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You can take a look at Tom Chick's Patreon page (the link is at the top of the page) for more than you'll ever want to know about this site's approach to reviews. But the overarching idea is that a review is an expression of someone's experience with a videogame. It is subjective. It is not advice. It is not a buyer's guide. It should be valuable to people who have and haven't played the game. Furthermore, our ratings using the full range of the 1-5 scale and they are simply shorthand for how much we liked a given game. You can find details here.
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Latest Game reviews
My favorite strategy games are also historical essays. Paradox’s Victoria II considers how the rise of wealth corresponded with the demand for social reform in the industrial era. Joel Toppen’s boardgame, Comancheria, examines the cycle of brutalities European expansion and Native American culture inflicted on each other. Stardock’s Corporate/Political Machine explores how perception trumps reality. Afghanistan ’11 is about what we learned from Vietnam.
After the jump, the more things change, the more things change. Continue reading →
Compared to the 1970s, 1980s, or even 1990s, game designers today must feel like they have an incredible armamentarium for expressing theme. Whether it’s through worker placement, card mechanics, resource management, auctions, tableau-building, or even a mancala, there are now so many ways to make little meeples or whatnot go on cardboard adventures that it’s almost like having a whole new ludographic vocabulary. And designers are taking advantage of it, with tremendous new games being released it seems every month.
Then there’s Freedom: The Underground Railroad. Continue reading →
When you’re really good at a strategy game — a boardgame, a card game, Civilization, chess — there’s a whole other kind of pacing than when you’re learning it, or just casually letting it unfold, or playing it as one of a half dozen other strategy games currently rattling around in your brain. The dilettante considers each move because he doesn’t know the game well enough to hurtle through it. When you master a game, your brain works as if it has muscle memory. In a given amount of time, someone who knows a game well can play twice as many games as someone who doesn’t. Maybe three times as many.
But even I can play a whole bunch of Monster Slayers in very little time. Continue reading →
Ghost Recon Wildlands is what it would be like if Disney World had a section called Shootland. A swathe of geography dedicated to the theme of shooting guns, expensive looking, consisting of simple and contrived thrills interspersed with waiting in line, built to impress in a compressed burst rather than entertain over the long run. Great place to visit, sure.
But not much of a game. Continue reading →
The last twenty years of boardgame design have taught us that there is a lot more to do with dice and cardboard than rolling to see whether or not you end up on Park Place. But to some extent this progress has enforced a sort of orthodoxy: games have to have brisk pacing, constant interactivity, and victory conditions that give first-time players a decent chance of winning, or they get quickly relegated to the shelf in favor of the latest hotness (unless they have cool miniatures, in which case apparently all faults are forgiven).
So what if a game gave you none of these, and on top of it, had a somber theme that would probably put off half the people to glance at the box? How about if it also condemned you a lot of solitary mucking about without a clear way to achieve your objective, only to have a chance to win come and go so fast you didn’t even get to plan for it, after which you settled into the despair of knowing your best chance to win has come and gone, and thought about all the ways that you could have seized that opportunity? Or instead, you planned carefully and cleverly for an opportunity that never happened? Welcome to Black Orchestra, a fantastic game that breaks many of the rules of Euro game design that we’ve swallowed without question for twenty years.
Quite literally, welcome to the resistance. Continue reading →
So much loot! More loot after every mission. Loot left over after the last mission. Loot I forgot I had. Panels and panels of colorful little icons, some green, some blue, some a couple of shades of purple, and some that eye-catching orange/yellow. There are even some reds. Reds! The rarest of the rare. Epic, even! No, wait, I think orange/yellow is epic. Red is an artifact, which transcends rarity because rarities are adjectives and an artifact is a noun. Loot, loot, loot! Normally all this treasure would be a cause for celebration.
In Pixel Privateers, an otherwise really good game, it’s cause for a sigh. Continue reading →
Once when my little sister was nervous about flying, I tried to reassure her by explaining that when planes land, they’re literally falling. Planes generate lift by moving forward, with the amount of lift proportional to their speed (I might have even used the word “Bernoulli” while explaining this; I can be a bit of a show-off). If a plane doesn’t have enough speed, it stops generating lift. That’s called stalling. So when a pilot lands an airplane, he doesn’t fire up the engines and point the nose at the runway. That’s called crashing. Instead, he reduces speed until the plane isn’t generating enough lift to stay airborne. Now the plane is falling. Ideally gradually. And ideally onto a surface amenable to airplanes, like a runway. But falling nevertheless. It’s the easiest thing in the world. Falling.
“That’s not reassuring,” she noted. Probably because falling and crashing are synonyms more than falling and landing are synonyms. Continue reading →
Resident Evil 7 has a strong opening, a sagging middle, and a disappointing finale. In other words, it hews closely to the arc of most horror. But to Capcom’s credit, this Resident Evil is taking pages from books it hasn’t previously read. I’m not convinced it understands those pages, but at least it’s attempting something other than the usual roiling mass of black goo with bright orange weak points you have to shoot. For a while at least. It’ll get to that. But before it plods through its sagging middle to its disappointing finale, Resident Evil 7 is at least trying.
After the jump, found FPS isn’t a thing. Continue reading →
Boardgames can be accessible in two different ways. One of the ways can kill their longevity. The other way is a fundamental part of solid game design. Inis is a great example of the second way.
After the jump, n x 1 Continue reading →
I don’t play tower defense games. They’re beneath me. They’re for people who want to turtle in an RTS, but they don’t want to actually play an RTS. They don’t even want an AI. At least MOBA players, who want to play an RTS without actually playing an RTS, are going up against other players. Tower defense players just want to shoot stuff that runs at them to get shot.
So I don’t play tower defense games. But when I do, they have to get four things right. Alien Shooter TD gets those four things right, plus a fifth thing. So if I played tower defense games, I would play Alien Shooter TD.
So for the sake of argument, let’s say that I do play tower defense games. Continue reading →
Total War: Warhammer is the pinnacle of what Creative Assembly has been doing for over 17 years. But with orcs. That last bit is important. A lot of the appeal of this Total War is that you have monsters and wizards and spells and ogres and things that fly. You have stuff you never had in Total War. You do things with them that you never did in Total War. You capture elf strongholds and sneak through orc tunnels and stave off the taint of chaos corruption. You equip legendary magic items, level up various flavors of fireball spells, and build a reliquary so you can recruit ghost soldiers who ride on ghost horses. Queue up some waypoints for your dwarf gyrocopter to drop bombs on hapless minotaurs.
How can you go back to mere history after that? How can you go back to something as mundane as levies with nothing but a tunic, a spear, and a pair of sandals, whose most dramatic upgrade will be heavy armor and some sort of halberd?
Actually, the more pertinent question is “how can you not?” Continue reading →
If you had told Charles B. Griffith he was responsible for one of the most perfect comedy videogames, he probably would have asked, “What’s a videogame?” Griffith was a prolific screenwriter from a bygone era. In the 50s and 60s, he was a go-to guy for producer Roger Corman when Corman needed a template for another crappy low-budget movie. I don’t know most of the movies based on Griffith’s scripts, but I can imagine what they’re like based on the titles: It Conquered the World, Attack of the Crab Monsters, Ski Troop Attack, Beast from Haunted Cave, A Bucket of Blood, Not of This Earth (apparently the last two aren’t as terrible as the others). Griffith is best known for Little Shop of Horrors, which was a crappy Roger Corman movie before it was a Steve Martin movie adapted to a hit musical. From this, you might guess better filmmakers could have made good movies from his scripts. We may never know.
But Griffith’s most enduring contribution is a videogame he had nothing to do with. Continue reading →
As you play Shadow Warrior 2, one of things you learn is that the absolute batshit over-the-top nonsense isn’t, in fact, nonsense. But who could blame you for thinking this is all just a glut of silly killing? The game seems to say as much. Here, have some guns, it says. Have some spells, have some gear. Oh, have these special melee moves. Now have some burning and freezing and poisoning. Have some more guns. Have even more special melee moves. Have more guns. Have a second kind of chainsaw. Now have some slo-mo fury. The more you play, the more of this stuff spills from the absurd gaping maw of the Shadow Warrior cornucopia. It’s overwhelming in the same sense that a Christmas morning would be overwhelming if you thought you’d opened all your gifts, but you kept finding another one behind the tree.
Oh, look, here’s another one! Continue reading →
I was having dinner with some people a few years ago when a friend of mine, who is actually a well-known role-playing game designer, started making fun of euro games. “It’s just a bunch of abstract concepts wrapped up in gameplay mechanics,” he said, “except that the red cube represents Catholicism.” I bristled at that, because sure you can make a lot of very historical mechanics about Catholicism when you’re playing a role-playing game about being the pope, but how are you going to get enough people to represent all of Europe? Answer me that, smart guy. I went away thinking I was pretty smart, myself.
Turns out he was right. And not just about the Reformation. Continue reading →
If I was to make a game that I didn’t want anyone to actually play, it would look a lot like Clockwork Empires. A torturous interface with lots of busy little buttons and information spilled across various mutually exclusive screens. Basic tasks that require about two too many steps. Lots of waiting among the various stages of any process, so when you went off to do something else, you might forget the first thing you were doing. One way doors into unrecoverable economic death spirals that you don’t know you’re in until it’s far too late.
Also, it would crash a lot.
After the jump, steamedpunk Continue reading →