Visually it's a treat, too, made for the PS4's share button. It's not a horror game, per se, but there's great tension in Firewatch, a build-up of nervousness over what comes next that few recent games can come close to. It's a relatable connection between two very three-dimensional-feeling humans that grows in confidence across four hours of game-play, before becoming incredibly fraught in the game's later stages, where real horrors begin to impose themselves on the pair's comfy solitude.
The two excellently voiced characters share stories, sure up their long-distance relationship, and tease each other flirtatiously. He escapes for a summer watching out for fires in Wyoming, where he "meets"-over a radio, never once in person-Delilah. You are Henry, and Henry's been on a rough ride lately. It suffered from a few performance hiccups on release, but Firewatch, the debut from San Fran studio Campo Santo, possesses the most absorbing novella-length gaming narrative of the year so far. For two-thirds of its slightly-too-long run time, this is as good as triple-A action games get these days, and it's absolutely the best-looking video game yet on the PS4. Certainly A Thief's End features some of the series' most breathless set pieces-that crane-grappling-hook-bridge-race-drag part, right? But it also delivers affectingly intimate, quiet scenes of no-guns-necessary character interaction that showcase makers Naughty Dog's talent for great casting. The best Uncharted, ever? Possibly, though I'll happily hear your argument for Among Thieves. PlayStation's big, shiny exclusive of the first half of 2016 delivered a lot of what the already-familiar expected-clambering up quite-probably-listed buildings before watching them fall down, shooting nameless goons in their dumb mugs, Nate getting snarky with NPCs-while standing alone enough from its predecessors to represent a perfect jumping-on point for anyone who only moved over to Sony this console generation.
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