So where's that leave us? Is it good, is it bad? I mean, for me, here's the thing. The funny replays and the odd fit of the graphical style don't take away from the core fun of the gameplay. Gameplay is always the thing. And the gameplay here works. The timeline based system, while not the first time I've ever seen it, is a real rarity in the tactics space. And the specific touches done in this game, really make it sing when all the pieces come together.
A deeply, lovingly crafted tribute to the actual sport, MotoGP 20's one major flaw is in struggling to help newcomers match its enthusiasm and depth.
The actual premise is simple, set in a comical fantasy land where a vaguely-English royal army faces down an invading Viking horde. The royal army has to, of course, defend itself with all means available, though not everything is as it first seems... So all of this is fairly well-treaded ground. It's the execution where things get interesting. Because CastleStorm basically has three separate mechanical layers going on at once in a given stage, and each of them presents something very different.
This game is just fun. It's a big smashy explody mess of a game that's willing to do things like hand you over twenty jumps and just see what you do with them. I went through one stage with four shotguns, which actually was pretty damn effective. There's a ton to like here, and quite a bit of character and charm for such a simple setup and loop.
So what's the actual premise to lead to this? Why, it's simple. Your poor sad little dude starts the game without this time limit. ...And then the first thing you do is pick up a cursed sword that kills you in sixty seconds and it all goes to shit. Every time you come back to life, a good chunk of your progress holds. The big stuff. But all the little things reset. It's kind of like a compressed Majora's Mask, except that reset a lot more than this does.
So, a strongly presented idea with Felix is his love of music. He slaps on a pair of headphones at the start of every level, his boss admonishes him for it in the first cut-scene of the game, and his every step is done dancing to the beat of the game's BGM. There's even a track list in the pause menu, letting you skip or replay tracks just as Felix might do.
First, let's cover the broad spectrum, before we start dialing in on some of these actual titles. Right out the gate, I can tell you the presentation here is amazing. Every last game comes with just about every variant the original release exists in. American and Japanese arcade variants, contemporary console ports, it's all here. Not only do you have all of these variants, all of them superbly emulated, but you also have all of the extras. How would you like a ton of soundtracks to listen to, of classic SNK tunes? Done. Posters, samplings of vintage magazines, concept art? You've got it. There's tons of these little details and careful touches all throughout.
The 2nd Runner, as a sequel, builds a lot on its predecessor...But perhaps the simplest place it builds from is in sheer content. The first Zone of the Enders game is, in all honesty, practically a tech demo, with a very short story across only a few areas that mostly look similar. The 2nd Runner, meanwhile, does a lot to improve on that, with more actual story, more things to do, and more places to do them in. It's still a lean game without a lot of sprawl, but it feels like it's actually complete.
What can we talk about, then? Well, even without giving spoilers, quite a few things. Let's start with the most standout of the gimmicks and tricks 428 has, and one you probably already noticed. The graphics. They're not 3D rendered, they're photographs and video clips. Even at a glance, this makes the game stand out sharply in an era where this hasn't been done unironically in years.
Before we go deeper into my thoughts on gameplay, a quick thing you should know: This is one of those "premium mobile game ported to Switch" situations. Now, like a lot of the ones of these I've actually sat down and played, this is a pretty solid port, with solid graphics, and with all of the microtransaction stuff chopped off. This doesn't leave a perfect situation, with some of the seams of old mobile-focused content still showing, but it holds together quite well...and quite frankly, almost certainly ends up working better and less expensively than the original free-to-play form.
Sphinx is doing that action-platformer simple-puzzles thing of a lot of the games from this original era. He runs, jumps, swings a sword, gets a bunch of items, all that jazz. Meanwhile, the Mummy(of a young prince Tutankhamen, to be precise), being already dead, has this Wario Land style going on. He can face everything from electrocutuion to crushing, and endure all of it as it puts him into crazy specific states for more complicated puzzles. It's an interesting mix of setups, that keeps either one from overstaying its welcome too badly. Just when you tire of figuring out a complex puzzle for the Mummy, you get to switch back to Sphinx and do something more straightforward and punchy, and vice versa.
The latest refinement to the Warriors series formula, Fire Emblem Warriors brings some new mechanics and ideas to the franchise that give it that fresh dose of life.
An experience boiled down to its raw essentials, and then refined to the best those essentials have to offer, Phantom Trigger sits as an interesting and worthwhile experience.
It's a straightforward game that executes well on a straightforward premise. It doesn't ask too much of you, and is well worth what it's asking.
Of course, no game is without its problems, and much as I really like Gundam Versus, it has a few. For a series whose home entries used to have quite a fair bit of single-player content, the relative lack in this entry has an extra sting to it. And the localization is a bit...Limited, for something with a retail release. A lot of incidental dialogue has no subtitles, so it's just a steady stream of stuff you have no hope of understanding unless you know Japanese. There's also the issue that the game is online-multiplayer-only, limiting options for things like LAN play or, even better, split-screen.
This love-letter to JRPGs of the 90s carries some rough edges. But those mostly serve to give the game more character, and keep it more interesting than the polished balls of nothingness that so often came out back then.
It's a game that feels right at home on the Switch, and is well suited to ducking in and out, putting 20 minutes in to do a little grinding or wrap up a sidequest, or just get to the next point in the plot. Its writing is a bit archetypal but sells itself well, and the characters have just enough meat on the bones for me to really want to see them come together and win.
Graceful Explosion Machine knows what it wants to be, and delivers on that experience with flying, bright, bountiful colors. A top-notch title in the genre and worth every penny.
A solid, straightforward throwback to a very specific point in time, Slime-San is a game that makes no mistakes in executing what it is. And what it is, is pretty damn fun.
The mechanics are simple but solid. While the game ostensibly operates like a hack-and-slash, the actual beats of combat and of Thora's axe make it feel like anything but. This is a heavy weapon, one she has to shift back to a solid starting place after she swings it, or take a moment to lift it overhead to slam down. Rolling can get you quickly out of harm's way, but Thora needs a moment after just to reorient herself and get back on her feet. This is a human woman struggling to face challenges set by gods, and it feels like it.