Resident Evil Requiem Review - Two-Headed Mutant

https://ift.tt/yqJb4xz

The Resident Evil series has a long history of struggling to find the right balance of horror and action, sometimes becoming massively successful and influential in either genre, and sometimes completely faceplanting after leaning too far one way. Resident Evil Requiem, the ninth mainline game in the series, sees Capcom dialing in the combination of those elements better than ever, though in a somewhat inelegant way. Rather than try to blend different elements of two different genres into a single experience, it just staples together two distinct experiences that each capture the best parts of Resident Evil--to the point where it is almost two separate games running in parallel.

One game is a slow, frightening, gory haunted house story following an everyday person as its protagonist, hewing close to the horror-first approach of Resident Evil 7: Biohazard. The other is a fast-paced, panic-inducing experience starring an action-hero badass that draws directly from Resident Evil 4. Requiem even lets you set different points of view for the separate protagonists, recommending RE7's first-person approach for horror and RE4's third-person camera for action, though you can use either for both.

Disparate as they may be, though, both halves are extremely compelling. Requiem feels like Resident Evil's developers, for the most part, recognizing what they do well and leaning in all the way. The result is a game that's unwilling to leave the track set by its predecessors, but one that still provides an intense, often exciting ride.

Continue Reading at GameSpot

Read More

High On Life 2 Review - Skate 'N Gun

https://ift.tt/mtqEP2j

Who knew that adding a skateboard to a first-person shooter would make for a better game? It's an unconventional approach, for sure, but developer Squanch Games isn't exactly known for following conventions. If 2022's High On Life was Metroid Prime by way of Rick and Morty, then High On Life 2 looks to Ratchet & Clank, Sunset Overdrive, and Tony Hawk's Pro Skater for new ingredients to add to its eclectic mixture. The end result is an improved sequel--absolutely bursting with creativity and out-of-the-box ideas--that nonetheless suffers from a few familiar shortcomings.

Like the first game, High On Life 2 plops you into the space boots of a silent and nameless protagonist, complete with an arsenal of talking alien weapons. The story setup is much the same, too, except instead of hunting down an extraterrestrial drug cartel that wants to turn humans into a narcotic, you're killing off the celebrity propagandists, financiers, and scientists behind an extraterrestrial pharmaceutical company that wants to turn humans into a narcotic (one with much better branding than the drug from the first game).

You're also on the wrong side of the law this time around, swapping your role as a bounty hunter for that of a rogue assassin, illegally murdering your way across the galaxy. The nearly identical setup is an odd choice, but your wanted status makes for some interesting deviations, and the pivot to Big Pharma as an antagonist sharpens the anticapitalist satire.

Continue Reading at GameSpot

Read More

Crisol: Theater of Idols Review - Drained Dry

https://ift.tt/8eXZEMm

The best thing Crisol: Theater of Idols has going for it is the world it is set in. The game clearly takes many cues from the likes of Resident Evil and BioShock in terms of cultivating a sense of mystique and atmosphere in its opening hour, with tension-building sound design, closed-off environments, and unnerving enemies that are visually human-like but move in an unnatural manner. Unlike those games, however, Crisol begins to lose its edge when the enemies become too numerous and easy to defeat, undermining the sense of danger that first built up its setting and undercutting the game's best mechanic. The first-person shooter gameplay grows increasingly dull as the layouts of different arenas become repetitive, keeping combat from evolving in exciting ways. And while the narrative framework of Crisol is interesting and immediately draws you in, the actual story is held back by another drag: its protagonist.

In Crisol: Theater of Idols, you play as Gabriel, a soldier of the god of the sun who has infiltrated the perpetually stormy island settlement of Tormentosa, a locale that is part of Hispania, a nightmarish version of Spain. Gabriel is waging war against the sea god for his master and receives his mission instructions through visions that the sun god sends him. He must make his way across the island, working alongside the remnants of a human resistance that is struggling to survive against statues that have been given some form of sentience and now move with murderous purpose. Throughout it all, he is dragged further and further into the history and politics of the ongoing war between the two deities.

The best part of Crisol is its blood-for-bullets mechanic. There is no ammo in Crisol--instead, you refill each firearm by injecting Gabriel's blood into them. This, obviously, hurts. As a result, Gabriel's health and firearm ammo both pull from the same resource bar. This is not too much of an issue on the easiest difficulty, but on the harder ones, this blood-for-bullets mechanic makes for an interesting risk-versus-reward gameplay loop. You have to carefully manage how much you reload your firearms.

Continue Reading at GameSpot

Read More

Reanimal Review - Doomed, But Not Alone

https://ift.tt/T3fzubx

We're running through an abandoned room with a wheel we need to attach to a cart outside in order to escape. My co-op partner and I scream in unison as hollow, slimy ex-human skins slither quickly after us. One snap at our ankles and we'll be dead, forced to restart the encounter. It's almost needlessly tense--the respawn points are very forgiving, and there's nothing at risk here--but somehow these eerie undead creatures have my heart racing and palms sweating. I don't want to be caught by them, whatever they are, and however they came to exist.

Where Tarsier Studios faced criticism for muting the distorted and disturbing imagery of the original Little Nightmares game in its 2021 sequel, the developer has returned to its most outlandish in Reanimal. The gut-wrenching feeling of discovering a giant, mutated beast of an animal is strangely comforting in a nostalgic way, meaning that not only does Reanimal live up to the legacy of Little Nightmares, it surpasses it. Despite its haunting and unsettling atmosphere, Reanimal is thoroughly enjoyable. I find great delight in dragging my co-op partner toward what appears to be a dead end, only to find a narrow crack in the brickwork that we can squeeze through to uncover collectibles or other secrets. I'm not usually one to seek Trophies or Achievements, but Reanimal makes me want to uncover every corner of its sordid environment just to absorb more of its world.

Reanimal places you in the shoes of orphaned siblings trying to rescue some missing friends. As the game is the brainchild of former Little Nightmares creators, I already know to expect fragmented storytelling, uncovering lore as we go through the haunting experience--each secret adding more layers to the siblings' narrative. This leads to plenty of theorizing between my companion and I as we progress through the game, most of which turns out to be hilariously incorrect.

Continue Reading at GameSpot

Read More

Romeo Is a Dead Man Review - Keep Sleeping, Dead Man

https://ift.tt/ybdht3f

Romeo Is a Dead Man is a strange game. That shouldn't shock anyone who has played and enjoyed previous works from executive director Suda 51 and developer Grasshopper Manufacture--The Silver Case, Killer7, Lollipop Chainsaw, and the No More Heroes series all contain wild tone shifts, interesting visual choices, and twisty, sometimes esoteric narratives. Romeo Is a Dead Man is strange in many of the same ways those games were, but something important's missing from it: a sense of purpose.

In the game's opening moments, Romeo Stargazer, a sheriff's deputy with a taste for conspiracy theories, is brutally attacked by a monster in the middle of his hometown of Deadford, Pennsylvania. Thankfully, he's saved from death by his own time-traveling grandfather, who turns him into a cyborg with the Dead Gear Life Support System. Some years earlier, after the world is shattered by a mysterious singularity event, and Romeo--now known as Dead Man--is swiftly inducted into the FBI's Space-Time Police unit, where he's forced to hunt alternate-timeline versions of his amnesiac girlfriend, Juliet (yes, as in Romeo and Juliet), and a handful of other deviants who have holed up in the past.

If the plot sounds like nonsense, it's worth noting that the game clearly knows this too. Sometimes its tongue-in-cheek humor lands--it's funny to get carted off for your "training" when you're already several levels into the game, for instance, and the way the game keeps flashing back to "previously on" segments depicting events that happened before the game started is amusing. The first boss is inexplicably called "Everyday Is Like Monday," and there's a good ongoing bit where characters keep correcting themselves after referring to the protagonist as "Romeo" instead of "Dead Man."

Continue Reading at GameSpot

Read More

Yakuza Kiwami 3 & Dark Ties Review - Short Fangs

https://ift.tt/Xck9Eqd

One of the first scenes of Yakuza Kiwami 3 sees protagonist Kazuma Kiryu paying respects at a cemetery. Interact with any of the tombstones lined up in a row, and you'll witness a moment of remembrance. Kiryu, in his thoughts, recalls the deceased's deeds, their shared bond, and how much they meant to him. In turn, you're given the option to watch a story recap of the Yakuza entry in which the character was featured. While the original Yakuza 3 also had this option, the scene as a whole takes on a different meaning in Kiwami 3, showing footage of the previous Kiwami games. In a way, this retelling makes it clear that these remake treatments are now the intended story. The problem is that the array of narrative, mechanical, and stylistic changes that came with these iterations, which are handled more bluntly in the latest entry, are altering what made the originals stand out in the first place.

Yakuza Kiwami 3 & Dark Ties gives yet another main entry in the action-adventure series the remake treatment, while also including a new, separate experience featuring a different protagonist, similarly to the Majima Saga portion in Kiwami 2. It is perhaps the most important remake of the first five games. Technically speaking, Yakuza 3 saw developer Ryu Ga Gotoku Studio experimenting with a new engine after its two predecessors, which, despite an effort to iron it out with a remaster in 2019, hasn't aged gracefully. In addition, it is a key entry in the series, marking a crucial moment in Kiryu's characterization as he tries, and ultimately fails, to escape the trappings of the underworld to run an orphanage on the picturesque beaches of Okinawa. His past ultimately comes back to haunt him once more, reminding him that there's no reprieve from his phantoms.

For the most part, the broader strokes of Kiryu's story remain untouched. Yet, the considerable technology jump does affect the overall ambiance. This is due to Ryu Ga Gotoku recreating environments and characters with modern renditions rooted in the engine used for recent entries in the Yakuza and the larger Like a Dragon ecosystem. The result is a bit too cleaned and polished, dimming the grit of the main locations--Kamurocho and Okinawa--as well as the contrast between them. The stylistic choices, especially around lightning, make them feel like an extension of each other rather than separate areas with distinct thematic purposes. This extension also applies to the Kiwami games as a whole. Considering this is the third remake of its type, the art style is beginning to feel homogenized, losing the charm of each original entry having a specific mood reflecting the story.

Continue Reading at GameSpot

Read More

Mewgenics Review - A Near-Purrfect Roguelite Adventure

https://ift.tt/8V70nlw

Around the 30-hour mark of playing Mewgenics, I found myself in a strange domain deep within the bowels of a cave. My team of cats, armed to the teeth with pistols, serrated blades, bone trinkets, and even a rocket launcher and the Necronomicon, had just defeated a gargantuan zombie boss that kept attacking their home. Each encounter with the zombie behemoth, Guillotina, yielded a quest item that made subsequent runs more difficult. Finally, after the third bout and multiple painstaking attempts, I made it to the end of the zone… or so I thought.

To my horror, I realized that I was nowhere close to the end. Worse, the cat that had the quest item equipped had to be sacrificed on an altar made of flesh and veins. Needless to say, the rest of my team did not survive the gauntlet of battles that came afterward. Initially, I felt too demoralized to continue playing. Then, I remembered that I still had a dozen cats back home with lightning spells, magic missiles, lifesteal, and even one with a Hadouken fireball. “All is well,” I told myself. “I’m ready for one more run.”

Mewgenics, the brainchild of Edmund McMillen and Tyler Glaiel, the developers of critically-acclaimed games The Binding of Isaac and The End is Nigh, is an incredibly complex roguelite game. Part management sim where you breed cats in a home, and part turn-based tactical RPG where cats battle hordes of enemies, it might just be one of the best games in the genre I've played in recent years, owing to its unparalleled depth. Its whimsical presentation is like a fever dream come to life and each playthrough has you praying to the RNG gods knowing that it's likely a fruitless endeavor. But when the stars align, that's when the magic truly happens and you can shout in triumph… until your next run, that is.

Continue Reading at GameSpot

Read More