Rock, Paper, Shotgun's Reviews
So I'll end in the spirit of the game, with a refined version of what I said last time: Mirror's Edge Catalyst is good and you should probably play it, but damn, it could have been superb.
Nu Watson and Holmes look dangerously close to Downey Jr and Law, five years too late, and their new voices are bizarrely unenigmatic, if competently delivered. It's not a reboot, nor a refresh, right down to the repeated locations and character models of the likes of Lestrade, but rather the weirdness of the series continuing its morbidly fascinating spiraling descent into lunacy. If I find myself carrying on, I'll certainly let you know what happens next, but in the meantime, yeah, avoid.
I thoroughly recommend it, for those looking for something erring much more toward the more casual end of the strategy world, the only region of the genre with which I'm comfortable. It's bright, breezy, light and fun, and perhaps, after all, that's enough.
It’s not Mechwarrior, no, but it scratches pretty much every other mech itch going, and with style.
Overwatch is like going for an evening of speed dating and realizing everyone you meet is marriage material. I'll stare at the character select screen before each match, unable to decide which hero I want to play because I want to play them all.
In the way that Fallout can be, it has the capacity to be an incredibly tiring game; faced with another looming factory on the horizon, I sighed, steeled myself.
While Time Machine VR is not a revelation, is does offer some promising signposts.
Much like Mass Effect III’s wonderful Citadel expansion, this last outing is as much a victory lap, to remind us of the good times and end in the right spirit.
This is what you have waiting for you: a ridiculous and pointless horror story, and a slow death. It’s wonderful.
It feels exactly the way a Warhammer-themed Total War game should feel, and creates tons of dramatic battles and storylines over the course of each campaign. But to reliably generate all that excitement and tension, it secretly disconnects many of the strategic systems that hold good Total War games together.
It’s very silly, perhaps a little too easy in its build up, but tremendous fun.
It's got this weird bubbling heart underneath it, a clear desire to be a great game despite not being able to reach it. It's packed, varied, and so bloody enormous. It's a real muddle, and a muddle for which I've developed a real soft spot.
Propulsive, thrilling and breathless, DOOM is the triumph I never expected. I just can't see there being a better shooter this year, I really can't.
Battleborn isn't a bad game in the sense that it lacks work or effort – the team has clearly put in the hours – it's just that, for me, it's an uninspiring result which can't justify its hefty price tag.
Less erratic and surprising than its ancestors, but much more elegant in its design.
I had a splendid time with Kathy Rain, and thoroughly enjoyed a game where I couldn’t see where it might be heading.
[T]his is still Shadow Complex, well loved, and definitely a decent time. Just a decent time from six years ago and looking and feeling like it.
Few games come close to being this well made, this lovingly animated, and so madly pleasurable to play.
What you need to know is that Mohawk have made a game that creates tension and ruthless competition out of a screen of ever-changing numbers. Every victory feels hard-earned and every defeat can be traced back to specific twists in the tale, and in each of its half hour sessions, there are as many twists as in Civ’s six thousand years.
The star of the show is Sapienza itself though. It’s a beautiful maze of possibilities, flowing toward the sea with vantage and access points sprinkled throughout. Wherever and whenever you create a disturbance, the ripples spread, causing all of the systems that make the game tick to trigger, and creating thrills and farce as they combine.