The Falconeer is a beautiful game with an intriguing setting that engaged me throughout my playtime, but the dogfighting disappoints and there’s just not much to it otherwise. It was created by a one-man studio so this is quite an accomplishment, but the fact remains that the final experience falls short of greatness.

ith inert characters, forgettable villains, and an achingly slow plot, Tears to Tiara 2 never offers a reason for anyone to keep reading.

Antigraviator is the kind of game that disappoints by showing the bones to be a great experience, only to fall short of its lofty goals in nearly every aspect.

The main problem is that there is nothing new to see. After a certain point, Obscure shows that there are two sides to maintaining interest in a successful horror game: the lack of early action must be balanced in other areas, and when the action starts it must not dull too soon.

This series simply hit its peak eight years ago, and has been struggling to stay relevant since. Just Cause still has the potential to stand alongside power fantasy franchises like Earth Defense Force and Dynasty Warriors, but this latest entry just feels old, sloppy, and phoned in. The formula can still work and I was kinda-sorta entertained by Just Cause 4, but nothing about it was impressive in the least.

Red Solstice 2 is a bleak ordeal, but it’s not without its charms. There’s a real sense of frantic desperation created as the player scrambles desperately from one mission to the next, helplessly watching the global infection meter always climbing. Whether it’s zombie biomass, sinister corporations, or environmental catastrophe, for the entirety of Red Solstice 2′s play time I was sure that we were only ever a hair’s breadth away from extermination — which only served to make fighting against it feel all the more satisfying. If the developers could ease the repetitiveness from their random mission generator, this would be one of the best successors to XCOM’s legacy, but in its current state it’s just an extremely solid squad-based RTS.

It may not tackle deep, meaningful themes, but Maneater is a great way to shut one’s brain off and chill on the couch for a couple of hours with a simple (but satisfying) power fantasy. This fantasy just so happens to involve a shark who can attack sunbathers by dropping in them from twenty feet in the air…

The Warrior's Code is a long slog that's guaranteed to kill some free time—and may even entertain newcomers to the genre—but there isn't anything rewarding or enjoyable about it.

Fans of the blockbuster might enjoy the set dressing applied to this pinball table, but those looking for a solid pinball board underneath the veneer might be left wanting.

If Mothership Zeta had been half as long and available at half the price, it might have been worthwhile simply for giving players a quick peek behind the origins of the main game's enigmatic alien wreckage. As it stands, this dog-leg jaunt into outer space ends up a giant could-have-been without any real reason to recommend it, save completion for completion's sake.

The game has the energy and vibe of a Roger Corman film, and like Corman's movies, Serious Sam: Next Encounter not only feels like it was created in just a few days on a very low budget, but it's also obvious from the puckish spirit of the final product that the people who made the game had one hell of a time doing so.

The one glaring error in Worms Blast is the overly complicated and sluggish (or, uh, worm-ish) gameplay.

I do like what Trillion's going for, and in the early stages I enjoyed my time with it. However, the grind over the lifespans of several Overlords grows dull, and no amount of amusing writing can stave off the boredom that settles in. When it's good, it's very good, but when it wears out its welcome, that welcome wears out hard.

Being average isn't a bullet-point for the back of a box, and if someone's going to play a potentially punishing, definitely repetitive roguelike, I can't imagine that they'd want to put that kind of serious effort out for something that's just average, at best.

While it’s got some nice aspects, especially the visuals, Steel Seed feels like it never reaches its full potential because it can’t decide between being a stealth or combat experience, and ends up being great at neither.

Despite the gameplay showing its age, it is what it is and I was enamored with it. It’s a wonderful refresh for a classic title like this, and hopefully, we’ll see a similar return of other mascot platformers from bygone eras in the same style.

A solid story and engaging characters go a long way towards justifying a JRPG's existence, and the world of FFF is quite charming.

Having put Poi down for a while to collect my thoughts for this review, I find myself looking back fondly on it, as I would with Banjo Kazooie or Gex, but I’m not sure it will make a lasting impression. Players who own a Switch and want something besides a a chubby Italian plumber on their screen can’t go wrong with Poi, but it’s hard to see it in that massive shadow.

It’s the best successor to Pikmin’s legacy that I’ve ever encountered. It’s got a great story, endlessly inventive gameplay, and a charming visual style. Yes, it’s gruesome, and yes, it can be a little upsetting at times, but Ray’s The Dead manages to be more than an assemblage of comedic ’80s references and borrowed mechanics — it rises above its inspirations and becomes a truly special experience.

Despite its immediate beauty, After Us doesn’t generate the emotional response I would hope for from a title in this genre. Perhaps if it were a bit shorter and more focused, I would have been more motivated to explore and rescue every spirit. Instead, the unpolished platforming and surplus of unnecessary collectibles diluted its intensity. Though there are certainly some memorable moments here, there are simply other titles in the genre that are much more successful at doing what After Us is attempting to accomplish.

Tweet Share Share By Damiano Gerli on November 11, 2021 in Reviews Bad News For Hedgehogs! HIGH It’s somewhat nice to see Zool back in his original form… LOW …which reminds me it wasn’t that great to start with. WTF The bleeding banana will haunt my dreams for years to come. Back in 1992, the release of the original Sonic The Hedegehog drastically changed the gaming landscape. Suddenly, every software house wanted to work on a fast-paced 2D platformer and create its own mascot — an issue that especially preoccupied developers for home computers like the Commodore Amiga. Following this trend, Gremlin Graphics released the original version of Zool in 1992. The titular ninja from the Nth Dimension crash-lands on an unfamiliar planet and will have to get through various obstacles to escape. While it may be a title that some gamers of a certain age may feel a bit of nostalgia for, the original Zool (along with a conversion for every console imaginable at the time) reveals just how important the level design was in making the Sonic games so memorable and appreciated. Unfortunately, Zool just doesn’t stack up. As it’s now 2021, Zool has received a facelift. This version is the original platformer with a difficulty rebalance, a CRT graphics filter for added fidelity to the original and a zoomed-out view to allow the player see more of the screen. Overall, these changes make Zool a more approachable experience than it used to be, but they do not improve it on a fundamental level. Each level in Zool lasts no more than a couple of minutes, and it’s time usually spent jumping from platform to platform or finding one’s way through the lower sections that require defeating enemies by shooting or jumping/gliding into them. This is a simple flavor of 2D platforming that feels inherently ’90s, and no filter can change that. Also, the end-of-stage bosses are pretty forgettable, some of which I defeated on my first try. Redimensioned comes in two flavors which mainly act as difficulty — the original experience and the Ultimate Ninja mode. I would recommend most ’90s players to try the latter, as I finished the original with 15 lives to spare and never had a problem in most levels. After completing seven stages and thirty-something levels, the Zool Redimensioned experience is basically over and done with. The changes made to ths version were well thought-out, but they do little to hide the fact that the original material was just an okay-at-best ’90s platformer and the intervening years haven’t done it any favors in terms of game design or graphics. Those who have nostalgia for it should check it out — all others should give it a pass.

While it may lack Nintendo’s trademark polish in some areas, Redout: Space Assault is still a good title that delivers several hours of flying and fighting, and the Star Fox nostalgia older players will certainly experience is a bonus.

While I absolutely love the concept of Birthdays: The Beginning, the execution leaves much to be desired. It’s too passive and too finicky, and doesn’t do enough with the core concept of life appearing and evolving over time. There’s not much here for seasoned players or curious kids, and as someone who’s been playing games for a while, I can say that this formula was done far, far better on the SNES back in 1993 with EVO: Search For Eden. Look it up!

It's not as pretty as "Splinter Cell", it's not as engaging as "SOCOM 2", and it features a frustration factor that's almost in the realm of "Ninja Gaiden"—without the rewards.

The fights are long and challenging, and the gameplay has an appeal all its own. With plenty of features, great graphics and sound and a surprisingly well-developed backdrop, Tao Feng's unique gameplay is a welcome step in the right direction.

Adding insult to all of this injury, it just lacks any flair that could set it apart from the competition. The combat is fine if somewhat uninspired, the writing and presentation frequently fall flat, and when it comes to chewing through hordes of enemies, there are plenty of competing titles on the market that offer a more compelling experience — the obvious comparisons are Earth Defense Force and Helldivers 2, and even something bug-adjacent like Exoprimal stands out more. Sadly, as things stand I can’t recommend this to anyone except the most hardcore fans of the IP.

Players who enjoy the adventure genre in its most traditional format will likely be pleased with Secret Files: Tunguska, but my take is that this type of approach is simply past its time.

As interesting as the moral choices might be, The Awakened Fate Ultimatum is too many dungeons, too few combat options, and too many of the same themes Nippon Ichi has dealt with before.

No game in recent memory serves as a better example of style over substance.

Akimbot presents a lot of ideas that don’t significantly learn from or build on the milestones established by the 3D platformers that have come before it — and there are a lot of them to learn from. In the end, it’s a middling, uninspired entry into a genre crowded with bangers, and finds itself in need of both more polished mechanics and a livelier world. My hope is that Evil Raptor will improve on this first effort and expand on Exe’s story in a more realized way.

Those looking for a simple-yet-effective grind and not bothered by bad voice acting will enjoy Dragonkin: The Banished. It doesn’t attempt to rewrite the ARPG, but it provides a solid loop with a novel approach to skill-building that serves as an antidote to the terminally-online titans of the genre.

I'm always on the lookout for family-oriented games I can recommend to my sister and her husband and son, and I would recommend Go Vacation in a heartbeat-it's a title that utilizes every first-party peripheral a family might have gathered, the games are easy enough for younger children (with assistance) while still being entertaining for adults, and each Resort is vibrant and colorful, with lots of nooks, crannies and genuinely beautiful spots that made me wish I had a "take a screenshot option" for anywhere in the game.

Homo Machina is short, it can’t offer a noteworthy puzzle experience, and it also fails as an educational piece, but it’s a thoughtful little experiment that survives on style alone.

The new methodology required to deal with this large scale makes MOO3 the first <I>progressive</I> strategy game and avoids previous mistakes of the genre, such as overwhelming floods of micromanagement near the end of the game. It is precisely this refreshingly dynamic experience that makes MOO3 so appealing.

With more time and attention given to the writing, characters, and quests, it could have been a very special experience. As it stands, it's a forgettable detour through Averagetown that strays from the exceptional content I've come to expect from New Vegas.

The repetitive hack-and-slash gameplay has nothing in common with the earlier incarnations of the series and will surely alienate the Fallout faithful. Meanwhile, the newcomers to the Fallout universe aren't likely to be sucked in by the uninteresting and flat characters nor the nonexistent story.

With a host of bugs, a fundamental lack of gameplay variety, and a key mechanic that doesn't serve the purpose it should, Ravaged is profoundly not the Mad Max game we've been waiting for.

A tightly-designed and visually pleasing title that could stand to wring more content out of a clever and relatively under-explored central mechanic. Players who click with it will likely enjoy hours of maximizing scores and minimizing accidental deaths, but those not in love with the core mechanic aren't likely to be won over by this spooky shooter.

Overall, the game presents simple but compelling word strategy with just the right mix of predictability and random chance. One’s enjoyment of Oh…Sir!! may come down to whether or not the style of humor clicks, but it’s hard to deny that it delivers great value for its tiny $2 asking price. Also, your face smells of a dead parrot’s farts.

BLADE ARCUS from Shining: Battle Arena is a neat little brawler with a decent cast and enjoyable mechanics, but it’s too limited in too many ways to be anywhere near a… shining… example of the genre.

Fundamentally, the palette of action choices felt too limited, and the stately procession of single challengers makes each melee seem slow and boring. The premise feels compromised by the use of defense solely as a way to build up to violent attacks, rather than a way of dealing with bosses on its own. There’s an interesting idea or two in here, but they’re not developed into a complete, coherent experience.

The Silver Case is a dud, through and through. With neither story nor gameplay to grab its audience, and with production values that never manage to impress, all players are left with is an impenetrable plot which takes too long to unfold. It’s possible this would have worked better as an actual novel – as a visual novel, there’s nothing here to recommend.

Although some sequences in the second half may have players running to find an FAQ if they don't skip the puzzles outright, I found The Testament of Sherlock Holmes to be an enjoyable, offbeat experience that serves as a great change of pace for players who don't mind putting the guns and explosives aside once in a while.

It was great to spend a little more time with the Saints crew and when the series pops, it really pops. I enjoyed some of the situations and one-liners, that musical number was a true classic, and being able to fly across the city on a pair of wings was fantastic. Unfortunately, without more of the comedy and writing that makes Saints Row great, Gat Out Of Hell is too much busywork and not enough good time.

Robinson: The Journey‘s developers have built a world worth exploring, and armed players with all the tools necessary to do so. While I wish the adventure was a little larger or that its price was a little more reasonable, it absolutely delivers on its premise. Thanks to PSVR, I was able to solve puzzles on an alien planet (that looks suspiciously like prehistoric earth) while hanging out with a heartbreakingly adorable baby T-Rex. This is the kind of experience that virtual reality headsets were designed for, and one of the best available showcases for the technology.

Sword Art Online: Fatal Bullet is a perfect game for anyone looking to get a taste of what MMOs feel like without wanting to dedicate hundreds of hours of their lives to the experience, and perhaps more importantly, it has an ending.

Switchback is a compelling ride – it’s spooky and adrenaline-pumping and exactly what players want out of a rail shooter… but it could have been so much more than it is. There are flashes of innovation and brilliance, but I wish some of that kind of forward-thinking design had gone into the metagame. It may have been released in 2023, but the lack of features and replayability make it seem more like an arcade machine from 1996.

Should people play Star Wars: Bounty Hunter? Definitely. It’s an acquired taste, but I still enjoy its high points. But should anyone play it via this remastered edition? Goodness, no. Considering how long fans have waited for this title to get a next-gen boost, there’s no excuse to release it in this state.

Regardless of its visual design, The Franz Kafka Game fails to deliver a satisfying experience. Literary devotees of Kafka may find plenty of Easter eggs that reward their esoteric knowledge, but the average player will likely find irritating puzzles that are only slightly palatable thanks to the game’s appealing aesthetic.

Time Machine: Rogue Pilot is interesting for its plot and its sense of danger and momentum. These things aren't exactly groundbreaking, but for seven dollars, it's decent (and different) enough.

If there's one thing that the Sonic Gems Collection taught me, it's that Sega is out of Sonic games to repackage. None of the titles here are particularly famous, nor was there any particular fan outcry for their release.

Though the unfavorable price point can make buying Another Lost Phone a challenging impulse buy, there’s no denying its uniqueness as a game. By using the medium’s inherent interactivity to recast fictional narrative in the format of our most common, everyday interactions with technology, Accidental Queens have come up with a singularly immersive way to harness players’ natural curiosity in service of storytelling.

Minigolf aside, Kinetic Edge offers a highly enjoyable package. The online races are a blast, and while the other modes don’t quite have the same lasting appeal, they’re still solid party game options. From any perspective, Kinetic Edge is a great multiplayer effort that is both stylish and rewarding to master.

In the end, Pascal’s Wager is just another entry in the ever-growing soulslike genre. It makes some smart choices by giving an upfront story and multiple characters, but my feeling is that starting life on mobile devices hampered what the developers could do, and the lack of exploration and cohesive map design is a definite weakness — perhaps a sequel built for console or PC could expand upon this foundation.

While I find it laudable that all of these options are available to players, I just wish they were attached to a better package. The story is too chaotic and comes with a payoff I didn’t find satisfying, and the combat is not spectacular enough to be noteworthy. Completionists can try to find every hidden nook and cranny, but the game isn’t compelling enough to warrant it. This is good work, but it’s lacking that certain something that would push it into ‘great’ territory.

In this day of deformable environments, realistic injuries and true physics, it's just a light, fun experience, and a perfectly acceptable beginning to the new KOF franchise. I can only hope that next time around they try to accomplish something truly new, rather than just new to them.

Thankfully, with their powers combined, the sister modes of the game conspire to lift it above its shortcomings and transform it into a worthwhile, if scatterbrained, experience.

It’s rare that I’ll forgive lackluster story or mediocre combat, but the unbelievably positive energy in its other aspects creates such a winning atmosphere that I find it hard to hold its failures against it. Yes, Biomutant‘s story could be a lot better, but it’s also an adventure where an otter in a wetsuit builds the player a jetski so they can cruise to an archipelago and battle mutants around the rusty remains of ancient shipwrecks. I wish the fighting was more thoughtfully designed, but then again, a lemur taught me how to use a submarine so I could fight a giant turtle in an underwater city. What Biomutant lacks in polish, it makes up for in audacity, and I appreciate that.

All in all, Shining Force EXA is a solid game that doesn't quite compare to its predecessor.

Simply put, F1 Race Stars is the kart racing equivalent of a self-help seminar, or of a powerpoint on learning real estate sales. Like those sorts of intellectual death marches, it frequently made me yawn while playing and the whole thing has a painful sense of inevitability to it-which at least draws a further comparison with the sport on which it places primary focus.

Anyone going into it expecting the bells and whistles of a "Half-Life 2" is going to be sorely disappointed. Anyone going into it expecting it to play anything like the table-top strategy game will be even more letdown.

It’s the best traits from those classic AKI games that remain at the core of AEW Fight Forever, though, along with some clever and sometimes whimsical additions made along the way. (The Mario Party-esque minigames are, hands down, some of the wackiest additions I’ve seen to any sports game.) Though All Elite Wrestling is still a relatively young wrestling company, it can point to Fight Forever as a great first foray into console gaming and one of the best wrestling games in years.

When conditions are favorable, there’s so much to like about Windbound. The combat was a blast when the character had enough energy, and I had a fantastic time taking a grass canoe and transforming it into a six-hulled behemoth that sped me across the waves. It’s just unfortunate that every moment of joy has to be sifted out from a pile of annoyances and frustrations — the developers had a beautiful exploration experience within their grasp, and they diluted it with some of the harshest survival mechanics I’ve seen in ages. These are all simple balance issues that I’m sure could be patched out, but for now, Windbound just isn’t the game it deserves to be.

As a visual feast and a technical achievement, Fated is a success. This is a beautiful world to explore, and features some of the most interesting and unique design aesthetics available on PSVR. Much of the writing and all of the acting is admirable, and it’s only the strange choice to keep the main character so distant from the action that prevents this project from being an unqualified success. When viewed as a one-hour stroll through a unique environment, it’s a winner. When taken as a larger work, the developers bungled their chance to do something more resonant.

Still the same incredible experience it was two years ago, only better. For new players it's a game full of twists and turns, daring level design and terrifying foes. For veterans it's the best version yet of an amazing formula, just as fresh and thrilling. It's a stunning experience from beginning to end, but I do hope the developers can fix the metagame elements and bump perfection up to the next level.

Override: Mech City Brawl is a series of contradictions – it’s a brawler with more depth than it requires, it’s a game showcasing hulking mechs that lack weight, and its one unique twist has been pushed to the wayside for the sake of more conventional design. It’s enjoyable in bursts and easily the best of its genre, but given that Godzilla-style games have been almost universally horrendous, it ends up being small praise.

Recommending An Airport for Aliens Currently Run By Dogs depends a lot on one’s tolerance for backtracking and exploring huge areas with no map available. While the great wit and sheer absurdity of the situations managed tograb ahold of my interest, it wasn’t enough to keep me playing until the end.

In some ways, Yonder reminds of Animal Crossing with a bit of Fantasy Life thrown in, if one squints and tilts their head sideways. All three offer pleasant busywork and pastel colors, and they’re all just the sort of thing if a person’s in the mood for it. However, I strongly suspect that the optimal audience is comprised of kids looking for a game that offers a lot of easily-accomplished Stuff To Do without fear of restarts or penalties. Yonder: The Cloud catcher Chronicles isn’t a great fit for me and I suspect most seasoned players will bow out in a hurry, but I’m going to let my eight-year-old son sit down with it tomorrow, and I imagine I’ll have to pry him off of it with a crowbar.

Fallen Legion‘s combat is fast without being overwhelming, and the timed choices added an emotional depth to the decisions I made. While I wanted control over the story in places where I didn’t have any and I wasn’t quite sold on some of the twists, that’s only because I was so fond of the character — it’s more a weakness of overambition than an actual failure. I enjoyed my time in Fenumia, and would enjoy some more.

Huge fans of Japan or Japanese games might find more to appreciate in this Akihabara-centered experience than I did, but as someone who looking for a quirky story or interesting combat, I came away feeling quite unsatisfied.

Fantastic Four didn't rock my world, but it easily avoided auto-sucking and turned out to be a pretty decent day's work.

Both the humor and the flight mechanics are poorly implemented, and that provides too much of an obstacle to the success of the game.

The core game certainly shows promise in its distinctive style and its solid procedural generation engine, and players partial to fighting games may gel with the combat more than I did. However, the difficulty spikes make the campaign more frustrating than rewarding, and the shoddy optimization on Xbox 360 nearly drives it into "unplayable" territory.

A smart puzzle-driven title, but one that might only appreciated by those with infinite patience and fingers fast enough to endure falling to their death for the 463rd time on the second ball of level 78.

The Castle Of Shikigami, while known and appreciated in the shmup community, is definitely not a top-tier bullet-hell. Its sequels are better and available on other consoles, so anyone who appreciates its bizarre aesthetic can get their fix elsewhere. It’s a noteworthy entry in the genre, but at this point it’s hardly a necessary one except for the most serious of shmup fans — in 2017, this game is obsolete.

SwapQuest does a great job of transforming a casual classic into the foundation of an RPG-lite, and for the vast majority of my time with it, I found it surprising and clever. It’s just too bad the developers ramped up the endgame challenge for clear reason. I was seriously considering giving the game a second playthrough to see how the other characters leveled up and transformed over the course of the adventure, but the prospect of suffering through the endgame again made put the game down after the credits rolled. Whatever the reason behind the difficulty, the devs wound up shooting themselves in the foot when they should have been sticking the landing.

It's unfortunate, then, that such a beguiling front-end is offset by the ruthlessness of the game's ill-fitting emphasis on progression and unlocking new areas.

P.O.L.L.E.N. fails to live up to its lofty narrative aspirations, but deserves credit for its considered, lovingly-crafted aesthetic and intriguing premise.

The M in Macross – Shooting Insight is not supposed to stand for “missed opportunity,” but sadly, that’s where this title has landed. Fans of the original IP deserve a better representation of the characters, music, and action of the series, and newcomers should be welcomed into the fold by the best the genre and the creative team have to offer. Despite some eye-catching visuals and a fantastic soundtrack, this is not a game I can recommend at its current price without some major overhauls.

Much of the experience is visually striking, and without spoilers, I can say that I enjoyed the suitably macabre story too. However, as a survival horror game it fails since any fear I experienced was quickly replaced with frustration — the broken central mechanic terrified me in all the wrong ways.

The game's real mistakes were made at the design level, and that's a pity, because it contained the potential to be a much better experience than it ended up being.

While it&#146;s certainly no substitute for a good history book, the game is usually executed, in both its setting and its gameplay, in a fairly believable fashion.

Overall, Dusty Revenge feels like a game that needed just a little more time and polish. If the combat could be tightened, interface bugs fixed, and load times could be reduced, this would be a solidly enjoyable title. Perhaps patches will be released to address these flaws, but as it is, Dusty Revenge takes a shot at 2D brawling and misses the mark.

So, is Darksiders II: Argul's Tomb worth playing? It's only about an hour long, and the exclusive weapon contained within is a set of armblades that drain Wrath with each hit. While they're pretty effective when partnered with the scythes that drain life from opponents, running out of Wrath was a problem that never really came up in the course of the game, so-perhaps ironically-nothing in the Argul's Tomb proved more valuable than the club I acquired by dealing with Argul himself. For players who can't get enough of Death beheading monsters, Argul's Tomb will be a welcome addition, but anyone who completed the main game and set it aside without further thought won't find anything worth slotting the disk back in.

While the experience was a little short at about five hours, the time spent with Urban Trial Tricky was well worth it — even with a few small bumps in the road, I enjoyed the ride from start to finish.

Liberation HD won't change anyone's mind about the Assassin's Creed series. It clings closely to the style of the series' earlier entries, but feels cramped even in comparison to those games.

The Sinking City is a perfectly acceptable detective game that gets bogged down by mediocre open-world adventure. While I respect Frogwares’ ambition to explore new areas, with results this shoddy, they should have stuck to what worked. Without tacking on hours of worthless travel and open-world nonsense, Sinking City would have been a high-quality cosmic horror mystery. In its current form, I can’t recommend anyone but the most devoted Lovecraft fans make the journey to Oakmont.

When reduced to a puzzle to be solved rather than a world to be experienced, the emotional impact of Gods Will Be Watching evaporates, leaving the sense that it wasn't interesting enough to justify the amount of work that went into making or playing it.

What is disappointing about Musashi is that I expect more from Square-Enix. The company seems to be mired in a bit of a rut as of late, and churning out average, if uninspired, games like this one doesn't seem to be a good way to get back on course.

The core idea of a balancing a strategy game with limited player control is intriguing, but I found the execution of that idea, and the representations it used, unsatisfying. Arcen has made an ongoing and admirable effort to keep tweaking the game (although some patches have rolled out insufficiently tested), but I'm just not sure that anything they can do will address the essential dullness of its opening and closing phases.

Here at the end, as The Council reveals all of its cards, it becomes clear that the developers clearly and fundamentally understood the importance of player impact on interactive movies. While the skeleton of the game is rigid – certain characters will always make it to the final chapter, and others are clearly less vital to the proceedings – the interactions with them are satisfying and consequential. Whatever ending players end up earning, The Council always makes it easy for players to feel like part of the story, and more importantly, it had a good story to tell them.

While Seeker disappointed me, it finds some purchase in that it appeals to a different kind of player than myself, one who is interested in testing their skills in numerous battles.

Despite the mild annoyances and missed opportunities for further narrative development, Lost At Sea mostly hits its themes on-target and serves its message and philosophical questions confidently. With strong core elements in place, Lost At Sea is a recommended title to anyone who might want to explore this side of life in an interactive way.

Caustic Reality is a one-man studio, and I applaud the creator for the game he made — I enjoyed Infliction and discovering Gary’s truth. It might not be a groundbreaking title in the horror genre and its antagonist might need a bit of rehab, but this psychological adventure is still one worth taking.

Accel World and Sword Art Online fulfills its function as an action-RPG, but suffers from repetitive combat, confusing controls, and lackluster story. After my time with it, I have no intention of ever going back to it, and I question whether fans of either series would glean much enjoyment out of this mishmash.

But Van Helsing's missions are all means to an end, which is to rehash the film's plot in a videogame.

Although I can genuinely say that I have great affection for the Disgaea characters and I had a blast going through the game once, the drive to unlock every ending evaporated almost immediately. Watching a game made of cut-scenes isn't bad if they make you laugh and bring a smile to your face, but watching the same scenes over and over and over and over and over because you can't figure out how to get to the new ones isn't an appealing proposition.

Party Hard is not a game that rewards players who take chances or attempt to learn the layout of levels, since the developers randomize the stages after each failure. Trap elements, items, and victim gathering points change every time. There's no value in practicing techniques when there's no guarantee players will have a chance to use them.