Code Vein Review – Anime Souls

Code Vein establishes its own identity from the outset. It may latch onto a Dark Souls formula that has come to define a generation of action-RPGs, but Bandai Namco’s latest manages to set itself apart from the rest by presenting a post-apocalyptic world filled with what are essentially anime vampires. Interesting concepts and mechanics filter out from this central blood-soaked idea, resulting in a game that feels familiar yet wildly different from its inspiration. Yet it’s the parts that are most recognisable, such as its combat, where Code Vein stumbles.

After an apocalyptic cataclysm ravages the world, those who died are brought back to life as immortal beings called Revenants. The only price they have to pay for reincarnation is an insatiable thirst for blood. There’s no neck biting, disintegrating in sunlight, or anything else you would usually associate with traditional vampires here. If a Revenant goes for too long without satisfying its thirst for blood, however, they lose their humanity and transform into grotesque creatures known as the Lost. Fortunately, Revenants don’t have to feed on the last remaining humans to survive. Blood Beads grow on plants throughout the world and function as suitable substitutes for human blood, nourishing a Revenant’s bloodlust in much the same way. The problem is, Blood Beads are becoming increasingly sparse, so you have to find the source and hopefully attain a steady supply. That’s the basic plot, anyway, but it doesn’t take long to deviate into other areas and introduce world-ending stakes.

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In stereotypical protagonist fashion, you begin the game by waking up with amnesia before finding out you’re the chosen one. You see, each Revenant in Code Vein has a class known as a Blood Code. Your created character is special due to the fact they’re not confined to a single Blood Code like everyone else is. This malleability allows you to swap between various classes whenever you feel like it, with your arsenal of available Blood Codes expanding the further you progress through the game.

Blood Codes are tailored to a specific style of play that often fits into a typical RPG class template–think warrior or mage. Gifts are Code Vein’s version of abilities, granting you access to a wide range of passive and active skills that are tied but not limited to each Blood Code. You’re able to mix and match Gifts to a certain degree, with the most exciting ones letting you unleash flashy special attacks in melee combat. That’s not all they’re capable of, however, as others allow you to fire projectiles of piercing Ichor, boost your attack power, temporarily add a stun effect to your weapon, and many more. The character creator is already comprehensive enough, but Code Vein provides a plethora of options when it comes to finding a playstyle that suits you.

Killing enemies earns Haze that can be spent on levelling up your character, purchasing weapon and armor upgrades, or attaining various items like poison cures and throwing daggers. When you die, you lose all of the Haze you had accrued up to that point unless you can return to the location of your demise and pick it back up. Haze is relatively easy to accumulate, though, so walking around with pockets full of the stuff never feels as stressful as it maybe should. Levelling up your character is also simplistic to a fault because it doesn’t let you min-max your stats. Everything it tied to Blood Codes so it’s unclear why information such as your character’s strength and dexterity is even surfaced.

Either way, incorporating Gifts amid regular attacks makes for some satisfying combos, and there’s a gratifying heft behind each slash and crunch of Code Vein’s melee combat. Defeating enemies is based on rationing light and heavy attacks, and you have access to a decent array of weaponry, too, cycling through the usual assortment of broadswords, halberds, giant hammers, and spears. Most of them are ludicrously large in typical anime fashion as well. There’s not a lot of variety between each moveset within a weapon’s specific class, but bouncing around between weapon types offers some tangible deviation.

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Each Gift consumes from a pool of Ichor that’s replenished by simply defeating enemies or refilled in larger doses by performing drain attacks, parries, and backstabs. This incentivizes you to use Gifts regularly, approaching each enemy with an offensive mindset to unleash a bevy of special attacks and then quickly regain any lost Ichor. You need to pick the right moment to use a drain attack because of its lengthy windup, but backstabs are relatively easy to pull off, while parries require precise timing.

Wailing on enemies is satisfying, and Gifts spruce up each fight with their inherent flexibility, yet combat is a disappointingly by-the-numbers affair because of the AI’s shortcomings. There’s an adequate variety of enemy types, but this variety generally only applies to their visual design as opposed to their behavior and movesets. They’re surprisingly static, spending most of their time simply idling instead of reacting to your attacks. Each weapon you wield is usually able to stagger enemies on the first or second hit, allowing you to dispatch each foe with almost no resistance, and this remains true throughout the entirety of the game. There are a few enemies that break away from this mould, requiring you to actually dodge and make use of your Gifts, but they’re an anomaly amid a sea of one-sided slugfests. Bosses aren’t quite as easy to take down, but they’re not far from it. There’s no need to learn patterns or delicate back-and-forths that require you to engage with every aspect of Code Vein’s combat. It’s simple enough to beat each boss on your first or second attempt by simply manoeuvring behind them. This only deviates as you approach the end credits and bosses receive a sudden difficulty spike as they rely on powerful area of effect attacks and homing projectiles.

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Code Vein doesn’t have to adhere to Dark Souls’ challenging difficulty, but it also misses the mark by never forcing you to learn or deepen your understanding of the game to progress. Combat devolves into a mindless task where the only thing you need to watch out for is enemy placement and quantity. Difficulty is contrived by throwing numerous enemies at you at once which feeds into a focus on cooperative play. You can traverse through Code Vein’s world with another player or by using one of its many AI companions. The latter can more than hold their own in a fight, proving especially useful when you’re overwhelmed by multiple enemies–though their presence against singular opponents doesn’t do much to quell the simplistic routine of defeating them.

Exploring each environment is engaging, at least. The level design has a tendency to wrap in and around itself, offering secret paths and capturing the elation that’s derived from opening a shortcut or discovering a new checkpoint to rest at and spend the Haze you just acquired. One sprawling area even borrows Anor Londo’s distinct Il Duomo-inspired aesthetic, reimagining the pearly white castle as a labyrinthine maze. It’s just a shame the visual design is regularly pedestrian. You spend the vast majority of your time traversing through bland post-apocalyptic streets and damp caves where rubble is Code Vein’s most distinguishing feature. The addition of fire and sand shakes up the typical dilapidated cityscape, but it’s not nearly enough to shake the feeling that you’ve seen it all before. There’s even a late area that adopts the Anor Londo aesthetic for a second time, with the only difference being that it’s now inside and slightly darker. Evoking memories of Dark Souls’ most memorable location doesn’t do it any favours.

Code Vein adopts the Souls-like formula in its structure, presenting a familiar cycle of progression and basic combat similarities, and there are some interesting ideas here, too, built around the use of various Blood Codes and their distinct Gifts. You can see the fragments of a fantastic game hidden within these systems and its meaty combat feedback, but the mundanity of its enemies and the effect they have on nullifying the combat’s enjoyment prevent Code Vein from ever realizing its potential.

WWE Getting New Backstage Show On FS1

Even before Smackdown moves to Fox, WWE is continuing to expand its brand on one of the company’s networks with a new show called WWE Backstage.

Beginning on Tuesday, November 5 on FS1, Renee Young and Booker T will host this hour-long program where the two are joined by guests and talk about the biggest stories in WWE. They will be joined by WWE superstars and other personalities to discuss the world of sports entertainment.

“WWE Backstage is a wrestling show for wrestling fans. From hardcore fans to people new to wrestling, we’ll give them a little bit of everything,” Young said in a press release. “It’s going to be fun, it’s going to be loud, we’re going to give them a ton of opinions and I can’t wait to help spread the word about SmackDown coming to Fox.”

While the show won’t be following any in-ring action with WWE, the weekly series, which airs at 8 PM PT / 11 PM ET, does sound a whole lot like the WWE Network series, Talking Smack, where Renee Young and Daniel Bryan discussed the events of each week’s episode of Smackdown and interviewed WWE superstars.

That series ran for a year and a half and was a popular show on WWE’s streaming service. It was cancelled in July 2017, but it gave WWE fans some amazing moments like the argument between Daniel Bryan and The Miz, which ended with Bryan walking off the set in a very real moment. Hopefully, WWE Backstage can capture that lightning in a bottle once again when it comes to FS1 on November 5.

Death Stranding Has Gone Gold

Death Stranding has officially gone gold, a major milestone on the road to release.

The news was announced by Hideo Kojima on Twitter who thanked everyone from the company that made the game’s engine, to his fans:

Stumptown: Season 1 Premiere Review

Cobie Smulders has moved from the big screen back to the small screen, from the MCU to – well – an altogether different type of comic book adaptation.

Stumptown, based on a series of acclaimed graphic novels by Greg Rucka and Matthew Southworth, is a fiery and frenetic P.I. series with flare to spare. Smulders is a wonderful fit here, infusing traumatized Marine Dex Parios with enough down-on-her-luck charm to portray a barely-competent investigator.

Supporting her special needs brother, Ansel (Cole Sibus), shouldering a gambling debt, and harboring deep emotional wounds from a past wartime love, Dex is the best kind of gumshoe to follow: a flawed, self-sabotaging siren who, at least in this first episode, stumbles her way to victory. You want your underdog heroes to accumulate cuts and bruises, both physical and spiritual, as they reluctantly champion justice. They’ll start out doing the job for money but eventually finish it for pride. In this regard, Stumptown is a prickly pleasure.

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It’s Always Sunny: Season 14 Premiere Review

While Dennis and Mac attempt to AirBnB their way into a Rom-Com meat-cute (meat cube?), Frank and Charlie try to rope in Euro-strays for swinging sexual escapades in Always Sunny’s Season 14 premiere – an episode directed by Sunny star Glenn Howerton.

Larry David and Jerry Seinfeld opted to close up shop on Seinfeld when it was at the absolute top of the ratings heap, choosing to go out on a high. Truthfully, they could have kept the show going for many years more. Always Sunny is proof of that, as there will never be a time when The Gang falls out of fashion. The same could be said for South Park, in a certain regard. As long as there’s a gathering of idiots and/or ethically flexible characters willing to debate social norms or have a go at a handful of harebrained schemes, you’ve got yourself a season’s worth of mirth.

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Marvel’s Kevin Feige To Produce Star Wars Movie

Kevin Feige, president of Marvel Studios and one of the driving forces behind the Marvel Cinematic Universe, will produce a new Star Wars movie for Disney. That’s according to The Hollywood Reporter, which states that the move is part of new plans for “a wave of projects set in the [Star Wars] universe.”

The site reports that Feige discussed the Star Wars project in late summer, having met with Lucasfilm’s president Kathleen Kennedy and studio co-chairmen Alan Horn and Alan Bergman. Asked for a statement, Horn said, “We are excited about the projects Kathy and the Lucasfilm team are working on, not only in terms of Star Wars but also Indiana Jones and reaching into other parts of the company including Children of Blood and Bone with Emma Watts and Fox.”

He continued: “With the close of the Skywalker Saga, Kathy is pursuing a new era in Star Wars storytelling, and knowing what a die-hard fan Kevin is, it made sense for these two extraordinary producers to work on a Star Wars film together.”

Naturally, questions will arise about the scope of the role Feige will have in the future of the Star Wars universe and also the scope of his film. For his part, Feige has been critical for crafting the interconnected universe of superhero films based on Marvel Comics characters. These films have dominated the box office for years now and, the latest, Avengers: Endgame, had a record-breaking run. Fans will no doubt be wondering if Feige’s movie is the prelude to deeper involvement with Star Wars.

However, speaking to THR, sources have indicated that Kennedy will remain very much at the helm. The next entry in the blockbuster sci-fi saga is Star Wars Episode 9: The Rise of Skywalker, which hits theaters on December 20. Marvel, meanwhile, is working on movies for Black Widow and Eternals, as well as Black Panther 2, among numerous other projects.

Inside Xbox Recap + Gears 5 Spoilercast

We’re shot out of a cannon this week! Our Xbox crew recaps the news from this week’s Inside Xbox, highlighted by the public Project xCloud preview. Plus: the rumored Batman: Court of Owls game, how Xbox owners are getting shortchanged in Call of Duty: Modern Warfare, and our Gears 5 spoilercast (at the end of the show, so if you don’t want to hear it, you won’t miss anything else!).

Subscribe on any of your favorite podcast feeds, or grab an MP3 download of this week’s episode. For more awesome content, check out the latest episode of IGN Unfiltered, featuring a career-spanning interview with longtime Remedy writer Sam Lake – he of Max Payne, Alan Wake, Quantum Break, and Control fame. Watch it below:

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