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For those who have played The New Order, The Old Blood is best characterized as "more Wolfenstein." For those who haven't, The Old Blood is a great introduction to the best first person shooter in recent memory.
Project CARS is a racing game that simulates the act of racing lots of different vehicles in locations all over the world. It is very excellent at that, and if you like the idea of a racing sim you should give it a shot. I had a great time racing around the tracks, but it isn't something I am going to turn on very many more times. If a good simulation of driving cars at moderate-to-fast speeds is what really rocks your world, buy this game because I don't think it gets better than this. If you want something a little more exciting, grab the infinitely-excellent Blur or start rocking your Big Wheel again.
Sunset is a gift, an all too rare kind of game that focuses on people loving and hurting in mundane but almost unbearable ways. I will return to Ortega's penthouse in San Bavón soon, I imagine; if not in person, than in fond remembrance. It is, after all, the home I never knew I had.
Unlike Max, I can't see where this game is going. I think it's too late now for me to hope for a "less is more" level of storytelling or a take on teen romance that's grounded in characters and conversation rather than inexplicably overdramatic stakes. I don't know if Life is Strange can handle topics like rape, murder, suicide, homosexuality or disability in a responsible way—but maybe responsibility just isn't what Life is Strange is about.
Splatoon is not trying to corral unearned cool points with obscenity. Splatoon does not push us to accept its weirdness. Splatoon merely opens its suction-cupped palms to the sky and says, "Here," and we graciously accept, parched by the years of dusty, war-torn, bone-dry purveyors of damage masquerading as games. Each waterfall was in fact an oasis. Instead, Splatoon showers us with a heavy goop that feels amniotic. We emerge, new and refreshed. We are all squids now.
Witcher 2 was a promising but flawed game. The seeds of a truly brilliant experience were there, but too often it turned into a slog. The Wild Hunt fulfills all of that game's promise and more. Some day, I even hope to finish it.
Massive Chalice is about time, about heroes, and most importantly, it's about taking that deep breath before the strike.
Does The Escapists explore or expose anything the average person doesn't already know about prisons? I don't think so. It is a puzzle game, and if you enjoy puzzles and you have an extreme amount of patience, I would encourage you to check out The Escapists. If you're looking for a hard, or systemic, view on prisons, I would suggest looking elsewhere.
Her Story wants to be different from every other game out there and in that it succeeds. I can honestly say that I've never played anything like it. It's not text adventure, it's not something I would call an FMV game or a point & click. It's in a genre all of its own and what a grubby, welcome little surprise it is.
I have as much trouble evaluating Devil May Cry 4: Special Edition as I do categorizing it. I feel like the game should be so much more than it is, but what they did choose to add goes above and beyond what I expected. The new characters are such strong, fully-developed additions that I find it hard to be upset that the levels are still the same or that the textures haven't aged well.
Arkham Knight translates a very particular kind of Batman into a very particular kind of game, and when the developers are short-circuiting your play experience to tell a good story, there are some unthinkably good moments. When they are going through the motions of combat and high-concept comic bookery, there are some unbelievably terrible and laughable moments. Despite wading through the latter, my memories of the former are grand enough that I think they're worth getting to.
Rocket League, besides being a game that's pure, unbridled joy to play, has gotten me curious after all these years about soccer again. I keep finding myself thinking maybe I'll watch the next World Cup, maybe I'll rent a FIFA game and give the series another try, maybe maybe maybe. Regardless, for now, there's the rumble of cars blasting across a stadium, their miniature flags wobbling as the crowd cheers, and that's more than enough.
There's a solution [to my issues with the game], I guess. It would be to recruit my team of five and play with people I know. It would be to vet the world and close myself off from the weird chance of playing with randos. Lots of people have no choice but to do this for various reasons. I understand that's a solution, but it isn't a road I want to go down. I want to be open to the clever teammate. I want to be open to the all-star player who happens to queue alone. I want to be open to wonder.
Guild of Dungeoneering might be my new thirty-minute game, unseating Spelunky as the game I play while waiting for dinner to finish cooking or while I'm listening to an album. It keeps me playing without bleeding me dry, and I think about lost fights and incomplete dungeons for longer than I should while not playing the game.
Perhaps it's an approach you can only take when you've iterated on the same game for about ten years. When you've built so many levels you're confident many people won't actually see all of them. When you stop caring about achieving something, and just want to do anything. And the best part of N++ is that it thinks that's just fine. You can do all the furious, adrenaline-pumping jumps, complete every level perfectly and top the leaderboards. But you can suck, and that's okay too.
Submerged is a game you could easily cruise through in just a couple of hours, but the narrative rewards were enough to keep me searching the city for additional clues despite action that eventually became tedious. There are solid ideas at play here, sure, but the lack of challenge or any substantial meat on its bones make Submerged flounder where it should soar.
Everybody's Gone to the Rapture feels trapped by its medium, forced into one of a handful of approved genres because that's what is expected of videogames. The Chinese Room knows how to create vibrant worlds, and fills Rapture's with a number of believable characters. If they trusted fully in these characters and their lives, or the audience's willingness to be fascinated by them without a sci-fi hook, Rapture would have been stronger for it. Anybody interested in games as a storytelling medium should play it, even if its light is reined back in right on the verge of transcendence.
Because the challenge stays reasonable enough throughout, Volume's stealth systems remain satisfying and, most importantly, a consistent echo of the game's narrative.
Until Dawn is genre-changing across the board, and I literally cannot wait for other games to pick up even 1% of what it brings to the table in terms of narrative and design innovation.
It's not just the online mode: from play to unlock design, I did not have a good time with Toy Soldiers: War Chest. This anecdote might sum it up best: a friend back from a long trip watched me play a single mission. We sat in silence through interminable wave after wave, and about halfway through the hour-long mission he blurted out "why are you even playing this?" I didn't have a good answer.