The curtain falls on the Far Cry 6 Season Pass, and not in the best way. Not particularly inspired on an artistic level, as well as endowed with a playful formula too similar to that of the first DLCs (and therefore less and less intriguing), Collapse is a content that closes the triptych of experiences in the minds of the villains with little determination.
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Masterpieces that remain precious, regardless of the passage of time, like those priceless treasures to whose research Nate has dedicated his whole life.
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Artistically valuable and able to provide an intriguing additional perspective to the story of Far Cry 4, Control is a DLC that adds nothing or subtracts from the playful experience of the first content of the Season Pass.
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Given the redundancy of the activities and the scarce variety of situations, Insanity will offer a good amount of hours of play only to those who will be moved by the desire to improve their records or to those players dedicated to completism. Everyone else will find themselves in front of a more compelling experience on the artistic side than on the strictly playful one. Anyone who has experienced Jason's epic in Far Cry 3, however, will certainly have an extra incentive to explore Vaas' insane mind.
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Now in its third act, The Dark Pictures Anthology shows the first signs of a perhaps inevitable fatigue. Wisely trying to involve and amaze the player with new stylistic gimmicks, Supermassive Games chooses to adopt a more impactful rhythm, and thus bastes another type of horror where violence takes over restlessness.
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Adapting a work like Resident Evil 4 to the logic of virtual reality must not have been an easy task. Armature succeeds in the intent, although with some inevitable compromise dictated by the age of the product and the structural limits of the game.
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Vast and long-lived, Far Cry 6 is an open world where quantity is the master: there are many playful ideas, and many customization possibilities, but often you have the impression that Ubisoft tries at all costs to never end the battle of the guerrillas, even sacrificing the finishing of the game mechanics on the altar of accumulation. Far Cry 6 is therefore a fluctuating production: moments of high narrative involvement are accompanied by others of stasis, while the gameplay oscillates between good ideas and some uncertainty in the shooting phases and in artificial intelligence.
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Impostor Factory teases and deceives, involves and alienates. It doesn't have the destabilizing power of To The Moon, nor the brain balance of Finding Paradise, but that's okay. He tells us about the innumerable emotional stratifications of reality, and he does so by choosing the path of the absurd. A quirk that soon changes its face and changes register several times, in frankly unexpected ways.
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After completing Kena, we felt the desire not to leave these virtual lands, to continue in the heart of the forest to eliminate even the last bit of Corruption. Like the souls of the village, in short, we did not want to "go further". The magic of Bridge of Spirits is all here: in its sweet magnetism, in its balance between gameplay and narration, in the echo of those adventures of the past, where simplicity moved hand in hand with refinement. Splendid to look at and rewarding to play, Kena is a debut work as rarely seen in recent years: that the independent sector can be guided by its spirit.
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The wind blowing from Iki Island, at times, knows how to be even more overwhelming than the one that crossed the horizons of Tsushima. Short but incisive, the expansion comes up with an intimate narrative, which digs even deeper into the tormented meanders of Jin's soul: it succeeds, and convinces us.
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Necromunda Hired Gun rests its foot on the accelerator of dynamism and violence, however it has an inaccurate aim. Many of its problems stem from strictly technical stumbles, some of which can be filed with special updates (such as bugs or application crashes), while others are inherent in its playful DNA, and have to do with almost completely absent feedback from shots, with a coarse artificial intelligence to the far-fetched, and with a general flatness of shootings.
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It has its limits, it does not have huge ambitions, and here and there it brings out ideas that are not bad, especially in combat. And, for the body of a thousand whales, it works. It's very repetitive, but it works. It doesn't extol, but it works.
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NieR Replicant just modernizes a rather controversial work, and improves it to the right point. Emotionally destabilizing on the narrative front, Yoko Taro's action RPG, reinterpreted on a playful level by the Toylogic team, maintains its essence halfway between genius and madness, without the needle always positioning in the right medium between the two extremes.
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Oddworld: Soulstorm is an adventure platformer of yest, which manages to modernize its playful formula only at times, with the addition of some guessed tricks aimed at perfecting the frame of Abe's Exoddus. Not everything flows with the right fluidity, and the consistent difficulty of the game is aggravated by unhappy game design choices: yet, when it works, oddworld inhabitants' work manages to guarantee a good deal of contentment, thanks to a substantial content and the immortal fascination a little grotesque by Abe. The same that leads us, more than twenty years after the first episode, to arm ourselves with so much stubbornness to save the Mudokon people, again and again...
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Killer who kills you don't change. IO Interactive does not revolutionize its playful formula, widely gnawed in the excellent Hitman 2, and proposes it again with slight but pleasant additions also in the third and (perhaps) last chapter of the World of Assassination saga. Agent 47 returns more shrewd and lethal than ever before, within an experience that knows how to enhance the murderous instincts of gamers. All this takes the form of a stealth adventure full of possibilities, a sandbox full of ideas and alternative solutions that stimulate the variety of approaches and benefit from a level design sometimes in a state of grace. A few falls in style in the last stage, a story only of contour and a general lack of courage in a fixting some stumbles of the past episodes, such as a not-so-exciting IA and very coarse shooter phases, however, prevent Hitman 3 from taking a big step forward compared to the second act. The work therefore moves in perfect continuity with what is...
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And here we come to exodus, the final part of the comedies. Immortals: Fenyx Rising is a game capable of giving much more than a surprise. Despite the obvious limitations imposed by its undoubtedly derivative nature, devoid of great originality and great qualitative ambitions, the final product works and entertains with an excellent balance between density and vastness.
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Sackboy is a party to which everyone is invited: a colorful and fun platformer, rich in content and with a level of difficulty suitable for a very young audience. It suffers from a rhythm that is not always well balanced, and from a dilation of content that does not allow the adventure to maintain a homogeneous quality standard for its entire duration. Without shining for originality, Sumo Digital's work still offers some decidedly remarkable stylistic flicks, with musical levels and a great deal of customization capable of soaring over the rest of the offer. Ultimately, Sackboy is an outspoken and genuine platformer, "tailor-made" for fans of the genre.
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Anyone willing to turn a blind eye to some technical and silly edges will play one of those adventures that the Vikings would not hesitate to sing in the Norse courts. Odin's with Ubisoft.
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Jack, the king of the Pumpkin field, will accompany us on an exquisitely old-fashioned adventure, modest in ambition and dignified in realization: if you do not expect the true heir of Medievil, nor a 3D platformer finished down to the smallest detail, the work of Nicolas Maysosonnier will entertain you enough with its lively style, its variety of situations and its lively artistic frame.
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Long-lived, colorful, fun and complex, It's About Time conveys the return to precision platforming, where every jump is calibrated with due accuracy counts, and in which the player's skill is mainly enhanced.
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