There are ways in which the game would have benefited by diverging from its progenitor: it has far too many enemies, while the hospital and prison sections are interminable. But remaking Silent Hill 2 was a mighty big ask and Bloober Team have crafted a fine remake. For fans of the original who want the same experience but shinier, this is an unmitigated triumph, and for newcomers it’s the best way to experience one of gaming’s greatest horror stories.
Still, it’s a typically atmospheric game, with expressive animation, detailed (if restrictive) environments and foreboding chiaroscuro lighting. Fans of Dead By Daylight will feel at home with certain story beats and its use of skill checks to make progress, and it briefly nods to Alan Wake with its camera combat mechanic. While it’s an entertaining few hours, it does feel as if Supermassive have hemmed themselves in with another studio’s story, when they’re much better branching off on their own.
Players must navigate Barnsworth (sometimes tricky without a map or quest log) while helping its scattered citizens with various whimsical tasks. These folk are beautifully animated and voiced with utter charm by comedy performers including Matt Berry, Em Humble and Chris Cantrill. Each is imbued with an exacerbated cadence so they sound like adult versions of the supporting players from Wallace And Gromit. Standout characters include a pair of bickering young supermarket workers, a handyman trying to avoid the advances of a randy fish and chip shop owner, and a conspiracy theorist demanding ‘bring back asbestos’. A particular highlight is the convoluted backstory of Roger the greengrocer and his oddly shaped head. Thank Goodness You’re Here! is a sublime piece of entertainment, as much cartoon as game, with a hilarious script performed by an absolutely top-drawer cast. Developers James Carbutt and Will Todd (who also contribute to the performances) have a style that’s unlike anything else around.
The strategy itself starts off relatively easy to grasp, with the game gradually layering in new features and complexities over the brief campaign’s 13 missions (there’s plenty of multiplayer options for longevity). When the action inevitably overwhelms, players are free to use ‘tactical pause’ to gain some wiggle room. That’s also a good opportunity to safely take in the stunning vistas; it’s just a shame that the UI is a little too imperious, frequently blocking the view. Nevertheless, Homeworld 3 is a fitting return to form for this influential series.
It certainly looks the part: lush, dynamic backgrounds are detailed with cascading waterfalls, impossibly huge machines and enormous mythical beasts. And this is just as well given that players will become very acquainted with the map. When new abilities are unlocked, it’s necessary to return to previous locations that can then be explored further. And in order to keep track of awkward sections, it’s possible to pin screenshots to the map, a neat feature we’ll hopefully see taken up by other games. The Lost Crown is a bold new entry for this series and a great entry point for players new to the genre.
New theatrical set-pieces have been captured using ‘volumetric video’ which means that it’s possible to walk around the ghostly actors as they perform; it’s not quite as spooky as it sounds but it’s technically impressive. While the performances are a big improvement on the original’s famously hammy sequences, they’re knowingly arch and fit right into the setting. And although the mansion design has been slightly tweaked, fans of the first game will feel right at home; the house starts off in a ruinous state but progression helps to bring it back to life by dusting cobwebs and fixing its disrepair. There remains much love for this franchise and it’s great to see new technology and artistry being used to bring it bang up to date for a modern audience.
But, as is always the case with Assassin’s Creed, the setting really makes it stand out. A built-in codex features a treasure trove of historical research, all of which has fed into this version’s immaculate creation and, while its various systemic changes will annoy some, there’s no denying that its representation of historical Baghdad is a joy to explore.
Elsewhere, a revamped tutorial is a genuine attempt to boost the skills of amateur players, making this otherwise neglected mode well worth checking out. While the enormous popularity of FUT continues to dominate the playlist, all other modes tag along as expected. Volta Football has had a little TLC but career modes continue to languish at the bottom of the table. Perhaps one day they’ll get the love they need.
Motorfest is a real looker, at least when cruising between races when it’s possible to safely look at the surroundings. While it lacks some of Forza Horizon’s presentational flair, it at least reins in some of that game’s irritating excesses, such as showering you with cars and prizes at the end of every encounter as if you’ve won the lottery. The game’s ‘playlists’ neatly change up the environment, such as a series of Japanese events featuring night-time races bathed in a delicious blue neon glow. Its negatives are also the sins of Forza Horizon: excruciating banter from AI opponents, a vexatious AI sat-nav, and a pervading sense of automotive fetishisation that will test all but the most ardent petrolhead. But right now, these issues are baked into this relatively nascent genre, and The Crew Motorfest is a strong contender for the lead.
It’s a shame there isn’t an interactive tutorial. Instead the game asks you to sit through a surfeit of text-heavy videos. But then nothing beats actually playing the game to learn its intersecting systems. It really looks the part: the family members all resemble their on-screen counterparts (including the hitchhiker and the cook) and the locations and discordant soundtrack are highly evocative of the source material. These particular games rely on solid post-launch support so time will tell if it will survive and what will be left of it.
Thankfully, its sequel is a calmer affair. Set aboard an ocean liner, it relies on a more subtle creepiness and is much less reliant on clichéd tropes such as thunderstorms, dolls and toy clowns. Away from the constraints of the first game’s mansion, it presents a more imaginative mise en scène and the path forward is mercifully clearer. Overall, this is a good package with plenty of scares, although at times it can feel a bit much, like being bludgeoned by a haunted fairground ride.
Player customisation (historically a really big deal in this series) is laughably limited, the menus are buggy, there’s terrible lag when taking shots, and there’s no proper tutorial to explain how all the complex systems work. And yet it is the best-looking golf simulation around thanks to the heft of EA’s vast resources. Knowing the importance (and price) of the PGA licence, it’s hard to imagine the various issues won’t be fixed. But it was obviously released way too soon and currently sits in the rough.
The game’s AI director rations health and ammo in such a way that players never feel like they have enough resources for the fight ahead. The resultant state of dread rarely lets up over the game’s 15-hour campaign but its meticulous balance mitigates frustration. As well as a serious graphical overhaul, some of the plot has been tightened up and the cheesy dialogue has been rewritten and is performed by new actors. Resident Evil 4 has never looked or sounded so good, and for new and returning players alike, this is now the definitive way to play.
The standard multiplayer generally retains the series’ three-lane structure, although some new maps (including one set at the aforementioned border and filled with explosive cars) smartly mix things up. With the huge success of Call Of Duty’s battle royale, Warzone, and its enormous player counts and vast maps, it almost seems like a novelty to indulge in short multiplayer battles with regular bursts of spawn/kill/die action. The Special Ops co-op mode also makes a return, although it’s less distinct than previous entries and it hews irritatingly close to Warzone’s expanse. It’s strange to see Call Of Duty so circumspect but overall this is an impressive package.
It wouldn’t work at all if the player hadn’t put in hours of preparation, although some might find their patience is stretched before the penny drops. Charlotta Mohlin (Agents Of SHIELD) deserves praise for her extraordinary work in these scenes, alternating between malevolent entity and misunderstood victim. Underpinning it all is a breakout performance from Manon Gage. If she wasn’t utterly convincing as the story’s doomed ingénue then the whole narrative would fall apart. Immortality is a remarkable moment in gaming and it’s hard to imagine how Sam Barlow could ever top it.
And so to the finale. If you're new to the trilogy then just ignore the naysayers and enjoy the ride. Long since Mass Effect 3 sent fans into a rage they've had Game of Thrones and The Rise of Skywalker to focus their ire, but this game's ending deserves no such hostility. The failure of 2017's Mass Effect: Andromeda thwarted Bioware's plans to expand the universe (exploring a different galaxy) but a sequel to the original trilogy was announced in December. In the meantime, this is audacious, epic storytelling filled with wonderful characters and spectacular locations, the likes of which we've not seen since and we're unlikely to see for some time.
Although the plot can't quite live up to its predecessor's superb twist, it's compelling enough to drive the story over 10 hours to a satisfying conclusion. While Resident Evil Village doesn't add anything transformative to the genre, it liberally pays homage to some of the very best bits from a series that's – incredibly – endured for more than a quarter of a century. If only it had better capitalised on its most striking character. Still, she's a vampire, so maybe next time?
The co-op PvE shooter has entered something of a renaissance recently, particularly thanks to the success of Back 4 Blood, although whether or not Extraction has the staying power to sustain an active community remains to be seen. Exploiting the popularity of the Siege universe is a canny move, but for every Left 4 Dead (still going strong) there's an Evolve (now long defunct). Extraction's high difficulty, even on the easiest setting, walks a fine line between alienating casual players and giving hardcore survival fans something to chew on. But the enduring familiarity of its specialists gives it a fighting chance.
Where God Of War comes into its own is through its extraordinary combat mechanics, with Kratos' Leviathan Axe one of the most satisfying gaming weapons ever. Presented as a single camera shot, the game is technically audacious with awe-inspiring backdrops, gigantic foes and detailed animation which brings real pathos to these characters. Among all the Sturm und Drang, it's ultimately an intimate tale of familial bonding, and a story that will stay with you long after it ends.
Battlefield's USP has always been its large-scale battles, and 2042 delivers these bigger than ever before. After some serious teething problems it's now in a much better place. The (slightly) futuristic arsenal is punchy, there are many more gadgets than we're used to, and its vehicles will always be a great test of teamwork and patience. It does feel a little sparse at present but much more is promised, and based on the support given to previous entries in the series, its future is in safe hands.