Monday, 7 February 2022

Leviathan Falls by James S.A. Corey

The Laconian Empire has suffered a series of reversals in its war against the unknown entities that killed the creators of the protomolecule. The alien are conducting strange assaults on our reality, affecting consciousness and the laws of physics. High Consul Winston Duarte, whose enforced self-evolution to take on the aliens, is now MIA and the Empire is leaderless at the precise moment it is facing its greatest military challenges. As usual, it falls to the crew of the Rocinante to influence events and bring the greatest crisis humanity has ever faced to a successful conclusion...if that is even possible.

All epic stories have an ending, sometimes one that is full of fire and brimstone and lots of explosions and major character revelations, and sometimes one that is quiet and reflective and bit melancholic. Leviathan Falls, wrapping up The Expanse after nine books and eleven years, manages to do a bit of both. It's a book that, like many of its forebears, gives good space battle, but it also factors in an element of weariness to the narrative. Our central quartet of heroes and almost-heroes and not-really-heroes - Naomi, James, Alex, Amos - have been through hell and back many times over the thirty years they've been living with the threat of the protomolecule-builders and their even more enigmatic and dangerous enemies, whilst all around them various human factions have played their game of space thrones which have been more like messing around with musical chairs whilst the room itself burns.

You could be forgiven going into this finale thinking that Leviathan Falls will refocus the story on that conflict, which has mostly been relegated to enigmatic moments and epic cliffhangers in previous novels. Surprisingly, it doesn't. The battle for reality as we know it is instead relegated to a mostly off-page game of tug of war between a protomolecule-enhanced character and the unseen aliens banging on the walls of our reality (occasionally punching through with bizarre effects, like rewriting the laws of physics on a local level or knocking billions of people unconscious). Some may feel a bit let down by that, but given the strangeness of the aliens and the weirdness of the protoculture-powered technology opposing them, perhaps it was a wiser choice not to try to depict that cosmic struggle on page. Instead we get intermittent senses of the history of that conflict via two protomolecule-resurrected Laconians interfacing with an alien archive (which also gives a better sense of the history of the conflict between the protomolecule builders and their foes). This is all good stuff, though there is a nagging sense of it being a case of more tell than show.

Some of the weaknesses of earlier books remain - there are story beats in the finale here which feel pretty much just Xeroxed from earlier books, particularly Babylon's Ashes - but there is a melancholy air to the novel I wasn't quite expecting. The team have a new enemy, a ruthless Laconian soldier with kick-ass super armour given ill-advised total authority to deal with problems any way she sees fit, but even her heart doesn't seem to be entirely in it. The resistance is on the back foot and the Rocinante crew are struggling to hold it together, but similarly the Laconians are reeling from their own problems (particularly the losses of several of their most powerful warships) and aren't at their best. Both sides even spend some time wondering why they're shooting one another whilst the real enemies, the ultra-powerful extradimensional aliens, are trying to kill everyone.

The book does a solid job of wrapping up the character arcs for its major protagonists: Jim Holden's moral certainty, which both impresses and annoys, once again is put under the spotlight, whilst Naomi gets to lead the resistance. Amos, semi-hybridised with the protomolecule, is still pretty much Amos, whilst Alex gets a very low-key presence, despite his son playing a surprisingly important role through the book. We've spent nine books with this crew and the authors wisely choose to spend a fair amount of time on them doing what they do best: argue, roar across the Solar system getting into trouble, getting shot at, and playing an ace when least expected to win the day.

Other elements are less successful: new protagonist Aliana Tanaka has potential, but pulling a brand new antagonist out of nowhere in the last book of the series makes it very hard to invest much interest in her. She does have some intriguing characteristics, but it feels like the series might have been better to have set her up in an earlier volume, or had a more consistent set of enemies in the Laconian side of the story across the three books in which they are major players. 

The real question is does Leviathan Falls give us an ending worth more than a decade's build-up? The answer is a resounding and definitive, "kinda, yes". The authors have stumbled a bit in the past with lower-key finales to shorter story arcs, with both Nemesis Games and Persepolis Rising doing brilliant jobs of establishing new threats and enemies which then Babylon's Ashes and Tiamat's Wrath resolved rather hurriedly and perfunctory. Leviathan Falls does take another tack, building to an ending to the entire series which does feel somewhat familiar, but allows the characters to shine. There's a fair few unanswered questions here, which the epilogue (which jumps forwards a long time after the rest of the series) doesn't do much to address, but ultimately the novel rattles along and delivers a reasonably interesting ending, even if it's maybe not the one you were expecting.

Leviathan Falls (****) wraps up the Expanse series in a reflective mood. Never quite the decade-defining series it's sometimes been hailed as (and certainly not as important in SF literature as its TV counterpart is in SF TV), it's nevertheless delivered reliably entertaining space opera on a near-annual basis, and the ending certainly continues that fine tradition. I'll be interested to see what the authorial team can come up with next (though for Daniel Abraham, at least, that question will be answered by his new epic fantasy series which starts in a few weeks with Empire of Ash).

Sunday, 6 February 2022

WHEEL OF TIME renewed for a third season at Amazon...and maybe a fourth

The Wheel of Time has been renewed for a third season at Amazon Prime Video, with a pickup for a fourth season also potentially on the way.


The news, somewhat obliquely, came in a Deadline article discussing the return of Criminal Minds. As cast-watchers should be aware, Wheel of Time star Daniel Henney was a regular on both Criminal Minds and one of its spin-offs for several years. During the article, Deadline confirms that Wheel of Time has been picked up for "two more seasons."

It's unclear whether Deadline was including the already-filming Season 2, which wraps in the next few weeks, in their count. If not, Wheel of Time will make it to fourth season, halfway through its planned eight-season run. If not, the show will definitely get a third year.

This is a bit of a no-brainer. Despite a mixed critical reception, especially its divisive season finale, Wheel of Time became Amazon's biggest-ever TV premiere when it launched in November, outperforming the likes of The Boys, Carnival Row, The Grand Tour and Invincible. Greenlighting a third season well ahead of a time will be essential to keep the gap between the second and third seasons to a minimum, and greenlighting a fourth season would be advantageous in allowing the production team to plan out future episodes and storylines, as well as creating a schedule that works with their much in-demand lead actor, Rosamund Pike.

Amazon have not yet confirmed the news, but Deadline (along with Variety and the Hollywood Reporter) is usually very on the ball with this kind of news.

Season 2 of The Wheel of Time is expected to air late this year or early next.

Friday, 4 February 2022

Rockstar confirm a new GRAND THEFT AUTO game is on its way

Rockstar Games have confirmed that they are developing a new title in their mega-successful Grand Theft Auto series and work is "well underway" on the project. However, more specific information was not provided.


Rockstar Games - formerly DMA Design - kicked the franchise off with Grand Theft Auto in 1997. A 2D crime game viewed from an overhead perspective, it was hugely successful on PC and the original PlayStation. A similar sequel, Grand Theft Auto 2, was released in 1999, along with expansions to the original game set in London. The franchise went nuclear with the release of Grand Theft Auto III in 2001. Two sequels, each larger and more elaborate than the last, followed with Grand Theft Auto: Vice City in 2002 and San Andreas in 2004, the last of which became the biggest-selling ever game on the PlayStation 2 console. The company also expanded the franchise with multiple mobile games.

The series' popularity continued to grow with Grand Theft Auto IV (2008) on the PlayStation 3, PC and Xbox 360, something of a reboot of the series and the first to use full HD graphics. However, the game attracted criticism for being smaller than San Andreas in size and scope, and for featuring more gritty realism in lieu of the fun mayhem of the earlier games. Rockstar corrected the error with Grand Theft Auto V, released in 2013 on the same formats but also featuring substantial upgrades for the PlayStation 4 and Xbox One versions of the game.

Grand Theft Auto V, which also includes the phenomenally successful multiplayer game Grand Theft Auto Online, has become the second-biggest-selling individual video game of all time, with almost 160 million copies sold on multiple platforms. The game has generated over $6 billion in revenue since its release just over eight years ago. The game also attracted significant critical acclaim for perceived improvements to the GTA formula. However, fans have sharply criticised the absence of any sequel, and the perceived disregarding of the single-player campaign part of the franchise by Rockstar in favour of the monetisation of the multiplayer mode. Rockstar confirmed they would be continuing to develop single-player games with the release of the hugely-acclaimed Red Dead Redemption 2 in 2018.

Rockstar have, presumably been working on Grand Theft Auto VI since the release of Red Dead Redemption 2, with likely over three and maybe closer to four years on the clock on the project. Some reports previously suggested they were only "early in development" on the game in April 2020. However, the franchise publishers, Take-Two, confirmed last year that they are planning a major marketing spend for financial year 2023-24, of the level usually only associated with a Rockstar franchise title. This suggests that GTAVI might still be two years away, and certainly no less than eighteen months.

Even that might be generous: Rockstar announced GTAV with a teaser trailer in late 2011, two years before release, and it sounds like Rockstar are still some time away from even releasing a formal trailer for the game. Certainly don't expect this too soon.

The game's setting and time period will be a source of speculation for fans. It is worth noting that Rockstar usually rotate their games between the fictional cities of Liberty City and Vice City, and the state of San Andreas. The current "HD Era" of the franchise has seen the revisiting of Liberty City (in Grand Theft Auto IV) and San Andreas (in Grand Theft Auto V and Online), so a reasonably popular guess is that GTAVI will be set in Vice City. The likely "VI" part of the title could be used to feed into the word "VICE" in that case. All of the games in the current era of the franchise have been set in the present day, so that will presumably still be the case.

There will be a big difference with the game and its forebears, however. It will be the first game in the series since GTAIII not to be directed by long-term designer Leslie Benzies or written by Dan Houser. Benzies left Rockstar in 2016, and Houser in 2020.

Thursday, 3 February 2022

BABYLON 5 reboot to remain in development for another year

J. Michael Straczynski has provided an update to the percolating Babylon 5 reboot at The CW. The network has chosen not to pick up the pilot for its autumn 2022 launch slate, but, in an unusual move, is keeping project in active development with a view to it potentially launching in autumn 2023 instead.


According to Straczynski, the development process was complicated by the recent sale of the CW network, which had an impact on the type of shows and pilots in development. During this process, it appears that Babylon 5 fell outside the parameters of shows that were being picked up. Babylon 5 is something of an outlier for The CW, which has a lot of youth-oriented shows and superhero series. Babylon 5, on the other hand, is an adult-focused epic space opera.

Mark Pedowitz, President of The CW, has kept the show's development ticking over for an extra year whilst the dust settles from the sale of the network and everybody involved can see how the sale affects other shows in development.

If Babylon 5 is picked up for 2023, it will be very appropriate, as that would mark the 30th anniversary of the original show's debut.

Wednesday, 2 February 2022

Raymond E. Feist and Janny Wurts' RIFTWAR SAGA and EMPIRE TRILOGY optioned for television

The first six books in the enormous Riftwar Cycle of fantasy novels have been optioned for television by new production company Six Studios. The startup has already brought together an impressive array of talent to work on the project.


The Riftwar Cycle is a series of 29 epic fantasy novels, mostly written by Raymond E. Feist, unfolding over a period of some 300 years and charting the conflicts between the world of Midkemia and various other worlds which it becomes linked to via rifts in space and time. The series has sold over 20 million copies and was one of the biggest-selling epic fantasy series of the 1980s and 1990s. The series is divided into ten distinct sub-series, each with its own story arc and cast of characters. The series was originally written to provide backstory for a tabletop roleplaying campaign that Feist was playing in at university, with the world of Midkemia originally created by Steve Abrams.

The deal includes the rights to the three novels in Feist's Riftwar Saga trilogy - Magician (1982), Silverthorn (1985) and A Darkness at Sethanon (1986) - and the three books in The Empire Trilogy, co-written by Feist and Janny Wurts - Daughter of the Empire (1987), Servant of the Empire (1990) and Mistress of the Empire (1992). These two series take place simultaneously alongside one another.

The story begins by focusing on the adventures of Pug and Tomas, two young boys growing up in and around the frontier town of Crydee, located in the far west of the vast, sprawling Kingdom of the Isles, which has expanded beyond its island homeland to conquer most of the northern third of the continent of Triagia (on the planet Midkemia). It is opposed to the south by the far larger Empire of Great Kesh. Crydee, wild but tranquil, abruptly finds itself on the front lines of an unexpected war when a magical rift in time and space opens, linking the territory with the Tsurani Empire on the planet Kelewan. Kelewan is poor in metals, whilst Midkemia is rich with them, and the Tsurani embark on a military campaign to seize and hold territory and mine metals to ship home. Pug and Tomas, now an apprentice magician and warrior respectively, find their fates bound up in that of the ruling conDoin family as they seek to rally support from the rest of the Kingdom to oppose the invaders.

The Riftwar Saga tells the story of the war from the Kingdom's perspective, and subsequent events as the moredhel or dark elves of the far north take advantage of events to plot their own invasion of the Kingdom in search of a magical artefact of tremendous power. The Empire Trilogy tells the story of the war from the Tsurani perspective, in particular focusing on the adventures of Mara of the Acoma, a noblewoman who takes control of her family after the death of her father in battle on Midkemia. Mara has to navigate the labyrinth politics of the Empire to retain her position and improve the fortunes of her weakened house.

The Riftwar Saga and especially the Empire Trilogy are both critically-acclaimed, the latter in particular for its rich, compelling political intrigue as well as its focus on female characters at a time when the genre was not known for them.

The new project will be produced by entrepreneurs Jeff Huang and Carl Choi and written by Hannah Friedman (Willow, Obi-Wan Kenobi), Jacob Pinion (Fear the Walking Dead) and Nick Bernardone (Fear the Walking Dead, Unbreakable Kimmy Schmidt). Kiri Hart (Soul, Rogue One) and Stephen Feder (Solo: A Star Wars Story) will co-produce and serve as consultants. Feist and Wurts - who just wrapped up her own, massive Wars of Light and Shadow saga - are expected to consult.

Six Studios are looking for a network or streamer to collaborate with on the project.

Succession: Season 1

Logan Roy, CEO of international mega-corporation Waystar RoyCo, is turning 80 and his family gather to celebrate. A sudden health scare forces the family to consider the matter of Logan's succession, with his preference for one of his children to take over. However, they all have problems: eldest son Connor is uninterested in the company, business-minded Kendall is a recovering addict with a tendency to fall off the wagon, Roman is immature and irresponsible and Siobhan is a political fixer whose ideology clashes with that of her father. As the question of succession proves pressing, the family members start considering unorthodox means to get what they want.


Succession can be best described as "Game of Thrones in Manhattan," a vicious battle for supremacy between the children of the dying king. Except, since they can't actually kill anyone, people remain alive to realise how badly they've been betrayed and can plot vengeance again later on.

Yet another series about horrible people stabbing one another in the back may not sound appealing and, to start with, Succession struggles with making you care about anything that's going on. The show is a slow burn, to say the least, and it makes the curious decision to sidetrack its lead character and the literal poster boy, Logan Roy (a powerhouse performance by Brian Cox), for most of the first season. However, writer Jesse Armstrong is a student of the political comedy of Armando Iannucci (working alongside him on thematic sister-series The Thick of It and Veep, and their semi-linking movie spin-off In the Loop) and brings that experience to bear on Succession, making its first season a jet-black comedy. The fact these characters are unlikeable is unimportant, because you're laughing at their exploits and misfortunes and don't realise how deeply you've become been invested in the characters' lives until it's too late.

The show's twin aces are the writing and the acting. Both are exceptional, the dialogue being sharp and getting across the potential complexities of hostile takeovers and high-value finance deals in a concise and understandable way. The acting is phenomenal: Cox is the MVP but everyone else is fantastic. Jeremy Strong is formidable as Kendall, the obvious heir apparent whose business acumen is compromised by addiction issues, whilst Kieran Culkin is entertaining as the free-wheeling, irreverent Roman. Sarah Snook is extremely impressive as Siobhan "Shiv" Roy, whose canny political instincts make her arguably the strongest candidate to succeed her father but her lack of business experience is a weakness. Matthew Macfadyen is one of the show's secret weapons as Tom, Shiv's fiance who runs the company's amusement park and cruise division and is obsequious to the family but more ruthless to his own subordinates. In particular, the relationship between Tom and Logan's nephew Greg (a winningly awkward turn by Nicholas Braun) is a source of comedy and, later, pathos.

The first season does flag a little under the weight of its ten-hour run, and it does take a long time - until the two-hour finale when it mixes black comedy with drama with outright horror - for it to reveal its true potential, but when it gets there, it becomes compelling drama for those with patience.

The first season of Succession (****) is available to watch on HBO Max in the USA and NowTV in the UK.

Monday, 31 January 2022

The battle for the future of video gaming heats up with Sony set to acquire Bungie

Sony has announced plans to buy Bungie, Inc., the video game developer which created the Halo series and now develops the Destiny series. The move is part of an escalating series of buy-outs as Microsoft and Sony compete to get the most exclusive titles on their consoles, the Xbox and PlayStation respectively.


Bungie was founded in 1991 and developed a series of successful video game franchises in the 1990s, including early first-person shooter series Marathon and strategy series Myth, as well as third-person action game Oni. In the late 1990s they began development of a highly ambitious, cutting-edge first-person shooter for PC called Halo. Microsoft thought the project was so promising that they bought Bungie in 2000 and repurposed Halo as a launch title and "killer app" for their new Xbox video game console. Bungie worked on the Halo series for the next several years, developing Halo 2 (2004) and Halo 3 (2007), both massive-sellers.

Bungie announced a split from Microsoft in late 2007, with Microsoft retaining the Halo IP. Bungie developed two additional Halo games for Microsoft after the split, constituting Halo 3: ODST (2009) and Halo: Reach (2010). Bungie pivoted to a new video game franchise they were developing, which resulted in the multiplayer-focused Destiny (2014) and Destiny 2 (2017). Both were immensely successful.

The acquisition will not impact on the ongoing release cycle for Destiny 2, with future expansions and new content being available on Xbox, PC and PlayStation. However, it is possible that Destiny 3, if it is ever made, will be a PlayStation-exclusive, as will any new IP to emerge from the studio. It also makes a possible future re-collaboration between Bungie and Microsoft on the Halo franchise unlikely, if not impossible. Sony will also be leveraging their muscle in the television and film production space to develop Destiny tie-in projects. Sony have also expressed admiration for the back-end networking technology used by Bungie in the Destiny games, which they may wish to incorporate into other Sony franchises.

This deal has been in the offing for months, and it is unlikely that it was a direct response to Microsoft's recent acquisition of Activision-Blizzard, instead more likely being inspired by Microsoft's acquisition of Zenimax Media and their Bethesda-branded studios in 2020 for $7.5 billion.

Microsoft's recent buying spree has seen them gain control of massive console-shifting franchises including Call of Duty, DiabloThe Elder Scrolls, and Fallout, as well as the well-respected Doom, Wolfenstein, StarCraft, WarCraft, Overwatch, Guitar Hero, Skylanders and Crash Bandicoot series.

Sony potentially getting the keys to future new Bungie IPs is small fry in comparison, but it might be a sign of Sony gearing up to buy other companies. If Sony wants to go toe-to-toe with Microsoft's acquisitions, an obvious target will be Take Two Interactive, the publisher and, via their Rockstar family of studios, developers of the giga-hit Grand Theft Auto series. Take Two is probably at the upper level of realistic targets, given that Sony's financial resources are somewhat more limited than Microsoft's, and Sony making the in-development Grand Theft Auto VI a PlayStation exclusive would draw in a lot of wavering fans who might be tempted to jump ship to Xbox (Grand Theft Auto V is the biggest-selling video game of the last decade). Of course, it might be that Microsoft are already targeting Take Two. Take Two themselves recently acquired mobile games giant Zynga for $12 billion, possibly a sign that they will not be interested in takeover offers, or possibly to bolster their price for any such offers.

It'll be interesting to see what the next move in the space will be.

Blogging Roundup: 1 October 2021 to 31 January 2022


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Sunday, 30 January 2022

HALO TV show to launch on 24 March

The long-gestating Halo television series now has a launch date. The show will drop on Paramount+ in the United States (and other territories where Paramount+ is available) on 24 March. The plan for territories outside the United States where Paramount+ is unavailable is unclear.


The trailer sets up the premise of the show, which is similar but not quite identical to the video games. The premise sees the now-multi-planetary United Nations at war with the Covenant, an alliance of several hostile alien races united by a common religion. The Covenant are somewhat technologically superior to humanity and are dedicated to the human race's destruction on ideological grounds. Key to the battle are the Spartans, powerful warriors clad in state-of-the-art armour. The protagonist is Master Chief Petty Office John-117, mostly known as "Master Chief," a legendary soldier even among the Spartans, as he learns that the fate of the war with the Covenant depends on finding an unknown alien artefact known in the records of a dead race as "Halo."

The series also features a number of other Spartan soldiers, a group of scientists monitoring the progress of the Spartans, and a powerful AI known as "Cortana."

The Halo video game series began in 2001 with Halo: Combat Evolved, becoming arguably the signature series of the Microsoft Xbox series of video game consoles. It has since expanded to six games in the main series (divided into two sub-series), a prequel and an interquel, and a number of spin-offs, including the Halo Wars strategy series. There are also novels, graphic novel and both live-action and animated shorts (as well as the tangentially-related Red vs. Blue online comedy series). The most recent game in the series, Halo Infinite, was released at the end of last year. To date, the series has sold over 81 million copies.

The Halo TV series retells some of the stories from the games, but in a modified form, most notably to be more of an ensemble piece whilst the games focus much more on Master Chief alone as the protagonist. According to the writers, the TV show takes place in the "Silver Timeline," a distinct (but similar) continuity from the video games. 

The TV show stars Pablo Schreiber as Master, with Jen Taylor reprising her role from the video games as Cortana. The series also stars Natascha McElhone as Dr. Halsey, Shabana Azmi as Admiral Parangosky, Olive Grey as Miranda Keyes, Rafael Fernandez as Jacob Keyes, Bokeem Woodbine as Soren-066, Kate Kennedy as Kai-125, Natasha Culzac as Riz-028 and Bentley Kalu as Vannak-134.

Wednesday, 26 January 2022

Wertzone Classics: Age of Empires II Definitive Edition

Remasters have become a good way for a publisher to make a fast buck. Take an old game, do the bare minimum of work necessary to get it working on modern hardware, throw in some old expansions and away you go. Back in 2013, Microsoft did that with Age of Empires II: Age of Kings, releasing a "HD Edition" which was serviceable but no more. Unhappy with the remake, Forgotten Empires Studios got permission from Microsoft to continue developing new content for the game in the form of new expansions and updates. Three expansions later, Microsoft gave Forgotten Empires the green light to undertake a much more comprehensive remake of the original game.


The result is Age of Empires II: Definitive Edition, one of the most comprehensive and impressive remakes of a video game ever released. The game fully retains the original look and feel, but the graphics have been sharpened up to a hugely impressive degree. An intuitive UI has been implemented, allowing for villagers to re-seed farms automatically (rather than waiting for you to tell them to do it) and for units to undertake queued-up tasks. AI has been sharpened up, with a more impressive, reactive enemy on campaigns and in skirmish games.

At the core, though, the game is the same as before. Like the original Age of Empires, the sequel takes you through a period of history, this time starting after the fall of Rome and extending to the Renaissance. In this thousand-year period, you take control of a civilisation and guide it to victory. This can be done in skirmish, multiplayer or various story-driven campaigns. Those used to the intricate storytelling and even characterisation of RTS campaigns in games like StarCraft II or Homeworld will find these campaigns to be somewhat stand-offish, with less focus on hero units and more of a focus on how to achieve objectives corresponding to historical events. However, there is a linking narrator between each mission of each campaign, which adds some nice historical flavour.

On each map you start with a Town Centre and can build villagers, who are your basic resource-gathering units. Resources are divided between four types: food, wood, gold and stone. As with the original game, a nice twist is that resources can be gained from multiple sources: for food you can send villagers hunting, you can search the map for herd animals to send back to base for slaughter, you can find berry bushes, you can build farms or you can send out fishing boats. Gold can be found in mines or gained by trading with an allied power. However, an immediate, monumental improvement over the original game is that you can now build a Market which can exchange one type of resource for another. Relying too much on this can be problematic (a resource's value drops the more you sell it, and another's increases the more you buy it), but it immediately solves the problem of losing a battle because you've run out of resources, which was frustrating in the original game.


The other big chance from Age of Empires is the addition of formations. Your military units will now automatically organise themselves in blocks with heavy infantry in front, archers behind and cavalry at the rear (ready to sweep out and flank the enemy). This a vast improvement on the original game, where units just hurled themselves into battle randomly in a disorganised fashion. It's still a long way from Total War - and units have an odd tendency to drop out of formation the second combat starts - but it's a big improvement for the franchise.

The gameplay loop of a slow buildup followed by huge amounts of carnage is extremely compelling, and arguably better-handled then any other game of its type. A lot of this is down to the robust way the game has of handling defence, allowing you build fortified walls to seal off areas of the map, forcing enemies into chokepoints and otherwise controlling the battlefield. Constructing the perfect defensive fortification with guard towers, cannon emplacements, fortresses and defensive artillery positioned just right is an unmatched pleasure. With the more comprehensive new UI (allowing you to queue villager construction phases) and better AI, meaning both enemy and allied players are less likely to get stuck on scenery or take weird routes to their destinations, the game's controls are now smooth and easy to parse, and it is almost gleefully fun to watch your cities and defensive redoubts take shape before your eyes. And, of course, immensely frustrating if the enemy AI or a rival player gets the upper hand and burns your achievements to the ground.

Age of Empires II: Definitive Edition may also redefine the meaning of the phrase "generous content." The package contains:
  • All of the campaigns in the original Age of Empires II: Age of Kings release from 1999, including five campaigns totalling 31 missions. Between singleplayer and multiplayer, thirteen distinct civilisations are available to play.
  • All of the campaigns in the original Age of Empires II: The Conquerors expansion, including three campaigns totalling 18 missions. Five new civilisations are added.
  • All of the campaigns in the expansions to Age of Empires II: HD Edition. These total three expansions (The Forgotten, The African Kingdoms and Rise of the Rajas) containing thirteen campaigns and 66 (!) missions. Thirteen new civilisations are added.
  • Definitive Edition also contains its own expansion, The Last Khans, and a new campaign for the Forgotten expansion. The new material constitutes four campaigns and 21 missions, as well as adding four new civilisations.
  • The game also has a "Historical Battles" campaign with one-off missions from a variety of campaigns. There are 16 missions in this mode, including some for civilisations which don't have a full campaign. 
  • For those keeping score, Age of Empires II: Definitive Edition thus ships with 27 campaigns totalling 152 missions, and 35 civilisations.
  • However! Since release, the creators have released two new expansions: Lords of the West and Dawn of the Dukes. These expansions have added a further six campaigns, 33 missions and four new civilisations. So with the expansions, the game now totals 33 campaigns, 185 missions and 39 civilisations.

For this review I decided to complete every single-player campaign mission in the game, which took a massive 231 hours. I also sampled the multiplayer and skirmish modes, and some of the co-op campaign features. Let there be no doubt that Age of Empires II: Definitive Edition offers more bang for your buck then any other real-time strategy game ever released. It's a monumental package that will keep you playing for months.

It's hard to really think of any negatives here. Most maps have several times as much gold than stone, which feels strange and probably a result of balance issues, where building a line of castles bristling with archers right into the enemy base was a viable tactic in the original release. The many newer maps having less stone makes this less viable and increasing the production cost of castles would have been a controversial alternative choice, but it still seems odd. There's also the old problem of the "aggro areas" around units feeling not particularly generous, sometimes leaving units being slaughtered whilst the rest of your huge army stands idly by a few feet away, not getting involved. Improve AI has made that less of an issue than it was in the original game, though.

Those extremely minor niggles aside, Age of Empires II: Definitive Edition (*****) now stands as a towering achievement for the traditional real-time strategy game. It's well-judged quality of life improvements elevate it past the mildly disappointing StarCraft Remastered of four years ago to become the definitive 2D RTS game. It is available now on PC via Steam and PC GamePass.