This is a problem across the entire games industry and far too much of the work it produces. What makes Gollum stand out is that most other developers and publishers then use their creative teams to try and hide the crass cynicism and capitalism. Daedalic didn’t bother with Gollum. This game represents the games industry with its mask off.
I’m definitely returning for Ghostpia season 2. It’s not just that this game looks quirky. Quirky aesthetics are plentiful. It’s that Ghostpia does something purposeful with the quirkiness, and uses it to enhance a pretty affecting and soulful narrative. I checked in with limited expectations and was thoroughly impressed. PQube picked a real winner here (at least in the artistic sense, who knows how many copies it’s going to sell).
I imagine that there will be some kids that will enjoy a mild kick out of Rubberduck Wave Race, as it is accessible and doesn’t require as much skill as most kart racers. However, thanks to the soulless presentation of the subject material, the lack of replay value and no sense of reward, It’s hard to imagine that anyone would get more than a very short chuckle from playing this. It sucks, really. As a fan of rubber ducks, I would love a game like this if it was even halfway decent. Unfortunately, it doesn’t even get to that point.
As a (mostly) classical roguelike, Monster Menu is a good time. It’s well-balanced in its efforts to be excruciatingly difficult. It also has an entertaining loot and character development system. Most importantly of all, the core cooking mechanic is engaging. It will force you to approach everything from exploration to battle in a different way than most roguelikes. But I really can’t help but wish the developers made better use of the strong concept. Monster Menu really could have had a compelling, if nightmarish take on humanity’s sheer will for survival.
By giving us a rare – albeit fantastic – look into an almost completely ignored period of Japanese history Otomate has given us a gift. Winter’s Wish is beautiful and written with a deft touch. We’ve got a great cast of characters, a meaty narrative to work through, and some notes to start learning more about a fascinating chapter of history. It’s a win all around.
The open world format really lets LEGO 2K Drive down. It’s disappointing that all those development resources went into a pointless “story” when the developers could have focused on giving players more awesome tracks and cups to enjoy. The underlying racing mechanics are so very entertaining. Instead, though, we have a familiar story: a massive space to “explore” but no meaningful reason to do so. Developers, if all you’re going to do with open worlds is dump busywork on players and use it to pad out the number of hours it’ll take them to finish the game, then find a different format. Not everything needs an open world, and I would argue that arcade “kart” racers are a good example of that.
There’s more work to do with AFL 23, and I’m expecting regular patching for a few weeks yet. However, I can’t sit on my review forever, so what I’ll say is this: The game has already evolved from a disastrous launch to become the finest AFL game ever. That’s a ridiculously low bar to cross, I know, but once Big Ant have brought in the final features and refined the mechanics to fully realise their vision, this will be a truly impressive representation of one of the most iconic parts of Australian culture.
Still, Tears of the Kingdom is a resounding success. The sheer scale and scope of it ought to be a reminder to the games industry that creativity doesn’t need the most powerful hardware, and the playful approach to gameplay makes this a rare open world game that’s a pleasure to explore and rewarding to immerse yourself within. I hope Nintendo understands that this can’t be the Zelda formula forevermore, and the next one will be an all-new and transformative experience again, but I also don’t begrudge the company the desire to take a second crack at what made Breath of the Wild so special to so many people.
I hope Rideon continues to produce Mercenaries titles. They’re genuinely entertaining as “no-frills” examples of the tactics JRPG genre. However, the Switch has so many of them now. Recent years have brought us the incredible remake of Tactics Ogre, the stunning Triangle Strategy, and earlier this year we got, arguably, the finest Fire Emblem to date. I don’t expect Rideon to get to that standard, and I think there’s plenty of room for a “no frills” and inexpensive little experience in between the big guns, but I would still like to see the series continue to evolve, rather than simply find ways to continue to repackage the existing assets.
Dokapon Kingdom Connect is a very niche thing indeed. But it’s silly, wacky, colourful and charming. Everyone in the household can have a laugh with it, and putting aside the old school “cheating” AI, it’s mechanically sound. It’s no replacement for Boom Street/Fortune Street/Itadaki Street, but it’s not a bad substitute, and might be on high rotation on your Switch longer than you think.
I wasn’t expecting to enjoy Ash of Gods: The Way anywhere near as much as I did. What could have been a big step backward from the bold and ambitious effort of the original Ash of Gods has instead become one of the most genuine efforts to push the burgeoning “deckbuilding card game” genre forward.
Fairy Fencer F: Refrain Chord is a fine sequel that I never thought would happen. Yes, it doesn’t do anything too innovative or different. However, it does combine personable and genuinely enjoyable characters, raunchy and anime nonsense humour that I couldn’t help but laugh along with, and some simple, but clean tactical action. The long and short of it is that it has been a real joy to hang out with this gang again and go on one more hilariously juvenile adventure with them (especially Tiara. I love her so much).
More than 10 years on, Mugen Souls remains a wildly entertaining little game. It’s never going to appear in those “1000 games you must play before you die” books, but that’s okay. Not every project needs to aspire to be that. For those who missed out back on the PlayStation or PC, or who always wanted to play the full experience with that missing minigame, EastAsiaSoft has done you all a favour with this release.
Trinity Trigger fills a very specific niche: It’s there for people that either grew up with the likes of Secret of Mana, or who have come to appreciate them. The game wears its heart on its sleeve and risks being seen as the wrong kind of quaint by sticking to such a classical approach. Thankfully, the soul and love for the genre are so obvious that I imagine most people will be enchanted by this.
Labyrinth of Zangetsu isn’t the longest dungeon crawler (though if you choose the “hardcore” difficulty mode, prepare yourself for a grind that chews through some hours). It is, however, one of the most imaginative examples of the genre in recent years. I find it most similar to Dark Spire, an old (and, sadly, nearly forgotten) DS dungeon crawler. Just like that one, Zangetsu is a fundamentally retro-themed dungeon crawler that plays like a modern game, making it far more accessible than, say, trying to tackle the original Wizardry in 2023. And, as an added bonus, it has an absolutely incredible art style.
However, the 8-bit and 16-bit Final Fantasy trilogies are both genuine masterpieces. These games wove deep, compelling stories that were as thought-provoking and artful as they were entertaining. Back in the day, they were a promise of what video games could be, and what people had to look forward to as the medium emerged as an art form. Increasingly, they’re a sad statement for what games could have been, had the medium not shifted to a pastiche of Hollywood excesses.
However, the 8-bit and 16-bit Final Fantasy trilogies are both genuine masterpieces. These games wove deep, compelling stories that were as thought-provoking and artful as they were entertaining. Back in the day, they were a promise of what video games could be, and what people had to look forward to as the medium emerged as an art form. Increasingly, they’re a sad statement for what games could have been, had the medium not shifted to a pastiche of Hollywood excesses.
However, the 8-bit and 16-bit Final Fantasy trilogies are both genuine masterpieces. These games wove deep, compelling stories that were as thought-provoking and artful as they were entertaining. Back in the day, they were a promise of what video games could be, and what people had to look forward to as the medium emerged as an art form. Increasingly, they’re a sad statement for what games could have been, had the medium not shifted to a pastiche of Hollywood excesses.
However, the 8-bit and 16-bit Final Fantasy trilogies are both genuine masterpieces. These games wove deep, compelling stories that were as thought-provoking and artful as they were entertaining. Back in the day, they were a promise of what video games could be, and what people had to look forward to as the medium emerged as an art form. Increasingly, they’re a sad statement for what games could have been, had the medium not shifted to a pastiche of Hollywood excesses.
However, the 8-bit and 16-bit Final Fantasy trilogies are both genuine masterpieces. These games wove deep, compelling stories that were as thought-provoking and artful as they were entertaining. Back in the day, they were a promise of what video games could be, and what people had to look forward to as the medium emerged as an art form. Increasingly, they’re a sad statement for what games could have been, had the medium not shifted to a pastiche of Hollywood excesses.