What we’re presented with throughout the campaign and as a whole though is as they say, rough around the edges.
Carrion is ultimately fascinating, engaging, and short and sweet. By putting you in the role of the alien threat it imbues you with a strange supervillain-like sense of playing in an insect farm.
Ghost of Tsushima isn’t perfect, not even close. But neither is Jin Sakai, and his journey from Samurai to Ghost is one worth savouring, and a Legendary Tale all its own.
In the end there is inherent value in a release like this, particularly from a preservation standpoint. And truth be told, playing through each campaign on the easier difficulty settings allows for the enjoyment of often cheesy but ultimately engaging b-movie stories being told to take centre-stage.
An entry level take on a well-worn genre that after a few hours will have you heading for the exit.
Saints Row The Third is an experience that drops all pretence of realism, the digital city of Steelport is presented as a sandbox of colourful, comic, and juvenile excess.
An aesthetic joy throughout, and a cyberpunk tale well worth delivering to your desktop.
Proving that the series' music has aged better than any bottled grape juice, whilst re-affirming that there's still room for a solid beat-em up in today's crowded market.
From the rushing melee-based Creepers to exploding Tickers to enemy snipers that can pin one of your squad members into place, there’s diversity in how each firefight plays out.
It’s hard to shake the feeling that most of the Nemesis encounters and big action beats highlight the limitations of the simple and somewhat dated classic Resident Evil design of the first few entries in the series.
Eternal is as much a statement of renewed intent as it is a brilliant slice of first-person action from id. A studio that has taken the simplicity and peerless feel of DOOM 2016, Quake III Arena, and other past glories and expanded that into an experience that also captures the wonder of exploring new alien worlds and locations. To ‘Rip and Tear’ through.
And all without taking a break.
At a glance Journey to the Savage Planet might have the air of an action or survival game, which is a fair assumption to make when seeing its first-person viewpoint and main character walking around with ray-gun in hand. And sure, this is a well we visit far too often at AusGamers, but Journey to the Savage Planet is more Metroid Prime with light combat or even Super Mario 64 than No Man's Sky.
Nothing too groundbreaking, except for the attacks breaking the ground.
Which players had to carry out as dutiful employees for several in-game days.
Floaty imprecise controls, a lack of depth, random spikes in difficulty due to bad design, random frustration, a mini-game for the sake of a mini-game, and a protagonist with the all the charisma of a shiny blue block.
In this regard the horror aspects of Moons of Madness lie squarely within the realm of forces outside of both human control and understanding.
Walk up close and you'll find that it's now seven feet tall.
Instead what we've got here is a HD misfire of a motion-control misfire from over a decade ago.
That is, jacking up prices and releasing things in limited quantities to create a false sense of scarcity.