PCWorld's Reviews
For now? It’s a good start. I’m not hooked like the first season of The Walking Dead or Wolf Among Us, but it’s looking like more of a slow burn with a lot of potential. Telltale sets up a lot of plot threads in this first episode, and it’s actually pretty impressive how many bit players they’ve introduced in just an hour and a half.
Headlander's retrofuturist aesthetic is creative enough to make up for the fact its underlying mechanics are anything but.
Song of the Deep is gorgeous and has some creative ideas, but lacks the polish to make it a must-play.
The Technomancer’s not even actively terrible. It’s just completely forgettable. Come for the Brutalist architecture, stay because you’ve got nothing better to do with seventeen hours of your life. And that’s a low bar, here.
Sherlock Holmes: The Devil's Daughter is a hard left over Reichenbach Falls. It's Frogwares taking all the wrong lessons from Crimes and Punishments, turning out its least-coherent Sherlock games in ages and filling it with all sorts of mechanical drudgery. Such a shame.
What’s the saying? “Old witchers never die, they just fade away.” Something like that. One thing’s for certain: The Witcher 3 is one of the best RPGs I’ve ever played, and Blood and Wine is a fitting capstone not only on it but on the whole series. I’ll miss it.
Total Warhammer doesn't tamper with much, but it injects enough personality to revive a series that's been steadily collapsing under its own weight.
Homefront: The Revolution ends up a more fitting sequel than I think anyone could've predicted. Like its predecessor, this is a kludged-together mish-mash of trendy design ideas from other, better games, glued to a story that punches far above its weight and aspires to something much greater.
It may not be as influential or creative as either the original Doom or Doom 3—which, although it hasn't aged well, ushered in a dozen monster-closet copycats. Still, Doom in 2016 is successful because it knows it's dumb and leans into the fact. There are no pretensions towards artistry here, no delusions of grandeur. It's a popcorn flick where the main character can only speak in gunshots.
Stellaris is great. Maybe not Crusader Kings II great yet—give it a few expansions to fill out—but it's a compelling bit of player-directed science fiction. Freed from the chains of history Paradox has created something creative and bold and inspiring, something that illuminates just how vast and unknowable space is and how tiny our place in it.
Same great art, same tense tactical battles, same bewildering sense of scope emanating from such delicate pieces. I never knew slow pans across landscape paintings could instill such awe, and yet certain sequences in The Banner Saga 2 support tension that belies the game's humble budget.
Day of the Tentacle is a classic, but not in the old musty way where you brush off a copy of some old SNES game and realize it isn’t as good as you remember. This is still one of the finest point-and-clicks ever made, with a witty story and some brain-bending puzzles. Also, a hell of a lot of dumb puns.
This is the most frustrated I've been with a shoddy port in years. There have been other high-profile trainwrecks in the recent past, like Batman: Arkham Knight and Assassin's Creed: Unity. But I didn't like those games, aside from their obvious PC woes.
It feels borderline useless to try and write a review of a game like The Division because it's packaged under this games-as-a-service banner, expected to bandage its problems and evolve into something wholly different in six months/a year/two years.
New journey, old friends. I don’t know what possessed Beamdog to make Siege of Dragonspear an expansion to the original game, nor do I know what devil’s pact coerced them into making it thirty-odd hours long. It’s insanity.
IO's built the bones of a fantastic Hitman game—certainly the best since Blood Money (though that bar is practically nonexistent) and possibly one of the best in the whole series. Skip it for now if you're just looking to one-and-done each level, but if you were hoping for a sandbox experience? You've got one.
Either you never thought Need for Speed was top of the arcade racing pack or (like me) you at least think they abdicated the crown a long while back. I don't anticipate much dispute there, and this Need for Speed is unlikely to put them back on top. A lot of love's been put into this PC port, but the game that's been ported over is a mediocre arcade racer at best.
Shardlight is pretty damned decent though. The story’s a bit more straightforward than some other Wadjet Eye games, it ends a bit too abruptly, and a few of the secondary characters needed fleshing out, but all-in-all it makes for an engaging six or seven hours in a world with some great ideas—a bit like Dead Synchronicity, except with an ending. Very grim. Very adult.
Yearly releases are hurting good games. I don't know what the sales data looks like, so I can't speak to that claim from a financial perspective. I'm sure the backroom at Ubisoft has done the calculations and concluded that the number of consumers lost per year is offset by the amount of money made.
Is there enough here? I think so. Superhot is a gimmick game, and it was always going to be a gimmick game. I never expected otherwise. But as far as one-trick ponies go this one is pretty stellar, doing its damnedest to make you feel like the consummate badass and leaving you with all sorts of "That was amazing" moments, feats that could never be pulled off at full-speed. Or, at least, not on purpose. And at two hours it gets in, hits hard, and then knows when to get back out again. A rarity, in games.