Brodie Gibbons's Reviews
EA Motive could have taken a path of least resistance in delivering a Dead Space remake, though I'm thankful for everything they've poured into what is a tremendous reimagining of one of gaming's truly iconic horror games. It's gorier than ever, the story is made whole, encompassing lore elements once merely pieced together by its fan base, and feels like a genuinely fresh twist on the original.
Marvel Midnight Suns is, by and large, an unfulfilling superhero title that is only as endurable as it is courtesy of how great Firaxis are at what they do. There's a lot of heroes and just as many hollow hellos between them that makes me wish all of the story's character drama was checked at the door for more of what Midnight Suns does well.
Although its subject matter might confound and could be too heady for the general audience, Pentiment is a role playing game that has been considered and laboured over to the nth degree. It's a great reminder that some creatives just get it done, budget be damned. By God's will, Pentiment is making a late charge for Game of the Year.
It feels like cheating to call Somerville a debut indie title when its creator's individual pedigree is so strong, but it's a tremendous spiritual successor to both Limbo and Inside. It takes an ordinary setting, quickly removes all normalcy, and takes the player on a fleeting sci-fi thrill ride that makes use of every second of your attention that it has.
As a sequel to the Modern Warfare reboot, Modern Warfare 2 feels like both a celebration of the series' original trilogy as well as "the team" at its core. The party is spoiled somewhat by inconsistent pacing, technical issues, and incongruous mechanics, shoehorned in from what will ultimately be the game's multiplayer suite. Through it all, the referential nods to Call of Duty of old stitched the experience together for me.
New Tales from the Borderlands, as a spiritual successor to Telltale's series, is a cavalcade of peaks and valleys. It expands on the franchise's complex lore with a terrifically produced five-episode stint that will, for most, be a one-and-done experience that sadly fails to iterate on or improve the tired formula these types of games all rode into the ground.
When it comes to pure fan service, there won't be many better this year than Return to Monkey Island. It feels like the true sequel to LeChuck's Revenge and it feels as though its clever, self-referential wit is a product of Gilbert's return. As sad and nostalgic as parts of Guybrush's newest tale can be, I had a wonderful time revisiting familiar people and places in yet another golden-age adventure.
The Last of Us Part I is, for all intents and purposes, the same The Last of Us that you know. It doesn't take liberties to completely reshape the experience and nor should it. It does, however, smartly enhance the original's combat through A.I. advancements, and drags the original's production values over the line to create a product that can stand unified with its more polished sequel. The Last Of Us: Part I is without doubt the most definitive version of The Last of Us on the market.
In what is effectively Tony Hawk's Pro Skater meets The Running Man in a war of attrition, full of guns and vibrant colour, Rollerdrome is a well-crafted arena combat-survival game set atop jam skates. Though as solid as the core loop is, the game is let down by a narrative that fails to measure up to the game's pulsating setting as well as a disappointingly sparse range of arenas that you'll see far too often.
Cult of the Lamb is sure to be a homegrown success on the back of its tremendous presentation, which is helped along by captivating notions of cultism and devotion. I just wish there was more of an accord between the game's working parts, which ultimately feels like a game of two individually brilliant halves.
As it ran its course, I realised I quite adored As Dusk Falls. As a decades-spanning crime thriller throughout America's western plains, it's well acted and admirably realised. Although the cliffhanger beckons another chapter, my journey through As Dusk Falls felt whole, though I can't wait to explore all of the possibilities on offer.
For Cuphead fans, The Delicious Last Course is an essential add-on adventure that more than delivers enough content for the price of admission. The art is sumptuous, the fights are fanciful, and there's effort crammed into every nook. I expect some might say The Delicious Last Course under delivers considering the time between drinks, but I'm a cup half full kind of guy.
Card Shark succeeds at establishing wild stakes within its wonderfully weird take on 18th century France. It serves up a memorable cast, a story that rewrites history in a fantastical way, all the while arming the player with tricks of the trade that'd make Penn and Teller blush. For a game that's more about playing your opponent than your cards, Card Shark is a memorable adventure.
Gibbon: Beyond the Trees, like Old Man's Journey before it, is a tightly-packed, hour-long adventure that lays bare the eco-terrorism that continually threatens these titular primates. While it doesn't do anything particularly groundbreaking as a game, it's a brisk, beautiful and, at times, terribly sad game that moves along at a rate of knots, even if that places a strain on the now-aged Switch hardware.
As an homage to Akira Kurosawa's contributions to Japanese cinema, Trek to Yomi is an unparalleled adventure to the shores of hell and back that meticulously encapsulates and delivers an experience through his lens. It's when you look behind its eyes that you discover the game's soul is missing in a disappointing case where a wellspring of style and authenticity is anchored by a sad lack of substance.
Ghostrunner: Project Hel, fortunately, feels like a carbon copy of what came before it. Hel, like Jack, handles beautifully and makes traversing Dharma City a treat. And while it is brief, it's exciting to get a window into ways this team can continue to expand upon this great cyberpunk universe
Shredders, in an analogous sense, is more Session than it is Skate. It's hard to see the odd story resonating with anybody, the generously proportioned terrains are sparsely populated and, as a package, it feels feature-poor. This is all despite it feeling super confident in its controls and systems. It's a small slam from which the developer can dust themselves off, but it's far from a wipeout.
While I enjoyed a fraction of my time exploring Martha is Dead's gorgeous Tuscan farmlands, the thing I'm most thankful for is how mercifully short the game is. The closing credits shocked me back into coherence like a bolt out of the blue to cap off what is-and I'm being generous-an interestingly imperfect experience.
Through neoteric ideas around what combat can be, many of which were conceived with Absolver, Sloclap has carried the classic beat 'em up into the present with Sifu. It might be brutal and unforgiving, but it never feels cheap and it's a pleasure to continually learn the complexities of kung fu while bathing in the world's surplus of flair and ferocity. So push through and persevere, because there's one hell of a game on offer here.
Courtesy of some really great hand-drawn art, it's hard not to adopt the game's most excellent and bodacious attitude through osmosis. But OlliOlli World's strength, as it has always been, is in its low barrier to entry and the fact it's just so damn fun to pick up and play.