Rune Dice proves that just because you’re unique, that doesn’t mean you’re rolling high at the table. Though the core gameplay is innovative and genuinely charming to start, both it and its accompanying audio start to wear thin after the first couple of hours. There’s little satisfaction in building a deck with the pieces you’re given, though you do get a lot of them. In the end, it’s one high roll followed by snake-eyes all around.
Though I never expected Directive 8020 to be a mechanically complex game, I expected more from its gameplay than what it delivers. Even for a Dark Pictures title, it’s light on things to do and even lighter on optimization, with visual and save bugs infesting the game’s guts like some ravenous alien. The story is superb, though, if you can get past the episodic structure and occasional wacky dialogue. It’s a stellar sight and a haunting listen, so if you’re fine spending most of your time watching people die, this frigate of frights might be for you.
Everything may be crab, but not everything is well with Everything is Crab. It’s a tad too simple for its enterprising attempt at evolving the roguelite formula, but I still think it’s another crab game that’s worth treasuring. Splicing simply addictive gameplay with a famous high-brow meme and enough difficulty levels to challenge anyone, this game’s got the potential to template a better attempt in the future. We must’ve just caught it mid-evolution is all.
Just as the moon covers the sun, with lost Carcosa awash with golden yellow, Saros eclipses all in its wake. Boasting a deep and synergistic core gameplay loop evoking Returnal, premium difficulty balancing options, emotionally-driven character writing, and the newest look cosmic horror has seen in decades, you wouldn’t be driven mad by playing this game; you’d be mad not to. Strange is the one who cannot fathom the greatness of Saros, but stranger still is lost Carcosa.
Vampire Crawlers is a game that goes straight for the jugular and doesn’t let go until your schedule’s bled dry. Although it is indirect with its storytelling and isn’t as visually and aurally unique as I would’ve wanted, the gameplay hard carries by being innovative, exhilarating, and concerningly addictive. There’s no deckbuilder or dungeon crawler like this out there, at least not yet. No doubt every other dev will want a bite when Vampire Crawlers pioneers a new sub-genre as its predecessor did.
The Golden Age of Animation wasn’t called that for nothing, and MOUSE: P.I. For Hire is its modern gold standard following the likes of Cuphead and Bendy. Though relatively simple as a shooter and not up to par pacing-wise, this game has the production value and vision of yesteryear, and is a hand-made, hand-drawn testament to the art form of animation. Back it up with jazzy tunes and the best voice actors money can buy, and you’ve got another squash n’ stretch best-seller hot off the presses.
All Will Fall proves that being hyperbolic isn’t the play when it comes to showing off your game. Although it does not disappoint in some aspects, namely its faction mechanics, premise, narrative potential, and replayability, it drops the ball on the main attraction. Physics-based city-building is barely implemented and hardly restricting. The game’s title begged that all would fall, and fall short of its own promises, it did.
Raccoin: Coin Pusher Roguelike proves that anything can become a hit roguelike if designed well enough. Not content to just slap some roguelike mechanics on an existing idea, Raccoin presents something uniquely addicting across a complex, layered gameplay progression that goes beyond comparative description. All that for much less than an arcade trip would cost. Forget breaking a dollar for the coin pusher, take all of mine for Raccoin!
Super Meat Boy 3D is much more than just a 3D retelling of a beloved title; it’s an exercise of mastery of platforming design, made in the image of a cube. Though far from accessible (despite its best efforts) and still somewhat similar to its predecessor, the inclusion of Dark World Levels and the design space opened by an entire new dimension of space gives it a platform to stand on. Best you load up on controllers, because Meat Boy’s back on the menu.
Timberborn is a good, almost natural, marriage of two genres that couldn’t quite surpass its own issues to become something greater than the sum of its parts. Late mechanics implementation, lower replayability than expected for a 1.0, and unhelpful tutorials all drag down an otherwise amazing game. There’s much holding it back and much holding it up, amounting to a great, but imperfect title overall.
John Carpenter’s Toxic Commando is bursting at the seams with how much gameplay depth, artisanal vision, and genre innovation it manages to pack within its very few open-world levels. Had it the scope to contain its quality, it would’ve been the best horde-shooter for everyone out there, though it still may be for some. It’s simply too awesome for its own good.
Scott Pilgrim EX is a great game built for a very specific crowd. Its deliberate arcade-style beat ’em up design limits broad appeal, but fans of the genre, art style, or IP will find little to complain about. It’s cheesy, wacky, unapologetically retro, and simply EXceptional.
NeverGrave: The Witch and the Curse has highs and lows of its own, but Dead Cells is unmistakably in its DNA. From the parasitic true protagonist inhabiting bodies to the dramatic door slams after each clear, fans of one will recognize the appeal of the other. Still, NeverGrave falls short in audio and storytelling, even as its original ideas help keep things feeling fresh, but a mere copy, it is not.
Sons of Sparta feels unnecessary, a prequel few expected and one that adds little to the wider God of War saga. Still, on its own merits, it’s polished and impressive, with strong mechanics, striking visuals, and standout voice work. More indulgent side story than essential chapter, but a solid one nonetheless.
Space may be the final frontier, but this game clearly needed one more trip through QA. The combat rarely clicks, and the voice acting and animation struggle to keep pace, yet the resource management is sublime and the UI design genuinely excellent. Focus on its strategic and narrative strengths, and this Trekkie adventure might still live long and prosper in memory.
High on Life 2 is Squanch Games’ second chaotic ride, and it’s as wild as it is messy. Stellar voice acting and striking visuals shine, but middling gameplay and rough optimization hold it back. It’s a mixed bag of highs and lows, and if that chaos appeals to you, we won’t judge, though your guns might.
While not a true successor, Mewgenics carries The Binding of Isaac’s roguelike spirit through its sharp cat-based tactics, dense content, and clear devotion to McMillen’s ideal vision. It’s pricey, brutally slow, and unapologetically harsh, but its addictive music, bizarre systems, and deep strategy make it hard to put down. Not quite purrfect, but very close.
It’s hard to make magic feel monotonous, but YAPYAP manages it. Despite a strong, well-executed premise, issues with map variety, economy balance, and progression hold it back from becoming the next big friendslop hit.
Like a low-budget ’80s horror flick, I Hate This Place is all flash and no bang. Though it nails the vibe with its visuals and sound, rough voice acting aside, the gameplay is too shallow to hold up. After the early thrills fade, it’s mostly cheap jump scares without the depth to stay engaging.
Cult of the Lamb shows that sacrilege can be playful rather than off-putting, and that juggling two core gameplay styles can elevate a game instead of dividing it. The blend of irreverent themes and dual mechanics is impressively well executed. It does drift into repetition over time, but the journey there is wild, stylish, and gleefully heretical.