Ultimately, you may have walked grimy paths like these many times, but if the Soulslike virus remains lodged in your core as it does in “Thymesia’s,” you should easily become absorbed into its diseased world, never once hoping to be cured.
There’s no escaping, however, that “Weird West” is crowded by its own ambition. No doubt, some glitches will be fixed — like mission objectives failing to update correctly — and some control issues are surely more applicable to the PlayStation 4 version rather than the PC. But other problems are more fundamental. It says something that by the end of the game, I’d killed 599 people, and as much as (almost) all of them had it coming, I had no such intention when I set out. The systems felt too brittle to warrant a more considered approach. In this Western, it doesn’t pay to be a master of the quick draw so much as the quick save, stopping to back up every inch of progress, in case your next move pulls the chair from under you.
Not every idea lands — a parody of turn-based JRPG battles toward the end feels overly labored — and it’s hard to escape the sense that writer and co-director Suda51 is being self-indulgent even by his standards. Perhaps there’s such a thing as trying to squeeze too many references and cameos into a script. For all the surprises, the riotous homages, plot twists, characters and style switches, there’s not much to bind them, and not much genuine innovation.
It’s a structure that ensures different perspectives and voices carousel in and out with pleasing regularity, but also in accordance with your mood. It works to intertwine three stories that are differently enjoyable — Meena’s is the most interesting character study, Donna has the most captivating mystery, John is primarily the comic relief — playing them off each other to make them that much more gripping than they would be alone. Variable State may still not have found the perfect interactive formula for its cinematic talents, but until it does “Last Stop” remains a moderate success.
Returning to its interwar period roots, Alone in the Dark successfully reworks and expands the original game's scenario and characters, but its exploration, puzzle solving and combat largely stick to now familiar survival horror routines.
There's much to admire in Ironwood's car-based survival sim, not least the detail that's gone into the old banger you pilot and the weird lands you have to explore, which force you to learn their quirks and keep your wits about you. As a crafting game, however, it's rather unforgiving and laborious, requiring a lot of thankless graft if you want to stay on the road and unlock more inventive equipment.
No doubt pushed out the door before it was ready. Yet, even when you cut through the mess there's an overall lack of quality and imagination to contend with, making it a strong contender for worst game of the year.
Armored Core VI: Fires Of Rubicon's stylish main character, varied level design and effective story are balanced by a few out of place boss fights and too many similar battles. Like a mech itself, Armored Core VI is versatile and packs a real punch, but also somewhat bulky and not always perfectly balanced.
Filling a game based on dialogue trees with mythological musical numbers turns out to be an inspired idea in Stray Gods, as it has the quality of writing, composing and character design to pull it off. Its bulges with both comedy and tragedy, and while some of the songs lack punch, overall Stray Gods puts on one hell of a show.
The Bearded Ladies have been working their formula of turn-based tactics and real-time stealth for three games now, and it shows for better and worse. Miasma Chronicles is the studio's most ambitious effort in scale and depth, but carries over the flaws of previous titles as well as their strengths, and wraps its clever combat in dated humour and world design.
The Last Worker's comically exaggerated vision of the future of work is highly relevant. Yet its story focuses on showcasing the talents of its stellar voice cast at the expense of offering meaningful things to do, and its satirical punches rarely leave lasting bruises.
As long as your PC is up to the job, this is top-notch conversion of one PlayStation 5's finest, combining razor-sharp shooting with dense atmosphere and a captivating story.
Too many glitches, too few truly memorable moments, and an overabundance of wombats prevent the game from becoming a truly majestic beast.
Perhaps, ultimately, you have to accept with “The Centennial Case” that you’re not so much Sherlock Holmes as Dr. Watson, offering up ideas that might be taken on board by the real star, or given short shrift. If you don’t mind playing second fiddle to its fine cast and weaving plotlines, there’s plenty here to keep you gripped. As with any good TV murder mystery, the intent is to keep audiences guessing. “The Centennial Case” should keep you guessing throughout.
Biomutant’s feature list seems to include everything a successful open-world action RPG needs. But journey through its towns, fields and bunkers, and there’s no intrigue in its exploration or weight in its relationship building. Not even a worthy combat challenge to hold everything together. With so many ideas left under-developed, it wastes a setting that had far more potential.
"The upside of treading old ground is that the Oxenfree 2 story gets to link back to the original in some fun ways"
It's not often that the promotion campaign might be more enjoyable than the final product, but Wanted: Dead may have to grin and bear this ignominy. Despite some effort to subvert genre norms with its characters and amusing mini-games, the core action is bogged down by low production values, imbalance, and repetition. For every moment it hits its stride, there's another where it stubs its toe, and some slick execution animations are as imaginative as it gets.
"Opening and closing fields to match the thing you're trying to kill has all the fussiness of a game of Simon Says – in that nothing you do counts unless you've remembered to hit the right button first"
If Fort Solis really was a Netflix series, it wouldn't get a second season.
Somerville never hits its stride, thanks to flat direction and frustrating mechanics.