You can sense, in Weird West, a developer both returning to his obsessions and toiling on a fresh frontier.
And yet, despite its obvious muses, Tunic manages to rise above mere flattery, by paying deeper homage to the medium itself.
Most potent of all, there is a strain of urban fear running through its design—not of monsters but of the city itself as an isolating entity, rendering you unreachable.
Polyphony has delivered an airtight flight from the everyday, rich in escape yet rooted in anything but fantasy.
If only Dalcò, rather than honouring his heroine by smothering her search for truth in confounding gloom, had abided by her love of illumination.
There are no other dynamics quite like it in games; they acquaint us with an array of miseries and charge us money for the privilege.
With Horizon Forbidden West, Guerilla is armed with the grunt of the PlayStation 5, and we get not just a catalogue of alluring tones but a richer palette of ideas.
The coup of Sifu is that this process mirrors that of the hero; I was continually tempted to ditch my progress and start afresh, furnished with new knowledge at the expense of a little more life.
Whether OlliOlli World charms you or chafes at your patience will depend on your appetite for such whimsy.
Indeed, if, like me, you have a weakness for the zombie-hued, and for the sway and flail of first-person platforming, then Dying Light 2 is easy to recommend.
More than any other studio, Ubisoft is willing to mutate its existing IPs until they scarcely resemble what they once were.
Where Solar Ash goes from an intriguing ambient platformer to one of the year’s most fascinating releases is in its fixation on living as an act of being stuck.
But it is, right now, where 343 has succeeded with Halo Infinite—where it has taken us full circle and where it is looking ahead. I will leave you with the words of Cortana: “This isn’t an end. It’s a chance to make amends. To rectify mistakes. And it starts here.”
There remains about Pokémon Brilliant Diamond the glint of something far gone, and there is something warmly reassuring about the place.
If these games shaped or changed you, you might find the notion of their being shaped and changed, in turn, an unwelcome one.
Its narrative is fractious and slight, compared to Sledgehammer’s previous work, but the chance for a chaotic, target-rich experience with friends exerts a stronger pull than usual.
It may well be more of the same, but Mexico beckons, ravishing the eye and devouring up the miles.
Where Marvel’s Guardians of the Galaxy proves most winsome, however, is in its twining of the intergalactic and the terrestrial.
If only House of Ashes were possessed with something malevolent enough to actually scare us; sadly, it commits a litany of sins, none of them original.
In Back 4 Blood, we have been given a finely tooled zombie shooter, but it lacks the power of the original.