The late arrival of the Terminator: Dark Fate content for Tom Clancy's Ghost Recon Breakpoint has done something rarely seen in games nowadays: make an already mediocre game even worse.
Your enjoyment of Narcos: Rise of the Cartels is going to be heavily based on whether you can accept its strategy game conceit.
While not quite an unmitigated disaster, Dynasty Warriors 9 is pretty bad. Even if you can live with the subpar presentation, the game quickly gets boring due to a lack of important or interesting things that can be done in the world. The combat is fine, but with fewer opportunities to use it, the button-mashing joy inherent in the series is nowhere to be found. If the franchise continues down this open-world path, then it'll need some massive improvements — or else fans will start calling for a return to the old formula.
Reservoir Dogs: Bloody Days is a confused game. The license seems wasted, since the game fails to use its source material in a meaningful way. Ignore the license, and what you get is a top-down shooter that favors precision over bullet spray but adds a badly implemented time-rewind mechanic that squanders any potential it may have had. A few people can get some enjoyment out Bloody Days, but many will only need a quick glance to realize that this just isn't going to work out.
You really, really have to like the kind of humor in High on Knife to enjoy the DLC. You're not going to get any character from the new gun, and Knifey's psycho nature doesn't take long to become grating when compared to the rest of your living loadout. The combat is less enjoyable than before, since the pinball gun is the only weapon you can use to deal any real damage, and the act of collecting everything in the game feels more meaningless since you don't get anything from it. If you're into the rambling nature of the jokes with a sense of humor that's often crude or referential with no real payoff, then you might want to check this out, but anyone who's hoping for good gameplay to balance the humor will be disappointed.
Tad the Lost Explorer and the Emerald Tablet is a return to the type of licensed game we thought had died out a while ago. It follows the events of the movie without bothering to get anyone else up to speed, the platforming is perfunctory, and it looks mostly nice if you don't look deeply into it. The game's low difficulty level makes it a good choice for younger gamers, but the number of bugs will frustrate those same players. Fans of the movie or character might be tempted by the relatively low price, but this is a tough sell, even for those who love collect-a-thons.
Aztech: Forgotten Gods is a classic example of a good idea with failed execution. The premise feels fresh, as does the use of gods from a civilization that isn't often covered. The combat system and various traversal mechanics have potential, but technical issues, bad presentation, and an uninteresting open world lead to a game that squanders its potential. Hopefully the team can rebound to present some of these ideas again with more polish. In its current state, it's difficult to recommend Aztech.
At best, Neptunia X Senran Kagura: Ninja Wars is strictly for fans. The combat is good, but the lack of major enemy intelligence and variety dulls any fun one can have. The game is brimming with visual novel-style cut scenes, and the characterization is great, but the emphasis on Neptunia characters can be disappointing for those who want more of the Senran Kagura girls. The constant crashing during cut scenes makes the whole affair messy, and it needs some patches to address this before we can recommend it.
Ultra Age gets the combat mostly right. While it isn't perfect, the combat system feels fluid enough that you can make a spectacle of dashing around mobs and tagging them with dazzling combos. Everything else about it feels half-baked, from the pacing to the story to the sound and pick-up system. Those who crave action may overlook these things because the combat is good enough, but those who are looking for something with better quality would be better served looking elsewhere first.
Wind Wind is a game with a good idea and a not-so-great execution. Indirectly controlling the two characters seems novel until you realize that some actions done this way can only be executed by dumb luck. The levels are challenging, but there aren't enough of them to explore before it's all over. With a playfield that can't stop jittering and a poor translation job, it's difficult to recommend Wind Wind to anyone looking for their next quick VR fix, especially at its current $20 price tag.
Overall, The Sisters: Party of the Year has some good ideas. The open world of the campaign works well not just because of the number of things to do and collect but also because it feels alive for what is essentially a small town. Including a story mode in the first place makes it stand out among its contemporaries. That said, from the mediocre minigames to the restrictive open world and presentation issues, there's not much to entice players to give it more than one playthrough, much less seek out ways to view the source material. You'd be better served checking out some of the stronger minigame compilations.
Taken on its own, Golden Force is decent. It looks wonderful, with some solid combat mechanics and very engaging boss fights. Start to compare it to other pixel platformers on the system, and you'll come to lament the forced trial-and-error gameplay, tedious combat, and unnecessarily broken upgrade economy. Patient players may stick it out, but for everyone else, the Switch has plenty of other well-crafted platformers.
Tasomachi: Beyond the Light starts off with an intriguing premise, but the plot doesn't go anywhere, and the ending feels abrupt. The environments are great to look at, and the platforming challenges vary greatly, but the platforming mechanics aren't tight enough to be enjoyable. It's a short game that can feel long, and while the dedicated collect-a-thon crowd may find it a tad enjoyable, everyone else will likely bail before getting the bare minimum needed to finish it all.
When looked at through a modern lens, it is difficult to recommend Postal Redux to anyone who didn't play the original on the PC decades ago. The early attempts at being edgy backfire now into groan-worthy territory, while the singular focus gets tiresome if you're playing through the short campaign. The inaccuracy of your guns and their muted damage makes ammo management almost impossible, while the larger hitboxes create far too many missed shots and accidental deaths. The result isn't a terrible game since there's still some grim fun to be had, but there are certainly better shooter titles out there unless you're set on experiencing the shooters of yesteryear.
There are parts of Ray's The Dead that are enjoyable. The idea of being a Pikmin-like zombie game is appealing, as is the fact that the game wants to tell a more nuanced story around your character's life, death, and rebirth. However, the controls lack precision, while the inherent strategy falls apart thanks to haphazard enemy placement and odd design decisions. For a title with this long of a wait, it should've been better.
Liberated is a game that could have been better. The premise is fine but full of clichés, and there's nothing new to make it more interesting to those who have heard these stories countless times already. The presentation is nice, but the pauses between page turns feel unnecessary considering the style. The gameplay feels repetitive, since direct violence is the only viable answer. Unless you've been dying to get this one the moment it was announced, you'd be better served putting it off for something else instead.
On its own, The Walking Dead: Onslaught isn't a bad title. The gameplay is decent enough if you wanted something with a little more substance than the first crop of PSVR titles, and the length is more in line with a traditional modern title versus a VR-specific offering. The problem is that the bugs with hit detection and checkpoint triggering are enough to sap away any of the fun that the game could have provided. The other problem is that we aren't that far removed from The Walking Dead: Saints & Sinners, a much more satisfying experience that feels like what all VR games should aspire to. This probably would have gotten a higher recommendation if the release dates were reversed, but as it stands now, this is more for the TV show fan who wants a fun diversion, as long as they're willing to accept some big issues; this isn't suited for someone who's looking for the next big VR milestone title.
You can't help but coming away from Never Breakup with mixed feelings. The concept remains novel, and there are a number of stages to make the experience feel meaty, even without a narrative. While the player can get used to the wobbly controls, the lack of variety in the co-op challenges - and the sense that a number of areas don't seem to be designed with the co-op concept in mind - robs the game of any fun. It isn't a terrible co-op title, but you're better served by going with other co-op experiences first.
Despite having cute otters, The Otterman Empire doesn't work out. The speed at which you deplete your ammo makes shooting more of a chore than fun, while your low health pool and inability to tell where enemies are shooting from means that you'll be going through the respawn sequence far too often. The squirrelly controls don't help matters, and while the local multiplayer is appreciated, the lack of online play hurts the game's potential longevity. For the time being, pass on this one.
The concept for Cannibal Cuisine is fine: a grotesque spin on the Overcooked formula with some quality of life changes. However, there are enough issues here to sap away any enjoyment from the concept, especially if this is your first exposure to this type of party game. Unless you're a veteran of these games and want to deal with the artificial challenge, it'd be best to leave this one alone and opt for the more polished titles in the genre.