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I liked playing Banished. It was complex, but never fiddly, difficult, but rarely cruel, though it would benefit from a little more transparency. But as soon as I had a handle on it, as soon as I'd started to see through some of the fog of its complexity, I wanted to grasp for something bigger, something greater. Banished is satisfying, but never spectacular. That's not quite enough for me.
It never hits the heights of Battlefield in its pomp, Call of Duty at its slickest or Titanfall in its explosive beta, but at its best Garden Warfare stirs the same emotions; the panic, the triumph, the tension and the elation. Whether anyone will stick with it once the Titans Are Ready is unsure, but PopCap has overachieved and delivered one of the most likeable games on next-generation hardware anywhere. Quite simply, I dig it.
At times the game suffers from a lack of ambition, placing far too much importance on the tiresome looting of endless cupboards and dressers in the vain hope that this will be enough to propel you forwards. In other places, Thief suffers from too much ambition, unable to draw its systems into a cohesive whole. Whether the game simply needed more time or entirely different foundations is never quite clear. Either way, it's a game that adds up to less than the sum of its parts.
It would have been nice to report that the underdog turns out to be a unstoppable champion, but that was never realistically on the cards. So instead we get this: a cheesy, silly, mindless romp in which hordes of identical bad guys get turned to sticky red paste under the furious gaze of your twitching gun barrel. It's certainly not a good game, but it is a game with zero irony.
Had this game been released a decade or two ago, it might have been seen as a classic of its type, alongside Super Metroid and Symphony of the Night. But today, at the tail end of a wave of Metroidvania-style games, Strider fails to stand out. It's a competent, workable game that draws inspiration from the right places, but which is rarely anything more than a cover version of the greats.
Perhaps I don't need to tell you that this game made me laugh - not gently or under duress of slow realisation, but in staccato outbursts which alarmed and unsettled passers-by.
It's a shame Octodad leans so heavily on traditional gameplay tropes like boss fights and stealth sections in its second half, especially when the opening sections suggest something quirkier and more inventive - but taken as a whole, it's still a minor triumph.
Hectic local multiplayer madness ensues in this punkish flurry of colour and violence.
Might & Magic 10: Legacy feels like a pleasant throwback to dungeon crawls of decades past, but its limited scope and combat-heavy focus might put off those pining for the freedom afforded by the more recent Elder Scrolls games, or the wordy character interaction of a Dragon Age. Nonetheless, for those keen on poring over stats and comparing colour-coded loot, it serves as a modern introduction to those games' precursors, delivers a heady blast of nostalgia, and preserves a little slice of history.
Besides, there are worse things in life than being encouraged to get your money's worth from Nidhogg; to put the TV somewhere everyone can see it, to get some pads linked up and throw a local multiplayer party. Rounds of Starwhal: Just the Tip and Samurai Gunn, leading up to a Nidhogg tournament? That evening would be priceless.
Nevertheless, despite its unevenness and occasional cruelty, Teslagrad is a bold and captivating proposition. The unusual and elegant aesthetic is persistently attractive, and the lightness of touch with the storytelling brings the world-building to the fore. Its Nordic development team are fledgling (this is only their second game) and there's fidgety keenness to the game's ideas and creative execution. Teslagrad would have benefited from a more experienced publisher to help round off the sharp edges and better balance the challenge. But in the meantime, this is a rough yet worthwhile jewel.
It's a real pity. Wii U's eShop has been starved of decent fare of late, and Nintendo should be leading the way. Yet it's easy to see Dr Luigi as a symptom of the current malaise affecting its home console business. It features a strange gimmick no one's really that interested in, it highlights an increasing reliance on past glories, and most will find it somewhat overpriced. The outgoing Fiscal Year of Luigi draws to a close with a whimper, then - here's hoping the coming months see Nintendo offer a more convincing tablet-based cure for what ails it.
Despite the range of games on offer (everything from motocross to pinball) there is an inevitable sense of repetition, perhaps because the original games themselves were, behind the artwork, less distinct than they first appeared. As with many reconstituted products, NES Remix is immediately delicious, but inspires an obsession that it can't sustain for long.
Disappointment? Underwhelming? Those criticisms are far too harsh for a game that is undeniably delightful to play, but they carry a sting of truth. Pleasant but undemanding, gorgeous but lacking in depth - fans will be forgiven for expecting something a little more chewy, a little more experimental, from a developer who made his name by turning adventure games upside down. Here's hoping Act 2 builds some gameplay muscle to go with the supermodel looks.
The Banner Saga's strong mechanics are enhanced by a compelling storyline and characters as colourful as its visual palette.
But there is no denying the sense of accomplishment when you solve a puzzle, arranging the branches, vines and spouts of water in the correct way and then successfully manoeuvring Max across them and safely into the next screen. It's a game that makes you feel smart and, unlike Limbo, never surprises you with unforeseeable traps: there is always an opportunity to stand back, assess and, finally, execute. It's a somewhat short, enjoyable and inoffensive game that delivers on the potential of its mechanical promise, if not its narrative premise.
For all its charm and ambition, Redshirt can't even come close to realising that goal, and inevitably ends up as a fairly flat and repetitive exercise in meaningless random text and mindless icon clicking. In that sense, it's arguably a perfect simulation of real-life social media, but it unfortunately doesn't make for an edifying game experience.
It's an interesting short experiment in narrative choices, then, but perhaps I'm just missing the point because I'm single, young, childless, and will never be able to afford that house. In any case, I really hope Mr Ghost gets to flip a table over one day or spew some food just once, because he's really earned it.
As far as the score goes, on Steam The Walking Dead is only available as a single purchase. As there's no way to predict how it's going to shape up, however, we'll be scoring episodes on their own merits and relative to each other, with a look at the entire sweep once it's all in our hands. All That Remains does a great job of reintroducing the series, and switches things up in a way that could have tripped up harder than Lee over a tree branch yet feels like the only way the story could have been continued. As bleak and terrible as the Walking Dead universe is, it's great to be back in it... and of course, to be able to leave.
But any time Risk of Rain loses its sheen, you can always start again, with a new character. You can always go online with friends and enjoy the game's robust co-op mode. And starting that new game is always so appealing because of the slow opening. You're free to warm up, to find your first few items, and see where this game is going, before things slowly accelerate into panic, dread and near-inevitable death. Lovely!