Gears of War: E-Day review in progress — Good shooting, but the campaign's a slog

Why no score yet?

This in-progress review covers Gears of War: E-Day's campaign, but there's still the multiplayer check out, which wasn't available pre-launch. E-Day is officially out on October 6, but advanced access begins October 1 for those who pre-order the $100 Premium Edition. E-Day will also be available on Game Pass.

What's the most stunning revelation in this Gears of War prequel? Marcus Fenix used to have a jump button. Yes, the king of cover-based shooting, a man more rooted to the ground than a scarecrow, spent his youth jumping to some bits of cover. So E-Day contains at least one literal leap forward for the franchise. Shame it's trapped in a slog of a campaign that's otherwise anything but.

But before I moan about that, plenty of good news first. Gears has never felt better to play. These third-person cover shooters have always been a blast when they're working, and a miserable swearing fit when you dodge roll into certain death instead of snapping into cover like you wanted to. Again.

That nonsense has finally been excised, mostly, thanks to slightly more acrobatic characters and some wise button remapping. It's amazing what a difference sticking run on L3 and giving climb its own designated button makes.

Gears of War's biggest haters are liable to characterise its cover-shooting as a dull game of whack-a-mole. Perhaps on Normal difficulty, but Hardcore is where the experience sings. Here, staying in the same spot of cover is rightfully punished. You've got to keep gaining better ground, constantly weighing up the risks of lining up a sniper shot, a chainsaw insta-kill, or making a desperate dash for cover. It's a turn-based tactics shooter with a missing pause button. There's a reason that it translated so smoothly to a tactics spin-off.

E-Day introduces new weaponry that makes cowering in cover harder than ever. It loves a blast of acid, this game, either delivered from a massive evil frog or a new gun that shotguns it at you. Devastating, but a loving kiss on the cheek compared to the Goreshot, a grappling hook only interested in grappling your torso from your body. So gloriously over-the-top, it almost makes up for the insta-kill tedium from the elite enemy who wields it.

That stuff's good, but it's the renovations to the old guard that stand out. The spike trap now opens with a hugely satisfying thunk-thunk-thunk as its horrible insides prepare themselves for a good gouging. The explosive arrow-firing torque bow gets a great glow up—the sound design as it finds its target is wonderful, practically a doomsday drum roll, so good I still enjoy it even when a locust is aiming it at me. And if I'm ever called upon to assassinate God, this game's sublime sniper rifle is what I'm reaching for.

So if the gunplay's a treat and the core combat never better, what's the problem? Well, almost everything else, unfortunately.

Dis-may

Instead of the cynical, traumatised, seen-it-all-before combat veteran of the original Gears, here Marcus is… a cynical, traumatised, seen-it-all-before combat veteran.

E-Day is a prequel, referring to the fateful day when the locust got bored of living underground and burst free from the surface to say a very messy hello. This is covered in the opening cutscene of the original Gears of War. And if you're wondering what insights E-Day has that weren't covered in said cutscene, same here.

The game opens with Marcus Fenix and Dom 'boy isn't it great that my wife and kids are alive' Santiago. Instead of the cynical, traumatised, seen-it-all-before combat veteran of the original Gears, here Marcus is… a cynical, traumatised, seen-it-all-before combat veteran. Oh.

Discovering Marcus was once a flamboyant drag queen who was changed forever by E-Day into the man we know today was probably too much to hope for. But the fact he's essentially exactly the frikkin' same is the first alarm bell that this prequel is struggling to justify its own existence.

Once the locust arrive, E-Day tries cosplaying as Resident Evil for a bit, complete with a trip through the panicking city to the police station. Some of these horror moments work. The drone gets an excellent introduction, though not so much for the poor sap stuck in the interrogation room with it. Other attempts at horror atmosphere are hilariously clumsy. I find the blood-soaked helmet of a transit worker, and the game immediately shatters any sense of foreboding with text popping up saying 'Bloody Transit Worker's Helmet Found!' Er, hooray?

The game then has some dumb fun giving little origin stories to its iconography—chainsaws being attached to machine guns! Grenades being tossed in emergence holes! Problem is, by the start of Act 2, you have the weaponry, armor, and the squad. At which point E-Day just becomes standard Gears of War again. You explore the ruined city (not open-world, more wide-ish linear) with goals never more complicated than 'shoot those locusts' or 'survive this wave of locusts' or 'why haven't you shot those locusts yet?'

Gears 5 understood the value of variety. It had sections where you had to stealth around a mad scientist's factory to stealth kill infected robots. Or ride a skiff down an icy mountain. Or fight an enemy on the stage of a Hamilton-inspired musical which starts rotating at the worst moment possible (play Gears 5—it's one of the best 7/10s ever).

Is the shooting strong enough to sustain this? Yeah, just, though it does get exhausting.

True, not all of Gears 5's ideas worked. But I wanted a sequel that improved upon them, not a regression that believes the only thing you should ever be doing in one of these games is endlessly pulling the trigger. It's just slightly remixed combat encounters all the way down. Battle a giant frog and several snipers! OK, now two frogs, one sniper, and several shotgunners! OK, OK, now three giant spiders that fire insta-kill rockets, and loads of grunts, and the last checkpoint was seven minutes back! …Hey, why are you suddenly aiming at me?

Is the shooting strong enough to sustain this? Yeah, just, though it does get exhausting. It's an action movie with everything ripped out that isn't bullets going into bastards. The 20+ hour campaign is also waaaaay too long considering how one-note it is (well, aside from two crap shooting-from-a-turret-inside-a-helicopter bits, but I was planning on being nice and not bringing those up).

Moderate improvements

New for E-Day are mod slots for your weapons and armour. Mods include less recoil, better scopes, faster chainsaw revving, etc. Not as useless and incremental as the crap you get in [insert whichever live service shooter you currently have the most beef with here], but it's borderline and hard to get excited about. Far better is the gizmo that can send out rippling shockwaves that stun enemies, perfect for a chainsawin'. I found a mod for it that also sets enemies on fire. Lovely.

You get these mods for completing sidequests or finding them in cases. But E-Day is so terrified of you missing anything that tiresome all-caps text saying HARD CASE NEARBY blazes across the screen. And the location of the case is immediately added to your map. Oh and if you activate whatever this game's version of Eagle Vision is called, we'll show you exactly where the case is. Ugh.

Gears 5—which I promise to stop swooning over soon—did all this so much more elegantly. You had a robot companion with abilities that were upgraded with currency you found through exploring. No map markers, screaming text, or other BS that belongs in the Ubisoft dark ages. You were actually incentivised to explore properly, with any world-building or character moments you encountered along the way a nice bonus.

There's a special place in hell for games that put checkpoints before long dialogue exchanges that you can't skip through.

E-Day's a less interesting place to explore regardless. A city in ruin is one of gaming's most overdone settings, so you really have to pull out the stops to make it interesting, like in The Last of Us 2, or the opening Leon section of Resident Evil Requiem. Otherwise, seen one ruined city block, seen 'em all, like in the second half of Resident Evil Requiem (at least E-Day is less grey and brown, shockingly).

Other frustrations just feel like they shouldn't be happening in the seventh game of a series. There's a special place in hell for games that put checkpoints before long dialogue exchanges that you can't skip through. Normal difficulty still isn't challenging enough. Opt for hardcore and you get the compelling challenge, but also have to swallow the occasional ocean of stale piss, with boss health bars are so overlong I'm amazed they fit on the screen.

And how can a game with such outstanding skull-popping, blood-geysering headshots still have such pitiful damage feedback against elite enemies? There's no satisfaction in emptying clip after clip into a monster, not feeling like you're having any impact whatsoever until it finally falls over. Do I actually love E-Day's sniper rifle, or is it the only gunshot against the more bullet-spongy cretins that feels like it has any kick?

A new enemy at least has the decency to have a nice big eye that it doesn't like being shot in, which means I actually feel the impact of my gunfire. This thing is called… actually, to try and describe it myself when I can let the game do that in the following screenshot would be like snatching the pen from Shakespeare. My apologies. Take it away, E-Day:

Thank you, Lucas. God this game is infuriating. Great shooting trapped in a horribly overstretched campaign, telling a story that clearly didn't long to be told. It feels more like Microsoft taking a page out of the Jack Donaghy playbook and tapping a sign saying 'make it 2007 again'. Here's hoping multiplayer's a triumph. Otherwise Marcus is gonna have to open Gears 6 with one Hell of a drag show to make up for this.

We'll publish the final, scored version of this review once I've had time to try out the multiplayer, which wasn't available pre-release.