Cultic’s shameless revelry in gore is delightful. Its array of guns is conservative in number but tightly focused in design, each weapon built for purpose and tangibly effective as a result. Pacing is a little one-note and insistently dingy visuals can be offputting at times, but the whole package remains a top notch retraux shooter. I had tremendous fun throughout, and while I’d like to see a little more unique personality from future installments, I haven’t had my fill of the action on offer here.
A Plague Tale: Requiem is definitely a game worth playing for fans of the original despite my criticisms. Overall I enjoyed my time, thanks in no small part to a vastly superior second half. I lament the loss of better directed linear stealth in favor of messier open environments, but the core of what makes A Plague Tale great - strong characters, bleak horror, and tons of squicky rats - remains firmly in place.
Gotham Knights takes the concept of inconsequential open world busywork to a ludicrous extreme, exquisitely culminating years of creative laziness in the genre. Nothing can adequately convey how monotonous, how unimaginative, how fucking banal this thing is. It manages to be offensive in its structural mediocrity, and that’s before we consider its enervative combat, inadequate controls, and threadbare world. Wearing the flayed skin of a live service and managing to be worse than any one of them, this sorry mockery of the Arkham series will rightly be forgotten in a year’s time - sooner if we’re lucky.
So much about Scorn feels like a trap. It’s designed to cost you progress, to waste your time, and some might think this burdensome despair is some sort of brilliance on the part of the developers. To someone who values their finite time on Earth, it’s snide crap that shows contempt for its audience at every opportunity.
As for me, I can’t say I was hooked. Dreamlight Valley is a world of cardboard, its inhabitants little more than set decoration and animated sources of material gain. It’s a game about menial labor for menial labor’s sake, the most monotonous elements of a life sim emphasized and weakly justified by the shallow inclusion of marketable Disney characters. It masquerades as a game about friendship while portraying personal relationships as little more than means to an end. Worse than all of that, though, it’s simply boring. Dreadfully, interminably, boring.
Combining multiple genres and examining the relationship between game and audience, The Hex is a poignant, witty, cleverly written adventure spanning six protagonists and six very different – but smartly cohesive – stories.
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