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Good games own you. They take hundreds of hours of your life. They become habitual. Playing a game like Skyrim or Grand Theft Auto V, with. People felt a genuine human connection, and expressed deeply personal . I've listened to the UK PCgamer podcast a couple of times, but. PC Gamer UK Podcast: Episode 92 – If Only You Could Talk To The in detail, from the ups and downs of the plot to the combat, characters, and ending. .. Tom's on again, off again relationship with Defence Grid and the story of how Dota 2.
He's played Frontier's upcoming park management sim, and reveals everything he knows about disaster, dinosaurs and Dr. The King of Spoons Jun 08 Read more Striding into town with two spoons on his back — one silver, one steel. Far Harbor and some pre-E3 discussion. Rounding […] Rank 4: Pip is annoyed by a fish, Phil is confused by a jungle, and Sam is nauseated by a corpse. Also, a mysterious signal; a transmission from a far off land.
But who is its sender, and why are they surrounded by cardboard?
PC Gamer UK Podcast I have a complicated relationship with Bathtub Geralt | PC Gamer
That happened, and was a thing Nov 29 Read more Slam the breaks on that time truck, because we're not ready to leave just yet. First, as is our sacred duty, we must anoint the best games of the year. For now, Samuel, Phil and Chris run through their personal nominations. We also answer your burning questions, such as could we beat up a three-year-old? And yes, dear listener. But then the Hot Takes followed, and the world as we know it fell.
Can the PC Gamer team drive back the darkness? Can Bungie bring Destiny's combat to PC?
Dead As A Brodeo: GFW Radio Ends
Can Mass Effect Andromeda hold onto its place on Andy's hard drive? Andy talk about the evil within Resident Evil 7, break down the meta of Gwent, and answer a bunch of good questions that aren't about SSDs. You are Graham Gooch Dec 15 Read more It's the 30th podcast episode, but we're celebrating our th magazine issue. It's spectacular, and it feels like exploring the heart of the gorgeous galaxy you've been skirting all this time.
Each away-mission to these places is a substantial, satisfying fight against one of several different factions. The combat feels another notch more impactful than that of Mass Effect 2.
The classes are stronger and more distinct: You fine-tune these powers as you level up, deciding between, say, a longer cloak duration or the ability to use one power without revealing yourself. And the weapons you find and buy give you interestingly different compromises between fire rate and stopping force - tweaked further with mods.
But the most radical and effective change to the RPG side of combat is the ability to choose your own balance between weapons and abilities.
Any class can now take one of each weapon type into a fight, but the more you carry, the slower your powers recharge. I gave my Infiltrator a heavy shotgun, meaning she could use Cloak less often but deal a chunkier slam of damage when she struck.
Trying an Adept, I shelved everything but a featherweight sub-machinegun, letting her wub out Singularities and Warp Fields every second. It finally feels like the class system has lost the last of its arbitrary restrictions, and you can create your own play style. It all mixes well with your squadmate's powers.
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I liked to stealth behind enemy lines, hack their turrets, then let my biotic friend lift people out of cover to float them into range of their own subverted weapon. Once, a lifted soldier was pelted over to us by his own turret's fire, and my Cryo ammo power caused one of our shots to freeze him solid. He dropped to the ground and shattered. I felt like applauding.
The fights have also become more complex and less repetitive, thanks to a lot of smart interplay between enemy types.
Some give each other armour or shielding, or feed on each other's corpses, or burst out of each other when you shoot the wrong sac. Huge, fast, melee-only Brutes force an alarming change of pace from cautious cover shooting.
And the Banshee, a tall, spindly horror that teleports towards you as it shakes with rage, is properly traumatic to fight. The best way to deal with all of this varies with the arena it's found in - something Mass Effect 2 never managed.
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It's the difference between dreading the next prolonged combat sequence and relishing it. The low points of the combat are the bigger boss fights, which too often involve one- or two-shot kills that hit you almost instantly and seemingly at random. If you have no pride, and lord knows I don't, you can always jam the difficulty level down to its new 'Narrative' mode for a moment: The only unfixable problem, boss-wise, is a recurring character who's scripted to survive and escape your first few encounters.
It's always painful to watch someone fail to shoot the bad guy in a cutscene. When it's my Shepard, a character I love for prematurely ending conversations with a bullet, it's downright agony.
I'll get the other irritations over with now. The spacebar - previously only used for sprinting, ducking, taking cover, using switches, talking to people and vaulting over things - is now also used for diving away from cover too.
It makes an already maddeningly imprecise system utterly ridiculous. At least half my deaths were from the spacebar not doing what I expected it to. We have keys. We can handle a separate button for taking cover. The multiplayer is a cooperative survival mode - you and your friends pick a class and fight off waves of enemies.
It's not switched on at the time of writing, so I can't tell you how that plays beyond what you can try for yourself in the demo. But the way it affects the main game is needlessly problematic. In singleplayer, everything you do accumulates 'war assets'. When you finish the game, how many of these you have determines how good an ending you get: Success in co-op multiplies your war assets, up to twice their normal value.
That means that if you only play singleplayer, or want to finish singleplayer first, you'll have to grind the living hell out of its most tedious fetch quests to get the best ending.