Ultimately, by neglecting to tell the stories about these games, Namco Museum on Switch leaves its selections in the unenviable position of selling their legacies to contemporary players on gameplay alone. Namco Museum would have prospective players believe that these selections are valuable, timeless experiences, but the reality is that no game is timeless — every one exists in its own moment, a photograph with its horizons safely tucked away in the background. For players that have the memories, maybe a faithful recreation is enough. But the rest? They’ll be left wondering what all the fuss was about.

Right from the beginning, Silent Hill 3 tells its story with the subtlety of a sledgehammer. The all-important sense of pacing that the first two games had is completely lost.

It would be easy to not recommend Hyperdimension Neptunia mk2 since it's so repetitive and not very pretty, and players spend a lot of time reading scripted events. That said, I love the women-one of the villains included-and these weaknesses are part of the game's charm for me.

It truly bothers me that I had to spend half this review talking about loot crates and in-game economics. I would’ve much rather spent this space talking about the fantastic driving experience, the way the game can be tailored to any desired skill level with the bevy of options, the incredible car customization (when applicable), the beautiful graphics, the astounding attention to detail in the car models, and the sheer, unrelenting car-porn that Forza 7 provides. On the other hand, anyone who’s paid attention to this series already knows this — not much has changed, and the stuff that has changed like the VIP support, currency manipulation and the homologated career mode will leave longtime fans perplexed why this route was taken. Forza 7 is a fantastic driving title that can’t stop tripping over itself, and its majestic driving experience is overshadowed by a lack of new ideas and suspicious economic decisions.

While trying to revitalize the Zelda formula with modern developments is an admirable goal, Darksiders II's developers just can't seem to get a handle on how to make such a thing work. For two games now they've tried adding hi-octane combat, a Western-style story, and ability trees, but it's never managed to gel. The things that made games like Zelda, God of War, Prince of Persia, and even Shadow of the Colossus great are all on display here, but the Darksiders series still hasn't figured out how to use them effectively enough to stand on its own.

Cognition's take on a psychic FBI agent is far from perfect, but worth investigating.

The Battle of Steeltown is a well-written piece of additional content for Wasteland 3 that doesn’t quite live up to expectations due to its experimental approach to combat and short running time. It’s a pleasant enough playthrough for a few hours despite the difficulty spikes, but it’s ultimately a compelling enough reason to come back to Colorado.

In the end, NASCAR Heat 2 offers up plenty of racing for fans to enjoy. The driving is tight, and it feels genuinely good to win. However, when it comes right down to it, I suspect my problem with the game may actually be a problem with NASCAR itself — all of the excitement and exhilaration is buried beneath race after boring race, lap after boring lap.

It might have been possible to deal with such a ridiculously bad setup if melee was limited to bosses and occasional encounters, but in a wicked bit of irony, the miserable perspective is paired with an insanely ludicrous amount of battling.

The handling of the tribes in Green Hell is a shame because it’s one of the most mechanically compelling and balanced survival titles I’ve touched in years — it’s well-realized experience that offers a sincere commitment to placing the player into a harsh environment. But given the script in story mode? Stick to survival mode instead.

If video games were running shoes, Cold War would be the designer lookalike sold on the streets of Chinatown for nest to nothing.

With a few effective scares and hints of an interesting story, Slender: The Arrival is the kind of experience that anyone looking to juice their heartrate for half an hour should seek out. After the shock has worn off, though, the game has nothing left to offer.

There's nothing "next gen" about this title other than the graphics and sound. The gameplay would barely pass as mediocre on the last generation of consoles.

While I’m enjoying Miasma Chronicles, I don’t think it’s one I’m going to stick with. There are too many moments where the deck feels stacked against me in combat, and there aren’t many ways to get on par with the difficulty curve, let alone get ahead of it. The developers get very close to something great here, but there’s something off in their formula and it’s just not clicking in a way that feels satisfying.

The experience is a give and take: you'll certainly take some enjoyment out of Lara's latest adventure, but the game will give you unnecessary grief almost every step of the way.

I'm very sad to see that the developers have lost the magic that the first Shadow Hearts had. It's clear that they've nailed the technical half of the formula (and have had it down for a while now), but half a game is still half a game— I would have preferred that they spend less time tweaking something that wasn't broken and instead focus on the intellectual side.

Orangepixel’s title might best be appreciated by casual fans of the genre looking for a solid (but mostly vanilla) crafting and resource-gathering experience that doesn’t include combat. Personally, I didn’t find much value in scouring for materials the same way a hundred other crafting games do, and the odd controls, murky UI and rough graphics don’t do it any favors, either. There are better choices in the genre.

Deponia looks lovely, but it squanders its wonderfully screwball setting on unremarkable puzzles and unlikable characters. In the end, that all adds up to a game that's completely disposable.

MouseBot is a straightforward and challenging runner that doesn’t push the envelope, but achieves what it sets out to do. There’s also plenty of content for the asking price, which makes this a great pick for someone looking for a lighthearted, low-commitment experience, or for completionists looking to test their skills. As for me, after a few hours in the CatLab, I probably won’t be revisiting anytime soon.

The two halves of Return to Popolocrois aren't equal. By the twenty-hour mark, I was enraptured with being a bigwig farmer, but the JRPG side had lost its appeal. I was essentially grinding out the dungeons not to advance the narrative, but to find items that could be utilised or exploited on the farm. I have to wonder what the experience would have been like had the developer done away with the JRPG side altogether.

The changes Kinetica introduces into the formula are so miniscule, for the most part, that only a true connoisseur would notice or care.

While the length of levels and their lack of checkpoints is discouraging, a pleasant surprise that kept me playing Lightbringer was the ability to access any of the levels in the game. Later stages are unlocked by simply playing the previous level — they don’t need to be cleared, and there’s no need to find all the fragments of light. Simply try a stage and the next one unlocks. What an excellent concept! While this feature alone earns Lightbringer a few brownie points, it still has some issues. That said, players looking for a casual 3D platformer experience can find it here.

Even though it has little to do with real chemistry, Sokobond poses some interesting challenges. It's not especially memorable, but it will supply a few hours of solid puzzling.

The difficulty, along with an unimpressive combination of uninspired aesthetics, unnecessarily long load times, and a generic feel, make the game, as its title suggests, a disappointingly alien experience.

Should this collection exist? I’m not sure. Am I glad it exists? Absolutely. Disney Classic Games did a great job of bringing two past greats to modern platforms. Although I wouldn’t recommend it to those with no nostalgia for the originals, I’m confident that those who remember them will appreciate this trip to the past. Now excuse me as I blast the volume to Be Prepared and start a fresh no-rewind playthrough of Lion King — I’m a masochist.

As a tribute to Symphony of the Night, Elderand is fairly charming. There are some familiar callbacks to that inspiration, but it’s not as immediately accessible and balanced as that masterwork, and its attempts to add complexity amount to little more than distractions and annoyances. There’s no shame in wanting to make Symphony of the Night over and over again, but perhaps Elderand’s developers would have been well-served by embracing that formula more closely — every time it tries to go its own way, it just gets itself into trouble.

I think Sonic Team needs to focus on its core values and technical competencies, to deliver the sublime experience I believe it is capable of, especially when working with the prestigious Sonic IP.

Ultimately, Lily’s Epic Quest for Gems feels like it was built without much consideration for its new home on consoles. While there’s enough here to justify the price of entry, the limited usability and general lack of polish is disappointing.