OnlySP's Reviews
A deal with the Devil starts the story of Cuphead, and at times the gameplay can make the player feel as if they are in hell, yet the graphics speak to a time long past, revitalized by Studio MDHR. While the future of the title seemed uncertain at times, and the decision to go beyond a simple litany of boss battles to more of a true platformer in 2015 pushed the developers to their limits, the end result has truly taken the industry by storm. Those gamers who were smitten by the title at first sight and have waited years to see the release as well as those who have heard of the game by word of mouth or simple happy accidents should all be impressed and pleased with this result. Inherently difficult games can lose players if the rest of the production also falls flat, but no such problem can be found here. A simple narrative premise and the quintessential "easy to learn, hard to master" gameplay find a happy marriage, tied together by rich visuals and a snappy soundtrack that make every minute in the game unique. No shame should be felt in restarting levels countless times, or needing to take a breath before going on. Cuphead was not made in a day. Thus, players need not finish in one. In fact, the title is best taken in small doses, in sections and boss fights, simmering and sipped like a fine meal made by a very fine chef. The magic of the title is to be appreciated, not rushed through, and all the elements combine for an experience long in the making that will remain in the mind as fondly as the era that players are transported to when a cup makes a deal with the Devil and a soul is on the line.
Regardless of a few minor errors, Odyssey is an absolute joy to play through. Bowser's latest attempt at kidnapping Peach is an interesting one, but the adventure does not stop after the credits roll. In fact, the game's offerings seemingly have no end, and sets a new bar for Mario's 3D ventures: one that stands much higher than anyone could have expected. Creativity and pure joy shine in Odyssey, and they do so in a way that will be looked to by developers, artists, and gamers for a long time to come.
Assassin’s Creed: Origins is not perfect, but it does return the franchise to a less tarnished status. While the game does not necessarily wash away the taint that stains Ubisoft’s reputation after Unity’s negative feedback, it does improve the overall stigma. The story immerses and intrigues, the characters are believable, and the bugs are tiny and negligible. As with most AAA titles, the graphics and audio are well-suited for modern consoles and PCs, and the gameplay is addicting enough to keep players interested. While the target-lock system is finnicky at best, the rest of the game’s aspects more than make up for that mild irritation. The two-year break between entries seems to have done Ubisoft well. Hopefully, the company will continue to stick to a quality over quantity model.
Wolfenstein II: The New Colossus is a stand-out, weird shooter, even if the game never becomes innovative enough to be extraordinary. The title functions excellently as a sequel and will provide a good 13-hour experience, but remains conservative in its gameplay, if not its politics. However, as a stand-alone experience, Wolfenstein II is a thoroughly entertaining FPS. The shooting holds up, the upgrade system encourages different forms of play, and at no point does the game feel like a grind. Wolfenstein II is smart to continue using the stealth mechanic from its predecessor, even though the system is still too unforgiving in its design. The big hurdle for many will be the heightened, unrealistic quality of the characters and the world, but if players can handle the oddness, they will be rewarded with some touching human moments in an insane, backwards world.
Regardless of astonishing graphics and audio, Battlefront II misses the mark in more ways than not. The gameplay is a mixed experience. Combat is fluid and immersive, but ultimately frustrating due to mind-numbing grinds that can see users playing on autopilot. The game’s narrative starts off strong, but turns into a typical fable in which good conquers evil, highlighting EA’s inability to completely follow through on its promises. Lastly, the utter lack of content makes the title degenerate into repetitive monotony, despite the popularity of two of its major multiplayer modes. Battlefront II has all the potential to be a great title, but EA’s greedy fingers and lackadaisical attitude taint it beyond recognition. Gone are the days of the original Star Wars: Battlefront franchise in which single-players and multiplayers could get endless enjoyment out of each game. The result is an unhappy fanbase that will eventually hurt EA’s bottom line due to lack of confidence in the company. Until that time, EA will continue to push out barely-passable nonsense that masquerades as a AAA title, such as Star Wars: Battlefront II.
Dynamic Pixels seems to have begun with a simple, brilliant concept, but struggled to make a cohesive game out of it. The AI neighbour and skewed environment are both wonderfully executed pieces of game design, but every other aspect of the project is flawed, making for a fundamentally unenjoyable experience. In some languages, "hello" also means "goodbye", and the latter is more apt here; no matter what horrors lay within the basement, they are not worth persevering through the horror of playing this game.
Not all games are going to be winners, just as not all games will be losers. Some raise the bar for the industry while others lower it, and some do not move the bar at all. Spellforce 3 is one of those titles that does nothing to improve or diminish the standard. The gameplay is intricate in some areas and flat in others, the story is irrelevant, the audio is well-executed but not inventive, and the graphics are superb. The game is by no means a flop, but it is not a title people will be praising for years to come. In short, Spellforce 3 is worth a look, but not for the USD$50.00 price tag.
The best way to summarize DBFZ is that it is Dragon Ball in its purest form. The game is ridiculous and odd, but filled with decades of lore that fits right in with its faithful graphics. DBFZ's challenge and accessibility are only matched by its commitment to a proper adaptation that will appeal to both the oldest and newest of fans. The beginning hours of the story is where the game's biggest flaws can be found, which ultimately hurt the game's chances of keeping players hooked. DBFZ has so much beneath this thin surface though, so players who are turned off upon their first hour with the game should really give it another go. The story will always be an annoyance, but this is a small gripe in a game filled to the brim with exceptional content. DBFZ is a Super Saiyan experience and essential for anyone who has memories from the anime—present or past. Those who are not fans will still find a fantastic game, but a bit of research and patience may be needed to fully grasp what is, without a doubt, the greatest Dragon Ball game ever released.
Bringing together a pair of budget RPGs, Fallen Legion + represents excellent value for money, but that worth is highly conditional. The artwork is truly inspired—sometimes even breathtaking—but serves a world and story that do not deserve it. Adherents of fantasy war tales will likely find enjoyment from the narrative, though a general audience will fail to be enraptured. Aside from the graphics, the battle system is the game's standout feature, yet even this highlight is let down by the poorly-considered ancillary mechanics that make the Fallen Legion games into anaemic RPGs.
Indeed, in an age where titles are designed as sprawling live services, a more focused campaign can help a game to stand out. Fortunately, Attack of the Earthlings has much more in its favour than being a throwback to a simpler age thanks to its cheery tone and novelty. The game is far from revolutionary, but it bears a sense of individuality that many others lack. The greatest disappointment is that the title will likely never reach the audience it deserves.
Few titles can take players on a journey with the ease and grace that The Red Strings Club does; its ability to do so much with so little is a ringing endorsement to the effectiveness of minimalism. The game will not—can not—appeal to everyone, but those seeking a title that takes narrative seriously should not overlook it. Although the gameplay is not challenging, the way it forms an integral part of the story is something that even the biggest, most practiced teams in the industry can learn from. In short, The Red Strings Club is unmissable.
The first age of so-called walking simulators is long past. The design foibles that led to such projects being so widely decried have been ironed out, but the genre is still struggling to find its feet. In such a situation, The Station is no revolutionary. Many aspects of the game help to give it a unique identity, but the gameplay is too reliant on established ideas to allow it to stand out from a crowded field.
With all said and done, and despite several flaws, Warhorse Studios delivers a fantastic first game and deserves praise for Kingdom Come's successes. The issues currently present in the game are comparable to Bethesda's infamous bugs. However, even before the game's release, the developers were working hard to constantly address feedback given by the community to influence future patches that will hopefully turn Kingdom Come: Deliverance into the great experience fans believe it can be.
All Walls Must Fall should have had everything going for it. Both the combat and dialogue mechanics are solid. The game has a premise that is ripe for character interaction and analysis of human choice in the face of time travel. Had it established at the outset that time traveling was a one-and-done deal and restricted the player from using the power at all, All Walls Must Fall could have had something. As is, the title provides a few hours of decent enjoyment that is too easy to truly enjoy.
Mulaka feels generic in its gameplay, but the intriguing themes of the Tarahumara folklore help the title to become more than just another action-platformer. The lackluster combat, level design, jarring animations, and basic plot line may not be worth the price of entry, yet Mulaka is a immensely engrossing adventure. Learning about a tribe of people that most have never heard of and playing a game about indigenous people is rare. Playing through Mulaka divulges a lot about the Tarahumara mythology and customs. Mulaka is best played to learn about the culture and origin stories of the Tarahumara people, who go down in legend as being some of the most athletic humans to ever grace the face of the planet.
At the end of a long road, emotions can be mixed, with many exhausted by the experience or rejuvenated by the discoveries made along the way. WTWTLW instills the former, driving players to feel dragged through the mud as opposed to fulfilled. Although the game touts the importance of the journey over the destination, neither offers any real sense of satisfaction. In the end, an interesting concept and great art direction cannot save the game from the weight of ambition. The attempt is admirable, but the execution leaves much to be desired. WTWTLW is lacking the narrative punch and cohesion of other story-focused games, as well as the freedom and gameplay quality of other exploration-based titles. WTWTLW has all the promise of a long and exciting road-trip across unknown territory, but ends up only offering flat tires and postcards of better places.
With A Case of Distrust, developer Ben Wander takes players on an intriguing narrative experience, with complex characters and intricate gameplay cleverly accompanied by a beautiful art style and charming soundtrack. For his first game as an independent developer, Wander has knocked it out of the park. For any fans of narrative games, or detective fiction in general, A Case of Distrust is a must play.
The fundamental question 0°N 0°W posits is 'how much direction does one really need to enjoy a video game?' The rainbowed reality of 0°N 0°W provides no answer, but the suggestion that the art form is being limited by its own definitions of what defines a game lingers.
Standing alone, Before the Storm has an emotional arc, which goes to say that the experience is not an inherent waste of time. The nature of truth that is at the heart of the narrative is not without merit—a worthy exploration of an important theme to be sure. Overall, Deck Nine does as the best as any studio could be expected to in trying to recapture the magic of the first season, even if the experience ultimately leaves players wanting more of that original magic. Perhaps these shortcomings are simply a testament to the quality of the initial installment. Any attempt to replicate Life is Strange would always fall flat, and no one can be faulted for failing at such an impossible task. In the end, even with all the proper precautions and setup in place to capture the same lightning in a bottle, the emotional maelstrom that is Life is Strange is so potent because of the storm at the heart of the game. Anything that comes before is just the calm.
The team at Phantom 8 should be proud of what it has achieved in terms of atmosphere and core gameplay. Past Cure, similarly to Hellblade: Senua's Sacrifice before it, is a testament to the idea that small indie developers can produce a quality of content matching that created by blockbuster studios. However, the excellence of these aspects makes the flaws in design, audio, and storytelling more glaring. What looks like a sterling experience feels amateur. Past Cure is ambitious, which can be a fantastic quality, but the developer's effort is misplaced, leaving the game incapable of surviving its own confusion.