Maybe after the devs squash the bugs and make a few other changes I’ll want to come back and dig some more, but in its current state, Mole Maiden doesn’t feel like it’s quite ready to surface.

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.

Honestly, I love that Wave Break exists. It’s a delightful homage to what is arguably my favorite series of all time, complete with an interesting aesthetic and an enjoyable story as well — it’s just a shame that I spent most of my time fighting the physics, controls and camera instead of just enjoying it.

Lost Orbit can't make up its mind about what it wants to be, and the result is neither a touching tale of survival nor technically-compelling arcade-style action. It's not a bad piece of work and would certainly shine with better integration of its elements, but design confusion is its most notable characteristic, and that's not a good place for a game to be.

If you’re a die-hard city fan of city builders, and the idea of a new Cities: Skylines that’s 10 percent prettier and 5 percent more interesting has you salivating, you might wanna hop on this one right away. But for the rest of us, we can probably just keep chipping away at some other 2000-hour video gaming time sink. It’s not like this franchise is going away any time soon, after all.

After my time with Rise of the Slime, I was left feeling a bit confused. It’s too simple and the graphics don’t seem like they will appeal to fans of the genre, yet it’s too punishing and difficult for casual players or those unfamiliar with the deckbuilders. I’m not sure of who it’s trying to target, but my guess is that it’s a bit off the mark regardless.

Heaven Dust is an oddity — it’s a game that can’t simply be dismissed as a rip-off of Resident Evil because the developers have made no attempt to hide what they’re doing. This isn’t simply ‘inspired by’ RE, it’s a literal recreation of Capcom’s seminal work in everything but name and a couple of minor plot details. It’s clearly a labor of love from people with a deep fondness for the franchise. I’m not surehow it will land for people who have no nostalgia for the original, but as someone who’s spent untold hours inside Spencer Mansion, I found it to be a delightful bite-sized homage.

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.

There are kernels of good ideas throughout RAD, and none of my problems with it feel like they can’t be fixed or tweaked to make the experience less frustrating. Unfortunately, its current iteration falls squarely into the Double Fine catalog of work that’s great to look at, but only fleetingly entertaining to play.

With middling gameplay and a questionable story, The Crow’s Eye has only its solid puzzles and a fascinating mixture of genres to recommend it. This is nowhere near the top of the first-person puzzle-platform genre, but it’s certainly one of the strangest and most intriguing I’ve played.

Toast Time is a good fit for the Switch. It’s nice to play in bursts, the humor is amusing, and the levels available give the game plenty of challenge without being unfair. However, it would be better served by offering more missions for the singleplayer campaign instead of putting resources towards the lackluster multiplayer mode. Even so, I’d call it a worthwhile addition for the Switch library — it’s a simple arcade experience, but does what it does well.

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

System Shock is haunting and lonely, has an expertly-crafted oppressive atmosphere, intense combat, and a strong sense of immersion. Unfortunately, the obtuse nature of the campaign makes it to navigate and generally understand what to do. Returning vets may appreciate the upgrade, but I suspect that new players like myself will feel excluded and put off by the steep difficulty.

Overall, it’s a shame that the final game feels like a missed opportunity to bring the survival horror genre back into the spotlight. Between the poor story and characters, familiar elements from other games and the problems I had during my playthrough, it seems as though The Evil Within is content to live in the past instead of than drawing inspiration from it and moving forward.

The obvious incoherence of many of the design decisions allows the player to see past the realistic graphics and to observe the unrealistic logic that underlies the game.

It’s a shame that Aeterna Noctis stumbles in both difficulty and design because it feels like it comes so close to greatness. Unfortunately, the demanding challenge and an obnoxious amount of backtracking overshadow what it gets right.

While I’ll probably never know what a zarvot is, this project offers a solid arcade shooter and a decent campaign — it just needs a little more polish.

Tales of Mathasia should prove a good teaching aid for beginning mathWhile the player is free to replay levels, there’s no dedicated endless mode that might allow players to simply drill themselves with math problems without the extra context. It seems like an egregious oversight, especially since the main story only takes about an hour to complete. Hopefully if they make a sequel, the developers will better understand the importance of repetition and memorization in early childhood education. Until then, Tales of Mathasia remains a solid, if unimpressive educational game.

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.

A glimmer of the first game's superb design and balance remains underneath these missteps, but the bottom line is that instead of building upon the solid foundation from the first game, they undermined it.

Transcripted's mashing of genres does work despite its hiccups. As a game to play here and there, it is a nice distraction with plenty of ways to change how it's played.

The song selection is a great change of pace from the standard rock fare found in Guitar Hero and Rock Band, but in the end the controls just don’t cut the mustard.

Dawn of War III isn’t a bad game — it’s just not a good one either. By trying to chase what’s popular, Relic lost a lot of what made this series so great in the first place. With the promise of more factions to come, there could be more to this game a few months from now, but as it stands right now, it’s too basic to dance at the ball.

Overall, it’s more than a little eyebrow-raising to see how closely Vermintide has followed the template set by Valve, and disappointing to see that it hasn’t improved or advanced the precedent that was set — it’s just a not-as-good version with rodents in place of the undead.

I met King’s Bounty 2 more than halfway by fighting every monster, completing every quest and searching out every bit of treasure, but at the end of the day, I was left broken, bankrupt, and frustratingly unable to roll credits on a title that was almost great.

Gamers looking for an art-house experience would do well to spend a couple of hours soaking in what Suda 51 has served up. Those more concerned with gameplay they can chew on might want to think twice.

This leaves TurnOn in a tough spot. More than 90% of the game is a high-quality, quirky, relaxing exploratory platformer. Unfortunately, that game is broken up and gated off by runner levels that add a disconnected (and possibly fatal) element of challenge, so I can’t recommend it for that strength.

In many ways, Battlefield V feels like a big step backwards for the franchise. The campaign is boring and frustrating, multiplayer is unbalanced, and bugs keep popping up in every mode to ruin the experience. The fortification system is a good shakeup, but the good it brings is tempered by the cumbersome and murky Grand Operations. With some patches, balance changes and bug squashing, BFV could be a fantastic game, but at the moment, this soldier needs to go back to basic training.