Rock, Paper, Shotgun's Reviews
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.
At level 26, I'm enjoying The Division. At level 30, I'm worried it'll get repetitive.
It's exciting to play an MMO that understands the importance of building a world worth living in, not just erecting a corridor of static set pieces to run through on your quest for power.
[T]echnical issues aside, it's a relief to be playing a Hitman game that is built around the idea of social stealth. The execution may be flawed but it's aiming in the right direction and the disguise system, which now tips you off when a particularly canny NPC is able to look past your clothes and see the face of a stranger, is as good as it's ever been.
Just how many fist-bumps you're willing to sit through may determine your longevity with its achingly desperate attempts to be millennial and street (the loading tips are a confusion of Twitter and WhatsApp or whatever it is the kidz are into these days), but perfecting your drift by practise and tweaking is an extremely rewarding – if ridiculously arcadey – fun time.
A rushed ending is really the game’s only let-down. A larger conspiracy, or more surprising reveal, might have given it a heftier punch. And it certainly needed a few more puzzles in the later stages, a bit more to do. But these are minor niggles in a really splendid adventure game of the sort we see too rarely. Grown up, well written, carefully paced, and genuinely interesting to explore.
Stardew Valley is the rare kind of imitation that breaks free of the boundaries of its inspiration, becoming more than just a clone but an experience that thrives independent of its origins.