Horrors and thrillers are somewhat Marmite genres. Beyond the hate it or love it motif – who am I, the Game? – the analogy relates more to whether the genre works for you or not.
For me, Alien: Isolation was a game that exercised tension. For others, it was a game that tested a player’s bowel controls. For some reason scary games struggle to scare me. Bear this in mind when reading the following.
Shinji Mikami is considered a legend in videogame circles, and with Resident Evil and Vanquish under his belt how could he not? Sadly, for those hoping a return to what made the now flailing Resident Evil series exciting, The Evil Within is not it. It is not scary. It is a slightly broken, kind of alright game with an absolutely dog-shit narrative. It opens to a very weak first hour but quickly finds its mediocre size 8 feet.
Underground: it’s a peculiar word that raises as much disdain for what is cool as it does in fact specify what is cool. Many things are underground: a swick Shoreditch bar with pineapple themed décor; fiber wire that Virgin refuses to connect within a reasonable timeframe; potatoes.
The word brings a multitude of images to mind, but nothing as vivid or terrifying as the blight on man that is the London Underground.*
Grab the lube, this is going to be a squeeze.
You haven’t experienced London until you catch the Tube between 07.45 and 09.15. Flustered and sweaty before the day begins, this is the equivalent to running a marathon before, well, running a marathon.
Just a little over one year from its original release, GTA V Remastered is finally out after months of rumour and teasing.
I’m only one and half hours in so far – all I could squeeze in after work – and it is pretty much how I remembered it; much like The Last of Us Remastered, this games looks how you thought it did back in 2013. Luckily, the graphical prowess of the current-gen consoles helps us forget the limitations of the PS3 and Xbox 360.
The internet has already revealed much more than I can about Rockstar’s additions, as the internet obviously has a lot more free time than I do. Aside from the graphical bump, secrets are popping up everywhere on Incy Wincy’s web; there’s even a peyote-fuelled trip that lets you be a chicken.
Ivory Tower and Ubisoft Reflections are kicking off Ubisoft’s foray into current-gen racing games with The Crew, a game focused as much on social networking as it does driving.
This is a Ubisoft game, so of course it is a persistent world that requires you to unlock areas of the map by finding satellites and doing – as the game calls it – ‘more computer crap’; an obvious reference to Watch_Dogs and other Ubi games that use this mechanic, but sadly it’s still present here.
Another year another COD. Well, I say that, but I have refrained from buying a ticket for the hype train since 2010. The last ticket I bought was for Black Ops, which was a bit of an experimental entry with a thriller tinged campaign and the addictive wager multiplayer modes, including my favourite, One in the Chamber. With Sledgehammer’s first attempt at taking the helm for the series, we see the return of the experimental muscle Treyarch had previously flexed.
My absence from the series has worked for and against its favour. The exoskeletons of Advanced Warfare brighten up the multiplayer mechanics – seriously, I fucking love double jump – and the campaign is actually decent with some genuinely interesting level design.