Kotaku's Reviews
Ultimately, those final moments are the ones I leave Eternights thinking about. Where often the game feels like it’s struggling to execute its own ideas, it’s clear that it at least has ideas. It gets in its own way with what feel like expected genre pressures to undermine itself, but it knows the emotions it wants the player to feel, and they aren’t as superfluous as the gags at characters’ expense it throws out along the way. It makes me hopeful about what this studio might make in the future, because while Eternights may be imperfect, it’s clearly made by a team that wants to create moments like this game’s finale, ideally supported by games that are fully deserving of them. It just needs to work on ironing out all the wrinkles that held this game back.
I’m over seeing girls’ cuteness being understood as their obedience—to social expectations, to men’s interpretation, whatever—and I don’t need Fae Farm following suit by serving us hollow chocolate bunnies, something easy to eat. Other modern cozy games have already demonstrated that the genre can handle emotional depth, and I prefer that to the worn-out Harvest Moon picnic blanket. We can wrap ourselves in something more prickly, life sims’ primarily female audience is certainly capable of complexity. Women like more than flowers and marriage. We contain multitudes. It’s not a big deal.
Everything ends. But we take something from the times and places we’ve left behind and carry it with us as we move forward in life. I know that the countless hours I spent on forums in the early 2000s weren’t time wasted but a crucial part of my development as a person. I probably wouldn’t be here right now if it hadn’t been for those experiences. Videoverse is a beautiful exploration of how the online spaces we inhabit and the connections we form in them can shape our lives as much as anything.
Aside from being constrained by dialogue—which, for my taste, sometimes relies too much on pain to get me invested (“I tried to kill myself so many times that I can’t even [...] look at myself in the mirror,” comes up as a choice for Fortuna more than once; “If we don’t dig into the intense stuff we might as well just have a normal conversation,” she says another time)—I am powerful in this game. But in its customizable cards and in its story, in which witches are obsessed with strength and disappointing each other, The Cosmic Wheel Sisterhood encourages me to think about this seriously. How selfish am I? What matters more, me or my community?
Thinking back on my playthrough, there were positive times where I’d notice myself admiring some of Solis’ design details, like Jessica’s rubbery glove caught in her glinting headlamp as she shielded her face from the smoggy storm, or narrative decisions, like when Jack passed his hand over a murder victim’s open eyes to empathetically close them. But they don’t create a unified image; I can neither value nor reject what I’ve done here. I put Fort Solis down confused and disengaged, with half a mind on my email notifications.
The central fantasy of every FromSoftware game is pretty much the same—that through close observation and relentless practice you too can bootstrap your way to greatness, slay the dragon, save the kingdom, or solve the puzzle to unlock the mysteries of the universe. In many of the Soulsborne games this means mastering the violent gauntlet ahead of you. In Armored Core VI it means changing yourself until that death march becomes a cakewalk instead. It’s a game about having faith in yourself, even when no one else does, and becoming an ass-kicking mech pilot in the process, not because it will save the world, but because it’s cool as shit.
I’m only hoping that future added content and skilled players will help Texas become, as macabre as this is, a bit more fun. Dying and reviving under a searing, neon sun is a rare opportunity; from the safety of my console, I’d like to enjoy it.
I’m enamored by Stray Gods’ writing and art, but the thing that makes it unique is the worst part about it. Whenever I was enjoying the writing, acting, or art, the music would kick in and I’d mutter “oh, okay, here we go again” until it was time to pick my choices and direct the song one way or another. It’s such a cool idea, but the foundation is so shaky that I sometimes wish it was just a standard adventure game so its best parts could shine through. It wouldn’t have been as eye-catching or original without its gimmick, but it would’ve been a better game.
I can try a new playthrough and build things back up and game the system to get the “better” outcome where the dice roll in my favor every time. But there’s something kind of beautiful in a messy playthrough that you can’t experience more than once as each permutation becomes more apparent with each replay. For now, this imperfect outcome is mine, and I want to maintain that memory of my Baldur’s Gate 3 story. At least for a little while longer.
But the missions aren’t that long, especially if you’re playing on an easier mode, and their replayability is questionable. Though, its value is subjective—maybe you don’t want to spend $15 when you’ve already spent on skins or previous battle passes, or maybe you’ll buy this set of story missions and decide, whenever the next ones are released, to pass, or maybe you’ll love the missions and want to challenge yourself ot beat them over and over again on increasingly harder difficulties. It’ll be interesting to see how players react to this new PvE content.
Deck13’s latest can’t get off the ground. Like the sandy ruins filling its world, the best parts of Atlas Fallen feel buried beneath the same open-world junk you’ve already done in a bunch of other games.
I tend to avoid seriously talking to people about my OCD, too, especially in times where it’s been as physically and emotionally isolating as it is for Emily. Because of how personal it is, I don’t thirst for OCD representation in games, or in any media at all, really, but playing Homebody has been surprisingly cathartic. It’s an autopsy of the run-of-the-mill terror I’ve learned to live with and let go.
I’ve enjoyed how breezy the game is, but I can definitely see the difficulty and complexity ramping up a bit further in. As you play you unlock additional perks that you can choose between at the start of each map, like whether to arm your commander with a spear or bow, or whether to increase your money generation or get bonus health for your castle. There’s also a set of mutators you can mess around with to increase the challenge and in turn raise your high score. I’m sure I’ll get there, but in the meantime it’s the little things I’m enjoying about Thronefall, like the super-satisfying clink of all the gold filling my coffer each morning.
Although Venba’s gameplay boils down to practice making perfect, its cooking puzzles and narrative also work together to perfectly illustrate the trials Venba’s family is facing. By pulling you into this process, it builds a bridge of empathy for players like myself, helping us relate to the loss that comes with growing apart from one’s family and the love that keeps you tethered to them while you forge your own path. Pairing that all too relatable human experience with the making of a bounty of delicious meals I’d like to try my hand at IRL is just the icing on the puttu.
One of the few points of pleasure for me in each battle was the soundtrack. Instead of dramatic horns and violins, Arcadian Atlas’ jazz-infused soundtrack by composer Moritz P.G. Katz is dominated by saxophones and guitars. The standard combat music in particular is so oddly unexpected but catchy, I still found it playing inside my head days later. I wish I could say the rest of my time with the game felt as memorable.
The tokens you earn from each run can be used for unlocks in addition to respawns, including a host of additional characters you can choose to play as. It’s a nice carrot to chase even after you manage to successfully complete your first run, though ultimately Double Dragon Gaiden hasn’t really kept me hooked. I love the roguelite refresh on paper, but it never really commits to it in the way of something like Hades or its numerous clones. Without that extra depth, there’s not enough to make up for Double Dragon Gaiden’s occasionally floaty feel and less than exacting moment-to-moment combat. It’s not quite the Double Dragon renaissance I was hoping for.
Regardless, if you own a Switch (and based on the sales of that device, you probably do) I’d recommend checking out Disney Illusion Island. Even non-Disney adults will enjoy the snappy action, low-stakes gameplay, gorgeous visuals and co-op shenanigans. And if you are a Disney adult, well, you probably already bought this game and have it installed on your Switch. Good news: You are in for a treat.
Dave The Diver very much deserves the enormous success it’s received in its first month, selling over a million copies, and hopefully making developers Mintrocket enormously rich. They’ve created something really special, an RPG-meets-Diner Dash-meets gentle SCUBA sim, that manages to feel utterly crammed to the gills with things to do, yet joyfully relaxing to play.
Night School's spooky sequel tenderly captures the ambiguity of early adulthood
That’s the real problem with Gollum: It’s a game of contradictions. It wants to be a precision platformer, but the platforming is imprecise and unpredictable. It wants to be a stealth game, but the sneaky mechanics are uninspired and enemy AI is too dumb to make it challenging. It wants to be an action game, but Gollum doesn’t have the strength to engage in any real action. And on top of these contradictions is the crushing weight of bugs that break the game. There’s potential tucked deep within the bones of Daedalic Entertainment’s game, but The Lord of the Rings: Gollum is giving bad early-aughts 3D platformer in the worst way imaginable, putting it in the running for 2023's worst game.