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‘Warhammer 40k: Chaos Gate – Daemonhunters’ Review – A Fully Satisfying Turn-Based Tactics Game

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As a big tabletop fan, it’s hard for me to escape the sight of Warhammer anytime I walk into my local game shop. When I see those little space marines, I’m always intrigued, but there’s just so much to the world of Warhammer that it seems overwhelming. I’ve always flirted with taking the plunge into the property every time a new PC game is released, which seems surprisingly frequent, but I’m never fully swayed. Finally, with Warhammer 40K: Chaos Gate – Daemonhunters, I’ve been dragged in. XCOM 2 is one of my all time favorite games, and Daemonhunters does nothing to hide the fact that it’s heavily inspired by the tactical turned-based classic, making it the perfect game to introduce me to 40K.

And what an introduction it is. After leading a squad of Grey Knights, a powerful chapter of Space Marines, on a bombastic mission against demonic forces, you’re dropped onto your base of operations, a massive cathedral-like ship called the Baleful Edict, where an Inquisitor enlists you into a war against a rapidly spreading plague, one that seems to be orchestrated by the Chaos God Nurgle. If that description sounds like a lot of ominous proper nouns, Warhammer is full of them, and they all have a rich lore that’s explained just enough for you to hit the ground running, even without the full context of decades of history. Little details like Knights saying “I’ve sanctified my rounds” when reloading or ornate grenades with “wrath” written on the side bring the grimdark world of Warhammer to life in the most over-the-top way possible.

This feeling is also perfectly captured in the moment to moment tactics portion of the gameplay. Each mission, you select four knights from your pool of available units to go on missions, and every one of them feels like an absolute badass. Knights make a satisfying thunk as they stomp across the battlefields, smashing through doors in dramatic animations with dynamic camera work that makes YOU feel like the thing to be feared, despite all manner of horrific creatures around you. XCOM 2 played with the idea of allowing you to destroy terrain and walls, but Daemonhunters takes it a step further, allowing you to manipulate specific pieces of the environment into devastating attacks. I’ll never get over the satisfying feeling of a night Knights slamming his shoulder into a pillar, knocking it down on a row of unsuspecting enemies.

While XCOM’s DNA is all over this game’s design, it takes a lot of the best bits from Gears Tactics to give you tools to maximize your damage output and encourage aggression. Each round, your Knights are given three action points to use on a combination of moving and attacking, with various abilities mixed in depending on the class of your character. There are four initial classes and four classes that are unlocked in the later game. They all fall into fairly standard archetypes (medic, tank, gunner, etc), but can be further specialized as you upgrade their skill trees. Knights have psychic powers, which use up a character resource called willpower, that can change a fight in important ways, from teleporting around the map to granting an ally your armor for a round. Every ability seems useful, making the level up choices have weight in how you will use the character going forward. Daemonhunters also takes the stun system from Gears Tactics, allowing you to stun an enemy after a certain amount of hit, opening them up for an execution that will provide every Knight an extra action point for that round.

Turn-based tactics games often give you interesting choices to mull over, both on the meta level and the battle level, and Warhammer finds clever ways to layer on wonderful pairings of risk and reward. During a battle, a Warp Surge meter will rise each round. Once that hits 100 percent, it activates either a boon for your enemies, like reinforcements or a buff to resistance, or a bane against you, such as losing max willpower or a debuff to movement speed, before resetting back to zero to start the process over. This encourages you to get through a mission as fast as possible, before it becomes overwhelming. In addition to its natural progression, the Warp Surge meter also rises when you use your special abilities, adding one more satisfying variable you need to calculate when choosing your action. Every turn becomes an intricate puzzle of trying to deal the most damage possible through chaining abilities, while avoiding taking hits from the increasingly deadly forces on the map.

Damage you take in-mission causes your Knight to spend time recovering, so every turn counts for both the short term and the long term. If you know you need to take out one massive target to finish the mission, sometimes it’s best to just focus on that instead of the many minions around you who are chipping away at your health. The pressure of decisions can feel overwhelming for players new to the genre, but to me nothing is more thrilling than finding the exact order of operations to take out the one minion that’s putting a hazard in front of my Knights, then letting them all unleash on the critical target to win the mission in the nick of time, surrounded by a horde of enemies that failed to stop me.

This feeling is compounded in the game’s large set piece boss fights, which are as epic in nature as you would expect from something like Warhammer. Similar to Gears Tactics, these fights are against massive enemies that have interesting, but predictable, attack patterns you need to manage while also dealing with smaller enemies trying to distract you from your target. By the time you get to them, you’ll have a large array of powers at your disposal, creating monumental battles between titanic forces, even though the scale of your squad is so small. The battles aren’t always perfect; sometimes the enemies do questionable actions, such as laying down a hazard in an area that’s nowhere near you, but aside from small nitpicks, it’s one of the most satisfying moment-to-moment tactics games I’ve run across in years.

Despite having so many moving parts in battle, it’s always easy to read everything happening on screen, thanks to some great UI design. Anytime you’re about to make a move, the mouse cursor will tell you how many actions you will have left after executing your plan, with other UI elements indicating how much damage it will do to the target, if you’re going to be crossing any hazards on the way to the attack, and anything else you might need to weigh before committing. Unlike XCOM, there’s no random chance to hit involved with your attacks, but different amounts of range and cover end up varying the damage dealt. It’s a change that allows you to more accurately plan your turns, which is crucial when your back is against the wall on tougher missions.

After battle, you’re given the opportunity to acquire assets from an armory, giving you access to new weapons, armor and recruits. Since all items in the armory are randomly generated based on an upgrade track, the game has a nice power curve that rises as you progress through the campaign. You can increase the amount of items you requisition from the armory by taking on Valor Deeds, bonus modifiers or objectives that you can opt into for the mission. If you succeed, you’ll be awarded more requisition points, but if you fail, you’ll be penalized. Deeds can include things like going into the mission with one less Knight, or asking you to kill eight enemies with melee strikes. It’s a simple wrinkle that adds one more layer of risk-reward to the game. Outside of bosses, there is only a small pool of mission types you’ll encounter, so the Valor Deeds help keep the encounters fresh despite their repetition.

The more complicated layer of the genre that’s tougher to pull off is the between-mission strategy, and fortunately Daemonhunters nails that as well. Much like the famous board game Pandemic, you move the Baleful Edict around a map trying to stem the rising Bloom infection, which rise a certain amount when you neglect to complete a mission in time. Missions pop up in sets of threes, and you can never hit them all, so you’ll need to prioritize your destinations carefully so none of the planets end up hitting a tipping point in infection level. Upgrades can be made to the ship that will aid in navigating the map, while other ship upgrades will give bonuses to your squad XP or recovery time. Research can also be done to give you special strategum moves that can be used once per mission, providing you another critical tactic to tip the scales of battle. Daemonhunters would probably benefit from a bit more tutorializing with this layer, as it can be hard to know what to prioritize early on, leading to some possibly tricky starts to your campaign if you chose poorly.

Despite the fact that Daemonhunters isn’t particularly innovative in the turn-based tactics genre, it knows exactly what to pull from its peers. The overall structure from XCOM, the aggressive action economy of Gears Tactics and the titanic weight of Battletech all mix together to form one of the most satisfying games in the genre. Each element it takes from these games works perfectly in concert with the world of Warhammer 40K. Even the story is engaging, with great voice performances and ever-increasing stakes, drawing me into this unique world that I’m definitely going to spend more time learning about. It may be slightly overwhelming for players new to the genre, causing players to get to a doomed state early on, but I can’t recommend it enough for players looking to scratch their tactics itch.

Game Designer, Tabletop RPG GM, and comic book aficionado.

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“AHS: Delicate” Review – “Little Gold Man” Mixes Oscar Fever & Baby Fever into the Perfect Product

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American Horror Story Season 12 Episode 8 Mia Farrow

‘AHS: Delicate’ enters early labor with a fun, frenzied episode that finds the perfect tone and goes for broke as its water breaks.

“I’ll figure it out. Women always do.”

American Horror Story is no stranger to remixing real-life history with ludicrous, heightened Murphy-isms, whether it’s AHS: 1984’s incorporation of Richard Ramirez, AHS: Cult’s use of Valerie Solanas, or AHS: Coven’s prominent role for the Axeman of New Orleans. Accordingly, it’s very much par for the course for AHS: Delicate to riff on other pop culture touchstones and infinitely warp them to its wicked whims. That being said, it takes real guts to do a postmodern feminist version of Rosemary’s Baby and then actually put Mia Farrow – while she’s filming Rosemary’s Baby, no less – into the narrative. This is the type of gonzo bullshit that I want out of American Horror Story! Sharon Tate even shows up for a minute because why the hell not? Make no mistake, this is completely absurd, but the right kind of campy absurdity that’s consistently been in American Horror Story’s wheelhouse since its inception. It’s a wild introduction that sets up an Oscar-centric AHS: Delicate episode for success. “Little Gold Man” is a chaotic episode that’s worth its weight in gold and starts to bring this contentious season home. 

It’d be one thing if “Little Gold Man” just featured a brief detour to 1967 so that this season of pregnancy horror could cross off Rosemary’s Baby from its checklist. AHS: Delicate gets more ambitious with its revisionist history and goes so far as to say that Mia Farrow and Anna Victoria Alcott are similarly plagued. “Little Gold Man” intentionally gives Frank Sinatra dialogue that’s basically verbatim from Dex Harding Sr., which indicates that this demonic curse has been ruffling Hollywood’s feathers for the better part of a century. Anna Victoria Alcott’s Oscar-nominated feature film, The Auteur, is evidently no different than Rosemary’s Baby. It’s merely Satanic forces’ latest attempt to cultivate the “perfect product.” “Little Gold Man” even implies that the only reason that Mia Farrow didn’t go on to make waves at the 1969 Academy Awards and ends up with her twisted lot in life is because she couldn’t properly commit to Siobhan’s scheme, unlike Anna.

This is easily one of American Horror Story’s more ridiculous cold opens, but there’s a lot of love for the horror genre and Hollywood that pumps through its veins. If Hollywood needs to be a part of AHS: Delicate’s story then this is actually the perfect connective tissue. On that note, Claire DeJean plays Sharon Tate in “Little Gold Man” and does fine work with the brief scene. However, it would have been a nice, subtle nod of continuity if AHS: Delicate brought back Rachel Roberts who previously portrayed Tate in AHS: Cult. “Little Gold Man” still makes its point and to echo a famous line from Jennifer Lynch’s father’s television masterpiece: “It is happening again.”

“Little Gold Man” is rich in sequences where Anna just rides the waves of success and enjoys her blossoming fame. She feels empowered and begins to finally take control of her life, rather than let it push her around and get under her skin like a gestating fetus. Anna’s success coincides with a colossal exposition dump from Tavi Gevinson’s Cora, a character who’s been absent for so long that we were all seemingly meant to forget that she was ever someone who was supposed to be significant. Cora has apparently been the one pulling many of Anna’s strings all along as she goes Single White Female, rather than Anna having a case of Repulsion. It’s an explanation that oddly works and feeds into the episode’s more general message of dreams becoming nightmares. Cora continuing to stay aligned with Dr. Hill because she has student loans is also somehow, tragically the perfect explanation for her abhorrent behavior. It’s not the most outlandish series of events in an episode that also briefly gives Anna alligator legs and makes Emma Roberts and Kim Kardashian kiss.

American Horror Story Season 12 Episode 8 Cora In Cloak

“Little Gold Man” often feels like it hits the fast-forward button as it delivers more answers, much in the same vein as last week’s “Ava Hestia.” These episodes are two sides of the same coin and it’s surely no coincidence that they’re both directed by Jennifer Lynch. This season has benefitted from being entirely written by Halley Feiffer – a first for the series – but it’s unfortunate that Lynch couldn’t direct every episode of AHS: Delicate instead of just four out of nine entries. That’s not to say that a version of this season that was unilaterally directed by Lynch would have been without its issues. However, it’s likely that there’d be a better sense of synergy across the season with fewer redundancies. She’s responsible for the best episodes of AHS: Delicate and it’s a disappointment that she won’t be the one who closes the season out in next week’s finale.

To this point, “Little Gold Man” utilizes immaculate pacing that helps this episode breeze by. Anna’s Oscar nomination and the awards ceremony are in the same episode, whereas it feels like “Part 1” of the season would have spaced these events out over four or five episodes. This frenzied tempo works in “Little Gold Man’s” favor as AHS: Delicate speed-runs to its finish instead of getting lost in laborious plotting and unnecessary storytelling. This is how the entire season should have been. Although it’s also worth pointing out that this is by far the shortest episode of American Horror Story to date at only 34 minutes. It’s a shame that the season’s strongest entries have also been the ones with the least amount of content. There could have been a whole other act to “Little Gold Man,” or at the least, a substantially longer cold open that got more out of its Mia Farrow mayhem. 

“Little Gold Man” is an American Horror Story episode that does everything right, but is still forced to contend with three-quarters of a subpar season. “Part 2” of AHS: Delicate actually helps the season’s first five episodes shine brighter in retrospect and this will definitely be a season that benefits from one long binge that doesn’t have a six-month break in the middle. Unfortunately, anyone who’s already watched it once will likely not feel compelled to experience these labor pains a second time over. With one episode to go and Anna’s potential demon offspring ready to greet the world, AHS: Delicate is poised to deliver one hell of a finale.

Although, to paraphrase Frank Sinatra, “How do you expect to be a good conclusion if this is what you’re chasing?” 

4 out of 5 skulls

American Horror Story Season 12 Episode 9 Anna Siobhan Kiss

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