based on their feedback. I’ll hand over to him!
Mike Burns: I started making Kid Tripp as a hobby way back in 2011. At the time there wasn’t a huge catalog of challenging, quality platformers on the iOS App Store, so I figured I’d jump in and help fill the void. I’m a big fan of New Adventure Island (the TG-16 one — I actually discovered it on the Wii Virtual Console!). It’s fast, colorful, and fairly tough. One of the cool ways that the Adventure Island games differ from the Mario games is that they kind of subtly encourage the player to never stop running. The more I played it, the more I realized I could beat pretty much the entire game without ever letting go of the right arrow on the d-pad. I think that’s what sparked the idea to bring that kind of classic platformer gameplay to mobile devices (via an autorunner.).
The decision to go with the game’s cute pixel art style was definitely influenced by games like Adventure Island and Super Mario Bros. (Bright, colorful pixel art just makes me happy!) The difficulty was a bit of a different story. The plan was always to make a tough game, but the funny thing is that I didn’t think the game was particularly hard when I first finished it up. I had spent about two or three years testing it almost daily, so by the time I got around to creating the final level design the physics were totally second nature to me. The thing is, because I designed the levels to feel challenging for me, personally, they ended up being super difficult for people who had never played the game before.
That said, I did offset the difficulty with some other design choices, so I think it worked out pretty well in the end. For instance, the player respawns practically instantly, and the levels are short enough that dying doesn’t feel like a huge loss of progress. The satisfaction of beating a super tough level is always just a few seconds away (which works great for holding a player’s interest), but it’s also really easy to just put down and jump back in later. I knew that that was a really important thing to have, especially for a game people would be playing on their phones.
With the ‘endless runner’ genre being linked predominantly with iOS, was this technically expanded and tweaked for consoles?
Michael Waites: The original game was developed as a console game that could be played easily on a touch screen with two fake buttons, so to a degree it already was a console game. Having said that, the game is considerably more difficult to play in two button mode as there are three controls – running, throwing stones and of course, jumping. We made the decision to split those controls fully for the console versions but retain a Hardcore control option that just uses two buttons the same as the iOS version. I don’t know if anyone really wants to use those “authentic” controls, but I didn’t want to make any irreversible changes to the original game.
How was the transition from one to two screens – from iOS to the 3DS, and now being able to transfer between home and portable with the Switch?
In some ways it was really difficult, mainly because we decided to just use the top screen – it is that decision which was difficult. We had some ideas for things we could put on the touch screen such as a permanent display of your current statistics and a little mini-map of the level with markers for all the places where you lost a life, but in the end we figured that it was additional work that would only delay the release without adding any value for the player. If you take your eyes off the top screen whilst playing, you tend to lose a life!
So, with that in mind, how did you decide on unique features for each system?
Since the game was already designed we were never going to be making any changes that would affect the content of the game, so unique features were never factored into the game. I was always going to be making use of the 3D effect of the 3DS, though. I personally don’t like getting multi-platform games on the 3DS that don’t utilise the 3D effect when they could do. For the Switch, the only thing I can confirm right now is that we are supporting all controller configurations – attached to the console, dual Joy-Con, single Joy-Con (left or right) and Pro Controller. We are experimenting with another feature based on the controller, but until we know if that is going to add value to the project are keeping it to ourselves!
We’d like to thanks Michael Waites and Mike Burns for their time.
Damien has over a decade of professional writing experience under his belt, as well as a repulsively hairy belly. Rumours that he turned down a role in The Hobbit to work on Nintendo Life are, to the best of our knowledge, completely and utterly unfounded.
Japanese accessory maker Cybergadget has announced that it has created a Switch dock that allows a wired internet connection (without an adapter), meaning that games like Splatoon 2 would be easier to enjoy in LAN play. The third-party dock will come ready with two USB ports (2.0 & 3.0) along with the normal connections needed for setup. It’s also pitched as a slimmer version of the standard system dock.
The product has been designed to maintain visibility of the screen even when docked, and therefore if you remove the HDMI cable you can actually play in tabletop mode while charging and using that LAN port.
The Switch dock is now up for pre-order at the price of 7980 Yen (approx £54.13), however can only be purchased in Japan unless you are willing to pay for shipping costs. Check out the images below:
What do you think of this Switch dock? Would you like to see a release in the West?
To say Stardew Valley has a lot for you to do is a little bit of an understatement. With so much farming, mining, fishing and rummaging through bins to do, it can be a bit overwhelming the first time you set out.
As such we’ve put together the video above with 8 handy tips that should help you on your way to becoming the farmer you’d always dreamed you might be (at least in a video game). Do you have any tips of your own for fresh-faced farmhands? Let us know what they are down there in the comments.
Twenty years ago a bizarre amalgamation of card game, board game, and video game first released on the Sega Saturn, and made waves with its strategic depth, addictive gameplay and unique concept. Subsequent titles have shuffled the formula since, but that core blend of number-crunching, dice-rolling and card collecting remained, carving a niche in the market that drew in a dedicated fanbase. Its been nearly ten years since we’ve seen the release of any Culdcept game here in the West, but for anyone who recently dusted off their 3DS to go Metroid hunting, that is about to change.
Depending on your experience with gamepieces, dice and cards, either in digital or tabletop form, Culdcept Revolt can be an extremely daunting experience; downright intimidating at first glance. Competitive card games are increasingly popular nowadays, with many major franchises even offering spin-off titles based around this, but Culdcept is a totally self-contained entity and bears years of history. Despite its intricacies, which are absolutely intact in this latest release, Revolt now brings the series back to the West with confidence, eager to both introduce new players and challenge those more familiar with its addictive gameplay.
Though it’s drawn fairly accurate comparisons with Monopoly in the past, some may find that Culdcept has more in common with Fortune Street, emphasising multiple pathways and a greater sense of control over the board. Up to four players roll dice each turn to determine how many spaces they move around a variety of different maps, claiming squares as their own by placing guardian monsters on them, which then demand a toll off any other player who subsequently lands on the space. These territories can be upgraded, monsters can be equipped with special items, and magic spells can be employed to help seal victory, all based on your customised selection of cards. Battling comes into play when trying to seize control of more territory or defending your own against invaders. If you’ve ever landed on a pricey hotel in Monopoly and wished you could attempt to tear it down instead of paying, then this is exactly the kind of capitalist catharsis you’ve been looking for.
Each board features between two and four gates, each corresponding to a cardinal direction. Passing through every one of these gates is considered a ‘lap’ of the board, and grants you a magic bonus for your trouble. Magic essentially acts as your currency in game, and is spent on summoning monsters as well as paying any tolls for landing on owned spaces. To win, you simply gather up enough until you reach the predetermined limit, and then race towards the nearest gate to claim victory. Expanding and upgrading your territory adds a steady income of magic, and of course you charge a toll for any player unlucky enough to land on your turf. Gates also heal your battle-weary monsters and activate them again after they become fatigued through use. They’re vital checkpoints that make sure you keep moving around the board, forcing players to put themselves at risk.
While we could go beyond this simplified abbreviation and detail just how each facet of gameplay works, or share our top secret strategies (fat chance), it would be a disservice to Revolt itself, which does a wonderful job of easing the player in slowly but surely. New mechanics are introduced with enough restraint that it never feels overwhelming, and even with such a huge amount of information to dive into there’s a limit on how much is heaped into your lap until you’re more comfortable with the basics. Right from the start there’s an extremely useful explanation of the game’s setting and what the general concept is. Despite how genuinely helpful this can be, it does rely on the tired cliché of amnesia as an extra crutch.
Your self-titled character has no recollection of their past, but is told that they are a cepter: one who can control the cards of culdcept and perceive hidden pocket dimensions called battle spaces. Lost and confused in a strange city you’re found by a rebel group known as the Free Bats, who operate in secret to fight back against the tyrannical rule of Count Krannis. Under his command cepters are being hunted down and eliminated, while the city gates remain closed, trapping every citizen inside. With a ragtag bunch of heroes and a fiendish villain to fight back against it’s certainly well-worn material, but acts as a solid platform to support plenty of opportunities to engage in battles. We were initially detached from the events of the story but things did pick up, and with rebellion at the heart of the adventure the drive to escape makes it easy to sympathise with many of the characters.
The single-player campaign is broken up into chapters, each containing the main plotline missions with optional side stories to complete as well. Inevitably, every single little disagreement or challenge throughout the story will result in a card-based confrontation – even among allies – but the gameplay is interesting enough to warrant the repetition. Don’t expect much in the way of variety however, as there’s no opportunity to actually explore environments or interact with NPCs outside of set cutscenes. Your input into the story is confined solely to the board, which is a bit disappointing. There are still some weird quirks of course, with the sudden arrival of a cowboy character early on being a jarring example, and the fact that your evil-doing opponents frequently give you kindly advice about the current map, without any ulterior motive or smarmy attitude whatsoever. The game does an effective job of making you dislike your rivals, so it’s strange to receive helpful tidbits of information from them before charging into battle.
We have to admit though, it’s usually pretty good advice, and there’s plenty to wrap your head around. Creatures have specific abilities and elemental traits for example, and these can define their purpose as either aggressive invaders or staunch defenders. When forming your deck of fifty cards, which are here named ‘books’, you need to keep in mind the more attack-oriented fire and earth elements, while balancing trickier water and air elements that boast special abilities. Items to help attack and defend – as well as magic spells – are also vital, with powers ranging from something as simple as an extra dice roll, to some game-changing abilities that effect the entire board. There are over 400 different cards to collect in total and it’s important to spend time rearranging and updating your book of cards regularly. This is especially important as certain cards are objectively better than others, making earlier items and creatures obsolete as you progress. There are plenty of slots for different books, encouraging experimentation and adaptive strategy to fit the map, your opponent, and your own preferences.
Returning players will find that there are some key changes to the formula this time around, which may seem subtle at first but go a long way in streamlining the experience and mixing things up a bit. One of the most obvious changes is the way in which you earn cards, which ties into the gradual introduction of mechanics rather than being overwhelmed all at once. They aren’t immediately unlocked upon completing maps like in previous titles, instead you earn money by playing matches, which can then be spent on randomised packs of cards each with a set theme, such as a specific elemental type for example. More of these themes unlock as you progress, granting the chance to find rarer, more powerful cards that in turn allow for very different types of books.
Smaller tweaks such as the fatigue that afflicts monsters, the fact that you now discard at the end of your turn, and the introduction of new buildings also change things up, but another major addition are the slightly bizarre Evo cards. These are special dragon creatures that ‘age’ through use, allowing you to level them up and partially customise each card to suit your needs. Up to two of them can be in your book at any one time, and keeping them there will add evolution points with each battle you complete. These points are then spent on increasing the card’s strength and HP, adding new abilities or changing its elemental type. It’s an interesting idea that’s pretty well executed, though it’s entirely possible to continue your game with just the standard cards in tow. They’re fun and unique, but not crucial.
The more you play, the more you’ll begin to develop your own style and gain confidence in your book of cards. The AI opponents can put up a stiff challenge, but as is the downfall with many board games luck plays just as much of a part in victory or defeat as raw skill does. There are ways to manipulate the dice roll, and to negate certain traps, but sometimes you’ll just suffer a run of misfortune and fall victim to one bout of bad luck too many. It’s frustrating to see games turn around so quickly on a total whim, but it does admittedly add to the excitement sometimes. You’re always kept on your toes, challenged by new opponents with new books, and being able to see what’s in their hand at all times makes it a tense affair as you try to predict their next move. If anything, the game can move too slowly at times, especially as you wait on multiple AI characters to finish their turns. It’s also a bit of a hassle to restart games if they aren’t going your way, as you need to wait your turn, manually resign, and then load that mission again from scratch.
The simple 2D sprites set against a 3D background are pleasant if not amazing, while more elaborate character art features the impressive work of Kinu Nishimura, known for Code of Princess and the Street Fighter series. The cards themselves are also well illustrated by various artists, while battle animations are restricted to some limited effects that do the job, but pass on more elaborate visuals as creatures clash. We enjoyed being able to zoom in on card art however, as some of the detail is lost on the small-screened handheld. There’s some English voice acting mixed in alongside a forgettable soundtrack, announcing card names and offering encouragement during games, but we ended up turning the sound down and sticking on a podcast when settling into longer play sessions.
Outside of the campaign you can set up customisable single matches for fun or practice against AI opponents, who can display surprising tactical intelligence, as well as comment on specific events within that particular game. If one character trails just behind you in magic then they sure won’t stay quiet about it, goading you with taunts of their encroaching comeback. We’d estimate that a standard game with a limit of 8000 magic takes around thirty minutes to complete on average, but there are plenty of options to mess around with to affect game length, alter card allowances (it’s possible to ban Evo cards entirely, for example), as well as customise the look of your cepter and even the style of dice you roll.
Of course there are plenty of options when it comes to multiplayer as well, both online and local. For local play you have total control over the game, and can choose from a number of customisation options. Anyone who wants to join in will need to have their own copy of Revolt, however. The online mode itself will actually reward players with a daily bonus just by logging in, ranging from in-game currency to a random card. While online you can enter into a match with friends, or battle other cepters around the world. The Free Match will link you with active players, and sets up three different difficulty levels to choose from. There’s far less customisation here as the game sets its own rules in these arena-style lobbies, but it means that beginners can jump in without much fear of being swarmed by expert players.
Separate from the in-game shop, there’s also an online store which currently offers up a variety of both free and paid DLC in the form of extra quests and cosmetic items such as outfits or book covers. Some of these items are fairly pricey, but thankfully they don’t have an effect on the game itself, as you can’t buy exclusive cards or pay your way to victory. It’s possible we’ll see additional free DLC in the future, though the main game itself is still a fully-realised experience.
Rogue Trooper Redux is a pretty interesting upcoming release, as it’ll tap into nostalgia while also offering some shooty-bang-bang gaming on the Switch. The good news is that Nintendo fans will no longer need to wait longer than PS4 / Xbox One owners to play it, with development getting ahead of schedule to ensure a shared release date.
It’ll arrive on 17th October in North America, with the same date expected (but not 100% confirmed yet) for Europe; the price will be £19.99 / $24.99. Check out some details and a ‘101’ trailer below.
A BAFTA-nominated story faithful to the 2000 AD comic and universe of the same name.
A thrilling singleplayer campaign blending stealth, action, cover-based shooting and epic set pieces.
Tactical smarts: Listen out for Helm’s strategic advice and confuse the enemy with distractions and holodecoys.
Withering firepower: Transform Rogue’s sentient rifle Gunnar into a sentry gun, sniper rifle, mortar, missile launcher and more.
Powerful upgrades: collect salvage to upgrade weapons and order Bagman to manufacture explosives under fire.
Two intense co-op modes for 2-4 players online (or in single player offline).
Will you be tempted to give this a try on Nintendo Switch?
