Nintendo President Satoru Iwata Passes Away

Satoru Iwata
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In what feels like the end of an era, Nintendo President Satoru Iwata has died aged 55.

“Nintendo Co., Ltd. deeply regrets to announce that President Satoru Iwata passed away on July 11, 2015 due to a bile duct growth,” said Nintendo in a brief statement to investors that was issued overnight.

Iwata had been suffering from ill health for some time, a matter which led to him skipping his planned attendance of the annual E3 event in 2014. His passing was as a result of a tumor on his bile duct, for which he had been receiving medical care.

Iwata first joined Nintendo in the 1980s as a programmer on games such as Balloon Fight and the classic EarthBound. He was made a Director in 2000, before taking the role of President in 2002 after the passing of Hiroshi Yamauchi, making Iwata only the fourth president in Nintendo’s 125-year history.

As President of Nintendo, Iwata oversaw a time of great transition. Famously championing the “Blue Ocean” business strategy, it was Iwata who greenlit the Nintendo Wii, DS, 3DS and Wii U. He also led the company to be more open to mobile gaming, which lead to last year’s announcement that Nintendo had partnered with mobile gaming giant DeNa.

Despite his role as one of the most prominent executives in the games industry, Iwata was known for his love of fun and managed to strike up a rapport with Nintendo fans across the world. By situating himself front and center as the presenter of the Nintendo Direct broadcasts, and his regular series Iwata Asks, he displayed a willingness to engage directly with fans – something which is rare in this industry.

There are two potential candidates to succeed Iwata as President of Nintendo: Shigeru Miyamoto, and Genyo Takeda. While Takeda is largely an unknown figure, Miyamoto is well-loved among fans, and is the creator of Super Mario Bros. and The Legend of Zelda. Takeda has taken the role of Acting Representative Director for the time being, until a final vote sometime later this year.

Satoru Iwata, you will be sorely missed. Gomeifuku wo inorimasu.

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Satellite Reign Is The Syndicate Successor Gamers Deserve

Satellite Reign Preview
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Syndicate was a huge success for Bullfrog – and particularly Peter Molyneux. But it was the 1996 sequel, Syndicate Wars, which made me fall in love with the concept. Syndicate Wars was brash, riding the mid-90’s wave of the West’s newfound love of Manga and a fresh era for the Cyberpunk genre, and it took the original to new heights of moody ultraviolence, shot through with pitch black humor.

Unfortunately, beyond an ill-judged FPS reboot from EA, Syndicate has largely been stuck on a shelf in a high-tech vault somewhere for close to two decades, leaving hordes of older fans – myself included – praying to the digital gods for someone to come along and give us the modern successor we desired.

Satellite Reign Is The Syndicate Update Gamers DeserveThankfully, one other person who also wanted to play a new Syndicate game was the lead designer of Syndicate Wars himself, Mike Diskett. One successful Kickstarter and over a year in development later, we’re now able to see what a modern Syndicate might actually have looked like, had history unfolded slightly differently.

Satellite Reign is still heavy in development, but already Diskett’s spiritual successor to the Bullfrog classic is showing enough polish, atmosphere and smart gameplay that I keep going back to the Early Access demo. Partly to soak in the wonderful atmosphere of the world that Diskett and his team at 5 Lives Studios has created, but also because they have managed to update and refine the gameplay of the original so well that going back to the actual Syndicate games reveals just how unrefined and scrappy they actually are.

Syndicate is an isometric tactical game, where you control a small squad of corporate agents in real-time, waging war across city maps in a bid to bring down a rival corporation. It was fun, and incredibly violent (for the time) with a bleak sense of humor; but you could never accuse Syndicate of really doing justice to the actual tactical side of the real-time tactics equation. Sure, you could upgrade your agents to better levels of technology and acquire better weapons; but the upgrade path was rather linear – the toughest exoskeleton was always the toughest exoskeleton, and by and large your agents were all carbon copies of each other, with nothing beyond their weaponry and upgrades to set them apart from each other.

Diskett and his team clearly understand this, and as a consequence playing Satellite Reign‘s early build reminds me of another game from the 90’s: Commandos: Behind Enemy Lines.

In Commandos, your plucky team of Soldiers were sent on a series of missions deep in enemy territory and it was your job to work out how to accomplish your goal using the tools at your Satellite Reign Is The Syndicate Update Gamers Deservedisposal. With each member of your squad having completely different abilities – one could wear a disguise, one was a sniper, another was demolitions expert – each level wasn’t so much a gauntlet as it was one giant puzzle. Multiple solutions meant you weren’t screwed if you buggered up halfway through a mission – just as well, because some levels could take hours to complete; but by and large you were forced to approach each obstacle tactically and think outside the box, if you were to complete your mission with all of your squad mates intact.

Satellite Reign has a lot in common with Commandos. Perhaps, aesthetics aside, even more so than it does with Syndicate: each of your four agents has their own specialism, and how you combine their skills to overcome each situation is key to each situation. Do you get your hacker to shut down the nearby surveillance and sneak past the security cameras undetected? Perhaps you get the hacker to steal money from a cash machine, and use it to bribe an official into giving you the access codes to where you need to go? In public areas, your agents can walk around largely unmolested by law enforcement, but just make sure that you don’t have your firearms drawn, otherwise you’ll start a panic and before you know it, someone has raised the alarm, forcing you into an impromptu firefight.

The malleability of the game’s interlocking systems is impressive then, and the freedom to mix up playstyles and adjust on the fly is enhanced by the fact that everything takes place in one seamless environment. In Syndicate and Commandos the action all took place in enclosed locations, custom-designed for that mission. Satellite Reign gives that approach the middle finger, whips out its chain gun and tears it to pieces with hot lead. Hell, you don’t even have set objectives for the most part. While there are going to be missions in the game, Satellite Reign is being designed to give players as much freedom as possible to play it as you want, so there’s nothing to force you into playing through a set of linear objectives.

Instead, it’s going to be left for to you to decide how you want to spend your time in the city. Perhaps you’ll want to raid the bank where a rival corporation keeps a huge stash of its funds. Maybe you want to cripple their defenses by breaking into their security network or sabotaging their bases. Or you could always just start a riot in the streets and start taking potshots when the police show up. The open-ended nature of the game is refreshing, but I have some slight concerns that it won’t be to everyone’s taste, and some may find the freedom a little overwhelming, especially when you need to really have a handle on the various abilities of your team members.

Satellite Reign Is The Syndicate Update Gamers DeserveNone of this would count for much if the city wasn’t large enough, or interesting enough to hold your attention. Thankfully, based on what I’ve seen so far, it looks like Satellite Reign‘s virtual urban playground is going to provide more than enough nooks, crannies and secrets to explore. The current Early Access build consists of just a single section of the city, but it’s impressively large and packed full of detail. Many of the assets are reused, of course – tailoring each individual building and bit of graffiti or road section would be beyond the capabilities of even large-scale, big-budget endeavors. 5 Lives may have received nearly half a million pounds to fund its project – and that figure has no doubt increased thanks to Early Access backers and post-Kickstarter donations – but it’s still modest compared to some of the biggest Kickstarter projects, like Obsidian’s Pillars of Eternity or Double Fine’s Broken Age. And Satellite Reign is being developed by just a small team of industry veterans, rather than an established studio.

But despite these financial and staffing limitations, Satellite Reign‘s city still manages to be both impressively large – at least, based on the demo – and with enough variety and atmosphere to keep you engrossed. Neon signs are everywhere, giant advertising billboards plaster the sides of buildings, and rain pours down out of the perpetual night sky overhead. Zooming in for a closer look is a frequent temptation, though on closer inspection you start to see a few rough edges – lack of detail on the character models, some rough textures.

Most of the gameplay also isn’t in there yet. You’re free to wander around the map and use your abilities – following a relatively smoothSatellite Reign Is The Syndicate Update Gamers Deserve linear tutorial; but so much of the underlying gameplay hasn’t been built yet, with the small selection of placeholder missions amounting to simply infiltration jobs. So much of Satellite Reign is still a largely unknown quantity then, and still a long way out of reach; but what is playable is a good demonstration that the team is more than up to the task, so long as they keep their eye on the ball and the scope of the game in check. The last thing I want to see is yet another high-profile tale of a small developer letting its ambitious gameplay aspirations get the better of it. But there’s no sign that 5 Lives is in any danger of that happening.

Sound at the moment is sparse, as is to be expected. A smattering of atmospheric effects lend character to the city, weapons feel meaty, and a great soundtrack layer on a sense of foreboding. The sound of the rain falling is a constant companion, as are sirens in the distance and the sound of people shouting in a foreign language in the streets, though there’s a slight disconnect between what you hear sometimes and what you see on the screen. Thunder rumbles, but lightning doesn’t flash – which is a shame, considering the lighting engine is absolutely fantastic.

My main bugbear at the moment is the UI, which currently feels a bit unwieldy, with icons being far too small and text being difficult to make out without sticking your face close to the screen. After one prolonged session I found myself suffering from a rather unpleasant case of eye strain, and the problem only gets worse as you increase the resolution, suggesting that proper UI scaling is yet to be implemented. The UI has evolved a few times since the early Backers’ version of the game, and it’s clear that Diskett and his team are still trying to nail down the best interface.

Of course there are the usual bugs, placeholders and crashes. Satellite Reign is a lot more stable than it once was, but as with any game at this stage of the development process, you can expect plenty of technical issues. The launcher sometimes stops responding, and while gameplay is seamless once you’re in the city, the initial loading time could do with a bit of optimization. Put up with the normal foibles associated with playing a game that’s still in active development though, and there’s a lot of fun to be had simply trying out new approaches and navigating the city.

5 Lives clearly wanted to nail the basics of gameplay before optimizing the core tech underpinning everything, and with the team currently transitioning the game to Unity Engine 5, I have my fingers crossed that the final game will be polished, satisfying and suitably expansive.

Based on what I’ve played so far, I can’t wait to get my hands on the finished game.

Lego Jurassic World Review

Lego jurassic world review
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We all love John Williams, but do we really need to hear the refrain from Jurassic Park every 30 seconds? It plays whenever you do anything of significance in a level: it plays whenever you fill your stud meter; it plays in cutscenes. Oddly, it plays even when there is nothing of interest happening on-screen. Yes, yes, we get it – we’re playing a Jurassic Park game.

Traveller’s Tales’ LEGO Jurassic World is the latest in a long line of movies and fan-favorite IP transformed through a LEGO lens into a kid-friendly videogame. TT’s formula is proven, and it’s been applied across over a dozen games since LEGO Star Wars back in 2005, to varying degrees of success.

Lego Jurassic World screenshotMuch of the enjoyment of the studio’s output depends on how invested you are in the franchise it’s adapting – the gameplay rarely evolves from title to title, after all – but there’s always been a sense that the studio holds an almost reverential love of the source material, a devotion which has always helped to paper over the cracks in its formulaic gameplay design and the usual bugs which have persisted across every LEGO game created by the developer in the last decade.

Unfortunately, LEGO Jurassic World lacks that sense of devotion. Whether the studio wasn’t emotionally invested enough, there being little you can really do with a concept which boils down to “dinosaurs run amok in the modern day”, or whether the game was pushed out to meet the release date of the latest film, LEGO Jurassic World lacks the almost fanboy-ish love of the source material that defined previous games.

Gameplay Preserved In Amber

LEGO games have always been rather predictable and formulaic in their execution: smash up scenery, collect studs, use a character’s abilities to solve simple puzzles, watch cutscene, rinse and repeat.Lego Jurassic World screenshot

A sizeable contingent of the gaming community holds the series in contempt because of that, claiming that the developer steadfastly refuses to evolve their design template. It’s an unfair accusation: compare LEGO Star Wars to LEGO Marvel Super Heroes, or LEGO Harry Potter, and there are clear differences between them. The series has evolved; perhaps not as much as the naysayers would like, but it’s impossible to look at the primitive hub worlds and discreet levels of Star Wars and the bustling metropolis of LEGO Marvel Super Heroes and claim that nothing has changed over the intervening years.

Despite that progress, LEGO Jurassic World feels as stuck in the past as the resurrected fossils who make up its subject matter. Gone is the busy open world of the more recent LEGO games. In LEGO Jurassic Park, you’re plonked in a hub that attempts to hide its lack of things to do through sheer size and pulled from stage to stage with little to no opportunity to explore. The experience is as much on rails as the Jeeps that wind their way through Isla Nublar.

In what feels like a wholly regressive step, you need to experience TT’s adaptations of the films in order. At the start of the game you find yourself on a Helipad in between two different signs. One points to levels based on the original film, first released in 1993; the other points to the most recent film, Jurassic World. But there’s no way of accessing the Jurassic World levels until you’ve played through the rest of the game, and you can’t access levels based on the second or third films until you’ve played through the preceding stages. It feels like something of a tease, luring people in on the back of the new film, but making players sit through adaptations of one decent and two God-awful films before reaching it.

Lego Jurassic World screenshotTherein lies the rub. Jurassic Park may be a series on its fourth cinematic incarnation, but of the four films, only the first was ever actually worth remembering. The Lost World was always mediocre, a re-tread of the first movie with Jeff Goldblum thrown in to provide a sense of continuity. Jurassic Park III was a movie clearly built to order, the product of executives keen to keep the money rolling in. Jurassic World… well, the jury is still out on that one – but don’t expect it to pick up an Oscar.

“Clever Girl”? Not Quite

If you’ve played a LEGO game before, you know what to expect. Smash scenery for studs, and solve simple puzzles by switching between characters with unique abilities.

Once a level has been completed, you can return to it and freely swap between all unlocked characters to unlock every secret. Red bricks, gold bricks, smashing scenery and then building contraptions out of the debris: it’s all very standard for the series, with nothing substantially new to speak of.

There are hints that TT has some love for the films, though. Lex, for example, can shatter glass by screaming; Ellie dives into piles of dung to find objects. But such instances are few and far between, and even Traveller’s Tales’ trademark slapstick humor fails to provide enough levity to make LEGO Jurassic World rise beyond being an above-average offering for kids.Lego Jurassic World screenshot

LEGO Star Wars felt like the product of a devoted fan. LEGO Marvel Super Heroes exuded comic book fandom from every pore. LEGO Jurassic World feels built to order.

More recent LEGO games have included dialogue to provide additional character and exposition. LEGO Jurassic World is no different, but the result is spotty at best. Without the original cast on hand to reprise their roles, Traveller’s Tales has had to rely on audio taken directly from the films. This at least means that characters sound as you expect them to sound, but the audio quality is patch at best. Some lines of dialogue sound crystal clear; others sound as though they were recorded with a duvet between the microphone and the sound source. At times, dialogue is almost unintelligible, so poor is the quality of the recording. It also jars when sound clips are repeated within the same scene, complete with background noise from the original film.

Lego Jurassic World screenshotVisually, at least, the game passes muster. While never ground breaking – this is a LEGO game, after all – the graphics are crisp and clear, and there’s some decent use of motion blur and lighting. Oddly, cut scenes are pre-rendered video clips rather than real time, and heavily compressed at that; but overall LEGO Jurassic World is easy on the eye.

Ultimately, LEGO Jurassic World is competent without ever feeling progressive. By sacrificing much of the progress made in LEGO games over the years, Traveller’s Tales’ latest title feels somewhat archaic, and if you didn’t know better you could mistake it for a current-gen remaster of a game sandwiched between LEGO Star Wars and LEGO Batman. Hell, it barely surpasses the quality bar of LEGO Indiana Jones, which is still the low point of the franchise.

It’s still a solid slice of gaming, and kids will no doubt enjoy it – even if they’re too young to have seen the films upon which much of the game is based. But the presiding impression is that LEGO Jurassic World feels like a relic, its gameplay preserved in amber for a decade before being resurrected in a more modern era.

LEGO Jurassic World still offers some limited enjoyment, but Traveller’s Tales can do so much better.

6/10

Batman: Arkham Knight Review

Batman: Arkham Knight Review
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You have to feel sorry for the inhabitants of Gotham City. They’ve been forced to evacuate in 3 out of the 4 Arkham games now; they must be so used to it that they keep a packed suitcase next to the front door, just in case a supervillain comes along with yet another apocalyptic threat.

Picking up 9 months after the events of the previous game, Arkham Knight starts things off by providing the answer to the question that’s been on everyone’s lips since the climax of Arkham City: did Rocksteady really kill off The Joker? The opening scene provides a definitive answer to that question, sending the clown to his final resting place by cremating his corpse. Everything burns, after all – and that includes The Joker.

Screenshot of Scarecrow and the Arkham KnightFrom there we’re introduced to a Gotham City that has settled into something of a restless peace since the Clown Prince bit the dust. Of course, with Gotham being The Worst Place To Live On Earth™, it isn’t long before chaos erupts as the Scarecrow resurfaces on Hallowe’en, threatening to release a new brand of his fear toxin over the entire city and sending the population scarpering. By his side is a mysterious new villain – the titular Arkham Knight.

Cue the longest Hallowe’en of Batman’s career.

Arkham Knight has one of the best narratives in an action game that I can remember, with far more depth to the writing than in previous entries in the series. It’s fitting that the game’s story takes place on Hallowe’en: Arkham Knight has plenty of tricks, and no small amount of treats, waiting to be dished out through the course of its campaign.

As much an exploration of grief and pathological behavior as it is an action-packed superhero game, Sefton Hill’s superb script examines the twisted relationship between Batman and his deceased arch-nemesis. The Joker may be gone, but his presence is felt from start to finish.

It’s long been said that Batman and The Joker are two sides of the same coin – yin and yang, order and chaos; they need each other in order to survive, even as they find themselves locked in endless conflict. Arkham Knight explores that concept at length and manages to weave one hell of a compelling story, aided by stellar voice acting. Kevin Conroy reprises his role as Batman and delivers some of his best work on the character, Troy Baker’s Scarecrow is full of snarling, almost hypnotic menace, and the rest of the cast turn in performances that are just as accomplished.

Arkham Knight prepares to fire on a defenseless BatmanLess compelling, and one of the few wrinkles in an otherwise excellent narrative, is the titular Knight himself. More petulant than threatening, the Arkham Knight is introduced early on as the Scarecrow’s partner in crime, a figure from Batman’s past who has a lethal grudge to bear. The identity of the man behind the mask forms the driving thrust of much of the game’s plot; but his characterization is so weak that it’s difficult to care much about who he is. When the big reveal finally comes, it falls flat thanks to ridiculously heavy-handed foreshadowing that may as well have a giant neon sign on-screen flashing the words “THIS IS A CLUE” every time it occurs.

Gameplay-wise, we’re in familiar territory. Rocksteady all but perfected their formula with the very first game in the series, and Knight doesn’t deviate from it in any significant way. That’s not a bad thing – if it ain’t broke, don’t fix it – and the combat is as satisfying as ever. But it does mean that, at times, Arkham Knight can feel a bit too familiar. There’re the usual gadgets, returning from previous games; there’s largely the same cast of villains; the Riddler has been busy placing trophies all over the place; and the streets are as empty as ever. 

On that latter point: Assassin’s Creed: Unity may have struggled at times, but its version of Paris was the most convincing realization of a city yet seen in the medium. Gotham City feels empty in comparison, and doesn’t always convince as a believable space. There are technical and game design reasons for this, of course – the strain of rendering an entire city’s population would bring the game engine to its knees, and make it difficult to identify friend from foe; but the streets being empty yet again enhances the feeling that we’ve seen all this before, and detracts from the sense that Arkham Knight is a generational leap forward.

Shot of Gotham City's skylineWhat we haven’t seen before is Gotham City rendered on this scale. All three islands of Gotham are available to explore, and while Rocksteady’s vision is modest compared to the scale witnessed in other open world games, the city is packed with so much to do that it never feels prohibitively small. Every area is filled with riddles to solve, side quests to complete, and thugs to take down.

One of the best side missions sees you hunting a serial killer by keeping an ear out for opera music as you glide around the city, before examining the bodies you find for evidence. It’s one of the more satisfying side quests in the game, even if you’re just going through the same motions each time. Much of the side content veers close to being there for the sake of it – you’ll find yourself repeating the same tasks over and over again, just in different parts of the map (otherwise known as Ubisoft-itis); but what these missions lack in imagination, they make up for in presentation and fan-service.

The crime scene recreation featured in WB Montreal’s Arkham Origins returns, albeit briefly, and is as good as before, making you truly feel like the World’s Greatest Detective. Other puzzles see you examining individual frames of recorded video in order to find evidence, and some of the Riddler trophies will have you stumped for ages before you crack them.

Screenshot of Batman and Nightwing standing back-to-back.Most of the new additions are fun, but feel underused. At prescribed points you gain control of more than one character in combat, and can switch between them at will. While every character’s moveset is broadly comparable, there’s enough variation to ensure that it doesn’t merely feel like you’re playing a reskinned Batman, and the new dual takedowns are fun.

The voice synthesizer is the most notable new gadget, allowing you to impersonate villains and order goons to go where you want them to. Environmental takedowns allow you to use your surroundings to your advantage, slamming enemies into electrified fences or protruding scenery; but it’s the new fear takedowns which prove the most useful, allowing you to incapacitate up to three enemies at a time by choosing your targets in slow motion.

While some of the new additions feel underused, by contrast the much-touted Batmobile feels shoehorned in. Being able to get behind the wheel of Batman’s signature car feels as though you’re fulfilling the ultimate power fantasy the first time around; but a number of factors combine to make the Batmobile one of the weakest aspects of the game.

Despite the Batmobile’s bulk – inspiration was clearly taken from the Nolan films in its design – the handling model feels too sensitive, the acceleration too rapid. This dissonance means that driving the Batmobile always feels somewhat twitchy and weightless, and at least to start with you’ll find yourself crashing through scenery and underestimating the car’s ability to take a corner. With a few upgrades and plenty of practice you’ll get used to it, but the easiest way to reach your destination is almost always to glide there – probably not what the developer was aiming for.

By far the most aggravating use of the Batmobile involves its secondary mode. Hold down the left trigger and the Batmobile transforms into hovercraft-like tank, complete with cannon and machine guns.Screenshot of the batmobile's combat mode.

Not only does this mode sit uneasily with Batman’s characterization – while brutal, he traditionally forgoes the use of guns – but it’s also foisted upon you repeatedly in drawn-out and tedious battles against waves of enemy drones. It feels like Rocksteady was aiming for the vehicular equivalent of hand-to-hand combat – you still rack up combos and unlock moves depending on how many hits you dish out – but what they’ve delivered is a mediocre Battlezone clone.

These sections go on far too long, the game trapping you in an enclosed space and spamming wave upon wave at you in a war of attrition. They’re dull, repetitive and unfortunately for Rocksteady they’re just, well, boring. Stealth sections are introduced about halfway through (yes, stealth. In a tank) to add variety, but again they’re overused, and involve little more than hit and run tactics.

It’s understandable that Rocksteady wanted to show off the Batmobile, having spent so long working on it, and it was one of the features most requested by fans. But it feels like a wasted opportunity at best, feature creep at worst – not something you’d associated with Rocksteady, known for their laser focus and pared-back game design.

The Batmobile isn’t a complete wash: it can be used to launch Batman in the air directly from the driver’s seat; the Batmobile-assisted takedowns are nice; and it looks pretty cool when you dive towards the ground and land straight in the cockpit before roaring off into the night. But Arkham Knight wouldn’t have suffered without its inclusion – quite the opposite, in fact.Image of Batman gliding through Gotham

Visually, Arkham Knight is nearly flawless. A few small framerate hiccups occur – notably around the GCPD building – and I noticed a couple of minor issues with texture streaming, but overall the visual presentation is top-notch, and there’s a large increase in the number of enemies on-screen at any point in time. Special mention has to go the game’s lighting and weather effects, which sees the light from neon signs reflected in puddles and convincingly refracted through raindrops, and Batman’s cape realistically billowing and rustling in the wind.

Art design is similarly impressive. No two buildings look alike, and each area of the city has its own distinct personality. Chinatown is a particular highlight, but the artwork throughout is of the highest standard. God knows how much time and money was spent designing the hundreds of shop fronts and buildings, but it was well-spent, lending Gotham City itself just as much personality as the larger-than-life characters who reside in its twisted environs.

Nick Arundel and David Buckley’s musical score also deserves praise. Arundel, who scored the previous games, gives familiar themes and motifs a new spin, infusing them with the more sinister tone required by the narrative. Despite being composed by two different people, the soundtrack feels cohesive even as it displays an impressive amount of variety. Keep an ear out for a snazzy musical number (I kid you not) – I guarantee that it will have you humming along and tapping your feet.

Though they may seem serious, Arkham Knight‘s flaws don’t hamper the game’s enjoyability to any great degree. When 95% of a game is of such a high standard, the remaining 5% is always bound to stand out even more. In the end, Arkham Knight is one of the most engrossing games of the current generation, and I’m genuinely excited to see what Rocksteady turns its considerable talent to next – even if I’m sad that their stint with the Dark Knight appears to have come to an end.

Rocksteady knows Batman. At times, it feels as though the developer understands the character so well that no one else will ever measure up. Over the course of three games, the studio has set a benchmark so high that I feel sorry for any developer having to follow in their footsteps.

Asylum and City delivered fantastic narratives which pulled you through the campaign and left you wanting more, and Arkham Knight is no different. It’s not the best game in the series – that honor is still held by Asylum – but Batman: Arkham Knight is a game you want to savor, a game that you’ll want to take your time with simply because you don’t want it to end.

9/10