While it is as yet unclear when a true sequel to Lies of P will be forthcoming, the release of Overture should bridge the gap until then nicely. Areas are varied, with hidden secrets to uncover, and enemies — particularly bosses — like to hit hard and fast.
The Forgotten City is an easy recommendation for those who place more emphasis on storytelling than action combat. It is an engaging mystery set in an intriguing location, and the time loop mechanic makes it quite forgiving of mistakes, even going so far as to encourage players at times to break the Golden Rule themselves to trigger the next jump back in time.
When judged simply on how successful it is in providing a horror game as rich in atmosphere as it is in enjoyable inventory-based and traditional puzzles, the game effortlessly scores high marks.
Even after having completed the game, it’s hard to know exactly what to make of Paradise Killer. The concept of an open-world murder mystery is very intriguing, and the world offers enough piecemeal rewards to spur on thorough exploration. But the flip-side of that same coin is the potential to severely hamstring the pacing of the already difficult-to-navigate narrative.
For those okay with being given very little to actually do, apart from one actual puzzle and a few token situations, and just being relegated to soaking up the atmosphere, this game will deliver a good time, even if it is only for a few hours.
It’s a relatively stress-free handful of hours that can be spent instead in a state of wonderment.
Unique it may be, but that alone does not constitute a quality game that should be experienced by others.
The gratuitous cruelty simply isn’t enough to sustain a worthwhile game experience, and it quickly plummets from “going overboard” to “growing overly bored”. Those who feel intrigued by this concept may still find a good time here, but all others would do well to steer clear.
When push comes to shove, there’s just no way to ignore the terrible blow dealt to the game by its one-of-a-kind translation, evident in everything from the philosophical musings of the plot to how character arcs unfold. And if that alone wasn’t the deathblow, then the frustrating and plain unfun balance issues that made me beg for credits certainly did the trick.
It successfully pushes to the forefront an alien and otherworldly experience which is indeed as bleak as its name implies, but this alone does not an enjoyable time make. With large-scale issues embedded within its narrative structure, progression, exploration, and combat, the cons easily outweigh the pros.
The result is a game that, despite the notable effort put forth into its writing and storytelling, is constantly dragged down by technical issues and an unrefined combat system.
There’s just an overall lack of polish to the combat system, storytelling, and flow of gameplay that belies any goodwill I might have carried into this experience.
To the average gamer, the game’s repetitive nature in the face of its overall lack of multiplayer alternatives will spell anathema.
The grindy battle system with little enemy and environmental variety is also nothing to write home about. Cthulhu Tactics sounds like an intriguing mix of its two titular elements, but fails to deliver on the promise of either.
If Kadokawa Games was hoping to kindle interest in future Metal Max titles in western audiences, Metal Max Xeno is not the game to get that particular job done.
Instead of cashing in on its unique premise, the game’s one-note execution, paper-thin story, and frustrating difficulty drive its fun quotient into the red.
In the end, No Place for Bravery lives or dies based on the strength of its combat system. Other aspects like its graphics, music, and storytelling are passable without being outright noteworthy, but an action RPG must nail its combat, and here the game falters.
What’s clear is that this game won’t win over those who were previously on the fence about the series. While the narrative, combat, and management aspects all work as intended, they probably appeal to different audiences rather than create one cohesive experience; those finding satisfaction in one particular area may end up being frustrated in another.
Some rather important missteps with the combat make the experience far too toothless, annulling the sense of fast-paced action and dramatically lowering stakes upon defeat.
Death end re;Quest 2 carries over most of the first installment’s major aspects — both good and bad — while also distancing itself enough from its predecessor to make it feel almost standalone. However, the removal of a number of unique ideas previously implemented means the shortcomings are much more apparent this time around, and the formula established by the first game is starting to wear woefully thin.