Its plot goes in one ear and out the other, its visuals are nothing to write home about, and its combat is more shallow than its highly customizable stats system implies, but it’s still an enjoyable enough action RPG at its core. Trinity Trigger fits the bill if you’re looking to turn your brain off and save the world for a jaunt, but don’t expect it to leave a lasting impact.

For all my complaints, Aragami 2 does pull off making you feel like a ninja rather well. Planning just the perfect route to ambush everyone one by one or slip in and out without disturbing anyone felt really satisfying. It manages to tread that fine line of letting you get away with more than is realistic while still making a perfect run challenging that makes a great stealth game. I just can’t help but feel they took a few gambles with changing things up from the original, and took a step backwards as a result.

It’s got fun characters, great presentation, and a system that has some stumbles but is ultimately a neat idea. And let’s face it, if you’ve ever been in a city, bodyslamming people who won’t stop taking up the whole damn sidewalk feels like an appropriate response.

The Tartarus Key is the rare game that’s able to faithfully recreate an older, chunky 3D aesthetic while still establishing a unique voice of its own. Its brainteasers won’t pose much of a challenge to seasoned puzzlers and its endings are rather abrupt, but the intriguing mystery, variety of puzzle types, and brisk pace work together—much like the characters trapped in the mansion themselves—to ensure a ride worth taking.

If you’re really into management sims, you’re going to get something out of the game. But otherwise, as much as I love the look and charm of the title and the concept, this is probably not going to find a forever home in your library.

Summer in Mara isn’t a bad game. Shockingly, I would actually recommend it…for children. It is definitely “baby’s first crafter” IF it can solve its direction and instruction problems. Everything is so simple and easy that it is perfect for a child. Without the need for combat and violence like other crafting games have, it’s perfect for young people. For the rest of us who have been playing crafting and survival games for 10+ years, there is nothing in this game for us. For almost everything this game does well, there are other more complex games that do it just as well or better. I can tell lots of love was put into Summer in Mara, but there are some tweaks that need to be made to support the audience they seem to be going for.

It’s smaller than its inspiration, a bit simpler in some ways, and I am very deliberately leaving out some of the places it goes simply on the basis that it’s worth seeing it for yourself. If you’re like me and have been looking for more FFT for the past two decades, this game will not sate your hunger completely, but it’ll be damn filling. You will walk away satisfied. That is high praise, and a testament to how good the game actually is.

It’s rare that I say this, but this video game probably should have been a movie instead. Honestly that’s the biggest thing I felt during this whole experience, between the live action stars, the way the cutscenes are shot and paced, the way the gameplay felt almost like an afterthought, it truly feels like they were basically trying to make a movie but decided it must be a game instead. Now, that’s not to say there’s nothing to enjoy, far from it! I really enjoyed the writing and performances, but it likely says something that I had a lot more fun just rushing through on a second playthrough on easy to see the story differences than I did on my initial go on normal where I actually had to explore.

Gods Will Fall does a lot of things right, so if you’re looking for a game that has high replayability and offers success through personal growth rather than arbitrary difficulty, then look no further. The lead developer at Clever Beans mentioned that their inspiration when creating this game was Demon’s Souls and I’d say they did an excellent job creating an indie version of their muse. It is also just a fun experience. I never felt bored while playing it, at least. In fact, despite completing this review, I am still glued to my TV trying to deal with some of those pesky gods.

You’ve probably ascertained as much from this point, but I didn’t care for Shuffle Tactics. I don’t think it’s an utterly terrible misfire; I can tell what the designers were going for, I admire the attempt, but it just doesn’t land. It was a few years back when I reviewed another tactical-RPG-meets-roguelike title, Tyrant’s Blessing, and this game basically manages to have more failures despite having a stronger starting gun. I don’t think the game is truly atrocious, and I think if you’re in need of another roguelike game and you have played all of the offerings out there, this will… perform as advertised. But I can’t really recommend it to others.

Overall, Clea goes for an unsettling style of horror and, at least for me, completely fails. The atmosphere never really “lands,” enemies are more frustrating than frightening, and I really just struggled to find the desire to even play this game.

The basic hack-and-slash formula it has seems fun, and you can understand why this went on to spawn sequels and so forth. Sure, it’s schlocky cheesecake action, but that’s exactly what it wants to be and that’s to its credit. Alas… I can’t really recommend this game because those technical issues are notable. They’re not “render the game unplayable” bad, although the experience was probably diminished for me. But for all I know I wasn’t the unlucky one but one of the lucky ones. I want to like this game. I repeatedly come close to liking this game. And I’m probably rating it highly given the technical issues. But those technical issues mean that for any and all of its virtues, the game ultimately fails that basic test of “is this fully playable.” If the issues are fixed in a launch patch, toss on another point to the score.

I’m going to be honest and say that I kind of expected more out of the title, which is unfair to the game on some level. I’m the person who always says that it’s not what a game is about but how it is about it, and in that context it’s not really fair to have negative things to say about the story being a bit of a shallow wisp full of fan service and game references. The problem is that in light of that weakness, you’d expect a strong game to back it up… and instead, what you have is a game that feels kinda archaic and making up for its weaknesses via volume. None of that makes the game bad. Indeed, I could find myself easily falling into a routine with the gameplay despite its generally bland elements. But it didn’t really stick to the ribs despite that. If you’re a fan of this franchise, I can understand why in the broad strokes, and I think this is going to prove to be an entry in the series that you will like because it is an entry in the series. But for people who aren’t into the series already or are generally neutral toward it, this isn’t the spot to start.

Unto the End just wants to punish the player. It feels like it went too far off the deep end of “purposefully difficult game” and ended up in kaizo territory. The challenge here isn’t fun, it’s just annoying.

The Complex is an interesting experiment that sometimes yields the fruits of its labor. More often, though, it reveals precisely why developers stopped using live-action video as a means to tell an interactive story. With a minuscule budget and equally small ambitions for its narrative and characters, The Complex just doesn’t replace the gaping whole that TellTale left behind. I don’t want to discourage Wales Interactive from continuing down this path, however. While it didn’t shine often, there were glimpses of a world in which this can work and work beautifully. I just hope they can secure the funding necessary to achieve their ambition.

Souls of Chronos is a sloppy and in some ways surprisingly wane little thing, a bunch of ideas that don’t ever fully coalesce into a satisfying whole, but there is a value in that. If dodgy translation, somewhat bland combat, and an erratic art style don’t dissuade you? You’re going to have fun with it. I had fun with it. But I also had fun with it while wishing it were just a little more cohesive, a little more polished. I don’t regret giving Souls of Chronos my time, exactly, but I wish it had been a little more appreciative in turn.

I always feel a little bad being hard on a game. I know some people put a lot of work into this and they may even be proud of it, but the simple truth of the matter is I did not have fun. I didn’t even feel the satisfaction of overcoming a challenge. Whenever I thought I’d find something I enjoyed, the NPCs would snipe insults at each other and make me feel awkward about being around them.

Ashwalkers really just isn’t an interesting experience. It takes the post-apocalypse and manages to make it soporific. I can’t really recommend it unless you’re looking for a unique way to cure your insomnia.

A lot of robot fiction makes a simple collection of circuits and wires, just the barest indicators of humanity, into an intensely human character even with nothing more than the suggestion of a face. Qualia feels like it showed up with all the robot parts you could want in a box and simply made a pretty girl to smile at you, and she can’t even make eye contact.

Some of the pain points can be owed to the fact that this game really targets fans of the challenging shooters of yesterday rather than people exploring the genre today. A few others, like the unexpectedly low Switch performance and the honestly unnecessary save-scumming prevention system, aren’t so easily excused. The game works fine, but if you can, play it on PC. This game deserves a mouse and keyboard and 60+ FPS.

At the end of the day, if you’re a genre fan, Deiland will provide you with enough bang for your buck that you won’t feel your time was wasted. But it’s kind of a lightweight thing, and between the short duration and the lack of long-term hooks it’s more a case of genre fans wanting more than it is of a new game to really sink your teeth into. That doesn’t make it bad or disappointing, just perhaps a bit more slight than you’d hope.

Hello Kitty and Friends Happiness Parade is one of those games that simply struggles to stand out. It’s an endless runner/rhythm game hybrid that has great potential in theory, but its monotonous gameplay, uninteresting art style, and grindy moment-to-moment loop make it a difficult recommendation. If the game were to offer something more than exactly what justifies its existence, it could have been a great time, but instead, Hello Kitty and Friends Happiness Parade provides an unexciting rhythm game with Sanrio characters and absolutely nothing more.

The game itself is competently executed, and if I try really hard to ignore the rip-off side of things, I would call it a decent game. But even then it has some pretty significant flaws. So while I did derive some enjoyment from it, due to its rough edges (among other things) it’s really hard to recommend to anyone unless you’re a die-hard tactical RPG fan who doesn’t want to own a Nintendo system and/or doesn’t like the Fire Emblem or even the Final Fantasy Tactics IPs. Which is unfortunate, because I really wanted to be able to; there are not a lot of good games in this genre that are available on PC that I can simply name offhand.

Comic book games are certainly having a moment lately, and Hellboy: Web of Wyrd does little to deter me from thinking otherwise. While it may not hit as high as some of its more lauded contemporaries, it’s still a good game. If you can endure some of the rougher edges it has, you’re going to find yourself with a game that is simultaneously a way to wedge into more involved roguelikes and another example of what developers can do when you stay true to what makes it work in the first place. Sometimes you just need something a little less intense, and games like this fit the bill nicely.

Bottom line: Fight Crab offers an entertaining, and refreshingly unique experience and is certainly worth a look for that. But the game feels very rough around the edges and I think it needs some more time to have its flaws ironed out. If you don’t expect too much from it, you’ll definitely get your money’s worth of entertainment. But the game is at times sloppy and unprofessional, even for an indie title, which does harm the experience to a noticeable degree.

The game falters somewhat under the weight of its ambitious premise—the various ramifications of killing or sparing certain NPCs in each five-hour playthrough probably won’t wow you to your core—but fun combat, charming visuals, and thorough commitment to its namesake elevate Hindsight 20/20 – Wrath of the Raakshasa to a unique experience that’s absolutely worth a playthrough (or three) to see what it has to offer.

I want to like this game, I really do. When it works, it works really well. The core gameplay loop is satisfying, the two ideas mesh believably, and figuring out how best to manage the species on a given level is like a fun little puzzle. Actually reaching later planets makes me feel like Sisyphus rolling a boulder up a hill, with the content I’m repeating feeling no different than it did an hour ago when I started my last run.

Overall, it all comes back to the length of the game. In spite of my own preferences, being a little over an hour is far too short and this length drags down both the narrative and the difficulty curve. What is here isn’t bad per se; there’s some decent world building, the levels toward the end are genuinely fun, and the vibes are fantastic. But they don’t compensate for everything else feeling rushed.