All in all, Brigandine: Legend of Runersia is definitely not a title for those looking to chill – it’s taxing and requires a player’s full attention at all times. On the other hand, those longing for a challenging, tactically-rich experience that will unapologetically punish mistakes will certainly find their niche filled here.

With its edges and corners firmly creased, Paper Galaxy deserves to sit among the most recognized titles in the mobile gaming space.

My gut feeling is that a player could easily skip the past events and get just as much value out of Amid The Ruins— maybe more.

As a musou brawler, Estival Versus is simply average. The gameplay is tight, but has no special innovations or notable facets, beyond copious amounts of nudity. Seriously, the game even allows players to end matches with what can only be termed ‘Nudalities’. No, it’s the story that elevates the game to an entirely higher level. It’s funny and thoughtful and heartwrenching, and the gameplay was as good as its story, this would be one of the all-time greats, but even though it can’t quite match that lofty quality, it still stands as an impressive experience from beginning to end.

Videogames this ain't. Art it might be. But what is it? Electroplankton is. And that's all it sets out to be.

Sure, it’s a shame Bluepoint Games weren’t drafted to take care of this collection of and give it some real love, but what the hell. I still had a great time revisiting them, and my only real criticism is that Ninja Gaiden Sigma 2 was a poor pick in a world where Ninja Gaiden 2 exists. It’s a shame that more of an effort wasn’t made to jazz these up, but it’s still great that the classics are finally on PC.

To be clear, Conarium isn’t quite a walking simulator, but it does put the player into a strange location and let them fully experience it. While it’s only about three hours, it succeeds so thoroughly at what it sets out to do that I don’t want to fault the developers for pricing it a little high for the amount of content it offers. This is one of the most faithful expressions of the Lovecraft aesthetic and worldview offered in a game, and anyone who values that should make it their business to track it down.

Players looking for a cheery Legend of Zelda-style title will find it in Oceanhorn 2, and with a much smaller pricetag. It may have a few issues, but it’s worth the price of admission to see what this talented team has put together.

It’s a shame there’s not more to Bound than there is. The artists are incredibly talented people and the visuals they’ve crafted can legitimately be described as poetry in motion. Sadly, graphics can only go so far and there’s nothing of significance past them, reducing Bound to being another beautiful art-house trifle that doesn’t capitalize on its potential.

Astroneer‘s a neat little game full of little quirks and things to discover, but near the end of my time with it I was definitely starting to burn out on the loop of creating equipment on one planet before blasting off into space, landing in new, harsher environment, and starting from scratch once more. Grab an Astropeer and a couple of Astrobeers and this title could easily provide a few evenings’ worth of entertainment. Beyond that, the numerous bugs and repetition of the core experience make it a less appealing prospect.

Steep is a gorgeous game that was never able to keep my attention. On paper it seems to have everything it needs to succeed — multiplayer, a big world to explore, lots of things to do, different ways to play — but wandering the mountain and taking part in generic events lacks excitement and personality. I doubt I’ll remember it exists in a year, which is a shame because that moonlit landscape is just breathtaking.

Co-op certainly helps make a dull game slightly less dull, but the nicest thing I can say about God’s Trigger is that it’s serviceable, and given how crowded the market is, being competent simply isn’t good enough.

Nanostray's controls may have fixed something that wasn't broken, but even so, it still managed to provide a pleasing, fast-paced jaunt through the cosmos.

As much as I liked my time on the throttle of Ride 3, there are moments when it feels like a game that’s more concerned with the history of motorcycles as products than the actual experience of riding them. There’s a staggering amount of content and stuff to collect, which will be more than enough reason for some players to seek out what Milestone has delivered here, but the pacing and difficulty often made that content feel more like an obstacle. The speed, danger and finesse of a motorcycle is nice, but maybe a bit more freedom wouldn’t hurt.

The game has an undeniably amazing world to take part in, and I never once stopped marveling at it from start to finish.

If the game were less suffocating, then perhaps I would give it a chance. You'll just get too frustrated with this game waiting (read: reloading) at your next chance to drive through a frustrating trial.

From its Lego-inspired visual style to its deceptive elegance, there's a certain undeniable charm-yet the actual play is disappointingly shallow, not to mention having one of the worst camera setups I've seen in quite a while.

Although I'd never heard of it before it randomly popped up on the Xbox One store, Factotum 90 ended up being an absolutely wonderful puzzle experience, appreciated for the compactness of its design and for the elegance with which it was delivered. Also... Noel and Barbara are kind of impossible not to adore.

I liked God Eater 3 more than I expected to. It may be a fairly shallow and repetitive experience, but downing a colossal foe and carving the bastards up as a crazy J-Rock song springs to life in the background is pretty damn cool, especially when experienced with likeminded friends online. While it might not satisfy genre aficionados looking for something new, Bandai Namco has mapped out some free updates for the future, and it’s an easy recommendation for anyone who liked the previous entries – not to mention a great starting point for anyone interested in checking out what the series is like.

As far as remasters go, SaGa Frontier is an automatic recommendation for anyone who appreciated the original, as Square’s work on this new edition adds some quality-of-life improvements and upgraded graphics. Unfortunately, it’s a different story for newcomers expecting a more traditional sort of JRPG. Even so, Square’s original vision still stands apart from other RPGs of the time and this quality remains true in this remaster — for better or worse, the player will be experiencing a unique experience.

While Loot Rascals isn’t the deepest roguelike I’ve ever played, I still adore its elegance and accessibility, and let’s face it, that artwork is charming as all hell. And besides, for a genre that’s generally known for being ultra-hardcore, I can’t help but appreciate an entry that takes a sunny, easy-to-grasp approach. My astronaut hasn’t recovered the terraforming machine yet, but I’m still trying to get her there and having a great time in the process.

Cathedral is tailor-made for players lusting after a serious 8-bit old school-experience with a minimum of modern bells and whistles. It’ll surely test one’s reflexes and nerves, but with just a few tweaks to the design and some marginal improvements, this could have been a real classic.

A game so dominated by the derivative is hard to recommend, especially on a platform that includes Resogun, Luftrausers, and Velocity 2X, all of which bring a fresh take to one of the least fresh genres.

It's a great idea and proves the case that there is potential for stealth play on the iPhone, but Robbery Bob doesn't feel like it's quite there yet. Still, it's fairly interesting and there isn't much like it on iOS. It sort of wins the genre by default.

With an interesting plot, likeable characters, and gameplay that manages to hold up to the series' standard, Megadimension Neptuna VII is the best entry yet.

Patobox is easily one of the strangest, most beautiful games I’ve played this year. While the exploration and puzzles felt like they didn’t quite mesh with the boxing, the experience shines with simplicity and stylish charisma.

After initially turning me away with an unhelpful tutorial and a stiff learning curve, Battle Brothers morphed into a worthwhile and gripping tactical experience, and conquering its barren, bloody landscapes stands firmly among my proudest gaming accomplishments so far.

The Forest Quartet is an experience that wears its heart on its sleeve. Pacing issues and character development aside, it was a joy to witness the unfolding of this jazz quartet’s haunting origin story, and it’s abundantly clear that The Forest Quartet was forged with love and intention. I’d happily stroll through the forest alongside Nina and listen to her crooning voice a second time if she were to request my company again.

At its best, Priest Simulator: Vampire Show is an unapologetic, genre-mashing ride through the absurd. It didn’t hold my hand, and it definitely didn’t take itself seriously. On the other hand, the longer I played, the more the gameplay loop started to wear thin. The novelty of the premise carried me far, but the repetition and occasional mechanical hiccups chipped away at my enthusiasm. Even so, the sheer commitment to weirdness made it hard to walk away completely. For those who thrive on the bizarre, this one’s worth a trip to the confessional.

This all adds up to a competently-made title that won’t leave anyone completely disappointed, but the prevalence of technical issues leads me to knock the final score down. Metroidvania fans might find some enjoyment with Adventure of Samsara, but I’d bet it will disappear from their memories as soon as credits roll.

Frankly, it’s nearly unplayable with the Move controllers. Even with that one huge flaw, DOOM VFR is still an incredible experience. It perfectly captures the raw, brutal thrills of DOOM, and enhances them beyond what I’d imagined was possible. Actually blasting an Imp with a shotgun from five feet away is the kind of experience I’ve wanted a videogame to offer for more than twenty years, and DOOM VFR‘s depiction is even better than my dreams. Even with its small number of levels, visual downgrade and the lack of a chainsaw, this is the purest DOOM experience I’ve ever had, and I can’t wait to see what Bethesda has in store next.

Equal parts fascinating and frustrating, The Bard’s Tale IV is not what I was hoping for. With patching and better documentation, it could be a stellar roleplaying experience. As it stands, this Bard needs to practice her tune.

Technical problems can be fixed, but no amount of polish is going to instill the classic “just one more day” drive that fuels the best farming sims. Story of Seasons: Pioneers of Olive Town is a competent entry in the genre, and depending on how much one has played of this genre over the past few years, there’s a good chance it can still hook someone into dozens of hours cultivating the perfect farm. With that said, anyone looking for the next step forward for the genre will walk away disappointed from this one, and considering this was released to mark the 25th anniversary of the franchise, Pioneers of Olive Town doesn’t feel like the celebration it should have been.

It's sublimely complex and bursting with potential on one hand, unbelievably limited and shortsighted on the other.

While the new formula of Shadow Warrior 3 offers a few minor positives, they’re far overshadowed by the numerous absences — fewer weapons, simplified combat, a more linear world, a too-brief campaign, and more. It’s a strange and unexpected step backwards for a series that I had previously enjoyed so much. The dialogue might still be filled with Lo Wang’s jokes, but compared to its predecessors, the joke is definitely on Shadow Warrior 3 this time.

With what seems like a new narrative adventure popping up every week, Blackwood Crossing is stuck in the middle — it’s not great enough to recommend, but not bad enough to write off. It’s just an average title with a few moments of beauty peering over the edges of its mediocrity.

Neon is probably the best Double Dragon game yet, and it contains enough great elements it to warrant a sequel or two.

I enjoyed the game far more than I thought I would; enjoyed it far more than I probably should have.

Developers looking to break into the platform genre these days have to go above and beyond the standard requirements while completely nailing the technical side at the same time, which is no easy feat. Billy Hatcher is a perfect example of a title that fails on both counts.

Dave will eagerly steal 10 or 15 minutes from you here and there, and as a palate cleanser between longer games, it excels. But the climb back to the late-game point at which you bought the farm? It's more bummer than woah.

9 Moneys of Shaolin successfully blends my love of old action films and brawlers into one wonderful package, and fans of Shaw Brothers films (and the occasional Wu-Tang album) might be keen to know that this is the best translation of that style in any game I’ve seen. If that sounds appealing, this is a no-brainer.

Dead Island is so close to greatness that it's frustrating. Sure, it's not exactly an original concept and the story is such a pointless, clichéd mess that I forgot to mention it in the review, but the core gameplay is so stunningly well-executed that I'm able to forgive most of its flaws.

The replayable Outposts and Expeditions are a blast (even moreso in co-op) and the mild RPG mechanics of base building is a great start, even if it needs to be expanded upon. However, in a larger sense, the adventure is brought down by a comparatively small size and cookie-cutter bad guys. New Dawn isn’t a terrible experience, but it would have been better served by being delivered as DLC material, not passed off as a full game.

I was ready to love Days Gone, and in some ways, I still do. It didn’t love me back, though. If SIE Bend had cut the length by a third, cleaned up the technical problems and had more variety in level design, it could have been one of my favorite games of all time. It’s tragic in hindsight, because I can feel the love and passion flowing through it. Unfortunately, the shared appreciation of our homeland pales in comparison to the astoundingly long list of problems on display here. It’s heartbreaking, but only homesick Oregonians like myself need apply.

Episode 4 might ultimately be more of the same, but this year’s episodic Hitman is the best the series has ever been, and I’m not complaining. However, with the United States and Japan chapters still to come before this season ends, I do hope IO Interactive has a few more tricks up its sleeve.

Tweet Share Share By Brad Bortone on December 16, 2022 in Reviews Prettier, Smoother, And Frustratingly Familiar HIGH The visuals finally feel worthy of new console horsepower… LOW …until the replays are seen up close. WTF SNES hockey strategy shouldn’t work in 2022. Last year I described NHL 22 as a “mildly underwhelming next-gen experience that still holds promise for the future.” Today, after nearly a month of play, I’m describing NHL 23 as a “visually appealing current-gen experience that needs to start delivering more on its promise.” Visually, it’s clear that EA Sports took past criticism to heart. While previous editions hinted at ramped-up eye candy, NHL 23 seems to make the most of current hardware, from player faces to subtle animations. For example, when taking a faceoff, real-time reflections of the overhead scoreboard are seen on the freshly-polished ice surface. As each period progresses, visible deterioration from skaters dulls the reflection until the next one starts. Details like this don’t affect gameplay, but they do allow for a sense of immersion, even from a distant overhead camera. Likewise, player faces and reactions are far more accurate and situationally appropriate, leaving lifeless expressions on last-gen consoles. The league’s current lighting and concert-like presentations are also well-implemented into each opening segment. It’s clear that EA wants NHL to be a visually arresting series in the next few years, and this year’s edition takes a big step forward by focusing on the nuances that make live hockey such an unforgettable experience. Overall, NHL 23 is a strong visual contender in the sports game arena — at least until replays, when the camera zooms in. Once up close, users will see cracks in the graphical armor, as smooth animations seen from above are revealed to be somewhat janky and stilted. It may not affect gameplay one iota, but it seems odd to see butter-smooth movements from one angle reduced to marionette performances, just from getting a slow-motion view of the action. Thankfully, the controls and gameplay speed are more realistic than ever thanks to improved physics, and an AI that demands more user accountability. Easier difficulties will still see goalies turn to swiss cheese on virtually every breakaway, but moderate-to-hard difficulties are fair, challenging, rewarding, and accurate. Disciplined hockey strategy will always beat button mashing in PvP matchups, which should appease many critics of this series, present company included. At the same time, the often-cumbersome control scheme has been made more accessible to newcomers and old souls alike. Admittedly, I’ve often reverted to the simplified NHL ’94 controls to enjoy the game at my own casual pace. For NHL 23, I never even considered it, as for the first time, using a simplified control made it feel as if I was missing out. The streamlined advanced control scheme still takes some work to master, but once it clicks with users, I don’t foresee many gamers regressing ever again. In terms of modes, NHL 23 delivers the usual deep slate of offerings, from the microtransaction-heavy Ultimate Team to the deeper and more engaging Franchise Mode. None of it is new or revolutionary. but it’s all been fine-tuned to keep the focus on the ice, and not the grind of micromanagement. Unfortunately, there are notable flaws in some of the longstanding modes and features. First, the omnipresent Be a Pro mode continues EA’s downward trend of career mode storytelling. At no point during my avatar’s hockey journey did I ever feel engaged or connected to the narrative, nor the decisions I was making. None of it seemed to matter on the ice, anyway. Maybe a deeper dive would produce a long-term storyline reward, but I felt trapped in a week-to-week deluge of minutiae, rather than feeling the excitement of a pro hockey career. Last year, I enjoyed the online “World of Chel” offerings, praising the matchmaking and overall online gameplay balance. This year, the mode took a serious step backward. While the wide variety of arcade and simulation play options is welcome, I had significant difficulty finding a stable game, and the matchmaking usually placed me with far better players than I could ever hope to beat. Over the course of several weeks, I experienced considerably more imbalance and fickle connections than in the previous edition, and before long I disconnected permanently in favor of the same, reliable offline hockey I know and love. Sadly, I think this is the key problem with the NHL series in its current form — despite all the visual sheen, extensive modes, and unparalleled control depth, this is still, at its core, the same game we’ve been playing for decades. Online and offline, even with the engine rewarding well-executed hockey strategy, most games ultimately devolve into a redundant pattern of “check/breakaway/shoot/repeat.” Even on the most stringent difficulty levels, I rarely saw the game AI slow down and run a cohesive offensive series. Instead, it shot at will, never seeking to set up an open skater. There may only be a few realistic ways to present videogame hockey in a playable form, but once the AI chose to play “run and gun” arcade hockey, I realized I was employing the same tactics I did in my college dorm room, far too many years ago. If this series is going to truly progress and make good on the updated visual presentation, more nuanced gameplay will have to become a reality, not just a promise.

Kona certainly doesn’t rewrite the book on them, but it fills that nosy friend niche nicely. Looking through every cupboard in strangers’ houses scratched a strange itch I didn’t know I had… But wait, does that make me the creepy friend now?

Even if the game can't provide a consistent level of excellence, there are enough great parts to recommend the whole package, as hit-and-miss as it may be.

Earth Atlantis remains a beautiful, enjoyable shoot-’em-up under the sea, and I highly recommend taking the dive.

Like the team’s previous work, Never Alone, Beyond Blue shares informative content via a genuine love for its topic. I can easily imagine pre-teens picking this up and wanting to be marine biologists, in the same way that I wanted to become a skateboarder, or how one might want to be a paleontologist after walking out of Jurassic Park.

Sporting only a few minor upgrades, the Legend of Mana is largely the same game it was over twenty years ago – lots to do, but doesn’t really excel at any one aspect. The story and graphics are still delightful, but gameplay feels unpolished compared to today’s standards. That said, it’s still always great to see older games receive re-releases making them more available to larger audiences.

Sand Land is a magnificent experience. The combat is thrilling, the story is affecting, and the world demands to be explored. More than that, though, it’s incredible how adept it is at everything it tries. Yes, most of the time spent here is third-person vehicle exploration or on-foot brawling, but the developers are never afraid to mix things up, and all of it works just as well as the central mechanics. More than that, though, Sand Land is a deeply sweet game about fighting prejudice and division, and making a more perfect future by working together.

Cozy Grove‘s time-gated content slowed the pace of play too much for me. I love the art style and bringing color back to the island, but when each session’s content ends up being exhausted after 30 minutes or less, it was too easy to forget the whole thing and divert my attention elsewhere. I do look forward to learning more about the spirits, I just wish it wasn’t so slow!

Lake is a comforting game that lives and dies based on how well a player will connect with its very specific setting and vibe. It worked for me, and I hope it works for many others.

It might sound strange to say after outlining my dissatisfaction with it, but Toukiden is still the strongest of the Monster Hunter clones available stateside, and would make a solid entry point for players interested in trying the genre. On the other hand, it's an obvious clone which can't match Capcom's quality.

Overall, Button City‘s slow start and lack of overall variety in the minigames might not be for everybody. Those who have been longing to relive their youthful summer days, however, can do worse than this one. Its charming story, adorable characters and entertaining minigames do a solid job of reminding us all to take a minute and remember the good times.

Despite being a mechanically sound entry in Traveller's Tales' long-running series, it's hard to recommend Marvel's Avengers over Lego Marvel Super Heroes—the latter is still superior in nearly every way.

Under pressure of shapes coming at the block from multiple sides, it's sometimes hard to distinguish between the bluish-green hexagon and the greenish-blue hexagon, and to position them accordingly.

Death End Re;Quest demands more from players than most JRPGs do by requiring players to have both a strong stomach and a willingness to read a novel’s worth of dialogue. If they can take the violence and occasional tedium, however, they’ll be treated to a thrilling journey unraveling a fascinating conspiracy and meet some well-drawn characters along the way.

Prospective ninjas who choose to stick it out will easily spend a dozen hours chipping away at ‘perfect’ runs or indulging completionist tendencies, but for most others, Aragami won’t be seen as more than a reasonably competent also-ran.

All in all, I like GRIP more as a concept than I do in practice. Rough and tumble racing is fine, but the combat is shaky and it’s far too easy to accidentally clip a piece of scenery and get launched into race-losing situations. It’s also downright strange that a game which promotes driving like mad also requires navigating each track like I’m walking on eggshells. GRIP should [be] bursting free of traditional racing constraints, but instead adheres to them more often than the ceilings.

The lack of accessibility options with regard to control and display customization also threatens to make Star Trek: Resurgence less inclusive than its Federation values would suggest. Nevertheless, these quibbles are things that I found relatively easy to overlook, considering how well the game channels qualities of Star Trek long absent from the franchise’s adaptations. I’d choose instead to hope Dramatic Labs addresses some of these concerns through patches and updates. Those like me, who are able to put aside those complaints, will find a thrilling and refreshing dose of Trek fan service, and perhaps the beginning of a special journey, in Star Trek: Resurgence.

Now in its third iteration, State of Decay is demonstrating a steady improvement that would be the envy of most titles. Each new add-on has made the game's world more interesting and added fascinating gameplay developments.

There's nothing truly ground-breaking going on in The Detail (Telltale and BioWare have done better in the "players-choose-their-responses" department), but it does have potential.

The developers clearly understand all of the bonus features and metagame elements that a title like this should have, it's just that Croixeur Sigma is a terminally thin product.

Without a story or even a philosophy to fall back on, Ovivo is forced to stand on its gameplay, its art, and its music. At times, those all sync up and produce a flowing, memorable meditative experience. Mostly, though, the zooming and fiddliness get in the way of the art, or the dull bits of the art get in the way of the experience. For a truly minimalist and meditative experience, ditch the game and just grab the soundtrack.

The new areas are a little more open than one might expect from the claustrophobic RE7, but they’re packed with enemies to blast with Chris’ new semi-auto shotgun, and the faster, more combat-heavy gameplay works just as well in first person as the main game’s slow and tense exploration does. There’s a about an hour of content in Not A Hero, including a boss fight and a truly jarring close-quarters battle that proved traumatic in VR. This is a stellar piece of bonus content, which has only one thing keeping it from being the definitive piece of Resident Evil 7 DLC – it’s not End of Zoe.

Though there’s nothing in the puzzles of Willy Morgan and the Curse of Bone Town that offends, there’s also nothing that surprises or delights. The story and visuals equally lacked anything to seize my attention. Willy Morgan and the Curse of Bone Town is a passable few hours of adventure gaming, but its design would have been below-average in the ’90s and is well behind the curve of what’s available today.

Pac-Man World: Re-Pac might be a bit basic at times, but it nails the mechanics and delivers on the production. It feels like exactly the kind of thing I would have enjoyed as a kid — which basically means I also enjoy it now as a platforming-crazed adult. I’m glad Namco is looking to its classic catalog in this way, and I’m hoping it means we get more from them in this style. Pac-Man fever? I have it.

It's not very deep or complex, but then again, I don't think that it's supposed to be. Taken for what it is, Princess Debut is a great first entry into a style of game I'd love to see more of

With flat, repetitive environments and uninspiring combat, Breakdown doesn't have much to recommend it.

Moonscars has so much potential, but its ruthless battle format and flat character dialogue left much to be desired. There’s no denying that it’s beautiful and the customization of weapons and attacks makes the character-building process exciting, but I was still left wanting more bang for my buck, and less doom for my gloom.

In Guardians of Middle-earth, console players finally have the chance to investigate a hitherto unknown area of gaming, and it's arguably one of the most positive experiences I've had in the genre.

Blue Fire is a wonderful blend of action, platforming and contemporary influences, and at the end of it all, it manages to be something truly special. I have yet to uncover every secret Penumbra has in store, but I know I’ll have a good time doing so.

Although I got a few good laughs out of the first hour or so, the appeal of calling men in turbans "bitches" while plowing through repetitive environments ran out long before the credits rolled. I walked away from the game bored and left it unfinished, having no regrets.

Hyperparasite is a blast to play. The sheer variety of characters, each with their own style to learn, kept me coming back hour after hour. I liked the look, the endless references, and the multiple routes through each level. If only the developers hadn’t been so hellbent on making it into such an uphill slog I probably would have finished it! As it stands, it’s just too unfriendly to players and I can’t recommend it.

Ultimately, Labyrinth of the Demon King is a canny mixture of aggressive posturing and subtly accessible mechanics. I was surprised at how tense my experience was, despite the relative ease with which I traversed its halls. Labyrinth of the Demon King manages to capture the abrasive essence of titles like Shadow Tower and Silent Hill but in a compact, easily digestible package. The developer’s ability to achieve this balance is commendable and, as the samurai sits drinking matcha tea in the labyrinth’s one refuge, I am filled with a familiar warmth.

It’s charming, it’s pretty, and it clearly sets out to provide players with a good time. It doesn’t quite nail every aspect of its design, but it’s easily one of the better open-world games on the market right now, and for my money is the freshest and most enjoyable release from Ubisoft in years.

It's not a perfect game, but it does so many things well that missing out on it would be a crime.

Gamers who absolutely need a quick, harmless Zelda fix can safely download it, but anyone else should probably take a pass on Oceanhorn.

Unfortunately the game has poor layouts for the levels that even adults will have trouble navigating. The game certainly had a strong sense of personality and a well realized world. It's unfortunate that all players can do is run circles in such a nice environment.

As someone who enjoys both action and strategy titles, Ronin strikes a perfect balance between the two styles. The implementation, cleverness, design and restraint are basically perfect, and I enjoyed nearly every minute from start to finish – I wouldn’t hesitate for even a heartbeat before recommending it to anyone who likes a little thinking mixed in with their swordplay.

Overall, I’ll fondly remember my time with Bendy and the Ink Machine. It’s a dark world with fantastic aesthetics and a compelling, if tritely-told narrative. While the horror tropes of revenge, abandoned places, and jump scares may be a bit cliché and the tension loses some punch at key moments, the exploration of a long-dark studio and the menace of creatures of black ink will stay with me.

Even as I was enjoying the game's top-notch action, I couldn't help but be disappointed that the developers weren't doing more with the franchise's dramatic possibilities.

This is a game whose execution outweighs its ambition with consummate ease, until it becomes a benchmark of sorts for a generation of underwhelming third-person shooters. Wringing the very best out of its simple and solid core mechanics, Rogue Trooper is more accomplished and enjoyable than anyone had a right to expect.

Mass Effect die-hards will certainly want to invest, but more casual fans of the series might want to think twice before purchase.

While there's no doubt that Senran Kagura: Estival Versus won't be a good fit for a fair amount of people based solely on the amount of jiggle, there's no denying the quality that went into its design and production.

I would have never guessed that The Fall, Part 2: Unbound would land this flatly after adoring the original, but the plot doesn’t click, the premise is too idiosyncratic, and the puzzles are too unintuitive – I’m still a fan of ARID, but this entire thing needs to be boiled down and streamlined into a more elegant, sensible package. And, it has to be said… after getting a wonderfully complete story in The Fall and seeing the reaching stumble that Unbound is, I’m not convinced that there was ever enough here for a trilogy.

While the merits and the story are shallow and uninteresting, the gameplay’s failure to integrate with them reduces them to superfluous trappings that can mostly be ignored. This leaves the focus squarely on the puzzles, and it’s here that The Sojourn almost hits the mark. Although they don’t fully reach their potential, the levels are at times deep and fascinating — and neither of those words could apply to the script.

Spookware takes a proven, winning idea and skillfully employs it to build an engaging adventure. Despite the rough start and sudden ending, its winning attitude and cheeky comedy still make it a worthwhile experience. I wish I could recommend it without reservations, but until the rest of the levels are released, consider this a review on only half a game.

That Death’s Gambit is beautiful and rewarding enough to be worth the struggle is what makes it a more successful homage to Dark Souls than most. It’s not the most creative game, but that doesn’t matter when so few developers are capable of pulling this kind of trick off.

Just a bad use of Ubisoft’s talent pool, and a worse use of gamers’ hard-earned money.

An undercooked ending doesn’t capsize the rest of the experience, though, which is ultimately a perfectly calibrated sci-fi adventure with an inimitable aesthetic sense. As a game, The Invincible may not be entirely unassailable, but its credentials are as solid as one could ask for.

Even with its sci-fi and puzzle elements set aside, Cold Iron is simply the best western dueling game available in VR. The fact that it has a great story and rewarding puzzles is just icing on this six-shootin’ cake.

In short, Dungeon Siege III is a morass of flat characters, a story as dull as dishwater, and combat that manages to be both frustrating and boring.

This feeling of style over substance largely describes Ruiner in total — the aesthetics are on point, but style alone can’t carry a game. It’s a shame that it fizzles out so soon after starting, but I’m left with the sense that this studio will be turning out great things in the future… they’re just not quite there yet. If their next project manages to bring gameplay as rich as their visuals, it’ll be a real crackerjack.

Shadowgate, Déjà vu and The Uninvited are obtuse, they’re rough to look at, and finding answers online is required, but their charm and atmosphere certainly carries through, even after so many years. Picking up all three of these classics for eight dollars is a no-brainer, but the quality time I had introducing these to my son was priceless.

Nice Day for Fishing is a great mixture of humor, adventure, and chill vibes. If the player is a fan of Viva La Dirt League, there’s also many easter eggs and references to enjoy. However, even if they’re not, Nice Day for Fishing is still a lighthearted RPG adventure — just don’t expect anything too deep.