Still, curiosity outweighed my better judgment and I decided to give this game a try anyway. I’m glad I did—I Am Setsuna has its moments of being enjoyable—but the poor writing was enough to ruin the whole experience by the end and cause me to question why this game falls so short.
Now, reviews generally exist to answer the question of whether something is good or not, but the answer to that question is a bit more complicated than a simple yes or no in this case. In fact, if my notes are any indication, the answer is “yes, then kind of, then yes again, then no no no no why is this happening, then ehhh, then yes again,” which is a roundabout way of saying that the game is worth it overall despite having some pretty glaring issues.
[A]t the end of the day, this is a game that borrows so heavily from other games that it's entirely bereft of originality or creativity. That's not the same thing as being bad, of course, but Final Fantasy 15 takes so many cues from other games that it lacks any kind of individual identity, and considering how many games have done the same things better, you're best off just playing those instead.
Let’s get this out of the way early—Torment: Tides of Numenera doesn’t live up to or supplant Planescape: Torment in any way, shape, or form. That doesn’t mean that it’s not a worthwhile game on its own, however, and even a simulacrum of something as justifiably venerated as PS:T feels like a welcome bulwark against the waves of mindless games that ask nothing of the player and offer nothing in return. This is a game for those who love lore and large chunks of flavor text so overwhelming that one could conceivably drown in them, and while that makes the game impenetrable to those mass-market gamers who require an easily digestible story and lots of visual pizzazz to enjoy a game, it also allows it to be incredibly rewarding and memorable for those willing to put in the time to read through it all.
Overall, Vikings is an enjoyable game with environments that are destructible enough to be weirdly satisfying and gameplay that’s entertaining enough to carry it (provided you have a gamepad), but it lacks any kind of narrative weight and begins to run out of ideas for varied boss fights toward the end.
Its opening few hours proved mildly amusing, if a bit underwhelming given my high expectations, but the game soon after won me over in a big way to the point where countless softlocks, bugs, and typos couldn’t stop me from playing. While the way you get into combat is reminiscent of the encounters in Chrono Trigger, its biggest takeaway from that game is instead rock-solid pacing that avoids wasting your time with nonsense padding, and there are a handful of features taken from other games that are equally welcome. All of this coalesces into something that’s simultaneously a brilliant homage to classic jRPGs and strong entry in the genre in its own right.
[T]he thought of playing another second of this awkward, predictable tripe is so unbearable that I stopped and resolved to never continue. That’s not to insinuate that this is the worst game I’ve ever played—merely that magical mix of underwhelming and tedious that isn’t appallingly terrible in the way some games manage to be, but pointless enough to get in the back of your head reminding you of the million other things you’d rather be doing.
The Surge is a game that appeared to borrow the difficult combat from such games while departing from that formula, hence my interest in it, and while it eventually falls into lockstep with other such titles by doing the same basic things Souls games end up doing, there are enough interesting wrinkles and gameplay improvements here to make it worth a playthrough or two.