It's principally aimed at the series' fans, but the mesh of interlocking systems ensures that its appeal runs deeper than fan service.
An awful childhood gets a surprisingly arcadey revisit in this blistering action roguelike.
Activision would have us believe that the latest title in the series is a bold re-imagining. It's not, but it's still blistering entertainment
Despite these creative flourishes, Sunset Overdrive never quite surpasses the chaotic physics of Just Cause, the coherent style of Blood Dragon or the assured sense of place of GTAV – nor does it manage to draw its story and systems toward a coherent, impactful point.
There is some value in The Legend of Korra, both as a game and as a tribute to the cartoon on which it's based, but it falls far short of its potential on both counts. Perhaps the third-person combat theatrics for which the studio is known are not replicable on a small budget. You can't blame the IP, which offers a rich vein of material. Regardless, this is the first major blemish on the studio's reputation; a misfire that means Platinum's name no longer guarantees quality.
Shinji Mikami has yet to make a poor game, and The Evil Within does not blemish his record. But neither does the game enchant and disrupt in the way that Vanquish and the others managed. This is Mikami revisiting his past glories and, as such, it's both a delight and a disappointment.
Pocket fighter.
Hyrule Warriors rewards thoughtful play and demands a strategic approach that transcends the brute force combo-strings of its moment-to-moment gameplay. The marriage of Zelda and Musou is an unexpected success, then - a game that recounts the Zelda myth not just in a new way, but in a whole new language.
Despite the game's dipped-nose poise, its obsession with speed and clocks, it rewards those who take their time, who perfect their technique on each stage, and who savour an arcade game that's been lovingly embellished and expanded to its full and likely final potential.
The combined effect of this maze of vivid, diverse, shifting scenes is memorable. You are Alice, touring wonderland, seeing how deep the rabbit hole goes. In Hohokum, it goes an awfully long way: it's deep, it's wide and, perhaps most importantly, it's temporally long. This is a game that sticks with you long after you switch it off.
These reservations aside, Road Not Taken is fresh, interesting, beautifully presented and demonstrates an intricacy of design that will obsess a certain type of player. It's an acquired taste, though, despite its popular ingredients.
There's something worthwhile here, even if it's the unusual power fantasy of being able to haunt an aristocratic family from the safety of the rafters.
With its delicious score system taken into account, Astebreed is well-constructed, well-presented and well-balanced. A certain amount of delight comes from the novelty of a 32-bit-esque indie game, as it offers a welcome change from the army of sprite-based titles of the previous few years.
There is gold in these old genres, and Shovel Knight is a successful dig.
Video game players are familiar with the law of diminishing returns. Even as new entries in a series tirelessly improve upon their predecessors, our interest nevertheless wanes; with games, improved is somehow less exciting than new. Mario Kart 8 is a rare thing, then: the best entry in a series and the most exciting yet.
Scram Kitty and His Buddy On Rails is a wonderfully idiosyncratic creation that, despite its smorgasbord of influences, feels like nothing else. It's also a game that ignores current design fashions: there is no overarching list of achievements, there are no sideshow systems or alternative stages to upset its rhythms, no adornments to distract from the core task. For some, the lack of variety combined with the stiff challenge will be too much. (Even for competent players, this is a game that requires such a degree of concentration that it's best played in short bursts.) For others, the steepness of the initial learning curve will throw them from the rails before they get anywhere. But for those who master its controls, there is glorious opportunity for showboating play; it's a game built with admirable craft and singular focus, and it richly rewards your investment.
Daylight has neither the creeping sense of psychological dread of Fatal Frame nor the poster man antagonist of Slender, and its reliance on cliche lacks distinction. But if the game's straightforward purpose was simply to panic and upset its player then it is an indisputable success, no matter how cheap the tricks employed.
Kinect Sports Rivals is a well-constructed game with an enjoyable structure and smartly integrated multiplayer. But it's already looking dated as it continues to struggle against the limitations of its chosen interface. For all the extra power of Kinect 2.0, and the surrounding artifice of online competition, at its best the game only equals the highs of older, more familiar games - games whose players and makers have moved on.
At times the game suffers from a lack of ambition, placing far too much importance on the tiresome looting of endless cupboards and dressers in the vain hope that this will be enough to propel you forwards. In other places, Thief suffers from too much ambition, unable to draw its systems into a cohesive whole. Whether the game simply needed more time or entirely different foundations is never quite clear. Either way, it's a game that adds up to less than the sum of its parts.
Had this game been released a decade or two ago, it might have been seen as a classic of its type, alongside Super Metroid and Symphony of the Night. But today, at the tail end of a wave of Metroidvania-style games, Strider fails to stand out. It's a competent, workable game that draws inspiration from the right places, but which is rarely anything more than a cover version of the greats.