Telegraph's Reviews
A truly remarkable strategy game
In a stark textual introduction, this is the first thing you see in Firewatch. It is unusual to see the video game condition laid out so plainly at the start of an adventure. You are Henry. You are someone else. Get ready to play your role. It is an effective gambit, with deft writing settling you into the mind of this character. It is notable because many video games rely on you being yourself, or make an effort to cast you as a controlling observer. A puppeteer. But Firewatch says this with such conviction: you are Henry. But are you really? This is a character that exists, that has already been created. The choices you have in this introduction are slight variations. Firewatch is a video game that extols both the virtues and drawbacks of being someone else , conjuring an illusion of choice within a pre-set story and bumping against the limitations that ensue.
Short, sweet and really rather good.
The Witness is a game that will genuinely have you punching the air or laughing out loud, just from correctly drawing a line on a grid. If that isn't the mark of a truly special game, I don't know what is.
There's a haunting elegance to Oxenfree that's there because each of its constituent parts are working together to create it.
While nothing can ever bring back their little boy, I am glad the Greens had that faith. And I am glad they were brave enough to share it with us.
When your mind and digits are one with the music, there is little to beat it.
But that focus is what makes Siege's multiplayer so good. In a year with a glut of good competitive first-person shooters –the sci-fi fizz of Halo 5 and Star Wars Battlefront or bombastic ordnance of Battlefield Hardline and Call of Duty: Black Ops III- Rainbow Six Siege's smart, sharp tactical nous marks it as one of the best.
When you liberate an enemy stronghold Rico sometimes says, "That was fun - let's do it again." This feels like a perfect summary for the game: it is 15 minutes of stupid fun on repeat. But that barely matters when you are firing remote-detonated cows at a military compound filled with the red stuff.
[A]s a whole, Mario Tennis: Ultra Smash feels like a rushed Christmas pick-up after the incredible fan-service of Super Smash Bros and Mario Kart 8.
Is this good or bad? As a value proposition it's debatable. This seems unlikely to be a game that can be played hard for 12 months. But it's also a far more polished and properly executed tie-in than films are typically given.
Football Manager 2016 may not be heavy on new features, but its increased transparency and accessibility make it the most enjoyable and immediate entry in the series to date.
Despite its less impressive iterations over the years, the Need for Speed name has delivered some truly excellent games - from Underground's street racing to Shift's wannabe-simulation, all the way to Hot Pursuit's absurd action. But rather than build upon this rich diverse history of fun, Ghost Games has sucked the fun out of a game that should epitomise the outlandishness of going really bloody fast. When you could be playing Driveclub, or Forza Horizon 2, or Project Cars, or even the beautiful and superiorly quick Forza Motorsport 6, offering a racer without speed? That's suicide.
If you've been waiting for Fallout 4, it will simultaneously meet your expectations and exceed them in others. Who would have thought a Fallout game would convince us of Bethesda's storytelling and shooter credentials? In a year full of brilliant open-world games like The Witcher 3, it manages to stand apart from the crowd and deliver something that feels fresh, despite its familiar foundations.
Lara Croft's latest adventure is a smart, alluring thrill-ride through Siberia.
Lara Croft's latest adventure is a smart, alluring thrill-ride through Siberia.
No, it's not the best Call of Duty ever made, but the sheer volume of content on display largely makes up for its weaknesses in specific areas. A worthwhile story would have added enormous value to the overall package, but its absence doesn't undermine what is another solid release.
If Tales of Zestiria wants to be the banner for modern Japanese RPGs, then much more effort and work needed to be done for the game to stand up amongst modern classics such as Persona 4 and Xenoblade: Chronicles.
This new adventure moves quickly, and feels like Wild Hunt in microcosm; cool moment after cool moment, condensed into a much shorter running time, with less cool distractions to pull you off in every which direction. Having less to do is no bad thing, and this story feels more focused and well paced as a result. Without adding an entirely new continent to explore - something the second expansion, Blood and Wine, promises to do in 2016 - CD Projekt Red still manages to ensure that this world feels interesting, that its characters are compelling, and that its stories are memorable and still have something to say, both narratively and thematically.
The narrative is suitably epic and grandstanding – and makes a bold decision with a long-standing character – but takes itself far too seriously. Which, for a game about purple aliens, planet-destroying super weapons and bionic soldiers, seems a little off-key.