So this week I managed to snag a review copy of Tales of Tales first exploratory game; Sunset. It was nifty, and certainly interesting that I got interested in characters I had never met, so head on over to the following link if you want to give my review a read:
Thanks for checking back and coming to caesoose.com! This week, I reviewed Life is Strange Episode 3: Chaos Theory for VGChartz.com. As always, my editor (Craig Snow) done a fantastic job of cleaning up my review, albeit with deleting many parts I had already spent time writing. Alas the end result is amazing, so I’m not too concerned. If you want to give it a read, click the link below:
This week I’d like to show you the game I recently reviewed for VGChartz.com, called Not a Hero, a game about a purple Bunnylord that wishes to become Londons next mayor (crazy premise I know, but seriously, it’s awesome).
I recall seeing Ittle Dew years ago whilst I was in America, having just bought a Ouya on release day and browsing it’s store, I happened across Ittle Dew and decided to download it (since the Ouya had a try before you buy model). It looked interesting, and definitely unique, but I just wasn’t ready to splash $14.99 on an indie title which, from the sounds of things, “only lasted 3 hours”. I gave it a pass, and lo and behold, I haven’t really touched my Ouya since. Ittle Dew went forgotten for a year then, until that is, I happened to get a copy from Steam for a few pounds. That was a lot better for my wallet, and for the supposedly short playtime of the game. So, given that I bought the game 8 months ago, what made me finally get round to playing it? Well, this blog for one, but also the fact that I’m currently writing 5 weeks worth of reviews within a week to ensure I can spend those 5 weeks programming non-stop to finish my new game (which should be released by the time you read this). Given that Ittle Dew was meant to be short, I gave it a go.
It’s rare that you talk to other characters on the island, with most of the game taken up by puzzles and dungeons. The story (if you could say Ittle Dew has one), could be summed up in a sentence, so not much is done to tell it.
Ittle Dew starts out with a few postcards showing the story of how Dew happens upon the island you’ll be spending the whole game on, and why she stays. “I’m a pirate that seeks adventure”, she says, as you are then prompted to get on with the game and go into the first cave. There could have been more of a tutorial, but considering we’ve all played the dungeon adventure like Zelda before, it was appreciated that as a player I was able to just get on with the game.
The first dungeon explains the basics, with switches on the floor and blocks to move being a staple of the genre, but as the game progresses these basics become a lot harder, with blocks becoming icy, meaning moving them pushes them across the whole stage, or multiple switches requiring clever skills to move everything into place. After leaving the first dungeon, you’re introduced to the core plot of the game: You must find enough gold to buy different items, which will be used to solve more complex dungeons in order to finally take on the final boss in the castle to get a raft off the island. It’s with this core plot that the game becomes repetitive, with each push to the castle resulting in getting slightly further, only to come back to the gentleman to buy a new item.
In this single picture you can see the three item dungeons the game has to offer, with the castle in the middle. Each purchase of an item pushes you to either the volcano, swamp or forest, ensuring you master a item before you can proceed back to the castle in the middle to put it to good use.
Each one of the three items bought has it’s own dungeon to solve before you can claim the item as your own for good. Whilst this sounds trivial, it’s actually done pretty well, ensuring the player is adequate with an item before taking it back to the main castle. The three items are: The flaming sword, a sword which has the ability to set things alight (it will set logs alight and will destroy anything ice), the Transportation/block making staff (this is hugely useful and allows you to create the very blocks you usually push), and finally, the ice staff, allowing you to extinguish flames and freeze blocks, making them more mobile. This loop pushes you to think quite creatively when harder puzzles come into play, ensuring I was constantly on my toes whenever confronted by a new cave.
The graphics/art style are charming, and definitely a plus for the game. It feels very personal, making your time spent exploring the dungeons and island all the more enjoyable. You will encounter enemies throughout the game, but given the limited amount of mobility you have as a character, you will not enjoy the combat, so fights are few and far between. There are also boss encounters, but as I said before, they won’t be based around combat so much as they’re all mini puzzles in themselves. Irregardless, the style and controls were perfect for a game like Ittle Dew, where the core mechanic and core premise is all about the puzzles.
All the coins means all the prizes. The loop of getting coins and buying items can last as long as you like, with the game having multiple achievements for finishing it with only two items instead of the whole three you can buy.
So, is the game really as short as people say it is? Well, yes and no. Yes, because I genuinely completed the game within 3 hours and got an achievement for doing so. No, because there’s a damn lot of content to find on the island (I literally only had two heart pieces when I guess there’s a lot more). I barely scratched the surface when it came to replayability for the game, with multiple achievements for completing the game within 15 minutes, completing it with only 2 items instead of three etc. It all makes for an interesting premise, but one thats sure to be good enough to come back to.
So, was Ittle Dew worth the wait? It was certainly enjoyable in the few hours I played it, and I can’t help but think I missed a lot of content, so am really tempted to go back for more. Should you sink your money into Ittle Dew though? Well, if you’re a Zelda or Metroid fan who loved the puzzle elements more than the action, then Ittle Dew is perfect for you, with puzzles clicking into place after minutes of looking at them. Ittle Dew is dungeon puzzles (almost) perfected, so you really can’t go wrong.
So this week I take a look at Square Enix and Dontnod Studios’ latest in their new episodic adventure game series, Life is Strange: Episode 2; Out of Time. I thoroughly enjoyed this instalment, with massive plot twists and decisions to be made, it was always going to be a good one.
If you want to read my full review on it, click the VGChartz.com link below:
So this week I’ve linked this post to my review on Convoy Games’ first game, Convoy (confusing naming, I know). It was a bloody enjoyable game, and one which easily could be recommended to anyone who loved 2012’s FTL.
If you want to give the article a read, by all means click the link below to read it over at VGChartz.com
It’s a shame I didn’t get a review copy of The Vanishing of Ethan Carter months ago when it was released, the game seemed right up my street considering it was similar to games like Ether One. I wanted to play it, but not so much that I sunk £15 on the game considering it was around the time I was releasing my first game. I finally managed to purchase the game just the other day when it was £7.49 on the Steam store, and considering I’m between project at the moment, I decided I needed to see what all the fuss was about.
The game starts out with a with little introduction of the character you’ll be playing as, private detective Paul Prospero, a super natural detective from the sounds of things, as he instantly tells you that Ethan is seeing things that he shouldn’t be. You enter a forest from a tunnel, and so begins your journey through this strange and wonderful world that is Red Creek Valley. It’s not long before you come across the first hint as to what The Vanishing of Ethan Carter will entail, with a trap springing up from nowhere. As you approach it, you’re given the prompt to press and hold A on it to “sense” the item, a method of being teleported into a different realm, where things of the past can now be seen.
Portals appear many times throughout the whole campaign, allowing you to explore the world as it was in the past to make sense of the present.
The past doesn’t just reveal itself though, and objectives must be adhered to in order to get the portal open in the first place. Most of the time, this will just be a case of putting things back in their respective places before they were picked up and used as a murder weapon, but occasionally things will be mixed up. Once everything is in place, you’ll be able to travel through the portal and see the past events that lead up to the new persons murder, using snapshots of people as a timeline, it’s up to you to guess in which series of events led up to the murder, and order them in the correct manner to see the scene unveil itself before your eyes. It’s an interesting mechanic, one which allows you to get a better picture of the world without throwing anything in your face needlessly, with all the story being realised as you put the puzzle together.
The past in which you see scenes played out before you is fantastic, and reminds me of media like Sherlock Holmes as he imagines what happens in a room before coming to a conclusion. Sometimes the order of events can get a little confusing, but a little bit of trial and error is enough to suffice.
The game would be boring with the mechanic alone, so The Vanishing of Ethan Carter goes one step further and has mini-stories all throughout the world, each so vastly different from each other that it really messes with you as the player, but also makes the world feel so alive. An early example of this has you chasing a astronaut in the middle of a dense forrest, with dinosaur noises surrounding you. As you chase the astronaut, he disappears and reappears further away, pushing you to chase him even more. Eventually, his shuttle will appear, with a bright teleportation light appearing, taking him away. You run into this light to be then transported into outer space, a random occurrence for such a grounded game, but one that genuinely made me say “wow” out loud upon seeing it. Finally, you’re transported back to the forrest, but this time, with a voiceover of Ethan being shouted at by his brother, telling him that his stories are terrible and he should stop. A single page fills the screen, with a description of what you just done; you were just acting out Ethans story about a dinosaur chasing a light and never being able to use it’s claws again.
Strange rooms like this will always conjure up horror in The Vanishing of Ethan Carter, but for the vast majority of the game, your experience will be calm and adventurous.
Whilst The Vanishing of Ethan Carter may look like a big open world where you can tackle each puzzle as you come across it, this isn’t the case, as it’s actually fairly linear. Trying to skip ahead a few puzzles leaves you stumped for how to progress, for example how do you get past the gated entrance to the mines? If you follow the path the developers (The Astronauts) have made from puzzle to puzzle, you’ll easily be able to progress through the world, but deviate from it, and you’ll find it impossible to advance. That may sound annoying to some players who look at the marketing material and think the game is something it isn’t, but having a lovely big world like Red Creek Valley, where you can explore everything you can see, is actually a fantastic experience, one where I would get lost in the woods plenty of times because of my innate curiosity to explore large expanses.
It’s in the exploring of the big world that you’ll really feel a part of it, with gorgeous vistas and fantastic textures making the world feel alive, surreal, and certainly a graphical beast. There may not be much in the trees of the forest, but you won’t feel cheated for having walked through it to see a stunning sunset over a sublime town.
The vistas you’ll uncover whilst exploring the world of Red Valley Creek will sometimes leave you speechless, with horizons as far as the eye can see, and detail so magnificent it has to be seen to be believed.
I cannot finish this review without saying the following: I regret not buying The Vanishing of Ethan Carter when it was first released (despite not getting a review copy), because if I had, it would have easily been on my personal top 10 games of the year, and I would have personally championed it for GamrReview’s Game of The Year awards. The gameplay was fantastic, and whilst many people may not enjoy wondering around a world without much happening for 4-5 hours, I absolutely adored every minute I spent in Red Creek Valley, and would gladly do it again should The Astronauts develop something similar in the future. The Vanishing of Ethan Carter is easily one of the most polished narratively driven “walking simulators” I have ever play, and I would beg anyone who wants to know anything about games design and narrative to give the game a play. You will not be disappointed.
Given that Jon Snow has been shown consistently throughout all the marketing of this episode, you’ll be surprised to learn you barely see him at all. False advertising I’d say.
(Following post will contain spoilers from the first episode of Game of Thrones: You have been warned)
Given my tepid response to Telltales’ Game of Thrones Episode 1, I was unsure as to what to expect from episode 2, considering one of the characters you played as died right at the end of the episode, leaving next to nobody in the Forrester family left to lead the house back to good times. With this in mind, I began my next foray into the Forresters live’s with an open mind, expecting a lot of the brother fighting in the desert, as all hopes of the house rest on him.
So imagine my surprise when the game has a section that begins on the back of a cart, with you playing as Rodrick, the eldest son of Forresters who happened to fall at the battle of the Boltons tower, where everyone was slain. Turns out, he’s still alive, and happens to be very week. You control him as the cart makes it’s way back to the Forresters house, and it’s up to you to pull him to safety out of the cart to ensure people in the town find you. Once discovered, rufus takes his place as lord of the Forresters, ensuring the family at least has someone to look up to and lead the house back to nobility.
Starting in a cart full of dead people is never great, but at least reintroduced someone back into the story, enabling The Forresters a chance back at nobility and power.
It’s through Rodricks’ return that a lot of the big decisions unfold, with key alliances begging for your attention, as well as the continued aggression between your town and the alien Whitehouse’s inhabiting it. During the episode I had to try and woo and old friend/scheduled marriage to unite two houses, decide how to deal with the aliens in my town, decide how to react to enemies who demand I kiss their feet, and how to tow a line between being too weak to retaliate to enemies, whilst still showing how strong of a house we are. It’s all quite dramatic, and makes for some tough decisions, albeit decisions that so far don’t seem to have too much bearing one way or the other. The marriage proposal for example I failed, as I just couldn’t persuade the lady to marry me due to our house’s weakness, but from the looks of the statistics at the end, this could have passed, allowing your two houses to unite, making both stronger. I can’t help but this such a dramatic decision can’t have too much bearing on future episodes, otherwise the games designers would have to make twice as much game to cater to both situations, something we know just won’t happen.
Whilst it’s good to see another Forrester, this section of the game didn’t generally have any bearing on the actual plot, and served more as a device to spice things up when it came to an action segment of the game rather than dialogue.
Enough about Rodrick though, what of his brother in the east? Well this is the part of the game where you effectively just have fun. Asher starts out with a close friend, with the two of them being hired swordsman who have just captured a slave master for Khaleesi’s reward. Upon the arrival of the unsullied, who are meant to pay the ransom, you’re pushed into a fight due to the fact they aren’t paying what they agreed. This turns into an all out chase, as you’re reunited with an old friend from the Forresters that has come to return you home. Whilst Asher’s story is sure to have an impact on the overall narrative of the future episodes, so far it just felt like a good excuse to break up the dialogue sections of the game.
Mira is back in this episode too, with her trying to support the Forresters back home from the capital. There were a few decisions I decided to avoid, like forging a letter from Lady Margery to improve chances at the two houses uniting, but this was because of my actions in the first game. Everything for Mira seems pleasant during this episode, all until Tyrion decides to involve her in the negotiations for selling the ironwood the Forresters own. This causes enemies, ones that try to kill her in the middle of the night. Thankfully, you manage to get away after killing the guard that tried to murder you, and so begins the deception and lies in the capital, especially considering guards will now be after Mira due to her being seen in the middle of the night.
It’s sad to see all the Forresters together in their limited numbers, but if this episode is anything to go by, they seem to pop up everywhere just in the nick of time.
Finally, we have Garad at the wall, who must now become a member of the Nights Watch. Apart from some scrabbling with other members, not much happens for Garad, with this section feeling more like fan service than anything else due to Jon Snow’s inclusion in this scene. The conversation is hollow, but at least gives the player the ability to choose their own path with how they would like Garad to be seen going forwards. I personally chose for Garad to be truthful and reliable, but we’ll see how that goes in the future episodes.
Overall, the episode still felt clunky, with a lot of moments feeling hollow and merely there for fan service to say the game has taken place all over Westeros. Whilst the first episode was an ok opener to the series, this episode suffers the curse of being in the middle, starting plot points that never materialise until later. The Decisions I made still may never come to fruition as anything bad or good, but as per always we’ll just have to wait and see what the writers have in store for the Forresters, and whether my decisions have any effect on the end result.
So this week I finally managed to get around to reviewing Rubycone Games’ first title: Hektor. It took so long to be published as I was waiting for GamrReview to finally get merged with VGChartz.com, meaning the review should potentially get more hits as a result (this seems to be the case so far, with 1400 views on an indie game).
If you want to read up on my impressions of Hektor, go ahead and click the link below:
So this week I wanted to show you all something I’m very proud of reviewing: Ori and the Blind Forest for PC. It was a thoroughly joyful experience, one which I’ll definitely come back to time and time again in the near future when I want enthusiasm for games development.
So this week I managed to get a review copy of Hotline Miami 2 for the PC, and subsequently reviewed it for GamrReview.com. I enjoyed the game, but I couldn’t help but find it tedious, to the point that once I had finished the game I just didn’t want to go back. Regardless, you can read my review below:
Borderlands has always been a mixed bag for me, with my experience of the first one being forgettable and boring, but the second being exciting and addictive thanks to the local multiplayer nature of the game. Having played through all the DLC on both games, and about to play the pre-sequel one day, I can say I’m a fan of the series, but have never really loved the lore of the world. It’s mechanics are one thing, but the world isn’t really that rich with content due to the disposable nature of the characters that inhabit it. It surprised me to learn that Telltale were making a story based version of the game, mainly due to the fact I knew it would be a comically funny experience, but not one I could imagine lasting 15 hours. With only Episode 1 being available for now, I took the plunge and bought the entire season pass for the game at christmas for only £12, not bad for something that’s going to give me new experiences to come back to throughout the year, but has Borderlands made it through the transition of genre unscathed? Read on to find out.
You start the game out exploring as a chummy person who looks quite like handsome Jack, the protagonist from Borderlands 2, and head of Hyperion industries, a corporation that supplies ammunition and other items to the planet of Pandora. You’ll get knocked out, and upon being dragged, are asked to explain why you’re here by your captor. This starts your story, and finally introduces you to the character you’re going to be playing as throughout the next few episodes: Rhys, a Hyperion employee who is about to become CFO of the company after working his ass off for years. In this introductory sequence, you get to see the inner workings of the Hyperion space craft orbiting the Pandorian moon, which is quite nice to see there’s actually normal people working up there. Upon not receiving your promotion due to an ass killing your boss, you decide to take revenge on him by buying a vault key from the planet, the exact one he wanted. With the reasons for going to pandora sorted, so embarks your adventure of going down to the crazy planet.
Character introductions are as quirky as ever, with text on the screen always talking to the player like a comedian would standing in your room. It’s all comedic, and adds to the overall pleasantness of the game.
Rhys isn’t your only playable character though, so once Rhys finishes his part of the story, you’re introduced to Fiona, a local pandorian citizen her whole life who makes money by scamming people. She has a sister, and a father figure who taught her all the tricks of the trade, and is definitely unlike anything you’ve seen on Pandora before. Playing as Fiona was easily the more interested parts of the game, with new perspectives of the world given to the player, showing that it isn’t all fun and games, and not everyone’s a psychopath, people are trying to make a living, they just get outnumbered by the amount of psychopaths and weirdos you’ll usually encounter.
Both Rhys and Fiona’s story manage to combine, allowing you to get a complete picture of what has happened to the pair of them throughout this episode, and presumably, throughout the others still to come. Overall, it wasn’t the story that got me interested in the game, it was the characters, with Vault hunters like Zer0 having a part in the tail; the original new characters fit in seemingly well in this chaotic world.
New and old faces will welcome you to Pandora in Tales from the Borderlands, with each one adding to the overall hilarity and tone of the game. I hope the series manages to maintain this fantastic combination of characters and situations they then find themselves in.
Humor is a massive reason why I love the Borderlands series of games, with the first one being bland and normal, and the second one making me piss myself laughing. Thankfully, the tradition of humour continues to reign supreme in Tales from the Borderlands, with many sequences genuinely making me and my friend laugh out loud and stop playing the game at times. One of the best ways Telltale games have done this is through Rhys’ eye, which is able to scan the environment and give more context about the items within it. One of the best examples of this humour and context driven comedy is a museum, which had a gentleman sat in a chair with a sword through him. You can see it below:
Seriously, this had me pissing myself laughing. Such simple humour that manages to go so far.
It’s this humour that manages to maintain the pace of the game, with Rhys having grandiose ideas of how he’s the hero of the group, and his nerdy friend being too scared to do anything useful. It makes for a dynamic and interesting presence between all of the characters, one that I look forward to subsequent episodes that explores each of their personalities in more detail.
Overall the episode was a brilliant set up for a (hopefully) brilliant series. Everything fit together so lovely that it felt like a complete game in itself, not a part of a series. Decisions didn’t really mean much (unlike most other telltale games); the game was just fun and a treat to play.
Decisions don’t feel as drastic as other Telltale games, ensuring you just literally have fun.
So, should you buy Tales from the Borderlands? Whilst the price might be a bit of a stretch for many players on PS4 or PC, where you’ll have to invest in the whole series before you even know if you like the game, the Xbox One version gives you a chance to play just the first episode for £3.99, allowing you to technically try before you buy (albeit you’re buying up front anyway). I thoroughly enjoyed the first episode, and would gladly recommend it to anyone who enjoyed the humour and lore of Borderlands 2. As for if you wasn’t a big fan of Borderlands 2? Well I’m pretty sure you’re bound to find something you like in the game, with the characters and their personalities being the best I’ve seen in a game in a long time.
So this week I managed to get a copy of The Deer God a week before it’s official release, so went about reviewing it as soon as possible. Whilst original in it’s aesthetic, I thought the game was rather hollow considering how amazing it could have been given the mechanics involved.
You can read my review and thoughts on the game below:
Apologies for the look of the site at the moment, I need to go back through it and reupload all the images that are missing due to the amount of space everything was taking on the server.
Regardless, I managed to get a review copy of Roll 7’s latest game, OlliOlli 2, and went about reviewing it so fast that my review was up on release day at the same time as all of the big publications, GO ME!
I still remember the great days of Peggle, when I was introduced to it in my first year of uni. We all huddled around a friends laptop, competing between for hours laughing and cringing at insane luck and skillshots. Peggle was fantastic, so much so that I managed to get my whole family and a lot of friends hooked on it upon my return to Banbury. I downloaded the game on 5 different platforms, with it still to this day being the only game on my iPod video, a huge achievement for any game I might add (seriously, that device was NOT made for playing games).
When I heard that Peggle was finally getting a sequel, I was overwhelmed, until I read that it was going to be exclusive to Xbox One that is. It sucked, here was a game I would have willingly given EA/Popcap the full amount they were asking, and they put it out on the worst platform available this generation. Needless to say, I waited, until eventually I caved in, got an Xbox One, and picked up Peggle 2 in the Christmas sale for £3.99. Was the wait worth it? For the most part yes, but for most players Peggle 2 is not a guaranteed buy.
I enjoy playing as Jeffrey, but not because of his special ability like many of you would think. Jeffrey ‘s animations at the left of the screen involving the goats are fantastic, bringing me to tears at times.
Not much has changed in terms of the mechanics of Peggle 2 from Peggle, with you merely having to fire a ball at a bunch of pegs on the stage, clearing all the orange ones whilst trying to score as high of a score as possible. Green pegs still activate characters abilities, and purple pegs still cause a point bonus. Stages are familiar to Peggle, with some outrightly copy+pasted into 2 without a second thought, making you wonder what took the game so long to produce. So far not so good.
Where Peggle 2 does innovate and deviate though is in it’s characters and their abilities, which my oh my are they different and unique enough to experiment with and have fun all over again. First up on the new characters list is Jeffrey the troll, a mighty beast at the left side of the screen who’s special ability grants the player a huge boulder as a ball, smashing through anything it touches. This may sound similar to the dragon in the previous game, but differentiates hugely in the way that this boulder “stops” at the first peg it hits and plummets down, not carrying on it’s trajectory you planned originally.
Finishing a level with Extreme Fever is certainly more entertaining than the original, with the animations at the side making me chuckle with their cute and humorous gags.
Next up is Berg the Yeti, a character that makes the whole stage slippy, causing pegs you hit to glide along and hit/activate other pegs on the stage. Nifty on stages with lots of pegs, but not great on stages with straight blue pegs due to their inability to move. Gnorman the robot is next, with his power granting the player a electric ball that activates pegs around whatever peg was hit, possibly one of the best abilities in the game by far. Gnorman is easily my go to character for most stages, ensuring I can hit as many pegs as possible during my green ability turns.
Finally, there’s Luna, a zombie skeleton that has the ability to turn return all pegs back to the stage, whilst making all blue pegs on the stage completely invisible, highlighting only the orange pegs. Your balls are then able to travel freely to the orange pegs, whilst simultaneously destroying any blues in it’s path. It sounds like a strange power at first, but once you complete Luna’s trail, which has you using her ability on the final orange on the stage, you can see it’s potential: I managed to get 750k points easily using this powerup.
Weirdly, if I was now writing about the original Peggle, I’d continue listing the characters available to play with in Peggle 2. Problem is, that is all of them. 5 Characters in a sequel compared to 10 in the original is insane. Most products/sequels in the world work off the basis that you must offer your customer more than what you gave them before, to show them what they’re missing and give them better value. Not in EA’s wonderland. You can add another 2 characters to these measley few, but ones the squirrel from Peggle 1, whose ability is the multiball powerup, and the others a butterfly that gives you 5 points boost pegs to hit on the stage. Both of these characters are DLC, and each costs £1.59, which although isn’t an expensive proposition, is certainly annoying considering they could have been included in the base game in the first place.
Luna’s powerup is easily one of the most inventive of the bunch, with it not having an ideal time to be used, it can be used in a variety of situations. It’s gotten me out of many tight spots before, but should you leave it until the end of the level you’ll be in heaven when it comes to the scoring.
So what is available in terms of stages? Well this is where EA/Popcap have been cleaver, with 10 normal stages available per character, 10 trial stages per character and finally 20 stages for the master levels, making a total of 120. The normal stages are made even more replayable with 3 optional objectives to be done on each level, ensuring players come back for more even after completion of the main story. There’s a lot to be done it can be said then, but I’m not sure if I really will complete all side objectives. The stages just weren’t as memorable as Peggle’s; I’d be hard pressed to really remember any should you ask me, making for a boring experience throughout most of the campaign. Trial stages lighten things up a bit, giving you very strict instructions on how to beat said trial, whilst also pushing you to your limits in regards to characters abilities. They’re nifty, but short lived due to how few of them there actually are.
Given the limited about of content EA and Popcap have actually pushed into Peggle 2, is it worth your hard earned cash? Get it in a sale and I’d say yes, Peggle 2 can provide hours of entertainment at a great price with countless hours of replayability thanks to it’s trials and optional objectives. Get it at full price? Nope, don’t give EA or Popcap the benefit of paying more for a game that technically contains less. Most players are bound to find something they like in Peggle 2, but given the limited scope of content here, it’s harder than ever before to find that perfect character/stage combination, a frustrating endeavour for any player.
