PCGamesN's Reviews
It's a rare misstep, however, and despite it, Amid the Ruins is another phenomenal episode, building up to a finale where I can honestly say I don't have a clue what's going to happen. All I do know is that it can't be good. I hadn't noticed it until now, but Clem's journey has been mirroring Lee's from Season 1. And like her adoptive father, she may very well find herself being judged come the finale. I'm not looking forward to it.
When I play Divinity: Original Sin, I'm back in my parents' study, gleefully skipping homework as I explore the vast city of Athkatla. I'm overstaying my welcome at a friend's house, chatting to Lord British. And it's not because the game is buying me with nostalgia, but because it's able to evoke the same feelings: that delight from doing something crazy and watching it work, the surprise when an inanimate object starts talking to me and sends me on a portal-hopping quest across the world. There's whimsy and excitement, and those things have become rare commodities. Yet Divinity: Original Sin is full of them.
It's not just a great, surprisingly insightful game. It's also true to the literary genre that inspired it and Bill Willingham's Fables comics. The moments of reflection that Cry Wolf offers aren't just in regards to Bigby. The very real issues of invisible, disenfranchised people and the inability or simple lack of interest that administrations have in protecting them is central to the game. That's why I'm left feeling uncomfortable, but desperately wishing for a second season.
New or returning player - it doesn't really matter. This is Company of Heroes 2 at its best, a standalone that focuses on the series' core: man and machine duking it out across Europe. Those seeking a narrative will find plenty of stories in the tense battles amid crumbling towns and dark forests, so the campaign isn't missed at all. There's no fluff, and while there are lots of maps and loadouts to consider, one can still jump into an entertaining, dramatic battle right off the bat.
Distant Worlds: Universe is an exceedingly complex, infinitely rewarding space strategy game. It's made me more excited about the genre than any other game of its kind since Galactic Civilizations II. All of those numbers and systems that hold the simulation together create these dramatic stories, ones about gallant captains constantly pushing back the frontier, races under the thumb of pirates rising up and taking back their independence and wars between empires that spread throughout the galaxy like wildfire.
Beginning as a universally relatable fantasy about overcoming red tape, The Fall winds up as a game about identity and civil rights without ever talking too much or treading too clumsily. The fact that this is the first episode of a larger game only makes its climax more thrilling. Just as there's a sense that your powwers are building as you play through The Fall, there's a feeling that developer Over the Moon's powers are building too. We like who they're becoming.
By the end, most of its sights and systems will be all too familiar. But between its uniquely provincial setting and dedication to undergrowth stealth, there's more than enough novel in Sir that you'll gladly be the rabbit in its lights at least one time through.
It is Open World: The Game, and as such, struggles to find an identity of its own beyond its entertaining hacking hook and the inspired multiplayer. But those two elements make up a sizeable portion of the game. There are moments of genuine brilliance buried in the game that elevates it above mediocrity, but its reliance on increasingly tired design does it a disservice.
In Sheep's Clothing is a bit short and not as shocking as previous episodes, but it is darkly unsettling and deftly sets the scene for the closing of this horrific case. And we're left with one final cliffhanger. Standing in a room, surrounded by enemies. The question is: who's getting out?
At number 5, we're still seeing iteration rather than revolution. Everything that's great about Tropico 5 is built on the same foundation that all the previous games have built on. That's a solid foundation, of course, but it's become a bit too familiar. There aren't any surprises to be found here. But just as familiarity can breed contempt, it can also provide comfort. Returning to Tropico remains a delight, and the drive to plonk down one more hotel, oversee one more year and win yet another election continues to make it the sort of game that can swallow hour after hour.
With its awful characters, inconsistent voice acting and combat hampered by problematic enemies, what little there is to enjoy is whittled away. It's something to be tasted when absolutely starved for RPGs and could provide enough sword and sorcery shenanigans to tide one over until something more appetizing comes along, but it's unlikely to prove fulfilling.
The journey through Drangleic needs to be experienced. It's a marriage of phenomenal world design and impressively tight mechanics. And then it probably needs to be experienced all over again through New Game +. It's undoubtedly bloody hard work, but that just makes every sliver of success precious. Hurrah for Dark Souls II.
I never expected Smite to worm its way into my roster of games I keep playing after review. It's a small number because there isn't enough time in the day for more, but Smite's going in there. It will likely be my go-to MOBA, at least until Heroes of the Storm. There are still almost 40 characters I've barely played, many not at all, and I confess that I might even chuck in a bit of money so I can grab some of the ridiculous god skins. Catwoman Bastet, Sith Lord Sun Wukong: they are absurd and I must own them.
Warlock II might take place in a silly universe where narrators like to impersonate Sean Connery and kingdoms are ruled by regal rats or chatting skeletons, but Ino-Co has taken its construction very seriously. It's exactly what a sequel should be, keeping the spirit of the original but improving every aspect.
Zenimax have a lot of work ahead of them to turn TESO around.
Had I not known that this was the work of Jane Jensen, I honestly wouldn't have believed it. And when there are so many adventure games coming out during this renaissance, it's hard to see why anyone would choose this over, say, The Walking Dead or one of Daedalic's traditional, bloody hard adventure games.
I'm completely invested now. I worry about Bigby. I'm pointlessly going through the decisions he made, I made, attempting to figure out how they will change the way the rest of the fables' view their protector. But most of all I want to finish this case and catch whoever is responsible for this titanic mess, and then rip his limbs off. Bigby's indignation and quest for vengeance is infectious.
Betrayer is an FPS where the shooting is lackluster and the enemies annoying. An adventure game where investigations are restricted to looking for objects on the ground. It is carried by artistic flair and - when it works - impressive audio design. As the violent encounters started to drain me of my energy and the plodding search for clues started to drain me of my sanity, I weathered it all because of my burning need to finish the story and my mission. I needed to put these souls to rest. But mostly I just wanted it to be over.
I wonder if, accidentally, Goat Sim might be one of the best kids games going: an ungulate enhanced remix of the Lego series, that proves that breaking is at least as fun as building. It is hard to feel mean about a game that inspires that kind of reaction.
Burial at Sea was a little over excited to return to Rapture, donning a film noir trilby that soon fell off to reveal clunky set piece combover, but Part Two is far more comfortable in its own skin. It integrates the fighty and the talky enough to make Rapture feel a more dangerous and believable place, discards the impenetrable conceits with which the first DLC began, and brings an almost seven year old series full circle and to a satisfying end. What a wonderful trick, and a fitting note for one of PC gaming's best loved studios (as we know them, at least) to bow out on.