It's hard to describe, but A Hat in Time is just really darn fun.
There's something truly special about Slayaway Camp. What could have been a one-note gag instead manages to be a hilarious, charming, and ingenious puzzle game. Actually stopping to write this review was incredibly difficult; the game is just that addicting. There's something new around each corner, with numerous unlockables and dozens of levels. Plus, new content is still being added, with the developers demonstrating some true passion for the project. It may be one-way only, but a trip to Slayaway Camp should not be missed.
Big things come in small packages, and much like its levels, OVIVO shows that it's not about getting caught up in the details; it's about looking at the bigger picture.
If you decide to pull the trigger on it, I can guarantee that you'll have an absolute blast.
Redout is one of the most delightfully high-octane, edge-of-my-seat racing games in recent memory. It's a thrilling adrenaline rush of an experience. It's a finely-tuned joyride that's been polished and balanced until it shines in a cornucopia of flashy colours.
Immortal Redneck manages to feel punishing, yet fair. Rewards are doled out frequently enough that almost every run ends with the ability to upgrade something on the skill tree, allowing the game to maintain a forward momentum that makes it difficult to put down.
The Dream Machine is a flawed, yet stunningly gorgeous game. The time and effort that went into it from such a small studio is mind-boggling, and every minute of it was well worth it from an aesthetic point of view.
Minecraft: Story Mode Season 2 is a shining example of iteration done right. Instead of just slapping a new story onto the previous season's set of mechanics and calling it a day, it seems to be trying to deliver a far superior experience. It does suffer mildly from "setup tedium" when it comes to getting the plot going, but once it does, it becomes clear that there's a lot more going on here than in the first season. Assuming that the ride stays smooth throughout, this is shaping up to be one hell of a sophomore season for Minecraft: Story Mode.
There are a few moments of frustration, but there are also times where it – dare I say it – surpasses Dark Souls in my mind. At the very least, it's a colourful, compelling, sci-fi Souls-like, and a great way to pass the time while waiting for FromSoftware's next announcement.
Despite some continuity errors, episode two of Minecraft: Story Mode still shows that Telltale wants to make this season more than just an extra bid for money. The tension and character drama build to a point where the latter part of the episode flies by, leaving a void that can only be filled by the forthcoming episode three. When the only other complaint is that there's no option to start a romance with Lukas and/or Radar, it's clear that something special is being built here.
Episode four is the good kind of unremarkable for a Telltale game. It maintains the quality storytelling and action that has been present throughout this season while fixing the technical difficulties from the last chapter. It's nothing revolutionary for Minecraft: Story Mode, but it really doesn't need to be. It just needs to be entertaining and engaging through its two-hour runtime, and that's something that it manages to do with ease.
Not without its weaknesses, the conclusion to Telltale's Guardians of the Galaxy series nonetheless takes things out on a high note. It's clear that Telltale's storytelling and gameplay are wearing out their welcome, so hopefully the teased follow-up season will do more to reinvigorate this shaky franchise. Despite this, if the earlier episodes had you wondering whether Guardians of the Galaxy would amount to anything, well, don't stop believin'.
What makes Bridge Constructor Portal feel unique and fresh is its setting
What did bring me pause was a simple question: "Who's talking right now?".
Despite my numerous complaints with it, SIMULACRA was, at its core, a title that had me engrossed.
The Count Lucanor is a clever little horror game that succeeds in avoiding cheap scares in favour of some truly disturbing moments. In an ironic twist, most, if not all, of the actual "jump scares" are caused by Hans rather than directed towards him. Additionally, the game features several shiver-inducing moments, varied endings (most of which can be seen by saving right before the final area), and a lovely presentation that includes chiptune covers of classical Bach pieces. It's nothing revolutionary, but for a few unsettling hours of addictive puzzle solving, Hans' journey through Tenebre Castle is worth a look. Plus, that kobold is just so darn cute!
If you can overlook the repetition and poor optimisation in favour of mowing down countless soldiers in increasingly spectacular fashion, you'll find one of the more entertaining history lessons in recent times.
Under Pressure does a good job of showing the cracks that are beginning to form in the Guardians' relationships, while ironically filling some of the cracks that were present in the first chapter's presentation. It still needs some work to make it something truly special, and it remains to be seen whether the consequences will be worth the yawn-inducing build-up. Luckily, things are looking up, and as the main theme suggests, Telltale's Guardians of the Galaxy is still very much a Livin' Thing.
Last Day of June is a frequently beautiful experience, with a likeable cast, gorgeous visuals, lovely music, and an ending that feels like both a logical conclusion and a tear-jerking finale - yet it stumbles when it comes to actually being a game. Its core concepts are sound, but the constant repetition quickly erodes much of the gravitas, especially for players who get stuck and need to spend some time jumping back and forth between characters. It says something that the game was at its best in its final fifteen minutes or so, where much of the "real gameplay" was thrown out in favour of an "interactive movie" approach. Of course, throwing out that gameplay altogether wouldn't do the title any favours, as its narrative and mechanics are intrinsically tied together and designed to play off one another. It's just a shame that one of those halves is decidedly weaker than the other.
Frustrating gameplay aside, Telltale games are still primarily about the story, and episode four shows that it is possible to throw some interesting twists and turns into a narrative that seemed dead in the water. Getting to those points can feel a bit tiresome, and many of the connecting elements feel completely superfluous, but at least there's a bit of light at the end of the tunnel. Hopefully that light grows even brighter as the series comes to its conclusion.