Dead Space is one of the true legends of the survival horror genre, and EA Motive’s new remake does the original game full justice while also introducing a variety of fantastic new additions and reworkings. Other than some slight disappointment in its visuals on a technical (but certainly not artistic or atmospheric) level, this is a remake that finds a near-perfect balance between retaining the heart and soul of its predecessor and reanimating its body in some unexpected (but positive) ways.
High on Life continues Squanch Games’ propensity for skewering video game tropes, this time in the form of a first-person shooter. Unfortunately, a lot of the game plays like a first draft, and armor of detached irony doesn’t do enough to protect it from its many, many kinks. Roiland’s personal brand of gross-out parody and “oh, geez” improvisational humor is already starting to feel routine in video game form, but there are a few standout bits. Thankfully, there’s a pretty fun shooter underneath all the alien semen, though stiff animations and some buggy moments can make it look slightly underbaked. If you’re a fan of Rick and Morty (or, more appropriately, “Doc and Mharti”), then High on Life might just be the pickup you need—but it never fully develops any of its really good ideas into a satisfying final draft.
The Callisto Protocol feels like a throwback title, for better and worse. While the Dead Space comparisons are unavoidable, director Glen Schofield’s return to survival horror does bring with it several new concepts, but many, like the melee combat system, suffer from poor execution. Still, if you’re looking for a fun, B-movie disaster story with some famous Hollywood faces and a more straightforward, linear single-player experience, you could do worse—at least until the Dead Space remake launches next year.
Pentiment is a true achievement of marrying story, style, and theme into a magical and cohesive whole. In lieu of 3D graphics that try too hard and still fail to represent an authentic-feeling world, Obsidian’s artists opted for a more illustrative aesthetic to tell their gripping story of a murder in an abbey, a choice that resonates throughout the entire game. While it might not satisfy every player, especially those expecting a more traditional RPG or adventure experience, those who can immerse themselves in Pentiment’s vision of 16th century Bavaria will find one of the best games of the year.
God of War Ragnarök is a worthy continuation of (and conclusion to) 2018’s God of War, building on that already strong foundation to deliver an experience deserving of a spot in gaming’s pantheon. New tools and greater enemy variety elevate combat, and the expanded environments and cast give this sequel the epic scope its story demands. But the beating heart of the game remains its characters, and Ragnarök delivers an immensely satisfying next chapter for just about everyone—Kratos and Atreus, returning friends, and new faces alike.
Gotham City might never have looked better, but Gotham Knights’ gameplay repetition and lack of length to the main narrative might deter all but the most hardcore Batman fans. Co-op adds a fun layer to all the crime fighting, and every character feels truly different from one another, even if the combat system takes some getting used to. Overall, there is a solid core here that hopefully can be built on in the future.
Even if you haven’t played the first game in the series, Mario + Rabbids Sparks of Hope is a great introduction to a certain type of strategy game, iterating on a now-familiar formula with a readable, predictable approach to combat and some fun innovations in character movement. It knows where to streamline without sacrificing depth, all while starring mascots that fans know and love. Its exploration elements might slow the pace a bit too much, but you won’t mind too much thanks to the gorgeous art direction.
Siblings Amicia and Hugo went to hell and back in A Plague Tale: Innocence in their quest to survive an inquisition, endless hordes of rats, and the humans that looked to take advantage of the young boy’s curse. And now, in A Plague Tale: Requiem, they must pay the devil his due. This is the tale of the duo wanting to control their own fate as the fragile peace they had found falls apart, and the harsh lesson that their choices have consequences. As a game, Requiem is a bigger, better, and more ambitious adventure over its predecessor, but as a story, and a look into the lives of the characters that inhabit it, it’s so much more.
Scorn is a daring aesthetic experiment in virtual, interactive science fiction. Taking inspiration from the art of H.R. Giger and Zdzislaw Beksiński, developer Ebb Software seems hellbent on giving its players a surreal, nightmarish experience, and it mostly succeeds. While combat can feel like a secondary concern, Scorn’s puzzles provide just enough challenge to keep the game from feeling like a “walking simulator.” Really, though, the main attraction is Scorn’s compelling world, a fully realized artistic vision that will haunt you for days after experiencing it.
Taiko no Tatsujin: Rhythm Festival is a solid new entry in Bandai Namco’s rhythm game franchise, offering a roster of fresh music to enjoy, some creative new game modes, and more unlockables to have fun collecting. The game doesn’t offer as many multiplayer options as its predecessor did, but does feature more to keep solo players occupied. Rhythm Festival also offers what is arguably the biggest addition the franchise has ever seen, the Taiko Music Pass—a new music subscription service that can greatly expand the life of the game while also bringing with it some additional concerns over our subscription-laiden future.
