This review first appeared in issue 354 of PC Pro.
Many Debian-based distros, Linux Mint included, use Ubuntu as their jumping-off point. The latest release – 21.2 Victoria – is based on Ubuntu 22.04 LTS and will continue to be supported until 2027. That means it currently uses the 5.15 LTS kernel, but there’s a bleeding-edge edition, aptly called 21.2 Cinnamon Edge, that uses 6.2 should you prefer.
Where many Ubuntu spin-offs stick with Gnome display manager, as used by Ubuntu itself, Mint’s default is Cinnamon. This started as an offshoot from Gnome 2 when version 3 was released. Version 3 was the first to drop support for the panel (taskbar in Windows parlance) in favor of a purer shell, which likewise demoted widgets and jettisoned desktop icons. Cinnamon puts all of these front and center, which is one of the reasons it’s often held up as an ideal distro for anyone switching from Windows. It also has a Windows-like menu, with applications sorted into categories, and essential tools – such as the browser and settings – kept in view up the side. You can pin your most used apps to the panel so they’re never more than a click away.
Cinnamon is certainly a sturdy, tidy interface, but we think it feels a touch old-fashioned when compared directly with Microsoft’s Fluent UI for Windows 11. If it doesn’t immediately grab you, you can tweak the colors, install a theme, or opt for one of the alternative desktop managers, since Mint is also available with Mate or Xfce. And, while it seems highly unlikely that Ubuntu is going to disappear any time soon, the Mint developers are maintaining a parallel build, LMDE – Linux Mint Debian Edition – based on the Debian codebase, from which development can continue.
Whichever build you choose, you’ll need at least 2GB of memory and 20GB of storage, although 4GB and 100GB are recommended. These are hardly onerous, and the same specs apply to the Cinnamon Edge release.
Getting up and running is a familiar process, which starts with booting into a live installer and stepping through the wizard. However, because of changes to Ubuntu’s shim-signed bootloader, compatibility with Secure Boot was broken for the ISO that was current when we performed our tests. We therefore had to disable Secure Boot to proceed and, unless the ISO has been fixed by the time you install, you may have to do the same. Linux Mint says that it’s working on a fix.
Once up and running, pretty much everything was ready for use. Our monitor was recognized and its native resolution selected, our two network printers were installed, and a range of default applications were in place. Three desklets – effectively Windows-style widgets – for a clock, launcher and digital photo frame are installed but not activated. You can add others from a desklet store, where we’d highly recommend the weather desklet and notepad.
The Software Manager makes it easy to install apps(Image credit: Future)
LibreOffice was ready to roll, and while we can’t say the same for GIMP and VNC, they were available through the software manager, which was set up to work with Flatpak. Thunderbird was pre-installed for handling mail, and Firefox was set up as the default browser.
Hypnotix, Linux Mint’s bespoke IPTV application, is perhaps the most impressive of all the default apps. Its integrated catalogue includes links to more than 1,200 broadcasters, organized by country, with 92 from the UK. Pick a country, then click a channel in the sidebar to tune in. It was quick, efficient and very smooth on our consumer broadband connection. At the time of testing, it wasn’t possible to save favorites, but that may change as work is ongoing for a future release.
Linux Mint with Cinnamon is a pleasant place to spend a lot of time, and while we don’t think Cinnamon feels as dynamic as Windows 11, its familiarity will likely be a significant draw for more cautious switchers (although we would urge anyone in that position to also consider “new kid on the block” Zorin). Hypnotix and the desklets are the star turns in this distribution, and they’re reason enough on their own to make it one for the shortlist.
This review first appeared in issue 354 of PC Pro.
Many Debian-based distros, Linux Mint included, use Ubuntu as their jumping-off point. The latest release – 21.2 Victoria – is based on Ubuntu 22.04 LTS and will continue to be supported until 2027. That means it currently uses the 5.15 LTS kernel, but there’s a bleeding-edge edition, aptly called 21.2 Cinnamon Edge, that uses 6.2 should you prefer.
Where many Ubuntu spin-offs stick with Gnome display manager, as used by Ubuntu itself, Mint’s default is Cinnamon. This started as an offshoot from Gnome 2 when version 3 was released. Version 3 was the first to drop support for the panel (taskbar in Windows parlance) in favor of a purer shell, which likewise demoted widgets and jettisoned desktop icons. Cinnamon puts all of these front and center, which is one of the reasons it’s often held up as an ideal distro for anyone switching from Windows. It also has a Windows-like menu, with applications sorted into categories, and essential tools – such as the browser and settings – kept in view up the side. You can pin your most used apps to the panel so they’re never more than a click away.
Cinnamon is certainly a sturdy, tidy interface, but we think it feels a touch old-fashioned when compared directly with Microsoft’s Fluent UI for Windows 11. If it doesn’t immediately grab you, you can tweak the colors, install a theme, or opt for one of the alternative desktop managers, since Mint is also available with Mate or Xfce. And, while it seems highly unlikely that Ubuntu is going to disappear any time soon, the Mint developers are maintaining a parallel build, LMDE – Linux Mint Debian Edition – based on the Debian codebase, from which development can continue.
Whichever build you choose, you’ll need at least 2GB of memory and 20GB of storage, although 4GB and 100GB are recommended. These are hardly onerous, and the same specs apply to the Cinnamon Edge release.
Getting up and running is a familiar process, which starts with booting into a live installer and stepping through the wizard. However, because of changes to Ubuntu’s shim-signed bootloader, compatibility with Secure Boot was broken for the ISO that was current when we performed our tests. We therefore had to disable Secure Boot to proceed and, unless the ISO has been fixed by the time you install, you may have to do the same. Linux Mint says that it’s working on a fix.
Once up and running, pretty much everything was ready for use. Our monitor was recognized and its native resolution selected, our two network printers were installed, and a range of default applications were in place. Three desklets – effectively Windows-style widgets – for a clock, launcher and digital photo frame are installed but not activated. You can add others from a desklet store, where we’d highly recommend the weather desklet and notepad.
The Software Manager makes it easy to install apps(Image credit: Future)
LibreOffice was ready to roll, and while we can’t say the same for GIMP and VNC, they were available through the software manager, which was set up to work with Flatpak. Thunderbird was pre-installed for handling mail, and Firefox was set up as the default browser.
Hypnotix, Linux Mint’s bespoke IPTV application, is perhaps the most impressive of all the default apps. Its integrated catalogue includes links to more than 1,200 broadcasters, organized by country, with 92 from the UK. Pick a country, then click a channel in the sidebar to tune in. It was quick, efficient and very smooth on our consumer broadband connection. At the time of testing, it wasn’t possible to save favorites, but that may change as work is ongoing for a future release.
Linux Mint with Cinnamon is a pleasant place to spend a lot of time, and while we don’t think Cinnamon feels as dynamic as Windows 11, its familiarity will likely be a significant draw for more cautious switchers (although we would urge anyone in that position to also consider “new kid on the block” Zorin). Hypnotix and the desklets are the star turns in this distribution, and they’re reason enough on their own to make it one for the shortlist.
Closer is better when it comes to wildlife photography, and that’s where Sony’s super-telephoto zoom delivers in spades: with a reach of 400-800mm, it’s the longest lens of its kind in Sony’s E-mount lens lineup. Trumping the 200-600mm F5.6-6.3 G OSS by a full 200mm at the telephoto end, it sacrifices wide-angle flexibility to give you a significantly tighter shot of distant subjects.
Comparable in many respects to Canon’s RF 200-800mm F6.3-9 IS USM, Sony’s super-telephoto is a win for capturing wild and winged creatures. It's less effective in the sports arena though: a slow f/6.3-8 maximum aperture makes it harder to work at the kinds of shutter speeds needed to freeze fast-moving subjects, especially in low-light scenarios, and also limits your scope for blurring busy backgrounds.
Still, in bright conditions, the 400-800mm excels. You don’t get the absolute pin-sharp detail of a telephoto prime, but it’s still sharp both throughout the zoom range and across the frame. Effective image stabilization also helps to keep things crisp when shooting handheld, with motion blur only becoming noticeable at the long end. Chromatic aberrations are kept under tight control, too.
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Tipping the scales at the best part of 2.5kg, this is not a lightweight lens. Nor is it small by anyone’s standards, especially with the lens hood attached. Yet Sony has made it a surprisingly manageable telephoto zoom to shoot with. For starters, internal zoom keeps the weight balance relatively centered over the tripod foot, which usefully doubles up as a handle.
Then you’ve got the tactile, accessible controls. With well-judged resistance, the focus ring makes manual adjustments a joy. Similarly, the short throw and smooth action of the zoom ring mean it’s swift and easy to shift through the full spectrum of focal lengths. Add a trio of programmable focus hold buttons, and the 400-800mm becomes a super-telephoto that’s easy to handle.
It’s also a lens with superb focusing skills. This isn’t G Master glass, but you wouldn’t know it from the responsiveness of the autofocus: driven by two precision linear motors, it moves fast and very rarely misses, and only when shooting busy scenes at a serious distance will you need to consider manual fine-tuning. At the wide end of the range, it also has the versatility to focus on subjects just 1.7m away.
This isn’t a perfect lens. Professional wildlife photographers will get better fine detail from a premium telephoto prime, while serious sports coverage requires the faster maximum aperture of something like the Sigma 150-600mm F5-6.3 DG DN OS Sports. But compromise is inevitable with a lens that's designed to cover several bases, and if you want a super-telephoto zoom that gets you closer than any other Sony E-mount glass, the trade-offs here are more than palatable.
Sony FE 400-800mm F6.3-8 G OSS specs
Sony FE 400-800mm F6.3-8 G OSS: Design
Heavy but well-balanced lens
Robust build with weather seals
Internal zoom with smooth ring rotation
There’s no escaping the fact that the Sony FE 400-800mm F6.3-8 G OSS is a hefty lens. At the best part of 2.5kg, you’ll feel its weight when wielding it. That said, it’s not too much bigger than the 200-600mm: it's 358g heavier, 29mm longer and just 8.3mm wider. Those don’t feel like huge trade-offs for the extra reach at the long end, although you will need to invest in costly 105mm front filters.
It helps that Sony has done a good job of balancing the lens. Rather than telescoping out in front, the zoom mechanism is all packaged internally. That keeps the weight distribution fairly consistent, whether you’re shooting handheld or on a tripod. It also means that the zoom control ring only requires a light touch, which contributes to the sense that this is a manageable lens.
So does the tripod foot, which sits pretty squarely beneath the lens and body’s center of gravity. Its collar isn’t removable, but you’ll likely find the foot useful to have more often than not. The design isn’t exactly ergonomic, but the foot makes for a natural handle, both when carrying and framing. The collar can be easily rotated, with markers for landscape and vertical orientation.
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While this isn’t a pro-grade lens, it’s more than robust enough to survive a lifetime of shoots in the wild. Besides its general weightiness, everything feels well-assembled: the barrel is solid, the control rings turn smoothly, and the switches have a nice, affirmative action. Weather seals are there to keep dust and moisture out, too.
Despite its size, Sony has tried to make the 400-800mm an accessible lens. The hood, for example, attaches with a simple button release, and features a sliding window, so you can make filter adjustments without removing it. Around the barrel, three focus-hold buttons sit at 90-degree intervals, and each can be programmed with custom functions. Then you have its stack of five focus and stabilization switches. As heavyweight telephoto zoom lenses go, this is one of the most user-friendly.
Sony FE 400-800mm F6.3-8 G OSS: Performance
Fast autofocus with two linear motors
Relatively slow f/6.3-8 maximum aperture
1.7m minimum focus distance at 400mm
When it comes to focusing performance, the 400-800mm impresses. Driven by a pair of high-speed linear motors, autofocus is both rapid and reliable, with zero delay between button press and motor response. According to Sony, the telephoto zoom can handle the 120fps maximum burst speeds of the A9 III. We didn’t have Sony’s sports star to hand during testing, but our chosen body – the A1 II – is no slouch, and the 400-800mm had no trouble keeping up.
It’s not immune from the odd miss, particularly when shooting over significant distances, but two features help here. The first is the focus limiter switch, which lets you give the 400-800mm a helping hand. By switching from the full range to one of two restricted modes, based on your distance from the subject, the lens has to hunt around less to find focus.
The second is full-time direct manual focus, which allows you to manually fine-tune focus in any mode by twisting the control ring. There aren’t many occasions where you’ll need to do this, but if the autofocus is having trouble with branches, for example, you’ll find the focus ring has just the right amount of resistance to let you make careful adjustments.
Close focusing is another key selling point of the 400-800mm, with a minimum distance of 1.7m at the wide end. In practice, that lets you get the shot even when your subject is relatively close. 400mm is probably too tight to practically shoot from the sidelines of a sports event, but that distance does mean you can capture small creatures that are near the end of the lens.
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Of course, it’s the super-telephoto number that grabs the headlines – and for good reason: 800mm is a long way in. Compared to a barrel that maxes out at 600mm the extra reach gets you significantly tighter in on your subject, and whether you’re shooting a kingfisher or a kickabout the difference is dramatic.
Almost as important as the range itself is the short throw of the zoom ring, which is optimized for quick shifts in focal length, and has a wonderfully smooth action; the internal zoom mechanism helps here, because the control ring isn’t responsible for telescoping elements. The net result is that it's pretty effortless to move through the full 400-800mm range, and together with the swift autofocus it enables you to readily switch between subjects near and far.
What does hold the 400-800mm back in some scenarios is the slow f/6.3-8 maximum aperture. This isn’t an issue in good light, where the lens performs well (see the sample images below). Under darker skies, though, it can struggle to keep up with rapid action, and at the shutter speeds required to freeze movement you’ll need to crank up the ISO setting or risk underexposed stills.
As a result, this isn’t a lens for shooting sports, especially not indoors. Even in the dimmer conditions of undergrowth, it can be a challenge to capture blur-free animal motion.
That slower maximum aperture also makes the lens less effective at blurring backgrounds. It’s not a major issue with leafy scenes or distant backdrops, but it does demand more care when composing against busy settings. At f/5.6-6.3, the 200-600mm has better light-gathering abilities and enables a tighter depth of field.
Sony FE 400-800mm F6.3-8 G OSS: sample images
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Optically, there’s a lot going on inside the 400-800mm. There are 27 elements in 19 groups, six of which are extra-low dispersion, which translates into sharp stills which are pretty much free from chromatic aberrations.
At a pixel level, you’ll get finer results from a telephoto prime, but for a super-telephoto zoom, the 400-800mm exhibits decent sharpness. Detail is crisp at both the center and the edge of the frame, across the full zoom range. Again, the lens delivers its best results in good lighting, where you can work at shutter speeds fast enough to eliminate motion blur.
SteadyShot stabilization helps to keep things sharp. Sony hasn’t published the official rating of its OIS system, but with a trio of modes covering static and panning shots, as well as active subjects shot using the viewfinder, we found it pretty effective at counteracting hand shake. Blur did become noticeable at the extreme end, but panning handheld at 800mm is never going to bag you the sharpest stills.
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Chromatic aberrations are tightly controlled, with just a hint of purple fringing creeping in at super-telephoto focal lengths. Pincushion distortion is minimal, too, leaving you with very little to fix in raw images. The 11-blade aperture diaphragm also produces bokeh smooth enough to satisfy most enthusiasts.
Should you buy the Sony FE 400-800mm F6.3-8 G OSS?
Buy it if...
You’re a bird or wildlife photographer
The spec sheet of the 400-800mm reads like a wish list for bird and wildlife photographers, with rapid autofocus, a long reach, and internal zoom, plus short minimum focus distances at the wide end.
You need maximum telephoto reach
Sony’s longest telephoto zoom to date gets you closer than any other E-mount zoom lens. It has an additional 200mm on Sony’s next-longest telephoto, which gets you significantly closer to the action.
You want easy zooming and focusing
Internal zoom contributes to a smooth control ring action, while a relatively short rotational range lets you move easily through focal lengths. Full-time direct manual focusing means precision adjustments are slick and quick, too.
Don't buy it if...
You’re a sports photographer
With a slow f/6.3-8 maximum aperture, the 400-800mm F6.3-8 G OSS struggles to keep up with action on dull days. Indoors or in low lighting, it’s simply not fast enough for sports.
You’re happy with a shorter reach
If you shoot relatively close to your subjects or simply don’t need the extra reach at the telephoto end, you’ll find better value in the Sony FE 200-600mm F5.6-6.3 G OSS.
You don’t want an unwieldy lens
Its zoom range might be unrivalled, but there’s no escaping the fact that the 400-800mm is a large and weighty lens. Internal zoom makes it easier to handle, but 2.5kg is still a lot to carry.
How I tested the Sony FE 400-800mm F6.3-8 G OSS
I used the lens extensively for a week
I paired it with the Sony A1 II
I tested it in a range of scenarios
Sony only made the FE 400-800mm F6.3-8 G OSS available for a short loan period, so I made the most of my week with it. I was blessed with a several days of clear skies and winter sun, allowing me to test the telephoto zoom in ideal conditions.
Given the lens's wildlife credentials, animals were obviously a focus of my test shots. That said, I also made sure to assess its capabilities as a sports lens, shooting on-track action at the Goodwood motorsports circuit near my home in the UK. To be thorough, I also shot architectural details, flowers, and a handful of portraits.
Paired with a Sony A1 II, I took the FE 400-800mm F6.3-8 G OSS on several walks to get a good understanding of how easy it was to move and shoot with the lens handheld, taking into account not just its weight, but also its full complement of controls, as well as the collar.
The shot craft in PGA Tour 2K25 is exquisite and remains the best feature of the golf sports game from 2K in a series that has excelled in that area. The multi-layered parts of creating a shot, shaping it, thinking about contact and spin, and potentially utilizing specialist shots make the gameplay of 2K25 extremely enjoyable.
Review info
Platform reviewed: PS5 Available on: PS5, Xbox Series X|S, PC Release date: February 28, 2025
However, the game is not as strong in other areas, and still remains firmly in the shadow of its competition, namely EA Sports PGA Tour. There are some familiar frustrations when it comes to repetitive, underwhelming commentary and strange animation execution. There are also new annoyances like an abundance of obnoxious transition screens, but also oddities in things such as bag building and skill acquisition, while the absence of some major competitions and the most famous courses is still hard to ignore.
Having said that, 2K25 still represents a closing of the gap between it and its main rival a little bit, and the games may be even closer in years to come, especially if 2K25 can continue to build around its awesome shot craft and golf play.
(Image credit: 2K)
The shot craft is strong in this one
Shot craft is at the very core of what makes PGA Tour 2K25 fun and kept me devouring hole after hole, and tournament week after tournament week.
The series’ TrueSwing and EvoSwing features are quality and offer a high level of shot planning, execution, and feedback. In short, you can tailor your shots to conditions nicely and factor in strike, spin, and shaping, while EvoSwing’s feedback meter provides you with results in an instant covering contact, rhythm, transition, and swing path.
Throw in the fact that your golfer can smash 300-yard bombs off the tee right from the beginning, and you have the tools necessary to take on all the courses the game has to offer immediately. What helps this are the intuitive controls too: the analog sticks on the controller provide an intuitive way to swing your club, and the three-click method is present once again allowing for users to use one button and timing through visual prompts to nail their shots.
It’s worth mentioning here that although bombing drives for miles straight away is fun, the default difficulty of the game does make it easy to succeed at first: in my second round I shot a 58, 14 under par score. As a result, it’s definitely worth tinkering with the settings to find the right level of challenge; there’s plenty of customization here and it’s worth getting stuck into such as overall swing difficulty, swing bias settings, and even how many times you can use the putt preview line.
(Image credit: 2K)
Career steps - and missteps
The career mode in 2K25 offers more than its predecessor and begins with the option to choose from five different archetypes that will govern what kind of player you are. These are pretty broad brush stroke types like ‘magician’ for those good at recovery and ‘big hitters’ for those who crush the ball. There’s a good level of character customization on offer too so you should be able to bring your ideal golfing avatar to life.
The overall means to get into the MyCareer mode is straightforward, and you’ll soon be choosing where to start - in the amateur championships, or diving straight into the PGA Tour for example. Your player is pretty competent from the off and you’ll be competing in no time which is a real plus point of the game and its career mode if you value getting stuck into competitions with real players fast.
Player rivalries make a return but also in message form with other pros dropping you a line offering to create a friendly rivalry. This can add a bit of extra fun to succeeding rounds of golf, and you’ll get a reward for engaging them and winning - often a cosmetic. You’ll also get more social media followers too - though I am still to determine what the benefit of more followers actually is apart from it being a general measure of progression.
PGA Tour 2K25’s personality system is an interesting extra addition and your choices in conversations or interviews allow you to be more confident, bordering arrogant, about your game, or allow you to be a more humble or reserved person. From my time with the game, I haven’t seen any huge tangible benefit to either yet. Feeding into that are the aforementioned rivalries, but also sponsorships, and the game’s interview system.
This - along with the new chats with your agent - is another largely welcome one, but again, something that has its own oddities to raise an eyebrow. In one sense it’s great to see an expansion of the career to include media duties and make choices on how you want your avatar to behave and act in the world. On the other, it is strange to get asked questions about being the best of all time after three tournament wins, and, once again, see the same questions repeat quite often.
Best bit
Nailing a perfectly struck shot is incredibly satisfying in PGA Tour 2K25, and getting every single element of it right is as good as it gets. When you hit your first well-planned and thought-out shot to approach a tricky green by also hitting all of the sweet spots in contact, clubface, tempo, and wing path, the feeling is immensely satisfying.
Sponsorship agreements share this kind of double-edgedness too: it’s welcome to see your player get wooed and approached by big-name brands, but it’s also very jarring to get strange offers such as noted footwear and apparel brand FootJoy offering to provide my clubs. It might not mean much to most casual players, but those who will recognize brands and maybe even want their avatar to use them, are the same ones who will find it offputting.
These additions also give way to one of my particular gripes with PGA Tour 2K25: the sheer number of transition and loading screens. After every single action - be that a round, a chat with your agent, or an interview - you’ll have a transition screen pop up for a few seconds. The frequency is incredibly annoying, and having them pop up so regularly - especially when you’re in the groove of moving swiftly between tournament weeks because you want to play the golf part of the golf game - is incredibly disappointing.
The week of a tournament consists of a practice session and pre-tournament events which help to make each week feel more fulsome. Practice sessions can be used to hone specific skills in the week of the tournament if you wish, and pre-tournament events like practice rounds can familiarize you with some of the tournament's holes before the event. Sponsor events can then boost your progression with those sponsoring your apparel, clubs, and balls too. As a result, every week in the career mode is full of stuff to do which is excellent - especially as much of it is the wonderful shot-to-shot gameplay.
(Image credit: 2K)
What's in the bag?
There’s plenty of customization and development to get into in the area of skills and equipment. As you play you’ll acquire experience and skill points which you can use to unlock skills in broad-brush parts of your game such as shots from the tee, recovery play, and more. A lot of these skills are more about increasing forgiveness than anything but the ability to progress that they represent is welcome and satisfying.
Some attributes will be maxed out in line with your archetype which is broadly agreeable, but some skills and shots seem to be totally blocked off by that same choice. This also undermines the role-playing aspect of the game a little. You can bomb 300-yard drives straight away, but a power drive or shot has to be learned - or is unlearnable because I’m not the right archetype. My wedges are as effective as the tour professionals, but my player has to learn a choke down shot (gripping the club a little lower down the shaft). I chose ‘technician’ as my archetype and that meant a power shot or knockdown shot was just flat-out off the table for my player which seems like needless gatekeeping.
In terms of equipment, you can build several bags (like loadouts in shooters, for example) and simply playing with your clubs more and more leads to an increase in proficiency in them. The maximum for each skill is limited by your archetype, which is an interesting way of making you stick to a set of clubs to get more out of them. You can upgrade clubs and balls with bolt-on fittings to upgrade them and their qualities, and also evolve them into clubs of a new level over time too.
The level of flexibility in building your bag is good, though doesn't allow for complete and absolute choice. For example, I couldn’t pick a 58-degree wedge for my bag or even see any driving irons to pick. Spending a practice session on a driving skill can boost all of your clubs which is strange and negates the choice to focus on a single club a little - but I do wish my proficiency with one club making the rest of them better is something that would translate to my real-world game.
My experience with the amount of branded clubs to choose from has been disappointing as the range of club types is pretty small. In 2K23 I could recreate my own golf bag with all the 2022 clubs which allowed me to make my avatar more like myself. I can’t do that in 2K25.
(Image credit: 2K)
One stroke forward, two strokes back
Sadly, the largely improved career mode and the moreishness of the gameplay and shot craft is held back by some familiar - and new - frustrations.
The commentary is still odd, repetitive, and underwhelming. I even had one time where the commentators were talking about a replay of a highlight clip over an entire hole that I subsequently played which had the commentary totally out of sync. It’s boring, low-energy, and - the cardinal sin in sports games - often repeats itself to the point of annoyance.
While pre-tournament practice sessions are welcome and the boosts to attributes offer something more, they’re subject to awkwardness; your character will do the same animations like they’ve just won a championship when saving par on a practice round hole, for example. On this note, I find that a golfer’s wrist on the trailing arm looks quite odd at address, as well, almost appearing as if it bulges forward strangely and is overpronounced.
The appearance of microtransactions isn’t too egregious or aggressive but it’s a shame they are deemed necessary in a golf game in which its other elements promote you and your player improving and getting better by simply playing.
For casual golf game fans, PGA Tour 2K25 still scratches many an itch, and the jump-in-and-play aspect is excellent, especially given the satisfaction of crafting great shots. Throw in some fun multiplayer modes like TopGolf, ongoing daily, weekly, and seasonal challenges and quests, and course design modes may well keep committed fans and players may well keep coming back for me with 2K25. For golf game fans like me who grew up with EA’s Tiger Woods series, however, 2K25 is better, but still not quite the right fit for those wanting a full role-playing experience.
As a result, the game still feels firmly in the shadow of its competitor, EA Sports PGA Tour. But, this isn’t a terminal comparison: there is much fun to be had with PGA Tour 2K25, and if you’re after an accessible, pick-up-and-play golf game for the current generation then this is it.
Should you play PGA Tour 2K25?
Play it if...
You want the best version of a great pick-up-and-play golf game The fact that you can take on pretty much any golf course in PGA Tour 2K25 straight after booting is one of PGA Tour 2K25’s most compelling qualities; you can be crafting shots and winning tournaments minutes after starting the game.
You want excellent shot craft The shot craft in PGA Tour 2K25 is its best and most polished quality. With a more restrained UI this time around, there’s still plenty to get into to prepare the best shot in your armory for each and every situation - and the payoff is oh-so-sweet when it goes well.
You want to tailor and customize your golf experience While it lacks in some areas, the tinkering you can do in PGA Tour 2K25’s settings to find the right level of challenge is very welcome and will help committed players get more out of the game as the hours pile up.
You want some fun online golf multiplayer modes Going online and competing against other real-life players in PGA Tour 2K25 is both exceptionally fun and easy to do; you can find some neat games to play against others efficiently.
Don't play it if...
You want to fully role-play as a golfer from hack to pro You can boot up PGA Tour 2K25 and hit 300+ yard drives from the off, and some skills are totally locked depending on your archetype, so if you’re looking at something where you go on a full journey as a golfer, then you’re better off looking at EA Sports PGA Tour to scratch that itch.
You hate abundant transition and loading screens The amount of transition screens in between, well, everything in PGA Tour 2K25 is frankly infuriating. Especially when one of the game’s strengths is how enjoyable the core golf play is once you’re in it, this really detracts from the experience.
You want to play all of the best courses and biggest tournaments Once again PGA Tour 2K25 falls short here compared to its competition and if playing the likes of the Masters and all the other most famous courses are a priority for you then PGA Tour 2K25 won’t offer you that.
You can’t stand bad commentary While the graphics are improved in PGA Tour 2K25 the commentating is (once again) repetitive, lacking enthusiasm, often badly timed, and seriously underwhelming.
Accessibility
PGA Tour 2K25’s main suite of accessibility features lies in its extensive difficulty options that can be tinkered with. There’s also the ability to choose between holding or toggling buttons for the swing mechanic and a host of display and HUD, camera, and audio options to choose from. Sadly there doesn’t seem to be a setting to change the text size on screen or any colorblind options.
(Image credit: 2K)
How I reviewed PGA Tour 2K25
I played PGA Tour 2K25 for nearly 15 hours for this review, taking my created golfer deep into a second PGA tour season having started in the Korn Ferry Championship. While playing through the seasons, I toyed with all the possible ways to play a tournament’s game week and also dipped into several of the online multiplayer modes.
I tried both Performance and and Quality graphics modes - performance was my preference for the smoothness of swings and shots - tinkered with the difficulty settings to tailor my experience, snooped about the shop and store, and interrogated the skill trees and equipment options, while also going out of my way to compare it to EA Sports PGA Tour which I still dip into every now and then.
AMD had one job to do with the launch of its RDNA 4 graphics cards, spearheaded by the AMD Radeon RX 9070 XT, and that was to not get run over by Blackwell too badly this generation.
With the RX 9070 XT, not only did AMD manage to hold its own against the GeForce RTX monolith, it perfectly positions Team Red to take advantage of the growing discontent among gamers upset over Nvidia's latest GPUs with one of the best graphics cards I've ever tested.
The RX 9070 XT is without question the most powerful consumer graphics card AMD's put out, beating the AMD Radeon RX 7900 XTX overall and coming within inches of the Nvidia GeForce RTX 4080 in 4K and 1440p gaming performance.
It does so with an MSRP of just $599 (about £510 / AU$870), which is substantially lower than those two card's MSRP, much less their asking price online right now. This matters because AMD traditionally hasn't faced the kind of scalping and price inflation that Nvidia's GPUs experience (it does happen, obviously, but not nearly to the same extent as with Nvidia's RTX cards).
That means, ultimately, that gamers who look at the GPU market and find empty shelves, extremely distorted prices, and uninspiring performance for the price they're being asked to pay have an alternative that will likely stay within reach, even if price inflation keeps it above AMD's MSRP.
The RX 9070 XT's performance comes at a bit of a cost though, such as the 309W maximum power draw I saw during my testing, but at this tier of performance, this actually isn't that bad.
This card also isn't too great when it comes to non-raster creative performance and AI compute, but no one is looking to buy this card for its creative or AI performance, as Nvidia already has those categories on lock. No, this is a card for gamers out there, and for that, you just won't find a better one at this price. Even if the price does get hit with inflation, it'll still likely be way lower than what you'd have to pay for an RX 7900 XTX or RTX 4080 (assuming you can find them at this point) making the AMD Radeon RX 9070 XT a gaming GPU that everyone can appreciate and maybe even buy.
AMD Radeon RX 9070 XT: Price & availability
(Image credit: Future / John Loeffler)
How much is it? MSRP is $599 (about £510 / AU$870)
When can you get it? The RX 9070 XT goes on sale March 6, 2025
Where is it available? The RX 9070 XT will be available in the US, UK, and Australia at launch
The AMD Radeon RX 9070 XT is available as of March 6, 2025, starting at $599 (about £510 / AU$870) for reference-spec third-party cards from manufacturers like Asus, Sapphire, Gigabyte, and others, with OC versions and those with added accoutrements like fancy cooling and RGB lighting likely selling for higher than MSRP.
At this price, the RX 9070 XT comes in about $150 cheaper than the RTX 5070 Ti, and about $50 more expensive than the RTX 5070 and the AMD Radeon RX 9070, which also launches alongside the RX 9070 XT. This price also puts the RX 9070 XT on par with the MSRP of the RTX 4070 Super, though this card is getting harder to find nowadays.
While I'll dig into performance in a bit, given the MSRP (and the reasonable hope that this card will be findable at MSRP in some capacity) the RX 9070 XT's value proposition is second only to the RTX 5070 Ti's, if you're going by its MSRP. Since price inflation on the RTX 5070 Ti will persist for some time at least, in many cases you'll likely find the RX 9070 XT offers better performance per price paid of any enthusiast card on the market right now.
Value: 5 / 5
AMD Radeon RX 9070 XT: Specs
(Image credit: Future / John Loeffler)
PCIe 5.0, but still just GDDR6
Hefty power draw
The AMD Radeon RX 9070 XT is the first RDNA 4 card to hit the market, and so its worth digging into its architecture for a bit.
The new architecture is built on TSMC's N4P node, the same as Nvidia Blackwell, and in a move away from AMD's MCM push with the last generation, the RDNA 4 GPU is a monolithic die.
As there's no direct predecessor for this card (or for the RX 9070, for that matter), there's not much that we can apples-to-apples compare the RX 9070 XT against, but I'm going to try, putting the RX 9070 XT roughly between the RX 7800 XT and the RX 7900 GRE if it had a last-gen equivalent.
The Navi 48 GPU in the RX 9070 XT sports 64 compute units, breaking down into 64 ray accelerators, 128 AI accelerators, and 64MB of L3 cache. Its cores are clocked at 1,600MHz to start, but can run as fast as 2,970MHz, just shy of the 3GHz mark.
It uses the same GDDR6 memory as the last-gen AMD cards, with a 256-bit bus and a 644.6GB/s memory bandwidth, which is definitely helpful in pushing out 4K frames quickly.
The TGP of the RX 9070 XT is 304W, which is a good bit higher than the RX 7900 GRE, though for that extra power, you do get a commensurate bump up in performance.
Specs: 4 / 5
AMD Radeon RX 9070 XT: Design
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No AMD reference card
High TGP means bigger coolers and more cables
There's no AMD reference card for the Radeon RX 9070 XT, but the unit I got to test was the Sapphire Pulse Radeon RX 9070 XT, which I imagine is pretty indicative of what we can expect from the designs of the various third-party cards.
The 304W TGP all but ensures that any version of this card you find will be a triple-fan cooler over a pretty hefty heatsink, so it's not going to be a great option for small form factor cases.
Likewise, that TGP just puts it over the line where it needs a third 8-pin PCIe power connector, something that you may or may not have available in your rig, so keep that in mind. If you do have three spare power connectors, there's no question that cable management will almost certainly be a hassle as well.
After that, it's really just about aesthetics, as the RX 9070 XT (so far) doesn't have anything like the dual pass-through cooling solution of the RTX 5090 and RTX 5080, so it's really up to personal taste.
As for the card I reviewed, the Sapphire Pulse shroud and cooling setup on the RX 9070 XT was pretty plain, as far as desktop GPUs go, but if you're looking for a non-flashy look for your PC, it's a great-looking card.
Design: 4 / 5
AMD Radeon RX 9070 XT: Performance
(Image credit: Future / John Loeffler)
Near-RTX 4080 levels of gaming performance, even with ray tracing
Non-raster creative and AI performance lags behind Nvidia, as expected
Likely the best value you're going to find anywhere near this price point
A note on my data
The charts shown below offer the most recent data I have for the cards tested for this review. They may change over time as more card results are added and cards are retested. The 'average of all cards tested' includes cards not shown in these charts for readability purposes.
Simply put, the AMD Radeon RX 9070 XT is the gaming graphics card that we've been clamoring for this entire generation. While it shows some strong performance in synthetics and raster-heavy creative tasks, gaming is where this card really shines, managing to come within 7% overall of the RTX 4080 and getting within 4% of the RTX 4080's overall gaming performance. For a card launching at half the price of the RTX 4080's launch price, this is a fantastic showing.
The RX 9070 XT is squaring up against the RTX 5070 Ti, however, and here the RTX 5070 Ti does manage to pull well ahead of the RX 9070 XT, but it's much closer than I thought it would be starting out.
On the synthetics side, the RX 9070 XT excels at rasterization workloads like 3DMark Steel Nomad, while the RTX 5070 Ti wins out in ray-traced workloads like 3DMark Speed Way, as expected, but AMD's 3rd generation ray accelerators have definitely come a long way in catching up with Nvidia's more sophisticated hardware.
Also, as expected, when it comes to creative workloads, the RX 9070 XT performs very well in raster-based tasks like photo editing, and worse at 3D modeling in Blender, which is heavily reliant on Nvidia's CUDA instruction set, giving Nvidia an all but permanent advantage there.
In video editing, the RX 9070 XT likewise lags behind, though it's still close enough to Nvidia's RTX 5070 Ti that video editors won't notice much difference, even if the difference is there on paper.
Gaming performance is what we're on about though, and here the sub-$600 GPU holds its own against heavy hitters like the RTX 4080, RTX 5070 Ti, and Radeon RX 7900 XTX.
In 1440p gaming, the RX 9070 XT is about 8.4% faster than the RTX 4070 Ti and RX 7900 XTX, just under 4% slower than the RTX 4080, and about 7% slower than the RTX 5070 Ti.
This strong performance carries over into 4K gaming as well, thanks to the RX 9070 XT's 16GB VRAM. Here, it's about 15.5% faster than the RTX 4070 Ti and about 2.5% faster than the RX 7900 XTX. Against the RTX 4080, the RX 9070 XT is just 3.5% slower, while it comes within 8% of the RTX 5070 Ti's 4K gaming performance.
When all is said and done, the RX 9070 XT doesn't quite overpower one of the best Nvidia graphics cards of the last-gen (and definitely doesn't topple the RTX 5070 Ti), but given its performance class, it's power draw, its heat output (which wasn't nearly as bad as the power draw might indicate), and most of all, it's price, the RX 9070 XT is easily the best value of any graphics card playing at 4K.
And given Nvidia's position with gamers right now, AMD has a real chance to win over some converts with this graphics card, and anyone looking for an outstanding 4K GPU absolutely needs to consider it before making their next upgrade.
Performance: 5 / 5
Should you buy the AMD Radeon RX 9070 XT?
Buy the AMD Radeon RX 9070 XT if...
You want the best value proposition for a high-end graphics card The performance of the RX 9070 XT punches way above its price point.
You don't want to pay inflated prices for an Nvidia GPU Price inflation is wreaking havoc on the GPU market right now, but this card might fare better than Nvidia's RTX offerings.
Don't buy it if...
You're on a tight budget If you don't have a lot of money to spend, this card is likely more than you need.
You need strong creative or AI performance While AMD is getting better at creative and AI workloads, it still lags far behind Nvidia's competing offerings.
How I tested the AMD Radeon RX 9070 XT
I spent about a week with the AMD Radeon RX 9070 XT
I used my complete GPU testing suite to analyze the card's performance
I tested the card in everyday, gaming, creative, and AI workload usage
Test System Specs
Here are the specs on the system I used for testing:
I spent about a week with the AMD Radeon RX 9070 XT, which was spent benchmarking, using, and digging into the card's hardware to come to my assessment.
I used industry standard benchmark tools like 3DMark, Cyberpunk 2077, and Pugetbench for Creators to get comparable results with other competing graphics cards, all of while have been tested using the same testbench setup listed on the right.
I've reviewed more than 30 graphics cards in the last three years, and so I've got the experience and insight to help you find the best graphics card for your needs and budget.
For a brand that used to be unambiguously budget-orientated, AOC has come a long way. For proof, look no further than the new AOC U32U3CV. This is an extremely well specified 32-inch, 4K professional monitor.
Without giving away too much, too soon, its performance is also excellent. Happily, however, one legacy attribute AOC has retained is aggressive pricing. This is an awful, awful lot of monitor for your money. As the "Graphic Pro" branding implies, this monitor gives you a lot of the features and performance of much more expensive content-creation screens for a much more accessible price.
That starts with a high-spec 4K IPS panel which offers 98% coverage of the DCI-P3 gamut and Calman Ready support for rapid calibration. You also get HDR 400 certification and a USB-C hub with power delivery, KVM support and ethernet. For anyone looking for the best monitor for photo editing or the best video editing monitor, this is a strong contender for the price.
At the price point AOC is pitching the U32U3CV, it would look fairly appealing as a straight up 32-inch 4K IPS monitor. With the added professional features, it looks like a very strong proposition.
Of course, the spec list isn't absolutely comprehensive. There's no local dimming, for instance, and the refresh rate is only 60Hz. But you'd expect to pay at least twice the price for a 32-inch 4K display with high refresh of 144Hz-plus and full-array local dimming. So, that's not really a criticism.
AOC Graphic Pro U32U3CV: Design & features
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Outstanding feature set
Great connectivity
Patchy ergonomics
Specs
Panel size: 32-inch
Panel type: IPS
Resolution: 3,840 x 2,160
Brightness: 400 cd/m2
Contrast: 1,000:1
Pixel response: 4ms GtG
Refresh rate: 60Hz
Colour coverage: 98% DCI-P3
HDR: VESA DisplayHDR 400
Vesa: 100mm x 100mm (bracket included)
Connectivity: DisplayPort 1.4 x1 in, HDMI 2.0 x2, USB-C in with 96W PD, USB-C in with 15W PD, USB-A x4, ethernet, 3.5mm audio, KVM switch
For the money, the AOC Graphic Pro U32U3CV gives you a remarkable amount of monitor. Along with the 32-inch 4K IPS panel, you get a nicely-engineered metal stand and slick, slim-bezel aesthetics. That includes comprehensive adjustability, with tilt, height, swivel and rotation into portrait mode.
Practicality is also boosted by a small collection of additional ports behind the left-hand bezel covering USB-A, USB-A with charging, USB-C and headphone. However, the ergonomics aren't flawless. The U32U3CV has an unusually large and wide stand base. It juts out quite a long way in front of the display as well as stretching across most of its width.
It certainly makes for good stability, but is surely overkill in that regard and eats pretty horribly into desktop space. It's hardly a deal breaker, but the stand base ergonomics are a notable misstep in what is otherwise a well-considered package.
As for connectivity, it's truly comprehensive. There's a full USB-C hub with 96W of power delivery and DP 1.4 Alt Mode, two HDMI 2.0 ports, and DisplayPort. Complementing the USB-C hub are four USB-A ports and ethernet. What's more, the display has full KVM switch capability, allowing you to share this monitor across two PCs or Macs.
As the HDMI 2.0 spec implies, however, it's worth noting that you are limited to 60Hz at 4K. This isn't a gaming monitor, so high refresh is not critical. However, 120Hz and above brings benefits beyond gaming and refresh is one of the few areas where this monitor could feel lacking in the long run.
Of course, this is a display designed for serious work and content creation in particular. To that end you get <2 DeltaE factory calibration and Calman Ready support for rapid hardware calibration. The U32U3CV's OSD menu is also comprehensive, offering a wide array of SDR gamut presets, including but not limited to sRGB, Adobe RGB, DCI-P3, Display-P3, and DCI-P3 D50, the latter being a version of wider P3 gamut with a D50 white point for printing.
AOC Graphic Pro U32U3CV: Performance
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Lovely 4K IPS panel
Excellent calibration
Comprehensive gamut support
If there's one aspect that really makes the AOC Graphic Pro U32U3CV stand out, it's out-of-the-box calibration. This monitor is really lovely. That applies across the multiple colour space presets, including sRGB, DCI-P3 and the rest. It's just a really beautiful IPS display which also benefits from the excellent pixel density offered by any 32-inch 4K panel.
It's punchy, too, and if anything the subjective experience exceeds the 400 nit specification. As that number implies, this is a VESA DisplayHDR 400 Certified monitor. That means it has entry-level HDR support, but lacks local dimming. In other words, it's not a true HDR monitor but can at least decode an HDR signal.
That said, it is also very nicely calibrated in HDR mode and offers multiple SDR clamps to various gamuts in the OSD, which can make it easier in terms of running this display in HDR mode all the time and not having to jump back and forth between SDR and HDR modes depending on content type.
Another relative limitation is the 60Hz refresh rate. Historically, high refresh hasn't been a clear part of the remit for a professional display like this. But that's arguably beginning to change and a higher refresh would make for a more responsive computing experience.
That said, the actual pixel response is just fine for this class of IPS monitor. AOC has included three levels of user-configurable pixel overdrive in the OSD and the fastest setting makes for reasonable blur reduction without introducing excessive overshoot or inverse ghosting. Long story short, it's unlikely you'd reject this monitor on the basis of pixel speed.
But really, it's the combination of broad colour coverage, excellent calibration and the 4K pixel grid that's the main appeal here. By those metrics, the AOC Graphic Pro U32U3CV punches well, well above its weight.
AOC Graphic Pro U32U3CV: Final verdict
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True professional-grade monitors are and remain extremely expensive with price tags running into five figures. Where the AOC Graphic Pro U32U3CV aims is that difficult-to-define zone in between those exotic displays and generic productivity monitors.
Many such monitors attract a significant price premium. But not the AOC Graphic Pro U32U3CV. It's barely any more expensive than a basic 32-inch 4K monitor, but offers fantastic connectivity features as well as an lovely IPS panel that's at least as well calibrated, if not more so, than monitors at twice the price.
If the AOC Graphic Pro U32U3CV had either the connectivity features it offers, including USB-C and KVM support, or the elevated colour support and calibration, it would look like a good deal. With both attributes, it's an absolutely fantastic package for the price.
I need not have worried. Based on its two-episode premiere, Daredevil: Born Again is an unflinching, worthy successor to Netflix's Daredevil TV show that honors what came before, and drives Matt Murdock and Wilson Fisk's stories forward in unexpected ways.
The devil reincarnate
Episode 1 reunites us with the beloved trio of Karen Page, Matt Murdock, and Franklin 'Foggy' Nelson (Image credit: Marvel Studios/Disney Plus)
Season 4 of Daredevil in all but name, Born Again picks up where the fan-favorite Netflix series ended. Murdock (Charlie Cox), Karen Page (Deborah Ann Woll), and Franklin 'Foggy' Nelson's (Elden Henson) newly established law firm appears to be doing well, and the group continue to frequent their local haunt – Josie's Bar – after a long day of fighting for those in dire need of legal aid.
Seeing Cox, Woll, and Henson again was like I'd been reunited with three of my best friends
Seeing Cox, Woll, and Henson again was like being reunited with three of my best friends. Their chemistry is a large part of what made Daredevil such a compelling watch, so I was delighted to see that their camaraderie hasn't lost an ounce of its unmistakable magic.
The ease with which the trio slip back into their roles makes it all the more baffling that, until Born Again's creative troubles surfaced in October 2023, it was initially going to be a pseudo-sequel to, rather than a direct continuation of, Netflix's TV adaptation that didn't acknowledge Murdock's closest allies. This group, as well as the returning Wilson Fisk (the always-scene-commanding Vincent D'Onofrio), is the primary connective tissue between the Netflix show and its Disney+ follow-up. It's heartening, then, that Marvel brought Woll and Henson back into the fold, allowing for the resumption of their on-screen dynamics with Cox, and each other.
Page and Murdock's sexual chemistry sizzles once more in Born Again (Image credit: Marvel Studios/Disney Plus)
That makes what follows, which was first teased in Born Again's official trailer, all the more heart-breaking. A heart-pounding 10-minute segment, which includes a terrifically choreographed 'oner' sequence involving Daredevil and returning villain Bullseye (Wilson Bethel) that replicates Daredevil's expertly-crafted action set-pieces, such as the infamous hallway scenes, is as soul-crushing and incredibly violent as you'd expect.
I wish Daredevil: Born Again spent more time with Murdock, Page, and Nelson as a collective
Prior to its release, I worried that Page or Nelson weren't long for this world after leaked Born Again images had me fearing for the fate of one of these beloved characters. Nothing could prepare for me, though, for the emotionally blind-siding events that results in one of their deaths and, in the wake of such a tragedy, sees the other leave New York for pastures new. I've spent so much time with this trio across multiple Netflix shows, and now here in the Marvel Cinematic Universe (MCU), so it's not an exaggeration to say I was left feeling incredibly hollow over the dismantling of this tight-knit group.
The action in Born Again is as frenzied, bloody, and bone-crunching as its Netflix forebear (Image credit: Marvel Studios/Disney+)
Necessary as that tragic moment is to move Matt Murdock's story forward, it pains me that the trio's reunion is not only such a short-lived affair, but also that we'll never see them share the screen again.
I appreciate that Born Again represents a new era for The Devil of Hell's Kitchen – after all, he's officially part of the MCU now. His character evolution and the introduction of individuals who enter his orbit notwithstanding, though, I wish the series spent more time with Murdock, Page, and Nelson as a collective. It would have further helped to bridge the gap between one of the best Netflix shows and its sequel, and largely suppress how jarring some aspects of episode 1's first 15 minutes are from an editing perspective. I'm glad that Born Again's creators course-corrected to include Page and Nelson, and I enjoyed (if that's the right word) its unapologetically tear-jerking opening. However, even I'll admit that, compared to how the rest of episode 1 plays out, the scenes that comprise its prelude don't blend or flow naturally as they could.
Letting the devil out
The only scene between Murdock and Fisk in Born Again's two-episode premiere is a mesmerizing watch (Image credit: Marvel Studios/Disney+)
Following that devastating curtain-raiser, episode 1 jumps ahead 12 months to reveal that Murdock has opened a new law firm with fellow attorney Kirsten McDuffie (Nikki M. James) and retired from the crimefighting life. He's also started dating Heather Glenn (Margarita Leveiva), a friend of McDuffie's and a therapist, so Murdock is slowly and positively moving on from the events of a year earlier.
It's utterly absorbing to see these two sides of the same coin verbally and mentally spar
Or so he thinks. Following his own traumatic experiences in Hawkeye and Echo (it's not imperative that you watch these shows and/or Daredevil before Born Again, but it helps if you do), Fisk is not only back in New York but running to become to its new mayor, with a campaign built on the promise of cracking down on the city's vigilante contingent – and it's a race the fearsome former crime lord who went by the name of Kingpin wins.
It's a triumph that inevitably puts Fisk on a collision course with Murdock – and Born Again doesn't make us wait for the first deliciously spine-tingling and suspenseful meeting between the pair since Daredevil's explosive season 3 finale. At Murdock's behest, the arch-rivals convene for a spur-of-the-moment get-together at a diner before election night. It's utterly absorbing to see these two sides of the same coin verbally and mentally spar in a cat-and-mouse game while their anger, plus their resentment for each other, simmers just beneath the surface. On this evidence, I suspect their grip on their new holier-than-thou facades won't last for long.
How long will it be until Mayor Fisk loses his cool? (Image credit: Marvel Studios/Disney+)
Different though their ideologies are, these broken men share similarities outside of their disdain for one another. That much is evident through the common ground they now share in wanting to clean up New York's crime-infested streets, but it's further highlighted by the personal struggles that they face. Individually, Murdock continues to be plagued by the loss of his best friends, while Fisk's marital problems with wife Vanessa (Ayelut Zurer) laces their now-fraught dynamic with an appetizing tension, and humanizes Fisk in a way that the Netflix show rarely did. The parallel journeys they embark on in an effort to bury their pasts, and to try and quell the internal conflict raging within, is the mutual cross they bear, too.
Born Again feels like a narrative extension of its forebear... and gratifyingly expands into new storytelling territory
It's this stimulating character development that allows Born Again to cement itself as a narrative extension of its forebear, and empowers it to expand into new storytelling territory. One of my biggest fears with this Marvel Phase 5 project was that it would simply rehash character arcs and story beats from the Netflix show – and given the high regard that Daredevil is held in, that wouldn't have been out of the question. Color me relieved, then, that Born Again courageously drives Murdock and Fisk's singular and joint stories forward in a refreshing manner.
New blood
Murdock has professionally partnered with fellow lawyer Kirsten McDuffie in the MCU's present (Image credit: Marvel Studios/Disney Plus)
Born Again's supporting ensemble also adds an original flavor to proceedings that fleshes out the street-level corner of the MCU. James' McDuffie, Leveiva's Glenn, and Clark Johnson's private investigator Cherry challenge Murdock's deeply held black-and-white worldview with a zestfulness and toughness that suggests Murdock will have his hands full professionally and personally.
Daredevil: Born Again's overuse of Zack Snyder-style slow-mo shots is largely immaterial
Where Fisk is concerned, the immediate stand-out is Michael Gandolfini's Daniel, an astute boot-licker who quickly ingratiates himself with Fisk to set up what I expect to become a lively surrogate father-son dynamic. The introduction of Genneya Walton's B.B. Urich, an investigative reporter and daughter of Ben Urich (you know, the journalist that Fisk murdered in Daredevil season 2), who wastes little time in questioning Fisk's motives, lays the foundations for a particularly tasty side story too.
Hector Ayala/White Tiger, played by the late Kamar de los Reyes, is a vigilante who Matt Murdock represents in court (Image credit: Marvel Studios/Disney+)
There are parts of Born Again's two-episode debut that don't work as well as the newcomers who join Cox and D'Onofrio on the cast roster. At times, its visual effects and green-screen application is incredibly janky and noticeable, while the overuse of Zack Snyder-style slow-mo shots is largely immaterial to the feeling that certain scenes try to evoke.
I also found some of the camerawork to be off-putting, not least in Born Again's attempts to take a page out of The Bear's playbook with its creative exterior shots. I can see the appeal of – cliched as this is to say – trying to make New York itself a character in the show but, unlike the award-winning and critically-acclaimed Hulu show, it feels redundant here. That said, I enjoyed the old-school filming techniques employed for B.B. Urich's on-the-ground reporting, which actually serves a storytelling purpose.
My verdict
"I like to think I… we have evolved", Nelson says to Murdock and Page just minutes into Daredevil: Born Again's first episode, and I feel like there isn't a more apt description for Marvel Studios' latest small-screen endeavor.
It's more evolution than revolution but, some niggles aside, Born Again is an absolutely terrific continuation of Netflix's adaptation that, much like its eponymous hero, dares to be brave and is handsomely rewarded for it. It walks the fine line between familiarity (its grounded nature and high-stakes storytelling) and innovation (propelling its character-led, drama-filled narrative forward and seamless MCU integration), with an aplomb that few show revivals have managed.
If its first two chapters are anything to go by, and if the seven that follow are as good or even better, Daredevil: Born Again won't just be one of the best Disney+ shows ever created, but also an all-time Marvel Hall of Famer.
Daredevil: Born Again episodes 1 and 2 are out now. New episodes release weekly (NB: episodes 5 and 6 will be simultaneously released on March 25 (US) and March 26 (UK and Australia)).
The Bose Solo Soundbar 2 is a diminutive yet powerful 2.0 channel soundbar that sets out to take your viewing experiences to the next level. With a list price of $199 / £179.95 / AU$359.95, it’s certainly on the affordable side for Bose – but there are a lot of budget soundbar competitors doing their thing for even less. So, is the Bose Solo Soundbar 2 hot enough to compete in a fiery market?
Well, before we jump to any conclusions, let’s talk about setup. Getting the Bose Solo Soundbar 2 hooked up to your TV is easy enough. It comes with a digital optical cable and an AC adapter that you can plug in for instant access to Bose soundbar goodness. Alternatively, you can use coaxial or AUX connections, but as is often the case, the cables for this aren’t included in the box.
But although setup is straightforward, you’ve probably picked up on a standout omission. That’s right: there’s no HDMI here. Now don’t get me wrong, I understand this isn’t the newest model on the market – specifically, the Bose Solo Soundbar 2 was released in 2021. But still, by then, I’d expect a soundbar at this price point to have HDMI ARC as a connectivity option. It’s an absolute must to qualify as one of the best cheap soundbars.
(Image credit: Future)
The lack of HDMI means you won’t be able to adjust the soundbar’s volume with your usual TV remote – instead you’ll have to use the included separate remote. I also typically find digital optical cables to be more fiddly and awkward than larger, easier-to-handle HDMI cables. One final note on HDMI: without it, you’re going to be locked out of fancy audio features like Dolby Atmos and DTS:X – something that doesn’t always work out with small, cheap soundbars – but that’s worth noting if you’re expecting truly immersive three-dimensional audio.
So, look, the Bose Solo Soundbar 2 and I didn’t get off on the best foot. But I wasn’t going to write it off without a good listen and test session first. And I’m glad to report that the sound quality on offer is a major redeeming factor. I tried watching the movie Smile on Netflix and found that the dialogue was clear and natural-sounding when two women conversed in an isolated room.
At one point during this exchange, tensions flare as one woman falls to the floor – and imposing bass ripples through the scene. I felt that the low-end power on offer was substantial for a small soundbar like this. It grabbed me instantly and filled our medium-sized TV testing room effectively. Some of the lowest notes sounded a touch thin, however.
(Image credit: Future)
I threw on The Matrix and during the famous rooftop showdown scene, deeper bass didn’t have that rumble you’d get from more premium models, especially those with a standalone subwoofer. But given a lot of cheap, standalone soundbars struggle with bass, this can be forgiven – low-end output remains steady. I would say, however, that there was pretty limited width to the soundstage, perhaps accentuated by this soundbar’s small size. So when watching epic movies such as this, don’t expect that room-filling, immersive surround sound that more talented standalone soundbars, like the Sony HT-S2000 can imitate pretty effectively.
It’s also worth noting that you can raise (or lower) bass levels to your liking using the Solo Soundbar 2’s remote. That’s something that even some fantastic budget rivals, like the Sony HT-SF150, skip on. And although this model will still struggle to hit those super-low depth notes, the bass controls still work nicely and provide some much-needed weight to blockbuster movie soundtracks and gaming scores.
(Image credit: Future)
Enough about bass, though. I’d like to loop back around to dialogue. This is generally quite crisp, but you can improve things further by activating Dialogue Mode. The most noticeable effect here is that volume is given a substantial boost. But I tried watching a scene in Smile where four characters were chatting in a busy outdoor seating area and the difference was considerable. With Dialogue Mode on, the characters of interest had their speech lifted a layer above, relegating background chatter to… well, the background. When listening to the Kermode & Mayo’s Take podcast in Dialogue Mode, I certainly felt satisfied with the crispness and forwardness of the hosts’ vocals.
So, if you’re fed up of turning subtitles on to understand what’s being said in your favorite movies or TV shows, the Bose Solo Soundbar 2 will certainly supply a way out of that life. Even some of the best small TVs, for example, tend to have limited audio capabilities, so if you own one of those, the mini, solid-sounding Solo Soundbar 2 could be right for you. Especially if you’ve used up all of your HDMI ports.
Sound rarely gets harsh or abrasive, even at higher volumes. And this thing can get pretty loud, thanks to its maximum power output of 100W. Not bad for a small lil’ fella. The only time I felt sound quality took a significant dive was when I played some music over Bluetooth. For instance, I blasted Electric Tooth Brush by Toronto and was met with an almost ‘boxed-in’ sound and bass didn’t have the thump I’d usually look for. Similarly when tuning into Black Eye by Allie X, the soundbar lacked the dynamism required to faithfully replicate the track – especially as the bouncing bass running throughout the track sounded a touch flat.
(Image credit: Future)
Having said that, music didn’t sound tinny or horrible and vocals in Black Eye were certainly clear enough. I just wouldn’t recommend using this as your main way to stream music at home, especially when there are some excellent options to pick from in our guide to the best Bluetooth speakers.
Something I did like about the Solo Soundbar 2, though, is its design. It’s a fairly attractive mini bar with a classy black speaker grille and famous Bose logo imprinted front and centre. OK, it’s a little plasticky – but that’s to be expected at this price point. And the included remote is pleasingly slim and sleek, which adds a few more style points anyway. Of course, the soundbar's compact size can limit the expansiveness of audio, but in terms of practicality, it doesn’t get a whole lot better.
All in all, the Bose Solo Soundbar 2 is a decent, small-sized option if you’re looking to upgrade your TV’s underwhelming audio. It sounds surprisingly powerful and looks pretty sweet too. And if you’re all out of HDMI slots, then it might be worth a look.
But in my view, it’s not the best value for money option, let alone the best quality one in its class. You can get the Hisense HS214 – a cheaper, more modern, HDMI-ready mini bar if you’re short on space. You could even grab the Panasonic SC-HTB100 if you want clear audio with a bit more width. And both of these alternatives are considerably cheaper than the Solo Soundbar 2, so make sure to weigh up your options before pulling the trigger on a purchase. Speaking of options, you can check out our list of the best soundbars if you want a best-in-class soundbar for truly cinematic sound.
(Image credit: Future)
Bose Solo Soundbar 2 review: Price and release date
$199 / £179.95 / AU$359.95
Launched in 2021
The Bose Solo Soundbar 2 (sometimes stylised ‘Bose Solo Soundbar Series II’) released in 2021 with a list price of $199 / £179.95 / AU$359.95. Now, a few years later, you can often find it at a discounted price. For instance, I spotted this model for less than £150 directly through the Bose UK website, so keep your eyes peeled for a tasty price drop.
Bose Solo Soundbar 2 review: Specs
(Image credit: Future)
Should I buy the Bose Solo Soundbar 2?
Buy it if...
You want to add some power to your TV setup It didn’t always hit the lowest notes and audio wasn’t pitch perfect all of the time, but it’s hard to deny this Bose soundbar’s power. Considering its short length and slim build, it plates up a solid 100W maximum power output with impressive bass levels and general loudness.
You’re a little short on space If you’re a little limited in terms of room, the Bose Solo Soundbar 2 will likely be a fantastic fit. It’s pretty slim and not long at all, meaning it should seamlessly slot into your TV unit.
Don't buy it if...
You want premium sound quality Considering its miniature size and low price, you’ll likely not be expecting audiophile-grade audio from the Bose Solo Soundbar 2. And you’d be correct to expect that. It doesn’t sound bad at all, but if you’re looking for detailed, rich, expertly controlled sound, you’ll be better served by an option like the Sony HT-S2000.
You’re on the search for surround sound If you want true surround sound, the Bose Solo Soundbar 2 isn’t going to be the answer. It’s a basic 2.0 channel soundbar with no surround or virtual surround capabilities. If you want truly immersive, three-dimensional sound, I’d recommend checking out our guide to the best Dolby Atmos soundbars.
Bose Solo Soundbar 2 review: Also consider
Sony HT-SF150 I loved my time with the Sony HT-SF150. It’s a premium-looking standalone soundbar with surprisingly good virtual surround sound technology. There’s nothing like Dolby Atmos or DTS:X compatibility here, but audio is decently expansive, dialogue is clear and there are loads of ways to connect. That includes HDMI ARC, by the way. Read our full Sony HT-SF150 review.
Hisense HS214 The Hisense HS214 is pretty similar to this bar from Bose. It’s a small, slim soundbar that musters up an impressive amount of power and keeps dialogue nice and clean. Its built-in surround mode is poor, but there’s a built-in subwoofer to offer a leg up to low-end sound. Again, this one has HDMI ARC connectivity among a number of other options, so it's a bit better equipped for the modern era. Read our full Hisense HS214 review.
Bose Solo Soundbar 2 review: How I tested
Tested across one week
Used in our TV testing space at Future Labs
Connected up using the soundbar’s digital optical port
I spent hours testing the Bose Solo Soundbar 2 at our TV testing space at Future Labs. During this time, I used the digital optical connectivity option and hooked the Solo Soundbar 2 up to the excellent Panasonic MZ1500 TV.
For my tests, I viewed a variety of TV shows, videos and movies – mainly using streaming services like Netflix and YouTube. In addition, I connected the Samsung Galaxy S24 FE to the soundbar to assess audio quality over Bluetooth. I made sure to play tracks from the TechRadar testing playlist as well as my own personal library to judge the capabilities of the soundbar’s Bluetooth mode.
There are typically two types of outdoor backpacks for photographers: those that follow a traditional photography backpack design and those that are based on hiking backpacks and feature a modular ICU (internal camera unit) design where you can customize the camera storage within the bag. The f-stop Tilopa 50L DuraDiamond is a high-end modular bag that fits into the latter camp and is designed specifically for outdoor photographers like me, for whom it's one of the best camera bags available.
The f-stop Tilopa 50L DuraDiamond has been available for a few years and is a newer, tougher version of the original Tilopa. It's a large bag with a 50-liter capacity, and this can be paired with large ICUs for carrying mostly camera gear alongside other items in the additional compartments, or with a smaller ICU for less photo gear and lots of outdoor kit including camping equipment for a one- or two-night wild camping trip.
This cavernous bag is built to an incredibly high standard and it's versatile too – as well as offering compatibility with f-stop ICUs, there are lots of pockets and compartments to store your essentials, including space for a three-liter hydration bladder and up to a 16-inch laptop. The bag also features an internal frame like traditional hiking backpacks alongside being made of tough waterproof material.
I've been an outdoors photographer for more years than I can count, exploring tough terrains in inclement weather, and the f-stop Tilopa 50L DuraDiamond has been a reliable and versatile backpack throughout. It might cost a lot, but for me its decent value given the years of service.
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f-stop Tilopa 50L DuraDiamond: price and availability
Several kit options
Available in three colors
Available direct and from third parties
The f-stop Tilopa 50L DuraDiamond has been available for years directly from the f-stop website, Amazon and other online retailers. Pricing on the f-stop website is in US Dollars and Euros, with the bag coming in three colors: Anthracite Black, Cypress Green and Magma Red. You can purchase the pack/bag only, which is ideal if you already own f-stop ICUs, or in three bundles which include Essentials, Elite and Master. You can, alternatively, buy the pack/bag only and purchase the desired ICU separately.
The pack Only costs $399.99 / €399.99, while the Essentials bundle costs $499.99 / €499.99 and also includes a Pro Large ICU, Gatekeeper Straps and Large Rain Cover. Step up from Essentials to the Elite bundle ($579.99 / €579.99) and you'll also get a Shallow Small ICU, while the Master bundle costs $769.99 / €769.99 and further adds a Slope Medium ICU, Large Accessory Pouch and Packing Cell Kit.
Mindshift Backlight 26L: specs
f-stop Tilopa 50L DuraDiamond: design
Extremely comfortable
Built for the outdoors
Modular design
The f-stop Tilopa 50L DuraDiamond is a modular backpack so you can change the ICUs depending on your photography needs. There are also lots of additional accessories available including packing cells, straps and accessory pouches, so you can build the perfect bag system for you and your outdoor photographic adventures.
This is a large backpack – not the largest f-stop option available, but at 50 liters the Tilopa has a huge amount of storage space on offer. Just to give you an idea of its dimensions, the bag is 62.3 x 34.8 x 24.4cm / 24.5 x 13.7 x 11.1in with an empty weight of 4.2lb / 1.9kg.
That empty weight is as heavy as some traditional outdoor backpacks that are half the capacity of the Tilopa with fixed camera compartments, but obviously increases depending on what ICUs you're using; they don’t weigh much, but the Pro Large I tend to use weighs 1.71 lbs / 0.76 kgs.
When you consider the weight in this context, the Tilopa is lightweight given the capacity of the bag. The overall capacity is obviously fixed, but you can extend the amount of additional space for personal/outdoor items by using smaller ICUs. There are also pockets in the lid of the bag and on the sides with one able to accommodate a three-liter hydration bladder, complete with a guarded hole for the tube to maintain water resistance.
There's also a large front pocket on the bag with further compartments in the flap; this is quite large and can hold a wide range of items including a jacket. There's a slot to accommodate a 16-inch laptop in the padded rear-entry back panel as well as two larger pockets and four memory card slots that secure magnetically.
On the front of the bag, there are attachments for two walking poles or ice axes as well as the ability to carry a tripod on the front or sides of the bag. There are also pockets and netted straps on the waist belt and shoulder straps, while there are plenty of loops for attaching straps to carry items such as a tent outside of the bag.
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The build quality of the bag is excellent and the proprietary DuraDiamond material is both extremely tough and also water-resistant. Tougher Hypalon material is used as reinforcement in a few areas where additional strength is required and the large and comfortable-to-use zippers feature weatherproofing to keep moisture out.
On the inside, the Tilopa features an aluminum frame like traditional hiking backpacks to add rigidity and comfort. This, I have to say helps to make the Tilopa incredibly comfortable to wear.
For the purposes of this test, I paired the Tilopa with the Pro Large ICU which provided enough storage for my standard kit; two full-frame camera bodies with 70-200mm f/4 and 16-35mm f/2.8 lenses attached, a third lens, square filters, shutter remotes and lens cleaning accessories. It could be reconfigured to carry more if lenses weren't attached to the camera bodies, but this is a setup that works perfectly for me.
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The only negative with the Tilopa is that it doesn’t have a pouch/pocket that can carry a water bottle, like the side pouches on the smaller 37-liter f-stop Ajna. It's not the end of the world because you can put a bottle in the main front pocket, and one of the side pockets is designed to be used with a hydration bladder. You can also purchase the Mano Water Bottle Pouch separately and this will carry a 17 fl oz / 500ml bottle.
One of my favourite features of the bag, alongside the versatility of the ICUs and its comfort in use, is that you can access gear without fully removing the bag and putting it down on the ground. This is ideal when shooting in water or muddy locations. To do this, you simply remove the shoulder straps and rotate the Tilopa to your front with the waistbelt in use. This allows you to access your kit via the rear panel – perfect for outdoor photography.
Should I buy the f-stop Tilopa 50L DuraDiamond?
(Image credit: James Abbott)
Buy it if...
You'd like a modular backpack Having a backpack that can accommodate several different modular units allows you to configure the bag to your needs on a day-by-day or trip-by-trip basis, so it's like having several backpacks in one.
You want a bag you don’t have to put down Gear can be accessed without removing the Tilopa from your body, which is great when you're standing in mud, water or snow. DuraDiamond material can be easily wiped clean, but it's still a useful feature.
Don't buy it if...
You don’t require modularity If you don’t require the ability to customize camera storage / utilize modular units, then the Tilopa may not be for you. Just know that the Small ICUs do allow for a great deal of non-photographic kit to be carried.
You'd like a smaller bag With 50 liters of total storage, the Tilopa will be too large for some people. If you only need a medium-size backpack, the 37 Liter f-stop Ajna may be a better option.
How I tested the f-stop Tilopa 50L DuraDiamond
Long term review based on several years hands-on use
All features tested
Used in outdoor locations, including mountains and coast
I've owned the f-stop Tilopa for several years and use it either when I'm on a wild camping photography trip or when I need to carry more kit alongside outdoor gear. The Tilopa has been tested over an extended period where all of its strengths and weaknesses have been exposed, and it has been used in all weather conditions in the hills, mountains and at the coast. While the Tilopa would function perfectly in urban environments, I typically use lower-capacity backpacks in the city.
Split Fiction is an explosive co-op game with a kaleidoscope of mechanics. If you’ve played either of Hazelight Studios’ previous multiplayer masterpieces, then you’ll know what I mean by this – there’s a level where you literally have to navigate your way through one of those colorful rotating toys, but for those of you who have not (go play them now) I'm more so referring to the various game types it has managed to pack into it, from platforming and puzzling to action-adventure role-playing game and racing (and that’s only a small flavor of what you’ll find).
Indeed, the studio is waving the co-op flag high and I’m all for it as it’s great to see such an under-served area of gaming getting the attention it deserves.
Review info
Platform reviewed: PS5 Available on: PS5, Xbox Series X|S, PC Release date: March 6, 2025
Stepping into the incredibly imaginative minds of two writers who get trapped in a simulation of their own fictionalized sci-fi and fantasy worlds is an ingenious premise for a multiplayer, multi-genre game. It’s a lot different to two criminals trying to escape a prison like in A Way Out or a married couple that gets turned into their child’s toys in It Takes Two, making it feel like a completely fresh take on the co-op adventure gaming genre that Hazelight is repping.
I could’ve easily spent more hours wandering around the virtual imaginations of the game’s two main characters (Image credit: Hazelight Studios)
In Split Fiction, you can choose to play as either a decisive sci-fi lover called Mio Hudson (voiced by Kaja Chan) or an emphatic fantasy fan known as Zoe Foster (voiced by Elsie Bennett). Each character has unique abilities – for example, Mio gets to use her dragon to glide in one level as Zoe uses her dragon’s tail to climb up obstacles.
While I played as Mio, who I think has the more exciting abilities, a lot of care has been taken to make sure whichever character you play as you get a chance to experience a new mechanic that’s introduced throughout the gameplay – whether that’s being the one to tilt the screen to help your partner navigate across a series of obstacles or move objects to create new pathways.
(Image credit: Hazelight Studios )
The game's nemesis is the CEO of Radar Publishing, who Mio and Zoe discover is trying to steal their ideas without their consent. However, before you get to inevitably challenge him, you and your co-op partner will have to face a series of bosses, including a rogue AI robot, an evil cat, and a Hydra of Lerna-type mythical dragon beast, just to name a few, as you move through glitches to escape the idea stealing machine. Each battle is different and requires a combination of maneuvers to get past, which you’re introduced to as you proceed through each level, such as timed jumps, shapeshifting, dodges, target shooting, and more.
Any gamers recognize this sword?! (Image credit: Hazelight Studios)
A multiverse game
Despite the back and forth between different sci-fi and fantasy styles, neither style suffers from a dev overload with each level being crafted in absolutely stunning detail. Sure, Hazelight has clearly invested more time and resources into Split Fiction this time as it’s noticeably more polished, but that also means it has less of that rustic indie dev charm that you might find with their previous two games or from titles like Campo Santo’s Firewatch or Moon Studio’s Ori and the Blind Forest.
I'd say it's almost certainly needed for a game with this much ambition, though, and you’ll see why when you get to the final chapter. It’s a AAA game from a passionate indie studio, what more could we ask for?
Best bit
(Image credit: Hazelight Studios)
Split Fiction has taken the best bits of It Takes Two and A Way Out, and made a varied co-op adventure with a dynamic storyline. The final level ties into the title in a way that made for a crescendo of a finale that will forever stay with me.
One aspect I love is how Hazelight's passion for playing games is beautifully integrated into its homages to the mechanics that make great games alongside a huge amount of pop culture references and easter eggs. For example, throughout the game you’ll wallrun and grapple in a similar fashion to Star Wars: Jedi Survivor.
Other times you’ll find yourself in a side-scroller with a simple black and white colorway that’s reminiscent of Limbo or a 2D platformer that will give you those nostalgic Mega Man and Sonic vibes or a dance battle with a monkey that has a section where you play the retro mobile game Snake – there’s even a level where you have to use portals, which is absolutely a nod to the best co-op game ever made: Portal.
Split Fiction is already a co-op icon (Image credit: Hazelight Studios)
This additional consideration becomes a fun activity to spot in itself and provides some of the most enjoyable moments in the game. I loved guessing which movies a section of the game was referencing. Some are more obvious than others, like the cutscene that sees you change into your next character style in true Sailor Moon fashion or the bit of dialogue where one of the bosses says something about, “You think darkness is your ally?”, which felt like a nod to The Dark Knight Rises, while others are less subtle like the level where you’re lowered by your teammate down an air vent having to dodge lasers that had me feeling like Tom Cruise in Mission Impossible. It feels like the developers had a lot of fun weaving these references into the game and they sure make for brilliant sections.
Side note: keep your eye out for the fun little things the devs have had fun including, my personal fav was the revolving doors that would stop if you rushed and tried to push them a nice touch that anyone who’s ever been inpatient in one would have experienced.
My favorite part of the game, though, is the chaotic multiverse final level. This completely blew my mind and is a testament to the creative genius of Hazelight Studios. It’s like nothing I’ve ever played before, mixing different level’s skins with gaming elements in a way I’ve never seen done before.
Is that tree Groot? (Image credit: Hazelight Studios )
Bringing new players together
What I love most about this is that a game like this has really wide appeal – I’m not just talking about veteran gamers who will get a kick out of all the old game references but also those that the closest they’ve ever gotten to a game is something like Tetris. When It Takes Two came out, I noticed people that I never would have thought to play video games, raving about the experience they’d just had, and to me that’s what makes this even more special.
You don’t have to be a serious gamer to enjoy this entertaining adventure. It’s so varied and mixed that I don’t doubt it will be played many times again and again. Split Fiction is another great success in a co-op arena Hazelight is beginning to dominate.
Should you play Split Fiction?
Well, this was unexpected... (Image credit: Hazelight Studios)
Play it if…
You love gaming with a buddy It's an easy one but an important one: Split Fiction is best enjoyed with a pal. However, don’t worry if you don’t have someone in your household, because you can play Split Fiction both locally and online with Friends Pass. Hazelight Studios has also added crossplay options for even more frictionless pairing.
You want a genre-bending game You’ll go from platforming and puzzles to top-down RPG, racing, rhythm battles, and more. This is primarily an action-adventure platformer, but there are so many mini-games within it that it’ll keep you on your toes. Split Fiction manages to incorporate all this while still following a linear storyline.
You enjoy high-quality graphics Split Fiction is truly gorgeous. Given that the two main styles are fantasy and sci-fi, it’s mesmerizing to navigate through each level but the mini-games are even more different as some completely abandon the two main styles to bring you a new whacky, weird, and wonderful game look.
Don’t play it if…
You’re looking for challenging puzzles Compared to It Takes Two, the puzzles weren’t as challenging in Split Fiction. This does mean that you and your buddy will likely not get stuck on any level, so don’t expect anything like the Water Temple conundrum in The Legend of Zelda: Ocarina of Time to keep you scratching your head.
You’re not an adaptive gamer The camera perspectives change at the drop of a hat in Split Fiction as you enter new mini-games and levels, making some of the transitions a bit jarring. If you’re familiar with the game references, you’ll likely intuitively know what to do but if you’re not familiar with these then I expect there will be a sight learning curve for some.
Who else loved SSX 3? (Image credit: Hazelight Studios )
Accessibility features
Hazelight Studios has added plenty of features to make Split Fiction a very frictionless experience. The checkpointing is generous, with an option to jump between saved points. There are plenty of settings to modify the buttons, including key binding, camera rotation assistance, and reducing enemy damage. Unfortunately, you can't change the size of subtitles but you do get the option to add solid backgrounds to the text to boost its visibility.
Meanwhile, the voiceovers of the characters in Split Fiction have been recorded in seven different languages, including English, German, French, Spanish, Italian, Chinese (simplified) and Japanese. There are also nine different language subtitles – German, French, Spanish, Italian, Brazilian Portuguese, Polish, Japanese, Chinese (traditional and simplified), and Korean. Like It Takes Two, the game has an ESRB rating of teen for 13-year-olds and upwards, which makes it more widely accessible for different ages (unlike A Way Out, which has a mature rating due to its subject matter).
Tron anyone? (Image credit: Hazelight Studios )
How we reviewed
I played Split Fiction for around 19 hours on a PS5 Pro and still didn’t earn every trophy. Out of the 21 available, I only got three for completing all side stories, finishing the game, and feeding a dragon (although this was purely accidental as I had not seen all the trophies until after I finished). I don’t doubt that anyone taking more time could clock up even more hours on this game, making it great value for the completionists out there.
The graphics looked incredible on a Sky Glass TV and the audio was fully immersive on a Sonos surround sound setup made up of the Beam (Gen 2), two Era 100s, and the Sub Mini.
