I had to split my army and meticulously dot it around the map, switching between them quickly and ensuring they were well-balanced with air, infantry and vehicle units. Zerging was a strict no-no here, and the map was more open than in other missions. It’s a decent mix, though the only mission that really stuck in my memory was when I had to defend a beach from a Banished amphibious assault (wars and beaches always seem like the perfect cocktail). The campaign is divvied up into a variety of scenarios - from semi-stealthy sniper missions, to Domination matches, by way of battles where you can’t build bases and need to survive with the troops you have until reinforcements arrive. As bleak distant-future wars go, it sounds fantastic, as does the orchestral score that swells and subsides to the ebb and flow of the action on-screen. The presentation is lifted by the crispy, bassy sound design, achieved by using recordings of actual Sherman tanks, guns and flamethrowers before processing them to sound more futuristic. Not that you’ll spend much time sitting around critiquing them, as you’re never more than five minutes away from a spectacularly explosive showdown that sends it all up in smoke. The Roland Emmerich-style cutscenes in the campaign are so flashy that they do no favours for the relatively plain graphics of the game’s units and environments.
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