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Final Fantasy VII Rebirth is so good, it nearly wrecked my life.
In a sea of exemplar video games released in 2023, “Alan Wake 2” is the work most interested in pushing the boundaries of its franchise, its genre and even its medium.
The problem arises when you may realize what I did: I’ve felt all this before.
Mortal Kombat doesn’t need to and probably shouldn’t “grow up.” Eternal adolescence is the point. But to stay young, it just needs to shed the old.
The technology may fail, but the human experience as a messy, impetuous thing remains. Because of that, “Starfield” makes the right sacrifices.
Final Fantasy XVI remains an eloquent, sturdy work that achieves almost everything its creators hoped. It is not the most innovative Final Fantasy ever made. It’s just one of the best.
Ultimately, the lore isn’t the main attraction, and isn’t the reason the Zelda series has endured for almost half a century. What’s more compelling is the game’s nod to the collective story of how human imagination pushes us through our toughest challenges, and sometimes sends us soaring to heights unseen.
The remade “Resident Evil 4” feels more vibrant and present than just another rerelease of a technical product. It’s like reliving a fond memory. It’s like coming back to your childhood bedroom after all these years. Fittingly, the original series started as a remake, of the 1989 role-playing game “Sweet Home.” And even if some of the pieces are moved around, the new version still feels like home, sweet home.
“Forspoken” doesn’t do anything new for the open-world genre of games, but it does offer just enough to distinguish itself, mostly thanks to Frey and her magic spells, and a story that’s able to stick the landing.
“Engage” continues the series trend of mashing up tactics and RPG elements, but while the latter falls flat and feels out of place, it excels in the former. And if my biggest qualms are with the game’s least Fire Emblem-y parts, I consider that a solid entry in the series.
This uneven mix of humor and design keeps “High on Life” from ever feeling like a natural combination of video game and traditional comedy, even if there are plenty of moments where glimpses of some better blend of the two elements appears. What’s here is worthwhile for audiences curious about the concept of a comedy shooter, but it’s too uneven and stiflingly desperate to please to recommend beyond that.
I still haven’t made up my mind if I’m going to be returning to “World of Warcraft” any time soon, whether it is to see how “Dragonflight” evolves from here or to try out future expansions. But after all these years, I’m glad I returned to witness the start of a new journey for a group that spent decades in stasis. Seeing the Dracthyr regaining control of their fate gave me hope that the next time I visit Azeroth, the people behind this world might have freed themselves from their historic shackles.
“Dwarf Fortress” is a storytelling engine as much as it is a game, spitting out associations and facts and details that you can shape into a coherent and specific narrative. This is also what we do to our own lives, personifying random events so that they feel significant rather than a matter of chance. Life isn’t usually a satisfying narrative. It isn’t so much that “Dwarf Fortress” is a perfect simulacrum of life, but that it shines a bright light on the human tendency to look for meaning in everything. I care about my dwarves because the stories I make up about their lives are also the ones I make up about my own.
There are glimpses of something special in the Hello Neighbor franchise, and Eerie Guest promises in an end game screen that more content is forthcoming. Let’s just hope whatever they come up with offers more horror and more intrigue — and less mystery around why we’re playing these games in the first place.
In the end, “Need for Speed Unbound” is a street racer simulator that nails what it sets out to do. The style that you can bring to the racetrack goes from you to your car and even the comic-book graphics you summon with your racing skills. At the same time, it doesn’t feel arcade-y; it still feels like a beautiful racing game. It doesn’t sacrifice style for substance, or vice versa. It just brings one of the best racing experiences of the year.
Striking Distance’s debut is a swing and a miss, but “Callisto Protocol” ends on a cliffhanger. If the studio decides to revisit the series with a sequel, I’m hoping the second outing will be better than the first.
These issues are not unique to “The Devil in Me.” “The Quarry” often felt uneasily patched together, struggling to reconcile all of its plot threads. All of this raises a question that haunts the experience of Supermassive’s games: Amid players’ expectations of visual fidelity and complex narrative, how sustainable is a format where, at any point, any fully voice-acted, motion-captured character can die and be cut from the game in an instant?
One thing Game Freak does have working for it is that people want to play this game. People want open-world Pokémon. Game Freak may be struggling to get there, but it’s been really cool to be able to see it getting closer with each new generation.
There are funnier games out there, from the refined comedic diction of “Untitled Goose Game” to the sardonic humor of “Portal.” But it’s the thrill of discovering ludicrous scenes, and the delight of digging into every crook and cranny in search of more absurd secrets to unearth, that elevates “Goat Simulator 3” above the one-note joke of the original game. Take a long walk along a quiet street, or hitch a ride on a moving van toward the next city. Perhaps you’ll spot the sigil of Baphomet, or meet a clandestine group of occult worshipers, hidden behind the dense foliage of bushes and low-hanging trees. Drag a scarecrow into a satanic circle or two, and see what unfolds; it’s usually an unexpected treat.
It’s going to take “Warzone” veterans a little getting used to.