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Behind the stylish black and white art is a puzzle-platformer that really wants you to enjoy yourself.
All of which feeds into Ride's bigger problem. There's not quite enough here to satisfy bike lovers, and certainly nothing to make bike lovers of the merely curious. Ride isn't a failure, but nor is a particularly great game, and like Milestone's previous efforts it's a noble attempt that just falls shy of its targets - even if it does often succeed in scratching an itch you might not have known was there.
A technically impressive port of a masterly RPG, though the small screen ultimately proves too restrictive for a game of this scope.
Like most roguelikes, though, the true game is about fighting back against the randomness, and you do this with each lesson you learn about the sorts of augmentations to prioritise, and each trick you uncover for minimising battle scars and maximising scrap. If you've got the stomach for the learning curve, you can probably cut it in this army. And if you can, you'll discover a game that's tense and personable and clever.
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.
The structure underlying Bloodborne is not just original but coherent, and because of this the impact of everything it does is commensurately greater. This is total design. It feels wonderful to have a world like this and, over a week of solid play later, feel that there's so much more to discover. And it's awful to know that, in all likelihood, it will be a painfully long time until I play anything else that matches up to Bloodborne's breadth of vision, generosity of content, and - yes - genius.
In keeping so close to the Baldur's Gate/Infinity Engine template, Pillars of Eternity can't help but inherit a few old flaws, and it would have been nice to see a bit more personality of its own shine through its carefully traditional design and shell. That said, what most stands out is just how well it manages to modernise the experience of playing those games and stand apart from them as an epic adventure in its own right. It's an RPG with design firmly rooted in nostalgia, but one that absolutely doesn't rely on it to be enjoyable today. Instead, it's both a great reminder of why those games worked so well, and a brand new adventure well worth the hours upon hours (upon hours upon hours) that it takes to pick away at its secrets and its world.
And as a game in its own right? You can't accuse it of being short on content, features or ideas, but it's hardly long on them either, and it's a shade overpriced for what it is. Perhaps worse, you can tell that Tipping Stars is a game made with care but without passion, a game that isn't its own raison d'�tre. Like the little clockwork Marios marching toward their goal, it's got purpose, but it's not the real, joyful thing.
Returning to Skyhold after playing the DLC I feel like it was an adventure worth taking, if not one that has particularly changed my Dragon Age experience in any meaningful way.
Hardline is a solid entry in the series, and the fact that it seems to have launched without technical issues is notable though not really something that should need to be commended. It's doubtful that it will end up as more than a stopgap for fans, however.
Revelations 2 is a great spin-off title, and manages the uncommon balancing act of making series fans happy while offering something new.
Such is the quandary at the heart of every long-running game series. Type-0 HD bears all the hallmarks of a game simultaneously keen to escape its past while being forced to embrace its heritage. At its best, it's a fine, smartly-paced action-RPG with thrilling combat mechanics that just happens to be a better fit for a handheld than a home console. But, crucially, it represents a promise unkept: this isn't so much a blend of new ideas, more a melange of existing ones. It may have been conceived as a fresh start for Final Fantasy, but Type-0 is more often a false dawn.
That distinction between the two doesn't retroactively make SimCity a better game. A failure is still a failure. It does, however distinguish a visionary-but-broken game and one that works enough to please an itch without pushing boundaries. Skylines is a merely competent game that's smart enough to let the community innovate for it. All its problems and all its genuine innovation will come from the creative ambition of its players. It's comforting in a way, because with that you feel that you share your struggles with a larger community, but there's still the nagging feeling Cities: Skylines lacks a magic of its own.
Such is the nature of a game that's trying to offer something for everyone; invariably, there's never going to be quite enough of the stuff you like. And perhaps Mario Party's desire to be truly inclusive will always hold it back from being a classic. This is, at least, in the upper echelons of the series: a little short of the Hudson Soft heyday, maybe, but better than every entry since the fifth, and certainly superior to the anaemic eighth entry and the pointless handheld versions. Wii U owners already have deeper and more substantial multiplayer options, but few - if any - of them are quite so welcoming to all.
Lush appearance and polished mechanics are not to be sniffed at, of course, and even if the game's long term appeal never quite reaches the dizzying heights its first impressions hint at, the difference is barely worth quibbling over. It's no exaggeration to say that Ori and the Blind Forest is still arguably the best Microsoft console exclusive of the last six months.
Still, small beans in a game that is otherwise so elegantly put together. Starships isn't Civ, but it is Sid, and that's fine by me.
Speaking of replays, occasionally, on a very long pass, the ball will just freeze in the air, immobile as one turn ends and another begins. It's beautiful: so much attention focused on something so seemingly trivial. The ball hangs in space, while everyone on the ground rushes to switch up their plans to take into account where it's going to land. Adaptation, anticipation, creativity: this is what strategy is all about - and this is a game that really gets it.
Hotline Miami 2 leaves me conflicted. There's lots to love here, but the structure makes it difficult to explore and exploit. It's still an absolute riot to play, and the urge to press on remains compulsive, despite the narrative hi-jinx. Its failings are never enough to truly spoil things - Hotline Miami 2 is definitely to be recommended. It's the sequel that everyone expected, perhaps. But I'm not sure it's the sequel the original truly deserved.
It certainly doesn't help that the debt to the superb Hotline Miami is so obvious. As I wrestled with the gluey movement and bizarre AI to find the fun in LA Cops, I was painfully aware that I could be having that fun already, in a more stylish and polished form, just by scrolling up my Steam library. As Omar so wisely said in The Wire, you come at the king you best not miss. LA Cops shoots way too wide of the target.
The star of the show isn't your foes, though, and it certainly isn't the fascist 'goodies' you're cast as in this knockabout imperialist satire. The star of the show is the panic that's generated as you head into adventure, knowing that you're this close to screwing everything up for your team in a darkly hilarious manner.