A new entry in the ‘dour and grave’ subgenre of action/adventure games, A Plague Tale: Innocence takes players back to medieval France, when everything was filthy, war was an ever-present threat (and perhaps not coincidentally) a horrific disease was killing people by the millions. Whatever else can be said about the game, it comes by its ominous tone honestly — the setting doesn’t really allow for anything else.
Earlier this month, GameCritics was invited to a preview event featuring Far Cry: New Dawn, and the first thing I noticed about it was how colorful it was. Not that its predecessor Far Cry 5 was a bland game — far from it. It’s just that in New Dawn, nature seems to have taken on a more […]
The Heart of Rage. Embers. Scars. The Monitor. Javelins. Anthem is the new online third-person shooter-slash-Iron Man simulator from Bioware due out next month, and the opening hours are a deluge of proper nouns. It sometimes feels like these early scenes were written by a sentient word processor with unlimited […]
Hades is the latest title from Supergiant Games. Players take control of Zagreus, a son of Hades, lord of the underworld. He’s decided that his time in the underworld is over. He wants to leave and search for this mother, but Hades won’t allow it. Each time Zagreus falls, he’s resurrected in his father’s palace, but not only is he determined to escape, he’s willing to die a thousand deaths to do it.
There’s very little dialogue in The Light Keeps Us Safe. At the start of the game, the only speaking role is a woman whispering into the player’s communications device, and she’s only around for a few minutes before she leaves. However, she utters one of the most evocative opening lines I’ve heard recently.
“You are lucky, in a way. You got to hide down there for so long. But now you have to deal with it all alone.”
I’ve been watching Mutant Year Zero: Road to Eden for a few months now and always had a passing interest in it, but had yet to get my hands on it. This post-human apocalyptic turn-based strategy game has anthropomorphic characters and an interesting setting, but it wasn’t until actually playing that I realized my initial thoughts about it were slightly wrong.
First-person games these days seem to have one of two presentations — they either feature a gun and gallons of blood, or a person walking peacefully though scenes while picking up objects. It’s easy to see that Elderborn gets its inspiration from the former, but in a twist, it takes the gun out of the equation. Instead, players will pick up a series of melee weapons to fight evil, striking, parrying, and kicking their way through an ancient Egyptian-inspired dungeon while searching for gold along the way.
I know it’s reductive to not think of the Trials series as ‘real games’, but the complete lack of a story or context for the stunts and timed runs has always left me cold, despite how much I’ve loved the super-tight gameplay. So, it’s possible that I was unusually well-primed to find Steel Rats a delight since it takes the core concept of Trials – stunt biking through crumbling urban spaces – and adds gunplay, robot invaders, and what can be best described as ‘bike-fu’. The combination is a glorious one.