I have, despite my gripes, but it’s less than the sum of all those parts that I couldn’t help but see the edges of as I played, and I was longing for more engaging combat long before the end. Even if the galaxy continues to grow, I don’t think I’ll return even.
This is a fantastic game for generating anecdotes, as I found when I first played it way back when, but it’s also an enjoyable challenge.
Even at its worst, Furi is something rather special.
Less erratic and surprising than its ancestors, but much more elegant in its design.
What you need to know is that Mohawk have made a game that creates tension and ruthless competition out of a screen of ever-changing numbers. Every victory feels hard-earned and every defeat can be traced back to specific twists in the tale, and in each of its half hour sessions, there are as many twists as in Civ’s six thousand years.
The star of the show is Sapienza itself though. It’s a beautiful maze of possibilities, flowing toward the sea with vantage and access points sprinkled throughout. Wherever and whenever you create a disturbance, the ripples spread, causing all of the systems that make the game tick to trigger, and creating thrills and farce as they combine.
If this were to be the final Souls game, I'd be happy to say goodbye. It's not quite the crowning achievement of the series but it's a fantastically inventive and fluid interpretation of the formula. And perhaps that would make it a great first Souls game for somebody new to the series as well.
[T]echnical issues aside, it's a relief to be playing a Hitman game that is built around the idea of social stealth. The execution may be flawed but it's aiming in the right direction and the disguise system, which now tips you off when a particularly canny NPC is able to look past your clothes and see the face of a stranger, is as good as it's ever been.
SUPERHOT is a game in which time is often frozen but it's a game that allows you to cherish every moment. Time stands still but it's never wasted.
This is a game in which I'm trying to spin out just a few more seconds and in doing so I'm likely to spend a couple of hours at a time. I have no regrets.
Layers of Fear is an effective scare 'em up but the sense of dislocation and the lack of character development left me feeling as if I'd enjoyed a thematically messy series of shocks rather than a cohesive horror story. It's a collection of scary things that are tangentially related to the idea of creative blocks and familial cruelty rather than an exploration of the artist or his personality flaws. By the time the credits rolled, I knew very little about this particular painter that I couldn't have learned by reading a brief synopsis.
The buggy, like the rooftops, is a temporary form of safety. All of the enhancements in the latest edition – new loot, new levels, new end-game excess – are icing on the cake. Dying Light is about creating moments of safety, empowerment and comedic triumph in a world that wants nothing more than to tear you down, and The Following is a perfect expansion of that central tenet.
XCOM 2 is an improvement on its predecessor in every way and the vast majority of those improvements have been applied so intelligently that they risk making Enemy Unknown obsolete. That game was a smart remake of a classic. XCOM 2 is a classic in its own right and as good a sequel as I can remember.
When all of the rising was done, she still felt like a heroine in search of a setting and plot that draw on her strengths rather than her struggles, and for all that forward momentum the game is a spectacular journey that fails to reach a fulfilling destination.
It's a step forward for the series and a step toward Total War: Medieval III. I hope the improvements here will inform that game, should it be on the drawing board. These gloriously attractive strategic sandboxes may be about the journey rather than the destination, but without a clear destination in sight, and without a shared objective to tie their factions together, they can become unwieldy. As a template for Total Warhammer, Charlemagne seems like a snug fit.
For all of the wonderful craft on show, Siege doesn't contain any surprises. It executes its plan to perfection but there's no room for deviation.
The lack of improvements in areas that have stagnated, most notably dealings with the media and team talks, is frustrating though. There are seeds of good ideas in the drift toward an RPG-like system of relationships and stats, but they're slim and seem half-conceived in some areas. In fact, where the game is improved it may well benefit in Touch (formerly Classic) mode more than in the full-fat simulation. And for the first time, I'm considering spending my time there, and in the entertaining new multiplayer draft mode. I probably won't stick with the multiplayer until Christmas, let alone next season, but at least it's something new to sink my teeth into before settling into the usual decades of toil.
When I reviewed the ill-fated PC port of Arkham Knight, I said that the Arkham games were my go-to AAA series. On this form, they've got stiff competition. Here's hoping Syndicate isn't an anomaly and that the future of the series will be something other than history repeating itself.
In ye olde days, Call of Duty games would throw a famous quote up on the screen whenever you died, to provide a moment of reflection between attempts. Now that I've laid Blops III to rest, I've found a quote that seems like an echo of my thoughts and feelings. "The crisis consists precisely in the fact that the old is dying and the new cannot be born; in this interregnum a great variety of morbid symptoms appear."
There are plenty of upgrades and the way that you can mix and match them to create new attack types is fantastic, but enemies and objectives are locked into a handful of templates, and those dungeon-rocks all start to look the same after a while. Even so, I've had a tremendous time playing. Galak-Z is a smooth, polished and compelling arcade shooter that trades in tension and tactical awareness rather than screen-clearing power-trips.