Although it doesn’t include all the PC game’s extra content, Civ VI comes to the PS4 and Xbox with both the Rise and Fall and Gathering Storm expansions and the latter in particular is a literal game changer. I can certainly imagine using Civ VI as an engaging educational tool to consider the many competing forces around climate change.
The Sims 4: Discover University is definitely weighted towards the real-world experiences and lessons of college life and in addition to being highly entertaining, might just possibly have some educational value of its own.
At a near-premium price of $40, Last Labyrinth suggests a polished product, crafted by experienced designers and generous of content. In truth, almost nothing about Last Labyrinth is fun or rewarding.
There’s something to be said for a stripped down to basics game experience, without too many complications or intricacies that get in the way of the fun. Pistol Whip is entertaining and another of the growing list of successful arguments for VR as a near-staple for gamers.
Crossroads Inn might not be the first medieval sim (that honor probably goes to 2011’s The Sims Medieval) and there are quite a few castle builders out there as well, but as a narrowly focused genre blend of builder and sim, Crossroads Inn stakes out some specific territory.
It’s clear that earlier Frontier games like Kinectimals, Zoo Tycoon and Planet Coaster have been stage-setters for this ultimate zoo sim. Whether you enjoy theme park builders, economic sims or most importantly, creating the zoo of your dreams, Planet Zoo will satisfy you, but be prepared for an order of complexity that the previous games managed to avoid, or at least hid a little better.
Humor in any narrative is highly subjective. Afterparty starts out strong, with a clear and vibrant sense of style that is unlike many other games. The game can be funny, clever and smart but it can also seem random, indulgent and perplexing and thin on the amount of interesting stuff for the player to actually do, other than experience the story, dialog and a few mini-games.
There’s no denying that The Outer Worlds bears the imprint of earlier Obsidian games and a number of other timeless RPGs as well, but those influences do little to diminish the accomplishment of some amazing worldbuilding, entertaining storytelling and brilliantly realized characters.
Disco Elysium deserves applause for having a singular vision and generally bringing it to fruition through its art, writing, setting, characters and gameplay mechanics which suggest the heyday of classic isometric RPGs.
While it lacks the processing punch of a PC-tethered headset, the mobility and no-strings-attached freedom of the Oculus Quest has allowed me to dive deep into the headset as a fitness product, and Beat Saber, Box VR and a few other titles are in regular rotation.
The problem with all puzzle games is that they are almost always a single-play through experience, so that initial run has to be the memorable one. Moons of Madness has some jump scares and other surprises, but its biggest draw might be that it takes Lovecraftian elements into a wholly new environment and replaces combat with exploration, puzzles and a slow-growing sense of confusion and dread.
Aside from some minor visual glitches and pop-in and some finnicky platforming, A Knight’s Quest is not at a bad time but it’s not an experience that will stick with you, either. Its focus on humor instead of drama or pathos will be a selling point for players weary of self-important heroes and dark themes but on the flip side, humor is very subjective. From its title to its overall mechanics, A Knight’s Tale seems like a safely familiar variation on a popular but over-played theme, appealing for its recognizable form but less satisfying for its lack of creative ambition.
Although it has an intriguing story that feels like a Greek mythology greatest hits collection, Argonus and the Gods of Stone impresses with a fresh setting and the transposition of the puzzle-adventure genre into the world of ancient gods and heroic characters.
Deliver Us the Moon is a good-looking game with a solid story premise that doesn’t quite stick the final landing.
As an allegory, bringing light to personal or cultural darkness through art isn’t terribly original but it’s still relatively surprising for any game to have a wider subtext, and besides, Concrete Genie’s deepest pleasures are aesthetic.
Dragon Quest XI: Echoes of an Elusive Age is a masterpiece of design that balances tradition and subtle innovation and is very bit as entertaining on the Switch as it was on PC or PS4.
There is, of course, nothing wrong with complexity and challenge in a game but Warsaw adds to the mix some capricious unpredicatability in its AI mechanics and design that can be frustrating, resulting in gameplay that is simply not on the winning side of the challenge/reward equation.
While there is no lack of stuff to do — story missions, side quests, and faction missions, not to mention the multiplayer PvP Ghost Wars suite which is the marquee feature for many players — not all of it is engaging and most all of it has been done before and better, not only by other shooters but by other games in the Ghost Recon franchise.
As a design doc, a game that combines horror, sci-fi and Norse mythology sounds intriguing but in actually, Apsulov just seems uncertain of its identity.
While it isn’t technically a new game, The Legend of Zelda: Link’s Awakening looks and feels as fresh and inviting as any new game released on the Switch. It preserves all the strange, playful fun of the original while utterly transforming it visually and mechanically, and preserves everything that made Link’s Awakening a classic.