The game captures place and feeling through honing in on things that are singular, small, and warm.
The uninspired material is unable to elevate the game’s moth-eaten ramblings about good and evil.
Kentucky Route Zero is about America in a way few games aspire to be and fewer still succeed at.
The game does a fine job of narratively showing the way in which a person can be broken down and made to believe anything.
The world here is littered with side missions out in the wild, and most of them amount to uninspired fetch quests.
The game’s themes feel like facile wallpaper over mechanics that feed into the ideas being critiqued.
SELF rejects the power-building, level-gaining escapism that typifies the majority of pop games.
It can’t step out of the silhouette of its most brilliant predecessor, Portal.
Wherever the medium goes from here, these are the games that point the way forward.
Living in America as a kid with brown skin has never been harder, or more frightening, and the game is a harsh primer in that fact.
Wattam communicates a poignant, refreshing, and all-too-necessary joy in the face of adversity.
In 2019, the best games took the industry’s standard operating procedure and punted it out the window.
Did you know that corporations are bad? That the drudgeries of adult life are soul-crushing?
The game fulfills a vision of steadfast humanity within the framework of a martial arts revenge tale.
Fallen Order is powerful in ways that Star Wars hasn’t been in video game form in over a decade.
The most powerful statement the game winds up making is that work is worthwhile, even at the bitter end.
To the game’s credit, the police presence on the track feels less like a hook than a genuine menace.
Luigi might be luckless, but he’s still a force to be reckoned with across this, the most variety-rich Luigi’s Mansion game to date.