Bloody Disgusting
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SUPERHOT is one of the most interesting gaming fusions of the decade, and it’s been pulled off spectacularly. It leaves you wanting more, which is exactly what it should do. On Switch, its bite-sized action set-piece puzzles have found their most natural home.
It’s a game that keeps on giving as you can miss so much depending on your choices, and in that sense, it’s very much got a classic game feel to it. It’s a mixture of eras poured into a satirical sci-fi romp and it’s such a joy to experience. The Outer Worlds may not be exactly what I thought it would be, but I’m so glad it turned out to be what it is.
Zombieland: Double Tap – Road Trip does have the feel of a good party game. Its variety of enemies and weapons, as well as the flow of combat, all lend itself to a consistent ride of adrenaline. But even if you ignore the sometimes cringy elements of its voice acting, there’s just not enough content for such a basic experience to justify the price of Zombieland: Double Tap – Road Trip.
Generally, though, The Park is an effective experience. It avoids the first-person horror genre’s worst habits while conveying an engaging story. It leans hard on horror tropes (and fails to interrogate well-trod stereotypical presentations of mental illness) but manages to unearth something potent in the process. Your mileage will certainly vary; roller coasters are thrilling for some, nauseating for others. I enjoyed this ride.
Afterparty falls short of the standard that Night School set with Oxenfree. While it boasts a strong setting and brilliant set-up, it leans heavily on writing that just isn’t strong enough to shoulder the load. I still can’t wait to see what Night School does next, but Afterparty feels like a watered-down take on Oxenfree. Here’s hoping they can mix up something a little stronger for the next round.
The experience of the game is aptly kind of like going to your high school reunion. It's a little bit awkward and you have to go talk to the people you're less thrilled to see in order to find the ones you're really interested in catching up with, but it's got some high points that make it worthwhile, even if it's not quite as memorable as you thought it would be. And much like the reunion, the runtime feels just long enough that it doesn't overstay its welcome significantly, allowing you to move on with your life afterward. If you miss the days of horror game having adventure game-style puzzles, then give Worse Than Death a try, just don't be expecting anything overly substantial in the scare department.
For as long as I recall, MediEvil has been a crucial part of my gaming upbringing. It was the first game I ever played; I remember spending long weekends with my dad trying to beat a level. I remember using our horrible dial-up internet to look up cheat codes. I even remember going around the school playground shouting at the other children and muffling my voice like Sir Dan. This is for the fans and it’s not very accessible to anyone outside of that circle. Regardless, it was a big treat to see Sony has not entirely given up on the franchise, and if there’s enough interest, may consider developing a new game altogether.
Despite some small grievances with it, I still believe Luigi's Mansion 3 is one of the best Nintendo Switch exclusives to date. It's full of fun, humor, joyous discoveries, and clever design. It's atmospherically spooky in patches, and doesn't quite feel as creepy as the original did, but there's a commitment to throwing up all sorts of crazy takes on ghosts that is so very Nintendo.
Death Stranding is as thoughtful and meditative as it is a slog and convoluted. It is a different take on gaming that most of us gamers are not used to. It is a Hideo Kojima title where in-game actions provide a sense of emotional joy for players. Death Stranding, for all its depth and struggle, is a beautiful step forward for video games, and a potential taste of what the future may bring.
Expectations were never going to be too high for Terminator Resistance. Alarm bells always go off when something like this pops out of the shadow of a movie release with little fanfare, but it's remarkable how backward this game manages to be. It elicits no real emotional impact of any kind beyond maybe surprise when you find out this isn't a HD remaster of some forgotten Xbox 360 title, but a brand new 2019 release. The low budget can be forgiven for some shortcomings, but this clearly didn't get the time it needed to compliment said budget's restrictions.
Zombie Army 4 isn’t ripping up any trees in terms of originality, but it’s the ultimate version of the franchise’s best features. After all, what’s more satisfying than destroying Nazi zombies in stylish, violent fashion?
If you give yourself willingly to the Old Gods, World of Horror will be an immersive and intoxicating horror experience. It's perhaps appropriate that the core of World of Horror comes from something ancient, and is reborn in a new and terrifying form.
Hunt Showdown is a worthy alternative to the usual multiplayer types out there, and it deserves to be seen as an important step in how the future of multiplayer shooters goes.
Carrion did what very few horror games have done for me this year: it exceeded my expectations. It ends up being far more than the sum of its fleshy parts thanks to a solid commitment to its sadistic vision of slimy violence.
While it may not be the most exotic horror establishment out there, I could think of worse places to visit than the Sker Hotel right now.
For all its faults, it’s hard to argue against the intent and ambition of What Happened. It doesn’t always get things right, but it clearly has good intentions to deliver an engaging and heartfelt depiction of mental health issues and a nauseatingly effective drug trip. It’s to the credit of the developers that it succeeds on the latter at least, and shows potential in the former.
The negatives are not enough to really affect how I ended up feeling about Wasteland 3. It’s a far superior game to its predecessor, and I really liked that too despite its many issues. It’s so easy to get wrapped up in exploring, fighting, tinkering, and more in this world. It’s not afraid to let you figure things out for yourself and do things your way, but it isn’t impenetrable for newcomers either. Throw in a co-op mode that doesn’t overly dilute what makes playing solo so enjoyable, but actually enhances the experience, and you have a highly engrossing dose of silly, violent RPG goodness.
Maybe the weirdest thing about Metamorphosis is that it takes an old, respected story, and turns it into a dark mirror of the video game adaptation of Pixar's A Bug’s Life. Somehow, despite its issues, that works.
There are plenty of stories out there that lead you by the hand and captivate you by simply watching what the characters do, but so few are like Paradise Killer, where everybody could be either your confidant and friend, or a stone-cold murderer with dark and sinister plans, perhaps even both at once. The only way you can possibly be sure is to slip on your sunglasses, turn on your sentient notepad, and get ready to do that delicious detective work.
I’m probably being a bit more down on it than it deserves, because this is a good zombie-smashing VR game, but it’s just good enough that the grievances I have with it feel magnified somewhat. I want it to be that little bit better than it is, but I’ll not deny that it may be easier for some to overlook these relatively minor faults.