A frankly terrifying exercise in pushing Doom as far as it can go.
Like Diablo, this is a game designed for multiple playthroughs on increasing difficulties, but few players will feel compelled to return to a seam that’s all dried up after a single day’s exploration.
Despite the necessary rules and stricture of turn-based strategy, the action feels just as chaotic and unpredictable as any trophy match Cole played in his sporting days.
I hope the flickering headlights of a glowing review are enough to help players find SnowRunner through the fog.
Clockwork God celebrates the tension between old and new, and finds profound comedy in the juxtaposition. It’s Size Five’s masterpiece.
As any Trekkie will tell you, discovery is addictive, and Journey to the Savage Planet is almost all discovery.
There’s slow-burn greatness in Phoenix Point. It’s a game where you might be exploring a site, bracing for ambush, but instead find an abandoned theme park dedicated to a novelty boy band of hedge fund managers called the Lucrative Lads.
Another Call of Duty that doesn’t really change anyone’s mind about Call of Duty. Whatever’s there that I thought might actually be making a leap was seemingly just good marketing. In that sense, I suppose, it’s been pretty successful. [OpenCritic note: Jeremy Peel and Sherif Saad separately reviewed the campaign (4/5) and multiplayer (3/5). The scores have been averaged.]
Much like the man himself, John Wick Hex is straight-ahead and unwavering. It sets out to do one thing - simulate the fights of the movies - and does so with consummate efficiency.
If you prefer your pleasures somewhere on the periphery of your attention, you’ll find there are plenty to pluck off the branch here.