Honestly, I feel like I can't do anything but completely pan Nightdive's efforts on Blade Runner Enhanced Edition: from a technical standpoint, the game is indefensible, with plenty of bugs, and certainly doesn't feel "Enhanced" compared to the original (luckily still available on GOG). Undoubtedly the lack of chunks of the source code and the format of the original assets did Nightdive no favors, but this is still a poor tribute to Westwood's legacy.
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Beautiful visuals and suggestive atmospheres are not enough to save Vane, whose obscure and not always working mechanics make the player feel abandoned in a poorly conceived world.
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The credit Konami has long enjoyed because of its indispensable role in the modern conception of soccer video games has now been exhausted. And you have to recognize eFootball 2024 for what it is, a very slight improvement on the previous version, still plagued by the same, huge problems. The music is still the same: decent gameplay, Dream Team limited by the database, other modes none to be had, cumbersome menus. The time has come for a breakthrough, because the alternative is rather bleak.
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Vertigo's main problem, probably, it'is his ambition. When you choose such a cumbersome source of inspiration, the risk of ending up crushed by it is real. The Pendulo game wisely chooses not to retrace the path traced by Hitchcock, but to borrow the main theme. Unfortunately, however, it manages to keep the interest high only in the initial stages, then a under-the-bar acting and questionable narrative choices prevail over originality. You could appreciate the attempt, not so much the outcoming.
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In a different year, Airplane Mode would be a nothing more than a nice joke, a strange experiment forgotten in a couple of days. In this strange 2020, AMC's first game is instead a sort of relief from the lockdown we are living in. If you miss being stuck in an uncomfortable chair, bored to death for hours, this is the game for you.
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I honestly don't know if Wonder Boy IV was a real blast in 1994 since I could not play it then. What I know is that Wonder Boy: Asha in Monster World is not a blast today. It's kinda average in everything it does, but what I really can't bear is how the new art style feels like a significant downgrade over the magical 16-bit pixel art.
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Unto The End is able to build an entire universe using almost no words. Every gameplay element is part of its narrative of a wild, brutal and unfair world. Sadly, its combat system feels (and probably is) unfair, making the entire experience sometime unbearable.
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Chronos: Before the Ashes arrives too late to the party. Years ago, the main character's aging mechanic would have been enough to grant it attention and praise. Today, it's barely a spark of light in a technically dated game. The fact that the controls aren't terribly responsive and the narrative is a bit confused don't help either. Souls-addicted players might find its ten hours of length an enjoyable diversion, but that's about it.
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Big Rumble Boxing: Creed Champions is like a 90's game: good for short sessions of play, with only few modes, a cheating AI and a lot of pressing the same button over and over. Despite all that, it manages to be entertaining for a few hours, but you'll soon get bored of fighting the same boxer but with a different skin. The strange, over the top narrative Arcade is enjoyable, but with just one more mode (Versus), there's no way to get to the twelve round without getting tired of its basic mechanics.
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A great idea and a lot, a lot, a lot of repetitiveness. The change in style and setting could bring a beneficial breath of fresh air to the WWE wrestling produced by 2K, instead the game made by Saber was lost due to an excessive trivialization of the fighting styles accompanied by a system of microtransactions quite invasive.
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Days of Doom tries to do something new by fusing together turn-based strategy and roguelite. The end result, however, can only be said to be partially successful. Both the battles and the growth are characterized by slow times that end up diluting the fun: in the short run you have fun, but the risk of getting tired soon is real. The art direction is nice, though derivative at times. Overall a good pastime, but one that risks slipping away without leaving a trace.
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Summertime Madness is like a young artist, basking in his talent and quickly getting tired of his own brilliant insights, letting them fade away, while trying to set the tone with hermetic and indecipherable claims. Although there is a certain amount of brilliance under the surface, it is clouded beneath a layer of confusion. But of course not everyone gets to create The Witness at their first try, so if you are in withdrawal from puzzle games, Summertime Madness should be a partial relief.
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Technical problems and imperfect controls prevent Shinobi Striker from really convincing, despite the mix of single player and multiplayer online could offer an interesting touch to the anime series.
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The Last Worker is as much a satire of the work environment in this phase of capitalism as it is of those video games that seem to be more about work than fun. Overall, this is an interesting and artistically sound production that lacks something to leaves its mark.
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Togges makes no secret of his sources of inspiration: Super Mario Galaxy above all, but also Katamari Damacy and Pikmin. While Togges does not have all the qualities of its benchmarks (particularly in controls and cleanliness in design), it knows its strength points and focuses on those: smooth, colourful graphics on which rests a relaxing, carefree gameplay. All in all, Togges is an average-value game that nevertheless took on a huge challenge, confronting himself with the masterpieces of the genre, without being destroyed by the comparison. But ambition and bravery should be appreciated, and rewarded too.
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White Shadows does nothing to hide his sources of inspiration: Limbo and Inside. A dark and obscure location is the right place to set a dystopian, anthropomorphic future story which can be read as a hermetic social metaphor. Though fascinating, White Shadows does too little to explain to the players where they are or what exactly it is that they're doing, and its very simple mechanics don't help. At the same time though, you often feel like you just can't leave, like when watching a Lynch movie.
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Virtua Fighter is still a great game, no doubt about it. And Virtua Fighter 5 Ultimate Showdown fully re-proposes the old-but-gold original combat system, enhanced by a Training mode that explains in depth everything there is to know about it. What's inexplicable in this operation is the poor care paid to the multiplayer, penalized by an old and poorly performing netcode, which heavily limits a game designed to be SEGA's first step towards esports.
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While Paradise Lost has everything to be a great game, it ends up being just good. Its background story is strong and intriguing, but you can't feel it that much in the game. Locations and objects are well crafted, but invisible walls keep you from feeling them as if they were real and alive. Everything is in his place, but by the end nothing leaves you wanting more. This four-hour adventure is worth playing, but it won't change your life.
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The Signifier is an ambitious game that is also aware of its limits. Unfortunately, that is not enough to elevate it among the greats. It offers a great, alienating and at times disturbing atmosphere, but its strongest suit is tackling issues that force the player out of his comfort zone. Unfortunately, mechanics are not as strong as the atmosphere, which makes the short duration (about six hours) a good choice. The ending is a bit fuzzy, however – and probably a setup for a sequel.
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Mixing games and movies is hard, and The Complex still hasn't found the magic formula. At least, it doesn't take the matter so seriously as Until Dawn, but it just delivers what it promised: 6-8 hours of an interactive movie, set in a direct-to-video sci-fi context. Not a mastepiece, but stil better than the beginning of 2020.
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