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Game Informations : Developer: Milestone Publishers : Milestone , Square Enix Platforms : PlayStation 4, Xbox One, Microsoft Windows Initial release date: 27 février 2018 Gravel is an arcade-style off road racer that eschews tight and twisty traditional rallying in favour of mostly high speed assaults on generously wide tracks carved through a variety of exotic locations. Think less Codermasters’ Dirt and more a store-brand SEGA Rally Revo.The problem is that Gravel sits in a weird place on the racing spectrum; the casual driving dynamics are easy enough to pick up but the racing itself is surprisingly plain and basic for a game unshackled from any licensed motorsport organisations. The result is a passable yet unremarkable racer in a marketplace thick with better ones. Gravel’s solo mode revolves around a globetrotting, fictional racing TV show dubbed ‘Off-Road Masters’ – but it’s only a thin thread of context to string together what’s essentially an entirely conventional single-player racing career mode. Other than the occasional boss race the only real baggage the TV show premise comes with is an unlikeable announcer I turned off very quickly. Let me stress, the boss races are also a lot less interesting than they sound; they’re ultimately just standard events against a single opponent instead of seven of them. There are five rivals spaced throughout the career who are introduced via some surprisingly dorky FMV vignettes. They’re all American blokes who race in unsponsored cars with their actual names written on them, like they’re afraid of losing them in a parking lot. Each has no distinguishing characteristics other than a name and a home state so their presence adds very little to the experience. The career spans a handful of racing styles, from cross country checkpoint chases to tarmac-based time attacks, and cramped, arena-style races to rallycross-inspired events. Some are considerably better than others; I quite enjoyed the high speed cross country races along the Namibian coast; strewn with shipwrecks and snaked over giant sand dunes they’re probably the best tracks in the game. They’re certainly the best-looking. On the other hand, I hate the Smash Up events. These are races against the clock where strips of mystery boxes are placed at regular intervals along the track and we need to crash through the green ticks and leave the red crosses intact or suffer a time penalty. The gimmick is that the ticks and crosses aren’t revealed until you’re a very short distance away and they change on each attempt. I found them frustrating and not particularly fun. It’s like competing against a slot machine. At around 50 vehicles Gravel’s car roster isn’t huge but it is licensed, and there are at least a few rides that rarely pop up in rally games, including a handful of Dakar-bred SUVs and pick-ups, a Porsche I haven’t seen in a racing game since EA’s 2002 off-roader Shox, and an iconic Toyota that mysteriously disappeared from the Dirt series after 2011. They look nice enough clad in their most recognisable liveries (like the famous Castrol Celica, or the equally iconic 555 Impreza) but less so in Gravel’s wide range of generic alternate paint jobs. Aside from new cars these extra wraps are one of the key unlocks rationed out as we progress but I never felt any desire to use them. The driving dynamics are quite numb with the available driving assists switched on because there’s neither a decent sense of weight nor the arcade-bred slipperiness of the ever-underappreciated SEGA Rally Revo. Getting rid of the assists brings back some depth to the handling, although there still doesn’t feel like there’s much difference in grip across the game’s several surface types. There are more granular tuning options which ostensibly relate to specific handling characteristics but they seem out-of-place in this sort of racer. Gravel’s lighting is generally good, from the beaming desert sun to the soft red glow of taillights in the evening. Standing water tends to have a nice glint to it, too, although the actual water effects in Gravel are otherwise disappointing. Come on, folks; Colin McRae Rally 3 had raindrops that slithered across the windscreen over 15 damn years ago. The presentation is clean and tidy but post-race Gravel has an aggravating habit of sending us back out to the main race menu and forcing us to scroll through several unavailable races to get back to where we were previously. Why it doesn’t just default to the next logical race is a mystery; it’s very irritating. Online multiplayer options are bare-boned; you can simply jump into a quick race or create a lobby of your own. It’s a ghost town at the moment, though, and sadly there’s no splitscreen to ease that issue. There’s nothing inherently wrong with building a racing game atop a straightforward handling model geared at casual racing fans keen for some simple thrills and spills, but Gravel has little beyond that. The very best arcade racers layer on lashings of special sauce to imbue them with identities of their own. Split/Second arrived with dynamic race tracks that were literally blown to pieces as we blasted through them. SEGA Rally Revo was resurrected with the same intense speed we remembered but bolstered with incredible visual design and eye-catching deformable surfaces. Blur brought Mario Kart-esque combat to street racing in licensed cars. Trackmania Turbo is stunt racing on a four-day Froot Loop bender. Gravel has no special sauce. Right now it’s just beef on a bun. It has a handful of decent tracks and small smattering of rarely seen cars, and that’s… kinda it. It has no unique flavour. Perhaps with bolder and wilder track designs Gravel could’ve made a better case for itself, or maybe it needed more cars on course for more frantic racing. Verdict Gravel is a game displaced. It’s a competent and occasionally pretty pick-up-and-play arcade racing game at its core, but it has the whiff of a game released in the wrong era – a scent it just can’t shake. A 2018 rendition of ’90s ambition. Gravel certainly channels the spirit and straightforward simplicity of Milestone’s own 1997 arcade off-roader Screamer Rally but it has no unique hook for today’s audience; no over-the-top arcade pizazz that folks will still be discussing 10 or 15 years down the track. It’s functional and fun enough in small bursts, but arcade racers have come a long way over the past two decades and Gravel doesn’t bring any new ideas to the paddock. Gravel Recommended Requirements CPU: Intel Core i5-2500K; AMD FX-6350 or equivalent CPU SPEED: Info RAM: 8 GB OS: Windows 7 64-Bit or later VIDEO CARD: NVIDIA GeForce GTX 960 with 2 GB VRAM or more; AMD Radeon R9 380 with 2 GB VRAM or more PIXEL SHADER: 5.1 VERTEX SHADER: 5.1 SOUND CARD: DirectX compatible FREE DISK SPACE: 40 GB DEDICATED VIDEO RAM: 2048 MB

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At its core, Insomniac Games’ new adventure strives to make you feel like Spider-Man. And, thankfully, Marvel's Spider-Man on PS4 succeeds at nearly every swing across Manhattan’s rooftops. I was left delighted at nearly every step of its 15-hour adventure thanks to a surprisingly deep tale that mines the plights of both Spider-Man and Peter Parker to great emotional success. Underpinning that engrossing narrative is an excellent set of webswinging mechanics, which -- combined with fun gadgets and plenty of puns -- makes for thrilling action in both the massive setpieces and in the quiet, confined corridors of tense sequences. Insomniac’s first foray into the realm of Marvel superheroes is a continually exciting adventure whose open world and combat are only occasionally caught up in a web of overly familiar trappings. Swinging around feels, quite simply, spectacular. There’s a small learning curve, but after getting comfortable with the basics, it’s nearly effortless to make Spider-Man look graceful in every swing, leap, and lunge. And man does it feel good to find the right mix of jumping, crawling, web zipping, and wall running. I’ve spent hours just soaring around the skyscrapers of New York City, testing the momentum of my swings to find just the right point to gain an extra boost of speed, or leaping off the Avengers Tower to test how close to the ground I could fall, just to swing out in the nick of time. Similar to how God of War’s Leviathan Axe felt so good to throw around, Insomniac has found web-spun gold with Spider-Man’s swinging mechanic, enhancing it with additional moves like a focal point webzip that allowed me to turn any ledge, beam, or satellite tower into a jumping off point to continue my non-stop movement. Open-world traversal hasn’t been this smooth since Sunset Overdrive (which, not coincidentally, Insomniac also developed). And, happily, no aspect of New York’s architecture can really stop Spider-Man. Discovering how a powerful, but nimble, Spider-Man tackles fire escapes, both vertically and horizontally, or watching him slip through the metal grating of a water tower is endlessly entertaining. His animations are so detailed that no matter the obstacle, I got the sense that I could truly do whatever a Spider-Man could. That was surprisingly true of indoor locations, too. The main story missions often took me into large-scale interiors, sometimes for light puzzle solving, and occasionally for stealthy takedown scenarios. For anyone who’s played the Batman: Arkham franchise, the framework is largely the same: enter a room, avoid being detected, and use a mix of gadgets and (relatively) quiet web takedowns to take down the crowd. These stealth scenarios perfectly highlight Spider-Man’s talents -- especially his love for designing gadgets. There’s a methodical thrill to plotting out the order I wanted to web up enemies, whether luring an enemy out toward me for a stealth takedown or by firing off a web trap that would stick them to a wall. There’s enough enemy variety (some react differently to your webbing than others, like big brutes that can’t be taken down as easily) that I always enjoyed the light bit of strategy these sections demanded, and would happily work my way through a dozen more. Of course, Spidey gets up close and personal with foes a lot of the time, too, making for combat that’s equally fun, if a little slow to show its true depth. At first, I found myself pretty much just punching and dodging, occasionally webbing up a foe so I could focus on a more powerful baddie. But as I unlocked more skills from Spider-Man’s skill trees and gadgets, combat became an improvisational delight. After some leveling, I could pull an enemy’s gun away and smack him in the head with it, while a previously planted web trip mine strung two other enemies together. I’d then web-zip my way to a floor above me to smack an enemy off a railing while simultaneously sending a spider drone after two more foes. That balancing act consistently delivered on the powerful and fun fantasy of being Spider-Man. To be fair, Spider-Man’s combat owes a lot to the aforementioned Arkham franchise, right down to the slow-motion crunch when you take out the last baddie in a bunch, but that template is sped up dramatically in order to take advantage of Spidey’s nimble nature. That feeling of fluid movement only falters during boss battles. Insomniac throws in some big and exciting boss fights full of tense action. They’re sparingly involved, as many of the more fascinating setpieces of the story don’t involve one-on-one fights. But because the adventure is both front and back-loaded with boss fights, there’s an odd lull devoid of huge bouts right in the middle of the story. That’s not inherently bad, especially as a lot of great character work is done in the second act alongside those blockbuster action sequences. But because the first couple of bosses boil down to round-based pattern recognition, they felt a bit simple and rote. Unfortunately, that becomes pretty noticeable with the huge gap in major villain encounters. Still, there are some smart and fun twists in boss battles toward the end of the campaign to look forward to. The variation in Spider-Man’s fighting style and inventive gadget arsenal — which is hardly a surprise given Insomniac’s knack for wacky weapon wheels in series like Ratchet & Clank — is also extended to Spider-Man’s wardrobe. His portable closet of unlockable Spidey suits all come with their own powers. Each power can be used independently of the outfit once unlocked, which is a godsend. It’s a joy to swap among some of the unexpected late-game duds, though I’ve become quite fond of this Spider-Man’s new main suit. That said, I largely relied on the first couple of powers for almost the entire campaign. The singular power to fill out your focus meter for special finishers or to restore health from Peter’s white-spider costume was so consistently useful that I didn’t want to give it up, and I never felt like the world encouraged me to use the others. Swapping between mods to adapt to specific side challenges — like one that could prevent my combo counter from immediately resetting with each hit — was always more useful than swapping between different abilities. Spider-Man’s New York is an absolute blast to swing around, in part thanks to how gorgeous the shiny skyscrapers of the city look. Spider-Man does have its graphical hiccups — for example, the faces of Peter and other key characters are spectacularly animated while less notable characters are flat and often out of sync with dialogue. But its New York City is undeniably gorgeous, particularly on a PS4 Pro. Swinging around at dusk as the calm oranges of the setting sun hit the reflective glass of New York’s skyscrapers at just the right angle evoked some of the most calming, zen-like gameplay sessions I’ve experienced in awhile. Marvel’s Spider-Man doesn’t offer a a 1:1 recreation of New York City, but most of the key landmarks -- including my old apartment -- are recreated faithfully. Neighborhoods have distinct enough character to be discernible as I swung from one to the next. Yes, certain aspects of the city, like water towers or certain building fronts, can start to feel repetitive. But Insomniac has done a pretty great job of capturing the city’s look with the sheen I’d expect for a world full of superheroes and super science. That feeling is only magnified by the score. Spider-Man’s main theme recalls the triumphant horns of the MCU Avengers score, rising at just the right moments as I raced to stop a crime or to save some locale from a villain’s evil plot. Outside of the main campaign, there are dozens of other side objectives scattered throughout the city, which add another 15-20 hours of exploring, though my enjoyment of them varied greatly. I was never outright bored by any task, but some were reused so often that I found myself running through the motions of scenarios I once found exciting. The fourth or fifth time you figure out how to take on a horde of enemies committing a crime or fend off waves of enemies at an outpost is still entertaining — the fortieth is much less so. It dilutes what starts as a fun, heroic act into a repetitive, going-through-the-motions activity that often had a knack for popping up just as I was making my way to a major story mission. Outside of stopping those optional crimes, Taskmaster’s tough combat, race, and stealth challenges kept me coming back for better scores. And though finding landmarks and backpacks encouraged me to hit every corner of the city, the activity itself was pretty easy. Peter outside of his suit can also engage in a couple science minigames, one of which is essentially the pipe challenge from the original BioShock. I have a soft spot for that type of puzzle activity, but their inclusion contributes to some of the campaign’s odd pacing issues. They’re introduced just after your first real taste of being Spider-Man, and then interrupt the action anytime Spider-Man needs to do something