Kotaku's Reviews
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.
Rain Code is built by a team that knows how to make these kinds of games, and as a long-time fan of the themes Kodaka tends to write around, I was pretty moved by the end even though it nearly lost me in the beginning. If you’ve never been a fan of Kodaka’s mix of camp, heavyhanded themes, and theatrics, Rain Code will likely not grab you. But despite it feeling like Danganronpa’s distant cousin, it makes it clear this team doesn’t have to lean on Monokuma’s death game as a crutch and can build something new upon its bones instead. Hopefully, this means Kodaka can continue to let old things die on their own terms and make new things instead.
The robotic puzzler makes repeated failure an absolute delight
Like a great novel might, this game made me feel more connected to the world around me, and it put me in touch with feelings of wonder that I haven’t felt in a long time. I’ve often felt that too much is made of the anecdote that Shigeru Miyamoto was inspired to create The Legend of Zelda by his childhood explorations of Japanese countryside. For so long, the series had lacked, in my view, any recognizable shred of real exploration, real play. But then, along comes a game like Tears of the Kingdom, which gives you both a wonderful world to explore and thrilling, imaginative new ways to explore it, and I get it. Playing this, I feel like a kid again, alive to the wondrous nature of the world, imagining myself on all kinds of incredible adventures.
A bold shift to action and a stirring fantasy tale make this the best Final Fantasy in ages
I don’t think Crash Team Rumble is going to be the next big live service craze, but it has its moments, I can’t help but pity a game that feels like the odds are stacked against it. I guess now I’m just left to see whether or not future support helps the game pick up steam, if Activision flips the switch and makes Crash Team Rumble a free-to-play game down the line, or if the plug gets pulled before either of those things happen.
Whereas something like Faust satirizes the tortured artist, conveying that creative people aren’t necessarily special people, that they can be as bad as anyone, Layers of Fear seems to say that art is uncontrollable. It’s a hungry, magical force, and if a wife, or a sister, or a daughter are caught and bloodied in its insatiable mouth then, well. So be it. I find that difficult to accept. I think it’s damaging, too, to contextualize art as something dangerous and wild, however reverentially Layers of Fear phrases it. Art isn’t the boogeyman. It’s not the problem—people are, usually. Blaming a monster, like the Rat Queen, feels too easy to me. That’s a narrative issue I’ve had with Layers of Fear since the beginning, and the new Writer and Musician stories have unfortunately made it snowball.
All of these twists and turns in Blizzard’s messaging have no doubt made things harder on the folks making Overwatch 2 as they deal with strife within Activision Blizzard in the midst of its harassment lawsuits, turnover at Blizzard on both a managerial and rank-and-file level, and forcing a once work-from-home staff to move back into the office after establishing their lives elsewhere. I feel for the team because, underneath all the poor planning, there is clearly a lot of talent and love for these characters desperately crawling out of the hole poor business decisions have put them in. I just hope that something, anything comes along that feels like it captures that passion, because I can feel my own dwindling every day Overwatch 2 doesn’t live up to its promise.
It’s a sublime fighter that makes smart changes that honor what makes the series great.
It’s really a shame that such a lovely and fun open-world sandbox is tied to stuff like a season pass, premium currencies, and expensive in-game purchases. Perhaps 2K will tweak some levers to make it easier to earn and unlock new cars—which would be nice—but until then the specter of greed will always be there, nagging at me as I build, smash, and race.
Respawn’s Fallen Order sequel is a big, bombastic blockbuster but doesn’t forget what made the first one special