Includes RPS, Rock, Paper, Shotgun
Last reviewed: Denshattack! · 6 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…
At level 26, I'm enjoying The Division. At level 30, I'm worried it'll get repetitive.
[T]echnical issues aside, it's a relief to be playing a Hitman game that is built around the idea of social stealth. The execution may be flawed but it's aiming in the right direction and the disguise system, which now tips you off when a particularly canny NPC is able to look past your clothes and see the face of a stranger, is as good as it's ever been.
Just how many fist-bumps you're willing to sit through may determine your longevity with its achingly desperate attempts to be millennial and street (the loading tips are a confusion of Twitter and WhatsApp or whatever it is the kidz are into these days), but perfecting your drift by practise and tweaking is an extremely rewarding – if ridiculously arcadey – fun time.
A rushed ending is really the game’s only let-down. A larger conspiracy, or more surprising reveal, might have given it a heftier punch. And it certainly needed a few more puzzles in the later stages, a bit more to do. But these are minor niggles in a really splendid adventure game of the sort we see too rarely. Grown up, well written, carefully paced, and genuinely interesting to explore.
Stardew Valley is the rare kind of imitation that breaks free of the boundaries of its inspiration, becoming more than just a clone but an experience that thrives independent of its origins.
Clearly the Deponia series is loved by enough people for them to keep making more of them, so I’m sure this will be as gleefully received as the rest. But it’s a nasty, stupid, and most damningly of all, badly constructed adventure game.
I've had an enormous amount of fun playing this, obsessively clearing the map of icons, occasionally relenting and accepting I need to do one of the main quest threads to progress, riding around on the backs of mammoths, diving off cliffs into pools hundreds of feet below, wrestling crocodiles, being dazzled by sunsets, escaping labyrinthine caves, and using my "hunters vision" to track enormous beasts. It's undeniably great fun, and unquestionably a huge achievement. Just a very, very recognisable one, for all the best and worst reasons.
It steps on The Stanley Parable's toes a little too often, and doesn't have the chops to withstand that comparison – it would have been a lot more sensible to have avoided the seemingly deliberate comparisons altogether. But it remains wonderful just to look at, the rest a bonus treat.
SUPERHOT is a game in which time is often frozen but it's a game that allows you to cherish every moment. Time stands still but it's never wasted.
Where I'm at with the game now is that I do enjoy playing and it's because it offers a beautiful and non-overwhelming survival option. I also find that the repetition of crafting and of landscape and of encounters combined with changes in biome end up feeling like verses in a song – familiar but with some of the beats changed up. But I also find that I feel I'm spinning my wheels a lot, that the systems aren't creating interesting or varied stories.
This is a game in which I'm trying to spin out just a few more seconds and in doing so I'm likely to spend a couple of hours at a time. I have no regrets.
The biggest drawback to Snowfall, much like After Dark, is that it will probably find a way to clash with one or two of your favourite custom additions. But if you're a modder, I guess you already live life on the edge. Otherwise, it's a charming and worthwhile expansion for what is already an excellent city-builder. I have nothing but warmth for it in my heart.
Layers of Fear is an effective scare 'em up but the sense of dislocation and the lack of character development left me feeling as if I'd enjoyed a thematically messy series of shocks rather than a cohesive horror story. It's a collection of scary things that are tangentially related to the idea of creative blocks and familial cruelty rather than an exploration of the artist or his personality flaws. By the time the credits rolled, I knew very little about this particular painter that I couldn't have learned by reading a brief synopsis.
Hopefully, this botched launch doesn't put too many people off sticking around, because when Street Fighter is at its best – when you're learning, improving, competing and winning – there are very few games that even come close.
The buggy, like the rooftops, is a temporary form of safety. All of the enhancements in the latest edition – new loot, new levels, new end-game excess – are icing on the cake. Dying Light is about creating moments of safety, empowerment and comedic triumph in a world that wants nothing more than to tear you down, and The Following is a perfect expansion of that central tenet.