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At the moment, it's hard to recommend actually buying it. It's not hard, however, to imagine that the few months when it should have remained Early Access will be able to make the difference - to file off the rough edges, add the missing features, and create a dungeon experience that can appeal to both the hardcore fans out for a challenge and more casual Keepers looking for the darkly dripping horrors of a place to realise their evil whims.
That's Mortal Kombat in a nutshell: looking cool, even if there's not that much going on behind the curtain. Mortal Kombat X has some new tricks on offer, but the fun of the game is in its blood-splattering finishers and cocky jokes.
As a follow-up to 2011's Dungeons, this sequel is much easier to recommend, fixing many of the problems from that game and introducing new ideas that fit better with the genre. It's still only a partial success, however, and between the fussy menus and interface, and the speed with which you'll find yourself resorting to trudging repetition, this still falls short of the game it could be.
And then there's that one special audio cue: pok! You know that sound. You know it! It's the rounded, punchy, friendly smack of a bat connecting with a ball that was already doing around 90. Close your eyes and you can see the aftermath: the heads tilted skyward, the arms dropping to the side. No need to chase after that one. Home run.
This is a game built with love and thorough attention to detail. It is a startling debut for a young team who demonstrate an enviable clarity of design. But it falls short of greatness, perhaps because its main ingredients of hulking foes and one-hit kills cannot harmonise over the course of an entire adventure.
The arcade-like structure and mounting pile of perks and weapons gives Tower of Guns an irresistible, if brief, appeal. There's tremendous fun to be had questing up the tower, amassing buffs and improvements to both your character and their weaponry, and racing against the clock. But soon enough, the repetitious enemy and environment designs begin to tire, and the initial bullishness of the evolving guns feels a little conservative; nothing goes quite far enough. Tower of Guns fails to reach the heights it might have reached, then, but provides an enjoyable run all the same.
What an intoxicating place it is to spend a few hours, too. There are rough edges aplenty, but while the world Affordable Space Adventures conjures is never quite pretty it's certainly immersive, one which draws you in as you struggle in the space between the main screen and the GamePad. This is one of those rare games that could only ever be possible on the Wii U, and if you've any measure of affection or interest in Nintendo's console and what it's capable of, you owe it to yourself to check it out.
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.