Released a year after Boltgun, Forges of Corruption is a fine addition. It’s more of the same… Both in good and in bad. Malum Caedo continues his journey to bring the Emperor’s light back on Forge World Graia, one dead heretic at a time, and his methods haven’t changed. The slaughter in FoC is still the same, it just takes place in some new levels. There are few gameplay additions, but they’re pretty sweet: there are 3 new enemy types, the new guns are a much-needed and very efficient rocket launcher and a Multi-Melta that’s great at destroying fiends (but sadly even better at destroying my framerate)... and a smartly implemented “navigation guide” can now be used to help you find your ways through levels. This isn’t really needed for FoC, which has pretty straightforward level design, but it’s a welcome addition for the main campaign, since some places were confusing to navigate. In other news, the DLC also adds a “Horde mode”, which is always a nice thing to have in a boomer shooter, and it could be argued to have even better art direction. Those chunky pixels sure make those chaos-corrupted environments look very cool. FoC only has one real issue. An expansion is often the occasion for developers to try and correct the mistakes of the main campaign and show that their game design has improved, and this one… Doesn’t do that. I think that the big issue with Boltgun was that it didn’t know when to stop, as it kept pitting you against hordes of bullet sponges in long arena fights: FoC pulls the exact same crap, constantly locking you into “purge sequences” that go on for way too long, and thus becoming pretty tedious and sluggish to go through after a while. Hope you still like wasting ammo on those plague toads... In the end, this DLC is just more Boltgun – I will absolutely satisfy you if you liked the OG, but it definitely won’t win you over if you didn’t. In any case, it’s just the right length and is well-priced, so you might as well grab it!
As an appreciator of boomer shooters, slow-mo action and cyberpunk media in general, I’ll admit Sprawl flew under my radar at first – as it seems to have with much of its target audience. Yet, I was pleasantly surprised by how good it is. Sprawl wears it inspirations on its sleeve, and borrows from a variety of shooters in both its mechanics and aesthetics. You’ll recognize some Mirror’s Edge here, some Doom 2016 in another place, a bit of Quake there… It all comes together very well. The guns have no alt-fires, iron sights, upgrade options or reload animations, and the movement palette isn’t too fancy: it’s just you, your weaponry, a slow-mo meter, enough speed to run on walls, and a bunch of well-designed combat levels full of verticality and enemies to slaughter. And frankly, it doesn’t need more: it's a game that rewards aggressive and acrobatic gunplay, wants you to learn about your foes' weaknesses, and makes it all extra satisfying and visually pleasing. Even the bosses are good! Overall, there is a beautiful simplicity to Sprawl. Not just to its combat, but also its use of minimalist storytelling and low-fi visuals, which create a vibrant world with a unique mood. It helps that it's well-optimized and that the soundtrack rules. While Sprawl is great fun from start to finish, some of it might have you raise an eyebrow. The campaign gradually morphs from a game were slow-mo and precision are king to a more Serious Sam-esque romp about unleashing immense firepower on hordes of enemies, a switch in gameplay some may find a bit disappointing (I don't though). Also, the three last guns you'll get work in weird ways: for instance, the minigun isn't that powerful and heavily restricts your movement... a strange choice for a game in which lack of mobility tends to be a death sentence. Overall, I’m sad that Sprawl didn’t garner more attention. It's consistently fun and well-built, full of heart and passion, and overall a pretty great boomer shooter. Give it a try!
It would be a big stretch to say that Fallout has aged well. While its mechanics are smart on paper (the S.P.E.C.I.A.L system stuck around for a reason), in practice it's quite janky. It has bugs, the skills vary widely in utility, the interface and controls can be clunky, the companions are more a hindrance than an asset, and it's easy to get in unnecessary trouble or screw up quests if you take the wrong course of action - which happens easily. The combat is slow and sloppy: it's either ridiculously easy or stupidly punishing, with both allies and foes consistently making dumb decisions. Generally speaking, a lot of the balance and mechanics we've come to expect from CRPGs... just aren't there. It's a wonky game, arguably even for its era: Baldur's Gate, for example, was released the next year and has aged a lot better. Yet, for all its approximations, FO1 has undeniable appeal. There is a beautiful simplicity to it, to the way it completely refuses to hold your hand, vaguely points you in a direction instead of telling you what to do next, lets you get in trouble, and rewards you for figuring out a way out of it. And for what it's worth, it's quite short, and easier than FO2. Mostly it oozes with a style, a charm and an atmosphere that only this era could have produced. The writing is good, and may be the best reason to revisit it; the presentation still rules thanks to solid isometric visuals and surprisingly excellent music and voice acting. It absolutely nails its portrayal of the bizarre and cruel wasteland that has since become one of the most iconic worlds in video games. In the end, the OG Fallout is a proof of concept that shows its age and somewhat lacks in refinement... And also a fascinating romp full of great ideas, even if the execution isn't quite there. I would only recommend it to those willing to deal with outdated design - though of course, mods exist to help enhance your experience, fix some glaring issues, and restore censored elements.
I do have mixed feelings towards Fallout 3, for multiple reasons; I find it quite repetitive, with a lot of time spent crawling through dozens of samey-looking dilapidated ruins (damn DC tunnels...); it often feels like it’s trying too hard to mimic the vibe of the OG Fallout games, nailing it only on occasion; it’s janky in many regards, notably when it comes to the combat - although it’s better than previous FO and Bethesda titles, which is not saying much; and while it’s not the devs’ buggiest, it has enough technical issues to make you wonder if it was coded by orangutans. Of the multiple Bethesda games I’ve played so far, it’s probably my least favorite: it doesn’t have Oblivion’s high-quality quests, or Morrowind’s sense of wonder, or Skyrim’s satisfying gameplay loop… But still, it’s a very good experience. The decision to essentially turn the franchise into a post-apocalyptic version of The Elder Scrolls was a good one, and for all its awkwardness this game has more than enough satisfying elements to keep you hooked. Yes, the gunplay isn’t very good, but pulverizing people in VATS never gets old. Yes, a lot of “dungeons” are here as padding, but much of the open world retains a great sense of wonder and exploration. And yes, the writing isn’t the best in the FO series, but the quests, characters and locations are quirky enough to remain intriguing. In fact, the atmosphere rules: as a proud relic of the “dirty toilet filter” era of gaming (remember when every realistic game had to be covered in gray, brown, teal, or yellow?), FO3 does a stellar job of immersing you in the bizarre, decayed uchronian world that is the trademark of the series. In the end, it is a flawed title and there are better alternatives to it out there, but it’s better than the sum of its parts and has its fans for good reasons. It’s a game of vibes, a game that for all its faults succeeds at putting you in the shoes of a badass wasteland explorer. It’s worth at least a playthrough.
As promised by its marketing, EP,E is an unabashed, supernatural-infused tribute to Max Payne 1 and 2, committed to faithfully mimicking their mechanics… for better and worse. For the most part, it is a perfectly fun and functional action romp. The guns and slow-mo action are satisfying, the levels are well-crafted. It’s quite repetitive, but not really in a bad way: there is something blissful in the gameplay loop that, for me at least, keeps the boredom away. Still, while the controls and mechanics are overall sleek and well thought-out, there are some janky elements - some of which were forgivable 20 years ago in Max Payne, but much less so in a modern release. The hit detection can be a bit off, it’s not unusual for the camera to freak out... and the “shoot-dive” mechanic make little sense here, as there are no bullets to dodge!!! The campaign is dragged out and has too few enemy types, most of which not all that interesting to fight. I also encountered technical issues (achievements that wouldn’t unlock and heavy stuttering in random levels), but maybe that’s just me. So, if it was only for its combat, I would have recommended EP,E in a lukewarm manner, as a decent but flawed throwback shooter... Fortunately, this game is elevated by its presentation. It's the type of action romp you'd expect to have a mindless plot thrown in for good measure, but.. it's not the case. The high-quality noir-inspired voice-over, the impeccable cutscene direction, the soundtrack full of bangers, the gorgeous visuals mixing low-poly, surreal environments and neon lighting... It all wonderfully comes together, turning this story about a poor dude who got in the pants of the wrong blood-sucking goddess into a strangely compelling, memorable and powerful experience. For all of EP,E’s flaws, if you’re as fond of slow-mo gunplay as I am, you’ll probably like it. And if you’re looking for an indie shooter full of heart and unafraid to do its own weird thing, you’ll probably love it.
While Sleeping Dogs is not as popular as some of its similar counterparts, this GTA-like game with combat reminiscent of the Arkham series is quite great. It pretty much nails every aspect of its crime-ridden open world, and it’s all wrapped in a neat gritty cop drama borrowing from “heroic bloodshed” movies: what more could you want? The gameplay is overall very solid and diverse. Starting a mission, you never know if it’s going to turn into a brawl against multiple street thugs, a parkour session on rooftops, a hectic gunfight, or a race through the streets in a stolen car; yet, in any of those cases, SD works as it should and is very satisfying to play. It’s all made better by a great sense of interactivity: the gameplay is peppered with upgrade systems and minigames that make it even more engaging. The control scheme has some weird quirks, but it’s nothing too bad. SD is not a very hard game but still offer challenges to those willing to rise up to them, and can thus be enjoyed by both casual and hardened gamers. SD also stands out by its presentation. As often with this type of game, there is a pretty hilarious gap between the way the hero is shown in cutscenes as honorable and the in-game acts of unhinged violence you can have him commit with no repercussions... but it takes little away from the solid writing and great atmosphere. The story, which has you going through every type of gangster job imaginable, is well-told and mature but still knows when to be more tongue-in-cheek. It’s also a good “rags to riches” narrative that’s careful to give the player a good sense of progression and accomplishment. The art direction does a stunning job of recreating a life-like Hong Kong, from its neon-lit streets and crowded marketplaces to its ancient temples. Overall, I can’t think of a good reason not to recommend Sleeping Dogs. It’s a fun, varied, well-made and very immersive experience which has aged very gracefully – and it’s well-priced too! Give it a go.
Disco Elysium is an experience. While inspired by CRPG classics (notably Planescape: Torment, although you play as a drunken cop and not an immortal warrior), it’s very much its own beast with a unique atmosphere and smartly-designed mechanics. Being a narrative-driven game where everything is achieved through dialogue trees and dice rolls, DE is thoroughly well-written, and a great example of gameplay/writing integration. It goes to great lengths to let you forge your character’s personality as you see fit: the Detective will be a different person in each game, with events and conversations each time playing out in a new way. It’s pretty much impossible to see all the game has to offer in one playthrough, but DE cleverly encourages you to embrace your failures, as selecting terrible dialogue options or failing checks will often yield hilarious results! What I’d consider a design flaw though is that some skillchecks are needed to complete important quests… And if your character is not built for them, those can be nearly insurmountable, even with temporary modifiers applied. It can be frustrating. Still, Describing DE in terms of gameplay does not do it justice. It’s a dense and heartfelt experience, hard to sell without spoilers. It’s about psychology and politics. About the comedic and tragic aspects of mental illness. About the secrets people and places hold from you. About all the things we messed up and can never fix again. About all the hope and beauty left in the world. About so much more. It feels a bit “artsy” on occasion, but has so much to say and says it so well that you can’t fault it for that. So yes, Disco Elysium is worth your time and attention, for all these reasons and more (I haven’t even gotten into the stellar quality of the visuals, music and voice-acting!) Considering the issues around the studio that made it, they may never release anything else of this quality, but they still game us one of the best and most unique RPGs on the market.
I know it’s bad to compare games to Dark Souls, but c’mon… A post-apocalyptic dark fantasy setting, mysterious lore revealed through logs, an in-universe explanation for the game over/rebirth cycle, a high level of challenge…? Wrath is the Dark Souls of boomer shooters!... And I wouldn’t have it any other way: it’s pretty great! First: visually, W:AoR rocks. It runs on a souped-up version of the Quake engine, making for deliciously chunky graphics, and the gloomy environments, extreme weapons and creepy monsters that populate its fascinating world have great aesthetics. It’s reminiscent of what you’d expect from edgy 90’s FPS games yet very unique, diverse, consistent and distinctive. Of course, when it comes to gameplay, W:AoE is as awesome as expected. The movement is nimble, the weapons all have a great “oomph” factor and remain useful throughout the campaign (including the least powerful ones), the foes all have their strengths and weaknesses, and the level design is thoroughly good. A lot of mechanics are well thought out, like the blade dash and limited quicksaves! However, W:AoR is pretty damn challenging: every level starts off easy but gets much harder as you progress, as foes show up in drove and deal a ton of damage. In theory, every attack can be dodged and many bonus items are here to help, so it’s never truly unfair…. But in practice, way too often does W:AoR play cheap tricks on you by having enemies appear in the most inconvenient spot possible to deplete your health and armor meters before you can react. Early levels also tend to either shower you with supplies you don’t need, or to make ammo too scarce during long firefights. Dying is not always your fault, which due to the scarcity of save points can be frustrating. Still, while Wrath is not always hard for the right reasons and I wouldn’t recommend it to anyone, it’s made with love and skill, and I had such a blast with it that I’d very much consider it one of the best throwback shooters.
I truly believe that Quake is a better FPS than most of those that came after it. It’s not one of those culturally significant but poorly aged titles that you force yourself to get into without having that much fun: like Doom before it, it’s a classic that most players today, kids and grown-ups alike, will still have a blast playing! It is a masterpiece of action. Its minimalist control scheme, even lacking an “interact” key, encourages you to go berserk with a set of simple-to-master yet powerful and versatile guns, while all of the complexity of the gameplay comes from the level design and enemy behavior. The game is all about finding keys and switches to unlock the next door and learning how to efficiently dispatch each monster type: it’s a simple, fun and stimulating slaughterfest which is challenging but rarely unfair. While Quake’s graphics have their detractors (it’s very... brown), its atmosphere has aged superbly. The excellent texture work and soundtrack make for a uniquely eerie experience, set in an alien world full of hostile locations and terrifying creatures. This vibe combined with the “lo-fi” 3D definitely has a lot of charm, and it’s no surprise that it still inspires shooters like Dusk or Wrath: AoR to this day. Most of my issues with Quake amount to nitpicks (like how half the weapons become obsolete once you obtain their more powerful counterparts), but it also has serious imperfections. Excessively cramped fight chambers filled with frustrating monsters are common annoyances, especially in the much-maligned, slime-infested fourth episode of the main campaign. In spite of that, it’s definitely worth playing. Getting it to run well on modern system used to be a bit of a hassle, but this recent “enhanced edition” works perfectly fine and is faithful to the original release in its gameplay and visuals (although it sadly restricts access to mods). It also allows you to play both original expansions PLUS two new ones, guaranteeing hours of fun!
