Like a sugar-crazed child working their way to the bottom of a Halloween bag full of treats, A Plague Tale: Requiem is confident that the things which made the first game great will be even more delectable in ludicrous quantities. You liked massive swarms of rats? Well, how about we increase the number of them by a degree of 1,000! You enjoyed a gruesome and harrowing journey that tested the limits of your emotional resilience? Great, let’s increase your personal suffering by 200%! This follow-up to one of my favorite action-adventure games of the previous console generation turns the dials up to 11 in practically every way, and overwhelmingly benefits from those escalations despite sometimes being a bit heavy on the nihilism. With improved stealth action mechanics, a fantastic (and deeply depressing) story, and graphics that had me gawking, A Plague Tale: Requiem is an impressive glow up that’s easily worth the immense horrors it subjected me to.
Der erste Eintrag ist immer die Quelle des Pins. Die Gesamtsicherheit ist ein gewichteter Durchschnitt, wie fest jeder Beleg die oben verwendeten Start- und Endzeiten stützt; ein Beleg zählt für je 180 Tage, die er älter ist als der neueste, nur halb so viel.
Happened as dated, per ign.com: "…third-person action-adventure game that takes place in an alternate history version of 14th century…"
Wikipedia's A Plague Tale: Requiem article gives the Zouna engine infobox, says it can "render more than 300,000 rats at once" and describes Amicia's crossbow, tar alchemy and Hugo's Echo ability.
GameSpot's own review title and 17 October 2022 publish date sit one day ahead of the pin's stored 18-19 October release window, consistent with embargo-lifted reviews typically posting just before a game's launch, though the page itself could not be verified directly.
PC Gamer's own review, also dated 17 October 2022, corroborates GameSpot's[3] pre-release timing just ahead of the pin's stored 18-19 October date, though the page's content could not be fully retrieved directly.
Fehlt etwas oder stimmt etwas nicht? Sag es in deinen eigenen Worten: ein Link, der diesen Pin belegt, ein anderes Start- oder Enddatum und warum, oder eine Angabe, die fehlt oder falsch ist. Die KI prüft es an den Quellen dieses Pins, sucht nach besseren und ergänzt jede Seite, die dich bestätigt. Die eigenen Quellen des Pins zählen weiterhin am meisten.
When it comes to over-the-top roleplaying games, it’s hard to beat the bonkers worlds and stories I’ve come to expect from the Xenoblade Chronicles saga. With Xenoblade Chronicles 3, massive improvements have been made to combat, quest design, and the RPG sandbox, while retaining the absurd and awesome environments, and a laser-focus on great characters and an impressive (if convoluted) story. Of course, while this third entry evolves in some key areas that make the epic journey more consistently fun than the two mainline games that came before it, it also repeats some of the same mistakes, including sloppy writing, weak bosses, and graphics that often leave something to be desired. Even so, Xenoblade Chronicles 3 is already competing for the spot as my favorite iteration of this beloved series.
Wie viele frühere Spiele von Entwickler Supermassive ist The Quarry ganz klar von und für Menschen gemacht, die Horrorfilme lieben. Von Anfang an baut es langsam Spannung und Atmosphäre auf und zieht einen hinein, indem es ständig kleine Entscheidungen verlangt, die das jugendliche Ensemble potenzieller Mordopfer lenken. Als das Blut zu fließen begann, fühlte sich jede Wahl wie ein weiterer Schritt in eine sich zuspitzende Katastrophe an – und das machte es fast unmöglich, aufzuhören. Beim erneuten Durchspielen ließ sich allerdings nicht ignorieren, wie wenig interaktiv große Teile von The Quarry tatsächlich sind. Als geistiger Nachfolger von Until Dawn ist es der bessere Film, aber das schlechtere Spiel.
Man verfolgt die Geschichte von neun Ferienlagerbetreuern, die am Ende des Sommers für eine weitere Nacht im Wald festsitzen und nichts zu tun haben, außer noch eine letzte Party zu feiern, bevor es zurück in den Alltag geht. Etwas lauert am Waldrand (natürlich tut es das) und eure Entscheidungen bestimmen, welche der Betreuer die Nacht überleben – falls überhaupt. Diese Ausgangslage schichtet im Verlauf drei ziemlich lehrbuchhafte Horror-Plots übereinander, doch man merkt, dass Supermassive Games viel Spaß daran hatte, sie miteinander zu verknüpfen. Beim Spielen glaubt man vielleicht, in der einen Art von Horrorfilm zu stecken, befindet sich aber oft in einer anderen.
A proper remake might be rising from the grave next year, but the festering corpse of Dead Space has come lurching back to life early in the form of The Callisto Protocol. This spiritual successor to the sci-fi survival horror series recreates the haunting blood-streaked hallways and space zombie-slaying hallmarks first established on the USG Ishimura back in 2008, and injects the gore with more awe than ever before thanks to some strikingly detailed splashes of blood and guts. Unfortunately, while the mutant dismemberment has never been more vivid, The Callisto Protocol’s shortcomings appear just as clearly. Occasional control annoyances, imbalanced combat, and a general absence of innovation result in a roughly eight-hour massacre that’s gratifyingly gruesome, but never quite as great as the series that inspired it.
Ein entzückendes Jump-'n'-Run-Abenteuer mit Katze in einer Cyberpunk-Welt, die es zu erkunden lohnt.
Stumme Hauptfiguren sind in Videospielen nichts Neues, doch Stray treibt dieses Konzept an einen wirklich interessanten Punkt. Halb Plattformer, halb klassisches Adventure: Diese neongetränkte, von Robotern bevölkerte Cyberpunk-Welt verwandelt sich aus deiner Perspektive – nur wenige Zentimeter über dem Boden – in ein gigantisches Klettergerüst. Die Idee, dich in die Pfoten einer ganz normalen Katze zu stecken, klingt oberflächlich betrachtet albern, doch Stray nutzt dieses flauschige Vehikel, um eine wirklich fesselnde Geschichte mit einigen unterhaltsamen Actionmomenten zu erzählen. Nicht alle Ideen landen auf den Pfoten, aber das warme Gefühl, das mich schon in den herzallerliebsten ersten Minuten überkam, ließ mich nicht mehr los.
You almost have to admire the hedonism of looking at The Last of Us Remastered, which is still visually impressive eight years later, and saying, “Yeah, that looks pretty good, but we can do better.” There’s very little left to be said about the original The Last of Us, a potent, post-apocalyptic cocktail of stealth, survival, and slaughter that’s revered for its haunting storytelling in an amazingly well-crafted world. You almost certainly knew that. It’s widely lauded as one of the best games of all time and one of the few to get a 10 from IGN, but I reckon you knew that, too. In fact, it’s a game so nice they built it thrice, which is where we find ourselves with The Last of Us Part I – now the third version of Naughty Dog’s 2013 masterpiece to arrive inside a decade.
Angesichts der hochwertigen Remakes von Resident Evil 2 und 3 aus den Jahren 2019 und 2020 schien es eine sichere Wette, dass Capcom auch bei der Neuauflage von Resident Evil 4 ganze Arbeit leisten würde. Trotzdem war ich, als ich bei diesem 2023er Remake des legendären Action-Horrorspiels von 2005 den Startknopf drückte, nicht darauf vorbereitet, wie wuchtig es mir die Knie wegreißen und mich kopfüber in 16 Stunden anhaltender Anspannung und Euphorie schleudern würde. Diese vollständig neu belebte Kampagne übertrifft das Original in fast jeder erdenklichen Hinsicht deutlich. Der ländliche spanische Schauplatz ist wesentlich unheimlicher, das Tempo wurde so gestrafft, dass kaum eine Minute verschwendet wird, und die Steuerung wurde modernisiert, damit die markanten dynamischen Schussmechaniken wirklich zur Geltung kommen. Ich habe 18 Jahre auf ein Spiel gewartet, das mich so begeistert wie Resident Evil 4; wie sich herausstellt, habe ich die ganze Zeit einfach auf ein weiteres Resident Evil 4 gewartet.
At first glance, Two Rock, Arizona is merely a backwater town occupied by little more than tumbleweed and a few rows of houses. But very little is as it first appears, and all it takes to reveal As Dusk Falls’ many layers of storytelling depth is one small, decades-spanning tragedy. And it’s all about the story, since this is a choose-your-own-adventure-style graphic novel that cleverly pulls ideas from games like Telltale’s The Walking Dead series and 13 Sentinels: Aegis Rim. Each member of this voice-acting cast of unique and interesting characters has their own, often conflicting emotional stakes that accelerate the story in seemingly hundreds of logical and intelligently connected directions. Through the powerful and often far-reaching consequences of your own actions, this small town is gradually unveiled as a powder keg full of secrets, vices, and familial bonds that run far deeper than any outsider is initially led to expect.
From the very first punch, Sifu is utterly uncompromising in its design. Absolver developer Sloclap’s latest martial arts beat-em-up is bold, its combat exquisite, its animation top-notch, its music outstanding, and its story – while very simple – is poignant and elegantly told. It’s also unforgiving and unapologetic, with pockets of frustrating moments during which I was certainly not in my happy place. But by the end, Sifu offered me a nearly unparalleled sense of mastery and accomplishment, and I can’t imagine that I would’ve enjoyed it half as much if it pulled its punches.
In the 87 hours that it took me to beat Elden Ring, I was put through an absolute wringer of emotion: Anger as I was beaten down by its toughest challenges, exhilaration when I finally overcame them, and a fair amount of sorrow for the mountains of exp I lost along the way to some of the toughest boss encounters FromSoftware has ever conceived. But more than anything else I was in near-constant awe – from the many absolutely jaw-dropping vistas, the sheer scope of an absolutely enormous world, the frequently harrowing enemies, and the way in which Elden Ring nearly always rewarded my curiosity with either an interesting encounter, a valuable reward, or something even greater. FromSoftware takes the ball that The Legend of Zelda: Breath of the Wild got rolling and runs with it, creating a fascinating and dense open world about freedom and exploration above all else, while also somehow managing to seamlessly weave a full-on Dark Souls game into the middle of it. It shouldn’t be a surprise to anyone that Elden Ring ended up as one of the most unforgettable gaming experiences I’ve ever had.
I hold the Bayonetta series’ combat in such high esteem that I’d consider it in the top five or so combat systems of all time, right next to the Devil May Cry, God of War, Ninja Gaiden, and Batman Arkham games. It’s just incredible to look at, feels equally amazing to play, and is jam packed with opportunities for style and creativity thanks to the wide assortment of wild weapons at your disposal. Bayonetta 3 just further cements its legacy, strutting out with a surprising sequel in that it actually takes a lot of risks with changing up its established formula in an effort to revitalize a combat system that only slightly evolved between the first two games. Fortunately those risks pay off. Bayonetta 3 is an invigorated sequel with fresh new ideas that embolden its 13-year-old combat system, an impressive amount of variety throughout its 10 to 12-hour campaign, and more of that trademark sexy Bayonetta style that makes the series one of a kind.
How do you follow up on one of the greatest video games of all time? Sony Santa Monica finds itself in a situation not dissimilar to when Francis Ford Coppola created the sequel to his mob movie masterpiece, The Godfather. Like part two of the Corleone story, God of War Ragnarok puts a fierce, younger member of the family directly under the microscope. In doing so it manages to reach the heights of its predecessor and, in some ways, even tower above it. The writing, performances, and music are each exceptional, bringing this expansive Norse tapestry to life – but even as it holds your heart in one hand with its elegantly told story it’s crunching bones in the other with fantastically ferocious combat. It all binds together to forge a monumental action epic that adds yet another impressive landmark to the video game landscape.
When a game hits on a good idea, some developers are content to play it safe for the sequel, making a few refinements but largely stick to what worked the first time. That totally makes sense. But Mario + Rabbids: Sparks of Hope is not that kind of sequel; even though Mario + Rabbids: Kingdom Battle surprised us all with its smart XCOM-style tactics in Nintendo clothing, this followup maintains its best ideas but reinvents itself to the point where it immediately feels very different. It’s bigger and better in nearly every way, with a more freeform and customizable take on combat and an almost completely rethought overworld that’s much less linear and absolutely packed with puzzles. The story’s all over the place and the Switch can’t always handle everything smoothly, but it’s a fantastic game that can be played as either an enjoyable cakewalk or a deep, demanding tactical challenge, all while maintaining its zany sense of humor.
Picking back up in the post-Rabbid invasion Mushroom Kingdom, things immediately get even weirder when a giant manta ray from space arrives to cause trouble. The story is actually one of Sparks of Hope’s few missteps: the original’s trans-dimensional blending of Mario characters and goofball Rabbids is completely absurd, but it kind of makes sense in its own way. This time, though, the completely unrelated enemy spreads what’s effectively Ganon’s corrupt ooze with eyeballs from Breath of the Wild everywhere, and most but not all of her minions are also Rabbids for some reason? Also we have a spaceship for traveling between literal worlds? It makes Kingdom Battle look grounded in reality by comparison, which is something I never thought I’d say about that game. I wasn’t expecting deep lore or anything, but it’s kind of a mess. It does consistently have some pretty good jokes, though, so at least I was chuckling as I was scratching my head.
