There are more challenges to unlock in Fenix Rage than I should bother mentioning, including one that butts heads with my infinite-jumping utopia, so it's worth noting that on top of an already enjoyable and cookie-filled game, you'll find yourself revisiting earlier levels again just to maximize your investment. It could go on for a long time, in other words.
All told, Jotun is a wonderful experience with just a few sour notes. My only regret about it is that it feels short.
Because of a greater focus on subtler story cues, reining in Pandora's complete irreverence for normalcy, "Escape Plan Bravo" works in a way previous episodes didn't, though "Atlas Mugged" came close. The emotional moments worked without that awkward, out-of-place feeling that came with similar scenes in the past. There is an action scene, a giant shootout of sorts, but you have to see it to believe it, and it serves as some necessary comic relief before the final act.
That Dragon, Cancer is a game that you will lose. You will not beat it. You don't win. Even This War of Mine has "winning" conditions. It is so fitting that this is a game, not a movie. From the jilting scene transitions to selective interactions, the dioramic games within the game to the increased level of abstraction and perspective changes, the mode of storytelling works. But it mostly excels at being a lesson that as much as you can "game-ify" elements of life, you will be confronted with perma-death—real death.
Not to ruin anything, but the ending of God's Acre will leave you in absolute shock. No, more than the last one. I'm just going to be racked with anxiety until I play it.
If you’re already a fan of the series, or if any of this niche game sounds appealing to you, I urge you to give Professor Layton and the Azran Legacy a try. Certainly, those who played the previous two (or five) games will want to know how the trilogy ends. For the others who are not into super English puzzle games or are barely into that section of the newspaper, there are more creatively-engaging games on the market. However, consider putting the gun down now and again. Puzzles can bring great peace, but puzzles also inspire unnerving chaos.
République is a great five-episode game. I enjoyed all of it, despite some low moments, and I’m floored that it’s all available on mobile. The twist on the stealth genre, effectively providing an excuse for the originally envisioned touch controls, adds a fold to what is typically a lonely adventure for the protagonist in this genre. And as stated, I think the risks Camouflaj took at the end ultimately make for an interesting conversation regarding player and character agency. Still, the story, even with all the additional exposition players can find, is never overwrought and straightforward. It’s a nice adventure to play through, and the choices added to the final episode add replay value I wasn’t expecting. I’m tempted to dive in again.
Overall, Severed does a lot of good with its excellent and challenging combat, intricate dungeon maps full of collectibles, unique and visceral upgrade system, and a fantastic presentation. Its biggest shortcoming is its lack of opportunities to engage with its world and Sasha’s history, but with everything that works so well about the game, I can mostly forgive this slight. My roughly nine-hour experience was a great joy, filled with memorable sights, sounds, and (physical) touches. Maybe, like Okami for Playstation 2, it will be the console’s swan song, but it is hard to discredit a unique experience like this one purely for coming to the party so late.
Sniper Elite III is like working from home for me. Although I enjoy the tasks and executing them, I feel like there are ways to make doing them more rewarding and engaging.
Outlast is not the most satisfying horror experience around, but it had my heart thumping and my head throbbing enough to make it a worthwhile trip.
I do find myself less engaged than the last episode had me feeling. I'm hoping for a better shake-up of action and exposition for the remaining two episodes because leaving a huge chunk of the latter to fill the middle feels contrary to the game's origins. It's a weird time to be had.
Morningstar doesn't only appreciate your time, but it's easy on the senses too. There are only a few cut-scenes, but all animations and scenes are nicely done, even though clean, abandoned environments have been done to death.
Maybe it's petty to lay into a game for what it could've been, but this game, though unique, charming, and well-executed, feels like an appetizer when I really wanted a meal. Although the story doesn't feel cut off, it just feels too brief overall. I'd have preferred a game that ended when I wanted it to end. Still, I'm impressed with the job Tiger & Squid did with Team17's faithful help. It is at least a solid, unfettered artist's vision, not sullied by AAA expectations and producer's interjections. For that, I'll take this short trip any day.
It is disappointing to exert such caution when recommending This War of Mine:The Little Ones, especially to people who may not have a worthwhile gaming PC (low spec requirements notwithstanding), but the limitations of the port's controls compel me to do so. For what it's worth, this is still a good game, and the exclusive addition of the children survivors makes it a more compelling experience at that. But really, if you can play the PC edition instead, it's easy to sacrifice all those kids for a much smoother experience.
For anyone seeking out an RPG they can just play for weeks, Atelier Sophie: The Alchemist of the Mysterious Book is a solid choice, but for each of its highlights, it suffers a misgiving. The story is plain but is delightful and organically executed. The battle system has some awesome features that are locked behind story gates. The characters are beautiful, but the rest is hit or miss. And then there are the confusing or offensive writing and design decisions throughout. As I said, I loved playing it (despite the rush to meet embargo), but its faults keep it from becoming a classic in any sense.
Event[0] was based off a student project, and sometimes, its roots as such are laid bare. But overall, I’m impressed with how the concept was fleshed out. Like other unique experiences, I hope other developers learn from its brushes with ingenuity. I’m also excited about some of the ethical discussions it could spark. It’s definitely worth a spin in zero-gravity to check this one out.
I don't regret contributing to this journey in the least, and frankly, I feel like the first half of Broken Age is very much worth experiencing. And that's how I'll rate it—as an excellent first half with a middling second half. What a shame.
To an extent, I did enjoy my time with Neverwinter. It's extremely mindless grinding, which can be fun now and again when you're feeling non-committal. And from what I've learned of the endgame offerings, when you're fully leveled, you can just experience much of the same. I'm not sure how long someone would want to experience more of the same, and I don't feel like anything I've played warrants going through it all again with another character. It's just not all that compelling, but if you have friends you'd like to quest with, it's certainly something to do… like many other things.
With a more engaging story that didn't solely rely on zaniness and/or idiocy to sell itself, Dead Rising 3 could have been more worthy of recommendation. Instead, accept my lukewarm approval of it as a purchase decision.
At most, I consider Monochroma serviceable, sometimes more than such. Its soundtrack definitely supersedes the other content even if it is not employed too often. Amidst all the other plateaued features the game has to offer, it's not enough to maintain sufficient buzz or convince jaded gamers not to wait for a seasonal sale.