Mixing survival gameplay with a narrative is always a tough task for developers, but it’s one the creators of We Happy Few takes on. I’m 10 hours into their game, which was released yesterday for Xbox One, PS4 and PC, and I’m both charmed and frustrated. The writing is excellent, and the visuals are spectacular, but the clumsy gameplay makes appreciating these things difficult.
Tagged With game diary
I’m a sucker for Flat Heroes’ simple look and how good it feels to bounce around putting off death, but my favourite part of this minimalist Switch platformer is the moment before the levels actually start.
I’ve never enjoyed a single movement in a video game as much as the Mega Man X dash jump. I could dash jump all day — off ledges, up walls, across pits filled with spikes. For all the double jumps, dodge rolls and infinite sprints I’ve encountered since, nothing has filled my heart with so much joy as slamming my thumb across two buttons at once to launch myself across the screen with equal amounts of control and ease.
In Front Mission 3’s 18th battle, I’m on a naval base facing down two giant walking artillery cannons, four Gundam-like mechs, and an apache helicopter. It isn’t the most challenging tactical role-playing game from the PS1 era, but like a lot of games from that era it’s prone to the occasional difficulty spike.
Unlike many other games in the genre though, characters in Front Mission 3 don’t just live or die. They crumble, slowly, under barrages of gun fire and missiles, and I just can’t get enough of it.
Playing a preview build of Body of Evidence, I found myself working against the clock to clean up crime scenes and hide dead bodies.
As I meticulously scrubbed blood out of hardwood floors and tabletops, I felt exhilarated to play a role in a situation I hope I never take part in.
There’s finally a new Star Ocean game after 2016's barebones Star Ocean: Integrity and Faithlessness. Unfortunately, free-to-play Star Ocean: Anamnesis, the latest entry, is only on smartphones, and a gacha game to boot.
The first of those would be forgivable if not for the second, but as a slot machine for collecting characters from Star Oceans past it turns the series’ once absurd fusion of medieval fantasy and Star Trek sci-fi into something that just feels mundane.
The Witcher came out on PC in 2007. That feels like a lifetime ago. The series is now easily one of my favourites, but a decade ago I, like a lot of people, had no idea it even existed.
That's created a weird dynamic as I play The Witcher 1 for the first time knowing everything that happens in the second two games, like being Michael J. Fox in Back To The Future sent back to Renaissance Poland rather than 1950s California.
Last night in The Crew 2 I drove from New Orleans to Manhattan in about 20 minutes. Behind the wheel of the free, workmanlike 2016 Mazda MX-5 the game gave me to start, I zig-zagged between other cars because one, I was going 240km/h and they were not; and two, narrowly avoiding collisions netted me 10 extra followers on the in-game social media each time I did it.
Exposure is one of the currencies The Crew 2 is built around, used for unlocking new types of events and vehicles. But despite the tens of thousands of made-up people allegedly tracking my progress, I felt pretty lonely.
Most of the time, I want to be gaming. If you're here, probably, you can relate. In the grand scheme of personality traits, that one isn't so bad; just not 100 per cent satiable in every circumstance. Sometimes I find myself in an unfortunate situation involving me, chilling, and several other people who don't play games, also chilling, all in the same room. Like, I wouldn't even pitch Mario Kart to these guys.
I recently discovered a game for these lamentable moments.
I love video game item shops. Even when I can't afford the curios on display it's always fun to examine them, read the flavour text, and plan a wishlist of future acquisitions. Item shops also often act as respites from a long and tiring video game journey. In the PC game Roulette Knight, though, they're where you go to die.
In Frostpunk, a new snowy city-builder by This War of Mine studio 11 Bit that is out today, the player develops a city in a frozen wastelands.
You must fuel the churning generator at the heart of your town, feeding it enough coal to keep your people alive. The cold is your first and greatest foe, and it's my favourite part of the game.