The Lord of the Rings: Gollum is unfortunately a product that is not only poorly developed, but also poorly optimized, a terrible combination for any video game. Playing it is like being trapped in a title from the early 2000s, a fertile time for a series of licensed games whose production ambition is proportional to their questionable technical capacity.
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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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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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Thus, Avatar: Frontiers of Pandora is what one would expect of a soulless licensed game on the PlayStation 2/early-PlayStation 3 era. The main different is the monetary correction of inflation, updated to what one would expect to pay for an open world title in the current industry.
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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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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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The Fabulous Fear Machine is a rather unique title. The idea of a machine capable of offering control over the world through propaganda, fear and conspiracy was very well executed and proves to be a solid example of speculative horror literature, although the plots of the main campaigns left a little to be desired. Additionally, the game system in its raw form is quite functional and manages to fulfill its purpose of using elements from a strategy game to tell its story. However, it remains very limited as a representative of the genre it tries to fit in. If the game had invested more in improving its systems, the superficiality and even the stereotyping of the stories could have gone unnoticed. Likewise, more elaborate and engaging stories could alleviate the linearity of the gameplay.
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Having experimented the demo version some months ago and the supposedly final product now, it's evident that Lakeburg Legacies unfortunately didn't manage to be molded into a consistent product, lacking polish to the point sometimes it doesn't even feel finalized. This is a curious simulator with a really interesting concept but it doesn't live up to its position as a full game. It'd have been a better decision to make it an early access title instead of the full release as it is right now.
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I really wanted to have a positive experience with Troublemaker. You can see that the developers had their hearts in place. There was also ambition, which is good for creativity. However, none of this is enough if you lack the technical capacity to execute your ideas properly.
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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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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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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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In the end, Piczle Cross: Story of Seasons is a tough product to analyze. It's practically the same thing as taking a crosswords or sudoku magazine and discuss how the volume 95 is easier or harder to complete than volume 96. The ideal way to analyze a title like this — which is competent in what it offers — would be to write a purely informative review without giving it a score.
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The Lord of the Rings: Return to Moria is interesting, but niche. Anyone who is a fan of both the survival genre and Lord of the Rings will find a gameplay title that will require dozens of hours to be properly explored, especially with other players in multiplayer. However, it is worth highlighting that, for the uninitiated, there are other more innovative and/or inviting options.
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Mato Anomalies is not a bad game, but the impression is that everything in it could be significantly improved. Combat works, but lacks variety and some system that differentiates it from other examples of the genre. The story is interesting and manages to entertain, but it lacks some singular idea that makes it unique. The presentation manages to carry the title, but could have received a more thoughtful finish to make everything even more captivating.
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For a game in its niche, Gungrave G.O.R.E is all it really promises. The problem is not getting out of that comfort zone. The fact that I'm part of the niche (and I particularly liked the result), doesn't mean that everyone should do it.
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Voice of Cards: The Beasts of Burden follows an interesting product and is even worth playing — especially for the boldness of making the narrative official within the Nier/Drakengard mythology — but, by comparison, the direct predecessor ends up being superior as a gaming experience. However, this does not make a new Voice of Cards, in the near future, repeating its usual structures and within this comfortable periodicity, not welcome.
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Stray is a hack, as it takes things the internet endlessly reproduces as memes — cats, cyberpunk aesthetics, lo-fi, vaporwave — and condenses it into a single product that has gotten enough exposure to be intensively commented on by its audience. It is not necessary to do more than the minimum, as it takes advantage of loopholes in the system to succeed in its objective. In this respect, Stray is, without a doubt, an unquestionable success.
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Despite being flawed, World of Horror is still interesting. Although it seems different, it only flirts with experimentalism, since its main proposals have not only been previously used in the industry but also executed with better propriety, such as killer7 and The Silver Case, both from Grasshopper Manufacture and which focus on construction of a complicated plot conveyed through unconventional gameplay and a deliberately disorienting interface. Still, it's impossible to say that the product worked on for years in early access by developer panstasz is incompetent. It's a valid and very pleasant option for a quick game on a rainy night.
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Taking an objective look at what the franchise has already achieved with its most recent titles, selling Like a Dragon: Ishin! as a remake may have been a wrong strategic decision, since several of its systems were not revitalized to the point of living up to the nomenclature, remaining archaic under a modern look. In addition, the slower and more bucolic tone of both the atmosphere and the narrative makes us understand why the original Ishin was ignored for a Western release. With that in mind, it becomes a little difficult to recommend it for newcomers to the franchise, but for those who are already familiar with all of the series' recurring flaws, it's a solid enough experience.
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