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You’ve got regular career modes, simple local play kick offs, multiplayer, Women’s International Football, as well as a full representation of FIFA Ultimate Team and it’s range of single and multiplayer modes. The game is remarkably feature complete on Switch with almost everything making the jump – the main exception to this rule is The Journey: Hunter Returns single player story, which was only made possible via Frostbite. It’s mightily impressive for a handheld and still very respectable when docked, but some people may find that they’ve been spoiled by the Frostbite engine versions of the game. This is really nit picking, because there was never any real chance that the Switch version would be equivalent to the game on PlayStation 4. There’s also this general feeling that the players aren’t really attached to the surface, which is made more apparent when players of different heights are forced into a particular celebration. Facial animations are practically non-existent outside of a bit of mouth flapping and hands are in rigid open palm positions, which makes it look amusingly like a puppet show when they try to clap or shake hands with another player or official.
Player models are much lower in detail and don’t have things like wrinkling of shirt fabric. It still looks good, but you also lose a lot of detail such as, for example, the pitch degradation from football boots digging into the ground, but it’s much more pronounced as soon as you get the in match breaks and replays.
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The lighting in particular is dramatically different with the same season and time of day settings, resulting in an image that’s more vibrantly colourful and further away from the recreation of broadcast TV that EA have aimed for of late. That means that in comparison to PS4, Xbox One and PC, there’s a clear graphical difference. It’s running on an offshoot of the older Ignite Engine that was used for FIFA 14 through FIFA 16 on current generation consoles, as opposed to the Frostbite Engine that was adopted last year for FIFA 17.
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