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Bungie's sci-fi shooter Destiny will be getting a new battleground this week in the form of Inferno Clash. Detailed on the Bungie blog, Inferno Clash will contain a few characteristics that were present in Inferno Control mode but has a heavier emphasis on scoring kills.
These include the removal of the radar on the HUD, placing only one set of heavy ammo crates per match, and simplified scoring. For the latter, Bungie has removed "as many scoring events as possible" and made it so that assists will no longer be awarded points. The map rotation will also be carried over from Inferno Control, which featured the following maps featured in the line-up:
Destiny's upcoming patch 1.1.2 update will introduce a few tweaks to the game in preparation for the House of Wolves expansion. This includes increasing the capacity for players' storage vaults, which are currently capped at 20 slots each. The update will also implement new audio options, a feature for colorblind players, and various gameplay fixes.
In the latest Inner Circle podcast, ID@Xbox director Chris Charla said "I would love to see [No Man's Sky]" on the Xbox One, but that it was up to the game's developer, Hello Games.
Charla understands that a lot of developers might be avoiding Microsoft because of the parity clause, but he said more developers need to simply reach out to Microsoft and talk about it.
"If you're worried about policies," he said, "we try to be really easy to get in touch with. When we talk to developers, we try to be really transparent. Don't assume that something you read on Neogaf is our policy, just talk to us."
The parity clause, which requires games launch on the same day they do on other platforms like the PlayStation 4 or PC, has been the topic of some controversy among gamers and developers alike. It was put in place, according to Xbox director Phil Spencer, to make Xbox One owners feel "first class." As Charla discussed in the podcast, however, it can also make gamers feel left out when a game they really want doesn't launch on the console because of a business decision.
Earlier this month, Charla said that Microsoft isn't as strict about the parity rule as people think, saying, "If it's a situation where a developer needs to ship serially on consoles because they don't have the resources to simultaneously ship, we totally get that. It's no problem. Our6 goal is to make sure that if a developer wants to ship their game on Xbox one, that they can ship their game on Xbox One."
Charla added that Microsoft doesn't want developers taking a payment for exclusivity on another platform and then releasing "some months later" on the Xbox One without adding something to make it "fresh" for Xbox owners.
No Man's Sky is coming to PC eventually, but for now gamers can expect the game on PS4 later this year.
Starships happens to actually be a mobile game--the kind that harks to those days of yore, when "mobile" equated to "simplistic." It released simultaneously on PC, Mac, and iPad, and in more-or-less the same form to boot. And the first things you notice about it are the various ways it seems visually bottlenecked by its tablet version. On PC, it unfurls in a tablet's compacted, low resolution window, and there are no graphical settings to massage. Its sci-fi galaxy is mostly abstracted, and its unit models are simple and blocky. It's not those issues that really put me off of Starships, but rather the way it seems to aspire to that narrow, dated idea of what makes a "good" mobile game. I can turn aside the quick and obvious assaults on PC sensibilities--the rough graphics, the lack of options--but it's the cynical design that guts me, in the end.The abstracted galaxy doesn't try very hard to sell the sci-fi setting.
The titular starships form a single roving fleet on the game's galactic map, and act as the lone controllable unit. From your home base, the fleet can be moved over to any adjacent planet with the press of a button, which triggers combat missions that award points towards bringing the planet into the fold of your empire. Planets under your control confer resources each turn (food, industrial production, science, and energy) that can be spent on upgrades for your starships, or used towards buildings and world wonders that improve your production or military capabilities. The salient goal is to have a majority of the galaxy under your thumb--51%, and no less.
Where Meier's Civilization series accommodates pacifism, there isn't much to do with your Starships fleet on the galactic map except pick fights. There are victory conditions outside of conquering your opponents, sure--controlling X amount of world wonders or researching Y amount of technologies--but these goals take resources to complete, and the only way to fill your storehouses is to perform combat missions and claim planets. The different victories have different names, but they all boil down to exercising military might, which in turn requires trudging through watered down and grossly exploitable battles.
Combat missions set your ships down on a honeycomb game space surrounding a planet. You might be asked to escort a unit (that, mercifully, you also control), or hunt down an escorted one yourself. Or you navigate a maze of asteroids to reach an escape gate, or defeat an enemy boss. The asteroids strewn about the playing field block fire, and black holes teleport ships to other black holes on the map. It's simplistic board game strategy propped up by only the barest of fiction, and eminently exploitable. Every one of your ships can be upgraded to deploy zippy, surprisingly powerful fighters, meaning that in a single turn it's possible to effectively double the size of your fleet. The fighters are fragile, but they're so strong and can quickly cover so much distance that they throw the balance of any fight. Even forgoing them, I found I was able to comfortably win almost every engagement on any difficulty level by committing to longer range lasers and picking off enemies as they tried to approach, one at a time. It's a strategy game without strategy, enabling you to sleepwalk your way to triumph.Combat plays by bland, tired, grid-based formulas.
Starships ostensibly picks things up where Civilization: Beyond Earth left off, but practically speaking, all that means is that the preceding game's cardboard cutout leaders have been stood in front of Starship's backgrounds. Each has a unique stat bonus in place of an actual personality, and their speech is characteristically mechanistic. "Our computer calculations indicate that you have but a 19% chance of dominating this galaxy" is what passes for a greeting in the game's stripped-down version of diplomacy. If you're thinking about declaring war after that (and I wouldn't blame you if you were), it's trivially easy to gauge your odds. Your opponents themselves provide an itemized list of their military assets on request--Starships is wanting for any other, more suitable screen to house the information. There are no ceremonial trappings, here. Two deadpan leaders simply meet, compare spreadsheets, and arrange peace or war accordingly.
You're presented with a similar rundown at the end of missions, tabulating all the ships destroyed and lost, and divvying out bonuses multiplied by various modifiers. Starships throws these figures and calculations at you, but there's nothing useful to be done with the information, as though the game just wants to make sure you know that it did the work. Numbers are always going up a thousand at a time in the game--you get lost in all that effortless forward momentum, and it becomes impossible to care about a few lost hundred here or there.
Beyond Earth's Affinities also make the jump, representing a choice between one of three broad societal values: Purity, Supremacy, or Harmony. But like everything in Starships, they've come unmoored from any cultural tie-downs, and now simply denote which of three arbitrary stat bonuses you feel like beginning the game with. Constructing a wonder means pressing a button when you've got enough of the requisite resource. There's no actual sense of building--a variable has simply shifted somewhere behind the scenes. It's an issue exacerbated by the fact that your ships are functionally immortal--though they appear to blow apart when destroyed in battle, you can still simply repair them afterward for a nominal cost. Even the loss of an entire fleet in a mission simply means being sent back to the planet you arrived from, down a few of the action points you expend to move around on the map on a turn. The stakes of this intragalactic war are at mechanical remove--any one defeat amounts only to an obscure amount of wasted man-hours.Just buy fighter upgrades. Guaranteed win on every difficulty.
As mobile games find new heights, Starships takes its sci-fi premise and uses it to trawl the primordial pools they ascended from. Its planets are suspended in a two dimensional plane, and when your turn is up, enemy fleets dart back and forth among them in seemingly random directions. They look less like interstellar armadas, and more like single celled organisms responding to simple stimuli. They flit about from planet to planet, hex cell to cell, as though guided by the basest biological compulsions, consuming and growing. And you're right alongside them--with a few disinterested clicks or swipes across the screen, killing, conquering, and leveling up.
2K Sports has announced a new WWE mobile game, which it says in a press release is the "first simulation-based WWE video game." The game is due out this spring across iOS and Android devices for $8.
2K says the WWE 2K game (that's it's official title) aims to offer "authentic gameplay in a mobile format" by way of incorporating many of the features found in the console editions on mobile. This includes live multiplayer, various unlockables, a create-a-character mode, and more.
Here's a quick rundown, courtesy of 2K, of everything you can expect in WWE 2K for mobile.
WWE 2K is in development at Visual Concepts and n-Space. It's not the first WWE 2K game for mobile devices, as 2K also operates the free WWE 2K Supercard game, which has seen more than 6.8 million downloads since its first arrived in August 2014, according to a press release.
For a closer look at WWE 2K for mobile, check out the images in the gallery below.
The Witcher 3: Wild Hunt developer CD Projekt Red has said in the past that Directx 12, while impressive, won't make it any easier to run the game at higher resolutions on the Xbox One. A senior game designer working on the new game has confirmed that early assessment in a Twitter exchange over the weekend.
Speaking to fans concerned about getting the best experience, senior game designer Damien Monnier suggested that playing the Witcher 3 on PC would be better "for the resolution alone."
DirectX 12, a new bit of graphics software from Microsoft, has already proven itself as a game-changer. PC users will be able to combine graphics cards from different manufacturers, and developers will be able to eke out quite a bit more performance from aging hardware. It is not, however, a miracle worker.
Monnier clarified that CD Projekt Red would certainly try to make higher resolutions work on the Xbox One, but that he was hesitant to promise anything.
The Witcher 3 has been delayed several times, but is due out on May 19.
If you're looking for more of our Witcher 3 coverage, you can check out what the game looks like in 4K resolution and our recent preview of the game for a better look at the upcoming open-world game.
Dreamfall is and has always been a story about duality--the yin & yang of Stark and Arcadia, magic and science, occupation and rebellion. These themes run deep in Book Two and offer a strong lens through which to view the bond between the journeys of two disparate leads: Zoe Castillo and Kian Alvane. Where Book One told a tale of parallel jailbreaks with Kian's escape from Azadi prison and Zoe's liberation from a Dreamtime-induced coma, Book Two continues this trend with a tale of two spies and a pair of fact-finding missions. With Kian embroiled in the Azadi conflict in Marcuria and Zoe finding herself at odds with the ever-increasing presence of EYE forces in Propast, the heroes launch headfirst into breaking down the mysteries and conspiracies within. And boy, do they have their work cut out for them.
Will Zoe bite The Hand That Feeds?
For starters, Book Two is massive and takes over twice as long to complete as Book One. This is due both in part to the ample story progression and the introduction of a whole new, if familiar, environment in which to explore. While bigger isn't always better (and this is certainly true in some respects here), there is something satisfying about how the episode digs in, offering plenty of time to get lost in the world. There's a lot of meat on those bones, and this is excellent news for those of us who spent their time with the first book waiting for the story to go full-on Longest Journey. Book Two finally hits that stride and wastes no time getting there.
Book Two opens with Kian convalescing at Resistance headquarters, the underground ring of Arcadian rebels formerly led by the Captain to combat the growing Azadi threat. It is as if Robin Hood is being introduced to the band of Merry Magicals: Kian is ordered to prove his loyalty to the cause, and before long, finds himself roaming the streets of Marcuria. While wandering through the city in the game's third-person perspective, it was difficult not to get excited to be back on these old stomping grounds, and I had forgotten just how great a contrast the fantasy vibe of Marcuria provides when juxtaposed against the futuristic, Blade Runner-meets-Beyond Good & Evil aesthetic of Stark.
Like revisiting the house you grew up in many years later, Marcuria is simultaneously familiar and strange. The landmarks are still here (The Magic Market! The Journeyman Inn! The Rooster and Kitty!... wait, didn't that tavern go by a different name before?), but many areas are tweaked, askew, or entirely new. While several popular haunts have been abandoned since the occupation, there are plenty of new nooks and crannies to explore, leaving Marcuria feeling cautiously lively, like a party in a prison cell.
Where Book One told a tale of parallel jailbreaks with Kian's escape from Azadi prison and Zoe's liberation from a Dreamtime-induced coma, Book Two continues this trend with a tale of two spies and a pair of fact-finding missions.
This is not necessarily all for the best, however. As Kian ticks his way down the Resistance's to-do list, he must do so donning an Irhadian Veil so as not to be recognized by his fellow Azadi patrolling the streets. Narratively, this makes perfect sense. Since Kian was initially imprisoned for treason, anonymity should be a high priority. In practice, however, Kian's pace slows to a crawl anytime he passes a guarded gate or entryway, which yields a lot of tedious slow-walking as he makes the transition. As it is, navigating the town is sludgy enough, and you will find yourself holding down the run button constantly just to feel like you’re moving at a reasonable pace. These belligerently slow zones, while not terribly prevalent, are enough to frustrate when moving between areas.
Unfortunately, the same goes for Zoe's trek through Propast as well. While Kian works to dig up dirt on the Azadi in Marcuria, Zoe investigates a possible source of corruption within the political campaign she works for and what, if any, connection there is to the EYE and WATICorp. As Zoe gets closer to the answer, Propast's faux-pen world layout becomes less accessible to her. Roadblocks are increased, security is beefed up, and carving a path through the city becomes a puzzle all on its own. It's an effective way of communicating the EYE's growing threat through environmental storytelling, but as someone who often found himself disoriented on the streets of Propast, I did not appreciate the constant detouring required of Zoe in order to reach many of her destinations.
Perhaps the most baffling detour of Book Two occurs back in Arcadia when Kian is tasked with sneaking into Marcuria Harbor to sabotage a weapons shipment. Apparently, his magical veil loses some of its mojo in this area as the guards here are able to detect Kian's presence if he gets too close, initiating a fail-state. Not only is it an incredibly awkward slog to complete, but my attempts were riddled with bugs, robbing me of success the first couple times I managed to satisfy all passing requirements. It's aggravating and flies in the face of the more cerebral types of quests presented in the series so far. To add insult to burglary, when I finally managed to reach the cut-scene, I was awarded with the Steam achievement, "I Thought There Wouldn't Be Stealth!" Its description reads, "So you thought there wouldn't be stealth and also you suck at it," as if the lack of a proper toolset to engage in stealth--such as sneaking, or crouching, or any sort of visual feedback--had anything to do with the player's input. No, Dreamfall Chapters, it is you who sucks at it.Propast may be a pain to navigate, but it sure is gorgeous.
Mechanical flaws aside, Dreamfall Chapters soars when its quests provide the connective tissue between narrative mystery, tension, and resolution, and Book Two offers some excellent entries in this department. On their own, most missions offer little more than the deduction-based adventure-game fare familiar to Dreamfall vets. But string them together and a bigger picture comes into focus--one that leverages incremental progress with gratifying bursts of dramatic revelation. Without giving too much away, Dreamfall Chapters understands that what makes solving a key puzzle interesting isn't the act of opening the door, but discovering who's behind it and the intense conversations that arise as a result.
On this note, including dialogue choices is a natural progression for the series. As we have been told, Zoe's destination is predetermined, but her path along the way is not. This jives with the way the game's Bioware-style branching conversations work. The details change, but the big finish usually remains consistent. So while there may be less expectation for player choices to have a drastic impact on the final outcome of the plot, they do have a measurable impact on the smaller, more idiosyncratic moments (Reza's lunch will have repercussions!), and I found myself enjoying the smattering of incremental payoffs rather than anticipating a much larger one that may or may not come later. Again, it has a layered effect that, when added up, amount to an effective and intricate feat of storytelling.
It all comes back to the trilogy's bread & butter--its cast of characters. Book Two enjoys more colorful dialogue from the likes of Mira, the abusively foul-mouthed cybernetic chop-shopper; Baruti, the Botswanian campaign manager; and the nefarious Commander Vamon leading the Azadi occupation. If Kian is the Robin Hood of the story, Vamon is undoubtedly the Sheriff of Nottingham.
Dreamfall Chapters soars when its quests provide the connective tissue between narrative mystery, tension, and resolution.
To keep things fresh, there is also an influx of new and notable characters gracing the second act. For instance, in Arcadia there is Lihko, a wounded Dolmari warrior outspoken against Kian's presence who begrudges him for his Azadi heritage and the sacrifice made by the Resistance to save him. He's a complex and conflicted character whose intimidating presence is amplified by his booming voice.
At his side, there is Enu, a sassy feline Zhid with a curious mind and zero filter. In contrast to Lihko, her flirty frankness and positive attitude help to make Kian feel as welcome as possible given the circumstance. Without a doubt she is one of the more interesting and entertaining characters to be introduced so far. Her snarky dialogue and too-much-information attitude, especially regarding sex, inject much-needed comic relief within a group that is otherwise all business.
In addition, there's the mysterious Anna, a cunning rogue who appears to have a history with Kian despite his lapse in memory of any such relationship. Also crawling out of the woodwork is The Mole, Bip the thief, Hanna the punk rock runaway, and even a familiar face or two from Zoe's past. Other than an underwhelming showing by Reza, who's the most consistently mediocre brat of the pack, this episode walks the Dreamfall walk with plenty of meaningful roles to fulfill and subvert the archetypes within. With unique and diverse characters such as these, the series continues its tradition of utilizing a fantastic ensemble cast--an aspect that cannot be understated but was lacking by the end of Book One.Enu, probably telling a sex joke, and Lihko, unamused as usual.
The Longest Journey series is a collection of inhabitable moments and by the end of this act, I appreciated what each moment had amounted to. This is emphasized by the radically tense cliffhanger the episode goes out on, which had me questioning every step that led up to it. As these pivotal moments pass, they offer new opportunities to reflect on the events that have come before them. They have a cumulative effect that changes the way in which you see the big picture. What happens in Stark can inform your understanding of what is happening in Arcadia and vice-versa, for their fates are interconnected. And as Kian and Zoe's worlds parallel each other, Dreamfall's world parallels our own, offering social and political commentary via the themes of its stories and the lives of its inhabitants. Book Two succeeds in reminding us that our destination may be predetermined, but our path is not. It's how we choose to travel, and who we keep by our side, that makes the journey worthwhile.
Axiom Verge is your chance. Following an experiment on Earth gone horribly wrong, you wake up in a strange place known as Sudra. It's a world unlike Earth, where strange biological formations meld with mechanical contraptions to form massive structures. Being inexplicably transported to such a place would rock most people's psyche, but the protagonist, Trace, barely bats an eye. It's weird that he doesn't collapse in shock, honestly, but this misstep doesn't detract from the fact that Axiom Verge's plot is so good at drawing you in with heavy doses of mystery and intrigue. These moments kick off when large mechanical beings known as the Rusulka enter the picture. They act as guides, providing directions in exchange for repairs (something has left them in disarray), and insight into Sudra's troubled history. I'd love to go into greater detail, but to describe the relationship between you and the Rusulka any further would spoil one of the best aspects of Axiom Verge's world. It's a world that emphasizes exploration in the same vein that Super Metroid or Castlevania: Symphony of the Night do, but it's also a quest for knowledge that keeps you guessing until the very end.
As you make your way through Sudra's foreboding world at the behest of the Rusulka, you encounter numerous types of imposing wildlife. The only bad thing that can be said of the enemies in the game is that you occasionally find one that feels out of place, and this small inconsistency is one of a mere couple issues with the game, neither of which are important enough to detract from your enjoyment in a significant way. Big or small, Axiom Verge's enemies command your attention with wildly varying behavior and impressive displays of force. Some let out ear piercing battle cries while slashing at you with great speed, while others use more creative means to attack, such as spewing swarms of energy leeching bugs that are difficult to shake. It takes time and practice to learn how to deal with the trickier enemies, but you quickly gain new weapons as you explore, and thus new methods to defend yourself become available.The drill is one of the first tools that you find, and it's an invaluable aid when digging for Sudra's most elusive items and secret areas.
Your primary weapon, the Axiom Disruptor, fires simple energy-bullets, but you quickly rack up augmentations that make it capable of delivering shotgun-like blasts of electricity, or a beam of current not unlike what you might see in a Ghostbusters movie, for example. With more than a dozen weapons to find, you have to spend a lot of time searching for each and every one. While you don't need every weapon to be efficient at blasting away enemies that stand in your path, you learn to love many of the weapons over time, and who doesn't like having options?
There are other tools to discover that make navigating Sudra manageable, let alone possible. A laser drill lets you plow through rock (and some tough-skinned enemies), revealing new pathways and potential secrets. You eventually find a grappling hook that turns you into a veritable Bionic Commando, allowing you to bridge large gaps and swing across ceilings. Like in Metroid, you can sneak through small tunnels that you find, but not by morphing into a ball. Rather, you find a drone that can do the exploring for you. It has its own life bar and some modest firepower, and while it's out and about, you get to rest inside an impenetrable force field. A quick press of a button, and the drone dismantles itself before zipping back to your location. Eventually, it becomes a remote teleportation device, allowing you to warp to its location.
One tool stands out as the most special of the lot: the Address Disruptor. This device can corrupt enemies or repair garbled matter, which has many implications and uses during your adventure. Sometimes, firing it at glitchy matter will yield a new platform that will help you get to a new location, while other times it can clear a path. The most interesting application, however, is using it to transform enemies. Every enemy has a different reaction to the Address Disruptor, and it's critical to pay attention to the particulars therein. An enemy that spawns laser firing bugs may suddenly spawn life energy once you've corrupted it, while another may start to gnaw away at rock, which you can use to your advantage when trying to access hard to reach areas. There are dozens of different behaviors associated with the Address Disruptor, and it's easily one of the most interesting weapons or tools that I've ever seen in a game.An experiment this dramatic is bound to go wrong.
One enemy's reaction in particular leads me to talk about the game's password system. Within the inventory and map menu lies a place to input passwords. Passwords can trigger different things, such as changing your outfit or allowing you to read previously indecipherable texts. All of the info in the documents you find are supplements to the story, but they also stoke your curiosity to dig deeper into the mysterious events of the past and present. Passwords aren't just given out, you need to work to find them. In one case, a hard to reach document contains a translation string, another reveals itself when you use the Address Disruptor on a glitchy area of the map. My favorite, and the basis of this segue, is the enemy that reveals a code, letter by letter, after it's been corrupted. This particular enemy is only in one room, and even though there are others like it to be found on the map, it only provides a password in this particular instance. Moments like this are when you realize that you must use every tool at your disposal if you hope to uncover all of the secrets that lie within Axiom Verge. It takes a lot of work to find some items, but you get a real sense of accomplishment when you overcome difficult situations by combining your skills in clever ways.
Part of the reason you want to find secrets and secret areas is because you may gain a new weapon or ability, but also because your speed, map coverage, and item percentage have an impact on the game's ending. No matter what, Axiom Verge's final third will satisfy your curiosity and surprise you, but you learn more about Trace if you get through the game with efficiency and an attention to detail.The Address Disruptor is Axiom Verge's defining tool. It can transform enemies into allies and reveal hidden objects, to name just a couple of its effects.
Accomplishing everything it takes to get the absolute best ending isn't easy, especially your first time through. It took me the better part of 14 hours to get through to the end, and even with all of that time, I only uncovered 92% of the map and found 70% of the items. It's not an impressive run by any measure, but it would have been far worse if Axiom Verge punished you for every death, which I experienced dozens of during the course of my journey. Thankfully, dying only sends you back to the last save point on the map with all of your progress kept intact. While this may mean that you're teleported back a significant distance across Sudra, any milestones you've hit are preserved, meaning you don't need to waste precious time repeating previous efforts.
Speaking of repeating previous efforts, once the credits finished rolling, I couldn't wait to jump back in and start Trace's journey all over again. Some games conclude and I'm happy to walk away, but Axiom Verge is such a joy to play, with dozens of tools to play with, and too many secrets to find. The skills and rules you learn inform your expectations and plans, and my second trip through became more about the gameplay than the story, which isn't entirely a bad thing. After all, the better I play, the better the payoff in the end. I'm still working through Sudra for the second time, occasionally going back to my first save to identify things I may have missed so that I'm prepared when I encounter them again.
Axiom Verge is a game that's easy to fall in love with because it hits so many high notes. It takes the Metroidvania model and adds layers of ingenuity that are in a league all of their own, the most notable being the Address Disruptor. Yes it's occasionally drab looking, and some enemies may not fit in with the rest of the world, but when a game is this good, these blemishes quickly fade into the back of your mind. The chilling sci-fi setting, mysterious plot, and a seemingly endless number of abilities keep your mind busy, and your curiosity at fever pitch. It's not a stretch to say that Axiom Verge is better than the games that inspired it, because it's so inventive and thoughtfully crafted. There's no excuse to hold onto the past when the present is this amazing.
OK. It's obviously not Arnold Schwarzenegger, but while defending humanity's last home from incoming enemy spacecraft and environmental hazards, you do randomly spout some famous lines in his voice. It's a fun touch, but don't let the comedic side of Protector get in the way of what's most important: defending that house. You run along the ground, firing into the sky as enemies nosedive into frame. Although the house you're defending can withstand some damage, similar to structures in the classic game Missile Command, all it takes is one hit for you to die in Commando mode, and there are no continues. You do have a few of the same abilities as your spaceship, including bombs and speed boosts, and you can jump, which is useful when ground-based enemies eventually appear. Because you can fire in more than two directions with the right analog stick, Commando mode feels like it has more in common with twin-stick shooters than it does with Resogun.
Blasting through increasingly difficult waves of enemies in Commando mode is challenging and the Schwarzenegger impersonations are humorous, but fighting on foot isn't as thrilling as zipping around in a ship. You don't move particularly fast, and your gun is underpowered for what feels like too long relative to how fast the number of targets increases on screen. This new style of gameplay is intriguing because it's different, but it lacks the sense of speed and excitement that's typical of Resogun. That's not to imply that it's bad or even not fun--you still experience the wonder of voxels and the drive to earn higher and higher scores, and likely a bit of laughter--but Commando mode just doesn't compare to the rest of Resogun.
If you're looking for something more fast-paced and exciting, focus on Protector mode. It plays very similar to Resogun proper, where you zoom around a ring-shaped level, shooting down enemy ships and rescuing vulnerable humans on the ground, but you earn weapons and armor upgrades at a much faster rate than usual. The trade-off is that enemy swarms grow equally fast and you don't start with any extra lives; the only second chances you get are in the form of expendable shields that occasionally come as bonuses for saving humans.
Piloting a fully-upgraded ship is a treat rarely afforded in other modes, where extended boosts and more destructive overdrive cannons are reserved for the best players, so Protector mode is a great way to experience a side of the game that may have been out of reach before. It's oh-so-sweet to have a massively upgraded ship, and because the difficulty also scales fast, you still feel like you're being challenged, even with all of the added firepower.
If Resogun has already run its course in your mind, there's nothing in Defenders that's going to lure you back in for the long haul. Of course, it's hard to imagine how someone could ever get enough Resogun, being that it's one of the best arcade-game experiences in years. In that sense, Defenders is a worthy addition to an already great game that will no doubt please anyone with a fondness for fighting within an inch of their life while also blowing up everything in sight into tiny, beautiful pieces.