Admittedly, there is plenty of single-player content for motor racing enthusiasts to get stuck into here. However, there's no doubt that anyone who plays driving games with four wheels will probably impose a higher measure of quality on this experience. Far too many of the core gameplay elements let Valentino Rossi: The Game down, which results in something that can be enjoyed to an extent, but should also be viewed as a disappointment by anyone who sees the big picture. It's certainly not terrible, it's just that Milestone can do so much better - and has done in the past. While it's a regularly-cited criticism that they seem to pump out plenty of racing games with low average standards, particularly with all the Moto GP experience they already have under their belt, there was no good reason why this couldn't have been their best yet. That is, except for the fact that Ride 2 was on its way within four or five months. Most racing developers would have seen that as a scheduling conflict.
DiRT 4 really does succeed in extrapolating new things from two different sides of the driving spectrum. The 'Your Stage' procedural track generator really does feel like a revelation, which will ensure that drivers remain on their toes even after clocking countless hours already. As stated, it's remarkable what this can do for drivers if they're willing to adapt and learn, and certainly helps to cultivate technical understanding and development. A more in-depth follow-up review on the PC version will be coming soon, but there's no doubt about it: DiRT 4 is one of the most exciting driving releases this year. A much-celebrated brand comes back with a bang.
Overall, ARMS is delightfully quirky, surprisingly deep and, most importantly, strikingly self-confident. Whilst its vibrant and over-the-top aesthetic might have some expecting a shallow and simplistic experience, persevering with and embracing the game's sharp initial learning curve reveals a strong-willed and very detailed gameplay core. Nintendo made the right choice in highlighting the motion controls, which is by far the best way to play. Thankfully, it also showed a more practical side in allowing room for the other traditional control methods, too - an additional set of Joy-Con is expensive, after all. As with the original Splatoon, it is slightly disappointing that single-player content seems like an after-thought to the multiplayer. However, considering how that game was supported and expanded during its life-span, something Nintendo is likewise committed to here, there's no doubt there's plenty more to come from this instalment, and (presumably) from this refreshing new series.
Overall, Splatoon 2 is a brilliant and refreshing competitive multiplayer experience, both online and offline, which really fills a void in that regard for the system.
Astervoid 2000 earns a lot of points for its local multiplayer spirit, which, when tapped into as prescribed, does lead to quite a bit of fun. The problem is the mechanics are so shallow ultimately, that even a group will probably turn their attention to something with more depth and detail before long. The overall sense of value for this game isn't particularly good, since it's hard to see anyone returning to it on more than a handful of occasions. Overall, then, while it's a nice nod to sci-fi and space-themed arcade games, it's also too frugal and underwhelming in terms of content and inventiveness to be considered as anything other than an average space brawler. Sharing it with friends is its best mode of consumption.
It's impressive how the minimalist approach cultivates such energy with so little, and also how sustaining that approach is for Ellipsis in its design. While this game is not technically a piece of minimalist art, it is a very coherent marriage of the methodology behind it with the creative domain of video games. For this reason, it absolutely can be valued for its aesthetic qualities, just like a painting hung on the wall, and perhaps used for inspiration, or just to chill out after a long day. Whatever is abstract is also open to many different interpretations, so different gamers may respond differently to its creative ethos, but overall there's no doubt that Ellipsis should be recognised for its accessibility, polish and purpose. This is a simple game with a thoughtful soul. Much work has gone into it, and for those who appreciate great game design, it is certainly one to check out. Fingers crossed for a Nintendo Switch edition one day, as well.
SkyScrappers is a fun game that taps into the spirit of 2D classic fighters well, whilst also being truly unique. Unfortunately, while many of the concepts work, there's just not enough content or character to discover, so once you've gotten over the dynamic setting for the fighter, plus its rather specific challenges, you realise that there's not much to invest in. This is a shame, since, had the series been given more resources and a more pronounced sense of identity, it could have been a real classic. Perhaps a second instalment might fix a lot of these grievances, but for now, this is a fun title that lets itself down because there's not much to pick at.
There's no doubt that Kunos has delved into the JDM driving scene with a meticulous sense of craft and attention to detail. This is an excellent representation, with a great selection of vehicles from legendary to modern, each of which feels very distinct and authentic.
F1 2017 feels like the final realisation of several years of work, but it also ushers in another phase for the annual series. In terms of core gameplay, the handling models, the force feedback, and the physics engine have all been drastically improved, resulting in a greater sense of control and a much better chance of interpreting the car when its forces are out of balance. Improving this core gameplay aspect alone, whilst addressing the major bugs of last year (like the dodgy AI), leads to a much more immersive and authentic driving experience. Overall, considering the impressive amount of additional content - especially new short course variations, the introduction of classic cars, the new championship mode, the redesign work on many existing tracks, and the improvements to presentation and cut-scenes - F1 2017 certainly is an impressive package, which hardcore fans will find difficult to resist.
It is very difficult to complain about such an affordable and aesthetically-rich package. For its price point, Forma.8 is a surprisingly long and thoughtful Metroidvania-style experience.
PES 2018 is a highly refined package, offering plenty of incentive for the existing fanbase and new fans alike, especially through the introduction of three-vs-three and Random Selection mode. The visuals and animations are much improved, with less jarring transitions, more animated players, and a far greater level of detail in the crowds and stadiums. All this raises the general presentation standard significantly, putting it on the same level as FIFA or thereabouts. While the gameplay has mostly changed for the better through a host of minute changes that add up to something more than the sum of their parts, the only shame is that rebalancing always seems to put something else out of whack - in this case the keepers' quite dodgy behaviour, which can ruin the fun. It's very 'two steps forward and one step back,' but still represents a big pragmatic leap forward, since they have thought outside the box about how to attract more football fans. Three-vs-three is a huge success, and there's no doubt it will be responsible for many converts.
This is a game made by fans for fans, and while it's not perfect, it's unique, and a hell of a lot of fun.
It's difficult to reflect on FIFA 18 for Nintendo Switch. On the one hand, this is definitely the most fully-fledged portable version of FIFA ever. When docked, it performs extremely well, delivering crisp 1080p, 60 frames per second visuals, with enough extra polish to keep it in touching distance of the more powerful consoles. However, it's disappointing that old code couldn't be given the same touch-ups that FIFA 18 received within modes on other consoles, particularly when it comes to Ultimate Team.
While no single component is particularly revolutionary or unfamiliar to the genre, this is an extremely memorable platforming experience that, unlike its main collect-a-thon rival this year, never feels laboured. This is down to a nicely streamlined but still deep hub and world structure, in conjunction with so many neat touches and playful twists on the collect-a-thon formula. From start to finish, it's charming and funny, with excellent art design and gorgeous visuals. The music from Pascal Michael Stiefel is brilliant (although it's a shame that only two tracks were contributed by Grant Kirkhope in the end) while the use of real dialogue definitely makes things livelier and more engrossing. Through all this, its sheer charm and its gratifying gameplay mechanics, A Hat in Time affords itself the ability to do what it wants, and ensures that it really goes the distance. It never overindulges in nostalgia or tribute, and it makes sure to poke fun at itself, as well as the rest, along the way. It's a collect-a-thon gem, if ever there was one.
The sum of these additions helps Everspace to feel more complete, but ultimately only offers more padding. That's okay, though, since this is such an affordable piece of DLC.
The real issue with The Evil Within 2 is that it has tried to marry too many foreign gameplay elements to the genre, whilst not addressing a lot of technical annoyances that, if remedied, would have provided enough refreshment to the third-person horror experience alone. Whereas Resident Evil 7 shifted the perspective into first-person, and re-discovered its core emphasis - much to its advantage - The Evil Within 2 has expanded mechanically without really acting on the criticism of the first game. The controls are sluggish, the camera doesn't react fast enough, and it has the habit of limiting player perspective in an obnoxious way. Even though this experience is quite different to the original, and far more compelling and successful, it's disappointing that the abstract mind games it pulls couldn't be left to speak for themselves. All the same, this is a solid survival horror title, although in the end it borrows just a bit too much from Resident Evil 4.
It's not going to hold the attention for the average gamer for longer than an evening or a weekend, but considering its budget price, it's a compelling creation. Players with a more specialist interest in speedrunning, and those interested in intense and quite hardcore arcade experiences, will certainly appreciate it. Its rapid pace and intense gameplay gets the adrenaline going, though enemies aren't all that smart, and in terms of level design and objective variance, there's not too much to marvel at. While its aesthetic and style feels distinct and is helped by the pleasingly crunchy blend of music, which further ups the intensity factor, the gameplay itself is a little needlessly repetitive; for example, it's a shame that the end of a level is only ever triggered by killing every enemy. In addition, considering the titles that the developers have made prior to this one, it would be fair to say that High Hell is somewhat disappointingly bare.
While Headlander's brand of humour isn't quite as pronounced as Adult Swim might have wanted it, there are so many absorbing elements at play here.
Gear.Club Unlimited is a fun but flawed experience.
In conclusion, the Fun Pack for Project Cars 2, the first of four content packages making up the season pass, is a solid offering. There's no doubt that Rally and Rallycross fans will be over the moon with the additions here.