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.
Despite all the big colors, cute puppets and obscure tracks there’s still a distinct feeling that something’s missing. At the same time, I’m having a blast playing anyway.
Metroid Prime’s iron-clad pedestal makes even more sense today in our post-Dread world, showing what it actually means for an outside party to treat a creative work with some serious reverence.
Like any other game in this series, SaGa can be a lot to get used to at first. You have to figure out if things like random skill activations and stat bumps (instead of EXP), enemy power scaling, obtuse event flags and generally having no obvious clues as to what the hell to do can work for you. But if you can settle into the vibe and just go with the flow, Romancing SaGa: Minstrel Song Remastered is a tremendous adventure that only gets better over time.
Dragon Quest Treasures is not the console Monsters sequel of my dreams, but it does an excellent job carving its own identity out of this historied IP. It runs great for a Nintendo Switch exclusive, and is absolutely dripping with personality quirks and a whimsically romantic view of treasure hunting.
If you like anime, John Wick-like gunplay and have a certain tolerance for jagged edges, Gungrave G.O.R.E. is a fantastic use of your gaming time. If you’ve been around since Gungrave on the PS2 and Madhouse’s weirdly brilliant anime adaptation, I’m surprised you’re even reading this.
Bayonetta 3 makes me question its existence at every turn. For as much fun as it can be in a classic Platinum Games character action sense, there’s so much bs you have to wade through to get there.
From the way the storytelling really takes advantage of its genre hybrid to the distinct and action-packed combat system, this is an excellent JRPG that hits its targets far more often than it misses.
Sure there are technical snaggles and pitfalls here and there. Some of them deeper than others. But I’m so glad Gotham Knights cares enough to take that home run swing in the first place.