In a medium that almost always shies away from sex or uses it for solely exploitative titillation, a game that actually has something to say about sex and how we view it deserves at least the minute of your time this takes to complete. You might even learn something.
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As I toddled around in the snow as its adorable monster, I couldn’t help but draw parallels between A Good Snowman Is Hard To Build’s focus on companionship, and my consistent inability to find it in my own life.
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Buried under its tortuous level designs, needlessly convoluted mechanics, and overly ambitious plot, there’s the game Hot Tin Roof wanted to be.
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If you’re an economically conscious gamer you’ve likely noticed as of late that we seem to have fallen down a rabbit hole of continual discounts, bundles, and money saving subscription services to the point it’s becoming difficult to even keep track of them all.
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Papo & Yo might not be the most polished game, and its puzzle design is rife with unnecessary backtracking and tedious solutions, but it’s overshadowed by what the game represents and is trying to convey to the player.
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It took a long time to get here, folks, but we seem to finally be entering a stage of video games being taken seriously as a medium for storytelling.
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Medal of Honor presents itself entirely as it is, as if it hasn’t even enough pride to try and hide its mind numbing tediousness and genericism.
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It's not easy to properly comprehend the effect debilitating diseases have on people until you experience their effect yourself. It's easy to see them as terrible but improbable occurrences, something that clearly happens but is impossible to envision yourself suffering from. And yet, dementia scares the hell out of me. The idea that there's this invisible force that has no cure, no prevention, that will almost certainly effect you at some point in your life and only becomes more likely the longer you live somehow feels so much more real to me than cancer, or Ebola, or any other life threatening disease that I could come in contact with.
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Super Toy Cars feels like a game that escaped out of early access with a reassuring smile and a lot of fundamental issues unaddressed.
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Gravity Ghost is a great game, certainly a more mechanically robust and sophisticated one than I would have expected, and you could play it for that side and come away impressed. You could play it because it’s beautiful and inspired, bursting with creativity and this sort of creepy but endearing sensibility to its extraterrestrial character designs. Or you could play it for its most unexpected and impressive side: a narrative that’s struck me emotionally.
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For the price of a burger and less of my time than I spend looking at pictures of cats on any given day, I was happy to give Unhack a chance.
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The moments when Strike Suit Zero opens up, when the pieces click into place and the game is firing on all cylinders, are in a class of their own.
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Child of Light is an imperfect, exquisite creation, sometimes hard to love but yet difficult to pull yourself out of. I loved my time with it, even as I was becoming confused and annoyed at systems that often felt underdeveloped, finding trouble dismissing something so stunning and unexpectedly ambitious. It’s flaws are obvious and needing to be acknowledged, but I wanted so much not to, as my initial impression of unbelievably beauty continued to guide me through a game easily obscured by the creativity draped around it.
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Black Ops is something I’ve seen before, only somehow less interesting than the last time. It the very definition of what Call of Duty is, or at least what we collectively know it to be and apparently nobody is prepared or capable of at all deviating from.
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The Marvellous Miss Take is such a phenomenal stealth game that it seems to have snuck by just about everyone.
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10 Second Ninja moves so fast that it's over almost before you realize it's begun, but its brief length is used so effectively as a tool to making a blisteringly precise, difficult platformer accessible that it's actually the better for it.
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The dissonance between ibb & obb's truly marvelous artwork and mellow soundtrack and its reprehensible gameplay is probably one of the most shocking I've ever experienced. It's bewildering and depressing, and I'm still finding it hard to fathom how miserable an experience it was to play when it all seemed so wonderful from the outside.
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DeadCore pulls absolutely no punches in being exactly what it wants to be.
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Having known next to nothing save its name going in, I still had some vague, unshakable idea about what exactly I was in for, and I wasn't too enthusiastic about it. But then I was introduced to the first magnetic mechanic and all I could think was "wow, this is really cool."
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