Joshua Wise
Despite this generous clutch of problems, there is an odd charm to the game. Its schlock is part of its allure, and each time I loaded the game, I felt as though I was returning to a well-thumbed piece of pulp horror trash or sliding an old VHS B-movie slasher into the machine – its cheap ghouls awash with scan lines.
What's here isn't bad at all; it's by no means best in class, but it does deliver on its premise. There is satisfaction to be gleaned from the battles if you buy into the strategy and tactics; there's a lot to take in here (well upwards of 30 hours); and it's dressed up in sumptuous art. If you're a sucker for a dungeon-crawler or for JRPGs, then this will sate your thirst two times over. There isn't much here to recommend to the uninitiated though.
When your time with The Final Station comes to an end, you might feel like those pistons – firing over and over until you reach your terminus, bound by looping gameplay as they are to the track. Though it might thirst for challenge, it’s a surreal tour through a beautiful, brutal world – one underscored by loving attention to detail and an atmosphere unlike any other I’ve played. Despite the mechanical motions that get you there, the journey and the destination stay with you long after you disembark.
If you were a fan of the main game then you can't go wrong with the £3.99 this will set you back, but it's by no means essential.
Transient, vague, and awash with macabre sights and sounds, Little Nightmares is aptly named. Its gameplay is rote and minimal but its skew of images will stick in your craw like the fleeting fragments of a nightmare upon waking. The rest will fade.
The Sexy Brutale nods back to ancient tradition while wrapped in the trappings of the 20th century, taking notes from some of the best adventure games there have been. At the same time, it looks forwards, unwinding to its own tempo, creating a game that feels distinct from any other.
There's something Faustian about it: in striking a deal to carry such a powerful banner, it's gotten attention that games of its class would never get. Ironically, it's that banner that invites the most bitter criticism for a game that certainly could have done a lot worse.
There's a rough-cut, lo-fi patina to Get Even that adorns its good ideas like graffiti. With its edges scuffed and its heart in the right place, it feels like that now endangered species: the AA release. Long live dirty, flawed experimentation. This one’s different.
This would have been better as a complete package, with all three chapters sewn together. Considering it’s a plan that Tarsier has had all along – teasing its DLC, as it did, long ago – its merits and additions would be more sating had they been swallowed by The Maw, along with everything else, from day one.
Survival, that most impermanent of genres, seems to have found permanent residency in the last few years, yet in a crowded space, Mojo Bones has made a mark. Impact Winter is dream-like and transfixing; it’s frustrating and brittle; and there is something truly special here you can just make out through the ice. If only it was given time to thaw.
Vostok Inc. is a moreish slice of rampant capitalism, an adventure in both space combat and middle management, sewn together with cute ideas and clicker-style mini games. Once you have that initial bump you'll be hooked, but if you can go cold turkey for even a short time you might struggle to go back, even though it felt amazing. Vostok Inc. is here for a good time, not a long time.
Sega reminds us that, with Yakuza Kiwami, not only is its heart in the right place, but it hasn’t missed a beat.
Codemasters has tweaked and refined a Formula one driving experience that is, as of writing, unrivalled. Project Cars 2 lurks just round the corner, but it would require an awful lot to overtake this.
Deck Nine has shown an extraordinary understanding of a delicate formula. For fans, it's a return journey to one of the most vivid, joyous settings in gaming. For them, and for everyone else, it's a brave effort which, at times, surpasses the original.
The core racing model is a fluid rush, and a thrill to control through an intriguing, if undercooked world. It’s to 34BigThings’ credit that they make known where their crosshairs are trained, but the bite is that much harsher when they miss their mark.
Pillars of Eternity is an elegant, beautiful, well-written piece of craftsmanship; it's proof that if we really want to, we can go back, but what we see there can't deliver on our fantasy.
A powerful central relationship, an enigmatic plot, and terrific writing all elevate Before the Storm above the original series. This is fantastic adventure gaming, and some of the best writing in games at the moment, held back only by slightly shallow mechanics.
With Assassin's Creed: Origins, Ubisoft has found an oasis in the desert. It's refreshing, blending sensible new mechanics with an established formula; moreover, it feels as though it was designed by a team with their eyes and ears open. The rulebook was far from thrown out, but it's been burnished to an impressive sheen, and this is the best the series has been since Ezio's heyday.
A shaky conclusion to a fantastic season, the finale episode is still a solid entry but it doesn't reach the dizzying heights of the first two entries.
A perfectly serviceable JRPG, with an addictive Kingdom-building component, Ni No Kuni II: Revenant Kingdom is a charming game that falls short for its syrupy writing and the lack of a truly magic touch.