Exodus isn’t content to just be one kind of first-person shooter. After an open first half focused on survival and exploration, the latter portion plays much more like its linear predecessors, to mixed results. The final two of Exodus’ four major locations suffer from their own particular issues, as well as more exasperating versions of issues that pop up all throughout the rest of the game.
Pillars of Eternity II could've been brilliant were it more focused. It has a lot of good ingredients—scraps of interesting narrative, clever characterizations, a complex faction system, and pirate-themed spins on the RPG tropes of yore. The game's got so much unfulfilled promise that, even though I think it's a plenty enjoyable game on the whole, I can't help but feel disappointed by it.
Blood and Wine is equal parts triumphant and somber, a reminder of all the great times we’ve had with Geralt and some of the shitty things we’ve done in his shoes. It’s about facing down the totality of Geralt’s in-game legacy and—instead of regretting or redoing it—coming to terms with it.
Tales from the Borderlands episode two is, on the whole, a solid entry in what's becoming a darkhorse contender for my favorite Telltale series, not to mention an instance of Telltale finally going all-in on character moments.
I do not believe Transistor is everything it could've been, but it's still close enough that I won't hesitate to recommend it to basically anybody. I critique because I love, and that second part is especially true in this case. Transistor's got brains, heart, and a knack for always knowing just what to say and when to say it. And also, perhaps more importantly, it knows precisely when it's better to say nothing at all.