That said, The Church in the Darkness is a smart stealth game that impressively warps to reflect your actions. It lets you get in and break out as you see fit. While failure still feels like failure, success is sweet and varied. Once it gets a hold of you, you may not want to break out, at all.
The story and characters and shooting that make Wolfenstein shine are still all here. But, the structure has shifted those elements around, producing something that just doesn’t feel like Wolfenstein anymore. If you like loot-shooters and would like to play one with a Nazi-killing coat of paint, Wolfenstein Youngblood is basically that. But, if you come to Wolfenstein for well-realized characters and pulpy stories, Youngblood is defined by their absence.
Complaining about Outer Wilds inscrutability is a little like criticizing Rome because you don’t know which sights to see. Do a measly Google search. Mobius Digital has, at times, erred on the side of giving players too little information. But, as a result, they have created a world that casts you as Isaac Newton. They are eagerly waiting for you to discover its gravity.
Void Bastards, unfortunately, stifles creativity at times. No matter how you approach the game, much of your time will be spent rifling through drawers. It succeeds at evoking the best of comic book art, but will need some work before its emergent narratives approach the heights of explosive comic book storytelling.
My own lack of emotional investment doesn’t negate what Observation does so well. No Code has created something truly unique. It defies easy “x meets y meets z” categorization. While there are recognizable component parts—the map of a ship-builder, the numerous small mechanics of a microgame collection, the rubberneckery of an immersive sim—I have never played anything quite like Observation. But, I’m guessing it would be awfully familiar to the AI in my pocket.
Maybe the most damning thing I can say about Close to the Sun is that the main story it’s so interested in telling—the story that everything else on the Helios funnels you back toward—just isn’t the least bit surprising. All of it borrows pretty heavily from the BioShock playbook, and all of the plot points it trots out have been done better (and far more shockingly) elsewhere. The portrait of Tesla it presents seems conflicted—and I hoped Close to the Sun would attempt to close the distance between the egomania that would prompt a man to build statues of himself and the gentle humanity Tesla shows elsewhere — but the game doesn’t do anything to dig into those contradictions. That’s the consequence of all those chase sequences. Close to the Sun just doesn’t have the time to dig into anything. It’s got somewhere else to be.
In the end, there isn't much here that feels fully developed. While The Caligula Effect: Overdose has some interesting ideas, none of them really work. I suspect that after some time with The Go-Home Club, players will be longing to go home to the cozy comfort of a classic JRPG. Better to avoid this simulation from the start.
My hope is that BioWare, too, will be able to overcome the ways that their game is broken. Since that demo, Anthem has steadily grown more stable. Some issues, though—like the repetitive mission structure—run deeper than glitchiness. But, Anthem’s core mechanics are satisfying, its world is enticing and its characters, by and large, are charming. With this review done, I will continue to play it. I want Anthem to get better, and I only hope that EA will give BioWare the time and resources to make this game as good as it can be. As it stands, it’s still worth a shot.
It's a satisfying mix. This is the rare (only???) game offering something for fans of Doom, No Man's Sky, Harvest Moon, and Fortnite. It's not the perfect simulation of life in outer space, but, in some ways, it gets closer than anything else has.
In the face of quicker, louder rivals, PUBG offers a slow and meditative experience. It's not, I would imagine, unlike sitting in a deer blind waiting for an unlucky whitetail to pass below. While PUBG's technical issues are ever-present, they rarely spoil this core experience. This is a buggy game, but they aren't game breaking bugs. They're bugs that make you laugh at best and curse under your breath and reboot the game at worst. You hope they get better. But, you know that, with each game, at the very least, you are.
That's what Monster Boy's final hours feel like. They're a clunky conclusion clogging up an otherwise slimy sleek progression. Usually in Metroidvanias, your progress stops because you're missing something you need. In Monster Boy, progress slows because The Game Atelier and FDG Entertainment have given you far too much.
In short, Achtung! Cthulhu Tactics has some new ideas, but mostly retreads familiar territory. The game invokes unknowable forces beyond our comprehension. But, it does so with mechanics that are, by and large, known quantities. Who would have suspected that scaling the mountains of madness could be this rote?
Essentially, Steel Rats answers the question it sets out to ask. Cool as it sounds, if you stuck a circular saw on the front wheel of a motorcycle, it might slash the tire, or sever the brake line, or spark through the spokes. As good as Steel Rats is at world-building, it often fails when it lets you take control. Sometimes the answer it finds isn't the answer it needs.