While it looks like a modern storybook tale, Gylt deals with some pretty intense subject matter that many can relate to. It would be easy to complain that Gylt doesn’t go deep enough in any direction or layer enough complexity on its basic systems. That would be true if the game was longer than its five-hour running time. Its mechanics might not be remarkable, but Gylt’s themes are impactful and its presentation is memorable and engaging.
Theme park and coaster sims have come a long, long way since Rollercoaster Tycoon hijacked my free time. Park Beyond is a generally approachable and inviting sim that’s definitely not for the realism-minded. Its campaign is held back by an unpredictable and not well-explained economic model, but it’s pretty easy to get lost in the sandbox, enjoying the intentional impossibility of your creations.
As with each generous and engaging new expansion, there is an abundance of excellent content to experience. Appealing new companions, distinctive new zones, and fantastical monsters are paired with a useful and fun-to-play Arcanist class. Necrom’s main quest is more mystical than political this time around, and there are some extra-challenging encounters out in the wild. As always I come away from The Elder Scrolls Online both impressed and disheartened that I don’t have more time to play.
Aliens: Dark Descent nails the tone and tension of the movie franchise. Its genre-fluid mechanics are clever, too, and provide some unexpected challenges and opportunities. A very slow, creaky start and some consistent technical issues hold it back from the top spot, but Aliens: Dark Descent is still appealing for fans of the films and tactical action games in general.
Trepang 2 has a pretty narrow focus, but it does the bloody first-person combat genre proud. Kudos to developer Trepang for doing a few things really well and not trying to make the next Call of Duty clone. Trepang 2 borrows a few ideas from F.E.A.R. and snags some mechanics from classic shooters, and the result is both fresh and familiar fun.
For every infrequent good idea, Crime Boss: Rockay City seems determined to undermine it. First-person roguelike mechanics in a narrative-focused game is an intriguing concept, but between bugs, bland performances, and rote action, the killer concept is dead on arrival.
In Tanta We Trust is conceptually a bit odd. While it can be played as a stand alone game, it wouldn’t make sense to do so. On the other hand, players who have beaten Forspoken may not appreciate the pared down mechanics and small scope. There is a way to access the new content from the main game’s campaign, which probably makes the most sense, making it feel almost like a robust side mission. In any case, In Tanta We Trust is neither significantly better or worse than Forspoken, but very much of a piece with it.
Nocturnal has a strong core mechanic that generates some interesting puzzles and game play. Aside from that, the environments and story aren’t especially interesting, and while there is progression and a bit of depth, there’s some frustration, too. Nocturnal does a lot with its basic premise, but the rest of the game feels like an afterthought.
Experienced platformer and puzzle game players will have seen Planet of Lana’s mechanics before, maybe executed with more style or depth. What they won’t have seen is art quite as affecting or heard music that’s so in sync with the visuals. Planet of Lana is only around six hours long. More than that, and the lack of combat or missing originality in the puzzles might be an issue. Planet of Lana is an artistic, beautiful game with just enough satisfying gameplay to keep the player moving from one lovely scene to the next.
Diablo IV is the true successor to the second game, returning the franchise to its dark, gothic roots with a wild, operatic narrative and bold characters. Gameplay is as addictive as ever, and the sprawling campaign is only the start of a massive amount of content to experience. While Blizzard keeps nudging Diablo’s design towards MMORPG-style multiplayer and co-op, there’s no lack of fun for solo players, even if some bosses are better with friends. With off-the-charts production values and compelling characters and combat, Diablo IV is just about as good as the genre can get.
The Lord of the Rings: Gollum tries to be a respectful homage to Tolkien’s masterpiece. Unfortunately, it’s expressed through buggy, unpolished, and not very interesting or enjoyable gameplay. Gollum is a fascinating and complex character, but makes a poor protagonist for an action game. Only ravenous fans of Tolkien will want to come near this game, and then only if they have a very high tolerance for crashes, bugs, and disappointment.
While we wait for a genuine reboot, System Shock is worth playing as a reminder of how important great ideas were, and still are, to the hobby we love.
Miasma Chronicles is not light years away from Mutant Year Zero in either setting or gameplay. It is, however, a more refined and self-assured game, with an even better narrative and characters. The world-building and story are worth the price of admission, backed up by solid and creative tactical combat mechanics.
After Us is an artistic, moving, and affecting game about a world transformed by human indifference to nature. It’s a slightly heavy-handed cautionary tale, but a powerful one. As a puzzle platformer, it’s a little less successful, with controls that feel imprecise and levels that need more gameplay variety. After Us has a potent message and offers innocent hope for a planet in trouble.
The Warhammer 40,000 universe is a good match for a retro shooter and Warhammer 40,000: Boltgun is proof that the concept works. Not every Games Workshop licensed game is a winner, but Warhammer 40,000: Boltgun crosses the finish line in style. It’s not deep or complex. Most of its core mechanics are decades old. But I had more simple, addictive fun with Warhammer 40,000: Boltgun than with many, more sophisticated shooters of late.
While Age of Wonders 4 doesn’t shy away from depth and complexity, it rarely overwhelms the player. Starting with the faction creator, Age of Wonders 4 is dedicated to letting the player shape their experience as much as possible. No matter how you prefer to play, you’re in for hours of engaging strategy and tactics with an incredible array of mix-and-match fantasy elements.
Anyone who played and enjoyed Ghostwire: Tokyo the first time, and has Xbox Game Pass, will certainly want to make another run at it and check out the improvements and new content. For those who missed it at release, it’s maybe even easier to recommend Ghostwire: Tokyo now. Be warned that the first few hours ramp up fairly slowly and the supernatural combat is both creative and a little unpolished. Still, the narrative, world-building, lore, and unique approach to the first-person action game help make Ghostwire: Tokyo both successful and a bit different.
The Last Case of Benedict Fox marries beautiful art and some excellent puzzles to a confounding narrative and sometimes frustrating mechanics. Had it been a pure adventure puzzle game it might have fared better. The game’s platforming and combat are unrefined elements in an otherwise intriguing conception.
For young players without any action RPG experience, Ravenlok could certainly serve as an introduction to the genre. The controls are simple and the environments are beautiful. The main character and narrative are straightforward and relatable. Experienced gamers might be put off by the intentional lack of depth in combat and movement, but even for them, this short game might be worth playing just for the art and imaginative characters and world.
For fans of futuristic survival games, Stranded: Alien Dawn is just as fun on consoles as on PC. It’s deep, engrossing, and customizable. Although controller implementation is a mixed bag, overall the experience remains engaging and addictive.