Wolfenstein: Youngblood had the potential for greatness. MachineGames has proven itself as one of the best FPS developers active today with the previous two series entries, and Arkane Studios has a well-deserved reputation for great immersive sim experiences. Both are highly regarded for their single-player offerings, yet this collaboration squanders so much of the magic that could have been. The gunplay is as tight as fans could hope, and the central storyline is just strong enough to overcome the malaise that the repetitive open-world exploration breeds. However, those boons are not enough to offset the flaws, foibles, and—most of all—the sense that this is a game designed to keep players coming back: even as it lacks a hook to do so.
Warhammer: Chaosbane is a functional though fundamentally unspectacular addition to the Warhammer universe. The number of missions, the multiple playable characters, and the additional modes available after completion give the game a thick padding that could provide weeks of entertainment for the right player. However, the core experience is more bones than meat, which means that that ‘right player’ may be a rare breed.
In some ways, those adjectives suit Draugen as a whole. Slightly dated game design and some poorly telegraphed narrative elements aside, the game makes for a wonderful four-hour adventure. The town of Graavik is a delight to look at, and the stories it hides drag players deep into the mystery. The design tropes of walking simulators are backed up with more logical cause than is often the case, while the story leaves just enough open to keep the player thinking after the credits have ceased to roll. Draugen seems unlikely to win any awards for originality, but it shows what mastery of the ‘walking simulator’ format looks like.
Simply put, RAGE 2 is a strange beast. Perhaps that was inevitable as the follow-up to a middling first effort developed across two very different studios. Perhaps that shared production is also the reason for the lack of unity. Whatever the reason, RAGE 2 is clearly best suited to a particular kind of player. The game offers an often-beautiful environment combined with easy, enjoyable traversal mechanics. Comprising the bulk of the experience is some of the finest and most diverse gunplay combat to be found gaming today. However, these charms are let down somewhat by the lacking story and structure and a general feeling of a tonal mismatch between the bland protagonist and the madcap world.
Tropico 6 matches and even exceeds the breadth of content found in fellow city-builders, but it does not delve deeply enough into its simulation to take the genre forward a step. For some prospective players, the lack of depth may be too great an impertinence to brook, but everyone else will find a delightful management sim with one of the best settings the genre has ever seen.
Devil May Cry 5 does so many things right: the engrossing narrative, the understated integration of online elements, and, most prominently, the stunning amount of variety in the combat mechanics. These aspects move the series forward, but this new entry also replicates some of the duller qualities from action games of yesteryear. This tendency prevents Devil May Cry 5 from being the new standard bearer for the genre, but that does not prevent it from being something truly special.
The comparison to Joss Whedon’s short-lived television series is apt, with similarities extending beyond the music to the genre-bending space adventure and focus on stories that explore humanity in straits. Imperialism, the value of time, the tenuous nature of reality, and the mysteries of the cosmos are just some of the themes that emerge in the strange world of Sunless Skies, contributing to a tapestry of a richness almost unparalleled in the world of video games. The overall pace of the game is staid, but its brilliant simplicity is to be commended, and, come year’s end, it could prove enough to make Sunless Skies a strong Game of the Year contender.
Ensuring the game appeals to strategy die-hards appears to have been a driving force in development, and that approach pays off thanks to the high level of satisfaction arising from successful completion of missions. However, players sucked in by the promise of a "next-generation" experience are likely to be disappointed by the shortage of mechanics that truly push the genre forward. Meanwhile, the investigation elements are too simplified to make it a key draw. A number of minor bugs also mar the experience, but these issues are not severe enough to harm enjoyment. In many ways, Phantom Doctrine is a brilliant addition to the lineage of the turn-based strategy genre, introducing some novel wrinkles to make the typically disparate gameplay and narrative feel more cohesive.
That the game is such a disappointment is a true shame; its ideas are as intriguing and novel as any to be found across the vast plains of the indie sector. The Piano's strengths prime the title to embed itself in the hearts and minds of gamers willing to give it a chance. Unfortunately, the weaknesses are too many and the sense of discord across the production too high. Put simply, The Piano falls flat.
Red Faction: Guerrilla Re-Mars-tered is not the first time that THQ Nordic has commissioned the services of KAIKO, with the developer previously bringing the first two Darksiders games to current-generation consoles. The experience gained while updating those titles appears to have paid off, with this latest offering lending vivid life to the Martian landscape. Nevertheless, the game is the product of a different era, and its age shows through in a number of key areas, the most notable of which is the archaic and uninspired open world. Despite these drawbacks, the game remains as engaging, and a series revival with Volition once again at the helm would surely be welcomed by many.