Steven Scaife
Where other games tend to have a greater purpose and complexity behind more granular mechanics that demand closer attention from the player, Biomutant remains a rather simplified, if overstuffed, game of loot-hoovering. In practice, you’re still chasing objective markers and wandering salvageable areas in hopes of spotting the “interact with object” indicator. But while Biomutant’s breadth of options does indeed make that familiar process more rewarding than the norm, it never quite offsets the accompanying increase in tedium.
While these limitations have the potential for forcing nail-biting compromises, the irritating micromanagement clashes with other elements that otherwise suggest a breezier game experience, like the rudimentary combat and the way the environment practically overflows with currency and crafting material. So much of The Wild at Heart elegantly sidesteps the usual pitfalls of a resource grind that it’s disheartening whenever it devolves into busywork.
Mundaun's greatest achievement is the Swiss Alps setting that's brought to life with tangible vigor.
Loop Hero functions as a statement of persistence in the face of the seemingly insurmountable.
Hitman 3, for better and worse, splits the difference between player freedom and focused storytelling.
To criticize Cyberpunk 2077 for being hypocritical and conservative feels almost beside the point.
The Pathless ultimately buries anything it might have to say in a stupefying level of cliché.
The game noticeably stumbles as it attempts to more overtly address the darkness beneath its concept.
Carto gets a lot of brain-bending mileage from its central mechanic.
It's difficult to escape a sense that the game's ambition far outstrips the number of unique people it can plausibly render.
In theory, its intricacies should be bracing, but in practice the fixation on spacing and formation further slows down the pace.
Spelunky 2 remains staunchly committed to its immaculate core design.
Windbound is an exploration game whose sense of exploration is painfully rigid.
Make & Break is at its best when injecting variety into the campaign, not only mixing up the environments but the game modes.
Few of the game's problems would be insurmountable in the face of an engaging narrative.
Though you encounter familiar configurations of levers and passageways and other obstacles, the mansion’s rooms all feel distinct, subtly interconnected in a way you likely won’t even notice unless you hit the load screen and see that every puzzle is coherently plotted on a zoomed-out side view of the mysterious mansion. Creaks hums along smoothly and pleasantly without calling attention to itself, to its sporadic detriment but mainly to its strength.
The most impressive thing about the game is still the strength and specificity of its vision.
The world of the game may be small, but it brims with a weird sense of life.
The game reveals its brilliance by constantly and subtly reconfiguring the emotions behind erasure.
There's considerable joy to poking at the edges of its ingenious interlocking systems to see what happens.