VideoGamer

Burroughs and Holland do hit on a fine idea: that, if we could peer into the other lives sharing the pavement, like idle channel surfers, we would surely register a jarring shift of genres.

Its skyline is happy to quote at length from Blade Runner, but the poetry is in short supply.

The humour is thankfully intact, but the mysteries grow as ornate and heavily threaded as Sholmes’s overcoat.

It’s not quite that I had forgotten how good it was—more that I needed the intervening years to realise it.

We begin to see our hero’s life as a line—darting and looping instead of living.

Wings of Ruin may not make a hardened hunter of you, but nor does it want to. It would rather bring you along for its own wondrous ride.

Chicory: A Colorful Tale is bound to the template set forth by The Legend of Zelda, but, rather than offering reflexive glibness, or inking the affair with irony, its critique wraps warmly around its subject, like a scarf.

It’s to Flight School Studio’s credit that, though the clashes at the game’s core left me underwhelmed, the whole thing didn’t feel hollowed-out. This is down to Annika, who sits at its heart and drives it on.

If I didn’t feel the sugary twinge of sentiment in Alba: A Wildlife Adventure, it is down to its pastel starkness.

In vesting each weapon with the click and whir of a plaything, it gives you a way into the texture of its landscape, and before long you're swept up.

The fun of playing these games, especially these days, lies in the director, Ryuchi Nishizawa, whose approach to genre was one of precise and genial disregard.

If the DNA of Biomutant sparks a re-evolution of some of the genre's dull spots, perhaps we can forgive the dull spots present here.

The game isn't above jolting you with the odd jump scare, but it's far happier to politely trouble your sleep.

Though it comes with a crop of upgrades, and its graphics have been brushed to a smooth shine, what it offers, despite its title, is the joy of the old.

Reaching the credits, I sat back, exhausted and disappointed at where the series had ended up.

Complex systems are made simple, by committing their clutter to muscle memory, and play-good play, at any rate-requires that you, like Selene, ride its enigmatic loop.

Taro's approach is of a restless rarity; he swaps genres as though trying to scratch an itch.

In that image lies the appeal-and for some the off-putting twinge-of Oddworld: a bleak and black-hearted concoction, laced with snickering humour and shot through with hope.

The best time I had with the game was a ten-minute stretch that contained (a) no crashes or bugs, (b) the right level and world tier-essentially, a measure of enemy toughness-and (c) a harmony of tactics, sorcery, and gunfire.

If only Naka, staying true to form, had given the whole thing a dose of high speed; his work only holds together when it hurtles past our eyes, growing vivid with velocity.