Joe Donnelly
Despite the butterfly effect's premise, a ham-fisted story means you won't care about who might live and who might die. It's not enough to save the game from disappointment, and in the end, Until Dawn is its own self-inflicted nightmare.
At times, Volume may fly too close to its Metal Gear Solid roots - creator Mike Bithell has unashamedly noted 1998's stealth 'em up as a distinct source of inspiration - but what it lacks in immediate originality, aesthetically at least, it makes up for in innovative, engaging, and challenging level design. To brand this a clone would be more criminal than Gisborne's corporatocratic rule.
It can get frustrating at times, but it's meant to - and that's what makes it work.
This year has blessed us with many massive, must-play releases. Her Story regally joins the list and is one that we're sure will be discussed for years to come.
Payday 2: Crimewave Edition has been given a spit shine and a sprinkling of new features, but unfortunately the nuance ends there. If you already own the original on PS3 or Xbox 360 there's not an abundance to write home about. If you don't, Crimewave Edition is still worth your time, but it's far from the perfect score.
It's a unique take on the war-based theme, and will evoke your inner voyeur, dazzling in its moments of exposition as well as its suggestive junctures.
OlliOlli developer Roll7's newest project is a frantic shoot 'em up that revels in its messy, hedonistic chaos.
Acid Nerve's tough boss run is precise, ingenious and rewarding.
When it's good, Dennaton's subversive, hyper-violent sequel is outstanding, but questionable design decisions and a confused story means it does not have the precision of its predecessor.
This is a game which clearly values quantity over quality and is worse off for it, leaving you with the lasting impression that this was a team over zealously trying to make up for a failed crowd funding project. There may well be a half-decent game lurking beneath the facade of tired jokes and nods to RPG tropes and stereotypes, which Citizens of Earth then insists of portraying anyway, however it's far too caught up in its own bravado to realise it.
Now for the age-old question: is war worth it? At £30, Ardennes Assault might be slightly overpriced, yet within lies a brilliant war sim RTS. Only the best need apply.
There's a famous Doug Larson quote that goes: "Nostalgia is a file that removes the rough edges from the good old days" Unfortunately for Gabriel Knight's 20th Anniversary Edition, the lead character himself - much like his dated wit - isn't sharp enough to carry this off.
Aside from the odd moments where Magic's innovative ruleset is allowed to shine, this entry feels like a complete cash-in, forcing players to rely on their wallets, not their wits. Long term Magic fans will want to avoid Magic 2015 to avoid utter frustration, whereas newcomers should look further into the Duels of the Planeswalkers' back catalogue for a more appropriate and fulfilling platform for inauguration.
"When you need it there yesterday," reads Buck Mann's catchphrase in reference to his delivery ethos. As far as Space Run: Fast and Safe Delivery as a game is concerned, part of me wonders if yesterday is really where this adventure belongs.
Unfortunately, the last quarter of A Story About My Uncle does become a little too repetitive, and slightly overly obscure grapple set pieces require blind luck more often than skill. That said, this is still a great adventure - one which will return you to childhood fantasy, and one which will far from get your goat.
Ubisoft Montreal should certainly be applauded for trying something new within the bounds of the genre - hacking in Watch Dogs is genuinely innovative, despite the threat of gimmickry - however, Watch Dogs has ultimately failed to live up to its hype. It's good, but it could, and probably should, have been great. The underlying irony of Watch Dogs is the fact that the game itself suffers a bit too much from an identity crisis.
In essence, BattleBlock Theatre is not without its frustrating moments, but such is the nature of all puzzle platformers. Any negatives noted here exist, but are slight and surely nothing more than minor blips in what is a very rewarding, very well presented, and very enjoyable and hilariously funny puzzle platformer. As the landscape of these types of games becomes increasingly bigger, it's nice to see a game strive so hard for innovation. And in doing so can make the player feel like the cat who got the cream. Perhaps I should leave the jokes to The Behemoth experts.
Depth isn't normally the genre's strong suit but that said, some form of story - one not completely devoid of personality or entirely too reliant on the cheap tricks showcased here - surely isn't too much to ask for. For all Croixleur Sigma can be quite challenging - particularly towards its Story Mode's end or within Challenge Mode - no real skill is needed to succeed, and it's lack of variety and intrigue make this feel like a wasted journey west.
Upon death, Sarah regains consciousness before the message "You can't remember, but this seems familiar" lines the foot of the screen. In note-driven Daylight, this is perhaps the most hauntingly accurate passage of the lot.
Familiarity breeds contempt, or so they say. But I don't think this well-worn phrase applies in all circumstances. In the case of Trials Fusion, it would seem that familiarity has bred, well, simply, familiarity. Yes, it feels like we've been here before, partly because we have. But when it's executed with such finesse, is that such a bad thing?