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Review: Kuttin Edge – Turn Style EP

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Every so often during the week I go through various YouTube channels and social media accounts so that I’m able to catch up with news of any music releases that I may otherwise miss – such is the life of somebody who deleted their Spotify account and let their Tidal account lapse for a while. I’ll admit that it has become a bit of a ritual to cram a bunch of tracks into the evening and see what lands, and sometimes the answer is “nothing”. On the other hand, there are a few instances where more time is needed for something to truly make a strong impression; whether that’s because I need a few listens to truly appreciate something or because tracks of an EP or album are being drip-fed before a new release. The point I’m trying to make is that I wasn’t intending to write words about Turn Style EP – but now that I’ve given it some time, I think that it deserves a recommendation.

Turn Style EP – music for vibing

Art featured on the Bandcamp page for Turn Style by Kuttin Edge

Turn Style EP was released on Kuttin Edge’s Bandcamp page at the end of May, and consists of four tracks – around 17 minutes – of lively electronic music. Before the full release, a couple of the tracks were available to listen to on Bandcamp – with a third track later being published on YouTube via the likes of Drum&BassArena. The initial teases were promising, and I can report that the final EP has a lot to recommend. “Don’t You Know” provides an opening salvo that feels effervescent and alive. Bright drum effects and purposeful beeps immediately capture the imagination and act as wonderful background ambience when you’re locked into an activity or just vibing. Well-placed transitions keep the track fresh and avoid repetition, and the track doesn’t overstay its welcome. “Overthinking” then presents a gorgeous vocal number with some suitably earworm-y lyrics supported by a subdued bass and some charismatic twangs. Of all of the tracks here, it’s an early favourite of mine and I‘m still not bored of listening to it.

“Mood board”

Despite a captivating intro, the title track “Turn Style” initially gives you the impression that it’s not really going anywhere – you’re tapping your foot at the beginning but simultaneously waiting for the layers to build up, or you’re expecting a big beat drop, but nothing’s happening. However, it slowly finds its own identity with some cute zappy sound effects, a few organ-like keys being jabbed and effects in the background that rise and fade like waves crashing on the shore. It didn’t instantly grab me in the same way that “Overthinking” did, but I think that it succeeds in creating an admirable collage of moods and sounds. To close out Turn Style EP, Fox features on the track “Catch Flight” – a mesmerising dance between hypnotic melodies, driving rhythm and solid vocals. It’s a great contrast to the previous vocal offering of “Overthinking” and is a fine way to conclude the EP.

Turn Style EP – sound of the summer

If you have a few spare minutes to enjoy something different – maybe whenever we get a chance to enjoy more sunshine in the summer months – Turn Style EP is a nice way to kill some time. It’s a lot more chilled than the breakneck insanity I might otherwise listen to, and it might not have the energy of something like a soulful Makoto number (maybe try the recent “It’s Alright, I Feel It” for that) but at the same time it has a unique identity that I feel has been lacking in other mellow releases that I’ve tried recently. In a year where so far I’ve been nonchalant towards a lot of new electronic music (Logistics’ “Earthling” made an impression during March, but I might cover that during the annual round-up), it’s a pleasure to recommend something like this.

Turn Style EP is available now and can be found on the Kuttin Edge Bandcamp at this location

Late to the party: Clair Obscur: Expedition 33

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It’s easy to be sceptical when a particular piece of media is held up as the saviour of a dead genre – especially when that “death” is an exaggeration in itself. Despite covering a few turn-based RPGs on this website, I don’t think that I’m the most avid consumer of the genre; nevertheless, I still raised an eyebrow when Clair Obscur: Expedition 33 was a focal point in conversation that would make you believe that the genre hasn’t moved forward since Final Fantasy VII. As I’ll explain later on, there were a lot of things I enjoyed in Sandfall’s game – but I think that there have been enough critical success stories through the years to suggest that the genre is doing just fine. The world is subjective, and it’s genuinely hard to keep track of all of the quality RPGs being released when so many of them command tens of hours of your time – so I can forgive a certain degree of surface level ennui when people don’t look much further than trailers and blurb. Personally, I’m not here to make too many comparisons – I already try and keep other notable games on my radar and discuss them on their own terms – so I’d like to try and do the same for Expedition 33.

Expedition 33 – L’histoire

In a story that follows a group of expeditioners on a mission to slay an entity named The Paintress, Expedition 33 initially feels comfortingly familiar. The game is broadly structured as a series of objectives where you travel an open environment (following waypoints shown on a map) and enter dungeons that have various enemy encounters to overcome and loot to collect. Enroute, there will be light conversations between party members, and each dungeon will typically culminate in a boss battle, a cutscene, or both. What’s most striking is that so much of Expedition 33 is captivating and engaging – on the field, regular battle encounters demand your attention as you are tasked with studying attack patterns that can be dodged or parried with real-time button presses. Meanwhile, the main characters in your party are beautifully realised – they feel like regular people on an extraordinary mission, and not like actors in a dramatic storyline. When you set up camp you regularly have an opportunity to watch a heart-to-heart with the party members (not unlike “Drink Links” in Like A Dragon) – moments that often show an admirably human side to our heroes. Mechanically, these conversations are fairly shallow and it can feel like you’re going around the camp making sure that all interactions are exhausted – but they’re a fun inclusion nonetheless. Sometimes actions speak louder than words, however, as the characters truly shine once they begin a combat encounter. Expedition 33 has some of the most involving and demanding turn-based battles I’ve experienced in the genre for a while, and this approach to an RPG staple is something that could be very polarising: something that could make players shut the game off in frustration, or stay locked into the experience as they rise to each challenge.

“En garde”

The battle encounters generally combine turn-based decision making for your party’s actions, and real-time responses to enemy attack patterns. When it’s your turn, Expedition 33 feels a lot like other RPGs – you’re choosing to heal allies, provide buffs, or cast magic. (There is no mana or MP system in the game – instead, each special command costs Action Points, which can be replenished with each turn or by performing defensive actions.) However, as the enemy prepares their own action, you’ll notice that there are still commands that your party can use: a parry, a dodge, a jump. (The parry in particular grants a large counter-attack if you can parry everything in an attack string, but it often carries the most risk.) In a similar vein to Like A Dragon: Infinite Wealth (or various Mario RPGs), you can nullify enemy attacks by reacting with the appropriate button press at the right time. However, this regularly feels like an essential part of your toolkit rather than an excuse to show off – the vast majority of enemy attacks in the game can outright kill a party member from full health (unless you’ve put time into increasing party health, have set up defence buffs or are deliberately exploring a low-level area.)

Consequently, mastering the timing of these defensive actions ends up being the primary means of survival. You do end up obtaining certain skills that grant health to allies or revive them, but when you can be wiped out in a single combo then it can feel like you’re merely postponing the inevitable. There are two things that I took from this design philosophy. Firstly, the encounters are some of the most elaborate rhythm puzzles you’ve seen in a modern RPG. If you know the timings of the necessary jumps, parries and counters then you no longer have to worry about a particular puzzle. Secondly – players would have much less patience for this kind of system if not for the fact that, upon death, you can instantly restart the battle (rather than having to return to the title screen or reload a save.) The instant restart is nothing new – Metaphor uses it brilliantly when players are attempting its tougher encounters – but it’s an essential tool in Expedition 33. (Whilst writing my rough thoughts, I also played devil’s advocate and considered the alternative – if the battles weren’t as punishing as they end up being, I imagine that players would just eat the damage and be less inclined to engage with the defensive systems. So I can kind of see what they’re going for – but it’s a very particular mindset to demand from players.)

A still from a cutscene in Clair Obscur: Expedition 33

Supporting the combat of Expedition 33 is an admirable amount of customisation. Skill trees let characters open up new abilities to use in combat (although each character can only select a maximum of six), whilst Luminas activate bonus perks for characters during encounters – performing an extra attack in a combo string, for instance, or granting a chance for a status effect on enemies (such as Burn.) There are also more advanced effects that come to fruition through several turns – one of my favourite skills required a Burn status to be inflicted on an enemy so that a party member could enter a unique “stance” that opened up a damage bonus; another skill caused ice damage to enemies whilst automatically healing the party for a number of rounds. The generous freedom you have in customising your party takes a lot of the edge off the brutal battle encounters, as you will often walk away from a defeat wondering if there is a different setup that you could attempt for a given encounter. The aforementioned Action Points system plays into a lot of the skill properties, as some skills can grant AP back to party members, allowing them to re-use costly actions sooner rather than waiting for AP to build over multiple rounds. In addition to health, enemies and allies also have a “Break” gauge, and if this is filled then it will stall the subsequent action for one round. This becomes another essential part of the team strategy, as it offers a little more breathing room to build AP. Ultimately, the variety of builds available can inspire players to devise solutions that suit the occasion… but it’s an experience that you have to be prepared to throw yourself into. If this philosophy – the thought of going into encounters you aren’t familiar with, dying, and then building around the encounter – is something that interests you, there’s a lot to enjoy here.

Expedition 33 – Le monde

Outside of the story and combat, Expedition 33 has a great world to sink into. Environments have an abstract and painterly quality to them, and the music is captivating without being overpowering. The architecture is fairly static and you’re rarely doing anything more complex than finding objects to shoot or grapple points that zip you across the landscape, but it serves as a game-wide arena for the main attraction: the combat encounters. Exploring the world map can be somewhat quaint as it often feels like a series of waypoints with a handful of curios and roaming encounters, but I always found the destinations more enticing than the journeys. When so many encounters have party members being KO’d, a lot of the content of Expedition 33 comes from the battles, and it wasn’t uncommon for me to come away from a session with no progress in the story but more knowledge gained about attack patterns and parry timings. After watching the closing scenes and credits, my final save at the end of the game had just under 53 hours on the clock, and I feel like the merciless battles padded out a lot of that hour count. (The intended destinations of Act 3 in particular felt like a steep rise in difficulty across many areas, after what had otherwise been a gradual increase in challenge, and it gives the impression that the player should take advantage of the sizeable experience rewards you receive at that point.) However, they were compelling enough for me to continue to the game’s conclusion, and I would recommend Expedition 33 if you have enough patience and a desire for this kind of ruthless experience.

Key art for Clair Obscur: Expedition 33

Disclaimer: it was reported that Clair Obscur: Expedition 33 originally contained placeholder assets created with generative AI, and that these were subsequently patched out. Whether this is an excusable practice is something consumers have to decide for themselves. Qazi ended up buying a pre-owned copy of the game for the purposes of playing it and writing this article. (Although to be honest, there’s hardly anywhere left in his local area where he can buy games new…)

Home cinema review: Good Fortune

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For more than a decade, Keanu Reeves has been a bit of a long-term fixture in this household. 2014’s John Wick was an incredible action movie and a compelling tale of revenge, and despite that series becoming increasingly silly and high-stakes through the various sequels, it provided an appreciable baseline of entertainment that kept me invested in the overarching story. Even before those films I was a big fan of earlier works such as Speed and The Matrix trilogy (as well as the more recent “The Matrix Resurrections”), so I had always enjoyed his on-screen performance – however, I essentially lived through about a decade of seeing Reeves adopt the familiar role of the legendary assassin. It was kind of weird to see adverts for movies that featured him in an entirely different role, but that brings us to Good Fortune. Even before the film was released (in October 2025), the streets around my local area were promoting the film (and its other stars, Seth Rogan and Aziz Ansari) so it was kind of hard to avoid. I’m not a massive cinema-goer – I’m terrible at arranging things with people, and generally I’d prefer to wait and pick up a disc that I can replay as many times as I like – but I had been keeping Good Fortune in mind as something to pick up when it was released on DVD and Blu-Ray in January of this year. And so I begin Disposable Media’s 2026 content with a tale of divine hijinks between three individuals…

Good Fortune – the trade

A still from Good Fortune. Arj and Gabriel are facing each other in front of a Denny's.

Good Fortune follows the life of an angel named Gabriel (played by Reeves) who has a specific job protecting the people of Earth – saving careless individuals from accidents that would potentially be caused by texting while driving. Gabriel finds himself longing to do something more meaningful in his line of work, and is subsequently asked to act as a guardian angel for a down-on-his-luck character named Arj (Ansari). Just like Gabriel, Arj is looking for more from life and struggles to find opportunities to make a living. Gabriel meets Arj and seeks to prove to him that a life of material wealth and easy living doesn’t result in happiness, and that true fulfilment must come from the self. To do this, a trade is proposed – Gabriel swaps Arj’s general lifestyle with that of a man of wealth, Jeff (Rogan) – but the trade doesn’t work out as well as he imagined, with the life lesson failing to be conveyed… In all honesty I didn’t realise that Good Fortune was a body-swap (or “lifestyle-swap”) movie, and although it’s not a subgenre I explore a lot in film (unless you want to include things like John Travolta and Nicolas Cage blasting each other in 1997’s Face/Off) I can appreciate the entertainment value held in such a premise. For most of the runtime, Good Fortune is a robust framework for Arj and Jeff to be placed in various silly scenarios where they must try and adapt to their new lives – and all the while Gabriel is trying to adjust to life on Earth.

Heaven can wait

The film gets some good mileage out of this premise – we see Jeff (and later Gabriel) having to get used to rough living and sleeping in the car; meanwhile, we’re transported to scenes of Arj throwing lavish parties and flaunting his newfound wealth and success – and in-between these moments, Gabriel is letting the “pleasures” of Earth distract him from his goal of “saving” Arj, as he discovers fast food and the brainrot of online content for the first time. Out of all of the various character arcs, I personally enjoyed the chemistry between Jeff and Gabriel the most – the premise of someone having everything taken away from them whilst accompanied by an incompetent divine being provides a lot of easy material for amusing scenes throughout. Reeves’ other roles have played to the strength of some dry, sauceless line deliveries – John Wick and Neo (or Thomas Anderson) are rarely allowed to crack a smile in their adventures, as they generally let their actions do most of the talking – but this “vanilla” personality kind of works in Good Fortune’s favour when the character of Gabriel is built around being righteous but naïve as he adapts to his new life. Arj’s full character arc ends up being a little more conventional, as he ultimately completes a journey to (hopefully) discover that boundless wealth, comfort and stability aren’t necessarily a flawless panacea – and whilst I found that Jeff and Gabriel had more “funny” scenes between them, all three stars definitely manage to have a lot of fun with their roles.

Good Fortune – life lessons

A still from Good Fortune. Jeff and Gabriel are eating fast food together.

The comedy does take a backseat for some moral messaging towards the conclusion – and the film has been setting up the eventual moralising for a while, so it’s to be expected – but once it happens it feels natural rather than being too heavy-handed. We already live a day-to-day existence where those in power aren’t always making the best decisions, living in a world where those less well-off continue to struggle, but the film manages to find some light humour in both of these lifestyles. For most of the 97 minutes I enjoyed myself with Good Fortune; I don’t think that it was an evening of wall-to-wall side-splitting laughs, but it was still comfortable viewing. I personally enjoyed an opportunity to see Reeves in a more light-hearted tale… and despite the themes of guardian angels, pretty much everything else going on in the story felt relatively grounded. After Gabriel loses his wings, the audience is watching a film depicting the various (mis)adventures of a regular man with little knowledge of life on Earth. I don’t object to supernatural nonsense in comedy (I own the two Shazam! movies, not to mention Space Jam), but Good Fortune chooses to enjoy comedy through inexperience instead of magic and fantasy – and in doing so it presents a fun but heartwarming tale, and a pleasant examination of how people of different backgrounds adapt to unexpected circumstances.

Good Fortune (15) is available now on DVD and Blu-Ray at all good retailers.

Late to the party: Dark Souls Remastered

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Spoiler warning: this article is an account of my experience with Dark Souls Remastered and may contain references to characters, locations, items and/or concepts from the game.

It’s no secret that FromSoftware have made some of the most celebrated action RPGs of recent times, with Demon’s Souls, Dark Souls, Bloodborne and Elden Ring proving to be particularly popular with fans and critics alike. I’ve made attempts to try some of these games but with varying results. I ended up with two copies of the original Dark Souls for Xbox 360 (the second was a giveaway from Xbox Live) and never really saw anything beyond the Capra Demon. However, I reached the credits of the game’s sequels, earned the platinum in Bloodborne and dedicated nearly 200 hours to completing Elden Ring. With this in mind, Dark Souls Remastered was always something I wanted to pick up, and this year’s Steam Summer Sale provided the perfect opportunity. I particularly wanted to own a PC copy because it’s more likely to remain accessible when compared to the download that’s on an Xbox 360 in an attic somewhere, and I do a lot of browsing and streaming on my PC so it’s often running anyway. Thus, I’ve been pouring tens of hours into Dark Souls Remastered – and I’m delighted to report that the experience has been much more agreeable.

The plan

Whilst I have written words about how other From games should be celebrated for their individuality, I can’t pretend that my experiences with those games hasn’t helped me to enjoy this one. However, I can also feel a distinct lack of compromise in Dark Souls Remastered. Dark Souls 3 and Bloodborne were snappier and more varied, and really allowed you to have fun in the environments. Dark Souls 2 was pretty bloated and you could feel a few cut corners, but there were concessions for players – such as limited enemy respawns if you were genuinely struggling in one area. Dark Souls Remastered is slower and more deliberate than Bloodborne or Dark Souls 3, and is less keen on compromising its experience than Dark Souls 2. However, this also made it one of the hardest games for me to get into, because I had to play on the game’s terms and not my own. Well, for a while. You do quickly level up and improve if you can retain your souls, and this helps to mould your character. Soon you can take more hits, carry heavier equipment and benefit more from damage scaling – as long as you can keep a firm grip on the souls you’re carrying. And whilst I’m usually terrible at memorising geography in 3D environments, I will say that the repeated runs through the same areas do help me internalise a map to an extent.

As with most of my other playthroughs of FromSoft’s games, I opted to build a tanky Strength character (my final stats had Endurance and Strength at 33, with Vitality bumped up to 35.) I would sacrifice a fast roll for sturdier armour, give myself the equip load to carry bulkier kit, and sometimes I even embraced the two-handed approach to fighting. My best friends were the Claymore, Zweihander, Man-serpent Greatsword and (once I could finally wield it) the fantastic Great Club, which seemed to be pretty good at flattening most things in its path. I also enjoyed the Elite Knight’s set and Gargoyle’s Shield for a bit, although I was compromising my roll of course. To its credit, Dark Souls Remastered does do a great job of making you feel empowered if you have been putting the work into your upgrades and levels. When you’re making significant dents in a boss health bar because you put the time into saving for those upgrade materials, or when you finally reach the stat requirements for a new weapon, it never stops feeling exciting. It’s like the loop of levelling and improving gear is its own secondary game that runs underneath the adventure.

The developing journey in Dark Souls Remastered

Dark Souls Remastered promotional image, showing the player character at a bonfire.

And what an adventure. Having finally progressed past the Capra Demon I can see what everyone was raving about, because the experience really does get better and better. The Undead zones at the start are a slog, and Blighttown and Sen’s get frustrating, but Ornstein & Smough was an unbelievable encounter (I discovered that letting Ornstein come to me whilst Smough chilled at the back helped a lot) and I felt like the subsequent zones flew by as I just wanted to see more and more. The likes of Nito and Seath were really nicely-tuned challenges, and the Four Kings saw me start eating Humanity towards the end as I just needed a little more from my items to push me over the finish line. Whilst writing this article I hadn’t quite beaten the game yet, but in the middle of drafting I went back in and dealt with the final boss – albeit in a bit of a haze as it was past midnight. (Said final boss was a bit anticlimactic as I kept getting his pathfinding stuck on a little tree in the arena, and would wait for him to whiff his command grab before punishing.) Looking at the whole experience, one thing that comes to mind is that the middle of the game was so much fun and some effort needs to be made in order to get past the first few zones, but the payoff definitely makes the effort worthwhile. After Ornstein & Smough, the likes of Nito, Seath and Sif were perfectly pitched in terms of challenge and I saw myself making a lot of progress; as if the game is at its most arduous at the beginning, but eventually accelerates towards the finish line. I’m even willing to criticise Bloodborne a bit for the same kind of feeling; those first few hours can be miserable. When you’re still getting used to that game and spending so long in that Central Yharnam map – running past the same bonfire and the same enemies – it can feel more like work than it really needs to. And the Undead zones in Dark Souls Remastered are just as repetitive and uninspiring.

It’s another one of those games where the satisfaction of making progress and switching off for the night battles with the desire to keep going and finding out what’s up next. I would have thought that the entire game would have been spoiled to death by now, but the firsthand experience still held value. The discoveries you don’t know about – a new blacksmith around the corner, a bonfire behind a secret wall – feel great, and even the things you’ve been spoiled on are shaped by your own skill and character building. My tank character can withstand a few blows in a skirmish, but he wasn’t elegantly rolling out of danger in any of the encounters, and any panicked escape from something like a Hellkite Drake’s fire breath was a comedic sight. On the other hand, my character was lopping chunks off the health bars of Ornstein and Smough, so the investment was worthwhile. I think Bloodborne’s the only game where I’ve really been invested enough to go through it again with different builds, but there’s plenty in Dark Souls Remastered to invite replay too, as long as you’re finding the experience enjoyable and worth the replay.

Enabling easy mode

And here’s where I make a confession – I’ve been getting a bit of help with my Dark Souls Remastered experience, and making it less of a struggle. I made two decisions pretty early on; one that was kind of tame and something a little spicier that could invite the rage-clicks. My first decision was that I would use the Notes app in Steam’s overlay to write down anything that I may forget after I put the game down. Weapons I need to upgrade, areas I need to explore, even notes on enemy attack patterns. It’s a bit awkward because my shortcut to open the Steam overlay shares keys with some in-game functionality and sometimes has me inadvertently healing my character, but if I open my inventory beforehand I can prevent this erroneous input. I do think that there’s an interesting discussion to be had about games that limit information and knowledge, and players that might not have a brilliant memory – one of the best features of Elden Ring wasn’t just the map you could open, it was the selection of symbols that you could stamp on the map for future reference. The equivalent in Dark Souls Remastered was me writing directions as if I was operating Google Maps. So that was the tame modifier. Next is the spicy decision: I started making backups of my saves. Particularly at a bonfire, or when finishing a play session – and I did this purely to keep my experience from falling apart. I had heard the horror stories of characters getting cursed and being in one-hit kill thresholds and not having a Lordvessel (allowing players to warp between bonfires), and I sympathised with players losing tens of hours of progress as their only option is to start the game from the beginning again. After playing more of the game I found that the threat of being “soft-locked” does diminish over time as you open up more shortcuts and obtain powerful items, but in the early game it can be brutal. Fans of Dark Souls want to evangelise the experience to newcomers, but if there’s anything that will ensure that a player won’t touch the game again, it’s the feeling of being permanently punished after what has been a large investment of personal time. Generally, however, the notes proved to be more useful than the backups as time went on, and the idea of quitting, copying a backup over, and reloading was so tedious that it quickly became a last resort.

(Addendum: whilst drafting this article I did some research and found that making backups in this manner will also protect players from hackers who can supposedly invade a game and start killing NPCs, and this practice of backing up saves was generally encouraged on Steam discussion boards, so even without my personal stipulations it seems to be worth considering if you’re intending to dive into the online experience.)

Not that the backups were really needed in the end. During the early game of Dark Souls Remastered you quickly unlock the Female Undead Merchant who sells items for curing curse, and if you have a few of those and a homeward bone or two then you can compensate for the situation. Another instance where I would just about forgive a backup save includes racing towards the next bonfire you can see and being too underpowered for whatever you’ve walked into, but the player has to take a bit of blame for that. It’s the kind of thing where you still have to be expected to take some responsibility for how you manage your experience with a game – and if a player misuses that responsibility, that’s on them. “You cheated yourself”, etc.

Dark Souls Remastered – in summary

Dark Souls Remastered promotional image, showing a view of Anor Londo

If anyone’s still here after reading such blasphemy, you’re probably keen to know what I thought about the experience as a whole. I feel like this playthrough has been thirteen or fourteen years in the making, and has been one of the largest outstanding items on my hypothetical “gaming bucket list” for a while. Ultimately, I probably liked this more than Dark Souls 2, but would be more willing to replay Bloodborne or Dark Souls 3 because of the way both games provide a challenge whilst also offering enough breadcrumbs to ensure that I remain engaged. (And Elden Ring is almost its own conversation, but it’s still a brilliant entry point and one of the better games.) At the same time, I can see this totally blowing minds if it’s someone’s first introduction to From’s “dark fantasy action RPG” formula. I think that picking favourites is always going to be a matter of personal preference; after all, the appeal of shared experiences is why I’ve published all of this – and why you’ve been reading it.

Also, I feel like any measures a player takes to be able to continue enjoying the game they want to play should be encouraged. Some players create safeguards against the fear of having to restart the entire game; others could spend time running up and down a zone for experience so that their character gets stronger, or they could summon help at every opportunity, or try to perfect a skip so that they can ignore part of a game, or – yes – download external tools and mods to tailor the experience. A conversation with someone who took steps to continue enjoying something is far more interesting than the conversation with someone who only saw a fraction of the experience. Furthermore, if a player isn’t skilled at the base experience, taking these measures will at worst change the experience from “impossible” to “challenging”, rather than “challenging” to “easy”. Anyway, that’s how I stumbled through Dark Souls Remastered, how I completed my adventure with the Dark Souls trilogy, and how I finally got to see everything beyond that Capra Demon who halted my progress more than a decade ago.

Dark Souls Remastered is available now for PS4, Xbox One, PC and Nintendo Switch.

Neo-cinema: that time I watched Swordfish and Equilibrium

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Whilst I enjoy looking at upcoming film announcements and keeping up with new Blu-Ray and DVD releases, I’ve always found enjoyment from getting into older films that I missed first time around. It’s kind of what led me to write about watching Oppenhemier and Barbie in February of last year – they were part of a cultural trend I had missed, so I wanted to find out more. If you’re on a strict diet of streaming video service providers, there’s a sense that you’re at the mercy of whatever they’re able to provide… but it’s also a little bit like a treasure hunt in the same way that you could lose a lot of your Saturday morning perusing the films on sale in a physical store. Online, there’s a feeling that you need to have the inclination to seek something out in the first place – which is how I ended up watching Swordfish and Equilibrium – but you can just as easily look at the front page of Prime Video or YouTube Movies and find something of interest that you otherwise might not have thought about watching. I’m going to be going into a little more detail about why I picked these two movies to critique in a moment, but sometimes it can be fun to spend time with some (let’s be honest) also-rans without the fear of cinema expense. A quick timeline places The Matrix’s release at 1999, Swordfish’s at 2001 and Equilibrium’s at 2002 (the next Matrix movie wouldn’t be released until 2003) – moving from a hacker who can make gunfights look cool, to two movies with hacking and cool gunfights respectively. It takes a special kind of dedication to watch two less-than-stellar feature films which split the appeal of Neo’s journey, but that’s why I’m here. Don’t worry about the fact that I still waited more than two decades to be done with all of this.

Swordfish and Equilibrium – the hack job

A still from Swordfish, for an article about Swordfish and Equilibrium

Swordfish and Equilibrium had been on my film bucket list for a while, although they don’t really have a whole lot in common. Whilst in the middle of drafting this article I tried to find out when I watched Swordfish, and I could only find a post online where I talked about it in 2018, so it’s been a minute. Anyway, Swordfish could best be described as an espionage thriller – a hacker takes a job to create a program codenamed “hydra” to take money from the government – and it caught my attention when I found that it was being produced by Joel Silver, who was the producer on the first three Matrix movies. And, you know, it’s a film about a hacker… so I thought that there might be something in there for Neo fans? Having now watched Swordfish and Equilibrium (and The Matrix), I feel as though Swordfish is the easier film to watch. Everyone can grasp the idea of the movie, and the premise had enough substance to keep me watching. That being said… outside of the producer link, it’s more like a typical thrill ride than a Matrix wannabe.

There are a bunch of scenes where keyboards are tapped and software is wrestled with, but the immediate draw comes from the back and forth between Stanley and Gabriel, our hero and villain. Motives are laid out, plans are set in motion, and then the double-crosses and trust issues begin as everything escalates to a more intense climax. It’s definitely a film that gets carried by its stars – Hugh Jackman, John Travolta and Halle Berry are all trying to do the best with what they have – but I can see why it didn’t set the world alight. Performing hacks on computers doesn’t make for exciting cinema (although you can tell that they were trying to contrive ways to make it exciting), and the plot feels increasingly daft as you quickly get the impression that this is something you don’t have to overthink.

Swordfish and Equilibrium – the emotional void

A still from Equilibrium, for an article about Swordfish and Equilibrium

Equilibrium was a film I watched more recently, and without the producer connection it has even less in common with The Matrix, but when I first saw trailers of the film – where people were waxing philosophical, dressing sharply and having stylish dual pistol battles – it was hard not to assume that the film was influenced by “vibes” from Neo’s adventures. More directly, you could argue that Equilibrium shares themes of obedience and free will – the film takes place in a world where emotions are prohibited, art is pretty much illegal and people take injections of “Prozium” as emotional suppressants. Our hero, Preston, is someone who accidentally skips one of their Prozium doses but finds it a liberating experience and ultimately joins a resistance group. While this can be loosely compared to Neo “waking up” and joining the resistance of Morpheus, the action scenes are more directly comparable.

Instead of bullet-time and kung fu, the unique selling point is “gunkata”; fighting with firearms and calculating angles and trajectories for optimal offence. In theory, the desired result is that the expert in gunkata looks unstoppable on the big screen – dispatching enemies with style and avoiding incoming attacks. In practice, it’s a bit far-fetched. As Preston stands in place making fancy poses I couldn’t help but wonder why anyone at a distance hadn’t been able to riddle a stationery target with holes. Again, it’s something that you shouldn’t be overthinking. The story of control and free will is cute, but doesn’t have a lot of substance and feels a bit stretched; meanwhile, Swordfish just had a bit more of a compelling thriller narrative, as ridiculous as it was. Too many of the scenes of exposition in Equilibrium felt kind of uninteresting; if I watched this in a cinema I could probably feel the vibe of people stirring as they wait for the next gunkata duel.

Having time to waste

It would be easy to say that Swordfish and Equilibrium are laughable contributions to cinema – and if I was more invested in them around their original release, then I might feel more disappointed at having so much of my time wasted – but when the stakes are lower you can have some fun with films like this and enjoy them as windows into the past. I watched both movies in digital form but I wouldn’t be opposed to picking them up on disc eventually. (Update from the future: as of May 6th 2025, used Blu-Ray copies of both films are in my possession.) I can’t say that I’d be begging anyone to greenlight follow-ups to either movie, but if anybody wanted to then I wouldn’t rush to stop them either. The Matrix was something that I feel like I watched – continue to watch – to death, and Swordfish at the very least might be a serviceable palate cleanser. It doesn’t have the virtual simulation or the sharp suits, and there’s less focus on close-quarters combat, but it’s the kind of thing that I could leave playing on a second screen. Meanwhile, Equilibrium was a bit more po-faced than Swordfish and The Matrix, but it can be enjoyed as a fun series of fight scenes. Maybe both films are a waste of time that could be spent with better movies, but sometimes you’ve watched the better movies already and you’re left with time to waste – whether it’s wasted with a plucky hacker not knowing what to believe or a resistance fighter freed from emotional limbo. As always, leave a comment below if you have any thoughts about Swordfish and Equilibrium or the Matrix series, and thanks for being on board with this adventure through two smaller curios of cinema’s past.

FFVII Rebirth – late impressions

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They didn’t need to do this. I said this at the start of my FFVII Remake late impressions, but the sentiment is true here also. Picking up directly where that game concluded, FFVII Rebirth is a another chunk of reimagined adventures with Cloud Strife and friends, and the second part of a planned trilogy of games based on the 1997 classic. Following the escape from Midgar and Destiny’s Crossroads, the game covers most of the rest of the first disc of the original game – from the flashback at Kalm to the Forgotten Capital. It’s kind of refreshing to see such an honest continuation that picks up almost exactly where you would expect and feels like a genuine extension of Remake’s adventure (the 2020 game came in at around 37 hours for me (plus around 5 hours for Intermission if you beeline the main story); my FFVII Rebirth save at the final boss was about 49 hours.) However – just like Remake, this is a game that fleshes out many of those story beats and battle encounters to something much more involved. Again: they didn’t need to commit to such elaborate new sequences, but it does turn this into a genuinely new adventure.

FFVII Rebirth – event square

FFVII Rebirth

Since I had already played the original game a bit, I had a vague memory about the general locations and events that a player goes through between Kalm and the capital, and so I could feel myself making a mental checklist of story beats and encounters that I wanted to see. And generally, I think that FFVII Rebirth manages to cover most of the memorable sequences. You still take part in the Junon parade, you still find time for fun at the Gold Saucer, you still go through some pivotal sequences at the Temple of the Ancients. The events won’t play out exactly like they did in the PS1 game, but most of the time the interpretations in Rebirth remain enjoyable. And even outside of the events, it’s hard not to appreciate the feeling of walking through what used to be a couple of screens of pre-rendered backdrops, or a handful of NPCs – the bustle and chatter that goes on as you move from one waypoint to the next adds a lot to locations such as Costa Del Sol. Some of those NPCs might have quests for you to pick up, but it’s more likely that they will be keen to play you in a game of Queen’s Blood. A new minigame added to FFVII Rebirth, this duel of card decks has a deceptively simple score-based goal but enough depth behind it to make each play satisfying, and is definitely worth getting to grips with (not that the story lets you ignore the minigame for long…)

2024’s new balance update

Rebirth does feel a lot more challenging than the 2020 game, but I don’t know if that’s because I’m more familiar with Remake’s battles. When you were taking Cloud on a journey to escape from Midgar, I felt like there were only a small handful of compulsory battles that really stretched your abilities and demanded that you make the most of the systems on offer. In FFVII Rebirth, it seems like every other forced miniboss encounter is doing that. I ended a lot of battles with my whole party in the red and near-death, and I’ve been playing both this and Remake on Normal difficulty with active battles. (I did try one or two battles on different difficulties, but generally I liked to reload and retry encounters on Normal difficulty.) The game regularly puts me in situations where I feel like I have eight things to “fix” on the party and only one or two ATB stocks that are ready. I admit that a lot of this may be due to my own knowledge and experience of the battles (I’m already planning to go back to older saves and take a second look at some of the late-game encounters), but the learning curve still felt gentler in the previous game. That being said, I loved taking the time to break down a battle encounter and determine exactly what I need to be looking out for in each of the enemy’s phases. Also, your own offense is supported by a new system of skill unlocks, comparable to a licence board in FFXII, or perhaps the weapon upgrade screen in Remake. Each party member can unlock anything from HP boosts and increased attack stats, to new unique elemental attacks that don’t cost MP – which are especially welcome after Remake had you entering boss battles with the wrong elements equipped.

FFVII Rebirth – environmental awareness

FFVII Rebirth

Whilst I can appreciate an increase in challenge with most of the encounters, I was more disappointed with the environments of the late game – and this stems from something that many Final Fantasy games suffer. When stakes are raised, environments shift from relatable towns and factories and beaches to epic fractured apocalypse backdrops, and even though there’s still another game planned for this trilogy, I already feel like I’m kind of done with it as a late-game staple. Some games have successfully delivered these kind of environments with less bombast – a purely narrative sequence in the Streets of Madness chapter of Final Fantasy XVI was particularly memorable – but I am concerned about what the third game will do to “one-up” the late-game of Remake and Rebirth.

Outside of pure environmental design, the engine sometimes struggles in places. With the previous game, the graphics had difficulty rendering detail in time, leading to memes such as That One Door. Here, the lighting is the most curious aspect of Rebirth. The party can sometimes walk forward into total darkness before the lighting “wakes up” a few seconds later, and some slight camera movements in the wrong place seem to turn the lighting on and off like a lightswitch. It’s never frequent enough to ruin the experience, but it still seems a bit silly whenever it happens.

Despite those observations, this is a great extension and expansion of what FFVII Remake originally set up, and I’m excited by the idea of a conclusion that could expand the hour count of the “trilogy” into triple-digits. If you didn’t like FFVII Remake then there probably isn’t much for you here – if you did, you probably already made up your mind about picking this up. They didn’t need to do this, but I still appreciate the ambition.

FFVII Rebirth is available now for PS5. You can find out more about the game here.

In pursuit of Infinite Wealth

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As a casual follower of the Like A Dragon series (formerly the Yakuza series until you look at the spine of the eighth game’s box), I was pleasantly surprised by Ichiban’s first outing in 2020. The move to a turn-based format was a perfect fit for a combat system that already encouraged a methodical rhythm of waiting, blocking and countering, and the supporting cast were generally a great bunch of virtual characters to hang out with. For the most part, the game was a fun twist on a formula that may have risked becoming overfamiliar, but I felt like it stumbled a bit in the later chapters. Whether you were meandering through a slower part of the narrative or hitting a wall with one of the notorious bosses found in the late game, such moments were blemishes on something that could have been a future classic with a little more balance and tweaking. And so when I’m deep into the last chapter of Infinite Wealth and considering the journey the game has taken, I’m torn – because I can’t decide if this is simply better than the previous game or if it’s rivalling some of my all-time JRPG favourites.

Fair fights

Like A Dragon: Infinite Wealth - in battle

The truth is, I’ve found it really hard to tear myself away from Infinite Wealth. It’s another adventure through dungeons of turn-based encounters set against the backdrop of a modern urban open world, and whilst the characterisation, story, job system, minigames and battle mechanics are as good as they were before, the previous game had conditioned me into thinking that the high wouldn’t last forever. Sooner or later I’d be cursing a forced encounter that’s far more challenging than whatever I was fighting five minutes ago, and I’d walk back to one of the grind spots so that I can make some cash for gear and maybe level up my party. However, I’m currently at the doorstep of the final boss and most of the mandatory challenges have felt surprisingly fair. It’s still not a game where you can waltz through every boss battle on the first attempt, but your party is well catered for with the material and upgrade system, a satisfying selection of character classes in the job system and a couple of “optional” underground dungeons that fill the gap between the encounter you just completed and the one causing you problems right now. There always seems to be something that you can do to develop your party in some way, and it’s offered as a path that you’ve always had the chance to revisit, rather than something you’re thrown into because completing it is the only way you’ll see anything past chapter 12 of the previous game.

Infinite Wealth – recommended

Even Persona isn’t immune to questionable pacing, whether it came from the notorious party wipes experienced when you first attempt the next mandatory boss in 3 or 4, or the extended bespoke mazes introduced in 5’s palaces. Infinite Wealth, however, is performing an admirable balancing act of being just challenging enough. I’ve had a few tough battles in a couple of earlier chapters – as well as this last chapter I’m trying to complete (note from future self; train up a dedicated healer role, and save your Extreme skills and Tag Team moves to blow through the latter “phase” as soon as possible) – but they’re only tough in the way that JRPGs have their challenging bosses; there hasn’t been a “chapter 12 of the previous game” moment in Infinite Wealth. For the moment, it’s just provided a solid challenge and has been responsible for a lot of late nights and lost sleep as I’m desperate to see the next battle, the next dungeon floor, or the next story sequence.

And outside of the business of story progress, it’s just a fun game to be absorbed in. When you’re not busying yourself with upgrades and job levels, the move to Hawaii works as a new change of scenery for the player and the foundation for much of the game’s levity. Returning hero Ichiban plays the role of the bemused outsider exceptionally well, and exploring the streets and venues is enhanced with what is essentially a summonable Segway (that moves you through the streets faster, but needs to be recharged at stations for a small fee) and even a dedicated “aloha” button to greet passers-by. Furthermore, regular enemy encounters in the open city environments are engaging without taking up too much of your time, and encounters with low-level groups can be ended in an instant with a squeeze of a shoulder trigger. The usual abundance of minigames and amusements provide a welcome break from the fighting, and loading between the transitions is fast and painless (unless you’re walking into a lengthy FMV). The usual taxis are in place to send you between notable locations, and the map is continually an invaluable resource (although I do find myself hopping between multiple stores to find the one that has a particular piece of gear,)

This had previously shared the company of Final Fantasy VII Rebirth as one of my most anticipated games of 2024, but Square Enix will have to deliver something exceptional in order to match this. If you have any interest in modern turn-based RPGs with impressive production, lots of optional distractions and customisation, and what seems to be a decent challenge for fans of the genre, consider this a confident recommendation.

Like A Dragon: Infinite Wealth - cinematic finish to battle

Like A Dragon: Infinite Wealth is available now for PS4, PS5, Xbox One, Xbox Series and PC. For more information, visit https://infinitewealth.sega.com/

Review: The Chemical Brothers – For That Beautiful Feeling

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It’s been more than four years since I published some thoughts on No Geography, the ninth studio album released by The Chemical Brothers. When I wrapped up my opinions on that collection of tracks, I was pleased to find that I still enjoyed the duo’s signature sound and vibe, even after I disappeared along my trajectory of listening to more bass music. Long after that review was published, I still enjoy a few tracks that I cite as standouts – the catchy title track, the smooth sounds of Gravity Drops, and MAH – a tune that seems like it could have just missed the shortlist of music for a soundtrack to the latest Wipeout game. Along with the likes of Leftfield and The Prodigy, Rowlands and Simons are another act who followed me in boom boxes, iPhones and the occasional Walkman – their long-standing appeal remaining evident in For That Beautiful Feeling, and after so many newer names and faces have shown up on the scene.

For That Beautiful Feeling – the journey

For That Beautiful Feeling

I had been following news of the latest album on social media and through streaming services – as tracks such as No Reason, Skipping Like A Stone and Live Again were unveiled online earlier this year, in a drip-feed that sated the appetites of fans over the months that would lead up to the album’s release. What I heard at the time seemed pretty solid, with Live Again developing nicely as various effects and layers come in and out, and Skipping Like A Stone benefitting from the warm lyrics of Beck. For That Beautiful Feeling succeeds in respecting the fans of the uptempo bangers whilst also providing some calmer earworms for the person listening on their commute. Feels Like I Am Dreaming deserves to be played loud in a dark room with lots of space to move your feet; busy crescendos transition into into slick beat drops and a whole journey of intertwining melodies only offers respite at its conclusion.

Other honourable mentions

The Weight is a slower offering with a catchy bassline that evokes memories of the best moments found in Dig Your Own Hole and Exit Planet Dust. Live Again continues to return to my rotation even though I had played it a lot before the album’s release; it might not have the variety of some of my favourite older tracks by the brothers, but the tune is still pleasant enough for the ears. At the time of writing, Fountains is an early favourite of mine; beginning with some twangy melodies in the intro and a hypnotic beat that commands the head to start bobbing, shortly before an awesome vocal is introduced and the ingredients coalesce into something unique but clearly identifiable as a Chemical Brothers sound. Even after so many repeat listens, I can tell that Fountains will have a place in my playlists for a while.

For That Beautiful Feeling – a confident release

For That Beautiful Feeling

If I wanted to be picky, I don’t think that For That Beautiful Feeling takes many risks or subverts expectations to a great degree, but I feel like with ten studio albums to celebrate, the Chemical Brothers definitely know where they excel, and they know the kind of sounds that their fans are going to appreciate. It’s going to take me a while to think about how this compares to No Geography (and, indeed, where this album sits in my vague mental list of favourite 2023 music releases) – but I think that anyone who already enjoys the recent output from The Chemical Brothers will have already played this album to death and enjoyed it. If you want that Beautiful Feeling as well, it’s only a few clicks away.

For That Beautiful Feeling is available now on all good streaming services, and can be bought on CD, cassette and vinyl at https://store.thechemicalbrothers.com/

Review: Leftfield’s This Is What We Do

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Leftfield’s This Is What We Do is the latest studio album by the electronic duo of Paul Daley and Neil Barnes  – it comes some seven years after their last album Alternative Light Source, and it also showed up a few months after some personal reaffirmation that they produce some amazingly technical and stirring tunes. Around four months ago, on August 13th, I was fortunate enough to travel to Eastnor Castle with family to attend Lakefest 2022; an annual festival of music and entertainment. This year, Leftfield were one of the main attractions, and it was my first time experiencing their music in a live environment. Put simply, the event blew away my expectations, and was one of the best live sets I’ve seen. From Black Flute and Song of Life to Phat Planet and Storm 3000, each track shook the tent with big beats and vibrations, and I was left exhausted from bouncing up and down in excitement. Fast-forward to early December, and Leftfield’s This Is What We Do proves that they’re still every bit as capable of creating great music.

Leftfield’s This Is What We Do – the standouts

Leftfield's This Is What We Do - album cover

We were already fortunate enough to hear a few tracks from Leftfield’s This Is What We Do prior to the release of the full album; their official YouTube channel published videos for “Pulse”, “Accumulator” and a collaboration with Grian Chatten named “Full Way Round”. In particular, “Pulse” is one of the strongest tracks on the album for me, with some slick phased (or flanged? Feel free to correct me in the comments) drum beats and careful layering of secondary melodic loops that build to a satisfying peak before returning back to the initial groove established earlier on. However, there were a lot of standouts that I hadn’t heard before – “Machines Like Me” has a great change of pace that recalls the mellow tracks found in earlier albums; “Making A Difference” is punchy and purposeful, and wouldn’t sound out of place in a soundtrack for Sony’s Wipeout series. Next to “Pulse”, one of my other favourites was “Rapture 16”; with its uniquely catchy rhythm and bizarre vocal effects, it made a strong impression. However, if you like diverse and playful electronic music, you’ll probably be able to pick your own favourites from the eleven tracks that are offered by the album. (As always, you can let us know what your standout tracks are in the comments below.)

A belated highlight of 2022

I’ll admit that Leftfield’s This Is What We Do has been a bit of a slow burner for me, and that’s kind of why I hadn’t published any words about the album until now, in mid-December. Honestly, a lot of my music reviews here have leaned towards bass music rather than more subtle electronica, and I wondered if this would fit in with my other music coverage. However, I’ve also been doing some end-of-year lists and ratings in various online communities, and I feel like the album is pretty close to the top for me. (For those who are curious – at the time of writing, only the “Forms” EP by Bungle (under Scientific Records) contends for the number one spot in the personal list I’m maintaining.) The variety of different moods and vibes present in the album is commendable, and my favourite tracks are some of the best things I’ve heard in 2022. As a result, I felt like I couldn’t not talk about the album in some capacity. So this article is being published a little later than it could have been, but having enjoyed the album so much, it would be remiss to omit it entirely from our ongoing coverage of notable music releases.

Leftfield's This Is What We Do - the people

Leftfield’s This Is What We Do – availability

If you want to listen to Leftfield’s This Is What We Do, it’s available now on all good streaming platforms, and you can buy the CD from their merch store – https://leftfield.probitymerch.com/collections/music – and various other outlets.

Noisia’s “Closer” out now

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Back in April of this year – when I covered the Critical Music compilation “20 Years of Underground Sonics”, I mentioned that things might be pretty busy for me in terms of covering interesting bass music releases, because Noisia’s “Closer” was just around the corner, and here we are. They’ve mentioned that it’s their third and final album, and in the days leading up to its release I wasn’t sure where I should set my expectations. Their debut, “Split the Atom”, was a refreshing and energetic approach to electronic music and drum and bass; I still listen to plenty of tracks from the Special Edition release today, and so many tracks were shot through with a distinctive sense of character and identity. This was something I found to be a little lacking in the follow-up album “Outer Edges” – there were still some pretty great tunes (courtesy of Anomaly and The Entangled), but other tracks struggled to find that sense of identity. Layers would be built up and achieve a slow-burn appeal, and then they would be over before there was any kind of payoff. It was a great way for the group to explore a different pace and vibe, but it left me wondering which way Noisia’s “Closer” would go.

Noisia’s “Closer” – a return to form

I needn’t have worried that much, it seems. Noisia’s “Closer” feels much more comfortable finding its groove when compared to Outer Edges, and there are many more tracks that establish their own sense of identity when compared to that difficult second album. In fact, I might go as far as saying that it has more variety than Split The Atom. With “Shutters” you find yourself listening to rapid lo-fi beeps that sound like they’re coming out of an 8-bit micro as they get blended with twee melodies, but then you’re thrown into “Halcyon”; a track with The Upbeats that’s more, well, upbeat, and changes the mood whilst retaining a distinct “Noisia” identity. It’s like the group decided that as this would be their final album they could have a little more fun. That sense of fun – the desire to have more variety and defy expectations – might disappoint those who come into the album expecting a particular sound, but generally I like the result. If you follow Noisia’s updates outside of their main studio album releases you might recoginse some returning tracks: for instance, “Shibuya Pet Store” from the “No Sleep Til… Japan (and Iceland)” Kickstarter project, or “Pleasure Model” (we covered the music video back in 2018.) A particularly bold tune is “The Hole Pt.1”; a complex “17/8” piece whose rhythm creates an unusual but compelling vibe of its own (and almost feels like a musical puzzle as you try to pin down that time signature…)

Worthy finale

If this is the last we hear of Noisia, it’s a great way to go out. I would easily rate this up there with Split The Atom, and the collaborations offer a lot of variety. Beyond Noisia’s “Closer”, I know that the members have individual projects going on (in particular I follow Thijs de Vlieger’s work a lot via his Twitter account @ThysMusic – but I know that Nik Roos and Martijn van Sonderen have accounts at @niknoisia and @ensernoisia respectively), so hopefully you can still enjoy their work in various new ways.

Noisia’s “Closer” – where to go

If you want to check out Noisia’s “Closer” for yourself, it’s available now on most good streaming platforms, you can buy the MP3s from Beatport or Bandcamp, and you can order pre-order the CD or vinyl box (ETA June and December respectively) at the Vision Recordings store.

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