The writing has its fair share of material that’s worth a few sharp exhales through the nose and sensible chuckling but the committed delivery of the cast is a nice surprise and adds value. If you’re a fan of the Explosm! webcomic series and shorts, then Freakpocalypse is bound to hold a measure of interest. Just don’t go in expecting too much.

The decision on this game comes down to the pros vs the cons, and whether you think you'd be happy to enjoy it as it is, or if you'd rather wait until some more updates. The load times and staggers can be mildly irritating and can amass during longer play sessions, but are by no means game-breaking or a reason entirely not to give it a go. Especially for those looking to play a little more casually, or in shorter bursts, or maybe aren't now accustomed to the world of SSD loading times, I still have to recommend this title as worth a go - just perhaps not necessarily the one to pick above the others.

Star Renegades is fine enough a game in its genre but it hangs too tightly onto its rigorous gameplay loop, exhausting fun out of repeated attempts.

Cathedral lacks vision where it counts. The title is focused on appealing to the hardcore with its retro presentation and difficulty that borders on irritating. The visuals and audio are certainly reminiscent of titles from the past, however, they lack that special polish that would elevate them beyond the superficial way they ape how games looked and sounded back then. Level design lacked care in checkpoint placement and enemy locations as well as quality of life features, which stacked tedium upon tedium. Overall, I have trouble recommending Cathedral; though it certainly has a niche appeal, its faults made the experience less than satisfactory.

By blending social deduction with survival mechanics Other Ocean has successfully avoided any Among Us clone accusations. Regardless of my tempered enthusiasm from Day One DLC and some polish concerns, Project Winter is a well-devised game that can lead to moments of intense distrust and cooperation few online games can equal.

Ghosts 'N Goblins Resurrection is a bona fide niche title that will only hold appeal to the masochistic. Even on its easiest setting, where dying leads to an instant respawn, I can’t have fun with a game that amounts to slamming your head against a rock wall. It might have been better for Capcom and Nintendo to make the original games available through the Nintendo Online service because Resurrection is an experience modified to make it somewhat more digestible to a new audience. Choosing different difficulties is a nice touch but after beating the game on Page, which was insane even with no-cost respawning, what incentive did I have to go back and do it all again while adding even more painful roadblocks? Yeah, no thanks. I’m too old to put up for this sort of thing now.

Werewolf: The Apocalypse - Earthblood is such a schlocky, longwinded title that's complimentary for this schlocky "B-game." There's a potent stealth-action template and renowned universe to explore that — sadly — neither of said hopes are fully actualized here. That said, the valiant attempt deserves some credit. Should genre fans go in with modest expectations, perhaps they'll excitedly sink their teeth and claws into it.

Anodyne 2: Return to Dust is a bit too long for its 12-ish hours running time, considering its simple gameplay both inside and out of dungeons. Reiterating the same ideas over and again works only for so far. Of course, all games can be called repetitive but it’s only highlighted by Anodyne 2’s pedestrian pace and too many dungeons. The game could have used tightening up its dramaturgy and gameplay to better hit home its heartfelt, timely message (of course, there’s a bad ending, too, that is really bleak). As it is now, the road towards the finale that is worth seeing goes on too long. However, for a two-person development team, Anodyne 2 is a true passion project of games of yesteryear. It’s targeted at people who experienced the exciting transition from 2D consoles to 3D games in the mid-90s and who long after those days when the new technology (that now looks charmingly aged) vowed an entire generation of gamers.

Outside the career mode there are no significant improvements made to the game, though. The physics and the gameplay remain great and it feels like it’s even more important this time around to balance your rider with the right thumbstick of the controller, especially when landing jumps. When playing the game on PC, I couldn’t help but notice how the visuals drag behind the standards of modern gaming. Character models are the same as before and by each year they get more outdated. Landscapes look bland and boring and there are hardly any particle effects which would have helped to improve the feel of ripping through mud and gravel. Of course, it’s always great when a yearly iteration of a sports game has had courage to revamp its core experience. Granted, the new career mode allows long-lasting gameplay but it’s simply not fun to play anymore.

As a drama about two people falling in and out of love, the script is an amalgam of every relationship ever presented on television and in film, so it is easily relatable if rather trite. If you like abstract puzzles framed around a grounded narrative, then Maquette does offer some value but I don’t see it leaving any long-lasting impressions.

If you’re a fan of SHMUPs or action games and platformers, I think the titles are here to be worth your time but for fans of other genres, it’s probably worth holding out to see what future events Capcom plans to hold in this stadium.

Taxi Chaos is like the usual knock-off. At first, it might look and feel the same as the quality product it was fashioned after, but when you get to know it better, it turns out to be just a cheap copy of the original (cheap not in the way of its price because this costs a whopping 30 bucks, mind you). ”But wait”, I hear you cry. ”What if I have never played Crazy Taxi, could I enjoy Taxi Chaos then?” I’m afraid I can’t answer that question because I simply can’t turn off my sweet memory of Crazy Taxi (that I can return to any day, thanks to the backwards compatible X360 version of the game!).

Gods Will Fall is a beautiful mess of ideas that sometimes innovate and surprise and sometimes fall face first into the abyss. The gambling mechanic of entering a dungeon and hoping you rolled an easier area to be better prepared for harder areas later is frankly, awful. As much as I loved almost every other aspect of this game, this one issue brought down an otherwise standout game by at least a full point for me. I may sound a little harsh on this game, but ultimately, I would still encourage people to give this game a shot. There are so many good ideas in here that, despite my hangups, I would still wholeheartedly recommend this to people looking for a fresh take on the roguelike genre.

Nerve is certainly a rollercoaster of an experience, more so than most titles. It is genuinely exhilarating when you fully master a level and move at top speed from the beginning to the end. However, the lengthy memorization process and saturation of visual effects made the lows exceedingly difficult to bear. The narrow focus on exclusively being a hardcore experience left me divided as I found it difficult to play for extended periods of time without getting overburdened by the fast flashing lights and unsatisfying, tedious practice phases. I can only recommend the game to those that are absolutely in love with the idea of a punishing, fast paced title with some of highest highs and lowest lows within the medium.

Not only does the game look gorgeous but the control system has been enhanced for the Dual Sense with haptic feedbacks and life-like rumble effects as you tear across the pavement. Newcomers to motorcycle racing (or people just wanting a new game for their new PS5) are going to face an uphill climb as they acclimate themselves to the unique complexities of Ride 4’s gameplay demands. There are systems in place to make the experience a bit easier but I would have liked to see a stronger emphasis on the fundamentals of controlling a high-speed bike - and the initial license exam would have been the perfect opportunity for that. As it stands, there might be some substantial hurdles for the player to overcome before they get to a point where they feel like they’ve got a proper handle on Ride 4’s deep approach to simulated racing.

Skul: The Hero Slayer has a lot going for it, but it is also muddled with design issues. For all of its creative skull designs, interesting build options, and cool and flashy attacks, I found the experience as a whole to be draining. It’s a case where the core gameplay loop is hindered by its overbearing rogue elements. A genre reliant on repetition has to accommodate for it by offsetting the recursive elements of the game, no matter how good the combat is. Skul: The Hero Slayer is certainly enjoyable on occasion, but its roguelite ingredients ultimately harm the title as a whole.

I find its depth and focus on exploration and letting players find their own way fascinating and the many stories contained within demanded my attention. I’m glad I finally had a chance to check it out in any form and if that sounds up your alley, there’s a game in here worthy of your time. I have a much harder time recommending that you play it on the Switch, though, and would only recommend checking out Switch version if you don’t have any other way to play it. You simply have to put up with far too much to get to all the good contained within.

Airborne Kingdom is a pleasure to spend a relaxing few hours with. It has a refreshing approach to the city building genre which is genuinely unique and although it eschews conflict and drama, the survival elements, resource collection tasks and challenges of building an optimal floating city are both engaging and relaxing. Airborne Kingdom has an outstanding core premise and aesthetics but lacking some genre-standard features like a sandbox mode or customizable structures, it can offer up its pleasures and be done a little too quickly.

Olija’s atmosphere is spot on and despite its huge pixels, the game manages to channel Hugo Pratt’s fabled Corto Maltese graphic novels that take place in similar exotic corners of the world. The gameplay also works most of the time, but as is often the case with indie games, the authoritarian developer has gone overboard. The less is usually more but here, the style simply went over the substance and 12 hours of playtime more than overstays its welcome considering the game's ultimately shallow bounty.

Morkredd's main mechanic succinctly reflects my own thoughts on it altogether. The glowing orb represents life: punctuating atmosphere, inspired visual design, and a motivating gimmick. But when you begin to step away, as you wander outside its glow, you encounter death: day-one DLC, technical problems, an atrocious finale, and more. These severe disparities, bright day and atramentous night, imply even genre fans will be ambivalent towards it.

It was a valiant effort by Dontnod, but it missed the mark. Graphically beautiful but mechanically messy, Twin Mirror is a failed attempt at a psychological thriller. The worst disappointment, however, is that the game made me want to visit Basswood, which...doesn’t exist.

Taiko no Tetsujin Rhymic Adventure Pack, while not outstanding, is a solid entry to the series. Fans of the franchise will enjoy the free play mode as usual. The newcomers can go for the RPG Adventure mode if hardcore drumming to get the perfect S rank for every song is just too daunting for them.

Let's Sing 2021 works as a party game, if everyone in your party has the same music taste and likes newer pop songs or if you like to set up your friends to fail. However, the lack of diversity in the playlist and the requirement to sing songs that you don't know to play many of the modes make this a less than ideal game for people outside of its target audience. The core idea is solid, but the weakness of the note charts and short song list make this a hard sell for me. I would like to see a themed version of this game with more accessible songs, for instance, something like Let's Sing: The 80s. However, as it is, I can't recommend this game outside of a narrow audience.

Although Fire Emblem: Shadow Dragon and the Blade of Light is a classic in the Fire Emblem series, it's hard to recommend for modern audiences. The bare bones of what makes Fire Emblem great is here, but it's bogged down by outdated systems and the limitations of the original Famicom system. Although I appreciate that Nintendo wanted to preserve the original experience, I feel that they should have added more quality of life improvements to the game before releasing it. This game has already been remade for the DS as Shadow Dragon. I feel like it would have been better for Nintendo to have released that in a bundle with this original port. I can really only recommend this for hardcore Fire Emblem fans and those who have a great deal of patience for classic game mechanics.

Believe it or not, there is fun to be had in Cyberpunk 2077. Night City is an amazing place to explore and parts of the gameplay are kinda fun. But for all the promises and potential of a game that spent eight years in development, is this really it? The Witcher 3 managed to grow into a powerhouse of a game by the end of its lifecycle. Perhaps the same will be said about Cyberpunk 2077 in a year’s time? Maybe.

When the Past Was Around has beautiful art that I, also an illustrator, can really appreciate. However, the unfortunately jarring music and certain parts of the characterization fail to deliver the intended emotionality of the game. The story behind the sketchy, wordless narration is an important one but regrettably, the game doesn’t make it resonate in a way it matters.

While Tesla Force isn’t a showcase for the power of the new consoles, it is certainly at home on them and its bite-sized stages don’t outstay their welcome. Fans of twin stick shooters won’t be disappointed by Tesla Force either.

I want to love The Falconeer, and I do love it in a way, but I cannot recommend it. Despite the quality of its art style and the peacefulness that exudes when you fly over its endless ocean, it’s a tedious and plodding experience. Combat, which comprised the vast majority of the game’s runtime, is inaccurate and weightless, making all of your successes and failures feel arbitrary. And yet, the game makes you want to come back to it, as if by some ineffable witchcraft. I desperately wish this were a better game than it is, rather than an amazing looking game let down by its frustrating combat and boring sandbox experience.