Includes RPS, Rock, Paper, Shotgun
Last reviewed: 007 First Light · 4 days ago
I can't get Fish Sticks out of my head. Not the food, but the stray cat with a squished face and stubby legs that I wrangled into my shack in Edmund McMillen and Tyler Glaiel’s new roguelite strategy game, Mewgenics. The shop, the pub, the dentist; no matter where I go, I…
I was, like so many of my 1990s-born peers, a huge Sims girlie. I spent hundreds of hours as a teen and young adult making people I knew, characters from shows I was obsessing over, or original characters I wanted to experiment with, and diligently following their life paths and…
Prey is a game that's smart about almost every aspect of itself, and yet with that, so crucially modest. It doesn't yank the camera from you, doesn't force you to sit through cutscenes, doesn't demand you sit still and listen to its backstory. It's content to be itself and let you find it, which is a damned rare treat in this hobby. Even more amazingly, for all its array of abilities and powers, you can finish the game without touching them, perhaps even find a narrative rationale for doing so.
It comes so close to being something I love and then it has a hollow core.
Horrible to control, horrible to listen to, really surprisingly ugly to look at, and and all-round mess, I've no desire to put myself through this. So, I shall state for the record: Maybe it's amazing! I mean, it obviously isn't, because it seems unlikely they'll fire the voice cast and implement a new control system some hours into the game, but I can't assure you they haven't. What I can assure you is I've been here too often, seen this too many times, to put myself through it again.
Under Leaves either needed a lot more to do in a level, or a lot more levels, to feel substantial. As it is this plays out like a demo, over just in time for you to be ready to get to the meat of it. However, that's somewhat counterbalanced by the low price tag.
By throwing out most of Spore's traditional mechanics in favour of a cross between Katamari Damacy and Nested, Everything gets closer to sublimity. And though I don't think it gets all the way there – not for me, not right now – the silliness is constant and delightful.
What elevates it from a fascinating and gorgeous experiment in presentation to an immediate contender for my game of the year is the way that the broader narrative informs the stories it contains, just as the house is home to its many rooms. Without casting judgement or becoming didactic, Edith Finch explores both the good and the harm that stories can do, and how folktale, imagination and superstition can lift us up and dash us down.
Shock tactics so persistently silly that they become the equivalent of a flaming bag of poo on a doorstep. I will always defend the right of horror fiction to be horrible, but never excuse it for being so dull in its depravity.
It's precisely the kind of horror game I love – grotesque but not gross, and interested in thoughtful pacing and escalation rather than jumpscares and shocks. Also, linear though it is, there are some collectibles I'd like to hunt for and the whole game is short enough that I'll happily play it again, or watch someone else playing.
While decent RTS campaigns increasingly feel like my white whale, I can usually depend on Relic for something better.
In the end, this is Full Throttle made playable once again, and that's something to be celebrated. It's a really fantastic game, with a lovely story, and brilliant performances. And out of its original timeline it's free to just be itself, not compared to the last or the next LucasArts adventure to hit the shelves. If you loved the original, this is worth buying for the improved sound alone. If you never played it, then oh my goodness, hurry up!
As it is, it's very hard to recommend spending £12 on – already a tough call for such a short game. It's not fit for purpose, even if it could still stretch over its unacceptable flaws and reach me. I will keep an eye out, and enthusiastically let you know should such a thing come about.
Throughout, I was conscious that I was playing something that was almost aggressively designed to be disposable, and for that reason I can't say it feels close to my heart – but at the same time, I might just keep it hanging around my hard drive to fill idle half-hours now and again.
These enhancements are great, sometimes even game-changing, but Paradox are offering so much for free that it makes the actual premium DLC less vital.
Bulletstorm is lots of silly fun, and deserved to do better in 2011. It's still lots of silly fun, but it's hard to quite get as behind the desire for it to do well when it's being released at full price with very little new put in.
This could, as I say, have been all comic pratfalls and Goat Simulator destruction, but instead it's an extremely careful study in how snakes navigate their bizarre bodies around, then transplanted into broadly well-done puzzle-places. I feel in awe of how well-realised this is, almost more than I actually enjoy it. I really do enjoy it though, so much so that I ended up picking it up for my Switch too (making it only the second game I own for Nintendo's latest toy).