Titanfall - Review (Xbox One)

It’s loud, rambunctious, audacious and quite frankly, rather fun. Delivered by the guys who transformed the online first-person shooter with the Call of Duty franchise, Titanfall is the latest bombast mash-up of grandiose campaign and multiplayer madness to hit the gaming sphere. 

Published by Electronic Arts and developed by newly created Respawn Entertainment, (founded by the original architects behind the Call of Duty creator, Infinity Ward) Titanfall pits players into a futuristic backdrop titled, The Frontier. Earth has been all but left behind and now generations of humanity are residing in the deepest reaches of space. Players are dropped into the distant frontier, which is currently being ravaged by war. A persisting conflict between the Interstellar Manufacturing Corporation, (IMC) a massive industrial company seeking to enrich further resources and the Frontier Militia, a combination of colonists, mercenaries and pirates collectively rising together as citizen solders, discontent with the IMC’s exploitation of the Frontier.      

The story allows players to compete in both, the IMC and the Militia and is integrated across nine maps and two modes of play; Attrition, which is essentially Team Deathmatch, and Hardpoint Domination, where you acquire points for holding three capture points, titled A, B and C respectively. Throughout the campaign commanders and officers appear in a small video link in the right of your screen helping the story to evolve, blaring objectives and bickering amongst themselves in an assortment of stereotypical personalities and accents, from cavalier Americans to a grouchy Londoner, who sounds very much like Idris Elba. Though the story draws on noticeable parallels with Killzone and Red Fraction, it is more than adequate for a first-person shooter and to be perfectly honest, few people have turned their attention to Titanfall for a well scripted, engaging and original story. 

Instead, Titanfall provides gamers with an ultra fun and incredibly fast and fluid multiplayer-only experience with the emphasis on killing the opposition, achieving varied objectives and gaining experience points, enabling your character to level up and in doing so, unlocking superior gadgets and weaponry. It may sound all too similar to the creator’s other famous shoot-em-up franchise, however Titanfall has a few fundamental differences, the main one of which is given away in the title. Yes, the Titans themselves. Piloting these giant 20-foot robotic war machines that burst down from the sky and allowing you to clamber aboard and stomp around the terrain, brawl with other Titans and crushing the infantry on the ground provides many hours of riotous fun. Not just inferior with its size, each titan is equipped with it’s own array of weapons including a Quad Rocket, Plasma Railgun and an Arc Cannon as well as armed with a Vortex Shield, allowing you to catch projectiles fired at you and returning them straight back at the enemy.  

Though the magnitude of the titans may seem unconscionable when fighting on the ground, you will be forgiven for thinking being on foot plays second fiddle to piloting these mechanical monsters. However when you are not in your titan, you are efficiently equipped with anti-Titan weapons, a jet pack allowing you to chain together wall jumps and tactical abilities including an invisibility cloak. One of Titanfall’s best features is the simplicity of movement around each level. Reminiscent of 2011’s Brink, which incorporated a first-person shooter with parkour-style movement, Titanfall excels with a great fluidity of action and warfare across each map, allowing users to be in the thick of the action throughout the entire performance.     

Visually, Titanfall looks sublime on Xbox One, with crisp, sharp and gorgeous environments bestowed for all to see, though due to the chaotic carnage proceeding all around, you probably wont have too much available time to take all of it in. On looks alone, Respawn’s debut is a gorgeous-looking attempt however; it doesn’t feel like a truly next-generation benchmark setter, especially with the potential capabilities of the next-gen consoles. The graphics max out as expected in alluring beauty with HDR lighting and polished detail, but the game itself doesn’t incorporate particular features that would have elevated Titanfall to the top of the tree of online shoot-em-ups. No destructive scenery, evolving maps or even any movement of terrain or vegetation. Ok, that might be asking too much of a first endeavour from Respawn, but they may have missed a trick in fundamentally separating Titanfall completely from other multiplayer-based shooters such as Battlefield or Call of Duty. Because of this, visually, Titanfall is more evolutionary rather than revolutionary.     

Another criticism of Titanfall is the game’s unimaginative inclusion of tried and tested multiplayer modes. Again, Respawn have missed a trick here in really aiding the game’s next-generation feel with game structures and modes that remain all too recognisable, too cautious and convenient compared to it’s blistering and innovative gameplay. Attrition is basically Deathmatch, Capture the Flag is available on nearly every-single first person shoot-em-up game and Pilot Hunter is just Deathmatch where players can only gain points by killing other pilots rather than destroying Titans and grunts. The most inventive mode available is the Last Titan Standing option, which pits players in a Titan as soon as the game commences with the aim to kill off your opponents and remain as the only Titan still operating at the end of the round. Including traditional multiplayer modes isn’t the worst idea imaginable and it’s never bad to feel nostalgic and to reminisce over classic multiplayer modes, but the lack of originality in Titanfall’s multiplayer is another deficiency that holds it back from becoming a genre-revolutionary game.   

Overall though, the underlying experience of playing Titanfall is one of revitalisation and reinvigoration, taking a familiar FPS formula and making it feel contemporary and dynamic, though it's a shame it relies so profoundly on the familiar. The game modes, arsenal, sprint speed are all derived from some of the most successful online shooters of recent times, but by renovating the way you move across maps, Titanfall fully reinvents what it feels like to play and compete in a recreational shooter. It ticks all the boxes on how a game should really be; fun, easily accessible and worthy enough for you to come back for more. The high-octane action intertwines fantastically well with the muscular, tactical titan battles, creating mass-scaled battlefields that prosper in indulgence and possibility. Titanfall, though not in such a leap that may have been expected before its release, is still a commendable surge forward for the online shooter, combining the energetic and new with the tried and sincere to establish something extremely fun and entertaining. Not without it’s issues, Titanfall remains as the most important exclusive for the Xbox so far and with an inevitable sequel in the minds of it’s makers, these concerns will no doubt be amended next time. But until then, Titanfall remains one of the most enjoyable and invigorating shooters the genre has seen in years.    

  

   

Black Stone Cherry Magic Mountain

Ignore the album title, (because lets face it, it’s pretty awful) Black Stone Cherry’s fourth instalment in their admirable crusade of southern hard rock, is a commendable effort and a decent listen. Released via Roadrunner records and produced under the expertise of veteran rock architect Joe Baressi, (QOTSA, Bad Religion, Soundgarden) Magic Mountain sees the Kentucky foursome return with fresh material invoking similar attributes of their previous efforts; brash down-tuned guitar hooks, quick-paced fretwork, melodic and harmonious choruses and that signature southern rock sound stapled forcefully down since their debut eight years ago. 

Since their self-titled debut, the band have solidly enhanced their hard rock repertoire, along with successful tours with Lynyrd Skynyrd, Whitesnake, Alter Bridge and Bad Company and prominent appearances at the Download festival, Black Stone Cherry have earned a devout following across the UK and US. Regarding their third release, Between the Devil and the Deep Blue Sea, many argued they had swapped their unique sound and focused on a radio-friendly approach. To quote a favourite term from music fans, it was disputed that they had “sold out.” That said, Magic Mountain musically is much closer to their first two albums. Reminiscing that harder-edged rock sound that won them much praise earlier on in their music careers, the sound in BSC’s latest release, is very similar. Equivalent to what was probably expected from their fans, more importantly, the album is just as entertaining to listen to as their first two offerings.

The album opener, “Holding on…to letting go,” commences the record with trademark unapologetic, brutal and down-right heavy riffs before unleashing a high tempo chorus and energetic breakdowns. Immediately follows is “Peace Pipe,” a groove-laden anti war number featuring smooth vocals from front-man and lead guitarist Chris Robertson and exhibiting an impressive guitar solo. Magic Mountain continues to throw up dynamic rock anthems; “Bad Luck & Hard Love,” “Fiesta del Fuego,” and “Never Surrender,” with the former executed with Alter Bridge-like precision and exactitude and heralding one of BSC’s most impressive riffs to date. “Me And Mary Jane,” combines blues-inspired licks with the band’s formulaic modern rock sound, showcasing the edgy, hard rock swagger that separates them from the likes of Nickelback and Theory of a Deadman. Though the song is simple and uncomplicated, it still kicks a serious bite, with unashamed arrogance and aplomb and shrewd use of production effects, it will no doubt become a firm favourite on rock radio stations. As with previous efforts, BSC still have a soft spot for rock ballads with “Runaway” and “Sometimes” holding the sentimental flag through Magic Mountain. The stripped-down  “Sometimes,” is one of the highlights on the record, drawing parallels in sound with Pearl Jam, the tender ballad is a timely reminder of how impressive BSC are at pausing the high-octane rock and roll sound and expressing a more affectionate side.

Though Magic Mountain is an impressive effort, the album does have its flaws, which in turn prevents it from matching or bettering BSC’s first two records. Once the 13-song compilation is concluded, it feels certain songs should not have been featured and that more focus should have been paid in seeing a far more accomplished package of songs constructed. The title track of the album is a weak link, suffering from repetitive song structuring and bedlamite lyrics and lacking artistic merit. If it was an extra or a B-side track then it would probably go unnoticed, however the title track of an album of this magnitude should be far stronger and more imaginative then “Magic Mountain.” “Hollywood in Kentucky” and “Dance Girl” are also examples of BSC losing slight focus on constructive and original song writing. Both tracks incorporate stereotypical and at times futile lyrics, disappointing considering the band’s usual erudite and polished core on lyric writing.     

Despite this, BSC’s fourth album is a welcome return to form from a quartet very much assured in their continued presence within the 21^st Century’s selection of hard rock acts. The record showcases the band members at the peak of their playing abilities. Chris Robertson’s vocals throughout Magic Mountain are as dominant as always, proving why he is currently one of the best in the business. Ben Wells on rhythm guitar adds to the great dexterity of BSC’s riff-making process and provides an excellent backup to Robertson’s lead playing. On bass, Jon Lawhon, is as prominent as ever, just like in previous albums, his lusty and resounding grooves really power the music to a greater level. Drummer John Fred Young, BSC’s secret weapon with his belligerent, aggressive and masterful force behind the kit, comprehensively induces all elements of the heavy rock genre that Black Stone Cherry lives and breathes by. Magic Mountain might not be the band’s landmark album that will empower them into rock and roll history, though it is still an excellent attempt from a band continuing to elicit powerful and enjoyable rock music to fans of this genre. Black Stone Cherry are better than most modern acts in displaying their own character and distinctive nature within their music and Magic Mountain is no different. Notably enlisting passion, depth and full-force rock and roll from start to finish, BSC’s latest instalment, though not defining their evolving legacy, will certainly help to prolong it.     

  

Kevin Pietersen - The Divided Issue

Just over a week has passed since the ECB’s decision to rid cricket fans of one of the most talented batsmen the game has produced and still a definitive explanation for his dismissal has yet to be announced. Evoking plenty of speculation, social media reaction, fervent support from a media mogul and vigorous arguments on either side of one of the most contentious debates in Cricket’s long history, yet still no one but the officials in charge of the national side know the full reasons behind the release of their star player. For those who have been living under a rock for the past eight days and are unaware of England’s latest bewildering issues following The Ashes debacle, here it is in a nutshell; Kevin Pietersen’s flamboyant and highly controversial England career was concluded by the ECB last Tuesday.

In an international career spanning ten years, comprising of exhilarating innings, extraordinary shot selection and brandishing a pugnacious style that has transformed this most calming of sports, Kevin Pietersen’s England stay was as problematic as it was brilliant. However his undisputed ability was unable him to save him from the England stalwarts and Pietersen was shown the door, following the footsteps of his team director, Andy Flower the week before. Just as with the departure of Flower the proceeding week, there was no news conference or interviews and therefore no chance or opportunity to ask justifiable and warranted questions behind the reason to jettison such a prestigious talent. Instead what has been left is a series of extremely brief and terse scripted statements from England’s governing body, causing excessive rumour and conjecture. Instead of thoroughly explaining the matter, the ECB’s static stance of not elaborating reason has caused many assumptions and claim and counter-claim, leaving a sour taste in the mouths of cricket followers, scratching their heads wondering what on earth is happening.

After the statement reading that Pietersen’s contract was axed with no discernible explanation, media coverage was full frontal. Twitter exploded with Piers Morgan in particular waving the flag for Pietersen creating the hashtag “#ECBClowns,” the back pages of every national newspaper dominated the dismissal as did Sky Sports, including a noteworthy tribute to the South African-born batsman; Kevin Pietersen, his finest innings and even sympathy from the Prime Minister. Journalists and ex- players, English and international got involved as did huge number of cricket fans the world over expressing their views on the decision, some in support, most strongly disputing that the ECB had got it completely wrong. With such media backlash, the ECB was forced to front up, explain and validate the truth behind Pietersen’s exit. Five days later a joint statement with the Professional Cricketers’ Association was released stating that Pietersen's international career was ended so captain Alastair Cook could create a culture where players trust each other. It went on to defend the ECB’s absence of explanation and that it had “been a matter of great frustration that until now the ECB had been unable to respond to unwarranted and unpleasant criticism of England players and the ECB.” Despite a vague summary of the departure, the statement was a huge disappointment and only caused more of an obstacle and dilemma on this increasingly embarrassing predicament. For many of us demanding clear-cut reasons for Kevin Pietersen's departure, the statement did very little to enhance understanding and improve moral towards the ECB. Seemingly a reaction to the criticism, which has been directed at the ECB from many sources outside the game rather than a diligent list of reasons for Pietersen’s exit, the statement only went on to defend the integrity of those who have come under what they have described as unwarranted and unpleasant criticism.

While not elaborating on specific events, no single flashpoint or confrontation, it was deemed by Paul Downton, England’s new managing director that the necessary trust required to propel the England team functioning well was disintegrated by a series of minor incidents. One incident in particular surrounds Pietersen’s apparent disagreement with Andy Flower in a team meeting following the Fourth Test at Melbourne, which led to his relationship with the former team director breaking down completely. Though trust and team ethics is a fundamental part of team sports, it appears strange the mutual trust which Pietersen spectacularly broke in 2012 when he sent derogatory messages about England captain Andrew Strauss, to the touring South Africans was forgiven but this is not. Following his retirement after the third test Graeme Swann told the media that rumours of rifts in the dressing room were completely made up and that Pietersen’s behaviour had improved drastically since the “textgate” episode in 2012. With Andy Flower out of the picture and appearing to take the responsibility for the Ashes humiliation, it is hard to fully understand the exit of England’s best player too. If Pietersen was this self obsessed, arrogant and far from team player why wasn't this scripted in a dignified and appropriate manner within a statement by the England Cricket Board? If he was this troublesome and abstruse character in the dressing room why was he allowed to play in all five test matches of the Ashes? Everywhere Pietersen has gone he has proved to be a decisive individual, whether it was in his native Natal side in South Africa or during his county career at Nottingham, however his brilliance on the pitch and ability to play unthinkable innings outweighed his troublesome personality. The ECB was responsible for this decision and to adequately explain the exact reasons why. Instead they brandished a dissembling, self-justification and a futile exercise in damage limitation, showcasing a governing body obsessed with image and presentation rather than achievement.     

Despite the belligerent nature surrounding Pietersen’s exit from the international scene, it will be a great shame, not just to England but world cricket that he won’t be performing in his adopted country’s colours again. Casting his inconvenient issues aside, world cricket will be robbed of one of the most talented batsmen to grace the game. Pietersen was the outsider from South Africa who attracted people to cricket. His talent made people sit up, exit the bars in cricket grounds around the world and watch in amazement as he tore apart some of the best bowlers in the world with minimal effort. His talented nature appeared different, rare and peculiar to those of us with lesser ability, who would imagine ourselves with an inch of his genius guarding it in a jealous fit, however Pietersen demonstrated it on the world stage and could not have batted the way he did without being the man he is. There were some batsmen more proficient and skilled, but his instinctive ingenuity and originality pushed him to a higher level, becoming possibly the most feared all-round batsman in the world. His game was based on creativity and immense power and it's no exaggeration to say that he caricatured the level of batsmanship, along with the likes of Chris Gayle of the West Indies and Virender Sehwag of India, creating a whole new dimension of stroke play. His stats elate to an impeccable career: 8,181 runs at an average of 47 in 104 Tests, 4,440 runs in 136 one-day internationals, 1,176 runs in 37 Twenty20s. He is England’s leading run scorer in Internationals, the fastest man in terms of time to reach 7000 Test runs, he has more Test appearances than Wally Hammond, Ted Dexter and Peter May, a higher Test average than David Gower, Geoff Boycott and Colin Cowdrey, and second only to Alastair Cook with most Test centuries for England. His career will never be seen as complete and his talent has certainly not been wasted. As of today The Delhi Daredevils have paid £800, 000 for his signature and a return to the IPL. Now not committed to England duty he will become a Twenty Twenty mercenary across the globe and after the way the ECB have treated the issue, who could blame him? Pietersen's legacy is not one of numbers, but what his batting has meant to those who have watched it. Three players will be in line to take his position in the Test side: Eoin Morgan, Gary Ballance and James Taylor. All three will be pushing for selection, but not for many years has the England team looked so exposed and weak. If results don’t go England’s way, a new scapegoat will be made, this time not Pietersen but instead the people responsible for his departure.