What elevates it from a fascinating and gorgeous experiment in presentation to an immediate contender for my game of the year is the way that the broader narrative informs the stories it contains, just as the house is home to its many rooms. Without casting judgement or becoming didactic, Edith Finch explores both the good and the harm that stories can do, and how folktale, imagination and superstition can lift us up and dash us down.
It's precisely the kind of horror game I love – grotesque but not gross, and interested in thoughtful pacing and escalation rather than jumpscares and shocks. Also, linear though it is, there are some collectibles I'd like to hunt for and the whole game is short enough that I'll happily play it again, or watch someone else playing.
At the beginning of the game, I'd hoped to solve a mystery and have a few laughs, but now I miss the company of this little crew. It's a smart game though and a thoughtful one, even if it sometimes hides those qualities behind its clown makeup and a beaglepuss.
It's rare to see such ambitious storytelling and open world roleplaying tied to such a stylish combat system, not to mention the (optional) Souls-like multiplayer elements, shooter tangents, mini-games that punctuate rather than interrupting, and that big ol' world to explore. You don't need to have played any of Yoko Taro's previous games to appreciate Automata, even though it has links to both Drakengard and (of course) the original Nier, but it'll probably make you keen to seek them out. Me? I'm hoping Platinum get a chance to work with these worlds and words again.
Unexplored is almost certainly going to be one of my favourite games of the year.
It starts ugly and ends ugly, without enough humour or horror in between to shock or surprise. I'm not convinced its mingling of arcane silliness and actual suffering quite works either; it's a bit like Martyrs with gross sex jokes.
This is a game that can scare you, startle you, shock you, draw a nervous laugh out of you and make you shake your head in disbelief, but mostly it’s just here to entertain. And the Bakers are right at the horrible heart of it all.
If it weren’t for a final act that stretched itself a little too thin for my liking, spooling out the denouement for longer than necessary, I’d have enjoyed almost every minute of Detention.
Pick through the shit and you’ll find the nuggets of gold, but if I hadn’t sucked every last drop out of Afterbirth, I’d rather be playing that than Afterbirth †. As it is, I’m just about won over by the promise of new things, many of which are solid additions, but there’s a lot of dreariness to tolerate.
If you’re interested in the games these tables are based on, you might get more out of them than I have. Hearing a Fus Ro Dah sample when a ball is saved doesn’t do anything for me, and if I have to hear a Nuka Cola reference one more time I’ll tilt the table so hard my computer will slide right off the end.
[T]his is more than a triumphant return – it’s an improvement on the original in almost every way, and as close to a masterpiece as anything I’ve played this year.
After a few campaigns, it’s left me a little cold. Topical it may be, but the lack of engagement with issues and their effects makes it hard for me to see the theme (both animal and political) as much more than a lick of paint on a fairly well-worked but narrow game of numbers. Perhaps that’s what electioneering actually is but if I had to cast my vote, I’d be sticking with the push-and-pull policies of Democracy rather than Political Animals’ detatched campaigns of territorial control.
It’s a tough game, in which I often feel like I’m grinding my way toward the top rather than discovering brilliant new tactics or innovative strategies. That makes me feel a little distant from my team, and makes this a game to play while burning through podcasts in the background rather than to focus all of my attention on, but I’m enjoying the challenge.
You probably already know whether you want a new Football Manager in your life right now. If you do, this is a better option than last year’s edition, particularly given its improvements for those playing long-term saves. It’s evolution not revolution, but that was needed given how much the match engine and transfer intelligence seemed to be creaking after years without a significant tune-up.
If you’re even mildly interested in buying a new multiplayer FPS, you won’t go wrong with this, and if you enjoy smart level design, the singleplayer is vital, though the pricetag is hard to justify given the short running time. None of those ideas I’m refusing to describe so as not to spoil them are going to add replay value either, unless, like me, you’re likely to replay just to show people the spectacle of it all.
This isn’t the expansion or the patch to convince those who weren’t already convinced by what Stellaris has to offer, but it brings plenty of alterations and additions for those already on board.
GoNNER is this year’s Downwell – a neat, short-form action game that has found the perfect visual style to communicate its near-misses and big hits. Whether you want to show off by pushing its systems to the limits or play at a more relaxed and careful pace, basking in the gorgeous music, it’s an absolute delight.
Shadow Warrior 2 is anarchic, excessive, ridiculous, occasionally spectacular and almost entirely wonderful.
I love being exposed to new places and histories, but the distancing of Aurelia’s structure had me looking for a way to get closer; that brush with the familiar pulled me right in for a moment and I wanted more of the same.
I want to recommend it heartily but I can’t. Not quite. The lack of licenses doesn’t bother me in the slightest – and it really is stripped down, with just two Premier League teams and no Bayern Munich – but the lack of bells and whistles that exist elsewhere in the same game really does. Imagine Lionel Messi playing in that Colardo Caribous strip from back in the day. That’s PES 2017 on PC.