Brodie Gibbons's Reviews
007 First Light is all things a Bond game should be. It’s exciting, unpredictable, and delivers a jet-setting adventure full of that hallmark intrigue. As a spy game, it’s expectedly solid. But as an action game, it’s somehow even better as IOI declare themselves the go-to for spy thrillers, and Patrick Gibson, in a time where new blood is badly required, declares himself Bond, James Bond.
LEGO Batman: Legacy of the Dark Knight might be the best LEGO game yet, delivering a fun, family-friendly take on all of the brooding bat’s biggest moments, plucked from every medium, and lovingly recreated brick-by-brick in an epic open-world capable of matching even Rocksteady’s best. It’s the Batman game Gotham deserves, and it absolutely is the one it needs right now.
Like the franchise’s other many iterations, Forza Horizon 6 is an exceptional masterclass of car racing, genre-defining in terms of both arcade and simulation, set within a spectacular, abridged open-world of Japan that’s begging to be explored.
Were it structured like a Dark Pictures game of old, Directive 8020, through its derivative but fun riff on 'The Thing', would be seen as something of a return to form. Sadly, their attempt to evolve the product has resulted in a poorly paced gameplay experience that, by the end of its run, is little more than a sadly stagnant monster closet.
Mixtape, through its expertly curated catalogue of songs, pulls together a genuinely heartfelt and nostalgic story about all of the friends we make, and invariably lose, in our formative years. As a cross-section between music and wasted youth, Beethoven and Dinosaur’s sophomore title is undeniably special. It’s an ode to the importance of music, how it shapes us and reminds us of who we are, all wrapped up in a bow and delivered through playable vignettes that are all killer, no filler, and a stark reminder of how fucking fun it was to be a kid.
Saros is an utterly sizzling romp through a sci-fi cosmic horror show that showcases Housemarque’s pedigree for spectacular, arcade action. Not only is Saros a user-friendly evolution of Returnal's core systems, which were already near-perfection, but it’s an exceptional, technical showpiece for a console that makes faultless performance seem magical. If Returnal was a reason to invest in next-gen, Saros pays that belief off again in what is currently a one-horse race for Game of the Year.
Mouse: P.I. for Hire is a tremendous, modern take on the boomer shooter. It has wonderful level design and gives you the right tools to explore it without restriction, mostly. Despite serving up meaty cases that have enormous ramifications within Mouseburg’s social and political landscape, the player is given zero agency to work them and, as such, Mouse falls agonisingly short of being a true detective fantasy.
Although it maintains the spirit of the original Super Meat Boy, Super Meat Boy 3D, as a reimagining, doesn’t quite evolve on its ideas enough to strike a chord. Rather, it reframes them, and it’s these new perspectives and angles on Meat Boy’s frenetic platforming that prove to be the biggest bother of all. It’s still fun enough for the most part; however, I struggle to look beyond the compounded frustration and needless death—in a game about dying, no less.
Although it doesn’t quite have the heft to go bumper-to-bumper with games like Forza Horizon or Burnout, Screamer is an incredibly sound arcade racer that, unfortunately, cocoons so much of its exhilarating, challenging gameplay in a bloated campaign that claws for any semblance of focus.
Despite not overhauling the companion-led gameplay at the core of Planet of Lana, this sequel does a tremendous job at expanding its universe, giving greater depth to its characters, and delivering another gorgeous, cinematic adventure that tugs at the heartstrings.
Romeo is a Dead Man, I feel, is a tremendous example of style being enough to shoulder the burden that comes with a lack of substance. So much of the game’s action, along with its systems, feels antiquated enough that it shouldn’t be memorable at all. Yet with innovative art direction, a Suda-typical contrast of ideas, and unconventional, albeit confusing, story craft, Romeo is a Dead Man’s style proves irresistible.
Terminator 2D: No Fate is a faithful retelling of one of cinema’s most iconic blockbuster action sequels. Its pixel art is gorgeous, its action slick. My one regret lies in how it doesn’t go crazy exploring more of the story’s possible canons, opting for the inevitability and passive acceptance of Judgment Day that its characters so strongly rally against.
Routine is a tense, atmospheric adventure through an unforgiving lunar base where everything is out to kill you. It has its imperfections, but, in the face of the narrative and puzzle craft that beckons you through every minute of Routine, they seem infinitesimally small.
High on Life 2, which is both helped along and hindered by the double-edged sword that is its new skateboarding mechanic, is a big, boisterous, and profoundly vulgar video game. Like the original, it’s another for the Adult Swim crowd, delivering the same boorish brand of humour as before. Luckily, I am that crowd and laughed plenty, while finding great joy in the game’s irrepressible need to move from gag to gag, and from moment-to-moment, while never being able to predict what it’d throw at me next.
With a map that pleads to be unlocked and explored wall-to-wall, floor-to-ceiling, as well as tremendous combat inspired by the best platform fighters, Possessor(s) is a heartfelt, and most unexpectedly great, Metroidvania that treats story and action, two distinct and unique facets of game design, as equals in this lovely story of coexisting
Keeper is an arresting, emotionally resonant, and experiential title which shelves the company’s regular yuks for something genuinely poignant. Despite some bothersome gameplay hang-ups, Keeper remains a beautiful must-play for the “games are art” crowd.
BALL x PIT is an unexpectedly addictive roguelike that throws a few well-worn ideas into a pot to meld them into something bizarre, captivating, and unique. While there’s a rhythm to firing, fusing, and evolving balls that’s moreish and hard to put down, things like the city-building complement the package so well, it’s the ultimate “one more run” game. And just like the balls you’ll spend hours branding the enemy with, you’ll keep coming back again, and again, and again.
Baby Steps is exactly all it’s advertised to be. A clumsy, physics-first walking simulator that places an unwashed oaf at the heart of a very odd world. I don’t feel like it’s as punishing as Getting Over it, but the game’s singular goal of getting through it, step by step, makes for a surprising experience that makes walking, of all things, a lot of fun.
It mightn’t be as faultless as the iconic video games it attempts to emulate, but, in attempting to do things no action-horror game has done before, Cronos: The New Dawn etches its deserved place at, at least, the honourable mentions board at the foot of the horror game Mt Rushmore. Bloober has ensured that, no matter what they try next in this genre, we will be seated. Such is our calling.
Dead Take is a game about actors, made for actors by actors. While the plot and mystery surrounding the narrative turns shoulder the burden of keeping up interest throughout, sound puzzle design and a blanketing atmosphere make it a worthwhile play for horror fans.