Bloody Disgusting
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I’m not sure Outriders will live long in the memory, but it’s a damn enjoyable ride while it lasts.
Yes, you could argue that in trying so hard to make a game for the mid-2000s in 2021 leaves the developer with a game that’s fundamentally dated before it began, but that’s the point. All the modern indie horror games that work get that. Compromises will certainly bring you a bigger audience, but games like Tormented Souls, as scraggly and mean-spirited as the games that inspired them, are far more likely to scratch that itch for survival horror’s golden era, rough edges and all.
This is primarily for those who whittled away many a night in front of their PC two decades ago raiding dungeons, bludgeoning skeletons, and swimming in glorious loot. A remaster for archival purposes if you will. The only modern stain on the original tapestry has been the online issues that plagued the game’s launch, but even those will be but a distant memory before long.
For all the grumbling and faults I might have with Back 4 Blood, it excels where it matters most, and ends up as a solidly entertaining zombie shooter. It could be better, and probably will be in time, but for now, if you fancy a decent new horror-led game to play with your friends, Back 4 Blood is worth a shot.
While Maiden of Black Water may not be the best example of the Fatal Frame series, it’s been long enough that a whole new potential audience has emerged in the last few years, and this, flaws and all, will be something of a new experience. It’s more important that Maiden of Black Water got this multi-platform remaster for that reason than any other. If Fatal Frame is to have a future, it will need more than a handful of existing fans championing the good old days. It needs new blood too, and Maiden of Black Water’s remaster for a wider audience gives the series that chance.
Nightmare Reaper is a highly enjoyable mash of retro things with a deliciously barbed edge. It doesn’t always hit the high notes of the old favorites it belts out, but you’ll sing along just the same.
What Byte Barrels has launched is more than good enough for now. Its pulpy comic book take on cosmic horror and retro shooters is a winning combination. Yes, it’s nowhere near the first game to utilize Lovecraft or a retro aesthetic, but crucially, it does so on its own terms.
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.
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.
Most of what this game has to offer hasn’t changed since 2012. It’s more Borderlands. Decide how you feel about that.
If you’ve played Sniper Elite 3 before, there’s not a whole lot new to this latest version beyond the motion controls and portability, but in fairness, that’s as significant an update you can get without changing the game’s base structure. There’s no doubt we’ll be getting more of this series on Switch in the future, and hopefully, that will include the next Zombie Army spinoff. For now, having another round of Nazi skull-exploding sniper shots playing out in slow motion X-Ray form shows it never gets old, no matter what the format.
Even with the restrictions Illfonic has had to endure regarding the license, it has still made great use of it. The core game may be a tad clunky at times, and not much of a looker, but the love for Friday the 13th can be felt from the title screen onwards.
It doesn’t have any radical ideas (or much to say about the radical idea of its inspiration). But, fans of old LucasArts adventure games will find a lot to love (and laugh at) in Stuck in Attic’s debut.
Even with the thin gameplay mechanics and small bits of narrative logic that felt off, its world, characters, and story grew on me. It is truly heartwarming when a piece of media, especially video games for all their interactivity, embrace subjects such as loneliness and mental illness. Our society still deals with problems of stigma, which in turn creates barriers for those who want to reach out for help but are afraid to ask. Video games, and art as a whole, have the remarkable power to move and inspire one another, to encourage inner strength and find our voice; Sea of Solitude is one of those hopeful experiences.
Void Bastards, unfortunately, stifles creativity at times. No matter how you approach the game, much of your time will be spent rifling through drawers. It succeeds at evoking the best of comic book art, but will need some work before its emergent narratives approach the heights of explosive comic book storytelling.
What World War Z does well is provide straightforward co-op action that entertains and enthralls, even if it is just in the short term. It has plenty of rough edges, but developer Saber Interactive has been fairly clever about where it has allowed those edges to be. Being a zombie shooter in 2019 is probably the stalest kind of game to be, but World War Z proves that staleness needn’t matter if you ensure enjoyment is high on your list of priorities.
Besides some boring fetch quests, Rules continues to head in a good direction. Thanks to a strong cast of characters, and the bond between Sean and Daniel, players can rest assured that Rules will take care of their Life Is Strange needs. There are those memorable moments that will linger in the mind of fans upon the credits rolling, keeping them anticipating what’s to come next.
For all Rage 2‘s shortcomings, it’s worth stating again that whenever you find enemies, you find some of the best combat encounters in any modern shooter. It’s so good it makes the duller parts close to irrelevant. Would Rage 2 have been better off as a more linear shooter? Maybe, but I’d rather have seen a bit more refinement and polish to the open-world, and its driving, because by trying to be a bit of everything and not creating each aspect equally, Avalanche and Id has diluted a hi-octane shooter’s venomous sting with a beige paste of open-world busywork.
My hope is that BioWare, too, will be able to overcome the ways that their game is broken. Since that demo, Anthem has steadily grown more stable. Some issues, though—like the repetitive mission structure—run deeper than glitchiness. But, Anthem’s core mechanics are satisfying, its world is enticing and its characters, by and large, are charming. With this review done, I will continue to play it. I want Anthem to get better, and I only hope that EA will give BioWare the time and resources to make this game as good as it can be. As it stands, it’s still worth a shot.
Mutant Year Zero: Road to Eden is a positive step in the right direction for the future of turn-based strategy on a mechanical level, but it finds itself lacking in the storytelling department. Hopefully, we get more from this world. A bigger, deeper sequel is a must at this point because there’s huge potential for Mutant Year Zero to be a frontrunner in the strategy arena.