It stands apart from its contemporaries for relying heavily on audio over visual cues.
This game’s strangeness scarcely counts as a unique spin on a familiar gameplay loop.
The combat is beyond reproach, but the game mistakes violence for drama.
The game’s aesthetic choices are tailor made to send the player’s soul into the stratosphere.
The game brings its mechanics to bear on mood with impressive seamlessness.
Obsidian takes a second interstellar jaunt and comes back lesser for the experience.
The game’s gruesome, lightning-fast trials preserve and build upon the core of its ancestors.
The game is about as satisfying as an action film that’s all special effects and stunt work.
Double Fine delivers a gentle puzzler elevated by beautifully trippy visuals.
Sucker Punch’s new Ghost makes a beautiful, bloody, lasting impression.
As a horror game, Bye Sweet Carole is a fundamental miscalculation.
The Ivalice Chronicles brushes a foundational work’s sharp teeth.
Hades II’s use of the roguelite form compellingly evokes the oral tradition of Greek myth.
The road to Silent Hill f’s unnerving vision of hell is paved with tedious mechanics.
This seven-years-in-the-making sequel is a work of vast, idiosyncratic personality.
This middling survival horror game is just barely salvaged by a disconcerting narrative.
Hell Is Us searingly attests to the atrocity of wartime.
Art of Vengeance’s magic is in what it offers players willing to get ambitious.
Somewhat unintuitively, Sword of the Sea doesn’t really play like a skateboarding game.
The Mafia series goes back to its roots in more ways than one.
Across Ragebound, the action becomes breezy, even meditative, as muscle memory kicks in.