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Game Reviews

‘The Division 2’: The Mother of All Looter-Shooters

No matter what else I could say about The Division 2 it’s an incredible amount of fun, either as a solo experience or played co-operatively. For that reason alone it’s more than worthy of your money and your time. Not only is it fully-featured launch but it’s a game that will only continue to grow in both genre relevance and entertainment value as time goes by.



The Division 2 represents a new gold standard for the entire looter-shooter genre. Far from being designed as a vehicle for micro-transactions like Activision’s Destiny 2 or a manufactured trend-chasing cash-in like Apex Legends, The Division 2 is a worthy sequel that even so soon after launch looks certain to drive the franchise forward into the late stages of this gaming generation and into the next. Its practically impeccable environmental design and almost unnervingly compelling core gameplay loop definitely qualify it as a game that can bring about a serious case of “one more turn syndrome”. If soccer is a game of two relatively boring halves, then The Division 2 is a game of relentlessly entertaining fifths. At present, the base game is divided into five segments, across upwards of over fifty hours of content that more than offer value for money.

The initial leveling experience from ranks one to thirty constitutes the bulk of what the game has to offer. Players begin as a freshly activated Division agent ready to liberate Washington D.C from the various anarchic terrorist factions that seek to carve it up for their own profit and power. As with the previous game, progression across the map is governed by level-gated access to the various districts of the urban warzone that the once mighty and proud city has been reduced to. Players are tasked with liberating each district step-by-step by defeating the rogue paramilitary and mercenary factions that have carved up the city into their own personal fiefdoms. Accomplishing that objective involves completing a mission centered around the acquisition of critical intelligence, the recruitment of individuals with crucial skills, and securing control of a strategic resource or location. Each mission is compact enough to never overstay its welcome, they’re just long enough so that they feel like a significant task has actually been completed. This feeling is only enhanced by the way in which overland objectives on the city map tie into the overall mission progress in the campaign, so that even during moments of relative downtime there is always something happening. Such a combination of tightly designed main missions and variable supporting activities makes The Division 2 one of the most varied and flexible looter-shooters on the market.

Once the main story is complete and it seems that some semblance of order and stability has been returned to the city, players of The Division 2 are treated to a gameplay twist of such magnitude that it wouldn’t be out of place in an M. Night Shyamalan movie. The victory that players have worked so hard to achieve is put into perspective as only a part of a much larger conflict. No sooner has Washington been saved than it is threatened again, by yet another rogue military organization once charged to defend it. In practical terms, this opens up a tiered progression system that guides players through previous content that has been dramatically altered to mix-up the end game experience. New enemy types and mission objectives emerge to keep the experience fresh, and a constantly shifting power balance on the city map creates a sense of a game world that actively requires the player’s presence rather than asking them to just passively exist in the background. Although, of course, the core loop involves the acquisition of new loot through mission replays and the refining of character abilities to the point of statistical perfection, it is the emergent nature of the open-world gameplay that ensures no two sessions will ever be completely identical.

As with all games as a service, The Division 2 would not be complete from a corporate perspective if it didn’t include a full array of micro-transactions to further monetize the player base. As ridiculous as it sounds, it’s actually refreshing for titles like this to launch without sickeningly exploitative in-game stores. Massive Entertainment and Ubisoft seem keen, for the time being at least, to take a softly-softly approach to how they generate ongoing income through recurrent user spending. Everything available in the store is entirely cosmetic and completely optional, with absolutely zero pay-to-win necessities. Naturally, some of the cooler outfits and weapon skins are purchasable, but they can also be unlocked by acquiring cosmetic cache key components when players reach certain XP thresholds. Beyond that, the game throws so many cosmetic items at you over the course of normal play that it never feels necessary to dip into your wallet to create an appealing appearance for your character. As time goes on we’ll see how that situation changes, but for now The Division 2 has avoided being as egregiously exploitative with its micro-transactions as The Elder Scrolls: Blades. Hopefully, it will continue to offer the companies involved a sustainable revenue stream without ever sinking to the kind of blatant daylight robbery that executives over at Bethesda seem to have become comfortable with.

Whilst The Division 2 is unquestionably an improvement over its predecessor, it still doesn’t manage to avoid all of the problems common to the genre. Variations on a theme aside, there’s still a finite limit to the fun of any repetitive activity. Grinding your way towards statistically perfect gear or refining skill and weapon combinations is satisfying in its own right but eventually, you will hit a point when the risk of boredom outways the shininess of the next loot drop or mission reward. However, by being conspicuously generous with its loot drops it makes sure that even if the gear you find isn’t exactly a direct upgrade then it can at least be turned into useful components, sold for currency or kept in reserve if it has a trait worth transferring to another item at a later date. The repetitive nature of the gameplay mechanics has been a death knell for similar titles in this genre, but by providing a clear roadmap for future content updates and events as well as frequent balance patches it would appear that The Division 2 is not going to collapse under the weight of its own ambition as EA’s Anthem has recently begun to do.

I’ve always found it difficult to draw firm conclusions about games like The Division 2. There’s something about the looter-shooter genre that always seems to defy objective analysis. Unlike titles that seek to tell an enthralling story, make a particular point, or highlight topical issues there’s only so much that a looter-shooter needs to do, and that’s not a lot. That’s not to say that they don’t have to reach a certain standard – as these days the bar for even mediocre games is set quite high – but more than anything else they only have to prove one thing: that they’re fun. No matter what else I could say about The Division 2 it’s an incredible amount of fun, either as a solo experience or played co-operatively. For that reason alone it’s more than worthy of your money and your time. Not only is it fully-featured launch but it’s a game that will only continue to grow in both genre relevance and entertainment value as time goes by.

Chris is a Cambridge, UK based freelance writer and reviewer. A graduate of English Literature from Goldsmiths College in London he has been composing poetry and prose for most of his life. More than partial to real ale/craft beer and a general fan of sci-fi and fantasy. He first started gaming on a borrowed Mega Drive as a child and has been a passionate enthusiast of the hobby and art form ever since. Never afraid to speak his mind he always aims to tell the unvarnished truth about a game. Favourite genres: RPGs, action adventure and MMOs. Least favourite genre: anything EA Sports related (they're the same games every year!)

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Game Reviews

‘House of Golf’ is No Hole-In-One, But it is Below Par

‘House of Golf’ may feel appropriate for Switch, but a lack of variety and reused content make this course nearly reach above par.



Perhaps adding the word “mini” to the title would have been far more appropriate regarding the in-game circumstances of Atomicom’s newest family arcade sports styled game House of Golf. In the slew of golf games currently available on the Nintendo Switch, House of Golf may feel the most appropriate for the console’s capabilities due to its key focus on simplicity, portability, and accessibility, but a lack of diversity in individual hole design and reused content nearly makes this humdrum course reaching above par.

Simplicity is a key focus within House of Golf’s core mechanics. Controls, menus, and even gameplay are as simple as video games can get. The left analog stick operates the camera and holding down the A button fires your ball with a distinct power meter located on the right-hand side of the screen. Your goal is to attempt to achieve a hole-in-one or stay below a par number that changes depending on course and difficulty- just like regular golf, mini-golf, or any form of golf you can imagine. It never gets more complicated than that.

House of Golf may claim that its selling point is that it contains over 130 different holes divided into 5 different environments- or rather rooms- and 3 difficulties, but variety becomes bland after less than an hour of playtime. Despite there being five different environments, after completing one course on either the medium or hard difficulty setting, you practically have experienced all there is to do. Courses always remain compact and easy to navigate, but the game never gets challenging or adds some sort of flair that allows each hole to stand out from one another. It is a shame considering that the fluid gameplay foundation the courses are built on might just be the most tightly controlled golf game available on Switch.

As the title of the game implies, every course is designed around the interior aesthetics of a house- a rather small one at that as the game chooses to focus on table-top scenarios- quite literally. Each hole is rapid-fire short and manages to achieve a miniature sense of scale. They are stylized well but the game often reuses assets for each room despite the settings being entirely different. The atmospheres themselves manage to create a comfy aesthetic for each hole that only adds more cheerful feelings to the laid-back easy-going gameplay on top of a soundtrack that is extremely mellow yet quaint, but when you are on a nine-hole course that never completely changes that atmosphere can become tiresome.

What initially seems like House of Golf’s greatest strength though is being able to choose any environment, hole, and difficulty directly from the get-go, but this feature quickly takes the game south rather unintentionally. As soon as you open up the game, players can accommodate to their own personal skill level leaving the vast majority of them to skip more than a third of the levels. With no learning curve or incentive to play the game on its lowest difficulties, House of Golf rapidly begins to dwindle in new content.

When it comes to the ranking system, it is designed exactly like a traditional mini-golf game where your goal is to achieve a set number of strokes that will keep you above par. Stars will be awarded to players based on performance- a hole-in-one obviously being the highest gold star rank a player can achieve and a triple-bogey being the lowest. These stars, however, only unlock one feature: golf ball designs.

Extra unlockable golf ball designs are the only in-game rewards to collect throughout the game- and it is nothing to look forward to or worthwhile to commit to. They are charming to gander at for more then a couple of seconds, but they serve no real purpose in the long run- not even when it comes to the multiplayer. Rather then these rewards being applied to each individual player’s ball, House of Golf does not allow players to choose what golf ball design they wish to use. For some ridiculous reason, whatever player one chooses is applied to every golf ball.

Speaking of, while the singleplayer can be rather tiresome, House of Golf’s one notable addition that might just keep you on the course for longer than a few hours is the inclusion of a local multiplayer ranging from two to six players. Multiplayer presents a higher-stakes challenge for each course, which makes gameplay not only far more satisfying to win at but overall entertaining to play. Due to the compact course designs, often you can mess with your friend’s positions and overthrow the score of each hole. Multiplayer was clearly the go-to way to play as it is the first option that appears on the main menu.

One thing that should be noted is that only one joy-con is required for everyone to play as there is no other option to use multiple controllers- a convenient addition that you have to wonder why more games do not have it on the Nintendo Switch. It is by far the game’s most redeeming quality that absolutely deserves mentioning. For a game where one player controls the field at a time, this streamlines a lot of issues outside even that of the game itself.

It is no hole-in-one to ride home about, but Atomicom has managed to create an arcade-style sports game that is a mix of both simplistically relaxing and mildly infuriating. In its final state, the lackluster courses can make this one turn into a quick bore, but adding a few friends to the multiplayer scene can turn House of Golf into a few delightful hours. At its retail price of ten dollars, any Switch owner planning on picking up House of Golf should wait for it to land in a sale target-hole. It is not bad by any means, but there are better places to look to fill your golf fix, especially those looking for a single-player experience. For a cheap alternative, however, it might just be worth it for the multiplayer alone.

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Game Reviews

‘Riverbond’ Review: Colorful Hack’n’Slash Chaos



Sometimes a little bit of mindless smashing is just what people play video games for, and if some light sword-swinging, spear-stabbing, laser-shooting giant hand-slapping action that crumbles a destructible world into tiny blocks sounds like a pleasant way to spend a few hours, then Riverbond might just satisfy that urge. Though its short campaign can get a little repetitive by the end, colorful voxel levels and quirky characters generally make this rampaging romp a button-mashing good time, especially if you bring along a few friends.

Riverbond grass

There really isn’t much of a story here outside something about some mystical leaders being imprisoned by a knight, and Riverbond lets players choose from its eight levels in Mega Man fashion, so don’t go in expecting some sort of narrative thread. Instead, each land has its own mini-situation going on, whether that involves eradicating some hostile pig warriors or reading library books or freeing numerous rabbit villagers scattered about, the narrative motivation is pretty light here. That doesn’t mean that these stages don’t each have their various charms, however, as several punnily named NPCs will blurt out humorous bits of dialogue that work well as breezy pit stops between all the cubic carnage.

Developer Cococucumber has also wisely created plenty of visual variety for their fantastical world, as players will find their polygonal hero traversing the lush greenery of grassy plains, the wooden piers of a ship’s dockyard, the surrounding battlements of a medieval castle, and the craggy outcroppings of a snowy mountain, among other locations, each with a distinct theme. Many of the trees or bridges or crates or whatever else happens to be lying around are completely destructible, able to be razed to the ground with enough brute force. Occasionally the physics involved in these crumbling structures helps gain access to jewels or other loot, but this mechanic mostly just their for the visual appeal one gets from cascading blocks; Riverbond isn’t exactly deep in its design.

Riverbond boss

That shallowness also applies to the basic gameplay, which pretty much involves hacking or shooting enemies and environments to pieces, activating whatever task happens to be the main goal for each sub-stage, then moving on or scouring around a bit for treasure before finally arriving at a boss. Though there are plenty of different weapons to find, they generally fall into only a few categories: small swinging implements that allow for quick slashes, large swinging implements that are slow but deal heavier damage, spears that offer quick jabs, or guns that…shoot stuff. There are some variations among these in speed, power, and possible side effects (a gun that fired electricity is somewhat weak, but sticks to opponents and gives off an extra, devastating burst), but once an agreeable weapon is found, there is little reason to give it up outside experimentation.

Still, there is a rhythmic pleasure to be found in games like this when they are done right, and Riverbond mostly comes through with tight controls, hummable tunes, and twisting levels that do a good job of mixing in some verticality to mask the repetitiveness. It’s easy for up to four players to get in on the dungeon-crawling-like pixelated slaughter, and the amount of blocks exploding onscreen can make for some fun and frenzied fireworks, especially when whomping on one of the game’s giant bosses. A plethora of skins for the hero are also discoverable, with at least one or two tucked away in locations both obvious and less so around each sub-stage. These goofy characters exist purely for aesthetic reasons, but those who prefer wiping out legions of enemies dressed as Shovel Knight or a sentient watermelon slice will be able to fulfill that fantasy.

Riverbond bears

By the end, the repetitive fights and quests can make Rivebond feel a little same-y, but the experience wraps up quickly without dragging things out. This may disappoint players looking for a more involved adventure, but those who sometimes find relaxation by going on autopilot — especially with some buddies on the couch — will appreciate how well the block-smashing basics are done here.

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Game Reviews

‘Earthnight’ Review: Hit the Dragon Running

Between its lush visuals and its constantly evolving gameplay, Earthnight never gets old, from the first dragon you slay to the hundredth.




In Earthnight, you do one thing: run. There’s not much more to do in this roguelike auto-runner but to dash across the backs of massive dragons to reach their heads and strike them down. This may be an extremely simple gameplay loop, but Earthnight pulls it off with such elegance and style. Between its lush comic book visuals and its constantly evolving gameplay, it creates an experience that never gets old, from the first dragon you slay to the hundredth.

Dragons have descended from space and are wreaking havoc upon humanity. No one is powerful enough to take them down – except for the two-player characters, Sydney and Stanley, of course. As the chosen ones to save the human race, they must board a spaceship and drop from the heavens while slaying as many dragons on your way down as they can. For every defeated creature, they’ll be rewarded with water – an extremely precious resource in the wake of the dragon apocalypse. This resource can be exchanged for upgrades that make the next run that much better.

This simple story forms the basis for a similarly basic, yet engaging gameplay loop. Each time you dive from your spaceship, you’ll see an assortment of dragons to land on. Once you make a landing, you’ll dash across its back and avoid the obstacles it throws at you before reaching its head, where you’ll strike the final blow. Earthnight is procedurally generated, so every time you leap down from your home base, there’s a different set of dragons to face, making each run feel unique. There are often special rewards for hunting specific breeds of dragon, so it’s always exciting to see the new set of creatures before you and hunt for the one you need at any given moment.

Earthnight is an acrobatic, dragon-hunting ballet that only becomes more beautifully extravagant with every run.”


Landing on the dragons is only the first step to slaying them. Entire hordes of monsters live on their backs, and in true auto-runner fashion, they’ll rush at you with reckless abandon from the very start. During the game’s first few runs, the onrush of enemies can feel overwhelming. Massive crowds of them will burst forth at once, and it can feel impossible to survive their onslaughts. However, this is where Earthnight begins to truly shine. The more dragons you slay, the more upgrade items become available, which are either given as rewards for slaying specific dragons or can be purchased with the water you’ve gained in each run. Many of these feel essentially vital for progression – some allow you to kill certain enemies just by touching them, whereas others can grant you an additional jump, both of which are much appreciated in the utter chaos of obstacles found on each dragon.

Procedural generation can often result in bland or repetitive level design, but it’s this item progression system that keeps Earthnight from ever feeling dry. It creates a constant sense of improvement: with more items in your arsenal after each new defeated dragon, you’ll be able to descend even further in the next run. This makes every level that much more exciting: with more power under your belt, there are greater possibilities for defeating enemies, stacking up combos, or climbing high above the dragons. It becomes an acrobatic, dragon-hunting ballet that only becomes more beautifully extravagant with every run.


At its very best, Earthnight feels like a rhythm game. With the perfect upgrades for each level, it becomes only natural to bounce off of enemies’ heads and soar through the heavens with an almost musical flow. The vibrant chiptune soundtrack certainly helps with this. Packed full of driving beats and memorable melodies with a mixture of chiptune and modern instrumentation, the music makes it easy to charge forward through whatever each level will throw your way.

That is not to say that Earthnight never feels too chaotic for its own good – rather, there are some points where its flood of enemies and obstacles can feel too random or overwhelming, to the point where it can be hard to keep track of your character or feel as if it’s impossible to avoid enemies. Sometimes the game can’t even keep up with itself, with the performance beginning to chug once enemies crowd the screen too much, at least in the Switch version. However, this is the exception, rather than the rule, and for the most part, simply making good use of its upgrades and reacting quickly to the challenges before you will serve you well in your dragon-slaying quest.


Earthnight is a race that’s worth running time and time again.”

It certainly helps that Earthnight is a visual treat as well. It adopts a striking comic book style, in which nearly every frame of animation is lovingly hand-drawn and loaded with detail. Sometimes these details feel a bit excessive – some characters are almost grotesquely detailed, with the faces of the bobble-headed protagonists sometimes seeming too elaborate for comfort. However, in general, it’s a gorgeous game, with its luscious backdrops of deep space and high sky, along with creative monsters and dragon designs that only get more outlandish and spectacular the farther down you soar.

Earthnight is a competent auto-runner that might not revolutionize its genre, but it makes up for this simplicity by elegantly executing its core gameplay loop so that it constantly changes yet remains endlessly addictive. Its excellent visual and audio presentation helps to make it all the more engrossing, while it strikes the perfect balance between randomized level design and permanent progression thanks to its items and upgrades system. At times it may get too chaotic for its own good, but all told, Earthnight is a race that’s worth running time and time again.

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