Remasters are a funny thing. They rely on nostalgia for the original game, feeding off that sense of wonder we felt when experiencing it the first time around. Some manage this successfully, upgrading everything that made the original great and ironing out any lingering flaws, while others attempt a half-arsed rehash that at best looks only nominally better and at worst comes out more broken than its predecessor.
Twin-stick shooters have been enjoying a renaissance period as of late. The cubic destruction that featured heavily in the fabulous PlayStation 4 exclusive Resogun kicked off the next-generation with all the spectacle and pizazz that we’ve come to expect from a triple-A title.
If you only take one thing from this review let it be this – the Alien is a bastard.
You’ll shout, you’ll cry, you’ll invent all-new profanities just to belt at the screen as the scaly-skinned nightmare drops from a ceiling vent and chews your face off just as you get near a save point.
Gaming doesn’t have the best reputation when it comes to representing cultures or their beliefs. Stereotypes and wild inaccuracies are all too frequent – Resident Evil 5’s African village level is a particularly controversial example – which just leads to more problems than it’s worth.
It’s no secret that Outlast is a pretty terrifying game. A first-person survival horror title developed and published by Red Barrels for PC and later PS4 and Xbox One, horror fans were left salivating at the prospect of playing as freelance investigative journalist Miles Upsher, who receives an anonymous tip from a source identified only as a whistleblower…
I launched into Shovel Knight with some pretty hefty expectations given the buzz about it being one of the standout indie titles of 2014. Catchy chiptunes, uber-hard platform mechanics, old school rescue-the-princess storyline re-imagined with shovels instead of swords.
There’s a reason I don’t watch the news. Terrorist threat this, unstoppable virus that. It’s a never ending onslaught of misery and fear that can turn any optimist into a bitter, disenchanted individual. I don’t want to know that cereal… yes, cereal…
My history with the Final Fantasy series has been rocky at best. I started with the remake of Final Fantasy III on the DS and absolutely loved it. I went on to love IV, VI and IX as my favourites in the series, but never really liked VII, VIII or X; XIII was seen by many fans as a complete abomination, too, for a number of reasons.
When Diablo III came out in 2012, we all had pretty high expectations. The game ended up being one of Blizzard’s seemingly never ending development cycles, and they assured us that it would be worth it.
And it was, kinda.
Dark Souls, and its PS3-exclusive predecessor Demon’s Souls, were undoubtedly two of the most rewarding experiences of the last generation. Featuring challenging-but-fair gameplay in a semi-open world environment ripe for exploration, they gained both critical and commercial success through word of mouth, encouraging gamers of all kinds to rise to a challenge that was largely absent in a console generation full of hand-holding tutorial fests.