Shadow Gambit: The Cursed Crew is a challenging and extremely entertaining stealth action and tactics game. It has a charming setting and story, with characters and mechanics that encourage creative and varied approaches to combat. There aren’t nearly enough great pirate games, so I’m glad Shadow Gambit: The Cursed Crew sailed into port.
Gord is a richer and more complex game than it first appears. There are interesting layers of moral ambiguity and mental health to consider. Gord is a dark Slavic folk tale in survival/RTS-game disguise. Its mechanics and systems add up to an engaging gameplay experience. For a modest entry price, Gord provides a lot of entertainment, an engaging story and plenty of replay value via customizable scenarios.
Part murder mystery, part visual novel, Stray Gods: The Roleplaying Musical is an audacious experiment. Happily, it pays off in a unique video game experience. There aren’t many games that use songs in a theatrical way. Being able to direct the flow of the music in real time is exciting and engaging. Pacing issues aside, it’s a concept that’s definitely worthy of continued development. I hope Wintory and Gaider continue to iterate on this new IP.
Like in their earlier games, Deck 13 Interactive is definitely punching above their weight. If this results in some moments of unexpected awesomeness, it also results in some rough patches and missing polish.
Although limited to just two factions out of dozens, the Grey Marines and Nurgle are classic enemies, and Warhammer 40K Chaos Gate: Daemonhunters is as close to the tabletop experience as you can get. The base game’s campaign is already dozens of hours long and while Execution Force doesn’t have a lot of new stories, it does fold in some great new units, enemies, and mission types. Daemonhunters fans will want to add this new DLC into the mix.
Either alone or with a buddy, Double Dragon Gaiden: Rise of the Dragons is a good time. It updates a decades-old beat ’em up franchise by adding roguelike mechanics that actually harmonize pretty well. The gameplay is accessible but plenty challenging, and the large roster of unlockable characters keeps things interesting.
Gunfire Games’ Remnant 2 is one of those rare sequels that takes a collection of good ideas and makes them even better. Everything about Remnant 2 is an improvement or elaboration from the first game. It looks great and the action is challenging without being overly punishing. Best of all, Remnant 2 makes creative and meaningful changes to the Soulslike formula, helping it to stand out from a deluge of copycat action RPGs. I can’t imagine any fan of Remnant: From the Ashes being anything but thrilled by Remnant 2.
Generally, The Valliant on consoles is a success. Controls make sense and don’t inhibit the flow. Whatever issues there are lie in the core of the game. A lack of mechanical originality and some repetitive or frustrating missions are offset by a decent story and acting. It’s also refreshing to play a unit-based RTS game that isn’t set in WW2 or a sci-fi world.
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.