Kill Screen's Scores

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For 340 reviews, this publication has graded:
  • 19% higher than the average critic
  • 5% same as the average critic
  • 76% lower than the average critic
On average, this publication grades 8 points lower than other critics. (0-100 point scale)
Average Game review score: 67
Highest review score: 90 Bloodborne
Lowest review score: 7 Hatred
Score distribution:
  1. Positive: 112 out of 340
  2. Mixed: 199 out of 340
  3. Negative: 29 out of 340
340 game reviews
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    • 68 Metascore
    • 65 Critic Score
    Mafia III
    Mafia III is a game that’s held back by its conventional anchors. It wants to be game about the South but remains content to use its setting rarely as little more than a local color curiosity. It proposes a radical representation of race but falls prey to the conventional chores of open-world banality. Though it initially seems eager to “Tell about the South,” Mafia III does not have the patience or interest to do so. Its violence and exploitation-style racial politics, however, make the trip to New Bordeaux worth effort—as long as the person heading down South isn’t looking for anything more than a sightseeing tour.
    • 88 Metascore
    • 75 Critic Score
    Sid Meier's Civilization VI
    The suburbanization, the cartoonish aesthetic, and the “one more turn” addictiveness are still recognizable parts of the core experience people keep coming back for. It is still a full, massive, joyous videogame, even if I have to squint to find the joy beneath mere wit—but the two extremes are now growing wider and wider apart. How long before the fabric of the game snaps under the strain?
    • 73 Metascore
    • 72 Critic Score
    Ladykiller in a Bind
    For the most part, Ladykiller in a Bind dares to be unapologetically itself rather than a game made for any one set of people.
    • 88 Metascore
    • 84 Critic Score
    Owlboy
    Owlboy is itself as joyful and powerful an example of such art as I can recall. That it also happens to be an exceptionally well-crafted and tasteful videogame made by a very small group of people may not entirely be a coincidence.
    • 74 Metascore
    • 68 Critic Score
    The Curious Expedition
    It also places that desire for discovery within another person’s mind, just like Conrad, and keeps its player, like Conrad’s reader, at a critical remove. It lets you see a bigger picture than the grid of hexagons it depicts; it lets you see the mindset that creates the grid, and what that way of thinking inevitably ends up doing.
    • 64 Metascore
    • 54 Critic Score
    Masquerada: Songs and Shadows
    Masquerada declines as the plot slows down. The herky-jerky pace gets more grating, the mania for proper nouns more distracting. What looked like a scrappy little underdog RPG turns out to be a collection of worn-out ideas.
    • tbd Metascore
    • 60 Critic Score
    THOTH
    Thoth isn’t here to make friends. It is decidedly ruthless and daunting, a challenge with matched aesthetics, but not a whole lot more than that.
    • 71 Metascore
    • 56 Critic Score
    Aragami
    A good game, like any good work of art, should make you wonder; it should give you a reason to care about what happens, just as it should give you reasons to enjoy what it asks you do. Aragami feels only half-invested in doing both of those things, so it does neither. By failing to follow through on its own best ideas, it leaves us with nothing but a shadow of the game that could have been.
    • 84 Metascore
    • 81 Critic Score
    Thumper
    There’s something to be said for the sensation of Thumper’s mid-game, where survival is the goal, ignorant of whatever score comes along with it.
    • 69 Metascore
    • 77 Critic Score
    Pavilion
    I will likely return to Pavilion to get lost in its digital labyrinths, to discover how objects can be rearranged to play with the narrative of a faceless man in a suit. When I return to Pavilion’s twisty little passages in Chapter 2 next year, I hope recall that feeling of blissful disorientation I felt in the dizzying corridors of Borges’ prose.
    • 86 Metascore
    • 68 Critic Score
    Gears of War 4
    Gears 4 takes only half measures. It discards a lighthearted adventure premise for another fate-of-humanity monster invasion. It gives up on the anti-militarist bent of its early fight against the COG for another plot about soldiers trying to save humanity.
    • 78 Metascore
    • 40 Critic Score
    Pac-Man Championship Edition 2
    The creators of Pac-Man CE 2 had the difficult task of remixing a game that has already been expanded upon and reworked to the point of refinement, and they chose to pile on the complexity anyway. The result is a Frankenstein’s Pac-Man—a mess of features and modes that, despite all the power pellets and fruit and ghosts, still left me feeling hungry.
    • tbd Metascore
    • 65 Critic Score
    Beglitched
    You’d hope that, once you’ve figured out Beglitched’s puzzle system it would start to gain momentum. In fact, what happens is it starts to feel a little repetitive.
    • 72 Metascore
    • 55 Critic Score
    Destiny: Rise of Iron
    In a detail that I can only laugh at, my most enjoyable time spent with Rise of Iron was in fact spent climbing a mountain.
    • 69 Metascore
    • 78 Critic Score
    Diaries of a Spaceport Janitor
    By bridging the gap between our daily struggles and the daydreams that surround them, it suggests that the one space we truly own is our imagination. There is a certain beauty hidden in that sentiment; that it is the fantastic, the surreal, the strange, that might liberate us.
    • 63 Metascore
    • 45 Critic Score
    Wheels of Aurelia
    All in all, the game feels like a tourist trap rather than a destination.
    • 58 Metascore
    • 54 Critic Score
    ReCore
    By the game’s end, I found I didn’t care about any of the characters. Instead, I was fed up, hunting down the rest of the prismatic cores in order to reach the end. The game had done a full 180. It’s a major disappointment, given the promise ReCore shows at its beginning, when it’s just Joule and Mack.
    • 77 Metascore
    • 30 Critic Score
    Virginia
    Lord knows videogame characters could stand to be quieter, but Virginia can’t convey the necessary emotional depth to make its story stick. The ideas at play piqued my interest pre-release: two women of color as its leads, the promise of a new spin on enduring cop show tropes, surrealist touches. But Virginia is selling points all over, a mood board of ideas—some cool, some musty—that take the player’s interest as self-evident. Anyone who’s seen a movie before should probably just watch another.
    • 54 Metascore
    • 40 Critic Score
    The Tomorrow Children
    In the end, it’s kitsch. It’s a Soviet-themed Lego set that renders a monumental socio-political phenomenon into little else but a toy. And an exceptionally boring one at that.
    • 75 Metascore
    • 77 Critic Score
    Event[0]
    Don’t expect to find touchscreens, paper-thin televisions, or computers any smaller than a child here.
    • 66 Metascore
    • 51 Critic Score
    Tahira: Echoes of the Astral Empire
    A competently executed tactical RPG with a jejune script and stylized window dressing.
    • 70 Metascore
    • 62 Critic Score
    Mother Russia Bleeds
    The most flattering description I can offer Mother Russia Bleeds is that of an enjoyably formulaic brawler, but the ferocity of its execution was refined enough to get lodged in my head. I can’t quite work it out: it exists like a ringing in my ears that has no obvious source. Or, rather, it’s a third-gen VHS copy of its influences, a quavery deja vu of a violent brawler both familiar and unsettling.
    • 58 Metascore
    • 40 Critic Score
    The Girl and the Robot
    I won’t remember my time with The Girl and the Robot feeling like a magical fairytale. I’ll recall it being a poorly designed, stressful videogame. And that’s a shame, because that initial art sure was cute.
    • 76 Metascore
    • 80 Critic Score
    Obduction
    With Obduction, Cyan has created another game that’s an art of personal journaling. What you know, what you’ve gathered, will save you. The tools seem familiar but it is details that are your weapons. As the otherworldly overlaps the banal, you’re trapped in a labyrinth of places and things.
    • 62 Metascore
    • 65 Critic Score
    Moon Hunters
    While Moon Hunters may not be the perfect game, it nobly aims for the stars, and for that alone it is memorable.
    • 81 Metascore
    • 80 Critic Score
    Starbound
    If Starbound has one major downside it’s that there is no pause button. A pithy consideration, I know, but it means if you’re exploring a cavern found deep within the recesses of a new planet, you cannot pause to take a much-needed bathroom break. And since enemies can spawn at any time, you can’t walk away from your computer in confidence, either. But the lack of a pause button almost feels apt: in Starbound, there can be no pause button, no way to suspend you from this childhood fantasy.
    • 82 Metascore
    • 72 Critic Score
    The Banner Saga 2
    It’s the decisions that bind the experience; enabling The Banner Saga 2 to transcend its videogame construct. You’re left with an experience that feels not only alive, but alive with the complexities of the real world.
    • 71 Metascore
    • 70 Critic Score
    Grow Up
    Grow Home had a simple purity to it—you were a robot, it could climb, and so it did, all the way up to space. Grow Up repeats this journey but steadily turns BUD into Inspector Gadget as you complete its trials.
    • 71 Metascore
    • 67 Critic Score
    Bound
    But, despite all its flaws, Bound is undoubtedly a celebration of the female form, both physically and spiritually. And, for that, it could be said to be a game better viewed as one to experience rather than to play, and the fact that it tries to encompass so many deep psychological metaphors in the videogame format is an ambition worth praising.
    • 84 Metascore
    • 73 Critic Score
    Deus Ex: Mankind Divided
    For being a cyberpunk ode to the potential promise of transhumanism, the missions around Mankind Divided‘s central narrative feel terribly familiar.
    • 73 Metascore
    • 68 Critic Score
    Death Road to Canada
    It doesn’t exactly crack open the full literary potential of randomly-generated story beats, but it does use it to an enjoyable-enough cutesy effect, which is pages more than most flarfy corpses have ever achieved.
    • 70 Metascore
    • 65 Critic Score
    Near Death
    Ultimately, though, Near Death has nothing to say beyond the struggle to navigate the harshest environment on Earth.
    • 71 Metascore
    • 87 Critic Score
    No Man's Sky
    This is the experience of playing No Man’s Sky, a series of recurring structures that overlap and intersect, a surprisingly knowable collection of repeatable actions.
    • 74 Metascore
    • 55 Critic Score
    I Am Setsuna
    I wish I Am Setsuna took me on another beautiful, multifaceted adventure like it wanted to, as the JRPGs that its creators admire once did. I wish the characters weren’t bland caricatures of familiar characters I’ve seen in the past. Instead, it feels like a cold attempt at harboring nostalgia, only managing to remind me of JRPGs of the golden age, and how so much better they were—and, critically, still are.
    • 59 Metascore
    • 35 Critic Score
    Necropolis
    In the annals of dungeoneering, Necropolis stands out for its lack of imagination.
    • 79 Metascore
    • 58 Critic Score
    Anarcute
    Many games, largely, want to create mayhem where messages may also occur, while protests, largely, want to create messages where mayhem may also occur. Anarcute wants an adorable inferno. The joke is that the destruction is big but the perps are cutie wuties. But I don’t know if I have the planet to play it on.
    • 78 Metascore
    • 85 Critic Score
    ABZU
    Like Journey, Abzû is in some sense a game about archetypes and archetypicality, letting you dwell within and among them as though to remind you of their firm embeddedness at the foundation of other things. And yet, in a significant structural twist, it’s about recovering archetypes that no longer seem to have potency, rather than playing through an archetypal sequence—the Journey—that’s still going strong.
    • 66 Metascore
    • 30 Critic Score
    This Is the Police
    By day 100, you’re starting to lose sight of the goal. They gave you 180 days to finish out your tenure as chief; at first it sounded like a death sentence, now it’s more like a prison sentence.
    • 81 Metascore
    • 86 Critic Score
    Quadrilateral Cowboy
    With Quadrilateral Cowboy, Chung eschews the filmic jump-cuts he experimented with in Thirty Flights of Loving. Still, the fragmented plot produces a similar result: as it happens, it already feels like a collection of memories.
    • 90 Metascore
    • 81 Critic Score
    Kentucky Route Zero - Act IV
    From the room of VHS tapes, to the security footage, to the bat sanctuary, to the theremin performance, to the camera’s final, extended retreat up the rickety helix of a spiral staircase; Act IV confronts us with scenarios that test and limit our perception. Like Snow’s Wavelength, it gives us just enough to trick us into feeling like we’ve glimpsed something real.
    • 82 Metascore
    • 77 Critic Score
    VIDEOBALL
    Practice is for tryhards, and Videoball’s greatest strength is that it understands the value of isolated, localized competition.
    • 77 Metascore
    • 75 Critic Score
    Furi
    Furi is undoubtedly repetitive, but that doesn’t need to be a strike against it.
    • 78 Metascore
    • 70 Critic Score
    Zero Escape: Zero Time Dilemma
    The story can go any way imaginable—from everyone coming away completely unscathed to literally causing the apocalypse—more so than maybe anything else I’ve ever played.
    • 70 Metascore
    • 77 Critic Score
    Brigador
    If the game has any message, it’s that the only thing more rewarding than admiring a lovely cathedral is watching it explode.
    • 69 Metascore
    • 68 Critic Score
    Mirror's Edge Catalyst
    It has been suggested that Catalyst is a remake of Mirror’s Edge, or a reboot, but it is in reality a re-alignment of the first game with the recognizable features of a mainstream videogame, a reparation between the most original of its ideas and the most generic features of its medium.
    • 78 Metascore
    • 69 Critic Score
    Stellaris
    Like Mass Effect, Dune, Foundation, and countless other sci-fi universes, it builds its extraterrestrial world from the ground up. Stellaris only borrows from all of their palettes to paint its own picture of the night sky—and a game about aliens feels all the less foreign as a result.
    • 93 Metascore
    • 88 Critic Score
    INSIDE
    Playdead’s greatest feat in creating Inside was making it look like they never created it in the first place.
    • 81 Metascore
    • 50 Critic Score
    Bravely Second: End Layer
    By trying to optimize it, the brave/default system inadvertently lays bare the arbitrariness structuring the player’s relation to the game, the role one ostensibly plays becoming repeatable and, indeed, automatable in yet another striking parallel to the looming “new economy.”
    • 77 Metascore
    • 80 Critic Score
    VA-11 Hall-A: Cyberpunk Bartender Action
    At its core, VA-11 Hall-A is the rare cyberpunk story that has heart, and even goes so far as to give its female characters agency in their own lives. It’s a story where we, the player, take the backseat, and soak it all in. Just like a good book.
    • 40 Metascore
    • 50 Critic Score
    Slain!
    Slain! is a poser, well-dressed and intentioned but vacuous, contributing nothing to the scene. It has the spiked gauntlets, the long hair, the denim jacket; but the house lights are on and everything’s out of tune.
    • 55 Metascore
    • 67 Critic Score
    OmniBus
    OmniBus would work better if it rolled with its own punches instead of creating a system that only exists to be fought with—the reward is smaller when randomness does so much of the grunt work. Just sit back and let the car drive you into the sun. Life just flies by so fast when you’re having fun.
    • 86 Metascore
    • 80 Critic Score
    Total War: WARHAMMER
    Warhammer’s world is sketched out by an ocean of rules, obsessed with the collision of fantasy with the specter of realism.
    • 75 Metascore
    • 80 Critic Score
    Push Me Pull You
    Push Me Pull You proves that the “new arcade” of previous years is not dead; it’s been developing into something weirder, funnier, and brighter than we’d expected.
    • 54 Metascore
    • 20 Critic Score
    Homefront: The Revolution
    It’s this tradition that gives us Dambuster’s lamentable Homefront: The Revolution, the sequel to THQ’s Homefront (2011) that neither critics nor players asked for.
    • 53 Metascore
    • 60 Critic Score
    Shadwen
    With more time to flesh out the world and, most importantly, a more creative progression of challenges to match your skill, this could have been a special game. Instead, just as its titular character is trapped in time by default, Shadwen is a stealth game forever trapped in a state of adolescence.
    • 85 Metascore
    • 85 Critic Score
    DOOM
    It’s a game with confidence in the worth of revisiting its history and an earnest belief that doing so can result in much more than an empty exercise in nostalgia.
    • tbd Metascore
    • 55 Critic Score
    Glitchspace
    A couple hours into Glitchspace, I hoped for a break in the progression and the chance to explore my newly acquired skills, but instead the complexity is continuously layered on top of itself until the game ends.
    • tbd Metascore
    • 60 Critic Score
    Ace of Seafood
    Ace of Seafood is not a game about what it’s like to be a fish. But it does, in oddly literal ways, imagine what it would be like for a human to be a fish, albeit a marauding and cybernetic one. But perhaps that’s exactly the point.
    • 93 Metascore
    • 80 Critic Score
    Uncharted 4: A Thief's End
    Uncharted 4 offers nothing profound, assured in its own way that it has nothing to prove.
    • 69 Metascore
    • 79 Critic Score
    Fragments of Him
    At its best, Fragments of Him says, “No, you really don’t understand. Let me show you.”
    • 90 Metascore
    • 80 Critic Score
    Stephen's Sausage Roll
    Stephen’s Sausage Roll is tough and tumbly, with a greater emphasis on one’s own form than any other puzzle game, which usually waiver the avatar as too grotesque of its gorgeous world.
    • 69 Metascore
    • 50 Critic Score
    Star Fox Zero
    As a game, Star Fox Zero isn’t so much broken as deeply and disappointingly lacking in inspiration. Shiny but not smooth, it’s a game about a space-faring fox in a spaceship that turns into a chicken without any sense of joy, and that might be the biggest disappointment of all.
    • 89 Metascore
    • 86 Critic Score
    Dark Souls III
    Dark Souls III isn’t the kind of melancholy original that Demon’s Souls was, and it doesn’t pivot to another genre like Bloodborne turned toward horror. Instead it leans into the absurdity of bringing together every idea the series ever had and throws a pretty amazing going-away party for it.
    • 80 Metascore
    • 75 Critic Score
    1979 Revolution: Black Friday
    Despite the kinks, some of which may be ironed out in future installments, 1979 Revolution represents an unusual and largely successful mix of an adventure game and history lesson.
    • 66 Metascore
    • 62 Critic Score
    Quantum Break
    Quantum Break, in enlarging their length and complexity, turns them into a crutch that’s forced to support a game that can’t consistently match their appeal.
    • 84 Metascore
    • 80 Critic Score
    Hyper Light Drifter
    Out of the void, Hyper Light Drifter meticulously crafts a post-apocalyptic samurai story, one that bends and folds the tenets of zen’s vivid ambience alongside the warrior path of bushido, something familiar yet fresh, quiet yet resonant.
    • 84 Metascore
    • 79 Critic Score
    Salt and Sanctuary
    What begins as a weighty trudge through the festering underbelly of dark forests and abandoned keeps slowly evolves, growing lighter and more nuanced and intuitive.
    • 88 Metascore
    • 83 Critic Score
    Fire Emblem Fates: Special Edition
    Recursion through each of the game’s three paths from that originary fork forces you to rethink your place in its world and drives the game’s argument home: Fire Emblem Fates rejects fatalism beautifully.
    • 80 Metascore
    • 85 Critic Score
    Samorost 3
    Maybe the best way to play Samorost 3 is to play with it, to think of it as a bizarrely-shaped thing that prompts one to appreciate the ways oddities can spark and delight the imagination. At least that’s the way I’ll continue to play it, curiously wandering through alien environments, turning each sight and sound over and over in my head, very much like I once did with a strange piece of wood I encountered when I was young.
    • 76 Metascore
    • 70 Critic Score
    Pokken Tournament
    From this perspective, the Pokémon isn’t a creature of its own agency, but a mere extension of its trainer’s body and mind; a tool in a rat race, forever wrestling in the futile pursuit of human ambition. And when you look at it that way, all the thematic waffling starts to make a whole lot of sense.
    • 59 Metascore
    • 58 Critic Score
    No Pineapple Left Behind
    In No Pineapple Left Behind, from Subaltern Games, you play as this peculiar principal. You have to juggle the responsibilities of supporting teachers, improving students’ grades, and managing a budget. This is quite a job, where accounting for every dollar of your daily spending allowance becomes crucial. It is much easier to resort to your magical power, which drains the humanity from kids, turning them into pineapples.
    • 80 Metascore
    • 50 Critic Score
    Tom Clancy's The Division
    The Division is a game so eager to criminalize the poor, so eager to play into clichés of class war. Yet it staunchly refuses to take responsibility for its representations, for its politics. If we want that to change, we have to make it, and its creators, responsible.
    • 64 Metascore
    • 55 Critic Score
    Californium
    Californium is only here to deliver the report: life is a pixel hunt, and there is no hint line.
    • 73 Metascore
    • 70 Critic Score
    The Flame in the Flood
    Its view of America is simple, but simplicity keeps the game focused on survival in a wilderness that refuses to be tamed.
    • 76 Metascore
    • 65 Critic Score
    Far Cry Primal
    Far Cry Primal is basically everything I just described, without a whole lot of irony. Which is to say it often feels enormously, almost amazingly stupid.
    • 74 Metascore
    • 80 Critic Score
    Street Fighter V
    Street Fighter V has traded a physical space for the intimacy of a digital one: an internet meeting with a mysterious stranger. When a match announces itself, loudly, it’s impossible to not get excited. And suddenly, you’re fighting: you, some anonymous other, and the small, limited locale in which you’ve agreed to meet.
    • 72 Metascore
    • 66 Critic Score
    Layers of Fear (2015)
    Stomaching the jump scares and heavily recycled horror imagery will earn you a handful of mesmerizing vistas, but Layers of Fear fails to challenge or transform its central trope.
    • 89 Metascore
    • 73 Critic Score
    Stardew Valley
    Despite all odds, it seems Stardew Valley is a different game than the one it mimics. And a pretty fun, different game at that.
    • tbd Metascore
    • 66 Critic Score
    Solstice (2016)
    Having laid the groundwork for interrogating this dynamic, however, Solstice tends more toward murder mystery dinner theater than fantasy film noir. A penchant for playful melodrama and comedic banter in many ways undercuts the tension established through the game’s mystery and its interactive methods for unraveling it.
    • 76 Metascore
    • 60 Critic Score
    Mario & Luigi: Paper Jam
    As with many Nintendo games of the last few years, its gameplay elements are immaculately designed but risk nothing.
    • 82 Metascore
    • 78 Critic Score
    SUPERHOT
    There is no shooter quite as willing to prostrate itself before its audience as SUPERHOT while always reminding them that, no matter how tough the game may make them feel, that same sensation can be stolen from them in a heartbeat.
    • 76 Metascore
    • 73 Critic Score
    American Truck Simulator
    American Truck Simulator reflected the anxious reality, but also allowed me to appreciate the grandeur of it all. I can finally see what I presume most other Americans have always enjoyed: Endless waves of asphalt paved just for me, veining the contiguous southwest, begging to be casually traversed.
    • 88 Metascore
    • 83 Critic Score
    XCOM 2
    Under these terms, XCOM 2 isn’t so much a game about liberating humanity from its extraterrestrial overlords, but a statement about the kinds of stories our games can tell and allow to be told, even when they aren’t especially valued for their narrative. It speaks to the sense that we might not just want stories in our games, but authored fields of narrative possibility.
    • 83 Metascore
    • 72 Critic Score
    Devil Daggers
    If you’re going to be damned for all eternity to fight for your afterlife, at least it’s with such a lovingly crafted homage to the shooters of yesteryear—and you don’t even need to worry about whether you’ve got the latest Soundblaster card this time around.
    • 62 Metascore
    • 72 Critic Score
    Between Me and The Night
    Atmospheric traumas might read as much like the privilege of a certain upbringing as the Matisse print hanging up in the protagonist’s childhood home. That said, Between Me And The Night never feels less than sincere and heartfelt while doing this. And if you can embrace its perspective, the game stands to offer a moving and smart depiction of navigating life through the scrim of an angst born in childhood.
    • 81 Metascore
    • 74 Critic Score
    Firewatch
    It’s a beautiful, beguiling place to spend some time, absolutely worth it while you’re there, but sooner rather than later you’ll yearn to shed its shackles, to get off the beaten path.
    • 87 Metascore
    • 85 Critic Score
    The Witness
    For all of the precise, rigid design of The Witness, playing in its world remains a human endeavor—one where the rocks aren’t always as solid as they look.
    • 73 Metascore
    • 65 Critic Score
    The Deadly Tower of Monsters
    That said, while The Deadly Tower of Monsters might be silly and a little clunky, it’s hard not to root for something that lovingly apes (for lack of a better word) a bygone era so successfully.
    • 78 Metascore
    • 55 Critic Score
    Unravel
    Despite all of its cutesy posturing and promises, Unravel is still looking to fill some kind of void. And I’m not sure if that void is its shortcomings as a mood board, as a videogame, or a cloying digestible basket of “feels” for EA.
    • 79 Metascore
    • 75 Critic Score
    Homeworld: Deserts of Kharak
    It is a throwback in many senses, not just to the history of its own series, but to images of war that came to us already cold, already distant.
    • 84 Metascore
    • 83 Critic Score
    Darkest Dungeon
    It is a beautifully gothic dungeon-crawler with a wealth of clever mechanics, the most unique of which is that, as your adventurers delve deeper into Lovecraftian tunnels, coves, and ruins, they become stressed.
    • 63 Metascore
    • 60 Critic Score
    The Westport Independent
    The game does deliver scenes between levels that color some of your writers’ inner lives, but they are too minor to establish much empathy for, say, a writer disappearing by the regime’s hand in the post-game wrap up.
    • 89 Metascore
    • 83 Critic Score
    Nuclear Throne
    For a game that has zero puzzle elements Nuclear Throne sure feels like a seeing-eye puzzle.
    • 77 Metascore
    • 73 Critic Score
    Aviary Attorney
    A visual novel sipped through a Gilliam straw.
    • 80 Metascore
    • 78 Critic Score
    Oxenfree
    In the end, Oxenfree is absolutely a game about teenage bullshit (forgive me for being a little disingenuous earlier). But it manages to revitalize that narrative by focusing on feeling more than substance; it glances at each character’s inner struggle rather than serving it up for a full meal.
    • 73 Metascore
    • 67 Critic Score
    Tom Clancy's Rainbow Six Siege
    Rainbow Six: Siege has the basic pieces in place to offer that experience but sabotages them by forcing the illusion to rub against the real world in ways the fantasy isn’t prepared to handle. More often than not, playing Siege, one doesn’t feel like a soldier. You feel like a player. And that’s precisely what this game doesn’t want.
    • 78 Metascore
    • 71 Critic Score
    That Dragon, Cancer
    Numinous Games’ That Dragon, Cancer does not suffer from this problem; the pain feels real, the sadness is authentic. This is not surprising given that the game is undisguised autobiography: Ryan and Amy Green created it as a meditation on their family’s journey as their son Joel was treated for and eventually killed by brain cancer.
    • 84 Metascore
    • 50 Critic Score
    Xenoblade Chronicles X
    It ought to remind us of what’s so good about the maximalism of other JRPGs.
    • 73 Metascore
    • 45 Critic Score
    The Legend of Zelda: Tri Force Heroes
    But Heroes’s oddest design choice is surely its violation of a Zelda tradition since time immemorial (i.e. 1986): Link can’t jump.
    • tbd Metascore
    • 57 Critic Score
    Prominence
    Prominence isn’t so much a failure as it is a missed opportunity. With a narrative background about an oppressed people struggling to free themselves by pushing the limits of science and technology, the story is set up for success. But unfortunately, those possibilities are rarely explored in Prominence itself, making for a rather sterile narrative experience with sleek sci-fi surroundings.
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