Elliot Attard
Whilst Diablo IV could have done more to advance the genre or perfect its writing and tone across the entire experience, there’s no denying just how impactful this release is, especially for those of us who grew up alongside the series.
At the time of writing, I can happily say that Amazon’s new foray into the world of massively multiplayer role-playing is a tentative success.
The devs updated almost every aspect of the game, most of which for the better, but I just can’t get over how the game handles scenarios. It feels like such a fantastic product structurally speaking but I’d be lying if I didn’t say my enjoyment wasn’t heavily impacted by long and frustrating decks
Hob creates a magical and wondrous world that adapts and changes thanks to your input. Watching the world shift around you and sometimes underneath you is awe-inspiring and magnificent. Seeing the fruits of your labour literally coming to life is one of Hob’s biggest selling points and makes the game worth playing by itself. The game’s art, world design and wordless narrative all come together to make a genuinely special experience. Some aspects of Hob’s gameplay and systems can hold it back from being truly unique and captivating, but it more than makes up for it through personality and liveliness alone.
Combining cathartic Nazi-slaying violence with genuine poignancy, beautiful writing and moments of great humour. Wolfenstein II: The New Colossus is a game you should experience
There is a chasm the size of middle-earth itself that separates the ingenuity of the game’s Nemesis system and the snorefest that is the game’s ‘point of interest’ system
Divinity Original Sin 2 is that perfect sequel, it knew what made the original great, understood its weaknesses and then went balls to the wall to attempt to make the best product possible. Without a doubt, Divinity Original Sin 2 is up there with some of the best games released this year, and up their with some of the best CRPGs ever released.
...the longer you play the more problems you notice and the more you realise that the game simply doesn’t feel complete or coherent. I don’t think Generation Zero will be remembered fondly in the future, if remembered at all.
What frustrates me the most about Anthem is that the things that work in the game's favour are really well implemented. It feels like a complete waste to have these awesome traversal and combat mechanics utilised in such an uninspired game
I can forgive the game for a lot of its shortcomings, although there’s something about Borderlands 3 that I absolutely cannot forgive – its technical problems.
DARQ certainly doesn't overstay its welcome, presenting a short and concise experience. But when is short too short?
It may not be a flawless victory, but Mortal Kombat 11 puts up one hell of fight.
Baba Is You is genuinely impressive. Changing the rule set of the game as you play is a powerful and compelling tool.
Sekiro: Shadows Die Twice scratches the Souls itch but does so with some uniqueness and refreshing ideas. This game is not for the faint of heart, however.
Orangeblood throws you into an alternative history timeline where you control a party of girls taking on the dirty and corrupt underworld of a Japanese municipality. It’s a game that merges cultures and aesthetics in a uniquely interesting way, but also struggles to find its footing at the same time.
Redfall is an interesting concept with some valid ideas, some cool lore, and some great moments driven by solid visual design and a knack for leaning into the supernatural. But with a vapid and dull open world, bad mission design, constant backtracking, and a plethora of performance issues—this release ends up sucking the life out of you one glitch at a time.
LONE RUIN is a game that's simply too short for its own good. A lack of content means the experience is over long before it ever should be, and any additional difficulty modes and a survival mode don't do enough to justify the small scope. The experience is saved somewhat by good gameplay and a great spells/upgrades system, though not enough to call this one a real must-play.
I sailed into Windbound with hope and excitement and unfortunately sailed away with disappointment. It’s not all bad, not by a long shot. But there were enough confusing design decisions and awkward control issues to put me off this game completely.
The Suicide of Rachel Foster has all the components of a great game. It has mature themes and storytelling, an idea for a mysterious and captivating narrative, and the ability to replicate a style of game that’s been embraced by gamers for the last decade. Unfortunately the game also stumbles across a few hurdles that it was never able to recover from.
Undoubtedly fun for a fright night with friends or a YouTube reaction video, Choo-Choo Charles will find its place comfortably as a not-so-serious meme game with some good horror ideas. There's a charm to the whole experience supported by the fact that its short runtime means it never overstays its welcome. However, the game's shortcomings are simply too obvious to overlook. Requiring more polish, depth, and variety, Choo-Choo Charles doesn't have the longevity needed to be anything more than a fleeting piece of sharable internet entertainment.