Why Fallout 4 falls short.

For the fourth entry in the Fallout series, Bethesda have cleaned up the Commonwealth.

Where the third game featured the broken down remnants of the Capital Wasteland, the newest game in the series as a society trying to build itself back together.

Cities are bigger, with the main hub, being Diamond City, based in the Red Sox Stadium features a lot of NPC’s, the most memorable being the synth Nick Valentine, and Piper.

Diamond City, based in the Red Sox stadium is also where you will go to get the most of your supplies, as well as some main quests and a small variety of generic side quests.

Venturing out into the world to these quests you’ll find blues skies, burnt out trees and a half broken society, filled with deathclaws, raiders, gunners, super mutant, mirelurks, and the newcomers, the synthetics.

So essentially it’s same old same old, with a little bit of cleaning up.

But Bethesda cleaned up the soul from the previous game, taking away what defines, a post-apocalyptic wasteland.

After 69 hours, I can remember more place names out of Fallout 3, than Fallout 4.

The last time I played the third game of the series is over two years ago.

Rivet City, Megaton, Deathclaw Sanctuary, Little Lamplight, Tenpenny Towers. All places I can name off the top of my head.

Moira Brown, Doctor Li, Fawkes and even Liam Neeson as your Dad, who can forget him.

The alternate reality experiment where he’s a dog, easily one of the best quest lines in history, either blowing up, or not blowing up Megaton, a great gaming moral dilemma, which as many implications.

How many truly great moments, or characters can you remember out of the fourth game?

Even the slightly loopy Moira Brown provides more entertainment than the majority ¬†of Fallout 4’s quests.

The main problem, with the fourth game, I find, is that even the best quests results in going somewhere, getting something, and shooting a bunch of enemies.

The back stories surrounding them may be decent sometimes, but you never feel as if you’re getting anywhere whilst doing, and it doesn’t capture your attention long enough to play the game for prolonged periods of time.

I don’t think Fallout 4 is a bad game, in fact, it’s a very good game, but they sacrificed world building, in order to simply improve gaming mechanics, which I don’t think Fallout, or any open world game should be about.

The mechanics needed improving, but the standard of the world, needed to be kept the same.

I was never The Witcher 3’s biggest fan, but it ensured it’s world felt lived in, and that even some of the smallest side quests had implications within the world, even early in the game.

It’s one of the reasons why Fallout 4 could go down as a missed opportunity, but I await Bethesda’s next effort with interest.

Here’s hoping for another Elder Scrolls.


Assassin’s Creed Syndicate review

Since Ezio Auditore Di Firenze opted to hang up his cape, Ubisoft have been trying and failing to replace the rugged Italian.

First there was Connor Kenway, who was a dullard, then Edward Kenway, who was a lot of fun to play as.

Just the main problem there was he was the lead star of a pirate game disguising itself as a assassin’s one.

It may have led to another pirate based spin off, but the next main game took us to France, and the now infamous Assassin’s Creed Unity.

Unity gave us Arno Dorian, who had no noticeable personality trait, a lot of bugs and microtransactions, as well as the poorest story within the game to date.

It looked pretty, but it was a rotten, smelling wolf in sheep’s clothing.

But Ubisoft Quebec have done well in their effort with Assassin’s Creed syndicate.

They have two leads, one of which is the first female lead in the main series and they’ve done a very good job with her.

Evie Frye is well rounded, funny even at times, and fits in well with the Assassin’s Creed aspect of the series pretty well, compared to her brother at least.

Jacob is brash, cocky and more prone to going in like a bull through a china shop, than trying to get through unnoticed.

They are both handled extremely well, and the story so far is more captivating than Unity, and is easily the most enjoyable since Brotherhood.

But the game doesn’t quite hit the mark, or at least not yet.

Victorian London is once again, a quite wonderful place to visit.

The smoke billowing into the skies, the soundtrack that builds to a crescendo, as you drift through the city, finding your target, it all sets the right tone, without quite finding the perfect tune.

And that’s because the city still feels a bit like a virtual tour in a different time.

Death, or getting noticed, as your trying to stealth a mission still does not mean anything.

In an age where open world games like Metal Gear Solid 5 and the Witcher 3 give you branching options, and world defining repercussions, in the tiniest of details, Syndicate still feels like an ode to those with slight OCD, who want to tick everything off the map (in fairness I include myself in this).

Taking back the city doesn’t drift beyond three succinct types of missions; templar hunts and child liberation quests, which are both enjoyable, and the more bizarre bounty hunts, where you have to kidnap someone, put them in a horse and carriage and take them to a select spot, where a Detective Fred Abberline in drag will take them away.

Quite frankly, they’re annoying and restrictive.

Take them out of the carriage to bring them to the spot, even if you’re a few steps away from it, and you get a warning that they need to be in the carriage.

And it has a bizarre alert system. I got noticed once on the outskirt of the mission area, nowhere near the target, and I get a notice tell my target is running away. No one else knew I was even there and were stood at their posts. It’s the simple things like that which takes away the immersion of the game.

But fortunately, none of it takes away what is fun entry in the franchise, but you still sense the series is trying to find the same solid ground it had with Ezio Auditore Di Firenze as it’s lead.

Additions like drivable horse and carriages and the rope launcher make for neat additions to the franchise, but the series still needs to be redefined for the new generation, rather than putting a couple of cherries on top of a cake, which is fast reaching it’s sell by date.