Ghosts, in and of itself, is a fine game. It ticks all the boxes and then blows the boxes up in glorious 1080p resolution (on PS4 at least). Those who only ever play COD will be more than happy with it, but those who have grown weary of the series will see more of their ambivalence justified this time around. Infinity Ward had a chance here to throw down the gauntlet for the next hardware generation, to set the new standard, to show that this hugely popular, much derided behemoth can dance to a different tune. It's chosen to play a Greatest Hits package instead.
Such ambiguity is only possible in an indie game, and anyone who played the early access alpha will have seen that Blackpowder has already evolved its ideas drastically to get to this proper release. I doubt the improvements will end there, and with more refinement Betrayer can only become more interesting. It's a sinister journey, but one well worth taking.
Disappointment? Underwhelming? Those criticisms are far too harsh for a game that is undeniably delightful to play, but they carry a sting of truth. Pleasant but undemanding, gorgeous but lacking in depth - fans will be forgiven for expecting something a little more chewy, a little more experimental, from a developer who made his name by turning adventure games upside down. Here's hoping Act 2 builds some gameplay muscle to go with the supermodel looks.
It's very easy to be caught up in the giddy swirl of this DLC, but the rush is rather short-lived. In many ways, it's a spiritual sibling to Far Cry 3's Blood Dragon expansion. Both are fuelled by a heady brew of nostalgia and adrenalin, and both have tongue so firmly implanted in cheek that it bursts out the other side. Where Blood Dragon built to a manic crescendo, however, after the first few hours SUDR3ARHEEXPA too easily turns into a fun but flawed grind for all but the most dedicated Capcom aficionado.
Anyone who followed the game through its early-access period - which has now come to an end - will have seen how it has evolved in leaps and bounds. But it still has some way to go to truly fulfil its potential. The later hours of the game, in particular, feel like they need a little extra something to make finding those last few crystals into a gameplay crescendo instead of an exhausted stagger over the finish line. Even so, I've found myself going back to it, starting new worlds while juggling others in progress - largely because, even in the cramped indie survival game genre, there's nothing quite like Sir, You Are Being Hunted.
It's hard not to see the ways in which this could have been more ambitious, more innovative in the way it dusts off the past, but equally it's hard to blame Codemasters for simply giving Micro Machines fans exactly what they wanted, just how they remembered it. As a budget-priced reminder of simpler times, Toybox Turbos does everything it needed to, but sadly not much more. Here's hoping it leads to a genre revival - and a bolder sequel.
Primordia is delightful, smart and packed with personality, but it also comes to a close just as you're ready to explore more of its engrossing world. Leaving the player wanting more is no great disaster, of course - and the truncated length makes it tempting to go back and try to earn some of the different endings - but it still feels like a really good game that is only a few drafts away from greatness.
Much like the recent MouseCraft, which at least had a Tetris twist, Flockers struggles to move out of the shadow cast by Lemmings' brilliantly pure concept. While that adherence to a classic template yields considerable amusement, over time the features that should have lifted it higher start to become frustrating. Not only does it not move beyond the 1991 formula in any meaningful way, in the long term it struggles to match it. Flockers is not without its appeal for the patient and nostalgic, but Team 17 is ultimately just grazing on DMA's old patch when it could be striking out for pastures new.
First Light's weird, limbo nature makes it a hard one to pin down. Considered as a DLC add-on, it's pretty generous and fans of Second Son will certainly appreciate the extra backstory and another chance to romp around Seattle. As a standalone game, it earns points for trimming the fat from the open-world template, but is also as generic as they come. First Light is an adequate diversion for fans but unlikely to dazzle anybody else.
MouseCraft is always, noticeably and unapologetically, Lemmings meets Tetris - and like the mice of its title, it seems happy to scrabble about in the twin shadows of its genre-defining inspirations.
And it's that underdog likeability that rescues Soul Suspect from the lower reaches of the score table. It's a Good 6, that delightful strata of games that stumble in the technical aspects, but compensate with personality and charm, somehow all the more enjoyable for their imperfections. I can't pretend that Soul Suspect is a particularly great game, but I do know that it's the sort of game I'll still remember - and remember fondly - in five years' time, which is more than can be said for most of its glossier rivals.
It's a rusty cutlass in the heart of a sequel that, otherwise, is progressive in small but welcome ways. The series still lacks a worthwhile identity of its own and is too quick to run away from its piratical setting in favour of more familiar fantasy archetypes, but for surprisingly hefty chunks of Risen 3 I was drawn in and entertained, at least until another clumsily staged battle soured me again. For those who have been able to cut through the clutter and clumsiness of the series so far, this may well be a small hurdle, and you'll discover a commendably deep and full RPG for your trouble. It's just a shame that such a fundamental feature as combat takes the shine off what could have been the sequel to make Risen popular beyond its small audience of devotees.
There's plenty to like in Firefall, but not much to love - and that's the passion it needs to evoke in order to get you spending on those Red Beans that will open up the game's more interesting tools and let you progress faster, both upwards through the levels and through the world itself.
Concursion is a little too shaggy, a little too loose in control, to reach that level. An interesting game, then, and sometimes a brilliant game, but one that demands a little too much patience and forgiveness to fully appreciate.
It would have been nice to report that the underdog turns out to be a unstoppable champion, but that was never realistically on the cards. So instead we get this: a cheesy, silly, mindless romp in which hordes of identical bad guys get turned to sticky red paste under the furious gaze of your twitching gun barrel. It's certainly not a good game, but it is a game with zero irony.
If all you want is a way to run around and shoot things without troubling your wallet or imagination, that may be enough to justify the time it takes Warframe to download. It's hard, though, to shake the feeling that the only reason this game is free to play is that nobody would pay money for something so scrappy and generic.
Maybe we've simply done everything there is to do with Spider-Man in a video game and all that's left is diminishing returns. And that kills me. It really does. Even in the worst of recent Spidey games there was always that fragment - that little sputtering flame of childlike excitement - that could kick in once you swan-dived off a skyscraper, clad in iconic red and blue. It's gone. Sullied by lacklustre gameplay and trampled by technical shoddiness, this time Spidey hasn't been done in by the Sinister Six, but reduced to a Terrible Two.
This lack of direction is an especially ironic failing for a character who was once defined by his single-minded forward momentum. The time is clearly long overdue for Sonic to take a well-earned rest, get his breath back and only return once Sega has worked out where he's supposed to be going. It pains me to say it, but Sonic Boom needs to be the last noise we hear from the blue hedgehog for a very long time.
A ridiculously generous and thoughtfully presented compilation packed with bona fide classics and obscure gems.
It's just a shame that given the obvious talent and passion involved, it doesn't really have much of its own to add to the Metroidvania template. As charmed and delighted as I often was with its smartly paced escalation, its perpetually teasing construction, I kept waiting for some new element to appear, a eureka moment that either hadn't been thought of in 1986, or that could only be done today. It never quite happens. Axiom Verge seems content to be a homage, rather than a revival or reinvention. That's fine, since there's already plenty to justify your interest, but it feels like Happ has more to contribute than he's showing here.