Polygon's Reviews
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.
The Case of the Golden Idol is a game that makes me feel like a TV detective, slapping photos on a wall and drawing red lines between them. Those strings of yarn crisscross throughout my notebook, connecting characters and murder weapons and motives. It’s easy to get sucked into small details looking for a lead, but the feeling it gives when I’ve locked in the correct answers… It’s like I’m the most brilliant person on earth — even if just for a moment. The Case of the Golden Idol, like other deep detective games, expands past its own boundaries and into the pages of my notebook, leaving me thinking about its clues long after I’ve closed the game.
I mean, do you see the genius in that? Do you see how Modern Warfare 2 says something, and then unsays it, but in a way you might not notice, but also leaves the writers, developers, and the entity of Call of Duty an escape route from any accusations of intent or subjective belief? In a postmodern world of alternative facts and the end of the metanarrative, where it seems like there are no answers, truth, or anything you can fully believe in or trust, and everything shifts all the time, I think Modern Warfare 2 is a kind of masterpiece. And now I imagine them using that quote, “Modern Warfare 2 is a kind of masterpiece,” on a poster or something later on, and everything around it won’t matter.
The version that exists now out on app stores of all kinds feels blessedly free of heavy-handed monetization, but apparently, this wasn't always the case during the game's beta period. The resulting change feels good, really; I've played a couple of Japanese mobile gachas for years and Marvel Snap is a (Tony?) stark contrast to what goes on in that particular corner of game design.
If all you care about is button-ramming combat that’s similar to Devil May Cry, you’ll have a ball. But if you ever wanted to believe that there was something deeper to Bayonetta’s story — some grander statement about femininity and sexuality and power dynamics — you’ll find the truth to be quite a disappointment.
Signalis is a game that asks you to repeatedly plunge yourself into the abyss and face what meets you there. Those willing to look beyond its occasional nagging pain points and homage-laden surface will find a surprisingly intimate take on cosmic horror, one which beckons the player to consider, again and again and again, the question of what truly makes a person who they are, and just how far are they willing to go to keep a promise to a friend.
Shadows of Rose isn’t a spectacular DLC, and it doesn’t necessarily do or say anything meaningful. It feels like a B-tier horror film, which isn’t out of place for Resident Evil, though its sometimes self-serious tone can become tiring, especially after two whole games in the decidedly grim saga of the Winters family. Those invested in their narrative will find something to chew on, and the addition of the third-person perspective makes returning to the base game an exciting possibility. But it doesn’t do anything to further the narrative. Much like Rose herself, it feels less like a stepping stone in the franchise — a gentle nudge toward more plot points that will potentially remain unresolved for years to come.
It seems like my best bet — if I want to more fully enjoy my time with PGA Tour 2K23 — would be to turn off downswing timing. Either that, or it might be time to put this franchise on my personal “I don’t need this stress in my life” list, right next to Elden Ring.