I think the rules are still a bit too opaque for my liking. But they are, typically for Inkle, very elegant, and trust them to be the developers to weave them in with stories of knights and chivalry in such a neat way. Inkle are still better at story than strategy, though. I’ll beat Mordred one day. I just suspect it will take me a long while, is the only thing.
Iron Harvest is a throwback to one of the last golden ages of the genre, often feeling as old fashioned and crusty as that association entails, but frequently reminding us of the essential appeal of extremely large robots chilling out in timelines where they shouldn’t be.
Post Void is a masterpiece of compulsive motion and hypnotic, irresistible sounds. It does something to my brain that I’ve never experienced before.
Supergiant’s action roguelike was already a game of the year contender when it first came out in early access two years ago. It definitely is one now.
There’s nothing in the way of making me feel like I’ve become awfully clever at it all.
So yeah, it has more than a bit of roughness to it. But hoo boy, do I admire its spirit, its extra-ness, its enthusiasm for small-scale RPG design.
A tough but super stylish investigate ’em up that’ll have you dancing all the way to the murder trial. Probably through some blood from a ritual massacre. But that massacre was a legal one, you can ignore it.
It’s less dramatic than some of Dontnod’s other outings (and probably not for those with short attention spans given the pacing), but Tell Me Why remains a good entry in their the library of stories about families and sad magic – and it’s probably the most hopeful one yet.
I think I’ll need another year of playing it to work out exactly what I think of it. But that’s another way of saying I want to play it for a year, so it must be pretty good.
If I have to fight through listless combat, buggy UI, and an onslaught of juvenile gags to see one of the many endings, I’d rather leave the snowfields of Colorado behind. To hell with the consequences.