Polygon's Reviews
Look no further than the integrated proximity chat, which incorporates voice and text. It's not nearly as nuanced as the Teamspeak plugins utilized by dedicated military simulation groups like Shack Tactical (a group of which I am a member, for what it's worth). Camelpoop420 sounds just as loud and shrill when he's across the street as when he's right next to you, and the directional audio in these situations is a bit hit-or-miss. But it gets the job done. You can heckle, you can taunt, you can make people panic as you stalk them through the smoke... or you can make friends.
The next-gen upgrade is going to make that available for more people, and I’m excited for that. But it did leave me with a melancholy feeling about where we’ve been and, given the future of The Witcher franchise, where a post-Cyberpunk Witcher game might go. I hope CD Projekt Red’s 2015 RPG, rather than the one it released in 2020, is the foundation that’s built upon.
Expressive visuals and refined combat bring the 2007 game back to life
If ray tracing can have this sort of impact on a game that was never meant to have it, imagine what artists will do when incorporating the feature from the very beginning.
Dwarf Fortress operates under a similar logic. It will instill in you, the player, that “slender intuition” of what to do. It may, as it did for me, invoke a sense of anxiety as you feel unsure what it is you ought to be doing. But in following your instincts, stories will begin to arise, just as they do for a novelist when they sit down to write. Your base motivation (survive the winter) will be supplanted by something else as you respond to what unfolds before you — whether that be drunken cats or, in my case, a dwarf who struggles to find purpose in life. Your only role, then, is to see that story through.
Heat, a solid game that built up a dedicated audience, probably didn’t get the fairest shake in public opinion after it launched three years ago. Electronic Arts reorganized its action-racing development in response. Unbound arrives with the same lack of glamour, the same diminished cachet, but it is so much more fun, and so much more worth my time racing and running from the law, that the game feels like racing’s comeback player of the year.
The Callisto Protocol could have borrowed a few more lessons from its spiritual inspiration, and further refined its mechanics to make a game that plays as good as it looks.
Stacklands rounds out to one of the most immediately accessible and engaging card-based roguelites I’ve played this year. It took practically no time to learn, and it will consume so many of my hours to come.
Marvel’s Midnight Suns is a game full of rich texture. The voice acting is superb and the abbey’s relationship-building is the perfect chill interlude to the tactically sophisticated card play. The two formats are beautifully intertwined through the accrual of additional cards and abilities, and there’s a genuine sense of satisfaction in deepening both battlefield prowess and social role-playing connections. Midnight Suns is not XCOM — but that’s ultimately its greatest strength. It’s something completely distinct and entirely exceptional.
Still, knowing Fatshark’s previous work, I’m confident Darktide will be in much better shape in just a few months’ time. And perhaps, in a year or two, after a couple of expansions and numerous updates, it may be something extraordinary. As things stand right now, it’s only very good… which is hard to complain about. A fantastic setting with tons of replayability and the same old juicy combat? There’s plenty to get sucked into, and no signs of slowing down.
The Devil in Me doesn’t rank particularly high on my personal Dark Pictures ranking — it comes in just under House of Ashes and Man of Medan, which are great for different reasons. But what the game does do very right is take a famous true-crime case and explore it in a manner that comes across as more interesting than exploitative, even while fitting in jump scares and relationship drama. Supermassive could probably have carved a good two or three hours out of this game and ended up with a much stronger product — just as long as it left all of the Holmes-related stuff untouched, please, because that’s where it shines.
Still, disregarding the downtime spent on its charmless characters and bland plot, there’s an undeniable thrill to the fighting. If only the rest of the game packed as memorable a punch as its protagonist does when beating the insides out of Evil West’s vampires, it would be easier to recommend. As it stands, it’s not much more than a series of better-than-average monster-pummeling arenas interrupted by uninspired storytelling.
Despite my frustrations with its structure, mechanics, and the fact that it looks and runs like a middling GameCube game most of the time (there were several instances, even outside of the open-world areas, where character animations would drop to near stop-motion levels of movement), I still left Scarlet and Violet enamored by its character relationships and neatly tied-up themes of finding one’s own joy in the big, wild Pokémon world.
Because even though Pentiment is set in the past, it demonstrates how history is never static, and how it influences places, communities, and individuals. That’s something that’s easily lost when we look back through time, but Pentiment’s living characters and spiraling mystery won’t let you forget it.
I suppose, then, that Somerville is the most welcoming of the three games, starting with the familiar, and riding the slow, exponential line upward into the bizarre. Wise choice. For all the craft required to make a clear, playable movie, nothing beats the otherworldly weirdness of video games.
There’s genius and sincerity at work here. Get deep enough into Tactics Ogre and the entreaty of its subtitle, Let Us Cling Together, starts to sound a lot less goofy and a lot more urgent and sad. How deep you will get into the game depends on your appetite for micromanagement and your patience with gameplay systems that, 27 years later, are starting to creak, despite all the judicious tinkering that’s been done to them. Tactics Ogre: Reborn is a welcome, polished, and thoughtful update to a game that defined a genre — a genre that has now left it behind.
It’s unfortunate to see a Sonic game that tries, and often succeeds, in retreading past foundations and applying them to a different setting. But the highs of fighting the Titans or playing remakes of classic levels can’t justify the frustrations that constantly put stops along the way.
Teenage Exocolonist rounds out to a moving, challenging coming-of-age story with genuine stakes and exceptional replayability. If you don’t like the way things went — and in early playthroughs, you probably won’t — there’s always your next life. There are more friends to be made, more crises to avert. With 30 potential endings, the options abound.
God of War Ragnarök feels trapped between great design and blockbuster movies. The results are captivating and inconsistent.
Rather than aiming for evolution similar to Bandai’s Tales of Arise, tri-Ace and Square Enix went back in time for Star Ocean: The Divine Force. The result is solid, but The Divine Force had the potential to reach even greater heights and establish an identity for the series as a thoughtful reflection on technology and philosophy. If nothing else, at least it proves Star Ocean is still brimming with possibility and deserves another chance, one that will hopefully be more forward-thinking and give the series a chance to shine at last.