Marvel’s Spider-Man is a big, beautiful rehash of very familiar Spider-Man stories, which makes it feel like a bit of an imitation in the end. An exceptional imitation to be sure, but it could have been so much more.
Despite its ambitious scope, Hardspace never bites off more than it can chew. It is unapologetically pro-union and anti-corporate, and it shows a remarkable deftness in handling the social complexities of those positions. It distinguishes the personal value of labor from the material value - two products our corporate overlords are eager to conflate - and offers a perspective of hope in an otherwise hopeless world. I consider Hardspace: Shipbreaker essential media for anyone that is employed - blue-collar or otherwise. If nothing else it will provoke you to think about your relationship with work in a new way. Considering we spend one-third of our lives doing it, it’s a worthwhile experience.
It’s an easy recommendation for any one already invested in the series, but to the five million couples that played It Takes Two last year: We Were Here Forever should be your next co-op adventure. As the longest and most approachable entry, it’s a great place to start even if you don’t intend to play through all four games - though the second you finish Forever, you’ll almost certainly want to go back for more We Were Here. It’s been a delight to watch We Were Here grow from a student project into one of the best puzzle series around, and I can’t wait to see how Total Mayhem Games takes its signature style beyond Castle Rock next time.
The Witch Queen is nowhere near over. We still have the raid next weekend and, if Beyond Light is any indication, a lot more to discover once the first team crosses the finish line. It’s difficult to judge a Destiny expansion this early on, but based on the campaign alone, I feel confident in saying this is the best piece of Destiny content Bungie has ever put out. If this is the new standard for expansions, the future of Destiny 2 is extraordinarily bright… and dark.
Dying Light 2 is a game with a troubled development, and unfortunately, it shows. I know how much the first game grew significantly over the years with patches and content updates, and I can only hope that this one gets as much support, because it still needs a lot of work before it becomes the game we were first promised back in 2018, if ever.
The Gunk is not a disastrous game. I enjoyed turning my brain off for five hours and exploring this strange and mysterious planet. It’s okay for games to just be empty calories sometimes, and I wouldn’t knock The Gunk for just being a generic popcorn flick. The Gunk aspires to be more than that though, and it falls considerably short. The quality of the SteamWorld games gavethe expectation that this would be a fresh take on the third-person adventure genre, but The Gunk is too shallow for me to recommend - even in the slow December months. If you’re looking for character-driven action-adventure games on Game Pass, Lake and Firewatch were both added earlier this week. Give those a look and leave The Gunk in the gutter.
The best thing I can say about House of Ashes is that its story didn’t make me feel betrayed in the end. There is no “it was all a dream” twist that creates a dozen plot holes, and it doesn’t pull away from the supernatural elements at the last second to reveal that the characters were hallucinating. Rather, it uses its monsters to connect together its themes and create a closed loop that only the best horror stories can effectively execute. For once it feels like The Dark Pictures bit off exactly as much as it can chew, and House of Ashes is so much better off for it. This is where I would recommend newcomers start with the series, and it's a great indicator that the anthology is just going to keep getting better.
Lost in Random is an okay 15-hour game, front-loaded with seven fantastic hours. It’s worth playing even if you don’t make it to the end, simply because there’s never been another game like it. Disney goths will delight in its charming blend of cute and macabre, and there are some legitimate thrills to be had with the combat system for strategy-brained players like myself. If it had continued to innovate with new battle mechanics and more cards to collect throughout the entire game, it would be an easy contender for game of the year for me. Unfortunately, it rests on its laurels too early, and the game as a whole suffers for it. I would be eager to return to Random were there ever a sequel, but I don’t think I’ll be revisiting Lost in Random again anytime soon.
Sequels are often expected to be bigger and better, but sometimes a good sequel is just more of what made the original geat. I suppose I would have liked to see Schell Games push the mechanics and missions further, but ultimately I’m satisfied to play another round of cleverly designed spy puzzles. It’s not particularly ambitious, but it’s consistently good from beginning to end. If you liked the original, there’s absolutely no way you won’t like I Expect You To Die 2.
I love what I’ve played so far and I intend to grind out all of the classes to unlock those perks so I can experiment with potential builds before Season 1 starts. I’d love to see new campaigns, new classes, new weapons, new mods, and new perks with each season. If the next four seasons are as good as the base game, Aliens: Fireteam Elite will end up in my permanent rotation with Destiny 2 and Apex Legends.
There’s nothing lesser or limited about The Vale. It’s a fully realized experience that could only work in an audio space, and I sincerely believe it's going to inspire a lot of people to reexamine their beliefs about what a game has to do or be. If this is the beginning of indie audio games, I can’t wait to see where the genre goes from here.
I certainly enjoyed the game a lot despite this though, and I think CI Games has established a winning formula for the future. It’d be even better if it had any idea what it was trying to say.
So many of these problems can and should be fixed. Better netcode will go a long way, and I expect to see improvements to the controls, the combat inputs, and hopefully even more mechanically intense boss fights. There’s a tendency to recommend bad games to the most devoted fans, but I think fans of Drizzt and Co. will hate this game even more than the uninitiated. The saving grace is that Dark Alliance is included with Game Pass, so it won’t cost you anything to check back in from time to time and see how it’s doing. There is an enjoyable game buried here, I just wouldn’t expect to see it anytime soon.
Outriders would have been a much better game had the campaign been half as long and the end game had twice as much content. I had fun exploring the dozen or so environments throughout the story mode, but the game doesn’t start firing on all cylinders until the gear you get becomes meaningful. The disposable nature of gear during the campaign/leveling process makes the game feel a lot more shallow than it actually is, and getting players to that end-game grind sooner would likely have exposed a lot more players to the best that Outriders has to offer.
Every looter struggles in the early days, and it would be naive think a studio that's never made a game of this type before would nail it right out of the gate. That being said, it's already in way better shape than I ever expected it to be at launch, and, most critically, the combat — particularly in multiplayer — is an absolute blast. I'm hopeful, and I'll be sticking around to see where things go from here.
Alyx doesn't propel VR to unseen heights, nor does it overcome the limitations of the platform. What it does is provide an exceptional name-brand experience that is extraordinarily polished and just about the best example of what VR has to offer right now. Every puzzle is satisfying, every gunfight is a thrill. The environments are beautifully horrifying and the interactables are absurdly detailed. It has no lulls, nothing ever gets played out or boring. It has a ton of fan service and builds some really exciting hype for the future of the series. However, I wish that the game built its core mechanics over time the way Portal 2 so famously did. Alyx is much more akin to a rollercoaster ride than a hill to climb. If you can afford the price of admission though, it's one wild ride.
Failure is part of mastery, and by the end of my ~20-hour playthrough of DOOM Eternal, I felt like I had developed a far greater mastery of the game than I ever did in DOOM (2016). Some battles took me 20 tries or more, it's true, but by the time I got through it I learned the timing of every wave and used every single one of my abilities to survive. For that, DOOM Eternal is likely the most satisfying shooter ever made. The easy mode (I'm Too Young To Die) is still available for anyone who prefers the mindless carnage of DOOM (2016), but I promise you, DOOM Eternal is worth the struggle.
I'm not in the unenviable position of giving a score to a game with no generic touchstones or precedence. I can't help but laugh at the absurdity at giving a score to something like Kentucky Route Zero. Did it accomplish everything it intended to do? Almost certainly. Was it "good?" Making a qualitative determination for art almost certainly means you missed the point entirely, doesn't it?
Journey To The Savage is a short-but-sweet title you absolutely don't want to miss.
I'll definitely be keeping an eye on this one as a tactics player, but for anyone interested in getting in now, I caution you to save often and take your time. It can be a joy to play at times, but it can also quickly become a real slog.