Despite some interesting situations and engaging puzzles, Vampire: The Masquerade Swansong fails to get off the ground, much less stick the landing. It’s slow and obtuse where it should be visceral and emotional. The writing is pedestrian and the characters are the dullest vampires imaginable. Whether or not they drink your blood, they definitely suck your ability to enjoy the game.
Despite its sci-fi setting, Dolmen is less a Soulslike than a Dark Souls clone, with very few original ideas. The biggest issue, beyond the overall familiarity of just about everything, is that it brings back annoying mechanics that games like Elden Ring have evolved away from. While there is some fun to be had in Dolmen’s weapons and combat, at some point you’ll just wish you were playing a FromSoft game instead.
Rogue Legacy essentially spawned the roguelite genre and nine years later, its sequel improves the recipe in every way. Rogue Legacy 2 looks fantastic and plays even better, with engaging mechanics and an addictive gameplay loop. While you might not always make progress, you also never feel bored or that the game disrespects your time. Every run is a new experience and often surprising. There are a lot of systems at play, but they generally help Rogue Legacy 2 transcend the limits of the genre and make it endlessly replayable and entertaining.
Occasional minor frustrations with the controls aside, it’s hard to find fault with Salt and Sacrifice’s challenging combat and level design. The original was one of the best 2D Soulslikes, and this follow-up has a more appealing style and plays even better, with more varied mechanics and deeper choices. While recent FromSoftware games have encouraged more assertive approaches to enemy encounters, Salt and Sacrifice has an old-school vibe that demands patience, determination, a willingness to grind and the ability to find satisfaction in doing so. Fans of the original won’t be disappointed, and more recent Souls converts will find a new addiction as well.
Taken as a whole, Trek to Yomi is an impressive homage to classic Japanese action films. It looks and sounds incredible, with art direction and music that are impeccably authentic to both history and cinema. As an action game, Trek to Yomi is engaging but a bit lacking in variety and depth, with controls and animations less polished than its visuals. Trek to Yomi is a fascinating and altogether unique experience, worth playing if you’re a fan of great samurai films or simply enjoy new variations on the action game formula.
I liked the look of Winter Ember and its dark Victorian vibe, which meshed well with its revenge narrative and story. There’s more to a game than atmosphere, though, and that’s where Winter Ember is a mixed success. The levels are filled with confusing repetition and uncertain goals. Stealth and close-up combat aren’t equally viable, despite upgrades to both. As a result, Arthur never quite becomes the all-around badass protagonist you want him to be, and the game’s elements never fully come together. That said, stealth action fans should find something to enjoy about the game.
When it comes to humor, satire and pretend violence, I have endlessly high tolerance. Art and entertainment should be free to push buttons and push the limits of what’s acceptable. I have far less patience for lazy, sloppy and tired humor that masquerades as edgy, and no patience at all for developers that waste my time with games that barely run. With Postal 3, Running With Scissors blamed it on the Russians. With Postal 4, they have no one to blame but themselves.
On the whole, though, Road 96 remains a genuinely innovative game. It’s approach to storytelling and narrative branching is unique. Despite a few relatively minor issues, playing Road 96 is an engaging experience. The moral ambiguity of its characters and their choices feel true to life, even if the game’s conceit is a little less compelling.
Godfall might have made a disappointing first impression, but its highly negative reception was maybe disproportionate. In any case, the Ultimate Edition makes Godfall deserving of a second look.
Eschewing combat takes away some of the ethical dilemmas that are part of 4x and city builder games. You can even play Before We Leave without any threats at all, making it a very chill experience that’s focused entirely on puttering around and building. Without combat or threats, however, Before We Leave is forced to really lean into its aesthetic and mechanics. The result is a little vanilla and a bit repetitive over the long term. It’s a bit like decaf coffee. It’ll do, but you’re gonna miss the kick.
A Memoir Blue has a beautiful, varied visual style, emotionally resonant music, and a sincere — if not terribly deep — narrative. The changing and mysterious relationship of parents and children is relatable. It’s a wonderful story to experience, told via haunting, surreal images. Where A Memoir Blue collapses is in its arbitrary and often unnecessary game mechanics. I get that the main character is trying to make sense of her puzzle-like memories. Pixel hunting and awkward object manipulation don’t make me feel invested or immersed. I’d argue they work against it. A Memoir Blue could and should have been a touching short animated film.
RPG Time: The Legend of Wright is unassailably clever. There is nothing remotely like it, at least visually. Many elements work really well, from the hand-crafted animations to the idea of the game springing from the imagination of a precocious, game-loving kid. I wish the story had been a bit more layered, and I wish actually playing the game matched the fun and panache of its presentation. Still, RPG Time: The Legend of Wright deserves praise for the audacity of its ideas and their generally successful implementation.
Although it uses the Borderlands 3 engine and reprises several characters from earlier games in the franchise, Tiny Tina’s Wonderlands does a great job of separating itself from its brethren. With a focus on high fantasy and cheeky humor that constantly pokes fun at RPG traditions, Tiny Tina’s Wonderlands also doesn’t stray far from them, at least mechanically. Great writing, pitch perfect acting and frenetic action dominate the game, but exploring the nooks and crannies of the colorful overworld and detailed dungeons is equally satisfying. I had a blast in the Wonderlands and can’t wait to see what else the irrepressible Tiny Tina has in store for us.
Tunic is a great game for a specific audience. The target gamer is someone who has patience, loves puzzles and isn’t bothered by dead ends and roadblocks. For those folks, Tunic is a delightful Zelda-inspired ARPG that unfolds into something bigger than its style suggests. Knowing the shorthand of Soulslikes mechanics will cut through some of the game’s opacity. For some, though, the game’s obstinate refusal to easily give up its secrets may be a barrier to enjoyment, no matter how lovely and inviting the game seems to be.
Where Ghostwire: Tokyo loses some love is in the overall imprecision of its movement and mechanics, and a few elements that seem arbitrary or unexplained. Ghostwire: Tokyo’s combat is engaging and its environments are impressive, but that same combat can also frustrate and the environments are balanced against less impressive character models. As a new IP or franchise, Ghostwire: Tokyo is a great, but rough-around-the-edges step in a really interesting new direction.
Thanks to its new weapons, excellent characters and nuanced narrative, Dawn Of Ragnarök comes closer than ever before to breaking free of AC Valhalla’s template. Though it can’t entirely escape some over-familiar mission types, Dawn Of Ragnarök does a great job of pulling together several strands from the main game and prior expansions. Svartalfheim and Odin’s quest give AC Valhalla renewed energy and should please both fans and maybe entice some newcomers to dip into the franchise. Dawn Of Ragnarök is a substantial and overall impressive addition to the series.
Total War: Warhammer 3 is the perfect culmination to a trilogy of generally excellent games. The third installment has both a must-play prologue and story campaign that is fast-paced and takes the gameplay in new directions. Long after the campaign is over, quality of life improvements and the new setting guarantee a long life for single-player skirmishes and multiplayer games. Total War: Warhammer 3 is a winner for both casual and hardcore Warhammer fans or any real-time strategy player looking for a game with depth.
Conan Chop Chop is a combination of challenging combat and rogue-lite mechanics that reward repeated runs and never leave you feeling defeated, even when you die. This is a game with much more depth than its colorful and cartoony style suggests. It’s also much more fun with others. Played solo or with a group, though, Conan Chop Chop’s gameplay loop and enjoyable combat are addictive and compel you to try just one run, over and over again.
When Elex came out in 2017, it filled a niche despite its many issues. Elex 2 is bigger and its world is denser, but Piranha Bytes hasn’t really fixed much of what was wrong about the first game. Janky movement and weak combat top the list. Annoying mechanics and glacial progression are right up there, too. Elex 2 has ambition, I’ll give it that. If it pared that ambition with polish, a more coherent narrative, and better pacing, Elex 2 might be a more viable alternative to those other RPGs that are getting so much deserved attention.
Shadow Warrior 3 is a real study in contrasts. There are times when its environments and cutscenes are triple-A game adjacent. Its combat is fast, furious, and fun. On the other hand, there’s not much story to tell, and that engaging combat gets frustrating and numbingly repetitive. Shadow Warrior 3 embraces much of what we remember about early shooters, with a lot more visual panache and polish. By the end, though, we’re desperate for the kind of variety and sophistication that later shooters brought to the genre.