Despite not adding anything new to the gameplay of The Surge or providing many rewards to returning players, A Walk in the Park provides more of the wickedly fun combat and detailed environments that we saw in the main campaign. The juxtaposition of the family-friendly funtime setting and technological horror is at times goofy and genuinely chilling, and even with a fairly basic set of objectives, exploring the ruined park was a fun way to spend a few hours back in this world.
Road Redemption's combat is a good but short-lived bit of manic fun, but it didn't offer enough to keep me engaged through the majority of the 13 hours I put into it, and I'm honestly not sure if that would change even with the addition of more to do.
Agents of Mayhem does a good job paying homage to the cartoon and live-action TV heroes of the 80s and 90s, and revels in the absurd tropes and idiosyncrasies of those inspirations. A broad and goofy arsenal of unique weapons and gadgets and the ability to switch characters on the fly to access complementary abilities offers some solid combat and good mindless fun, but due to some unpolished writing and repetitive environments and enemy types, it doesn't fully live up to its heroic potential.
The Surge makes good use of its detailed sci-fi setting and provides an engaging experience throughout the 30 to 40-hour campaign, mostly thanks to its widely customizable inventory and wickedly fun combat system. It may struggle to keep the action moving and tell a strong story amid the chaos of battle, and its weapon progression plateaued early, but it offers some interesting ideas and delivers a solid new take on a familiar genre.
Virtual Rick-ality does a great job emulating the dark humor of the source material, even if it occasionally overindulges in its self-awareness. Smart use of well-established VR minigame mechanics guides you through the experience, and aside from some slight issues navigating the space on a two-sensor Oculus Rift setup, these familiar and fun activities mesh well with the amusing efforts of the writing team and cast. Rick & Morty's first foray into virtual reality is not only a solid VR experience, but the duo's strongest attempt at translating the spirit of the show into a game yet.
I had just as much fun during my six- or seven-hour playthrough of Wonder Boy: The Dragon's Trap as I have with many of its contemporary counterparts. While its antiquated roots cause some minor frustration with unreliable hitboxes and unnecessary grinding, the foundational combat and exploration is still engaging and fun after 30 years. From long-time Wonder Boy fans to platformer enthusiasts who've never heard of it until now, you'll likely be able to find whimsical fun and a neat bit of genre history in this charming adventure.
The second installment of Telltale's Batman takes all of the solid foundations established by Episode 1, trims most of the fat, and continues to build an engaging Dark Knight story in a unique and uncharted version of the D.C. legend’s universe. Old Bat-fans will get much more out of the unexpected twists and turns than a newcomer, but the relationships Bruce Wayne forms and develops with the people around him appeal equally.
Though its world has some great aesthetic devices and a cool concept, ultimately all of Homefront: The Revolution's elements feel repetitive, unpolished, or downright unnecessary. Over the length of its campaign it fails to deliver a satisfying - or even fully functional - shooter experience.
Due to tedious gameplay and lackluster visuals, Godzilla fails to live up to his title of King of the Monsters.
Despite some good ideas and cool design choices, Whispering Willows can't deliver a wholly fulfilling experience.
FC4's Valley of the Yeti DLC adds some monstrous fun and desperate defense missions.
Despite some good ideas and a cool art style, Aaru's Awakening falls short of being a dream platformer.
ACU: Dead Kings takes Arno into new subterranean territory, where both stealth challenges and some frustrating mazes await.