Blues and Bullets is without a doubt the most true, and also most effective, crime noir game we have to date, with a masterful understanding of the themes and visual motifs that comprise a noir tale, and an understanding on how to work within those without being clichéd or trite.
In terms of giving the fans what they want, I'm certain Naughty Dog has nailed every part of the brief that it was given. Uncharted 4 shows a truly masterful eye for detail and is near perfect in mechanical execution.
t’s a good game, with some clever, creative puzzle design that takes the Lemmings-like inspiration for the series about as far as it would be possible to push it, and all those different amiibo special abilities do give a lot of variety to the puzzles, but it’s little nasty for Nintendo to hold back a full experience unless you’ve got over a hundred dollars worth of toys.
Platforming is tight and varied, and the plot matches the lighthearted tone of the rest of the game. Shantae and the Pirate's Curse is a spirited little game, and by far the best 2D platformer on the PlayStation 4 to date.
In other words, it’s a RTS game without any strategy, and a town building simulator with endless timers to deal with. The fact that I needed to use premium-currency gems within the first hour of play or be stuck having to exit the game to wait for the cash to build up to do something else. And a game you need to exit every half hour is not really a game that works on a console.
Alienation is a hugely enjoyable game, but it's one that's playing the ball a little too safely, and resting too heavily on the successes of games that have come before it. Ultimately I don't think this will be remembered as a classic, and it doesn't need to be; what Housemarque has created is a bit of fun with friends around, no more, and no less.
I take all my hats off to Experience Inc. for what it has done with Ray Gigant. This is a breathlessly creative and fundamentally interesting game, and it, along with Stranger of Sword City, cements the developer as one of my favourites out there at the moment.
Kemco produces JRPGs on a budget that are designed to give people a momentary throwback to the 16-bit era of the genre, and while I don't expect anything mind blowing when I do go into these games, I find things this soulless and unimaginative very, very trying indeed.
I found the soul of Langrisser to be well and truly in the right place, and while I don’t believe it is a classic game, I also don’t believe for a moment that it deserves the commentary it has been getting to date. It’s an ugly-as-sin duckling, but we know how that story turns out.
Mario & Sonic at the Rio 2016 Olympic Games is good fun, but ultimately it's too shallow and simple to be anything but a passing diversion. Nintendo and/or Sega could actually build a bunch of the minigames in here into full sports games in their own right… and frankly I wish they would do just that.
Though there's less direct threat when compared to more mainstream horror titles, there's an intensity to that environment that helps to create a wonderfully sinister atmosphere. It's not an essential horror game, but it's a genuinely ripping yarn.
Aegis is genuine fun, and a genuine twist on a very staid genre.
Super Strike isn’t exactly Beach Spikers 2, but for fans of the sport, it’s something of a consolation prize.
[T]here’s not a single picture in the dozens and dozens of puzzles the game boasts that you’ll actually want to put together.
I think it’s an absolute tragedy that Koi is all-but guaranteed to be lost among everything else that’s available on the PlayStation 4. It’s a smart, genuine little game, with soul and a story to tell, and wraps it within one of the best examples we’ve seen to date of serenity as a play concept.
Explicit narrative aside, I found Stranger of Sword City to be a real winner of a dungeon crawler.
Of course Republique serves to act as an Orwellian-style warning against totalitarian and far-right regimes. The overwhelming bulk of the game is geared towards developing that theme, and its narrow focus does come at the expense of characters that I would have liked to see developed to far greater depth. But it's also a superb pure stealth game, and it's always nice to see these kinds of games done without a reliance on violence.
The problem McDroid has is that it really doesn’t offer anything that we haven’t actually experienced in a game before, and for a while now the consensus seems to be that people are bored with the tower defence genre. McDroid’s inability to do anything genuinely new is a real problem. People already have their favourite tower defence games.
Hyrule Warriors Legends isn’t as technically impressive as the original release on the Wii U, but it stands out as a true highlight among portable Warriors games. Content rich, rich with Zelda lore, and a mechanically-tight brawler, it’s a love letter to the fans, and it’s good to see that Koei Tecmo is still working on this property… it bodes well for what we might see on the NX down the track.
Though the game is a pure play brawler (albeit with really stylish violence and a stunning aesthetic and music score), the theme adds genuine flavour to the proceedings. People tend to forget, but Shakespeare himself was a populist playwright, and his work was filled with the old hyperviolence, sex and a bit more hyperviolence on top of that to get audiences roudy and cheering the actors on.