Rock, Paper, Shotgun's Reviews
OPUS is very cute, and while the story obviously borrows heavily from elsewhere, and while the core mechanic will feel familiar to fans of Mass Effect, it was almost a lovely idea.
It’s a blessing for people like me who will tussle with it over a series of lovely evenings or keep it running in the background to fiddle with throughout the day. For others it will be a royal pain in the arse, an utterly inaccessible gem taunting them with its low poly style and seemingly-simple gameplay.
More than anything, it’s left me with a wide grin and itchy fingers, and as soon as I’m done here I’ll be jumping right back into the game.
It definitely makes me very interested to see what developers Lemonsucker do next.
The Banner Saga 2 is a beautiful sequel. There are moments where, as I watch the drama unfold in the dialogue and cutscenes, I almost forget I'm playing a game that came out in this decade. There's an evocative sense of timelessness about the story and world that few RPGs create.
The best way I can think to sum up this feeling is to say I enjoyed Everybody's Gone To The Rapture far more on PS4 and that was because after the first chapter I lay on the sofa watching and listening and luxuriating while my companion dealt with the controls.
So yes, goodness me yes, get hold of this. Get hold of the first two, too. But most of all, get this.
Fallout 4’s second slice of DLC is under a fiver, yet still somehow feels overpriced. Granted, there’s a good idea hiding in there somewhere – capturing wild creatures for defense or spectator sport purposes is a genuinely interesting concept, particularly against the end of the world scenario – but Wasteland Workshop fails to execute it with the finesse needed to see it through. As such, it instead feels like a paid, and therefore largely underwhelming, mod.
Technical frustrations aside, this is a fantastic piece of work.
With Siege of Dragonspear, Beamdog has come on a long way. It’s not perfect, either at matching the style or being a great new RPG in its own right, and future games will need some heavy QA loving. But, as the company’s first big attempt to both follow in BioWare’s wake (the presence of former BioWare people notwithstanding), it’s a good start and at least a good first step to one day giving us that Baldur’s Gate 3 we’ve been waiting so long for – another nostalgia trip, but with a slightly more practiced eye on the future.
Overall, Ashes isn’t bad, it’s just very plain. Gorgeous, but plain. There’s nothing here that hasn’t been done before and done better.
This is the genre done right, although with an upbeat, uncruel approach that feels atmospherically more reminiscent of Rogue Legacy than, say, Nuclear Throne. It's very silly in presentation, but very serious in pixel-perfect controls. Goodness knows if it's good deeper in, but I'm having a brilliant time not finding out.
It’s delightful, but it’s delightful for about 90 minutes – with the very important exception that you might very well bust it out every time someone new comes around your house.
If this were to be the final Souls game, I'd be happy to say goodbye. It's not quite the crowning achievement of the series but it's a fantastically inventive and fluid interpretation of the formula. And perhaps that would make it a great first Souls game for somebody new to the series as well.
[T]here goes my time with Hyper Light Drifter, a completely gorgeous game I was utterly loving. It apparently doesn't want me to play it any more.
It really is a lovely thing, offering a good amount of game for a tenner, rising above its own gimmick to be a little bit special.
The feeling I couldn’t get away from – though it is just that – was that this was meant to just be the Automatron building mode with a very quick quest bolted on to explain its addition, with the bump in Season Pass cost demanding it hastily be re-written as a full adventure in its own right. That means we get more, but most of it just going through the motions instead of offering anything that feels notably different, and certainly nothing as memorable as heading to Big MT in New Vegas or even the spaceship abduction or recreated war of Fallout 3.
Samorost 3 is so bursting with life, so lovingly crafted, that it’s impossible not to adore. I cannot think of a game whose soundtrack comes close to this, and few that are so pretty. Gnome’s yelps of delight, or enthusiastic dances, or the way he sometimes says, “Hop!” when he jumps, are idiotically adorable. It’s so alive, so intricate, and so graceful. I wonder if the difficulty will see it be a less celebrated game than the last two, but it really is a thing of beauty.
The overall result is a delightful, charming, and relaxing affair. It’s a Sunday afternoon television of a game, and goodness me, does that have a place. It’s funny, daft, and the look is incessantly fantastic. Backgrounds are beautifully drawn, characters are well animated, and the voice cast are all modestly strong. And it’s got Tom Baker in it. I had a thoroughly lovely time.
I still adore this game. It’s still the smartest, most elegant, most entertaining adventure game ever made. And now, if you want, it looks new and sounds amazing.