Scorn is an exercise in environmental storytelling, eschewing cutscenes and exposition in favour of simply letting the player piece things together for themselves. It doesn't provide all the answers, leaving much of its deeper meaning wide open to interpretation: and it's all the more compelling as a result.
An ocean of stars, a thimble of possibilities.
A decent adventure game with lots of ropey bits. Just like the last one, and the one before it.
Geralt’s final hours are his absolute best.
If Minecraft was around 25 years ago, this would be the Saturday-morning cartoon tie-in. And that's a good thing.
Every component of Mad Max is at least satisfactory: at best, fantastic. While it mostly relies on a tried and tired Ubisoft-open-world formula, the exhilarating car combat, the gleeful punk-rock absurdity of its world and the characters that populate it, and its almost flawless presentation make it something more than the sum of its well worn parts.
Unity may have the intention of being Assassin's Creed's next-gen reinvention, but it's remarkably faithful to its roots.
Pure stealth that you'll gleefully die your way through.
A confident reinvention, despite the obviously low budget.
A triumph of emergent gameplay, slightly let down by a heavily scripted ending.
Worth it if you're willing to put up with a lot of rough fallout.
The feature list is bare, but the Sims themselves are incredible.
First Light is Second Son with most of the fat trimmed, making it ideal for newcomers.
It's a Worms game.
An embarrassment on all fronts.
Oh winged death, how we've missed you...
Second Son rations the good stuff, giving too little too late.