Brodie Gibbons's Reviews
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.
Were it a bit more feature complete and fine-tuned, Rematch would be undeniable in its claim for Rocket League’s long-held crown. There’s a high, albeit achievable, skill ceiling here, but intuitive controls means anybody can header, rainbow flick, or bicycle kick goals from the box’s edge in short, exhilarating, and most importantly, moreish games of soccer.
Like other precision platformers before it, Shotgun Cop Man takes a deliberate gameplay-first approach and trades even a fun story for a few gags and quips. Its unique approach to movement is enough of a hook to push you through the game’s many, many levels, however, I do think the game will live and die, and perhaps avoid premature damnation, on its custom levels.
With a thoughtful message, soulful world, and beautifully imaginative design to push things along, Compulsion delivers a classic adventure seemingly beyond their weight class with South of Midnight. It's the exact, elusive story-driven diamond in the rough that Xbox has been in search of for generations now.
With its mammoth Japan heaving with to-do lists to check off, Assassin's Creed Shadows opts for the safety of familiarity rather than taking any real swings for the franchise's belated sojourn in the 'Land of the Rising Sun'. What remains is a fine Assassin's Creed title that, save for a few clever tweaks, fits snuggly in its template.
Split Fiction is a masterclass of game design, and is yet another instant classic from a team who have, across a span of three games, rewritten the handbook on how to develop fun and insanely inventive stories that'll be remembered for one thing, among others: spotlighting the power of friendship.
Like Citizen Sleeper before it, Starward Vector feels like a tremendous coming together in so many senses. The marriage between the original's core concepts and the new mechanics feels natural, while the motley crue you take to the stars with, their stories included, are an exceptional cast of characters whose place in my sleeper's own journey I'll never forget.
Out of all of the Power Rangers games I've played in the last decade, Rita's Rewind is the one that most honestly captures the cheesy fun, flashy martial arts, and attitude of the series' first few iconic seasons. It is to the Rangers what Shredder's Revenge is to the Turtles, a celebration of a dorky thing so many people loved as kids-and perhaps still do as big kids.
Indiana Jones and the Great Circle delivers both high calibre adventure, story and performance in spades, to the point it feels as though it's wading into "uncharted territory" for its publisher. The decision to bop a Nazi should be a foregone conclusion, however the lack of balance in stealth and combat systems kept me in limbo, and left Indiana Jones and the Great Circle just a stone stele's throw from true greatness.
S.T.A.L.K.E.R. 2: Heart of Chornobyl is an achievement for so many reasons. As well as being the little game that could, given the team's real-world challenges, the game doubles down on the S.T.A.L.K.E.R. way, delivering a sublimely realised sense of place with the Zone. Unfortunately, so much of the console experience is rendered so disappointingly undercooked.