It looks like Sony’s PlayStation VR2 is not living up to the company’s sales expectations just over a year after it first hit the market. Bloomberg reports that the PlayStation-maker has stopped producing new PSVR2 units as it tries to clear out a growing backlog of unsold inventory.
Bloomberg cites “people familiar with [Sony’s] plans” in reporting that PSVR2 sales have “slowed progressively” since its February 2023 launch. Sony has produced “well over 2 million” units of the headset, compared to what tracking firm IDC estimates as just 1.69 million unit shipments to retailers through the end of last year. The discrepancy has caused a “surplus of assembled devices… throughout Sony’s supply chain,” according to Bloomberg’s sources.
IDC estimates a quarterly low of 325,000 PSVR2 units shipped in the usually hot holiday season, compared to a full 1.3 million estimated holiday shipments for Meta’s then-new Quest 3 headset, which combined with other Quest products to account for over 3.7 million estimated sales for the full year.
In the intervening years, though, the VR headset market has almost completely migrated to untethered headsets, which allow for freer movement and eliminate the need to purchase and stay near external hardware. The $550 PlayStation VR2 is also pricier than the $500 Meta Quest 3 headset, even before you add in the $500 asking price for a needed PS5. Sony’s new headset also isn’t backward compatible with games designed for the original PSVR, forcing potential upgraders to abandon most of their existing VR game libraries for the new platform.
Even before the PSVR2 launched, Sony was reportedly scaling back its ambitions for the headset (though the company denied those reports at the time and said it was “seeing enthusiasm from PlayStation fans”). And since its launch, PSVR2 has suffered from a lack of exclusive titles, featuring a lineup mostly composed of warmed-over ports long available on other headsets. An Inverse report from late last year shared a series of damning complaints from developers who have struggled to get their games to run well on the new hardware.
Put it all together, and PSVR2 seems like a too-little-too-late upgrade that has largely squandered the company’s early lead in the space. We wouldn’t be shocked if this spells the end of the line for Sony’s VR hardware plans and for mass-market tethered headsets in general.
Today, though, we actually have a chance to see and play what we missed over 15 years ago. That’s thanks to an eagle-eyed eBay trawler who grabbed an aging PlayStation 3 development kit that happened to have a prototype of Timesplitters 4 sitting on its hard drive.
Footage from the now-archived prototype, running on an actual PS3.
Once the dev kit was in hand, Flimsy-Zebra shared the prototype files with the Timespliters subreddit and Hidden Palace, a site devoted to archiving these kinds of prototypes for posterity. While the incomplete build doesn’t work on PS3 emulator RPCS3, fans have uploaded a few videos of the game running on actual PS3 hardware, showing off battles with computer-controlled bots outside a gothic castle (and some incredibly kick-ass music, to boot).
After Free Radical closed for good in 2014, a studio with the same name was re-formed under publishing conglomerate Embracer in 2021 to once again try to make a version of Timesplitters 4 a reality. Ironically enough, that Timesplitters 4 project was alsoshuttered amid massive layoffs at Embracer late last year. Who knows, maybe in 2040 a prototype version of that completely different Timesplitters 4 will turn up on some random dev kit, ready for archiving.
Microsoft’s decision to ease off its 23-year competition with Sony and Nintendo over supremacy in games hardware has opened a path for Japan’s return as the world’s undisputed home of the console.
The prospect of a new, less internationalized era of console wars has raised hopes of happier times for the Japanese survivors but has also caused analysts and investors to revisit the question of how much longer the whole genre of dedicated games machines will continue to exist.
Microsoft head of gaming Phil Spencer last month revealed plans to release what would previously have been exclusively Xbox games for use on rival platforms, as part of a new focus on cloud-based gaming.
While the US technology giant has said it is still working on a new generation of more powerful consoles, analysts think its long-term direction is clear.
“All signs point to the hardware becoming less and less important to Microsoft, so there is that possibility that we could go back to a point like we were in the 1990s where the viable choices of console were all Japanese,” said Serkan Toto, head of the games consultancy Kantan Games.
Giving up the console fight to concentrate on software could be taken as a huge victory for Japan. To many, the birthplace of SuperMario, Sonic the Hedgehog, Final Fantasy, and Pokémon is the spiritual home of the console and has featured the industry’s fiercest “golden age” 1980s and 1990s clashes of Nintendo vs Sega, and later, Nintendo vs Sony.
“It may not happen immediately because the technology of cloud gaming is clearly not ready yet, but from what Microsoft is indicating, there is a possibility that we go back to an all-Japan console industry with Sony and Nintendo each dominating their part of that market in their different, unique ways,” said David Gibson, an analyst at MST Financial.
But the return to a Japan-only industry for dedicated games hardware could more clearly define the console as a commercial cul-de-sac.
That issue, said independent games analyst Pelham Smithers, could be particularly acute for Sony, which last week announced plans to cut 900 staff from its games unit.
“It was tough enough for Sony arguing the need to investors for a PS5—and a lot of people at the time were saying that the PS5 could be the end of the line—but Microsoft’s commitment to console gaming helped,” said Smithers.
Nintendo, meanwhile, faces an issue of timing. Its Switch machine, released in 2017 and now significantly underpowered even when compared with some mobile phones, is to be replaced with a next-generation successor. But the Kyoto-based company has yet to say precisely when and what it will look like.
Analysts said Nintendo is still traumatized by the experience in 2012 when it launched a poorly conceived successor to the global blockbuster Wii console.
Sales of the existing Switch are respectable, said Toto, but more or less everyone who wanted the console has bought one by now. The market, he said, will be waiting for Nintendo’s successor and may hold back on buying games for the Switch ahead of a new machine being released.
Gibson said Sony’s problems are very different: its PS5 machine, now four years old, is popular, but its games business is now guided by “accountants,” rather than people primed to manage a creative business.
Previous generations of the PlayStation had been launched with an expectation that the machine would initially be sold at a loss, before the price of components quickly fell, allowing the company to break even and, in time, allow price cuts for customers.
By its fifth year of release the PS4 had two price cuts totaling $100. The PS5 has had none. “With the accountants in charge, Sony is not prepared to cut prices by $100 to stimulate demand because that would cost $2 billion in profits,” Gibson said.
Microsoft, which has spent huge sums on acquisitions of game studios such as the $75 billion purchase of Activision, is facing similar issues with its hardware economics. Analysts said the US company may have greater motivation than Sony to become an all-platform king.
“The state of the console market right now may not be an advertisement per se for Japan getting its mojo back. It feels more like these three very idiosyncratic businesses are doing well or not for idiosyncratic reasons,” said Robin Zhu, games analyst at Bernstein.
There is a chance that Microsoft’s new direction is a “win, win, win situation,” according to Atul Goyal at Jefferies, because of the different situation each company finds itself in.
Microsoft, he said, could pump up returns by offering its games across different platforms, while Nintendo and Sony would face “less intense competition” and benefit from having a wider choice of titles for customers.
But, as Zhu said, one factor that might keep Microsoft from killing off the Xbox entirely is the same thing that will keep Sony and Nintendo in the market—the fierce loyalty of gamers.
“The concern [Microsoft] will have is that you’ve already convinced your customers to buy the hardware; by telling them that Xbox games will be on every other platform, you risk upsetting your highest engagement and most dogmatic customers,” he said.
Enlarge/ A scene from One Piece, one of the animes that Funimation has distributed.
Sony is making an effort to appease customers who will lose their entire Funimation digital libraries when the anime streaming service merges into Crunchyroll. Currently, though, the company’s plan for giving disappointed customers “an appropriate value” for their erased digital copies isn’t very accessible or clear.
Earlier this month, Sony-owned Funimation announced that customers’ digital libraries would be unavailable starting on April 2. At that time, Funimation accounts will become Crunchyroll accounts. Sony acquired Crunchyroll in 2021, so some sort of merging of the services was expected. However, less expected was customers’ lost access to online copies of beloved anime that they acquired through digital codes provided in purchased Funimation DVDs or Blu-rays. Funimation for years claimed that customers would be able to stream these copies “forever, but there are some restrictions.”
Rahul Purini, Crunchyroll’s president, explained the decision while speaking to The Verge’s latest Decoderpodcast, noting that the feature was incorporated into the Funimation platform.
“As we look at usage of that and the number of people who were redeeming those and using them, it was just not a feature that was available in Crunchyroll and isn’t in our road map,” Purini said.
The executive claimed that Funimation is “working really hard directly” with each affected customer to “ensure that they have an appropriate value for what they got in the digital copy initially.” When asked what “appropriate value” means, Purini responded:
It could be that they get access to a digital copy on any of the existing other services where they might be able to access it. It could be a discount access to our subscription service so they can get access to the same shows through our subscription service. So we are trying to make it right based on each user’s preference.
Clarifying further, Purini confirmed that this means that Sony is willing to provide affected customers with a new digital copy via a streaming service other than Crunchyroll. The executive said that the company is handling subscribers’ requests as they reach out to customer service.
Notably, this approach to compensating customers for removing access to something that they feel like they purchased (digital copies are considered a free addition to the physical copies, but some people might not have bought the discs if they didn’t come with a free digital copy) puts the responsibility on customers to reach out. Ahead of Purini’s interview, Sony didn’t publicly announce that it would offer customers compensation. And since Funimation’s terms of use include caveats that content may be removed at any time, customers might have thought that they have no path for recourse.
But even if you did happen to demand some sort of refund from Funimation, you might not have been offered any relief. The Verge’s Ash Parrish, who has a free-tier Funimation account, reported today on her experience trying to receive the “appropriate value” for her digital copies of Steins;Gate and The Vision of Escaflowne. Parrish noted that Steins;Gate isn’t available to stream off Crunchyroll with a free subscription, meaning she’d have no way to watch it digitally come April 2. Parrish said Funimation support responded with two “boilerplate” emails that apologized but offered no solution or compensation. She followed up about getting compensated for a premium subscription so that she’d be able to stream what she used to digitally own through Crunchyroll but hadn’t received a response by publication time.
Following up with Funimation’s PR department didn’t provide any clarity. Brian Eley, Funimation’s VP of communications, reportedly told Parrish via email: “Funimation users who have questions about digital copies can contact Funimation here. A Funimation account associated with a digital copy redemption is required for verification.” Ars Technica reached out to Crunchyroll for comment but didn’t hear back in time for publication.
The downfalls of digital “ownership”
Sony’s plan to delete access to customers’ digital properties shows the risks of relying on streaming services. The industry is infamous for abruptly losing licenses to programming, changing prices and accessibility to titles, mergers, as is the case here, and collaborations that change what customers are entitled to.
When asked about this broader industry challenge on Decoder, Purini acknowledged customer inconvenience but noted the importance for Crunchyroll to “keep our resources and teams focused on what would help us bring the best experience for the broader audience.”
It’s unclear how many users were using their Funimation digital copies. However, some may consider their digital copies backups that they won’t use unless they’re no longer able to play their physical copy, giving Funimation customers peace of mind.
Although Funimation claimed that digital copies would be viewable “forever,” their terms of use note that Funimation can remove content “for any reason.” However, it’s not uncommon for customers to avoid reading lengthy, wordy terms of service agreements. Terms of service are easy to understand for an industry participant like Purini, he said, but “that might not be the case with a broader general audience.”
That said, with streaming becoming a more substantial part of people’s media libraries, users must understand what they’re spending money on. Access to beloved shows and movies over the Internet isn’t guaranteed, and inconsistent compensation plans are often the result.
A shot from One Piece, one of the animes that Funimation made DVDs for.
How long is “forever”? When it comes to digital media, forever could be as close as a couple of months away.
Funimation, a Sony-owned streaming service for anime, recently announced that subscribers’ digital libraries on the platform will be unavailable after April 2. For years, Funimation had been telling subscribers that they could keep streaming these digital copies of purchased movies and shows, but qualifying it: “forever, but there are some restrictions.”
Funimation’s parent company, Sony, bought rival anime streaming service Crunchyroll in 2021. Since then, it was suspected that Sony would merge the offerings together somehow. This week, we learned how, as Funimation announced that its app and website would close on April 2, and Funimation accounts will become Crunchyroll accounts. Most of Funimation’s catalog is already on Crunchyroll, Funimation’s announcement claimed.
But in addition to offering video streaming, Funimation also dubbed and released anime as physical media, and sometimes those DVDs or Blu-rays would feature a digital code. Subscribers to the Funimation streaming service could add those digital codes to Funimation and then stream the content from the platform.
With Funimation claiming that customers could access these digital copies “forever,” I could see why someone might have thought this was a reliable way to access their purchased media. For people lacking the space, resources, or interest in maintaining a library of physical media, this was a good way to preserve treasured shows and movies without spending more money. It also provided a simple way to access purchased media online if you were, for example, away on a trip and had a hankering to watch some anime DVDs you bought.
But soon, people who may have discarded or lost their physical media or lack a way to play DVDs and Blu-rays won’t have a way to access the digital copies that they were entitled to through their physical copy purchase.
Funimation’s announcement says:
Please note that Crunchyroll does not currently support Funimation Digital copies, which means that access to previously available digital copies will not be supported. However, we are continuously working to enhance our content offerings and provide you with an exceptional anime streaming experience. We appreciate your understanding and encourage you to explore the extensive anime library available on Crunchyroll.
Regarding refunds, Funimation’s announcement directed customers to its support team “to see the available options based on your payment method,” but there’s no mention of getting money back from a DVD or Blu-ray that you might not have purchased had you known you couldn’t stream it “forever.”
While Microsoft hasn’t directly commented on these reports, Xbox chief Phil Spencer wrote on social media that Microsoft is “planning a business update event for next week, where we look forward to sharing more details with you about our vision for the future of Xbox.”
The churning rumor mill has set off something of an existential crisis among some Xbox superfans, content creators, and influencers, who are worried that Microsoft is planning to essentially abandon their favored console. “Genuinely feel terrible for convincing my sister to get an Xbox instead of a PS5,” XboxYoda posted in a representative social media take. “Like I actually feel like I let her down… .”
“If you like being lied to that’s a you thing,” social media user XcloudTimdog posted. “I have a set of standards, that’s all. Cross them and, well, I respond.”
These and other more apocalyptic reactions might seem like hyperbolic whining from territorial console misanthropes. But they also have the germ of a point. Exclusive games have long been the primary way console makers argue for players to choose their console over the competition. If Microsoft effectively changes that argument in the middle of the current console generation, Xbox owners will have some legitimate reason to be upset.
A world without Xbox exclusives
To see why, start with a simple thought experiment. Say it’s early 2020 and Microsoft announces that it is abandoning the idea of console exclusives entirely. Upcoming Xbox Game Studios titles like Halo Infinite and Starfield would still be released on the upcoming Xbox Series X/S, of course, but they’d also all see equivalent versions launch on the PS5 (and sometimes the Switch) on the same day. Sony does not respond in kind and keeps major franchises like God of War and Spider-Man exclusive to the PS5.
Enlarge/ You mean I could have visited this planet and played Spider-Man 2 on the same console?
In this hypothetical world, convincing someone to buy an Xbox becomes much more difficult. On the one hand, you have a PlayStation console that can play all of the major big-budget games published by both Microsoft and Sony. On the other, you have an Xbox that doesn’t have access to the significant Sony half of that gaming equation.
There are other reasons you might still consider an Xbox in this world. Maybe you think the reduced price of the Xbox Series S delivers more “bang for the buck.” Maybe you prefer the Xbox controller layout or some of Xbox’s system-level OS features. Maybe you’re convinced cross-platform games will look or play better on Microsoft’s machine.
But in the console market, these kinds of concerns often take a back seat to the prospect of a system’s exclusive games and franchises. The biggest exclusive titles are called “system sellers” for a reason—they’re the games that make many gamers plunk down hundreds of dollars on hardware just for the possibility of spending more on this must-have software.
In this hypothetical, Microsoft would essentially be trying to sell the Xbox without any exclusive system sellers.
Enlarge/ Who doesn’t want less recoil? Unless, that is, you’re someone competing against the person getting this benefit with a $100 “emulation” device.
Cronus
The Cronus Zen describes itself as a hardware tool for “universal controller compatibility,” letting you plug in a third-party controller, an Xbox controller into a PlayStation, or even your keyboard and mouse into a console. But you can also use its scripting engine to “amplify your game” and set up “GamePacks” to do things like reduce recoil animations in games like Call of Duty. And that is where Cronus seems to have gotten into trouble.
As first noted by the Call of Duty news channel CharlieIntel, the latest update to the PlayStation 5’s system (24.01-08.60.00) software blocks the Cronus from connecting. The update is “NOT mandatory,” Cronus claims in a notice on its website, so Zen players can hold off and keep playing. Still, there is “currently no timetable on a fix … it could be 24 (hours), 24 days, 24 months, we won’t know until we’ve dug into it.” There is, for now, a “Remote Play Workaround” for those already too far updated.
Ars attempted to reach Cronus for comment and reached out to Sony as well and will update this post with any new information.
The Cronus Zen, which costs $100 or more and is available on Amazon and at GameStop, among other outlets, does claim to offer accessibility and third-party compatibility options for players. But what has caught gamers’ attention, and Sony’s, is the wealth of GamePacks available for various games. Some single-player games, like Hogwarts Legacy and Cyberpunk2077, are represented, but it’s the offerings for Call of Duty, Battlefield, Destiny 2, and other online multiplayer games that likely drew Sony’s ire.
Just a peek at the Apex Legends GamePack page suggests Zen mods “inspired by” the game, with options for “Aim Assist,” “Anti-Recoil Strength,” and “Fire Mods,” the latter of which can make you “harder to hit” and ping teammates when you are firing. Call of Duty: WarZone 3 mods include “Silent Aim. Insanely strong and not visible Aim Assist MOD!” The Zen was also capable of powering other cheat tools with emulated input, like AI-assisted aim assist.
Console manufacturers, already having more locked-down software than PCs, have taken up the cause of eliminating cheating at the hardware level. Microsoft issued a system-level ban on “unauthorized” accessories connecting to Xboxes in October. That had the unintended effect of cooling enthusiasm among fighting game enthusiasts and accessibility advocates. It did not, however, seem to block the Cronus, so long as you attached a compliant controller to it.
Individual game-makers have also attempted to block devices like the Cronus. Activision’s anti-cheat Ricochet tool called out “third-party hardware devices” that “act as a passthrough for controllers” in a blog post about its April 2023 updates. The same went for Ubisoft and Bungie, none of which called out the Cronus Zen in particular, but were signaling efforts to block it and similar devices, like the XIM and ReaSnow S1. Fortnite was ahead of the game, calling out the Cronus Zen and Cronus Max in late 2022.
None of these companies have offered a patch to the behavior of people who want to spend more than $100 and risk lifetime bans to earn undeserved points worth no tradable value.
Enlarge/ An officially released image for Insomniac Games’ upcoming game Wolverine.
Acclaimed Sony-owned game development studio Insomniac Games became the victim of a large-scale ransomware attack this week, as initially reported by Cyber Daily. Ransomware group Rhysida dumped 1.67TB of data, including assets and story spoilers from unreleased games, a road map of upcoming titles, internal company communications, employees’ personal data such as passport scans and compensation figures, and much more.
The gang said it chose Insomniac because, as a large and successful studio, it made an attractive target for a money grab. The ransom was $2 million, and Insomniac refused to pay it.
As a result, a trove of emails, Slack messages, slideshow presentations, and more hit the web. Notably, these included screenshots and assets from the studio’s upcoming Wolverine game, as well as confirmation that Wolverine is planned to be the first in a trilogy of games starring X-Men characters. The materials also revealed that the company is working on another Ratchet & Clank game and a new Spider-Man sequel.
Rhysida put some of the data up for bidding by parties other than Insomniac itself, and some was sold.
Insomniac Games has an impressive history of top-selling games, particularly on PlayStation consoles. It became a household name with the Spyro the Dragon series on the first PlayStation. It went on to create and shepherd the Ratchet & Clank series on PlayStation 2, and it released several more Ratchet & Clank games on PlayStation 3, alongside a first-person shooter series dubbed Resistance.
More recently, the studio has released new Ratchet & Clank games on PlayStation 4 and PlayStation 5 and three critically acclaimed games based on Marvel’s Spider-Man. It also dabbled in VR development on the Oculus platform and released an Xbox exclusive called Sunset Overdrive before it was acquired by Sony to become a first-party PlayStation studio in August 2019.
As one of the industry’s most accomplished and successful developers, it has an enormous audience of fans who will likely avail themselves of the leaked information about upcoming titles. The leaks also expose internal company information that may be of interest to Sony’s direct competitors, such as Microsoft.
This is far from the first example of a large leak from a triple-A game developer or publisher. For example, footage of Rockstar Games’ highly anticipated Grand Theft Auto VI made its way onto the Internet last year. There was also a relatively recent high-profile leak affecting Cyberpunk 2077 and The Witcher III: Wild Hunt developer CD Projekt Red. Going back decades, there was the infamous incident of leaked Half-Life 2 source code and many more examples.
The scope of this leak is enormous even by the standards of this industry, though.
It’s important to take some of this leaked information with a grain of salt, because there is no guarantee that the information leaked is up to date. Even if it’s current now, the studio’s plans could change and evolve in the coming months and years. The fact that a new Ratchet & Clank game is planned now doesn’t necessarily mean one will be released in a few years; games are canceled all the time.
It’s been a while since we first busted ghosts in VR, but this time around veteran VR studio nDreams and Sony Pictures Virtual Reality are serving up an at-home co-op game for Quest and PSVR 2 that will finally let you strap on a proton pack and go head-to-floating-head with a good variety of belligerent specters. Check out our review below to see if it’s worth getting the whole squad involved.
Ghostbusters: Rise of the Ghost Lord Details:
Available On: Quest, PSVR 2 Release Date: October 26th, 2023 Price: $35 (Standard), $55 (Full Containment Edition) Developer: nDreams Publisher: Sony Pictures Virtual Reality (SPVR) Reviewed on: Quest 2
Gameplay
Here’s the breakdown: you’re busting ghosts in San Francisco (as you do) and the Ghost Lord shows up to wreak havoc on the city. Work your way through a bunch of random missions and periodically report back to HQ for a few drips of the game’s narrative, presented via a TV screen where you’ll learn what happened to some obviously evil billionaire type who totally isn’t an evil Ghoul King, Specter Sovereign, Poltergeist Potentate, or anything of the sort. Ok, so it’s pretty clear the narrative isn’t the star of the show here, as it really only sets the scene for casual drop-in, drop-out co-op matches, which last anywhere from 10-15 minutes each.
Of course, you can go it alone in offline mode with the help of the game’s admittedly competent AI, or team up with friends or strangers for more fun and firepower. That said, you really should consider banding together with a few buddies (from two to four players) and tackling it all the way through together.
Image captured by Road to VR
It feels very much in the same vein as After the Fall (2021), which we called “VR’s best stab at Left 4 Dead,” although I think there’s an argument to be made for keeping pace with your friends in the game as you all earn successive upgrades, letting you form a real team that makes the most of each upgrade path. That feels more like Ghostbuster’s intended sweet spot, as opposed to randomly dropping in with whoever’s online, quietly grinding missions for money and maxing all upgrade paths indiscriminately, and then beating the titular Ghost Lord a bunch of times. There is some competition in there to get more points, but in the end it’s really a team effort.
Image captured by Road to VR
Although I compare it to After the Fall, this isn’t really the same sort of horde-based shooter, because frankly the proton pack isn’t really a gun. There’s also no ammo pickups and no loot to pick up besides some random ecto goo that gives you the ability to upgrade stuff later, such as unique weapon attachments for things like single-use shotguns blasts and short-lived turrets. You can fire your proton stream continuously if you want, and then lasso the poor ghosties forever too—provided you learn how to properly operate the thing. More on that below.
The game also doesn’t really expect you to fail that much either since anyone in your party can always revive you once you’re down with a simple high five. Instead, your main focus is earning cash by completing missions which are placed across seven massive and circuitous maps, each of which allow you to play a random mix of four mission styles: Exorcism, On the Clock, Giga Trap Retrieval, and Harvester. In order, it’s basically a wave mode with the same mini-boss, a timed wave mode, a bomb escort mission, and a wave mode with light puzzle elements.
The big question I always ask myself in these sorts of random mission-driven games is whether both the action and upgrades will be enough to bring me back for more on a consistent basis. I felt the game doled out an okay assortment of both, although it all feels like it’s missing an overall structural direction to keep me engaged in the long-term. You only get three missions to choose from at a time, which are then shuffled randomly again once you’re back at HQ, making it difficult to get a sense of how you’re progressing, save a computer screen that really doesn’t do a great job of making you feel like you’re moving toward an actual goal besides “DONE”.
Image captured by Road to VR
Despite the increasing mix of standard baddies as you move through to 100 percent completion, which means you’ve beaten 42 missions, about halfway through things start to feel a little samey. There just aren’t enough mini-bosses, and it just isn’t clear how long it will take to get to the main boss; you just have to keep playing random missions until the game decides you’ve had enough and can actually move forward.
That said, I generally liked the assortment of regular enemies, although I wish there were a greater variety of mini-bosses to provide a bump in difficulty beyond just having ‘more of everything all at once’. Normal enemies include a conventional assortment of ranged and melee types, with smaller types usually zapped into oblivion with a few seconds of the standard blast from the proton pack. The larger, more often ranged types require not only a constant blast from your proton pack, but also need to be lassoed into your handy dandy trap.
Melee types are typically smaller and weaker, and are mostly just annoying to deal with as you go in for the real ghosts worth nabbing in any given level.
Here’s how lassoing works, which is key to dispatching larger, more deadly ghosts: a shield bar on the right of ghosts depletes with a standard blast, while the health bar on the left indicates how much the enemy needs to be jerked around with your proton-lasso in order beat it unconscious and then drag it into your trap, which gobbles it up automatically. Wear out the specter, shoot out your trap nearby, and let the wonders of technology do the rest. This is actually pretty satisfying as a VR specific thing, as you wildly follow the ghost as he helplessly flails around looking for a hiding place to recover health. Springing the trap with your left hand and shooting the proton pack with the right is about as Ghosbusters as you can get.
Image captured by Road to VR
About an hour into playing, I also figured out I could just point my proton stream at the floor to spam the game’s most important tool: the boson dart,which is basically just a big blast that keeps your proton pack from overheating and being inoperable for a bit. Activating the boson dart didn’t feel intuitive at first—something I chalk up to some pretty aggressive pop-up messages in the early game that made it personally difficult for me to concentrate on the task at hand. I ended up just jogging through whatever was asked of me in the tutorial so I could figure it out later in my own time. Really. Pop-ups are so big and offputting.
I digress. Using the boson dart is actually pretty simple, although easy to ignore at the beginning since you don’t really need it until you meet the game’s main mini-boss, the Bruiser. Simply mash a button right before your proton stream overheats to activate a powerful blast that knocks ghosts down a bar or two on their health meter.
Once you get a handle on each enemy type, you start to see colored variants that have slightly different powers. Whatever the case, I found that strategy really only boiled down to constantly strafing around the map, keeping the trigger down, and blasting boson darts until everything—regardless of ability—was toast. Avoid shit flying at you and don’t stand in one spot too long. Everything else is gravy.
Image captured by Road to VR
Protip: If you like playing random missions every once in a while, and aren’t really concerned about getting to the final boss, you can probably just invest your cash in all of the upgrade pathways just to see what’s out there. If you’re looking for more focused playsessions though, it’s probably better to pick one specific upgrade style and max it out from the onset.
Once all is said and done in a mission, and all of the ghosts are trapped or otherwise zapped to dust, your only choice is to keep playing random missions, or maybe the single-player mixed reality mini-game, Mini-Puft Mayhem, which is a fun little boss battle against a giant Stay Puft Marshmallow Man. It’s worth a few minutes of your time, if anything just to see a giant marshmallow rip the ceiling off your house, but not integral to the rest of the game.
Again, if there were any such game, Ghostbusters: Rise of the Ghost Lord would definitely be the one you and a few other friends would buy and exclusively play together—not because you really need a bunch of active communication to play, but that the game is pretty random enough without having a good buddy by your side to give you a reason to drop back in, and keep grinding until you get to the massive Ghost Lord battle.
Image courtesy nDreams, SPVR
Immersion
Is Ghostbusters: Rise of the Ghost Lord perfect? No. It has enough variety and fun, provided you’re with a good group of people. Playing alone is the worst-case scenario though, and probably isn’t advisable if you don’t want to hit a wall halfway through when missions start to be a little bit a trudge. Still, it’s actually a pretty solid basis for what could be some interesting DLC, which I hope will help minimize some of the weaker points I mentioned above. So don’t get me wrong: Ghostbusters: Rise of the Ghost Lord is basically a fun and well-made game that just lacks a little bit of scaffolding and boss variety to be a real winner.
One thing it definitely has out of the gate though is looks. Even with the humble Quest 2, the game is pretty dang awesome looking. It has a swath of dense and richly decorated set pieces, and character animations are expressive, feeling straight out of a cartoon. Ok, so there’s no Slimer, but there are Slimer-adjacent characters that mostly do the job.
Image courtesy nDreams, SPVR
It’s more than looks though. You’d be surprised how many VR multiplayer games there are out there that really don’t understand that players instinctually want to interact with other people naturally, like, say, handing something to someone without having to throw it on the ground first, or being able to give them a high five for a job well done. That’s all here and then some. Playing in co-op mode, Road to VR’s Ben Lang stepped into something of a mine in the form of a Stay Pufft mini-marshmallow bag that explodes the little buggers everywhere when you get close, rendering your equipment inoperable until you pluck away the pests.
He still had three on his proton pack still jumping around and squeaking about. My first instinct was right. Just grab the little suckers and toss them away like picking lice from a fellow chimp! Or crush him with an iron fist and hear revel in their tiny, diabetic lamentations.
A small-ish sore spot is the games avatars, each of which only have three unlockable looks a piece, with no individual customization as such. I would have also liked to see a more customizable HQ, which would make hosting a game much more immersive since you could show off trophies or decorations to your friends when you invite them for matches.
Comfort
As a veteran VR studio, nDreams knows the score. Offer everything, including snap-turn, quick turn, smooth turn, teleportation. The list is below. It has it all. The only advisory I’d give is the game naturally makes you strafe a good deal, so if you’re particularly susceptible to motion sickness, experiment with the game’s variable blinders to make this less jarring.
There are a few body tracking solutions on the market to help you on your quest to finally transform into a dancing anime girl, and Sony is now releasing its own previously Japan-only device in the US.
Mocopi, which gets its name from motion capture (mocap), was initially announced in late 2022, becoming available exclusively in Japan in early 2023. While a ton of vTubers worldwide already jumped the gun and ordered direct from Japan, now Sony is making it officially available in the US, priced at $450.
Mocopi comes with six small and lightweight inertial measurement unit (IMU) sensors that hook into a dedicated smartphone app (iOS and Android), letting you do full-body motion tracking both in and outside of VR.
Image courtesy Sony
And while Mocopi seems to be squarely targeting those would-be vTubers, another use case the company is trumpeting is undoubtably the device’s ability to give avatars better full-body tracking for things like VRChat. Yes, there’s a built-in VRChat integration, which means you can grab your Quest 2 or PC VR headset, hook up Mocopi to your extremities, and get dancing for all to see.
Like many such IMU-based tracking devices, positional drift is a real concern, although it seems Sony is pitching this more as a way to casually jump into body tracking and not get that 100 percent accuracy you’ll need when doing the [fill in a popular dance] on TikTok.
Coming from Sony, you’d think there would be some sort of integration with PSVR 2, although that doesn’t seem to be a possibility. The company hasn’t mentioned any such integration since it initially launched in Japan in January.
Mocopi is already available for purchase, available exclusively from Sony for $450. Sony says Mocopi orders will ship to customers starting July 14th, 2023. Check out the Sony’s quick start guide below to get see just what you’re signing up for.
