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Carrion abounds with the thrills of being the monster, then, but, less common and more cosy, with the kick of being in a monster movie—of slithering in celebration over the tropes of the genre. The good news is that, for a while, it works.
The story of Necrobarista isn't lost in its bold anime-inspired style and maximalist presentation. These elements mix and swirl together like a cup of damned good coffee.
The game may never have been as sweet as it was in the first of the three main areas, but, to its credit, that’s because I was swept along by the story.
Disintegration poses interesting questions about how we will define the human experience in a recognisable future. It's not going to answer those questions, sadly, but the gameplay is so creatively rewarding and satisfying. Plus, cool robots.
Where it succeeds isn't in how close it scrapes to the level of prestige TV, or to films. Its coup is not, "Look how closely we can make games resemble highbrow art." It's more, "Look what previously fenced-off realms we can get interactivity into."
As with the rest of the game, outside of the more focussed platform sequences, I was boosted through by the breezy mood more than anything else. Skelattack is a masterpiece in the art of the pleasant.
The chief pleasures on offer are those of the power fantasy and of the newly burgeoning subgenre that we might call the zoological misadventure.
It rarely swells beyond the sum of its parts; with parts as precision-tooled as this, it doesn't need to.
John Wick Hex could have been a number of different games, none of them as strange and satisfying as this.
When the credits rolled, I felt better, gunning for action, as if life were a thing to rage through with a smile on your face. How often does that happen?
Does it succeed? Well, I don't know—I'm not an astronaut—but I can report that it has a pleasing gravity.
Pack up your troubles in your old kit bag, but don't drop them in the sea, and mind out for the runaway chickens, and remember to lift with your noodley arms rather than your legs.
As a result of magnifying such a comparably miniscule portion of play, the pacing in the remake lumbers. Still, the prospect of leaving planet Earth for a few hours comes at a premium in our present moment.
Resident Evil 3 is a play for our imagination as much as our memory. It understands that the fear we felt long ago didn't fade; it took root in our brains and mutated into myth. And this is what it might look like.
With Nioh 2, Team Ninja has done a better job than anyone else at making smart innovations to a treasured design template.
It's only when you stop playing, feeling somehow frazzled, energised, and jittery, that you realise the game has as much in common with the audiovisual arts as it does with a double-shot of espresso.
Animal Crossing: New Horizons is beautiful and peaceful, offering safe harbour from the stresses of everyday life. There's so much to do and so much to see, so what's wrong with making a back seat?
In the beauty stakes and beyond, there are very few, in the rarefied realms of indie or AAA, who can challenge it.
Dreams is devoted to the realisation of exciting wishes, and with it Media Molecule has its defining, if not quite definable, game.
Those intoxicated by the game's dreamy brew may argue that there are no detours—that, like the Zero, you're either on it or you're not. If you're anything like me and Conway, however, you'll be somewhere in-between.