Editor's note: As of November 13 at 6 am PT, the Pokemon Go-compatible features in the Let's Go games are not yet available. We will update this review in progress when those features, which include transferring Pokemon from Go to Let's Go, are live and we've had a chance to test them.
Pokemon Let's Go Pikachu and Let's Go Eevee are gorgeous--albeit lean--reimaginings of one of the series' most beloved adventures. While some features fans have come to expect are missing--like abilities, breeding, and held items--Let's Go has an admirable amount of depth for a game aimed at a younger audience that has never played a Pokemon RPG. Both games may not have the same lasting appeal as previous entries, but revisiting Kanto and catching some of the series' most iconic creatures makes the journey worthwhile.
Pokemon Let's Go Pikachu and Let's Go Eevee take you back to Kanto, the home of Pokemon Red, Blue, and Yellow. Not much has changed structurally, but the previously 8-bit region has been realized in vibrant detail. Revisiting some of the series' most memorable locations like Viridian Forest and Saffron City on a big screen is an absolute joy. Areas that were once composed of lines and simple shapes are now colorful forests and detailed cities. Pokemon both big and small roam the wilds, giving personality to the region--you can watch a tiny Horsea speed through the waves or a massive Onix slink through a dark cave. The catchy original soundtrack has also been remastered, and it sounds better than ever.
Those familiar with the originals or their remakes, FireRed and LeafGreen, should have no trouble navigating the world. After you're introduced to your partner Pokemon (Pikachu or Eevee depending on the version you choose) you set out on an adventure to collect Gym badges, defeat the Elite Four, and put an end to Team Rocket. While there are a few surprises, the layout of the region and your progression through it is nearly identical to the originals. Fortunately, Let's Go sheds some of Red, Blue, and Yellow's more archaic designs. For example, HMs--"hidden moves" that allowed you to get past certain obstacles--are replaced with "Secret Techniques" that fulfill the same purpose without taking up one of a Pokemon's move slots. As a result, you can focus on team composition and complementary move sets instead of figuring out how to divvy up HMs between your party Pokemon.
Let's Go also does a much better job at guiding you through the world and story. After you made your way through Rock Tunnel in the originals, you had little direction through Lavender, Celadon, Fuschia, and Saffron and could do certain Gym battles and events out of order. It was easy to miss key items and wind up fighting Pokemon much stronger than your own, which led to frustrating backtracking with little idea of what to do next. While you still can complete certain beats out of order, Let's Go ensures you don't miss anything crucial. For example, after you beat Erika in Celadon City, a character gives you a key item that will let you enter Saffron City. Previously, you had to buy a drink from an inconspicuous vending machine on the roof of the department store and give it to a city guard, and if you failed to do so, you wouldn't be able to fight the sixth Gym Leader.
One of Let's Go's most fundamental changes is how you catch Pokemon. Instead of the random encounters and wild Pokemon battles of previous mainline games, Let's Go adopts Pokemon Go's catching mechanics. Pokemon roam the wilds in real time, and you have to walk into one to initiate catching it. Then, rather than battling it to whittle down its health, you just have to throw a Poke Ball at it, and the timing and accuracy of your throw increases your chances of a successful catch.
The new catching mechanics are a welcome change to the formula that breaks up the pace of traditional trainer and Gym battles. Although catching wild Pokemon doesn't require as much strategy as it did before, the act of catching is far more engaging. You don't need to worry about accidentally defeating and therefore failing to catch a rare or one-time Pokemon, and if there's a Pokemon you don't want to catch, you simply avoid it. The absence of random encounters also makes traversing caves a lot less tedious. Yes, that means you can even avoid Zubats.
Let's Go encourages you to catch Pokemon more so than any other mainline Pokemon game, and it's better for it. Sure, catching every single species has always been the overarching goal, but I've never felt more inclined to complete my Pokedex. Catching Pokemon is the most efficient way to level up; with each successful catch your entire team is awarded a generous dose of experience. This alleviates the need to spend significant amounts of time grinding and makes it easier to experiment with different party compositions.
Let's Go also introduces Catch Combos, which occur when you catch the same species of Pokemon multiple times in a row. As you build your combo, your chances of running into rare and powerful Pokemon increase. You can even find Pokemon you typically wouldn't find in the wild. Catching repeat Pokemon is both useful and satisfying--it's great knowing that luck is not the only factor involved when trying to catch a rare Pokemon, and it's very hard to stop when you're deep into a combo, knowing something good could spawn.
However, the new catching mechanics don't come without issues. The Joy-Con motion controls are inaccurate at best and unpredictable at worst. Over the course of my journey, I never found a reliable way to throw a Poke Ball to the right or left. In most cases, I would just wait for the wild Pokemon to return to the center of the screen before throwing a Poke Ball, and even then, the ball wouldn't always go where I wanted it to.
The Poke Ball Plus controller, an optional Poke Ball-shaped accessory, is a bit more precise, but because there are only two physical buttons on the controller, navigating menus and interacting with the world can be a pain. As novel as it is to see Kanto on a big screen, handheld mode is the best way to catch wild Pokemon. You can either use the Switch's gyroscope sensor or the left control stick to line up a throw. It's far more precise than the other methods, but you do have to consider the Pokemon's size and distance.
Despite changes that make the Pokemon experience more accessible than ever, Let's Go is surprisingly deep. It does an excellent job at easing new players into some of the more complex mechanics without being bogged down by tutorials. Each Pokemon still has six base stats and one of 25 natures, and the game seamlessly presents all that information to you. For example, whenever you switch Pokemon during a battle, you are shown its stats. You can get through the entire game without paying attention to a Pokemon's stats, but it's helpful to see that information presented clearly and often. Early on, you even get the ability to "judge" a Pokemon, which lets you see its base stats (also called IVs). While this may not be super useful for beginners, it's presented in a way that's easy to understand and it gives veterans the opportunity to check for Pokemon with good stats early on.
Unfortunately, those invested in the competitive side won't have as much to sink their teeth into. The absence of abilities, held items, and breeding limits the potential for highly competitive play. You can farm for Pokemon with higher stats through the aforementioned catch combos, but even if you do manage to catch a Pokemon with the stats you want, you won't have much to do with it.
If you do decide to build a competitive team, the online features are limited. You can trade and battle, and that's about it. There are no ranked battles, the Global Trade System is nonexistent, and there is no Wonder Trading. The barebones trading features may be disappointing at first, but given the smaller roster of Pokemon, I never felt that I needed the GTS or Wonder Trade to complete the Pokedex. However, the inability to matchmake and battle with other trainers online is a bit of a letdown.
Despite changes that make the Pokemon experience more accessible than ever, Let's Go is surprisingly deep.
Without the competitive mechanics fans are accustomed to and the limited Pokedex, it can be difficult to come back to Let's Go after the credits roll. While there certainly are reasons to revisit Kanto once you have finished the game, like completing the Pokedex and grinding for Pokemon with perfect stats, the pull isn't quite as strong. There aren't many surprises and what's there isn't all that enticing. The last thing I need to try is the Pokemon Go connectivity, which isn't available as of this writing.
Despite these concessions, Pokemon Let's Go Pikachu and Let's Go Eevee are delightful reimaginings of the series' origins and a deep RPG in their own right. It makes a lot of smart improvements on the original Red, Blue and Yellow while holding on to what made them so special in the first place. Fans of the series might be let down by the lack of features they've come to expect, but Let's Go Pikachu and Let's Go Eevee take the Pokemon formula in some exciting new directions.
Hitman 2 is now available on PC, PS4, and Xbox One, provided you purchase the Gold edition. For everyone else, it releases on Tuesday, November 13. The first Elusive Target, part of the game's free post-launch support, comes later this month and features actor Sean Bean. Read on for our full review, originally published on November 8.
Hitman is a game about killing people. Well, killing specific people and trying not to kill other people unless you really have to. But it's also a game about exploring large, real-world-inspired spaces, learning about how they operate, finding multiple solutions to problems, and using that knowledge to improvise and manipulate the environment to hit the people you're hunting. The episodic nature of the Hitman refresh in 2016 saw IO Interactive release one level every month--a contentious move at the time, but one that helped accentuate the potential in each mission. Hitman 2 ditches the episodic model and adds a few new minor mechanics, but the loop of continuously replaying a single location, slowly uncovering the wealth of possibilities, and being able to effectively draw upon that knowledge in new challenges is where Hitman is strongest.
Hitman 2 takes you to six new locales, and each poses unique situations to overcome as you attempt to assassinate your targets. Mumbai is a standout with its densely populated streets and labyrinths of tenement buildings--a great environment that makes the most of a new Assassin's Creed-style crowd blending mechanic, allowing you to disappear into big groups of people. A mission in Miami, Florida takes place at an active raceway, a loud and vibrant stage that feels like a theme park with its swaths of attendees, distinct zones, and a concealed backstage underbelly.
These levels are overwhelming in the best way possible, and it's exciting to begin peeling away the layers of these large, intricate areas--exploring the spaces, discovering routes, finding tools and disguises, and figuring out the best places to utilize them. If you're familiar with Hitman, you know that each stage and its AI inhabitants run on routines like clockwork, making Hitman a game that rewards social stealth and patience. Eavesdropping, tailing, and passive observation are good first steps to success. Even the Whittleton Creek stage, a small, sparsely populated suburban block in Vermont, feels like a mindmap of interconnected causality when you begin to dig deeper. Having the curiosity to uncover how things operate within levels, stumbling upon minor plotlines and amusing flavor dialog along the way, is interesting in its own right.
Hitman does make an upfront effort to help focus your scope and give you some momentum toward your objectives, though thankfully your initiative is still necessary to solve some predicaments. Stumbling across a Mission Story (previously known as Opportunities) might lead you to a machine you can sabotage, for example, but you need to find the tool to do so and work out the best method of either distracting or dispatching the people around it.
Mission Stories are a great first step, but Hitman becomes its best when you start to internalize the stages and uncover the more obscure ways things can unfold in subsequent playthroughs, be it through pursuing alternative Mission Stories, Challenges that ask you to perform specific tasks, or your own improvisation. There are few fail states other than your own death, and there are so many approaches and tools at your disposal that the path to victory can be as creative and elegant or as bumbling and messy as it needs to be. Completing a stage typically takes a long time, and there will be plenty of moments when a guard catches you doing something you shouldn't be doing and calls for backup. Unhinged gunfights still feel as futile as ever, but when things get out of control there's almost always the opportunity to escape to a less hostile part of the level, swap your disguises, and come up with an alternative "make do" approach. In fact, Hitman is sometimes more exciting when your initial plans fail.
The only problem with being presented with such a staggering array of interactions is that the limitations of the sandbox will eventually reveal themselves if you push the wrong way. For example, while you can stash bodies in dumpsters and closets, I was disappointed to discover I couldn't stash them in one of many vacant portable toilets. While Agent 47 can leap tall fences and shimmy across daringly high ledges, he seemingly can't muster the courage to drop down from certain first-floor balconies. Guard AI behavior is stern but generous--if you're found trespassing in a restricted area they'll give you a chance to find the exit before reacting, but sometimes it's too generous. I was amused to see a target's personal bodyguard decide to go home for the day after his employer "accidentally" fell off a building, even though I was the only other person in the room.
Hitman 2 continues to embrace a trial-and-error playstyle in its campaign. The levels are long, but autosaves are generous and manual saving is encouraged, which gives you the freedom to experiment with different ways of approaching a problem. And the closer you get to bending the systems in just the right way--trying to narrowly squeeze past a guard's sightline from different directions, or using coins and cheeseburgers to divert someone's attention--the more thrilling it feels, no matter how goofy it actually looks. Hitman 2's interstitial cinematics are as grim and dramatic as a British espionage drama, and it's hard not to let yourself buy into the clinical overarching conspiracy. But in the field, the series' tongue-in-cheek absurdity happily remains with ridiculous costumes, unlikely weapons, and Agent 47's self-aware deadpan acting, which perfectly accompanies any bumbling improvisation. Both exist distinctly, don't really compliment or detract one another, but are still enjoyable in their own right.
Hitman 2 also boasts a few significant modes outside of its campaign, including Sniper Assassin, which adapts the design seen in the Hitman: Sniper smartphone game and tasks you with taking out a series of targets from a single vantage point using only a scoped rifle. It's a straightforward but enjoyable, low-stakes mode that allows for a surprising amount of creative freedom, and it can be played in two-player online co-op. But Hitman 2's most enticing bonus, at least if you own the previous Hitman, is the ability to download the original stages into Hitman 2, which gives you feature-complete versions of them with the addition of new mechanics like functional mirrors (which enemies can spot you in) and the briefcase (which lets you conceal and transport tools discreetly), among other things. These legacy stages are wonderful to revisit under a new light.
It should also be mentioned that one of the most compelling elements of the 2016 Hitman was the continuous, free live content updates that occurred after the game's launch. Escalation Missions, where you're given specific conditional challenges of increasing difficulty, and Elusive Targets, limited-time events where you have only one chance to take out unique assassination targets, added tense trials that tested both your knowledge of levels and improvisational skills. IO Interactive has announced that these familiar features will be making a return, along with free content updates to Sniper Assassin and Ghost Mode. We obviously can't judge the quality of this content at launch, but it's surely something to look forward to.
The addition of other minor mechanical changes--like concussive weapons, a picture-in-picture enemy activity alert, and visible security camera sightlines--help to improve Hitman 2 overall as a dense and accessible stealth assassination game. But the new locations are the real stars, impressive and inventive sandboxes ripe for picking apart with exciting experiments. Hitman is about experiencing the anticipation of seeing whether a plan will work when you try it for the first time. It's about feeling the tension of briskly walking away from a bad situation, hoping you can lose the suspicious guards. It's the satisfaction of knowing the machinations of a level so well that when a target moves into a particular place at a particular time, you have the perfect way to intervene. Hitman 2 is a familiar experience, but in the Hitman world, familiarity is an incredible strength.
Timed to coincide with the 100th anniversary of the armistice treaty signed on November 11, 1918 that ended World War I, 11-11: Memories Retold follows the stories of two men swept up in terrible events (mostly) beyond their control over the course of two years on the Western Front. A collaboration between Aardman, the animation studio best known for the Wallace & Gromit TV series and films, and DigixArt, a fledgling French game development team, it's a visually striking adventure game that foregrounds its occasionally moving, occasionally ludicrous narrative atop a layer of light puzzling and collectible gathering.
The intertwining story sees you play as both Harry (voiced by Elijah Wood), a young photographer from Canada who finds himself in France shooting film--not foe--for propaganda purposes at the invitation of a British major, and Kurt (Sebastian Koch), an older German electrical engineer who enlists when he receives word that his son's unit has gone missing. Their tales are connected, of course, and at key moments in each chapter your control will switch from Harry to Kurt and back again, often multiple times. Later, there are even scenes in which you are free to switch between them, and a third character, whenever you wish.
Each man's journey plays out across a France (and bits of Germany and Canada) that is rendered like an oil-on-canvas painting, the thick individual brush strokes and contrasting colours an obvious nod to the Impressionist style that was still en vogue in the early 20th century. It feels like each scene is being painted in real-time as you walk around, as the brush strokes flicker in a manner suggesting an artist constantly reapplying paint on canvas. From the crackling ember reds of a battlefield to the dappled whites and yellows of an idyllic farmstead, the unique art direction succeeds in setting the emotional tone of each scene. The overall effect is quite startling and very often beautiful.
What you're actually doing inside each scene is rather more conventional. Harry and Kurt walk--and occasionally crouch or run--around a series of mostly small locations, talking to people and picking up dozens of collectibles. Helpfully, you always have a specific objective to accomplish; in Harry's case it's typically whatever task Major Barrett has ordered him to perform while Kurt's pursuit of his son's whereabouts is often derailed by the whims of his own superiors. Regardless, most objectives are easily completed by simply walking to the desired destination, interacting with a certain object or talking to the right person. Sometimes there's even a box to push out of the way or a couple of levers and dials to fiddle with, but absolutely none of it is in any way taxing.
This is for the best, perhaps. At least, it means the story takes center stage and you're not in any danger of getting stuck on a puzzle and finding yourself unable to see that story to its conclusion. More than that, though, it also works because the story 11-11 tells is genuinely good. Sure, it's a romanticised version of World War I that doesn't really confront the senseless brutality of trench warfare or the sheer scale of human loss and suffering that resulted--there's but one scene where you don a gas mask, for example, and when Harry is finally called upon to go "over the top" he's more focused on getting a few good pictures than whether he'll survive the mad dash into no man's land. But the story works because Harry and Kurt are convincing characters whose flaws and motivations remain all too real no matter what the war throws at them. The plot may contrive to see the lives of the two men intersect in unlikely fashion, but they themselves are utterly believable and empathetic until the very end.
Further, the story works because you are given choices to make at critical junctures. Each choice feels weighty and full of consequence. I didn't replay scenes to see how things could have played out differently--and perhaps the rippling effects are minimal--but I didn't want to. What matters is that the import of the decisions I made was felt in the moment I made them, and ultimately I was more than satisfied with how my version of the story ended.
Where the story undermines itself, however, is in its pacing. Or, to be more accurate, in how certain pieces of the story are locked behind collectibles, the search for which sees you get bogged down in scouring every area for hidden documents and items rather than keeping the plot ticking over. Not to mention that it's quite silly when Kurt's ordered to quickly fix a radio during an attack while you're thinking, "Hang on, let me just check if there's anything I've missed down the other end of this trench…." You can ignore the collectibles, but you'll also be missing out on story content.
When it comes together, whether in moments of high drama and urgent choices or in the quiet interludes that follow, 11-11 draws you deep into the lives of these men. When it misses the mark, whether through an implausible coincidence, a throwaway puzzle or tedious collectible, it can push you away and cause the surrounding narrative beats to fall flat. It's uneven, yes, but there's undoubtedly more good than bad, and there are poignant scenes, tense moments and breathtaking images that will resonate long after the end credits have rolled.
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