Waypoint's Scores

  • Games
For 0 reviews, this publication has graded:
  • 0% higher than the average critic
  • 0% same as the average critic
  • 0% lower than the average critic
On average, this publication grades 0 points higher than other critics. (0-100 point scale)
Average Game review score: 0
Score distribution:
  1. Positive: 0 out of
  2. Mixed: 0 out of
  3. Negative: 0 out of
80 game reviews
    • 93 Metascore
    • Critic Score
    It's impossible to know if Smash Ultimate could ever serve everyone. But with this strategic mix of nostalgia and experimentation, it was able to do something I didn't expect: Bring me home.
    • 63 Metascore
    • Critic Score
    There are a lot of games I’d call good but not interesting. I’d rather play the interesting ones. "Recommending" Call of Cthulhu a strange proposition. The kind of person who'll be interested knows it. Experiences like this call to you, as if beckoning from a forgotten city beneath the waves.
    • 84 Metascore
    • Critic Score
    It has depth if you want to find it, but you can also mash away for hours and still do some pretty sweet combos. You could climb the ranked ladder, contesting the world’s best, or just wander the map of Libra of Soul, finding more fights and challenges. Soulcalibur VI is like fighting game comfort food for me, and really, I’m just happy to have a good one around again.
    • 82 Metascore
    • Critic Score
    Its world is big and beautiful, and there’s something winning about its sometimes Coen-esque vision of Greece as a land of shady dealmakers, savvy and irritable shopkeeps, and garrulous streetside philosophers. But it’s busy and crowded with too many things I have to deal with, and not enough that I want to do. I miss the stargazing of Origins, or at least, inhabiting a game built by people who thought it might be nice to go stargazing.
    • 69 Metascore
    • Critic Score
    The darkly humorous farming simulator is dead serious about questioning our relationship with labor and goals.
    • 82 Metascore
    • Critic Score
    Closes the book on Lara's origin story, but whether players (or Lara herself) have learned anything is entirely debatable.
    • 76 Metascore
    • Critic Score
    No matter how much Lara changes in the course of this adventure, she's still an instrument of hegemony. This world remains a constructed fantasy, one designed specifically for her...Tomb Raider is and will always be Lara Croft’s playground. And as uninteresting and fundamentally regressive as Lara’s tale is, that’s the only story that this franchise can tell.
    • 87 Metascore
    • Critic Score
    Sure, there are obvious weaknesses to improve on, but importantly, I want to see what happens next with Peter and the people around him. There are some surprisingly bold storytelling decisions in Spider-Man, especially relative to what happens in this genre, and I'm invested in seeing the inevitable fallout. It helps, obviously, that Spider-Man was tremendously fun to play, too.
    • 75 Metascore
    • Critic Score
    Donut County takes a whole bunch of simple things, and one central game mechanic (around… that hole) and spins an inventive, creative, satisfying game out of them. The result is a pleasure to play and a really admirable piece of game design.
    • 86 Metascore
    • Critic Score
    Dragon Quest XI is an amazing monument to the fact that there is a new Dragon Quest game, but I don’t think it’s much more than that.
    • 85 Metascore
    • Critic Score
    It’s a good racing game, but it’s a great game about being an F1 driver, and all the intangibles that they have to put on the balance sheet.
    • 74 Metascore
    • Critic Score
    An interesting and atmospheric tactical spy game that never quite comes together.
    • 62 Metascore
    • Critic Score
    We Happy Few doesn’t work because it doesn’t feel cohesive. It’s one game bolted onto the foundation of another, and it shows. The game world is massive because the developer doesn’t have the budget or resources to make good on the dense nature of BioShock’s detail-oriented environments. The side quests are generic, often lacking unique NPCs, because the work required to build, animate, and implement them would be too much. Even the glitches seem to fit this theme: a game bursting at the seams, unable to contain itself. We Happy Few's ambitions are large, but it's only that: ambition.
    • 82 Metascore
    • Critic Score
    While there are a couple of places where it feels like the difficulty ramps up too quickly, or where major plots twists unfold with barely a moment to react or comment, my fundamental reaction to The Banner Saga 3 is one of vindication. It turns out this was a journey worth taking, and a world worth keeping in my heart for the last few years. In the end it has justified its stylistic and narrative choices, and surpassed the hopes I had for it back when I played the first part of the trilogy.
    • 72 Metascore
    • Critic Score
    Even when the level design works, the shoddy platforming, combat, and bland world design drag down the long-in-development game.
    • 82 Metascore
    • Critic Score
    Thanks to that pacing and emphasis on thinking your way through obstacles, it’s pretty much perfect on the Switch, for playing in bed or on the subway to work. Or anywhere, really, you find yourself wanting to enjoy some of the most relaxed Mario-style action Nintendo has available.
    • 83 Metascore
    • Critic Score
    It is a fantastic addition to a game that already has a place in my all-time favorites list, and even if this is the very last we’ll see of Prey, or the big-budget immersive sim for awhile, I’m very glad Arkane has gone out on a bang.
    • 70 Metascore
    • Critic Score
    The new game from the developers of ‘Life Is Strange’ writes checks for ambitions it can’t cash, but it’s worth the ride.
    • 75 Metascore
    • Critic Score
    By the end, I was disgusted, angry, and exhausted. An uncommon set of emotions for a game you’d want to recommend to other people, even if they bounced off Life Is Strange.
    • 75 Metascore
    • Critic Score
    It's an incredible amount of fun, so long as you're not looking for a great single player sports RPG.
    • 78 Metascore
    • Critic Score
    Even if it did do a better job at telling the story it means to tell, the hidden costs that went into Detroit would hardly be worth it: workers in court suing over harassment, a company reportedly organized into an undisguised creative oligarchy, an entire regional block of game outlets who are too wary of legal action to mention any of this in their own release coverage of the game. All this to execute a tired concept, done far better service in recent years.
    • 37 Metascore
    • Critic Score
    It’s such a bad fu.king video game, too. You spend 95% of Agony waiting for poorly designed AI enemies to walk past you, so you can sprint to the next area. It’s not scary, it’s not fun, it’s not interesting.
    • 46 Metascore
    • Critic Score
    It has a lot to say about women, sexual violence, the power dynamics of sex between genders, and how society often views gay sex through the lens of straight men. Rather than coding its ideology in metaphor or subtext, it’s danced right in front of you. Agony knows exactly what it’s saying. Fortunately, you don’t have to listen.
    • 82 Metascore
    • Critic Score
    If Yoku’s Island Express is not only a terrific Metroid-inspired pinball game but also a game about biting moral choices—shit, man. I didn't need another reason to keep playing, but there you go.
    • 67 Metascore
    • Critic Score
    The real issue in State of Decay 2 is how little investment it manages to earn. In its function, it feels like a world founded on the idea that if you can just imbue it with enough randomness, enough player-independent activity and interaction, enough probabilistic cogs and gears to let random characters and random story beats to fit together, we can imbue that world with life as well. But rather than a world, we get an infinite nothing. And State of Decay 2 ends up feeling a lot like the zombies the populate it: All movement and raw appetite, with not even the faintest heartbeat to be heard.
    • 75 Metascore
    • Critic Score
    It’s best moments are familiar because they are part of that sturdy, underlying Total War formula, but even here they quickly become repetitive. Yet when it attempts to do something new and to be something new, Thrones of Britannia seems to lack any kind of compelling original vision for what a Total War game can be.
    • 88 Metascore
    • Critic Score
    A weight of expectation and obligation detracts from an otherwise great narrative adventure about colonialism and its politics.
    • 78 Metascore
    • Critic Score
    The more I play BattleTech, the more violent it gets, and the more violent it gets, the more I love it.
    • 94 Metascore
    • Critic Score
    Somehow, in a game about gods fighting other gods, God of War feels grounded. And because of some of the new directions it moves the series in, it has the room to explore this mythological family drama. By giving God of War small stake tension, the whole thing benefits.
    • 82 Metascore
    • Critic Score
    New changes to the structure are welcomed, but 'Far Cry 5' has no confidence and no heart.

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