While I went into 41 Hours fully expecting a single A experience, I struggled to find 41 minutes of enjoyment out of my review playthrough. I honestly don’t see any quick, feasible ways to fix 41 Hours either, as there isn’t much here that isn’t a mess. Between the game’s unnaturally accurate and overpowered enemies, graphics would barely be noteworthy on an Xbox 360, and a plot does little to spurn interest, I can’t help but feel this one came out of the oven 41 months too early.
All in all, would I recommend this slip into the dream world? If you really enjoy this developer’s games, I say go for it for the price it’s sitting at, but even fans of walking simulators might feel cheated out of a decent experience here. Maybe I wasn’t on enough drugs to catch the real meaning behind this. Maybe I just wasn’t the target audience. With a lack of interesting gameplay, visuals, or any sense of thematic cohesion, it’s not worth the time spent. As it stands, I’d say save the $4.00 for something a little more meaningful and a little less slipshod.
At the end of the game, I really felt like there could’ve been a lot more Quintus and the Absent Truth. The acting felt flat, the themes weren’t as fleshed out as they should’ve been, and the only truly scary thing here is how short the whole experience was. I really wanted to see this succeed, as the art style brought some unique potential, but sadly the experience needs a lot more refinement to be as interesting in execution as it was in premise.
From Blair Witch: VR Edition’s unsatisfying attempts at terror to forgettable characters and absolutely poor graphics, you have plenty of reason to skip this hike through the woods. Throw in some game-breaking bugs and glitches to an already lacking experience, and your $29.99 is better spent elsewhere. Let this be a testament that horror games don’t always need a VR port to continue to be scary.
I really want to emphasize that no matter what score I give, respect should be given to any developer striking it out solo, with Alex being no exception. The visuals are damn good-looking for an indie effort, and the core gameplay is shockingly solid for being a blend of FTL and XCOM. I see so much room for a game like this to grow and develop, and I’d even go as far as to say I’d gladly go another round if there were a few fixes for the lack of checkpoints, laggy ship transitions, and a bit more depth added to the gameplay. Sadly, Space Cats Tactics in its current form doesn’t stray much farther from general tactics roots, and the characters, while cute for the first few minutes, don’t evolve much more from there, either. If you can work around that and some rather irksome bugs and glitches, I really do encourage giving this a run for being something rather unique in its field, if not to give some support to a solo dev that really has passion put in his project.
At the end of my hauntingly simple mission, I really wanted to walk out liking SENSEs: Midnight more than I did. There’s a great aesthetic, cool ideas, and some real potential with the fixed camera angles, but it’s all buried by bad stealth mechanics, a puddle-deep story, and horror disarming bugs and hiccups. Still, for its price point, consider giving it a whirl, at the very least to give some money to the developers because they seem like they really wanted to make something great here. I do hope to see a much more refined sequel in the future.
It’s a real shame that I couldn’t find much to enjoy here, since there’s a good amount of potential here, but you’d think with such a fun theme and the mechanics at play, there’d be so much more life in this game. Maybe I went in with too high of expectations, maybe I wasn’t the target audience, but between the monotonous music that I eventually muted and the gameplay loop that tires itself out long before the cake’s done cooking, I really want to like this game more, but, to be honest, I can’t say I’m thrilled about playing this anymore. If you’ve played Super Mario and Donkey Kong, you’ve been here before. If you don’t mind that and just want some solid platforming to kill five or so hours, it’s harmless enough that I’d say go for it if it’s on sale. But otherwise, it’s reshades of the same thing, and this game doesn’t dare to tread much farther than those before it.
Unless you have the patience of a saint, I would steer clear of In Nightmare. It really is a shame, as there’s an interesting story being told from Bill’s eyes and a really vibrant and vivid world with a unique style to explore, but any semblance of gameplay is horribly hampered by a nightmare of poor gameplay designs. I’ll keep dreaming of how much I’d enjoy this game once it sees some quality of life improvements show up to fix the plethora of lackluster stealth gameplay and frustrating “puzzles”.
It can leave your heart racing, and it can leave you stunned at the scenery, and, sometimes, it’ll leave you bewildered at how brutal the game can be, but ultimately, I’d be lying if I said there wasn’t a diamond in the rough here. It’s gonna feel unpolished and early-access-ish with paltry menus, no saving, and only one map and two heroes to play as. Still, there’s a lot of potential here. But until a few content issues, save system complaints, and AI fine-tuning gets addressed, I can’t quite give Until We Die too much of a recommendation unless you find it on sale.
While Crymachina’s flashy and striking character designs certainly shine, they can’t save a game that’s unfortunately hampered by uninspired, repetitive combat and painfully linear dungeons.
For all intents and purposes, if you want a blast from the past with a hidden twist all wrapped up in a tidy little package, I Doesn’t Exist is harmless enough that I’d recommend the venture. Just temper your expectations a bit and have some patience set aside for the text-input side of I Doesn’t Exist. After all, who knows when the next time will be that we’ll actually see someone using text-adventure gameplay again.
Even though the game’s balancing and AI issues try their best to spoil the fun, ArcRunner still manages to deliver a satisfying cyberpunk roguelike experience. Despite its shortcomings—and they are plentiful— it can feel great to give into the temptation to jam to some synthwave and gun down some nameless bots for a few hours. It’s just a shame that, apart from the killer aesthetics, there isn’t much to compel players to return to its neon-saturated streets once they’ve finished their initial playthrough. That said, if you’re looking for an in-depth approach to the familiar roguelike formula, you might want to look elswhere. Which is a shame, since ArcRunner offers a fairly decent gameplay loop along with a striking cyberpunk playground to go with it. If you’re looking to soothe that very specific aesthetic itch ArcRunner scratches, by all means, go for it and indulge in the wavey synths and rain-slicked streets. Just know that your mileage may vary.
Despite some horrible misgivings for the plot and characters, I do sincerely see some of our favorite classic Shock-like formula, tried and true, if not with a few extra red stars on the cover. If you can poke past the horribly paced and presented story, tedious and sometimes painful character dialogue, and bad design ideas for the open-world aspect, I can sincerely say that there is some legitimate Shock-like qualities in the better parts of the gameplay and in the awe-striking art style, to say nothing of the incredible music. If you enjoyed any of Bioshock‘s selections, or Arkane’s 2016 Prey, consider giving this communist dystopia a chance to show how close it got to nailing that Shock-like formula, even if you wind up coming out hating the phrase “Crispy Critters” as much as I do.
I’ll say it like this: I’m actually mad about how much I want to like this game. While the simple but effective personalities can be so-bad-it’s-good occasionally and the soundtrack certainly survived the sound check, this gameplay isn’t doing it any favors. I can’t help but feel the story might have worked better as an anime as the interactive element is what lets Wanted: Dead down the most. With some more work, Wanted: Dead could be that hilariously fun love letter to retro anime and games of the early noughties that I desperately wanted it to be. As of right now, it’s just far too short, clunky and directionless to be worth the price of admission.
DLC can vary wildly in length, and just because the added content is short doesn’t always mean it’s not worth checking out. Cassette Beasts: The Pier of the Unknown is, unfortunately, far closer to the lean side. But beyond its brief runtime and some same-y boss fights, it still managed to tick off most of the boxes of things I was looking for. There are a few interesting new monsters to transform into, Archangels to battle, and some challenging platforming to make this eerie expansion a worthwhile experience for the spookiest month of the year. That said, here’s hoping this is just the first hint of potentially larger DLC to come in the future, because the short length certainly has me wanting more.
Ultimately, High on Knife‘s tale of a wayward Knifey was full of fun characterization combined with a brief but satisfying story. The new pinball-themed gun is a hit, and Knifey’s special upgrade needs to be seen and experienced for yourself. With any luck, we’ll see some more DLC down the road, and hopefully then, Harper will be left behind.
I’m very ambivalent about Tower of Fantasy, but despite seeing quite a few flaws, I also see a lot of potential here. The attempts to riff on Genshin Impact and Honkai Impact 3rd wind up leaving some of the things it attempts to emulate feeling inferior to where it’s drawing inspiration from. That said, what it tries to do differently is help make a functional, stable platform from which Tower of Fantasy could truly start to grow from, and make something entirely fresh and unique from its competition. The exploration features, the Relic system, and even the weapon types are willing to come together and make something fun and unique, but it’s held back by a mostly lackluster world, bad story writing, annoying upgrade systems, and currency overload. I’d say go in strictly on Free-to-Play ideals, temper your expectations and focus on the things it does differently, and you’ll probably find something to like.
All in all, would I recommend squaring up with The Alien Cube? The best way I can describe this game is a very thin slice from an authentic Lovecraftian pie. It doesn’t entirely look the part, but you’ll take a bite and know exactly what you’re sinking your teeth into and probably end up reminded why you love this flavor of horror. From the surreal environments to the indescribable horrors after your blood, it’s the stuff known and loved by the Lovecraft community. Be warned though, that while the flavor tastes the part, The Alien Cube‘s optimization issues and occasionally lacking gameplay can make it tough to swallow. That said, if you can forgive a few missteps and have a hankering for hellish horrors, it’s worth digging into – especially when you consider its asking price.
Neptunia hits a real middle-of-the-road balance with this one. On one side, the combat falls short of frantic ninja battles and the graphics desperately need a touch-up. On the other side though, the character designs are some of the best I’ve seen for a spin-off, it’s a treat to see the Senran Kagura gang interact with our favorite CPUs, and the story brings along the same meta humor and gaming references that Neptunia rarely fails to deliver. While the uninitiated might not find it fleshed out enough, for those who are fans of both series in this crossover, Neptunia x Senran Kagura: Ninja Wars is a beautiful bacchanalia of busty, battling babes!
Is a fairly solid beat ’em up paying homage to the greatest of Kevin Smith’s greatest gags worth a full fifteen dollars? While the enjoyment of it seems a bit situational, if you’re a fan of Smith’s comedy hijinks and want a playable museum of his best, I’d say that fifteen’s worth it. While the challenge is there and the combat satisfies, it doesn’t strive to make any new ground in the genre, other than a couple of tricky levels inspired by games of the era it aims to imitate. This is perfectly fine because it does all that it needs to with what it is, a simple NES throwback with some 90’s movie flair that thrives for nostalgia in more ways than one. Even if you don’t know much about the movies, if you catch this on sale, give it a try. Who knows, you might find yourself with some movies to watch for the weekend.