I’m rooting for Suicide Squad: Kill the Justice League though. There is enough here to suggest that Rocksteady has a grasp of what could make this game great. It will take effort and some big releases, but despite having an uneven experience overall, I’ve left relatively favorable. It has a rebellious spirit that makes it endearing. For all the noise around the game, from those fighting loudly in its corner and those trying to tear it apart, I’ve left with an unceremonious “Yeah, it’s pretty good” with a tinge of hope to boot. There is a world where the game has a future, and it’s a multiverse I’d like to live in.
Ubisoft Montpellier has brought an invigorating energy, with a breathtaking art style, impressively expressive combat, mindstretching platform puzzles, and deeply challenging bosses. When it is all coming together in an audio-visual crescendo, it’s a thing to behold. This ode to Symphony of the Night and other greats in the genre understands what made those so good, and finds new life. Prince of Persia: The Lost Crown is an absolute triumph, charting the future for this fallen franchise. Here’s hoping it finds its audience because it would be a tragedy to have something this good lost to time once again.
When Insomniac taps into the heart of its subject matter, be that Peter or Miles, it’s glorious. Being a friendly neighborhood Spider-Man is compelling. You’re equally important in saving the world or helping someone cross the street, a dichotomy this game understands beautifully. That’s why it’s a shame the main narrative gets tangled in its own web of disparate elements, falling just shy of greatness
Starfield is truly impressive, and when it allows you to breathe and live out your fate in the stars, it’s a consistently compelling journey. However, the main story and the central mystery act as a black hole, threatening, but never quite succeeding to drag it down into complete oblivion.
Redfall is one of the worst-performing games I’ve played in years, and even when it’s working, it’s undercooked and uninspired. It’s impossible to say if this is the case, but Refall ‘feels’ like a game that has succumbed to too much compromise. There’s a world where there’s a great version of this concept, complete with a much grander vision, however, we sadly don’t live in that timeline.
With Dragonflight, Blizzard has done an exceptional job at breathing life into a game that had been floundering. This is thanks to a fun campaign that anyone can enjoy, an adventurous spirit at the heart of the world, satisfying dragonriding, as well as a location full of stories and secrets to unearth. This is as good a jumping on point for the game as ever, and it's likely the best there will be for some time. After such a tumultuous time for the MMO, this feels like a clean break – a new beginning and a recapturing of the spirit that made the release back in 2004 so captivating. If you're a lapsed player, or even a new one, scared by the sheer weight of 18 years of backlog, Dragonflight sheds most of that. It truly feels like the triumphant return for World of Warcraft and I can't wait to see what's next.
Outlast 2 is a true improvement on its predecessor, with Red Barrel Studio planting its flag to claim the standard for horror games in 2017. From the beautifully horrific environments, the ambitious ideas to the sheer unsettling nature, it's disturbing in the ways you'll want from it. It makes this title truly interesting, even affecting. While it's aggressive in its assault on the player, perhaps to the point of becoming tiring, on the whole the game is very, very good. This is especially true of the exquisite second half of the game that sings to a developer in tune with its vision. Outlast 2 serves up an expertly crafted horror experience that will likely find itself burrowing into you even after your time in the Sonoran desert has come to an end.