MX vs ATV Legends has a solid core. The arcade-style racing with motocross bikes and four-wheelers is fun, though repetitive over the course of the years-long career mode. Even allowing that Legends does not aspire to shiny, triple-A brilliance, the game’s performance, audio and up-close visuals can be pretty lackluster. The nicely varied tracks and huge natural environments compete with stuttering framerates and canned animations. With Legends, the franchise has moved closer to the finish line in many ways. In others, it still seems stalled at the starting line.
Starship Troopers: Terran Command does a pretty good job of paying homage to the films, at least in terms of design and presentation. As a real time strategy game, it feels defined by limitations and absent features like multiplayer, map editor, skirmishes and the ability to turn off the omnipresent commander. Gameplay can be challenging and fun, but here, too, dumb unit AI and lack of variety inhibit next-level enjoyment. Both fans of the film and squad-based RTS games will find something to appreciate, provided they don’t come to the experience with super-high expectations.
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.
If you were unimpressed by Terminator: Resistance, your mind will not be changed by Annihilation Line. For better or worse, it is more of the same. The cast mostly carries over, as do the mission types, enemies, and weapons. It’s a little more challenging, perhaps, and the pace is faster. Annihilation can’t compare to the best recent shooters, but it does have an audience. The ideal player might be a diehard Terminator fan eager for a compact few hours in their favorite sci-fi universe. Players who really liked the main game will enjoy the DLC as well. For everyone else, it’s probably a pass.
What we can agree on is that mechanics and gameplay are at least as important as the setting and story, and this is where Rustler fails to deliver a consistently fun experience.
The Hero’s Journey does yeoman’s work as a structure for Seed of Life, and the game boasts some imaginative environments and challenging puzzles in service of a classic tale of discovery. Where action, platforming and precise input are called for, Seed of Life shows its mechanical limitations and wonder is sometimes replaced by frustration, but fans of puzzle adventure games with a sci-fi twist might find something to appreciate about Seed of Life despite its issues.
Dear Dark Alliance: those of us that were fans of the original PS2 game and the Dungeons and Dragons franchise came ready to enjoy you. You waved your fancy pedigree and showed us your impressive environments, only to disappoint us once we paid the price of admission. So, fix the AI. Balance the single player game or ditch it entirely. Let the players create real characters that express themselves. Above all, kill the bugs. Do those things, and maybe we’ll come back, because it could be a nice little house to live in for a while.
So often developers create a game using the kitchen-sink approach and it isn’t always clear how or why disparate mechanics deserve to play together. In the case of Tainted Grail: Conquest, deckbuilding, roguelike progression, and action RPG-type exploration feel compatible with each other as well as the dark fantasy setting and story. Less successful are the punishing, protracted battles that take too long and lack variety over multiple runs. With some additional balancing, classes, card types, and adjustment to pacing, Tainted Grail’s fundamentally solid concepts could shine through the darkness a little better.
With its close-cousin-to-Legos look, smallish levels, and fast load times on current consoles, Dungeon and Gravestone has some addictive curb appeal but ultimately fails to deliver anything really new to a very crowded genre. There is depth to be sure, both in the options for character progression, stuff to find and fight, and the dozens of levels of the dungeons and hidden areas. The buzzkill for me was not the expected and familiar roguelike loop, but the frustrating movement mechanics, the necessity of replaying the uninspired, bare-bones early levels over and over, and the slow progress towards building a reasonably powerful character. Dungeon and Gravestone will scratch an itch for the devotees of the genre but I suspect those without a lot of patience will bounce off pretty quickly.
The team at Bithell Games has an obvious love for their subject. This is true for writers of most fanfic. The challenge is creating an engaging narrative experience for those not on the inside, so the casual gamer can sweep away the jargon and lore, and be swept away by the story. This is where TRON: Identity struggles. TRON fans will probably enjoy spending a little bit of stylish time in their favorite fictional world. For everyone else, the claustrophobic story and lack of a high stakes payoff might be disappointing.
The Gunk is a competent product, but it feels very risk-adverse and derivative. You’ve seen and played elements of this game before. It can be fun for a while, but you soon realize that The Gunk has a limited vocabulary and spends too much of its time amicably repeating itself. Instead of being the foundation for something grander, The Gunk is satisfied to make its exploration and simple mechanics the entire game. As a Game Pass product, however, it’s not hard to cautiously recommend The Gunk as a pleasant enough diversion.
Patient gamers waiting for a new installment of MechWarrior will be pleased to find a graphically modern version of a classic franchise, but also a game that struggles to compete with the story, pacing and characters of recent action games that have learned to balance complexity and momentum with a little more panache.
From its title screens to its combat mechanics, The Surge 2 copy/pastes a great deal from the two-year-old original and while it moves the franchise into a more open and populated world, I was hoping for a more dramatic evolutionary leap. Like its Soulsborne models and its predecessor, The Surge 2 is a challenging game, made more so by an inconsistent frame rate and sometimes imprecise combat controls.
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.
Deliver Us the Moon is a good-looking game with a solid story premise that doesn’t quite stick the final landing.
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.
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.
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.
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.
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.