Men be fighting demons and the demon is Breakthrough in New Sobek City on the attacking side

Workplace alcoholism simulator

Whooo boy, this game. What a mouthful upstart, so brimming with energy it can't hold itself still while it wants to show what ideas or rollercoasters it wants to show next.

This game is like a toybox of twists and turns that keeps getting shuffled around. New levels mean new ideas get introduced like it's nothing, making for a good contender for video game pageturner of 2018. But leaving it at that would only make DUSK a good retro FPS.

Instead it goes out of its way to make an example in rekindling how old shooters made you feel, how you thought out plans in the fly while facing outstanding odds, and how all that extremely primitive geometry made you feel uninvited in a world you were never supposed to be in. DUSK understands all that, but it never apes. It doesn't have the resources to reinvent itself like nu-Doom did, but it does have the sort of wisdom that encompasses the game throughout. It knows what to omit, what not to, how to refine existing tropes and when to stop. It's this thoughtfulness that constantly keeps DUSK one step ahead of its peers.

Oh, and it's a worthy mention that I belong in the target audience that DUSK caters to like a spoiled child. As a spoiled child, I also declare DUSK a pinnacle. A pinnacle combination of old and new design mentalities, and while its purism is not one to cater to everyone's tastes, it elevates the craft of pre-Half-Life shooter era to the point it makes its inspirations, dare I say, pointless to replay after this one.

I really mean it.

Quake was an exercise in technical prowess over content, y'know. Blood was shlock and cool weapons and not much else. DUSK makes a greater whole.

You're probably here looking answers to the question: "Did it make you cry?"

I can only speak for myself, but the answer is yes, although not as much as To the Moon did. Keep in mind, however, that I appreciate these games not just for being emotional, but because they give insight into people's inner selves and desires, what makes us what we are, and how complicated the sum of what makes us, 'us', is.
And approaching Finding Paradise from this direction, I can say it's a great success like its predecessor was.

Everything about Finding Paradise is amplified and refined compared to To the Moon. Its visuals are prettier and more detailed, with more expressive and animated character sprites that really bring the world to life. Soundtrack is amazing, and rearranged leitmotifs from To the Moon makes me feel at home, being in the company of the doctors.
Storyline is also expanded: intrique is built up very well, and there's more story happening outside the actual job this time around. The story beats feel familiar, while also building up its mystery in a less straightforward, more ambiguous manner. It isn't totally unpredictable, but Kan Gao has certainly improved in making things have more than meets the eye.

While the good parts of To the Moon are amplified, the same applies to the flip side. There are still some tonal inconsistencies, accompanied by Watts' signature video game riffing. At one point it goes to new heights in a very jarring way that feels completely redundant. The puzzle-solving gameplay is still just kind of there, but it doesn't get in the way of the narrative, so I digress. There's also some missed potential with the game's themes, but I won't go in-depth with it. Most of my issues with the narrative cluster in the final act of the game, so they're not persistent problems, but they keep me from singing very high praises of the game.

In the end I still think Finding Paradise stands tall next to To the Moon, even if it might not gain the same cult status. If you have any love for To the Moon or an appreciation for video game narratives, don't miss out.
It's definitely a worthy experience and a legitimate expansion of the original's worldbuilding and ethical musings.

It's like Binary Domain and Metal Gear Rising met and banged at the speed of light and then gave birth to this game.
It may sound stupid since both of those came after Vanquish but that's beside the point. This game, with its shoot-robots-in-slow-motion-while-sliding-down-the-ground gameplay, is probably the coolest thing I've done in a video game since doing the same thing in Max Payne but without sliding like you just made an entrance to the Saturday night dance floor.

It's a non-stop over-the-top action romp that leaves you very little room to breathe, enough firepower to always make you push forward, and just enough self-control to make each ten seconds of downtime succeed with a battle more intense than the previous.

If the last paragraph made you excited at least a little bit, you should get Vanquish.

One of the best multiplayer shooters right now, Ubisoft has slowly but surely fixed most of the launch problems people have been complaining about, like most of the netcode and the lack of anticheat. Not just that but there's a good amount of free DLC scheduled to come so there's going to be support for this game. It's a game that's relatively easy to get hold of but hard and time-consuming to learn all the advanced tactics. As for actual gameplay mechanics it's like a modern, slower paced Counter-Strike with unmatched level of tension building up the longer the rounds go. It has hero shooter like operators that have certain gadgets or abilities that you must use to get the upper hand. Maps can rank from very good to kinda meh, but the level of possible destruction on each map can make for some really intense moments from time to time.

The biggest complaint I really have is the grind you have to take if you want to unlock some of the post-launch operators unless you're willing to spend more for either the Season Pass or the in-game currency.