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Such cuts mean that F1 2015's ultimately too slight, and too much of a compromise, to unreservedly recommend. It feels less like a reboot and more like a foundation for what's to come, when some of the features that have been excised will be slowly rolled back in. Still, if your passion for the sport hasn't been dimmed in recent months, you may well find that what's at the heart of F1 2015 can quite often outshine the real thing.
It feels weird to be saying this at a time when sequels are far too prevalent, but while Ronin has its moments of brilliance during its short campaign, it ultimately feels very much like a proof of concept for a more generous and balanced game yet to come.
Infinifactory's rich and thick appeal is in the nuts and screws of the manual labour. You may not enjoy many worker's rights here, in the employ of this sour-faced alien management team, but the job satisfaction? It's unrivalled.
All of which makes PlanetSide 2 a real outlier at a time when major console releases are either utterly broken or blandly efficient. This is a game with some fairly major problems, but the rewards are so unique, so thrilling and occasionally thought provoking that even dropped frames, obtuse direction and dumb players can't diminish it for long. This is a game that will not appeal to everyone. Many will fall by the wayside when it fails to play like a normal FPS in the long term. Others will drift away, wearied by the endless churn of battle. That's why the game's free-to-play status is a good thing - those players will have lost nothing for their trouble. For those who click with PlanetSide's cold relentless vision of mass warfare, it can easily become an ongoing obsession. The only way to find out is to sign up and see for yourself.
The experience is admittedly different to that of a well-constructed detective novel, or carefully charted HBO thriller, but the effects are similar. You are captivated, manipulated and spun around by the plot. Perhaps, in an era where filmmakers so keenly play with chronology, and regularly leave conclusions unwrapped, we are prepared for this kind of patchwork narrative, which leaves you, mostly, to draw your own conclusion of what really happened by the end. Or perhaps it would always have worked this well. Regardless, Her Story is a singular, unfamiliar work, essential viewing for both filmmakers and game designers.
The gameplay is good, and very often great, but we knew that already. It's a known quantity. As a Batman story, this is something else. It dares to tackle not just the surface details of the character, but explores his psyche. It portrays him as, frankly, kind of a dick and also as a man of unflinching honour. The Batman of Arkham Knight is a complex, contradictory figure, a hero with real depth and dimension, and we get to wear the iconic cowl for one last mind-boggling night of mayhem. Miss out on that? You must be joking.
A bad game, then? Not at all. Most of the time it's quite a good one. But Woolly World sails perilously close to a genuinely great game, and with little of its own to add, it can only ever feel diminished by the proximity.
As a lifelong fan of Fortean mystery and atmospheric adventures, Kholat is a game I really wanted to love, but it left me out in the cold in more ways than one.
Put like that it almost sounds sinister, like this was made by a committee of scientists in lab conditions. Really it's been made by people who understand the joy of play and, much more crucially, that it's not just about the numbers. In the end it doesn't matter that Heroes of the Storm has 37 heroes, and the competition has hundreds. It doesn't matter that it has more maps, or no items, or shorter games. It doesn't even matter how many players it has. All that matters is it's more fun.
There have been more shocking and provocative things portrayed in the biggest blockbuster games than you'll see and do in Hatred. Maybe that's the point. Maybe this is all a garbled commentary on how normalised extreme violence has become in gaming. If so, it'll take something better than this tedious, glitchy shooter to ram the point home.
It's those three minutes that really count, though, and it's there you'll find the genius and the joy of Splatoon. It's where you'll find a genre distilled, broken down and reassembled, with each piece snapping perfectly in place. It's where you'll find Nintendo charting new territory, and sharing with you the thrills of their own discovery. And it's where you'll find what happens when Mario's maker steps away from the comfort of the Mushroom Kingdom and tries something new: a true modern classic, and one of Nintendo's finest games in a generation.
Basically, the game asks a lot of you, and demands that you pay close attention to every decision you make. While that makes for a steep learning curve, requiring deep thought is hardly the worst sin a strategy game can commit. Slyly funny, satisfyingly deep and yet slick and simple to play, Massive Chalice is a huge return to form for a studio that is overdue a comeback.
The opportunity here was to bundle up the wild brilliance of Magicka and finally deliver a campaign that was as exciting and unpredictable and astonishing as the powers you have at your disposal. Maybe next time.
To its credit Stainless has recognised the scale of the problem and has assured players than it is working to get the game in a stable condition as soon as possible. Until a decent performance can be assured for all, however, or until it's recalled back into Early Access, we have to advise caution.
There are moments of humour (you can, if you so choose, arrange Ortega's record collection by genre and title) and in time both you and your character grow attached to this unseen man whom you serve. The game elegantly communicates a very particular kind of relationship in the period world, in all of its power-dynamics and complexity. Some will inevitably find the lack of formal puzzles, collectibles or many of the other attributes of most contemporary video games off-putting. But Sunset, despite its minimalism, is a rare treat. It tells a story about revolution via the reflection of domesticity, an unusual and thrilling use of the video game medium, and one that expands both its scope and its definition.
Other minor issues aside, such as a need to develop the game's rather basic fleet management UI and a somewhat crippling arbitrary penalty that makes large-scale empire administration more of a chore than it should be, the game is well deserving of the GalCiv name and offers enough in the way of traditional features and modern scalability to secure the series' place at the very top of the 4X tech tree - if not for the five years that Stardock intend to adapt and add to the game, then at least until the next 4X game comes along in a few days time.
Like much of House of Wolves, it feels like part of a more harmonious relationship between Destiny and its players. So much of what has defined Destiny has come through that playful friction between the two - the loot cave, the deliberate disconnects to down Crota and all that glorious cheese - but now it feels like they're pulling together. This isn't a radical overhaul of Destiny, but it's a serious step in the right direction, and it's enough to suggest that the heroic comeback and more widespread adulation might not be too far off after all.
Neon Struct's greatest achievement though is in its brooding storyline, told through tense phone conversations, brief chats on the streets and, most vividly, through the sense of fear you feel when you're kicked out of a supporting institution of near-omniscient power, to a place of want and hiding. The narrative is told with a light touch (characters have names such as Vinod Chhibber and Director Furtwengler) but it feels weighty and relevant, without tipping into blunt moralising. The best kind of science fiction thriller then: one dressed in the style of the future, but engaged with the pressing issues of the present.
It will last you months, yet not waste your time. Above all, it has a vivid, enduring personality, something that is exceedingly rare among its breed of mega-budget open-world epics (and that will probably be rarer still once Hideo Kojima and Konami part ways later this year). For my money, it's the greatest role-playing game in years.
But Windward is neither of those things. After dozens of hours it still has you doing the same monotonous tasks you did at the very start, even as you claw your way to a slightly better ship in which to run your errands. For a game set on the deep blue sea, it's unforgivably shallow where it counts.