For a while there, things weren’t looking so great for Bomberman, one of the most underappreciated gaming mascots out there. But it feels like the weird, little guy’s alive and kicking now, with two retail games within a few years of each other and more. Super Bomberman R 2 isn’t the ultimate Bomberman experience, but it’s a cute, wholesome package of old school, multiplayer videogame glee. Which is weird to say about a game with Pyramid Head in it.
Each game has been distinct in nearly every way, and Gunbrella is once again a standout among its peers. I came away with some disappointments, but those hours I spent going through the game twice melted away unnoticed. If that’s not a sign of quality, what is?
It’s amazing how talented Studio Sai is, and how much it got right with Eternights. I had a great time despite some rough patches in the early hours, and I’d love to see what these folks can do with more time and resources. And a better joke-writer. Don’t go into Eternights expecting an alternative to Persona; that’s not what this game is. Instead, put your action shoes on and keep an open mind about playing a more “true” dating sim, and I’ll be shocked if you don’t walk away with a smile on your face. And make sure you have a QR reader handy. You’ll see.
At the end of the day, Rune Factory 3 Special is a fine game, and its only crime is how closely it sits to games that use it as a stepping stone. If you love the “cozy” genre and are looking for some farming action, but only have the budget for one game, it’s hard to recommend this. But if you’re more of a fan of Story of Seasons and/or Rune Factory as a series, there’s absolutely room for Rune Factory 3 Special on the shelf.
Sea of Stars hits a lot of notes with ease, not only wearing its inspirations on its sleeve (and hiring them; they got Mitsuda on the score!) but leveraging them to try new things. For the most part, this game is a standout indie RPG with a level of style, polish, and storytelling that makes it stand out in the crowd.
If you’re an old school Segahead, there are definitely a few holes in your heart in need of filling. Jet Set Radio, which hasn’t seen a new game since the Xbox, is one of the biggest. Bomb Rush Cyberfunk has appeared like a beacon of hope to fill that void, and it does so while bringing new stuff to the table. This game is like a long-lost Dreamcast game in so many different ways, and most of them are good. Clearly, the developers at Team Reptile understand the concept of love.
Double Dragon Gaiden is an interesting game with a lot of creative ideas. We’ve seen roguelikes and brawlers mixed before, but not nearly as intricately. I could feel that spark of passion as I played. Unfortunately there are some key drawbacks that betray many of those neat ideas and really hamper the experience. From getting slapped out of defensive tags and juggled to death to subsequent runs feeling more and more like a grind, I had less fun the more I played. I love that Arc System Works has been producing cool, experimental games since snagging the Double Dragon and Kunio-kun/River City licenses. This one has a lot going for it, but stumbles toward the finish line.
The latest marquee RPG from Square Enix goes for broke at every opportunity and then some.
There are lots of ideas in Amnesia: The Bunker that are truly intriguing. I love the World War 1 setting as a backdrop for a horror story, especially the way it intersects with technology of the era. But the way gameplay elements are introduced as friction meant to induce tension simply feel overtuned. I often felt like I was fighting the game just to get around, which was frustrating in a software kind of way rather than an atmospheric enhancement. I wasn’t scared because I was too busy squinting or yanking on the flashlight’s pull cord just so I could pull on doors and latches. No amount of spooky ambiance in the background could bring me back into the experience.
Even with my figurative shrug at World Tour mode, it’s easy to see Street Fighter 6 as an achievement for Capcom. There was so much up and down with Street Fighter 5 that sucked the joy out of having a new one, and really only people who showed up years later got the full package. The esports vibe was an understandable experiment, but not one that fully landed. Street Fighter 6 on the other hand is like smashing open a pinata. It’s bursting with energy, style and content in a way very few fighting games have ever managed, even ones praised for single-player offerings. It not only feels like there’s something for everyone here, but it feels like there’s a genuine foundation for a community to grow and thrive. And I definitely plan to stick around and see how that shakes out.
That’s the fascinating thing about games like Diablo IV. There’s so much of it, and so much context, I can see so many ways it can be meaningful for players. It’s because of that near-perfect mixture of agency, progression, social texture and depth. The fidelity and polish afforded by Diablo being… Diablo is crucial as well. Diablo IV is a tremendous game in scale and scope, but it still feels authored and managed instead of bloated and frivolous. That it was put together amid so much external and internal strife and holds together as well as it does is a mind-blowing accomplishment. I’m beyond stoked to start it for real soon.
Miasma Chronicles is a fascinating experience that aims for a narrow target and hits it, for the most part. Making a serious, tactical RPG a vehicle for compelling storytelling is a tough proposition because the broad appeal of the latter is often at odds with the brutal vibes of the former. But with its tailored difficulty options, stealth options outside of combat, and, of course, the solid weight of the storytelling itself, Miasma Chronicles succeeds in its mission.
If you have kids interested in things like fantasy storytelling and adventure games, but titles like the recent Legend of Zelda feel like too much for them, Ravenlok is an easy suggestion. And if you’re just looking for something breezy that’s visually enticing but not much of an investment otherwise, you can do a lot worse than this. It may be a little monotonous and unambitious, but the adventure is over well before it can overstay its welcome. Ravenlok feels like a nice piece of fluff that’s polished and genre-heavy enough to be fun, but won’t address any cravings for the next big game in your stack.
Respawn’s Fallen Order sequel is a big, bombastic blockbuster but doesn’t forget what made the first one special
As the credits rolled I didn’t feel satisfied or accomplished at all, which is pretty messed up considering how much of a feat completing a 20-plus hour video game is for an adult these days.
Aside aside, that’s what this particular Legacy Collection is all about, to me. In a lot of ways the early Game Boy Advance years were all over the place. The rules hadn’t been established yet, and the potential was higher than ever. Anime had penetrated the mainstream, Call of Duty didn’t exist and nobody really hated Sonic the Hedgehog yet. Experiments and sequel vomiting could happen at the same time, and games were still small enough to support niche audiences of all sizes. Battle Network, especially in retrospect, feels like a poster child of that time. It’s probably a little overwhelming to dive in now, and lord knows how corny the Y2K tech jargon reads, but you can’t find a better singular piece of media that sums it all up so neatly.
If you’re the kind of person out there on the internet reading “Dungeon Core” fiction and cursing EA for its mismanagement of the Dungeon Keeper IP, Meet Your Maker is right up your alley. From spike traps to blocks made entirely of corrosive acid, the level of shenanigans you can put other players through is pretty high. There are kinks for the developers to figure out of course, but there’s enough raw potential here to keep even a frustrated player coming back for more. The foundation is important, and Behavior has really nailed that part. I’d love to see the big, creepy science baby like, change form or something though. Like a disgusting, Gigeresque Digimon or something.
It’s a massive swing and a big miss, with enough force to crack the sound barrier while the ball stays in the catcher’s mitt. It’s neither a cynical corporate cringe like Sharknado, nor is it a low-budget dud you’d expect to see a crew of robot puppets heckle. It’s weird, loud and uncanny. Frankly I’m surprised Christopher Walken didn’t show up.
The best parts of Return to Castlevania are all the times the DLC says, “hell yeah, Castlevania!” The not so best parts are whenever the DLC tries to invoke Castlevania in its gameplay. Chasing the unlockable outfits, listening to the music and exploring the new biomes were all awesome, but most of the new items didn’t feel good and Richter Mode was kind of a bummer. I appreciate the love and scale, and the commitment to the idea of a “Return” to Castlevania. But now I want to put Dead Cells down and play more Castlevania.
Ender Lilies was a home run with a compelling story, unique mechanics and a well-formed balance between challenge and progress. Redemption Reapers isn’t really more ambitious, but far more clumsy, managing to contradict itself so sharply it cleaves itself in half.