Unfortunately, Agony stumbles off the starting block and, despite a valiant later effort, is never able to make up lost ground. In this case, a poor first impression irreparably mars the experience, despite measurable improvement in many of the fundamental design principles as the game wears on. The art and audio is striking, but the project may have benefited immensely from less ambition, and the hope is that, should Madmind have a second chance, it will create a more focused and cohesive title. Agony is not great, but it is far from the irredeemable abomination the media has painted it as.
Far from attempting to elicit mass market appeal, the game targets a niche and shows itself to be a project from a developer stretching beyond what it knows best. Longbow Games's heritage in RTS titles emerges in the point-and-click gameplay, yet, in most other respects, Golem is a departure. While the team's attempt to create something complex and novel is admirable, its ambition occasionally outstrips its execution. Meanwhile, although the game's reliance on colonialist tropes is slightly troublesome, it will be overlooked by most players who have much else to occupy their minds across this evocating, engaging, and challenging adventure.
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.
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.
Like its protagonist then, Woven is an odd beast. Alterego has succeeded in making something distinct—the game certainly stands out from the crowd. However, that uniqueness comes with concessions. Every charming feature is offset by a fumble: a fun premise by a non-existent story, a stunning aesthetic by burdensome exploration, solid puzzles by technical issues. Nevertheless, the game is fully functional and will certainly be worthwhile purchase for young children or anyone else who enjoys the simple pleasures.
Despite everything written so far, Narcos: Rise of the Cartels does exactly what it aims to. The game is not an attempt to rewrite the strategy rulebook, but rather a gateway drug for anyone not familiar with the genre who is already hooked on Narcos. In that context, the title is solid: an entry-level strategy game that eases players in. The shallowness stems from the mass appeal and, as such, is a strength. However, those concessions will not spark joy for strategy veterans or anyone looking for a meaty, engaging experience.
Dynamic Pixels seems to have begun with a simple, brilliant concept, but struggled to make a cohesive game out of it. The AI neighbour and skewed environment are both wonderfully executed pieces of game design, but every other aspect of the project is flawed, making for a fundamentally unenjoyable experience. In some languages, "hello" also means "goodbye", and the latter is more apt here; no matter what horrors lay within the basement, they are not worth persevering through the horror of playing this game.
The team at Phantom 8 should be proud of what it has achieved in terms of atmosphere and core gameplay. Past Cure, similarly to Hellblade: Senua's Sacrifice before it, is a testament to the idea that small indie developers can produce a quality of content matching that created by blockbuster studios. However, the excellence of these aspects makes the flaws in design, audio, and storytelling more glaring. What looks like a sterling experience feels amateur. Past Cure is ambitious, which can be a fantastic quality, but the developer's effort is misplaced, leaving the game incapable of surviving its own confusion.
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.