To no one's surprise, Ori and the Will of the Wisps is visually and audibly beautiful. Once you get the hang of Ori's abilities, the platforming is fluid and satisfying, the combat is cool, and the game rewards your exploration even when said exploration is a result of getting lost. Through it all lingers a feeling of accomplishment that makes it so easy to keep playing, even through the frustrating parts.
It didn’t matter that I’d never designed a game before, didn’t matter that I’m not much of an artist, didn’t matter that I can only play music and not compose it. From the very beginning, I felt welcomed by Dreams.
If you're a fan of literature, games with meaning, or unique art styles, then you won't regret playing The Wanderer: Frankenstein's Creature. A calm, sorrowful, and beautiful adventure awaits you, with poignant storytelling from the very Creature you control. The landscape will splay out around you in vibrant watercolors, and the music will guide your emotions. There is no thrill, no fast-paced adventure, no strategy, so if that's your cup of tea you may want to look elsewhere. Otherwise, this game is a beautiful book come to life, and is absolutely worth the play.
Felix the Reaper is an excellent game on paper, but its execution dooms it. While the unique concept shines—and I doubt I'll be forgetting such a lovable face of death anytime soon—the actual gameplay made it a bit of a slog.
Solo: Islands of the Heart seems like it's trying to be your counselor. Go to an actual counselor. The gameplay is calming, the scenery is cute, the colors are vibrant, the design is unique, and the puzzles require a good amount of thinking without being too easy, but its attempt to analyze a real human person with pre-determined questions starts it off teetering on the wrong foot. It never quite regains its balance.
Sea of Solitude is a game not to be taken lightly—the content warning at the beginning attests to that—but well worth the tumultuous ride.
Mechstermination Force feels like it comes very close to having a manageable learning curve. Quality-wise, it's great, and a good homage to its boss-filled predecessors. However, there's nothing more game-ruining than, you know, not being able to play the game. There's hard, and then there's hard hard, and then there's Mechstermination Force. It can be done. It can be beaten. I just hope you have a spare hour or two for every boss, and some throat lozenges and ice water nearby.
The King's Bird has the potential to be wonderful—and in its art and music, it is. Based on that alone I would play it all day. But the sense of freedom it is trying so hard to evoke is held back by its finicky controls, and since the game's very foundation is meant to be freeing, it falls short. Altered controls and a slightly wider margin for error, especially on console, would really let The King's Bird soar beyond the confines of its cage, and boost its mechanics up to the high tier of its design.
Ultimately, Gone Home is the same game no matter what platform it is played on. It brings the same emotions, anxieties, and intrigue to the table now as it did years ago. There is no denying, however, that the versatility offered by the Switch version fits the calm nature of the walking sim, whether it is played docked or not—plus it's just plain cool to experience the story in such close quarters.
Not Tonight is a good, solid game. The mechanics are fun, the characters are memorable, and the setting is well executed. However, for its satirical approach, it should have gone a few steps further, and taken the risk in order to become the truly biting, funny, and meaningful social commentary that it wants to be.