The Crush House feels like a victim of its own confidence. It’s so self-sure of its premise and big-brained twist that it fails to dig a little deeper under the surface to actually justify any of it. The gameplay itself is incredibly shallow and dull when it isn’t being a frustrating exercise in dice-rolling. The characters are basically all the same person and interact with each other the same ways, repeating the same small set of possible events over and over. Your involvement in the whole equation is to sit there and watch, and hope the emojis and numbers on the screen are doing the good thing instead of irritating you. The payoff is just as shallow as the gameplay, making the whole subversive twist as commentary gimmick a bust.
Aside from those moments when you have to grind, Cat Quest 3 is a cute, breezy experience that shows why making more of these has been a good idea. And there are hints of plenty more to come, which is exciting considering how much playing with the setting has been established. The writing remains simple but fun and silly, and the number of secrets and side activities has grown a lot. There’s a winning formula here, and so long as the series doesn’t get too ahead of itself, there’s plenty of potential for Cat Quest 3 as a springboard to even greater adventures.
World of Goo 2 is exactly as it presents itself. It’s a lot more World of Goo, with more levels, gameplay mechanics, fancier visuals, and a new/continued storyline. As cute (in a sinister way) as its style looks, this is as hardcore as physics-based puzzlers can get. The game does not hold your hand, often has really tight margins of error, and only offers the bare minimum of guidance when it feels like it. That said, there’s a surprising amount of variety, and you’re allowed to skip levels without being penalized. Even if you struggle, there’s a lot of cool, smart design and an interesting world to experience. For fans of the first game, of course, World of Goo 2 is a no-brainer.
It may be easy, at a glance, to look at Teenage Mutant Ninja Turtles: Splintered Fate and dismiss it as “we have Hades at home.” There’s a nugget of truth there, as we are looking at an action roguelike clearly inspired by Hades, with a smaller scale in many ways. But does Hades have co-op, or the TMNT? Nah, dudes. Splintered Fate has a specific goal, and it definitely delivers on that goal. It’s a fun time, with a lot of structural solidity and the fun co-op gaming vibes you should expect from a TMNT game. It doesn’t feel cheap or sloppy at all, and even singleplayer can keep your attention for several runs over dozens of hours. I’m still working on it despite winning several loops already, and spinning around like a maniac with my boy Mikey still doesn’t feel old yet.
Overall, I really enjoyed my time with Gestalt: Steam & Cinder! It has a story that left me a little frustrated by the end, but the way there was full of good mechanical writing, solid character development, and a healthy amount of proper noun-led mystery world-building. The top-shelf visual quality cannot be understated, with incredibly detailed and well-animated 2D art that can hang with the classics easily. And while combat was the messiest part, there was still fun to be had running around the world, fighting weird enemies, and using skills and combos powered by cool animations. I would definitely keep paying attention to Metamorphosis Games, especially if there are more stories to come from this world in particular.
Anger Foot has a laser-targeted feel to its approach, and I can certainly see a specific group of FPS sickos losing their minds over it. There are tons of challenge, built-in speedrunning, and lots of flashing colors. There’s enough toilet humor to decimate an underfunded transit station bathroom, too. But if you fall outside of those extremely specific (and smelly) parameters, potential interest in Anger Foot is going to plummet. I don’t see the humor being enough to encourage casual audiences to stick around, even with the ability to turn dying off. Personally, I’m happy to wash my hands, uh, literally.
It’s the cookie jar. I want to play and praise MultiVersus for everything it does right. But everything it does poorly, or even wrong in a sense, has me wanting to slap my own wrist. MultiVersus has even managed to bungle those aspects of the games-as-a-service model that players have largely come to accept. There has been some course-correcting since launch, but the fact that was even necessary only shows how some forces behind these kinds of games are always ready to push the boundaries on monetization. It feels wrong, ethically, to participate in, and especially to recommend this game to others. But at the same time, it’s so good! Not even in the skinner box kind of way; MultiVersus is a legitimately well-made and lovingly constructed platform fighter that celebrates cartoons and movies I enjoy in effective, gameplay-centric ways. Rick and Morty are there too, I guess.
This remixed approach could be confusing to a newcomer. Luckily, Vengeance accounts for that too, and the choice of which version to pursue is presented in-game in a way that’s practically seamless. It simply feels like yet another option in a game and series full of choices that impact where the narrative goes. There isn’t special attention drawn to it, nor does it feel like an awkward attempt to replace or undermine the original. It’s just more SMT V to dive into, which for an already jam-packed RPG full of narrative agency and monster-collecting action, is more food on the table for the feast. And it was a hell of a feast to begin with.
Like I said, I watched in awe as my wife absconded with my Steam Deck and steamrolled Rolling Hills like it was the most delicious plate of sushi the world has known. But then the feeding frenzy was over, and it was almost like it hadn’t happened afterwards. There’s magic in Rolling Hills for sure. But it’s a very fleeting magic, and a little more sauce would have made it a much more impactful source of wonder. It was definitely cute, though!
Astor: Blade of the Monolith reflects one of the coolest aspects of video games as a medium with a deep history of iteration. You can take a familiar set of concepts, add new context, and come up with something that stands on its own rather than feeling like a ripoff. Astor does this with an impressive sense of knowledge and understanding of not only Zelda-style exploration, but character action-style combat. The latter is much more niche and specialized, therefore harder to pull off. It’s not quite a bullseye, but gets respectfully close and has me curious about further updates, as well as what this studio does next.
XDefiant feels like a niche, that knows it’s a niche, and tries to sprinkle some broad appeal on top. Just enough to draw in more than the hardcores, without risking alienating them too much. At the same time, it’s a line in the sand moment for all the FPS hardcores who are sick and tired of SBMM. On top of all that, crossing over Tom Clancy series has the appeal of mixing a bowl of potato chips from different brands that are all the same flavor. And Watch Dogs? Anyway, there’s a solid foundation here with rock-solid arena shooter mechanics. If the matchmaking experiment works out and some key adjustments are made, I can see this game sticking around for a good while.
Digital Eclipse’s new take on Wizardry: Proving Grounds of the Mad Overlord is an impressive and ambitious attempt to bring historical flavor and contemporary approachability and appeal into one neat, modern package. I may prefer the sprites and chiptunes of the Game Boy Wizardry remakes, but the effort and passion for video game history is just as powerful here as it is in other Digital Eclipse works. I would have loved some more museum-style content these folks are known for, but the laser focus on the game here is a fascinating new approach.
Despite the snags I’ve mentioned, I’m still thinking about Read Only Memories: Neurodiver well after I finished the story. It’s such a pitch-perfect execution on its premise, mixing the worlds of modern cyberpunk with ancient PC technology and western anime fandom. I had a blast spending several hours with these characters and the world they inhabit, and would gladly have spent several hours more. A little more narrative depth and some puzzle guardrails and we’d have a true all-timer on our hands. But as it is, Neurodiver still stands out as a dope slice of niche gaming in a month stupidly crowded with that kind of thing.
When you think about it, that’s kind of the inherent pro and con to puzzles, though. Paper Trail benefits a lot from its distinct mechanics, because they help it stand out among a sea of similar games with similar gameplay hooks. But distinct doesn’t always mean approachable, and Paper Trail ends up being quite complex in a lot of ways that could be awesome for one player and super obstructive to another. And that’s fine! The style, which includes the colorful visuals, silly sound direction, genuine writing, and emotive music, all elevate the experience and aid in that sense of approachability. It’s a little too much for me, but I’m mostly a Tetris guy at the end of the day.
V Rising offers something distinct, and pretty cookie cutter at the same time. It’s a survival game, but with a novel genre blend meant to attract a different kind of audience. There’s a lot of these, but V Rising brings the action-RPG and gothic styles to the table in a way that feels unique. So that’s fun, but the survival and crafting part is about as boilerplate as it gets. Therefore, if you’re the type of person that shrivels up and shrieks at survival game systems like a vampire considering the concept of brunch, V Rising won’t change your mind. But if you can hang with the concept and also enjoy some Diablo-like combat, having those two things together in one game is pretty rad.
Heading Out is an intricate, compelling story that mixes modular storytelling and roguelike structure with deeply America-flavored media of the 1970s and on, particularly the “road” genre. I’m not a car guy but I do enjoy some crusty Americana, especially the kind that challenges authority and romanticizes the sheer scale and variety of this unhinged nation. Sometimes it may get a little too cute for its own good, but for the most part Heading Out captures its intended vibe with a shocking level of skill and accuracy, an academic level of cultural understanding through a lens of media and literature. That’s pretty darn cool. Between that and the intriguing, almost insincere roguelike structure, we have a game that doesn’t really feel like anything else in its own space.
Back on PSP, I loved playing the Class of Heroes games. They scratched a similar itch as series like Etrian Odyssey and Wizardry at the time. Nowadays there are many more cool and interesting DRPGs, such as NIS’ Labyrinth series and everything Experience, Inc. has done since then. But due to their cutesy charm, silly attitude and surprisingly treacherous dungeons, Class of Heroes stands out to this day. If you like to set up your own party of weirdos based on your own granular choices, then bash them against endless waves of monsters and traps for the sake of loot and progress, you can’t go wrong with Class of Heroes 1 & 2 Complete Edition.
This is a game that wants you to tinker and fail, before you “get it”. It’s also a game explicitly designed to be different every time you pick it up. With its disregard for convention and disinterest in “quality of life” guidelines, you could have a rough start. But there’s so much going on under the hood, so much charm in its presentation and fearlessness in its design, it’s easy to recommend even to folks who might be looking at me like a weirdo right now. SaGa Emerald Beyond comes with caveats like any other JRPG that isn’t the usual Final Fantasy or Persona blockbuster, but those caveats are in service of an experience you won’t find anywhere else.
Maybe Hundred Heroes doesn't have me ready to run outside screaming about miracles, but I'm plenty satisfied and ready to go back and fill in some old, classic JRPG blind spots. Well, after I replay Tierkreis.
2024 has been a year so full of RPGs I can’t begin to imagine ever being able to finish all of them. Coming across Harold Halibut in the middle of so many massive, complicated adventures was a breath of fresh air. Just being able to slow down, soak in all the impressive minutia of a world built entirely by hand in an art studio, and wonder about what it was like to construct and digitize, felt like a release. I was able to let go a bit of having control over every piece of a game, and still have a story in front of me that was thoughtful and engaging enough to sit with me well after the credits rolled. Even the parts that felt rough around the edges were refreshing, as they enhanced the very human feelings that are so clearly front and center here. Harold Halibut is the kind of game I discovered by accident, but one I’m grateful to have come across in that way.