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Despite its shortcomings and unfortunate slip towards the end, Klaus stands as an admirable and respectable first outing for La Cosa Entertainment.
At this point, Megadimension Neptunia VII just feels like yet another Neptunia game.
Though this review has thrown a great deal of criticism at Fortified, it's actually a surprisingly fun, well-polished genre mash-up that gives off a wonderful initial impression.
There's something to No One But You once you make it through the average slog that is the first half of the game. Had there been more time put into fleshing out the characters and ensuring that the complete game was as exciting as the latter portions, it's possible this could have become a great visual novel to suggest to newcomers. As is, No One But You is a game with some intriguing moments and great artwork but overall feels too disjointed.
After a while, though, the romance fades and the grind sets in, and you realize that the good stuff is the PvP after level 45 and even then, there's not that much to do. There are seven classes but every character slogs through the same story and the same quests and easy-kill monsters. It's then that you realize the cash shop and XP-boots are there for a reason. It's easy to recommend giving Blade & Soul a try, but hard to imagine sticking with it for long.
LEGO Dimensions felt like much-needed innovation for a game series that has seen little change since its inception in 2006.
Death by Game Show is not an incompetently made game, but as a collection of design decisions the sum and its individual parts are annoying, disappointing or frustrating.
Enjoyment of Final Fantasy Explorers is defined by two things: nostalgia for Final Fantasy and the amount of immediate challenge desired.
To put it bluntly, Bombshell is a dud.
The look and tone of Between Me and the Night will undoubtedly appeal to many gamers, but they may ultimately be disappointed by its approach to puzzle design, overly fussy controls, limited inventory system and a mood that has little variety save unease and tension.
If the story is nonsensical, the fighting and platforming are great fun.
There is real appeal to the idea of living in a little rural community where everyone is pleasant and quirky, where the rhythm of life and the gentle change of seasons are tied to working the land and the world's secrets are not dark and menacing.
The PC version of Rise of the Tomb Raider is a step above its 2015 release.
There's not a lot about Attractio to pull you in from a distance. It doesn't look, sound or even feel that great. Its story is obvious and uninteresting. Everything about it screams "knockoff" like a "ROLAX" watch, but don't be fooled: if you're a fiend for devious puzzles, Attractio is the real deal.
Gravity Rush Remastered is close to perfect.
Asking The Witness to be a traditional video game is essentially asking the impossible.
Minor issues aside, The Deadly Tower of Monsters is a pleasant surprise indeed and a particularly impressive budget action game showcasing a lot of creativity.
The Aquatic Adventure of the Last Human may have its share of flaws, but is a highly original and mostly enjoyable entry into the increasingly congested metroidvania subgenre. That it would acquire some of its inspiration's inherent flaws was inevitable; that it would manage to replicate, even partly, the experience of traversing a hauntingly beautiful world populated by majestic creatures and generate a similar sense of guilt in destroying them, marks it already as a success.
Maybe it's the somewhat featureless terrain of Kharak, the simplified, streamlined interface and missions or the slightly shallow multiplayer modes, but there is a real sense that Deserts of Kharak is a throwback to a much earlier RTS style of game.
Describing Tachyon Project as derivative is not intended to be dismissive.