Toejam & Earl: Back in the Groove was everything I wanted from a modern revisit to the series — it’s bright, it’s funky, and it has an obvious love for the past with modern twists. The single and local components are great and the experience holds up well. That said, those looking for online co-op may want to look elsewhere.

Meowing aside, what I enjoyed most about Giraffe and Annika was the story, and this came as a big surprise. There’s an underlying mystery about why Annika has woken on Spica Island with no memories, and how Giraffe knows her. I found the resolution to be surprisingly affecting, and it manages to be so without betraying the positive tone found in the rest of the game. At last, I’ve reviewed a good title that bucks my trend of negative reviews. I’m glad that I spent time with something I normally wouldn’t look twice at, and it was an enjoyable experience despite being aimed at kids. It’s got a few issues, but the easy-going style, bright visuals and surprisingly resonant story means that I’m going to call this one a win.

Such a wide range of inconsistencies results in an experience that never feels right — Snow Bros Wonderland is ultimately a game that’s on par with trying to squeeze a marshmallow through a keyhole. Even if one succeeds in doing so, it’s definitely not worth the trouble in the end.

EA markets NHL 26 as “the most authentic hockey experience yet,” and that’s not entirely wrong. The physics refinements, data integration, and visual polish make this the best version for anyone who skipped last year. But the improvements are incremental, not transformative. If you already own NHL 25, you’ve seen nearly everything this has to offer… it’s just a little smoother, a little prettier, and a little harder to justify at full price.

It’s the kind of straightforward game that I desperately want more of, but its occasional faults combined with strong competition and a top-dollar price have made it an afterthought less than a month after release. A year from now, a lot of people are gonna buy this on sale for less than $20 and be impressed — that’s not going to help get Immortals of Aveum 2 greenlit, But I do hope the studio finds enough success now to get themselves another project off the ground. They clearly have a lot of potential.

The Devil In Me is a brutal, harrowing experience. The killer is monstrous, the choices to be made are nail-biters, and the story, when finally revealed, offers all the satisfaction of a opened puzzle box. The new gameplay mechanics fit seamlessly into the experience, and the additional player agency encourages investment in the story, rather than distracting from it. While nothing in the plot reaches the audacious heights of House of Ashes‘ finale and technical issues prevent co-op here from being the series’ best to date, it’s still a great experience, and the developers can be satisfied that they’ve ended the first phase of this series on extremely solid footing.

Tweet Share Share By Thom Stone on October 9, 2024 in Reviews (Italian) Chef’s Kiss HIGH Visual variety and fresh gameplay breathe new life into an oversaturated genre. LOW Lack of multiplayer. Some original ideas are underutilized. WTF You call that a final boss? Over the past decade, countless titles inspired by FromSoftware’s Souls have come and gone, but few have managed to stand out from the crowd or even meet the bar that’s been set, especially now that it’s been raised once again by the wildly successful Elden Ring DLC, Shadow of the Erdtree. Enter Enotria — a new and soon-to-be classic third-person soulslike from Italian studio Jyamma Games that dares to be different by drawing inspiration not only from FromSoftware, but also the rich cultural traditions and aesthetic appeal of Italy. Enotria is a world populated by people trapped in a never-ending play, doomed to perform their roles according to a script they didn’t write. This fate is interrupted by the player in the role of the Maskless One — he enters the scene as a mere puppet, but will ultimately go on to liberate the unwilling actors. This theatrical concept works well as a device to explain the reason why NPCs are stuck in a loop of performing scenes on the shoreline or dancing in the street to a melody that can be heard in various forms throughout the city of Quinta. According to Jyamma Games, the city of Quinta and its surrounding area were inspired by Tuscany, and this can be observed in small details like traditional Italian dishes found on tables, and imposing structures like the Church of Maja where the player must face their first boss. The virtual tour of Italy continues with later areas that are reminiscent of Venice (Litumnia) and Sicily (Falesia Magna). The combat is fast-paced and requires not just skill, but patience. The third-person perspective allows the player to see a broad view of their enemies and surrounding environment which allows them to telegraph enemy move patterns, tactfully dodging or parrying their attacks before going in for a strike, but they must also know when to step back and conserve stamina. Landing an attack charges (at varying speeds) up to four “mask lines” which are special attacks that deal different kinds of damage known as Ardore, which can be especially effective against certain enemies. A crucial piece of the gameplay for players to understand and take advantage of is that they get up to three loadouts which allow them to equip separate sets of weapons, quick items, mask lines and masks. Unlocking certain branches on Enotria‘s skill tree allows the player to select abilities to suit their style, like staggering weaker enemies whenever they successfully dodge an attack. Although the player can only alter the equipment, skills and abilities for each loadout at a checkpoint, they can switch between their loadouts on the fly, which is helpful when facing different types of enemies in a given area. There are many masks that can be acquired throughout the adventure. Some will be received upon defeating a boss, but the majority can only be crafted after collecting a certain amount of mask shards. It was satisfying to piece them all together and make my first mask — the Gardener. I automatically received it after farming gardeners (an enemy type that appears in the first area) and one of its effects is that it makes a certain healing item more effective. Later in the adventure, players can gather enough boss mask shards to make their corresponding masks which allows the player to use some of their abilities as mask lines. Apart from the masks, one of the most important mechanics is the elemental system which functions much like rock-paper-scissors. Certain mask lines or weapons infused with an element will be especially effective against an enemy aligned with another. For example, Vis, a status effect that inflicts dizzying damage, is super effective against enemies aligned with the poison effect, Malanno. Midway through the campaign I fought a god named Veltha, God of Strife who was aligned with Gratia (holy damage) but weak to Malanno, so I maxed out my favorite Malanno weapon and took pleasure as I watched her stagger and suffer from poison damage every time one of my attacks landed. Leveraging this vulnerability didn’t mean the fight was quick work, but it was significantly easier to wear her down than by using the other weapons in my arsenal. The level of difficulty presented by bosses like Veltha (both a powerful ranged fighter and relentless swordswoman) was on par with other Soulsbornes, which is to say, very high. Thus, players who are new to the genre will need to learn the basics quickly if they are to progress. When it starts to feel impossible, they can always farm currency from enemies and use it to upgrade their equipment or level up before taking another stab at whatever boss they’re stuck on. Speaking of bosses, most of Enotria‘s were guilty of one cardinal sin or another, and for some, their vices manifest physically, such as the gluttonous cannibal Zanni who had feasted on fellow actors and turned into a balloon of a man with multiple mouths and an insatiable appetite. It was a delightfully horrifying and imaginative monster design. However, one of my favorite battles was the duo boss fight starring Balanzone and Pantalone. Rather than strong and silent types as many soulslike bosses are, they were a comically dysfunctional pair, often damaging each other when trying to attack me while bickering throughout the fight, voicing their self-interest and avarice. Shockingly, the final boss proved to be the most underwhelming boss fight of the whole campaign. His attacks were fairly predictable and not much changed during his multiple phases, except that a few ranged attacks were added. At no point did I have to significantly change my approach — it was mostly just a matter of pulling it off. While the majority of Enotria is excellent, this mediocre final encounter was just one of a few things that left me feeling underwhelmed when all was said and done. Even though I didn’t need any help on the final boss, there were a few that made me wish I did. Summoning friends and strangers alike is one of the things I enjoy most about soulslikes, as it adds to the feeling of “jolly cooperation” — a big part of what makes these titles so special to me. Unfortunately, there’s no online or multiplayer of any kind to be found here. There were also a few underutilized mechanics that are unique to Enotria, like the Ardore Burst — a stomp that staggers enemies and materializes platforms and ladders when the player stomps on a gold seal, allowing them to reach previously unreachable areas. Whenever I saw one, I’d be filled with the spirit of adventure and feel excited to see where it would take me. Sadly, they’re all too rare. It’s also worth mentioning that during my time with Enotria, I encountered some sudden difficulty spikes and observed some enemies with odd AI pathing getting stuck in certain places. The devs have since released a patch to address these issues and they plan to release more fixes in the near future. Ultimately, my time with Enotria: The Last Song was fantastic. The unconventional Italian theming swept me off my feet, and the gameplay was pleasantly familiar, yet offered enough differences and new ideas to let it stand on its own. If any Souls fans are looking for something to lighten up the dark autumn days that lie ahead, they should consider this summery theatrical adventure their remedy.

Wild Arms 4 evolves a little compared to other titles in this genre, but infantile graphics and immature, uninspired sections hinder it's full growth into JRPG-post-puberty. After all, coming of age ain't as easy as it seems to be.

With a dull location, uninteresting combat and repetitive missions, Fortified only has its ‘50s robots to recommend it. While I can't deny that devotees of the period will no doubt find something to like in this menagerie of tin monsters, anyone looking for a solid Tower Defense/Shooter hybrid will have to look elsewhere. It won't be hard to do better than this.

A rock-solid game. While it's not the Shining game I would have asked for, it's definitely one of the better hack-and-slash titles out there for the console market.

Given the sheer depth of the title, this Madden NFL 21 review could theoretically go on for another 1,000 words but there’s a good chance most readers already know whether or not they plan to invest in another season of tried and true NFL gameplay. Make no mistake, Madden NFL 21 is the best rendition of football this generation, and is A solid experience for anyone who takes the plunge — it just comes down to whether or not the new features warrant another purchase for regular fans.

Archangel is a highly ambitious game despite the on-rails shooter genre to which it belongs. The mechanics of balancing weapons fire with energy shielding make for an engaging fighting system and its narrative tries to surpass expectation with creative choices, but it ultimately lacks the environmental detail and moments of awe that would have made its adventure a memorable one.

While Youngblood is a far more interesting idea than the ‘prequel with zombies‘ approach taken by The Old Blood, it still doesn’t have the “WOW” factor that makes the main entries so memorable, and the severe downgrade in protagonists doesn’t help. So while Wolfenstein: Youngblood is disappointing, it’s also just kinda there. At least it wasn’t so bad that it impacted my desire to play the next main entry in this series…

Deliver Us Mars demands a sequel, in the sense that it artlessly uses a couple of post-credits scenes to set one up, but there’s nothing here that left me wanting more. Its puzzles are rather dull and the most notable gameplay activity, rock-climbing, feels like it belongs in an entirely different game. I don’t care for most of the characters that survived Deliver Us Mars’ sloppy, facile plot, and its scenario is hopeless and depressing. A third installment may be inevitable, but I’m not eager for that package to arrive.

With A New Frontier, Telltale is stumbling over the age and limitations of its dated engine and game mechanics while also running into the problem of franchise fatigue. There are only so many zombie hordes, self-interested road warriors, and family disputes they can explore before it all starts to feel rote. Javi’s story isn’t a total loss thanks to the development of the core characters, but the studio will have to think of ways to keep this world fresh and interesting if it hopes to continue producing the further adventures of Clementine and other assorted survivors.

I may not have agreed— or even enjoyed—many of the choices that were made and implemented in the final product, but I have to admit that I'd usually take a flawed, unusual experience like Lost in Blue over most of the inspiration-free stuff clogging shelves today.

Fans of Michonne from the comics or TV series may rejoice in the insights the episode provides on her, yet in comparison to the previous season of Walking Dead, it falls short. I hope that the next two installments will reframe the story's events more positively and ultimately reveal a much larger, richer, and more interesting arc.

Although the animation and framerate aren't as optimized as they could be (one of the qualities common to Terminal Reality's other titles) and some of the combat sequences can occasionally be frustrating, looking past Charlize Theron's digitized face reveals Aeon Flux to be finely in tune with its animated soul-and a darker, more artistically challenging thrill ride than players are usually privy to.

It may sound like I’m focusing on the negatives too much here, but much of what I enjoyed about Trepang2‘s premise was ultimately undercut by its various weaknesses. What initially seems like a promising concoction of bloody firefights, psychic superpowers and absolute bedlam suffers from poor pacing, muddled direction, odd enemy AI and controls that are more suited to a mouse and keyboard than a controller. When it works as intended brief flashes of brilliance are tucked away in the combat, when taken as a whole it winds up being a fairly middling experience.

I don’t know who Orcs Must Die! is for, and I’m not sure Robot Entertainment does either. Anyone new to the series is at a massive disadvantage, and existing fans are going to be scratching their heads. This series might’ve put Robot Entertainment on the map, but what they’re doing here isn’t their future. I used to love these titles — I still love the first two — but even if this mess is the result of an unfortunate series of mistakes made with the best intentions, that still doesn’t mean it’s a good experience.

All in all, Rainbow Six: Extraction is a well-built and decidedly good co-op experience — it’s just not a great one. It doesn’t offer revolutionary gameplay, big wow moments, and doesn’t seem to have much of a beating heart. But if a player is looking for an enjoyable distraction — and frankly, who isn’t during these endlessly unprecedented times? — this is one title that makes it easy to grab a few friends and launch a mission without a big commitment.

I did eventually find my bearings, and the entire game took me less than five hours to complete, after which I was told in no uncertain terms to go back and continue training with other players – this is obviously meant to be the true hook of the game. Unfortunately, the co-op functionality isn’t working properly at this time. While Sloclap will probably get the servers stable eventually, the fact remains that Absolver’s core combat feels so awkward and unsatisfying that I can’t imagine it ever taking off. I certainly can’t recommend it now, and I doubt that’ll ever change.

While I do think I’d have been slightly less burnt out if I’d played it in smaller doses over a longer period (and finishing its prequel beforehand didn’t help either, I’m sure), God Eater 2: Rage Burst proves beyond a shadow of a doubt that there really can be far, far too much of an entirely okay thing.

The Rivers of Alice is a vehicle to display the talents of its artists and musicians. The adventure is short and simple, and if not for the loading, slow movement and obscure puzzles, it could probably be finished in under an hour. Of course, game length does not equate to game quality, but with its other flaws taken into account, it's hard to recommend Alice to anybody who isn't already deeply invested in small indies.

Livelock isn’t a title that’s going to move its genre forward, but it is a great example of the genre it’s representing. Anyone who enjoys this brand of action will find spending time with this metallic trio of saviors to be worthwhile.

Super Crush KO is a gentle entry into the world of twitch-based combo brawling action — a safe, warm pool for people curious about the genre to dip their toes in before attempting to walk hot coals with Dante or Bayonetta. Also, and I can’t stress this enough, it has a really, really, really cute cat.

Kukoos: Lost Pets is a decent option for a parent introducing their child to the world of gaming in a low-stakes, cartoonish environment but it doesn’t offer much else besides the lamentable loading times. It’s cute, but there are other games that fill a similar introductory role much better than this one.

At the very least, I appreciated the creativity on display – the final level really hammered home the fact that the devs had a vision for the story of Crime o’ Clock that directly incorporated the unique format they chose to use, rather than offering a haphazard story applied to the gameplay after the fact. The whole thing feels a bit messy, but there’s a unique vision within it that might be brought to light with a bit of careful pruning… but I suppose we’ll never know.