‘After the Fall’ Review – VR’s Best Stab at ‘Left 4 Dead’

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After the Fall is a four-player co-op shooter that, like Valve’s Left 4 Dead series, pits you against hordes of zombies across a handful of linear levels, all of which are characteristically dotted with safehouses. After the Fall modifies this familiar feel somewhat by introducing in-game currency, called ‘harvest’, which aims to keep players engaged as they make permanent upgrades to weapons. The system around this feels a bit grindy and less immersive than it could be, but it might be just the thing to make sure After the Fall doesn’t go the way of many similarly well-intentioned VR multiplayer games.

After the Fall Details:

Available On: Steam, Meta Quest 2, Rift (cross-buy), PSVR
Release Date: December 9th, 2021
Price: $40
Developer: Vertigo Games
Reviewed On: Quest 2 (native), Quest 2 (Link via Steam)

Note: This review covers my experience with the PC VR and native Meta Quest 2 versions of the game. Vertigo Games has issued an advisory to PSVR players, saying the game still needs a patch to make it playable.

Gameplay

After the Fall is in many ways basically Left 4 Dead in VR, Valve’s hit four-person co-op shooter that has you taking on massive hordes of baddies along windy pathways through a number of set levels. You may be happy to stop reading right here and jump in since it’s essentially a 1:1 experience in terms of basic gameplay value, save After the Fall’s weapon crafting mechanic that requires you to grind through to get anything better than basic versions of the low-level starter guns.

That said, taking a bunch of tropes from a successful flatscreen game and tossing it into VR doesn’t always work out since the need for sensory immersion carries with it greater expectations of how the world should act and react to the player. Despite a few gripes, developers Vertigo Games have done a great job of serving up that particular flavor of mindless zombie-killing action and a social VR experience that requires a co-op mentality to progress.

To be clear, zombies are impressively frangible and very bloody. Those well-worn enemy classes lifted from Left 4 Dead feel a little too samey and conventional to be truly threatening on their own, although to its credit it does offer more variability than most zombie games. And just like Left 4 Dead, the fun is mostly in being overwhelmed by the tripping and climbing crowds of the easily dispatched undead, and After the Fall does this exceptionally well.

Zombies stream in from fissures in the walls and from every nook and cranny imaginable, which on first pass of each level really keeps you on your toes. Enemy animations on both the PC and Quest 2 version are absolutely on point here. On PC, you’ll enjoy ragdoll physics, plenty of splatter, and better visuals by a mile. The Quest 2 version dumbs this down a fair bit to prioritize gameplay over visuals, but it’s still one of the better-looking titles on the Store. It’s a bit chunky-looking on Quest 2, replete with simplified textures, but the overall package is there.

There are some diminishing returns when playing levels again though, since you naturally start to make a mental map of where baddies pop out, but the game offers up a few other things to bait you into diving back in to levels you already played, and to push forward through the few, but varied levels.

While that basic level of fun is definitely there at launch, which will easily keep you playing for hours on end as each mission takes about 20-30 minutes to complete, I’m hoping to see a lot more variability in the future. The singular level boss is a surprise when you first encounter it, requiring the party to destroy ice armor and hit specific points to bring him down, but that got old pretty quick. In my half-dozen hours of playing, it felt like more random bosses are definitely needed to keep things fresh if the game expects me to come back for more.

aft boss 2
Image courtesy Vertigo Games

Although functional enemy variations are on the lower side, the game fills the gaps by offering up a few things like variable difficulty, ranging from ‘Survivor’ to ‘Nightmare’ mode, the latter of which gives you the most harvest points but also strips you of your hard-earned loadout if you die during a run. I found myself fitting comfortably in my self-assigned ‘Veteran’ mode, although with greater weapons and a good team, you’ll probably find yourself reaching to replay those same levels again at harder difficulties to maximize your harvest accumulation.

Bonuses for not being killed during a run, completing levels quickly, and shooting accurately are all there to make sure you’re doing your best so you can translate those harvest points into things like guns, gun parts, bombs, and healing syringes. Rare and helpful extras scattered throughout levels like floppy disks and guns that you can recycle for harvest also make full exploration a must.

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Image courtesy Vertigo Games

And why hoover up all those harvest points that litter the ground after each kill? To tempt you into returning and making your experience a little easier every time you play as you grind for weapons and parts, of course. You have a standard 9mm pistol at the beginning which is an absolute pain to upgrade when there are some many more effective weapons dangled in front of you by other players. Back at the lobby you can also upgrade weapons from blueprints you’ve unlocked along the way, which is also conveniently near a private shooting range and gun rack so you can mix and match loadouts.

In the end, the clearest overall benefit to After the Fall is its social interactions. It does cross-platform play particularly well, as it lets you build an in-game friends list, which is basically a god send when each platform has its own ecosystem.

aft screen 1
Image courtesy Vertigo Games

Like all co-op games, building a good team of like-minded players can mean the difference between having fun for hours at a time, or quitting because of griefers or people who just don’t want to cooperate. The ability to enjoy the game with a group of three others—all with their own unique gear and knowledge about the levels—is a definite plus that makes ganking the same zombies over and over much more fun.

Immersion

Arcade-style titles by virtue include a lot of narrative shorthand and mechanics to make things work easier, but not necessarily better in terms of immersion. We all know why a door magically unlocks when you shoot the last zombie in a level: because it’s a game that has a set number of baddies and no real lore to account for this apparent act of undead wizardry. That’s not damning, it’s just the reality of an arcade title like After the Fall.

Yet I get the feeling it could be more. For example, the 24-player lobby looks like a place you’d want to hang out in. There’s a ton of couches and even an easter egg arcade cabinet that is simple, but a fun touch.

For being a social game though, After the Fall’s lobby is actually a pretty desolate place despite its comparative visual appeal. While in the lobby, all users are muted by default, and avatars are assigned randomly so you can’t tell anyone from afar by sight. Although large and offering plenty of interesting interiors, it feels like it should be more alive, like Echo VR’s lobby which provides more than a few reasons to hang around between matches for informal chats. That inevitably means less screaming children, but also a more sanitized social area that you probably wouldn’t think twice about hanging around when not actively playing a match.

One of the things we pointed out in our early preview back in 2019 was the immersion-breaking reload scheme, which was a single button that activated a character reload animation. Thankfully the studio has scrapped that entirely for two types of reloading styles which not only are more immersive, but better feed into its in-game harvest currency.

aft screen 2
Image courtesy Vertigo Games

You can choose between a more arcade-style reloading scheme, where you empty a magazine with a button press and then jam it to your chest to automatically load a new magazine and rack the slide to chamber a bullet, or opt for manual reloading, which not only increases the realism (and therefore complexity) of reloading, but also nabs you 1.5× more harvest points at the end of your run. I like the choice here, although I’m pretty certain I’ll never get a hang of manual reload since magazine sizes relative to the number of enemies makes it an extreme pain to do.

Guns are modeled after real-world weapons, with iron sights and all, so shooting is a very familiar experience. Bullets are also very well telegraphed so you can see them hit their targets so you can adjust aim on the fly without having to properly aim down a sight. Still, object interaction is very basic, as the game puts much more emphasis on abstracting things away with button presses and grabbing ammo dumps by either shooting or hovering your hand over and clicking.

A sore spot in the game is a lack of melee. I have a feeling this is a cross-platform issue that the developers decided to sidestep entirely because enemies are very dependent on set animations which sometimes telegraph hits even when you’re clearly out of reach.

Comfort

After the Fall includes what we’d consider the standard variety of locomotion and comfort options to make sure everyone can play without issue.

Although not an uncomfortable experience, some parts of the game activate a sort of auto-jumping when you reach a ledge, which is jarring since there’s no clear indication of when it will happen. There are also some very brief zip-line sequences, however those can be mitigated in the settings if they’re at all beyond your comfort zone. Check out the full list of comfort settings and options below.

‘After the Fall’ Comfort Settings – December 8th, 2021

Turning

Artificial turning✔
Smooth-turn✔
Adjustable speed✔
Snap-turn✔
Adjustable increments✔

Movement

Artificial movement✔
Smooth-move✔
Adjustable speed✔
Teleport-move✔
Blinders✔
Adjustable strength✔
Head-based✔
Controller-based✔
Swappable movement hand✖

Posture

Standing mode✔
Seated mode✔
Artificial crouch✖
Real crouch✔

Accessibility

Subtitles✔
Languages
English, French, Italian, German, Spanish, Japanese, Korean, Russian, Simplified Chinese
Alternate audio✖
LanguagesEnglish
Adjustable difficulty✔
Two hands required✔
Real crouch required✖
Hearing required✖
Adjustable player height✔

The post ‘After the Fall’ Review – VR’s Best Stab at ‘Left 4 Dead’ appeared first on Road to VR.



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This TikToker reloads mundane household objects like they’re FPS weapons

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Image: id Software/Bethesda Softworks

While you partied, he studied the gun

Kommander Karl is a TikTok creator who aims to teach his followers about animation and games. And some of his TikToks recently went viral, as gamers realized he has a long-running series that’s surprisingly compelling. In “Reloading Things,” Kommander Karl has carefully taken dozens of common household objects, and turned them into sick weapons for an imaginary FPS game.

That doesn’t sound like a huge achievement, but once you see him in action, you realize there’s a certain art to it. And it’s especially impressive given the range of mundane household items he’s “reloaded,” which include a Dyson vacuum, a children’s pop-up toy, a toaster, and a handful of other items that don’t actually need reloading. It’s not a surprise that this originally went viral; if you’re familiar with FPS games, you’re probably marveling at the accuracy of his effort. From the way the weapon bobs, to the timing of the “animation,” it all looks spot on.

Kommander Karl has this down to a science. For instance, this is how he reloads a toilet paper blaster. Frankly, I’m transfixed. I feel like I’m right in the world of Doom, just in a bathroom. Bathdoom, if you will.

Kommander Karl is on Twitter now, and he continues to post to TikTok, where he uploads new entries in the series as well as other content related to gaming and animation. Every time I think I’m tired of the Reloading Things series, I see a new take on the concept and I’m tickled anew. For instance, how do you reload a toaster? I previously had no idea of how to answer this question, but now I can.

This project is a great reminder that even small elements from games, like the humble reload animation from an FPS game, can stick with us. It reminds me of how I will occasionally think of a single line from a StarCraft unit, or a sound effect Mario makes as he jumps, even decades later. Sometimes the strangest things can stick with us, and we celebrate them in interesting ways. In Kommander Karl’s case, he’s able to replicate that with a whole host of household objects, and the end result is great.



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‘The Matrix Resurrections’ is Getting a Tie-in Game Experience But It isn’t in VR and That’s a Crime

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The Matrix Resurrections, the fourth installment in the famed series, is set to debut on December 22nd. Later this week the film will get a tie-in game experienced based on Unreal Engine 5, but it won’t be available in VR and that’s a terrible shame.

Here we are, 20 years after the original Matrix, a film that argurably popularized the concept of virtual reality more widely than any other single piece of media before or since. Amazingly, in those intervening 20 years, virtual reality has seen a resurrection of its own. It made the leap from failed ’90s VR tech that survived only as niche, ultra-expensive training equipment to what is now a widely available consumer technology on the verge of reaching a mainstream audience.

VR is here. So it’s a shame that an upcoming tie-in game experience for The Matrix 4 seems to be largely ignoring the tech.

The upcoming title, called The Matrix awakens: An Unreal Engine 5 experience, is set to debut on December 9th during The Game Awards, just two weeks ahead of the film.

Here’s the tease:

Get ready for a glimpse into the future of interactive storytelling and entertainment with UE5 in this free, boundary-pushing cinematic and real-time tech demo.

Created by members of the original movie team including Lana Wachowski along with Epic Games and partners, ‘The Matrix Awakens: An Unreal Engine 5 Experience’ is a wild ride into the reality-bending universe of ‘The Matrix’ that features performances by Keanu Reeves and Carrie-Anne Moss.

Want to see what’s possible when you combine the power of Unreal Engine 5 with the Xbox Series X/S? Step into the world of one of the most iconic action franchises ever made. Pre-download ‘The Matrix Awakens: An Unreal Engine 5 Experience’ now.

The Matrix awakens: An Unreal Engine 5 is available on PlayStation 5 and Xbox Series X/S and can be pre-downloaded today.

We can see from the PlayStation 5 download page that the experience doesn’t list support for PSVR, nor do we have any info suggesting the app will be available on PC VR (or even PC generally) or Quest.

This isn’t going to be a full-blown game by any means, just a short free experience, presumably rendered in real-time with Unreal Engine 5. The project seems to be a collaboration between Warner Bros and Epic Games, the company behind Unreal Engine.

From the brief glimpse that we get, it looks like the experience will probably be a showcase of Unreal Engine’s MetaHuman technology, which enables the creation and real-time rendering of impressively realistic digital humans.

Especially considering that Unreal Engine is one of the leading engines used to create VR content, it’s a big bummer that this perfect opportunity to tie together a famed franchise, built around the concept of VR, with the VR technology that’s actually available to us in this day and age.

But hey, I get it, this is a piece of marketing and clearly Warner Bros and Epic want to reach as many people as possible. Constraining the project to only work in VR would work against those objectives because there’s way more game consoles out there than VR headsets. And though the experience could have optional VR support, it’s likely it doesn’t due to performance considerations. After all, the experience will probably be a demonstration of high-end real-time graphics, and VR makes that a whole lot more challenging due to the need to render stereoscopically and at high framerates & resolutions.

red pill blue pill
Image courtesy Warner Bros.

But that doesn’t change the fact that The Matrix couldn’t be more perfectly suited to a VR game or experience—both conceptually and from a gameplay standpoint. We’ve already seen a handful of great VR games that do an amazing job of invoking the experiences portrayed in the film without even meaning to. Hell, here an excerpt from my SUPERHOT VR review from five years ago, which employs a totally unique time-bending game mechanic:

It actually seems like a bit of a missed opportunity that this game isn’t literally built on The Matrix IP, as the execution elicits that feeling of awesome bullet-time combat that the franchise is known for (not to mention all the VR themes), and would open up rich narrative opportunities. Who knows the Wachowskis? We need to introduce them to Superhot VR.

I’d actually highly recommend listening to the Matrix movie soundtracks while playing the game; who would have guessed—it’s a perfect fit!

Oh and then there’s my Pistol Whip review from two years ago, which even makes you move like you’re in the Matrix.

Enemy bullets fly at you slowly enough to give you time to dodge your head out of the way as they approach. As you get used to the timing, you start to proactively move and dodge rather than simply react. As a result you start to ‘flow’ your upper body around as you dodge and shoot your way through each level. The movement feels a lot like being an Agent from The Matrix (1999).

And that’s hardly half of it. Even the stabby-stab gameplay of Blade & Sorcery makes you feel like The One on occasion as you perform highly choreographed combat in slow-motion.

– – — – –

That is to say, VR is not just a great thematic fit for some kind of Matrix experience; it’s also uniquely well suited for Matrix-like gameplay that can’t be delivered through any other medium.

Maybe one day the stars will align and we’ll finally see the famed franchise make the leap into real… virtual reality. Or maybe it technically already has….

The post ‘The Matrix Resurrections’ is Getting a Tie-in Game Experience But It isn’t in VR and That’s a Crime appeared first on Road to VR.

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Netflix’s original anime movie Bubble looks like a dizzying platformer

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An image from the key art for the original anime movie Bubble, with a girl in colorful clothing hanging by a bubble above a bright city
Image: Netflix

From Attack on Titan director Tetsurô Araki and an all-star team of creators

Screenwriter Gen Urobuchi has a strange way of explaining his script for Netflix’s new original anime feature Bubble: “I thought about playing around with a typical mermaid story: Instead of a girl ending up as bubbles after falling in love, why not have a bubble fall in love and transform into a girl?”

That’s a bizarre premise for an anime feature, but the field has certainly produced weirder stories. (Just look at Pui Pui Molcar, a series about traffic adventures in a land of guinea pigs with wheels instead of feet.) More significant than the premise, though, is the talent behind Bubble: It’s directed by Tetsurô Araki, a longtime stalwart on the Attack on Titan series, movies, and OVAs, with character designs by Death Note’s Takeshi Obata, and music by Promare’s Hiroyuki Sawano. Urobuchi himself is an author and the screenwriter behind the award-winning Puella Magi Madoka Magica.

The first trailer for Bubble is a bit reminiscent of Weathering With You in its vision of a sunny, flooded Toyko that’s being overrun by plants and reclaimed by nature, making it a perfect setting for an idealized love story. But its concept, where bubbles that defy gravity rain down on the city, letting young people scale buildings and navigate the world in three dimensions by hopping between floating bubbles, makes it look more like a wild platforming game. Here’s Netflix’s synopsis, which explains that final segment of the trailer:

The story is set in Tokyo, after bubbles that broke the laws of gravity rained down upon the world. Cut off from the outside world, Tokyo has become a playground for a group of young people who have lost their families, acting as a battlefield for parkour team battles as they leap from building to building. Hibiki, a young ace known for his dangerous play style, makes a reckless move one day and plummets into the gravity-bending sea. His life is saved by Uta, a girl with mysterious powers who appears suddenly. The pair then hear a unique sound audible only to them. Why did Uta appear before Hibiki? Their encounter leads to a revelation that will change the world.

Bubble will debut on Netflix on April 28, 2022.

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‘The Last Clockwinder’ is a Studio Ghibli-inspired Automation Game Coming to Quest 2 & SteamVR in 2022

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Fixing up an old tower without tools sounds tough, but much less so when you have an army of robotic clones at your disposal. That’s the idea at least behind The Last Clockwinder, a VR automation game from Pontoco which is slated to hit Quest 2 and SteamVR headsets sometime in Summer 2022.

Studio Ghibli vibes radiate throughout the game’s announcement trailer, showing off a familiar harmony between nature and machine that fans of Hayao Miyazaki’s storytelling style have come to love.

While on your mission to repair the ancient tower, which the team reveals is built into the trunk of a colossal tree, you find a pair of gloves that essentially lets you record your movements and spawn an army of clockwork automatons. It ends up feeling like a mini steampunk version of Factorio crossed with an immersive take on the cleaning montage from Howl’s Moving Castle (2004).

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Automatons help you grow plants, harvest resources, and “find a way to save the clocktower,” Pontoco says.

What is it being saved from? We’re still hoping to find out, as the game’s world-building looks already so mature that there must be some lore behind it all.

As it is, The Last Clockwinder seems rich with possibility, as you no doubt need to learn recipes and craft increasingly complicated things in your effort to get the old tower back in shape—something that definitely looks like a labor of love.

The Last Clockwinder is slated to arrive natively on Quest 2 (re: not the original Quest) and SteamVR headsets sometime in Summer 2022. You can wishlist the game on Steam here.

The post ‘The Last Clockwinder’ is a Studio Ghibli-inspired Automation Game Coming to Quest 2 & SteamVR in 2022 appeared first on Road to VR.

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Halle Berry has a vision for directing the next Catwoman

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It’s time for the next DC reimagining

Despite being one of the most infamous comic book movies of all time, Halle Berry wants another crack at Catwoman. Except this time, she also wants to sit in the director’s chair.

Coming off her directorial debut, the recent Netflix film Bruised, Berry hinted at her ambitions to Vanity Fair during a career retrospective. From modeling in Chicago to being the first (and still only) Black woman to win an Oscar for Best Actress, Berry’s career has had fair number of high highs and ho-hum lows. There are critical favorites like Introducing Dorothy Dandridge and Monster’s Ball, and then there is a movie where the fallout would make many want to forget the whole thing. But in the interview, Berry confronts Catwoman, her ill-fated 2004 DC Comics movie.

Halle berry pointing a finger at a bad guy in Catwoman
Image: Warner Bros Pictures

“I would definitely direct the next Catwoman, she says. “I think I would redeem myself. As a filmmaker now, I would totally change the story. I would change the characters. I would have Catwoman saving the world from some catastrophe, like male comic book characters get to do.”

As noted in Polygon’s Bruised review, Berry’s original Catwoman, directed by Pitof, “let her kick ass, but asked barely anything of her dramatically.” The DC comic book movie cast Berry as mild-mannered Patience Phillips, who transforms into the mysterious and alluring Catwoman. Sitting with a nine percent on Rotten Tomatoes, everyone seemed to agree the movie had more than its fair share of problems.

Initially envisioned as a continuation of Tim Burton’s Batman movies, the first idea for a Catwoman movie saw Michelle Pfeiffer’s character temporarily leaving Gotham for a desert resort known as Oasisburg. Meant to be an adult portrayal, it stood in stark contrast to what Warner Bros. wanted out of DC Comics at the time, which was more family-friendly fare like 1995’s Batman Forever.

Pfeiffer eventually bailed from the standalone, prompting WB to reportedly offer the role to Ashley Judd, who also eventually passed. The project languished in so-called Development Hell until Berry came aboard, moving on from a failed attempt to spin off her character Jinx in the James Bond movie Die Another Day.

WB hired Pitof, a French visual effects supervisor with one movie under his belt at the time, to helm the Berry vehicle. He certainly had a vision, wanting to focus heavily on the “cat” part of Catwoman. Choreographer Anne Fletcher was brought onto the film to help Berry act, and even think, like a cat.

“Pitof wanted Catwoman’s physicality to be as real as possible,” Fletcher said in a 2003 interview. “He said that she’s a woman first and a cat second, but he wanted to see how cat-like a human body could become.” For research, Berry watched hours of cat footage and spent time with the movie’s animal handler.

How cat-like a human body can become is not something earnestly explored in Pitof’s Catwoman. What is explored, rather, is how confusing a single scene of Halle Berry and Benjamin Bratt playing basketball can become. The shots don’t feel like a ’90s music video so much as the result of someone explaining the concept of a ’90s music video to a friend in a loud restaurant, and Pitof, having overheard the conversation, going off and trying to remember the details.

Beyond direction trying way too hard, the movie didn’t leave Berry much to work with. As noted in a 2016 academic paper by Caroline Heldman, Laura Lazarus Frankel, and Jennifer Holmes on female protagonists, the movie presents Catwoman’s “agency, power, and freedom as derivative of her hypersexualization,” leaving Berry’s character “without core identity.” That isn’t too far off from what costume designer Angus Strathie, as detailed in the film’s press notes published during release, envisioned. “We wanted a very reality-based wardrobe to show the progression from demure, repressed Patience to the sensual awakening of a sexy warrior goddess,” he said.

Catwoman was a critical and commercial flop, eventually winning Berry the Razzie for Worst Actress of the Year. Commenting on the important of being a “good loser” in Vanity Fair, she looks back with pride on her decision to attend the event. “If I can show up to collect an Oscar when you’re honoring me, I can certainly show up to collect a Razzie when you say, good try, but do better,” she says. After the show, she set her Razzie on fire.

It’s highly unlikely that Berry would continue down Pitof’s road. Rather, her more recent roles, like in Bruised and John Wick: Chapter 3 – Parabellum offer better clues. In the Vanity Fair career breakdown, Berry praises Parabellum co-star Keanu Reeves for doing his own stunts alongside her, showing that “age is just a number.” Berry seems more invigorated by the “gritty” and physicals worlds seen in John Wick and Bruised, so it stands to reason that her Catwoman would be something similar.

While the exhaustive process of directing herself doesn’t seem to be something Berry is eager to repeat, her work with Spike Lee early in both of their careers taught her to “never say never.” Yes, Zoë Kravitz is set to play Catwoman/Selina Kyle in the upcoming DC reboot The Batman, but … if Zack Snyder can get a second shot at Justice League, why not give Halle Berry another go at Catwoman?

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