PCGamesN's Reviews
I'm not sure if anything is worth waiting 11 years for, but if it was, it would be Age of Wonders III. This isn't Duke Nukem Forever, shoved out the door to exploit ravenous fans. Nostalgia has a lot of weight, and this definitely feels like something that could have existed over a decade ago when we were swimming in turn-based strategy, but that's not why it's great. It builds on its past rather than just using it as currency. The familiar sits beside the modern, the fleshed out classes, the deeper tactical combat. It's the best that Age of Wonders has ever been.
You have to admire Blizzard's approach to Diablo III. They fixed it. The game itself now absolutely superb and Reaper of Souls finishes the job.
It's additions may feel almost wholly unnecessary, but they do nothing to dilute the genuinely great multiplayer core. The lack of online is surely a barrier to entry for many, but for those in the right environment - university halls, Friday-night game sessions, after school with buddies - TowerFall Ascension consistently delivers massive heaped doses of fun. It revels in humiliation - even saving death replays as GIFs for easy social media bragging - and is likely to destroy friendships for an hour or two. And the more heated the arguments and the fouler the swearing, the more likely you are to do it all over again next week.
In The Fall, NFusion have taken a scalpel to to Human Revolution's template, collected together a pile of game meat - the essential giblets of a Deus Ex game - stitched it together and presented you with a serving. It's recognisably Deus Ex but it's not very appetising. NFusion get an extra point for not including a single boss fight.
And that's maybe Titanfall's biggest, and most forgivable flaw: it looks less interesting and novel than it actually is. It's such a fresh take on the military shooter, splitting the difference between the more deliberate pace of games like Battlefield and Call of Duty and the kinetic excitement of games like Tribes or even Counter-Strike. It just takes a while to see that, because Titanfall's presentation is so conservative.
Simple in almost all respects, Luftrauser is one of Vlambeer's biggest triumphs because it strips back everything in the name of exposing the fun at the centre of the game. It's almost as if the designers were engineers of the rauser itself; reducing weight and tweaking fuel lines to ensure the most effective deliverer of death possible. The concessions to lower skilled pilots makes the bosses a bit of a non-event, but the overall result is a challenge that works for all players, and that's a genuine achievement. Wrapped in a stylish package with darting machine silhouettes and authentic World War 2 colour-pallet, Luftrausers is really quite special.
This is a big planet and there are a lot of caves needing clearing, think of raids as housekeeping. You go in and kill as many bugs as you can before your timer runs out and we extract you. You won't be furthering our campaign but you will be earning cash for every bug you kill and hive you burn. The opportunities for combat are endless
And that's why I love Hearthstone, but hate recommending Hearthstone. I think it's an incredible game. It's pervasive: I love that I can spend a few hours slumped in front of my PC playing, then transfer to an ipad to play casually while watching bad telly. I love being part of the community – browsing new deck ideas and ranting with friends about how overpowered Grim Patron really is.
Cigarette in one hand, and now a whisky in the other, I watch as the credits roll. The climax of the episode is a big one, masterfully presented to ensure the maximum emotional impact and lots of awful regrets. "I've made a terrible mistake," I say as the credits fade. "I'm going to pay for it in the next episode."
In fact, of all the games I've been in, this one is definitely the worst. I've been in some terrific games though, so that's not as damning a verdict as it looks. If I adjust the difficulty by turning off HUD elements, never ever get into any sort of combat with the incompetent AI and try to ignore huge chunks of the game in which I'm forced into criminally unimaginative and unstealthy situations, and then pretend that the zombies don't exist, and then maybe just not play the last two chapters at all, then this is an okay game with two or three good missions.
South Park: The Stick of Truth feels like it's been 16 years in the making, drawing on the high points from 17 seasons of lewd hilarity. Kenny dies a lot, and those immortal lines are uttered; Jimmy takes five minutes to spit out a sentence, requiring players to press a button to skip it; and Canada is a weird place containing dire bears, farting comedy duos and queefing women - it's all there. This is South Park, and Obsidian's RPG design at their very best.
A fumbled finale puts a notable stain on the experience. They say one of the key rules in comedy is to leave the audience wanting more, but as Jazzpunk's credits rolled I was left feeling a little indifferent. But the game is something to be admired. Few titles dedicate themselves to comedy as wholly as Jazzpunk does. This is a game that delivers every silly, bizarre moment with a toothy grin and a badum-tish, waiting with barely contained excitement to deliver its next surprise. A few may be booed off stage, but when so many can hit the mark as closely as they do, I can't deny it a round of applause.
Consortium is a tragedy. There's an extremely clever game to be found within, but only when it works. It's just the first part of a planned trilogy, and I have so many questions that I won't be able to help myself, I need to play the second part. But I can only hope that it's not held together by chewing gum and sellotape again.
Loadout is throwaway, silly entertainment. It gets you into a game, raises a smile, and spits you back out again. It's scrappy, with a few rough edges in the level design and art. But it's endearingly dumb, and I really think you should, at least, have a try. It's available to play, for free, on Steam.
Strike Vector deserves more. It deserves a selection of inspired game modes. It deserves a collection of well-balanced, strategic weapon unlocks. It deserves a flight school that's more than picture boxes and poor spelling. Because underneath that wrapper of disappointments is a phenomenally cool, brilliantly built game that excites, thrills, and challenges. You won't regret your time spent in Strike Vector's lead-and-gunpowder filled skies, but it won't be long before you're seeking thrills elsewhere.
Despite a few missteps, Smoke and Mirrors is an excellent follow-up to Faith. It's a twisted journey through Fabletown's dirty, neon underbelly exploring the darker side of glamour magic and the exploitation of fables. It ends somewhat abruptly, with a terrible revelation, making the wait for the third episode already agonising.
Journey of a Roach's strong ideas loses too many of the conventional adventure game's strengths without gaining enough from them to compensate. It can't even retain the strengths of its setting, quickly jettisoning its post-nuclear scene for a standard flavour of cartoon zaniness. Too many basic lessons on how to treat players go unlearnt. Even over its short duration, initially colourful scenarios become sadly static and tired. Journey of a Roach has some promising ideas, but unfortunately struggles to demonstrate them at their best.
The renown mechanic was a huge misstep and the Dredge become a bit dull after 15 hours of slaughtering them, but Stoic has still managed to weave a compelling tapestry of epic conflicts with emotionally engaging characters. When I found myself with a dagger in my back courtesy of characters I trusted, I was enraged. When I saw my warriors survive against the impossible odds, I was elated. It's a rollercoaster of agonising decisions and hard-won battles, and as filled with sadness as it is, I was just as sad to step off the ride.
Broken Age is a unique game. It's made directly for and on the demand of a very specific audience, rather than for any publisher. In some ways it's surprising that - despite being traditional - it doesn't feel like a Lucasarts game. That's likely what backers wanted, and whilst those elements are there, this is a Double Fine game to the final letter. It's gentle, loving, and fun; not a Grim Fandango rehash, but the gaming equivalent of a petting a kitten. If your eyes are not welling up with sheer joy at such a thought, then perhaps Broken Age is not for you. For everyone else, it's probably already in your Steam library anyway.
Broken Sword 5 will slowly worm itself into your affections if you expose yourself to its ever so gentle humour for long enough. Whatever the opposite of subversive is, this is it, and there's something bizarrely, stupidly funny about Stobbart's straight-delivery of an idea that his trap of putting a biscuit inside a matchbox is good enough that he might fall for it himself.