The final product that is Babylon's Fall gives the impression that the developers gave up halfway. You know when you start something, see that the idea is impractical, silly or just plain boring to go ahead with, and then you don't care, launching it without any will? That's the impression left by the game.
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Voice of Cards is the typical product that the industry sometimes needs, that knows how to do the basics with an identity of its own, without necessarily having to reinvent the wheel, after all not every game needs to be revolutionary. In fact, there is a saturation of pretentious attempts to break paradigms that forget the basic concepts of a minimally healthy game design. There was little time between The Isle Dragon Roars and The Forsaken Maiden releases. Both are RPGs that are consistent in their proposal to offer their audience a traditional RPG.
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Possessing a very unique atmosphere, Fatal Frame: Maiden of Black Water is a classic example of the application of many of the characteristic elements of Japanese horror by blending psychological horror with supernatural and folkloric elements while following a structure of increasing tension. Although it is possible to recommend it from a game's point of view, it demonstrates much more value from the perspective of a representative product of this very different genre.
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Overall, the Steam version of SNK Vs. Capcom: The Match of Millennium is worth much more as a historical record. Its continuous gameplay factor, by current standards, is almost nil, as fun as it is. The fact that it doesn't run natively, that is, other than the emulation interface, in addition to the lack of an online system, unfortunately, makes things quite difficult , even if it's a title with local multiplayer and it is supported by Steam's remote play system.
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Lost Judgment is a competently interesting game. With a very intriguing story that pokes (not always successfully) many of the wounds of modern Japanese society, it manages to solve most of the first title's issues while simultaneously bringing new things, these with their own and unprecedented problems. Furthermore, it is a product of technical excellence and with the sublime quality so characteristic of the Ryu Ga Gotoku studio. It's not a masterpiece, it's just that it still carries a lot of style and identity — always in the shadow of the main series, but making an effort to get away from it — and, most importantly, it's incredibly fun.
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Story of Seasons: Pioneers of Olive Town is a bit far from reaching its fullness as the protagonist of a genre, but it is on the right path. In technical terms, its greatest merit is in the gameplay, especially due to the crafting elements, although it still suffered too much in the setting, narrative and game atmosphere.
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Akiba's Trip isn't necessarily a bad game, but it's not that good either. The experience is simply not good and goes beyond thematic constraint and technical precariousness. Perhaps it works better on Switch, considering its potential as a portable system.
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All in all, the PC version of No More Heroes 2: Desperate Struggle is hopeless. I really regret having to say something like that about one of my lifelong favorite games, but stay away from the Steam version. It just isn't worth it and doesn't do justice to what the franchise represents.
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No More Heroes is a unique piece of electronic entertainment that is proud to be the playful game that it is and deserves to be spread, universalized beyond Nintendo consoles. However, the PC port is a real disaster, all the disregard for this version of the game, which borders on the unplayable, should put in check even XSEED, a company that generally stands out for all the zeal it has with its products.
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Tasomachi: Behind the Twilight is certainly an interesting journey. It is notable that there is considerable technical capacity and willingness behind the game, but they were not enough to make a good product. The game impresses by the look, but the lack of practical challenge puts it in a kind of limbo between boredom and curiosity.
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All implementations made in the general composition of Poison Control were hampered due to a low technical efficiency in the execution, resulting in a product beyond mediocre. From a certain point of view, it is certainly a unique game, but that is not enough to make it minimally good.
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Yakuza: Like a Dragon is a beautiful subversion of Japanese RPGs. Despite being located in an environment quite distant from the traditional to the style, all its characteristic elements are present and have been implemented in a very competent manner. Unlike certain IPs that, aiming at Western success, try to adapt to our market, the Yakuza series has a very unique identity due to the fact that it is not ashamed to present itself as a product from the East. This is now being put to the test more than ever.
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Kill It With Fire is extremely limited and short. It is not very varied and the original idea, interesting as it may be, is hampered by the few stages, negligible difficulty and very low variation of the weapons. We know that not every production needs to be big, but it is clear that there is a lot of room for improvement here.
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Despite the regrets, Assassin’s Creed Valhalla is a solid experience within the standards of the franchise. Without proposing to innovate, as happened in Origins, it managed to merge the implementations made by the modern iterations of the franchise with several of the iconic characteristics of the most classic ones, only revised within a new context, making a safe game in relation to the delivered content. In the end, Eivor's adventure is a very consistent entry into the world of Assassin's Creed.
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