It’s hard to review major DLC for the Assassin’s Creed games. I noted this back when I was reviewing the first piece of major post-launch DLC for Assassin’s Creed: Valhalla, since on a simple level you have the fundamental problem of taking a very big game and giving you more stuff to do in it.
The problem of expanding a game in the Assassin’s Creed series, at this point, is that usually the base game is already so fully stuffed with stuff that it’s difficult to really see obvious places to go. Of the criticisms you could offer for Assassin’s Creed: Valhalla, a lack of content was not one of
The Assassin’s Creed series is, in some ways, kind of odd to review. You don’t need me to tell you that. The series has been going with a frankly astonishing regularity since 2007, and in some ways the games have wound up being a cross-section of the general gaming culture through the years. They’re also
As someone who really does love horror as a genre, horror games are a tricky beast to get right. Even more than other media, video games seem to almost hate the idea of horror down to their fundamental structure.
It’s really hard to be sure just how much Bloodborne and Darkest Dungeon influenced the collective zeitgeist of gaming. The two games weren’t quite contemporaries, but they both seem to have wound up occupying a similar space and either created or tapped into an undercurrent, a longing that no one had yet articulated for pseudo-Victorian
