मैगज़्टर गोल्ड के साथ असीमित हो जाओ

मैगज़्टर गोल्ड के साथ असीमित हो जाओ

10,000 से अधिक पत्रिकाओं, समाचार पत्रों और प्रीमियम कहानियों तक असीमित पहुंच प्राप्त करें सिर्फ

$149.99
 
$74.99/वर्ष

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Samurai Shodown

Edge

|

September 2019

This is a game of very few combos, and matches are often won and lost to single hits

Samurai Shodown

Samurai Shodown is a game in which you think you’re doing okay, then look at your health bar and realize you’re about to die. In this wonderfully attractive and vividly animated game, even light attacks look like they hurt. And they do, to a point. But medium slashes hurt more, and heavies even more than that. Then there are dashing slashes, and counter-hits, and a variety of other ways to increase the damage output of a certain attack. You can spend 40 seconds chipping away at an opponent, playing the match perfectly, at least in conventional fighting-game terms. Two heavy hits later you find yourself fighting for survival.

This is jarring at first, but it’s no bad thing. You’ll learn to recognize when a massive hit has been landed without needing to glance at your health bar; with so many strengths of attack, this is a game that virtually fetishizes hit-pause. When a big hit arrives you can practically stick the kettle on. And once you make the adjustment, you’ll realize that it’s entirely in keeping with the spirit, and intent, of the game. Samurai Shodown is not a game of 100-hit touch-of-death combos. It is a game of purity, of tremendous risk and an enormous reward. It is a game of skill. But moreover, it is a battle of wits, the delicious psychology inherent in the genre brought to the fore. Either you predict what your opponent will do next, or you coach them into doing what you want them to do. Then one of you gets punished, and heavens above do it hurt.

Edge से और कहानियाँ

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Possessor(s)

After three rounds of layoffs this year and Hyper Light Breaker’s curtailed development in early access, a lot seems to rest for Heart Machine on this plucky Metroidvania side project. The studio has an obvious knack for conjuring up fascinating fantasy worlds, but since its compact debut, Hyper Light Drifter, it’s been less obvious whether it can manage projects of a larger scale. And perhaps, on that count, even the modest Possessor(s) isn’t quite modest enough — it feels as much a victim of the company’s production woes as a showcase for its creative talent.

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Superstition might suggest that even numbers are more auspicious for the series, but it's fairer to say that Capcom learned from the mistakes of Street Fighter V and launched a fighting game that doesn't just feel like a full package, but one that has foundations to build on in future updates.

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GLOOMY JUNCTURE

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There's always a risk in imitating something regarded as a classic: if it offers a template for success, it could just as easily invite unfavourable comparison. Obsidian Entertainment's Fallout: New Vegas has gained that reputation in the 15 years since its release, and while the original The Outer Worlds, led by Fallout creators Tim Cain and Leonard Boyarsky, referenced that series without aping it, the sequel zeroes in on New Vegas as its direct source of inspiration. This explains both why The Outer Worlds 2 is a success and why it can't quite stand tall as a creation with its own identity.

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The pacing melds with the music, each unique track on each level passing through phases of calm and ferocity.

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What happens when you mix the tech of SnowRunner and Space Marine 2 in a co-op shooter with '80s flavour to spare? Toxic Commando has the answer

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Fittingly, each stage in Once Upon A Katamari takes place in the past.

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The industry's finest sustainable storyteller shifts towards 'fireside menace'

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DRAGON QUEST VII: REIMAGINED

Can a serious makeover preserve the original's identity?

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Wreckreation

It's easy to believe that Three Fields just wants you to enjoy driving at speed in its preposterously big open world

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