The Surge is shonky, inferior and more than a little derivative. But if you fancy a shortcut-filled robotic challenge, it's not all bad. Just be ready to get deprogrammed.
There was a big part of me that didn't want to stop playing and maybe I'll pick it up again some day, because there is so much to love about discovering the laws of nature behind this huge, ruined ecosystem. But with each random death, each accidental roll off a cliffside, each checkpoint drought, that love turned to ash. There is so much beauty and intrigue and diversity of life in Rain World. It's a pity the game doesn't want you to see any of it.
It's a game of risk, reward and really bad decisions. It's many times more thoughtful than Duelyst, which is always my yardstick for card games. But at the same time it is much less climactic, less explosive, and less creative with its minions and their abilities.
All this and more reveals Wildlands to be a shooter that has been released messy and unfinished, a practice that Ubi is doing with increased proficiency with each passing game, seemingly using their beta tests as demos and marketing opportunities instead of using them to actually test and repair their game to an acceptable level.
Overall, I don't know exactly how I feel about For Honor. It sometimes feels like a Ubisoft hired a bunch of scientists in white coats to observe Dark Souls PvP from behind reinforced perspex and experiment on it with Dota DNA in a mad attempt to recreate a tame monster in a safe environment for their own nefarious ends (profit). What they've made is an interesting chimera, something that is both more accessible but sometimes just as unforgiving.
Mainlining could have been a good, comedic antidote to Orwell’s overt political warnings. As it turns out, it’s got as many flaws as an outdated Windows operating system.
I’m very glad it exists. If it is simply interactive fiction, it’s a wonderfully inventive take on it. I love its symbology and mystery, its citations of fictitious scholars with their disagreements and lapses, the way you can interpret a culture as deeply pious or vaguely threatening through nothing but squiggles assigned meaning – its exactly the kind of story that makes me think that if Borges was alive today he’d be fascinated by videogames.
For all its enthusiasm, openness, and Red Bull product placement, Steep can’t overcome a mountain of small problems.
Full-fat survival games often fall flat because of a general lack of motivation – you are simply surviving to build, or to get better stuff. It’s grind by another name. And while the Division cannot in any way boast that it is free of grind (it is a gnashing monster of grind), the survival mode itself is much more focused
Compared to the variety offered by the alternatives this year, I don’t see why either Battlefield 1 or Titanfall 2 won’t scratch the same itch, and then some. This raises a far more worrying question for CoD as an ongoing and risk-averse phenomenon: how long can it afford not to innovate? At some point even the faithful, even those incredible knife-wielding ninjas, will tire of running over the same old ground.
Infinite Warfare’s story mode is an expensive-looking spectacle without a single idea of its own, mechanically or narratively. Even Ethan the robot’s attempts to salvage the Marine vs Navy vs Army banter by playing off some well-worn robot tropes can’t save the story or dialogue from being hogwash. Even the rare glimpse of interesting ‘burning asteroid’ level design can’t redeem the rest of the grey corridors and flaming city streets. As for how good it looks (and it does look very good) that is no saving grace.
It is safely good. Even with the addition of Operations mode and the behemoths and the return to a more instinctively dramatic setting, it still feels like Battlefield.
A MOBA in a non-cutesy, non-fantasy setting, with just enough respect for the genre's tradition while having the courage to keep things slow, uncomplicated and strategic. Here's that slap on the back, space videogame. You deserve it.
I did step away from the brink of criminality. So few games are capable of putting humans together like this in a den of villainy and letting them become slowly corrupted or instantaneously redeemed. Hackmud does this and does it very well. It is like the early internet it so perfectly mimics: a world of confusion, paranoia and possibility.
If you're the kind of person who wishes it still was the eighties and likes the idea of revisiting a button-mashing romp, warts and all, you'll find a lot to like about this one. But even so, you might find it wearing thin after a while. After all, even the Age of Nostalgia must come to an end.
The fact that Squeenix are continuing to grant us the role of a surrogate James Bond in playgrounds as varied and swish as a luxury Thai hotel, is good enough for me.
There is something here for fans of the genre (if it is a genre). The world is big and each faction has a hefty handful of quests that you’ll need to work to deserve. There’s also instant co-op, which means tougher missions, like taking out a well-guarded fort, can be approached with mates. Likewise, the broad strokes of fantasy – the undead, magic artifacts, sea monsters – might be enough to intrigue you deeper into this world of pirates and tradesmen.
It’s a bit of a mixed bag. If you’re happy to sit idly waiting for balloons of jobs to pop up, and take each day as slowly as it comes, then you’ll probably get a lot more out of this tale of corruption and downfalls than I did. But if you’re interested in deeper systems and micromanaging your officers, forget it, it’s Chinatown.
All in all, I found it difficult to get into Crea in the same way I did for its forefathers. It would be easy for me to say that part of that is down to fatigue with the genre – I have been through it all before, after all. But that is not the main problem I have with this latecomer. The fact is, it just does everything less well.
This is what you have waiting for you: a ridiculous and pointless horror story, and a slow death. It’s wonderful.