In its coming and going of quotes and pop inspirations, Extra Coin flows for a variable number of hours.
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Here, I think The Lake House is a waste of potential because it introduces beautiful ideas in the form of a draft: it tells a story with incredible ideas but hastens its conclusions; it proposes new enemies but asks us to face them on very few occasions; it suggests a fair amount of freedom of exploration but never fully enhances it. Even a secret meeting, loosely connected to Control 2, is all too fleeting, and therefore not as relevant as it could have been. It almost seems that The Lake House is in a hurry to reach the end. It's a shame, because the material is great and, as they say, you never rush art.
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Astro Bot never stops, it plays with the player and lets you play continuously. It alternates commitment and simplicity, nostalgia and joy, with even a touch of unexpected epicness at the end. It is a videogame amusement park where a smiling treasure hunt has been organized. What treasure? The video game itself.
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Thanks to a very pleasant visual and sound sector (with some hesitation during the most demanding mini-games, especially those in the company of Yor), Operation Memories knows well which audience to address and hits the target all in all, but it must be played in small doses.
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Hellblade 2 doesn't have the enchantment of the first whisper.
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Kakarot says goodbye to the Z series for now, and it couldn't have done it in a better way.
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The Last of Us Part 2 remains a superior work even four years after its debut.
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A merry-go-round of horrors that doesn't stop spinning. A whirlwind expedition into the most perverse meanders of art.
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Insomniac knows how to work on the progressive crescendo of intensity, always keeps the attention alive, tickles the spider senses and most of the time (not always, though!) repays the expectations of the players.
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The one dedicated to the 23rd Tenkaichi Tournament is certainly not an example of virtuous DLC in every aspect: the contents are little varied, the duration remains small, but the style - here, the style! - that is priceless.
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One of the best adventure games that have ever been made. A playful and artistic titan, who swallows the hours in one bite, in a sumptuous banquet of possibilities, creativity, imagination.
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More extensive than dense, Burning Shores is the Horizon Forbidden West DLC you might expect. Using Los Angeles as a stage, Guerrilla follows the rules of Hollywood spectacle and pushes on the pedal of visual exaltation.
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In virtual reality Village is a different game, not better. It has the limits of a retrospective conversion, from interactions with the environment to a partial reconstruction of the gameplay that, despite being functional, shows some difficulty in adapting in some situations. In the vibrant setting of a multifaceted horror, Resident Evil Village on PSVR 2, however, knows how to intimidate, stimulate, engage, and it succeeds very well.
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More long-lived, rich and experimental than the other episodes, The Devil in Me concludes the first season in a somewhat discontinuous way.
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Bayonetta 3 is pure Platinum again.
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Part 1 is the best version of a game
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The Forgotten Saga, to the detriment of what the title claims, should be remembered. Its completely free nature for all Valhalla owners is certainly the primary incentive (as well as the strongest one) to entice users to catapult themselves back into the epic stories of the Norse myth, opening wide the doors of a mode that entertains enough. This is why Havi's adventure in the realm of the dead is worth living. Again, and again, and again, if necessary.
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Imperfect but fascinating for style and themes addressed, the adventure of INTERIOR / NIGHT wants to narrate a lot, and succeeds in a somewhat discontinuous way.
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It was a real pleasure to send the Yokai back to their world. Ghostwire: Tokyo has evident qualitative failures, sometimes leaving room for a certain playful and content redundancy, but as a whole it has a charisma that we believe deserves to be rewarded, either for the evocative reconstruction of Tokyo, or for the presence of a gameplay as simple as it is compelling, or for the attention paid to the writing and symbolism that characterize the stories of the city.
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It is a cruel game, narratively imperfect, and at the same time quite courageous, as well as not very lenient towards the (very difficult and very delicate) matter it deals with.
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